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G Music/Explicit Music.Performers:‘Speedy’ Pete Greatorex – vocalsZak Black - clean guitar, backing vocalBarry Bridges - dirty guitarJosh Reynes - piano, organ, keysMaxx Damage – bassSven Stiglund – drumsCover Art:“Vimana” by Peter Greatorex.See: https://www.wudrecords.co.uk/artists/dark-company/original-artwork-by-peter-greatorex/original-artwork-by-peter-greatorex-gallery-6/Copyright ℗ 2026 Wud Records.FUN FACTS: The lyrics for this song were written 10th to 14th September 2013. George would wail away softly to his baby daughter whilst dancing her to sleep. This was how the backing vocal part came to him. On this recording it sounds like somebody deflating a goose with a terrible beak ache. The guitars and bass were both one long take that end when they end. The clean guitar in the left is the one that was played as Pete was singing. The guitars will be arranged a bit better when we come back to work on this song. The three verses are repeated thrice.* It somehow feels right, despite it being a bit odd.See also:https://www.wudrecords.co.uk/artists/dark-company/https://www.wudrecords.co.uk/artists/dark-company/a-for-acronym-cd-1-snafu/https://linktr.ee/dark.companyhttps://www.explicitmusic.co.uk/lyrics-information/dark-company/a-for-acronym/the-borrowers

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G Music/Explicit Music.Performers:‘Speedy’ Pete Greatorex – vocalsZak Black - guitarsJosh Reynes - keysMaxx Damage – bassSven Stiglund – drumsCover Art:“Germinating Worlds” by Peter Greatorex.See: https://www.wudrecords.co.uk/artists/dark-company/original-artwork-by-peter-greatorex/original-artwork-by-peter-greatorex-gallery-6/Copyright ℗ 2026 Wud Records.FUN FACTS: Red Sun is a song in the key of E minor. The rhythm guitars are the Stratocaster to the right and the Ice Maiden to the left. The lead guitar poured forth from the ether very quickly. So did the piano. The power supply for the keyboard was probably the last bit of broken electrical gear that Pete fixed for us before he passed away. In the demo with just guitar and voice we could hear this was a fantastic song* We love the imagery in Pete's lyrics.See also:https://www.wudrecords.co.uk/artists/dark-company/https://www.wudrecords.co.uk/artists/dark-company/a-for-acronym-cd-1-snafu/https://linktr.ee/dark.companyhttps://www.explicitmusic.co.uk/lyrics-information/dark-company/a-for-acronym/red-sun

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G Music/Explicit Music.Cover Art:“Marklar! (South Park)” by Peter Greatorex.See: https://www.wudrecords.co.uk/artists/dark-company/original-artwork-by-peter-greatorex/original-artwork-by-peter-greatorex-gallery-6/Performers:‘Speedy’ Pete Greatorex – vocalsZak Black - guitarsMaxx Damage – bassSven Stiglund – drumsCopyright ℗ 2026 Wud Records.FUN FACTS: This classic rock number has a Tim Curryesque cabaret feel to it. It is also a somewhat comical piece of cock-rock. The key is E major and it is 145 BPM. It describes the spirits and ghosts that lurk in corners when it's dark. Perhaps this is a song for the children, but maybe not very young children. Corner Clowns has a wonderful fun feel to it somehow. The guitar break between verses two and three was composed by George when he was about five years old. This was following a rather tedious morning in Sunday School somewhere in London, which he attended only thrice.* An older girl was grumpy that he had coloured somebody in with green skin.See also:https://www.wudrecords.co.uk/artists/dark-company/https://www.wudrecords.co.uk/artists/dark-company/a-for-acronym-cd-1-snafu/https://linktr.ee/dark.companyhttps://www.explicitmusic.co.uk/lyrics-information/dark-company/a-for-acronym/corner-clowns

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G Music/Explicit Music.Cover Art:“My World” by Peter Greatorex.See: https://www.wudrecords.co.uk/artists/dark-company/original-artwork-by-peter-greatorex/original-artwork-by-peter-greatorex-gallery-2/This arrangement by Dark Company.Performers:‘Speedy’ Pete Greatorex – vocalsZakk Black - guitarsJosh Reynes - synthesizersMaxx Damage – bassSven Stiglund – drumsCopyright ℗ 2026 Wud Records.FUN FACTS: This is a song that Pete never sang a proper studio version of. His vocals were lifted from the demo and cleaned up a bit. Well, quite a lot actually. :) There was always something a bit 'Hawkwind' about this track, right from the creation and the first demo. Perhaps Pete being friends with band Hawkwind in the 1970s and 80s was a factor. The addition of the second guitar gave the track a slight Ultravox or maybe The Fall feel. Although the synths aren't quite right, they are in the right general area. Josh used synths from DSK Music, many of which are free.* DSK synths are available here: https://www.dskmusic.com/See also:https://www.wudrecords.co.uk/artists/dark-company/https://www.wudrecords.co.uk/artists/dark-company/a-for-acronym-cd-1-snafu/https://linktr.ee/dark.companyhttps://www.explicitmusic.co.uk/lyrics-information/dark-company/a-for-acronym/head-rush

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G Music/Explicit Music.Cover Art:“In a Drop of Water” by Peter Greatorex.See: https://www.wudrecords.co.uk/artists/dark-company/original-artwork-by-peter-greatorex/original-artwork-by-peter-greatorex-gallery-7/This arrangement by Dark Company.Performers:‘Speedy’ Pete Greatorex – vocalsZakk Black - guitarsBarry Bridges - guitarJosh Reynes - synthesizers, piano, programmingMaxx Damage – bassSven Stiglund – drums, programmingCopyright ℗ 2026 Wud Records.FUN FACTS: This is a song that Pete never sang a proper studio version of. His vocals were lifted from the demo and cleaned up a bit. Well, quite a lot actually. :) At the end of the demo version, the bass continued on for a while alone. It played some interesting things, which have been captured and sprinkled here and there throughout the song. The whistley flutey sound that appears in the fade-out came from some ghost sounds in the guitar. They weren't actually there, but were clearly audible during editing. They simply had to be included. The guitar to the left is the Zakk on the Ice Maiden and Barry is to the right on the ESP. Somehow the demo for this started on the 3-beat rather than the 1-beat. All the same, the feel worked perfectly with the electronic drum rhythm. That rhythm was captured as a drum sample and moved half a bar, with the end chopped off and stuck on the beginning to make it a round 4-bar sample. The sample appears here and there throughout the song. DSK synths used include the Zith, the Zeth, the Oranze, and The Grand with a ton of reverb.* DSK synths are available for free here: https://www.dskmusic.com/See also:https://www.wudrecords.co.uk/artists/dark-company/https://www.wudrecords.co.uk/artists/dark-company/a-for-acronym-cd-1-snafu/https://linktr.ee/dark.companyhttps://www.explicitmusic.co.uk/lyrics-information/dark-company/a-for-acronym/black-lite

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G Music/Explicit Music.Cover Art:“Species 4” by Peter Greatorex.See: https://www.wudrecords.co.uk/artists/dark-company/original-artwork-by-peter-greatorex/original-artwork-by-peter-greatorex-gallery-7/Performers:‘Speedy’ Pete Greatorex – vocalsZakk Black - guitarsJosh Reynes - synthesizersMaxx Damage – bassSven Stiglund – drumsCopyright ℗ 2025 Wud Records.FUN FACTS: The lyrics for this song were written 10th July 2010. This is a song that Pete never sang a proper studio version of. His vocals were lifted from the very rough demo and cleaned up a bit. Well, quite a lot actually. :) Dark Company never got a full take of Pete's vocal for this. We are hoping to find someone with the right kind of voice to fill in the gaps.See also:https://www.wudrecords.co.uk/artists/dark-company/https://www.wudrecords.co.uk/artists/dark-company/a-for-acronym-cd-1-snafu/https://linktr.ee/dark.companyhttps://www.explicitmusic.co.uk/lyrics-information/dark-company/a-for-acronym/conspiracy

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into it a few times, on its most Daleky setting, which was tremendous fun. The lyrics for this song were written 12th January 2011. This was another of the most stand-out and immediate demo tracks. Zakk has not yet recorded his guitar part for this song. The guitar is not quite in tune, sadly. Barry's guitar is in standard tuning, tuned down to D standard. That makes the key of the song C.See also:https://www.wudrecords.co.uk/artists/dark-company/https://www.wudrecords.co.uk/artists/dark-company/a-for-acronym-cd-1-snafu/https://linktr.ee/dark.companyhttps://www.explicitmusic.co.uk/lyrics-information/dark-company/a-for-acronym/project-terminated

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G Music/Explicit Music.Cover Art:“Holes in My Reality 2” by Peter Greatorex.See: https://www.wudrecords.co.uk/artists/dark-company/original-artwork-by-peter-greatorex/original-artwork-by-peter-greatorex-gallery-2/Performers:‘Speedy’ Pete Greatorex – lead vocalZakk Black – guitars, vocalMaxx Damage – bassSven Stiglund – drumsVocals and rhythm guitar recorded at Wud Records Studio One, Exeter, 2015.Everything else recorded at Wud Records Studio One, Europe, 2020.Engineered, mixed and produced at Wud Records Studio One, Central Europe, 2024.Copyright ℗ 2025 Wud Records.Fun Facts: The lyrics for this song were written 9th December 2010. This is a song that Pete never sang a proper studio version of and his vocals were lifted from the demo and cleaned up a bit. Well, quite a lot actually. 🙂 It was during the editing of this track that the main studio computer suddenly decided to mangle itself beyond all recognition, causing weeks of delay and expensive replacement parts to be bought. Fortunately no data was lost due to our cunning back-up strategies. When we made the original demo of this song, it just had a chugging guitar to keep Pete in key and on time. In the demo version the bass continued on for a time after the vocal and guitar, playing the gappy riff and the rhythms. The ‘chug’ was replaced here by the twin lead parts, which together with the bass make up the major and minor triads that form the original chord progression (more or less). The original had an electronic kit which needs to make a reappearance somewhere. The lyric to this suggests the perspective of an older person looking back at his life and the pains associated with that.* Perhaps the older we become, the better we can relate.See also:https://www.wudrecords.co.uk/artists/dark-company/https://www.wudrecords.co.uk/artists/dark-company/a-for-acronym-cd-1-snafu/https://linktr.ee/dark.companyhttps://www.explicitmusic.co.uk/lyrics-information/dark-company/a-for-acronym/committed

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face on the player.* Helping Hands is one of those magikal Dark Company songs that can invoke goosebumps in the listener, perhaps slightly surprisingly.See also:https://www.wudrecords.co.uk/artists/dark-company/https://www.wudrecords.co.uk/artists/dark-company/a-for-acronym-cd-1-snafu/https://linktr.ee/dark.companyhttps://www.explicitmusic.co.uk/lyrics-information/dark-company/a-for-acronym/helping-hands

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She's as Beautiful as a Foot by The Bastard Sons of Dennis with Dave Danielli.Album: Cruelty to BluesShe's as Beautiful as a Foot is a cover song.Originally released by Blue Öyster Cult on their 1972 eponymous album. Music and lyrics: A. Bouchard, A. Lanier, R. Meltzer.This arrangement by The Bastard Sons of Dennis.Inspiration drawn from the 1972 eponymous Blue Öyster Cult studio album.The percussion instrument at the beginning of this recording is an old disused CPU fan and its various danglesome janglesome appendages.Chuck would tune his guitar to DADGAD for this interpretation of this song.She's as Beautiful as a Foot was sometimes used to open longer Bastard Sons of Dennis performances.Derek takes the solo at the beginning.Performers:Derek Broom - vocals, guitar, percussionChuck Palmer - guitarDave Danielli - bassRecorded and engineered at Wud Records Studio One, exeter uk.Bass recorded in north devon, November 2023.Produced, mixed and mastered by George Davies 2025.See also:https://en.wikipedia.org/wiki/Blue_%C3%96yster_Cult_(album)https://genius.com/Blue-oyster-cult-shes-as-beautiful-as-a-foot-lyricshttps://www.wudrecords.co.uk/artists/the-bastard-sons-of-dennis/https://wudrecords.bandcamp.com/album/cruelty-to-blueshttps://wudrecords.bandcamp.com/album/cosy-lube-turtlehttps://linktr.ee/bastardsonsofdennishttps://linktr.ee/wudrecords

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Astronomy by The Bastard Sons of Dennis with Dave Danielli.Album: Cruelty to BluesAstronomy is a cover song.Originally released by Blue Öyster Cult on their 1974 Secret Treaties album.Music: J. Bouchard, A. Bouchard.Lyrics: S. Pearlman.This arrangement by The Bastard Sons of Dennis.Inspiration drawn mostly from the 1974 Secret Treaties studio album.Chuck would often introduce this song by telling the crowd that it was famously covered by Metallica. "We wrote it of course! Cough ahem..."A few artistically tasteful variations on the original have been made for this version.One of the composers, Joe Bouchard, listened to it and granted his royal seal of approval.Both Derek (panned right) and Chuck (panned left) take solos during the song.Astronomy was often the final song of a live set from The Bastard Sons of Dennis.Performers:Derek Broom - vocals, guitarChuck Palmer - guitar, vocalsDave Danielli - bassLen Denier - keysRecorded and engineered at Wud Records Studio One, exeter uk.Bass recorded in north devon, October 2023.Keys recorded at Wud Records Studio One, Central Europe, February 2025.Produced, mixed and mastered by George Davies 2025.See also:https://en.wikipedia.org/wiki/Secret_Treatieshttps://blueoystercult.fandom.com/wiki/Astronomyhttps://www.wudrecords.co.uk/artists/the-bastard-sons-of-dennis/https://wudrecords.bandcamp.com/album/cruelty-to-blueshttps://wudrecords.bandcamp.com/album/cosy-lube-turtlehttps://linktr.ee/bastardsonsofdennishttps://linktr.ee/wudrecords

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Summer '83, by Pok the Bard.Album: AnthologySUMMER '83Did you ever get aroundSmoking posies in the roundDid you ever get to seeThe rainbow effect left on meCan we beCan we seeDo we always have to sit in this uncomfortable positionIs it more than we could ask forI don't knowI'll ask my MaWill we ever get out of hereWill we ever see those same old facesWill we ever finish our missionTo the sunMusic and lyrics by Simon Miller.Copyright ℗ 1983 Pok Songs/Explicit Music.This arrangement by S. Miller/G. Davies.Recorded and engineered at Wud Records Studio One, Exeter, 2012.Mixed and mastered at Wud Records Studio One, Exeter, 16th January 2013.Remixed and remastered at Wud Records Studio One, Central Europe, September 2025.Copyright © 2025 Wud Records.Performers:Pok the Bard – vocals, guitars, banjoMaxx Damage – bassZak Black – synthsFun Facts:Summer '83 was almost called To The Sun.This song is a short song in the key of G with a surprise for the unwary listener!It was composed during the course of the 1983 Sidmouth International Folk Festival, in the campsite on Peak Hill.The intro chords are G - C - D - C.The first verse chords are G - D - C, resolving to Fmaj - D7 - G7.The next section is Ebmaj7 - F - Fm - Em7 - A7.The end is Am - Dsus - D, ending on G - D - A no 3rd.See also:https://www.wudrecords.co.uk/artists/pok/https://www.wudrecords.co.uk/artists/pok/anthology/https://wudrecords.bandcamp.com/track/summer-83https://www.explicitmusic.co.uk/lyrics-information/pok-bard/anthology/summer-83https://www.youtube.com/@poktv6148/videoshttps://www.facebook.com/pokthebardhttp://pookofpok.blogspot.com/https://linktr.ee/pokthebardhttps://linktr.ee/wudrecords

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She's Beautiful, by Pok the Bard.Album: AnthologySHE’S BEAUTIFULWell she’s walking with a sultry airGolden feather stuck in her hairOh me oh my with her wake going byIt occurred to me that I might flyAnd these things going on inside my brainWon’t stop they only refrainOnly refrainOnly refrainSee the world open before youIt may even appal youStep back before you fall youCos you got a road to travelA road to travelA road, yeahI said she’s beautifulWanna make her mineI said she’s beautifulAnd she’s blowing my mindSee the world open before youIt may even appal youStep back before you fall youCos you got a road to travelA road to travelA road, yeahI said she’s beautifulWant to make her mineI said she’s beautifulAnd she’s blowing my mindMagnet thighs and peacocks' eyesDevil in an angel’s disguiseMy body's in a frozen sweatI don't think that she's seen me yetShe's chili hot and full of lustA case of look but don’t touchLook but don’t touchLook but don’t touchSee the world open before youIt may even appal youStep back before you fall youCos you got a road to travelA road to travelA roadYeah you got a roadI said she’s beautifulWanna make her mineI said she’s beautifulAnd she’s blowing my mindMusic and lyrics by Simon Miller.Copyright ℗ 1982 Pok Songs/Explicit Music.This arrangement by Pok, Fedax Si-Hulmin, Maxx Damage and Sven Stiglund.Performers:Pok the Bard – lead vocal, electric guitarsFedax Si-Hulmin – electric guitars, backing vocalsMaxx Damage – bassSven Stiglund – drumsRecorded at Wud Records Studio One, Exeter, 2017.Fedax's solo and Sven's drumming recorded at Wud Records Studio One, Central Europe, 2025.Engineered, mixed, produced and mastered at Wud Records Studio One, Central Europe, August/September 2025.Copyright © 2025 Wud Records.Fun Facts:She's Beautiful is one of Pok's oldest songs.He composed it when he was still at school.It was inspired by seeing a girl he knew and admired whilst waiting for a bus at exeter bus station.The earliest versions go all the way back to Now in 1982.The tempo varies between 66 and 122 BPM the key is A major.The rhythm guitar parts are both played using Marsha, which had new strings.The Ice Maiden, which Fedax would have played, was in need of attention on the day.Pok is on the right channel and Fedax the left.Pok's lead guitar is played on Nicodemus.Fedax takes an eight-bar solo on the Ice Maiden, based on his little solo in the Cander version.This particular version of She's Beautiful is based upon the Laughing Sun version from Cander, which is regarded as the definitive version.The Cander version is here: https://wudrecords.bandcamp.com/track/shes-beautifulShe's Beautiful was a song in the works for Alchemeon's set, but never made it to a recording before they disbanded.See also:https://www.wudrecords.co.uk/artists/pok/https://www.wudrecords.co.uk/artists/pok/anthology/https://wudrecords.bandcamp.com/track/shes-beautiful-2https://www.explicitmusic.co.uk/lyrics-information/pok-bard/anthology/shes-beautifulhttps://www.youtube.com/@poktv6148/videoshttps://www.facebook.com/pokthebardhttp://pookofpok.blogspot.com/https://linktr.ee/pokthebardhttps://linktr.ee/wudrecords

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Freight Train / Pains, by Pok the Bard.Album: AnthologyFREIGHT TRAIN / PAINSFreight train coming in from the eastWhere it's going is where I care the leastWhispered messages that I did not hearTake me to the place that my body needsI don't know what's happeningI hope I can eat todayJudge and all his courtiers looking down upon meThey say: this is the cripple that wants to be freeHe says we owe it to him, it's in his heritageWants to know when we're going to let him out of his cerebral cageJustice should be seen toLet's put him awayWell thank God for thatThey've split the sceneI was beginning to think I was lostGotta get back into normal livingPlug in that TV screenGonna pull myself togetherGonna have a cool bourbon on iceAfter all things like that don't occurThink of the childrenIt ain't niceListen son you've had you're funDon't go acting on the runStop wasting time around hereYou want to live, you want to giveYou want to cut above the restGo on out and get itTo the topSome people say I left my soul riding on that freight trainI'm inclined to agreeIt has affected my whole brainDon't listen to authorities that claim they've sussed it allKeep on driving on your own trackTake care they don't make you fallTake care they don't make you fallTake care they don't make you fallTake care they don't make you fallDon't let the bastards grind you downTake care they don't make you fallTake care they don't make you fallMusic and lyrics by Simon Miller.This arrangement by Pok and Maxx Damage.Recorded, engineered, produced and mastered at Wud Records Studio One, uk, 26th April 2017.Remixed and remastered at Wud Records Studio One, Central Europe, April 2025.Copyright © 2025 Wud Records.Copyright ℗ 1983 Pok Songs/Explicit Music.Performers:Pok: acoustic guitar, electric guitars, vocalsMaxx Damage: bassFun Facts:The freight train described in this song is the exact same train as the one described in Cunning and Tricks, another song on the Anthology album.One of Pok’s very early songs, this one was mined from his book Golden Temple and the Laughing Sun during an outbreak of archeology.The entire song was recorded and produced very quickly one day, when other things had actually been planned.As the whole thing went fast, there was still time for those other things.Sven was not available on that day, so there are no drums.The acoustic guitar is George's Yamaha, fitted with 9-guage electric strings.See also:https://www.wudrecords.co.uk/artists/pok/https://www.wudrecords.co.uk/artists/pok/anthology/https://wudrecords.bandcamp.com/track/freight-train-painshttps://www.explicitmusic.co.uk/lyrics-information/pok-bard/anthology/freight-train-painshttps://www.youtube.com/@poktv6148/videoshttps://www.facebook.com/pokthebardhttps://pookofpok.blogspot.com/https://pokthebard.uk/https://linktr.ee/pokthebard

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Fooog'z Bloooz, by Pok the Bard.Album: AnthologyMusic by Simon Miller/George Davies.Recorded at Wud Records Studio One, exeter, uk, 2013.Remixed and remastered at Wud Records Studios, Central Europe, 2025.Performers:Pok - guitarsMaxx Damage - bassSven Stiglund - drumsThe Anthology songs are the early compositions of Pok and friends, who were also known as The Masters of Drone.Fooog'z Bloooz started out as a riff, which might have existed as far back in time as the days of Achilles Heel. Certainly it existed in the days of Fooog Dinboffin and the Release.This version took that riff and expanded upon it just a little. Fooog'z Bloooz was recorded very quickly, to preserve the magic of its re-creation and development.Its original release date on Bandcamp was 12th May 2013. This, the remixed and remastered version, was completed on 22nd March 2025.See also:https://www.wudrecords.co.uk/artists/pok/https://www.explicitmusic.co.uk/lyrics-information/pok-bard/anthologyhttps://wudrecords.bandcamp.com/album/anthologyhttps://www.facebook.com/pokthebardhttps://pokthebard.uk/https://linktr.ee/pokthebardhttps://linktr.ee/wudrecords

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It's a Blue Sky Don't Hold No Rain, by Pok the Bard.Album: AnthologyIT’S A BLUE SKY DON’T HOLD NO RAINAnd I’ll try and try and try and try to get to youAnd I’ll try and try and try and try againAnd I’ll try and try and try and try to get to youAnd I’ll try and try and try and try foreverForeverWe came across some bones of menScattered in the rustSo many good souls turned to dustWithin their shattered husksAnd these people had worn jewelsAnd their heads had been held highSpeckled foreheads touched the skyBehold the sparkling in their eyesDon’t you know it’s a blue sky don’t hold no rainDon’t hold your love in vainCos we’ve still got some loving to doSome time ago the white man cameBringing Bible books and swordsBound them up in twining cordsIn the name of their great LordThey slew down the AztecsInca, Ebu, MaasaiNow we hide in concrete liesTo my Mammon side I cryWhat have we doneTo the Mother Goddess Gaia?Why can’t we nestle in herWarm aching bosom?Aah aah aah aah aah aah aah aahJust a little drop of rainJust a little drop of rainJust a little drop of rainCome bless this land againJust a little drop of rainJust a little drop of rain, rain, rain, rainJust a little drop of rainCome bless this land againJust a little drop of rainJust a little drop of rain, rain, rain, rainJust a little drop of rainCome bless this land againDon’t you know it’s a blue sky don’t hold no rainDon’t hold your love in vainCos we’ve still got some loving left to doNow the world’s a spinning ballTwo thirds with none to eatWhile we chew our scrawny meatCan you hear those big bells beat?What have we doneTo the Mother Goddess Gaia?Why can’t we nestle in herWarm aching bosom?Aah aah aah aah aah aah aah aahMusic and lyrics by Simon Miller.Copyright ℗ 1983 Pok Songs/Explicit Music.This arrangement by Pok, Fedax Si-Hulmin, Josh Reynes, Maxx Damage and Sven Stiglund.Performers:Pok the Bard – lead vocal, electric guitars, acoustic guitarFedax Si-Hulmin – electric guitars, acoustic guitar, acoustic 12-string guitar, backing vocalsJosh Reynes – upright piano, B3x organ, Fender Rhodes, Wurlitzer, DSK synthsMaxx Damage – bass, bongos, whisperingsSven Stiglund – drums, shakerPok’s guitars and voices recorded at Wud Records Studio One, Exeter, 2017.Josh's keyboards recorded at Wud Records Studio One, Central Europe, 2025.Everything else recorded at Wud Records Studio One, Central Europe, 2020-5.Engineered, mixed, produced and mastered at Wud Records Studio One, Central Europe, 2025.Copyright © 2025 Wud Records.Fun Facts:Please refer to the song's page at the Explicit Music website: https://www.explicitmusic.co.uk/lyrics-information/pok-bard/anthology/its-a-blue-sky-dont-hold-no-rainSee also:https://www.wudrecords.co.uk/artists/pok/https://www.wudrecords.co.uk/artists/pok/anthology/https://wudrecords.bandcamp.com/track/it-s-a-blue-sky-don-t-hold-no-rainhttps://www.explicitmusic.co.uk/lyrics-information/pok-bard/anthology/its-a-blue-sky-dont-hold-no-rainhttps://www.youtube.com/@poktv6148/videoshttps://www.facebook.com/pokthebardhttp://pookofpok.blogspot.com/https://wudrecords.bandcamp.com/track/its-a-blue-sky-dont-hold-no-rain-3https://soundcloud.com/wud-records/spacegoats-blue-sky?in=wud-records/sets/spacegoats-live-at-glastonbury-town-hallhttps://wudrecords.bandcamp.com/track/its-a-blue-sky-dont-hold-no-rainhttps://wudrecords.bandcamp.com/track/its-a-blue-sky-dont-hold-no-rain-2https://linktr.ee/pokthebard

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Rainy Afternoon by Dark Company.From CD 1, 'SNAFU', of the triple CD album 'A for Acronym'.RAINY AFTERNOONYou see ropes around their necksThey’re just there for funNot tied or hitched in any wayNothing from them is swungJust for fashion, darkened passionAgainst their milk white gownsAs every night they slowly fallAnd in my senses drownCarpet tiles wreathed in smilesLingering on my landingDumbly coloured and poorly litThey have their understandingArriving packed in neat bound stacksAnd pulled tight with a bandIf laid out in certain shapesA door to another landGaudy chalk in boxes markedLying there just for takingNo price or test of any sortJust for pictures makingAnd beware to have some careOf what you use them forWhat drawings that you do createOr they'll come back for moreLyrics by P. Greatorex 27th October 2010.Copyright ℗ 2010 D & G Music/Explicit Music.Music by G. Davies/P. Greatorex.This arrangement by Dark Company.Vocals and rhythm guitar recorded at Wud Records Studio One, Exeter, 2015.Everything else recorded at Wud Records Studio One, Europe, 2020.Engineered, mixed and produced at Wud Records Studio One, Central Europe, 2024.Cover Art:“Carpet Ladder” by Peter GreatorexSee: https://www.wudrecords.co.uk/artists/dark-company/original-artwork-by-peter-greatorex/original-artwork-by-peter-greatorex-gallery-2/Copyright © 2025 Wud Records.Performers:‘Speedy’ Pete Greatorex – lead vocalZakk Black – lead and rhythm guitarsBarry Bridges - guitarMaxx Damage – bassSven Stiglund – drumsFUN FACTS: This is a song that Pete never sang a proper studio version of and his vocals were lifted from the very rough demo and cleaned up a bit. Well, quite a lot actually. :) The original lead guitar had a dirty sound that simply didn't work, but when Zakk used a clean tone, all the parts suddenly sounded good. Pete actually deviated somewhat from the lyrics he wrote when he sang this, perhaps due to tiredness or being unable to see the lyrics very well. The melody he sings remains the same throughout if you want to try singing along. The key changes weave an audible illusion of variations that are not actually there. The lead guitar is played on Nicodemus. The guitar in the right channel is Barry on the ESP, with Zakk playing the Ice Maiden to the left.See also:https://www.wudrecords.co.uk/artists/dark-company/https://www.wudrecords.co.uk/artists/dark-company/a-for-acronym-cd-1-snafu/https://linktr.ee/dark.companyhttps://www.explicitmusic.co.uk/lyrics-information/dark-company/a-for-acronym/rainy-afternoon

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Pluperfect, by Dark Company.From CD 1, 'SNAFU', of the triple CD album 'A for Acronym'.PLUPERFECTTabletop toyset map of the worldJigsaw planisphere, edges all curledWorn out games book, puzzles all doneI looked inside to see what I'd wonI'd won a seat on the train to StrangevilleOr a place on the daily treadmillI'd won a ticket to a 'no prize' winOr a packet of bent penny pinsMandelbrot paint set, infinity waitsHalf finished painting of a garden gateLast year's calender was there on the wallI checked the dates, was I there at all?I looked out the window, was I laying lowOr was I waiting for the Late Late ShowI couldn't figure out where I'd goneBut I must have done cos I lingered onSinewave eyeballs in a metal made headRobotic vision that can see through leadNostradamus quatrains I could decodeTold me I was going into overloadTold me I'd lived twice every dayThat I had to listen to what I'd sayTold me I'd had way too much funThat I should have walked when I'd runLyrics by Peter Greatorex 4th November 2010.Copyright ℗ 2010 D & G Music / Explicit Music.Music by G. Davies/P. Greatorex.This arrangement by Dark Company.Vocals and rhythm guitar recorded at Wud Records Studio One, Exeter, 2015.Everything else recorded at Wud Records Studio One, Europe, 2020.Engineered, mixed and produced at Wud Records Studio One, Central Europe, 2024.Cover Art:“Bad Habits 1d” by Peter GreatorexSee: https://www.wudrecords.co.uk/artists/dark-company/original-artwork-by-peter-greatorex/original-artwork-by-peter-greatorex-gallery-1/Copyright © 2025 Wud Records.Performers:‘Speedy’ Pete Greatorex – lead vocalZakk Black – lead and rhythm guitarsMaxx Damage – bassSven Stiglund – drumsFun Facts: The lyrics for this song were written 4th November 2010. This is a song that Pete never sang a proper studio version of and his vocals were lifted from the demo and cleaned up a bit. Well, quite a lot actually. 🙂 This song is mostly E7, D no 3rd and Asus4. Rhythm guitars by the Ice Maiden and Nicodemus. The lead guitar part at the start that was deemed reasonable was played on the Ice Maiden.* There will be more lead guitar but it has not been recorded yet.See also:https://www.wudrecords.co.uk/artists/dark-company/https://www.wudrecords.co.uk/artists/dark-company/a-for-acronym-cd-1-snafu/https://linktr.ee/dark.companyhttps://www.explicitmusic.co.uk/lyrics-information/dark-company/a-for-acronym/pluperfect

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Seen from Yesterday, by Dark Company.From CD 1, 'SNAFU', of the triple CD album 'A for Acronym'.SEEN FROM YESTERDAYKeeping secrets is easy when there’s no one to tellIsolation phonograph records it oh so wellEnforced in solitude I stare at the wallUnderstanding archetypes is like playing pinballThey tell you you’re winning but you don’t understandIt’s languishing anguish from a bright shiny manKeeping to his scheming he’s oh so intenseComprehending techno-geeks with more brains than senseSummon up the darkness good cover for all sinCreationism cretins wear suits made of tinEpigraphic entities sleeping in their shellsCarmelites and neophytes find the joys of HellWords by Peter Greatorex.Copyright ℗ 2012 D & G Music / Explicit Music.Lyrics by P. Greatorex 14th - 16th January 2012.Music by G. Davies/P. Greatorex.Copyright ℗ 2012 D & G Music/Explicit Music.Recorded at Wud Records Studio One, Exeter, 2015.Engineered, mixed and produced at Wud Records Studio One, Central Europe, 2024.Cover Art:“Event Horizon 3” by Peter GreatorexSee: https://www.wudrecords.co.uk/artists/dark-company/original-artwork-by-peter-greatorex/original-artwork-by-peter-greatorex-gallery-3/Copyright © 2025 Wud Records.This arrangement by Dark Company.Performers:‘Speedy’ Pete Greatorex – vocalsZakk Black – guitarBarry Bridges – guitarJosh Reynes – synths, programmingMaxx Damage – bassSven Stiglund – drums, programmingFun Facts: The lyrics for this song were written 14th – 16th January 2012. This is a song that Pete never sang a proper studio version of and his vocals were lifted from the demo and cleaned up a bit. Well, quite a lot actually. 🙂 When Pete sang his part, his timing was somewhat atemporal and required a fair amount of moving and stretching.* This song is literally just a demo and will need a great deal more work before it is considered 'done'.See also:https://www.wudrecords.co.uk/artists/dark-company/https://www.wudrecords.co.uk/artists/dark-company/a-for-acronym-cd-1-snafu/https://linktr.ee/dark.companyhttps://www.explicitmusic.co.uk/lyrics-information/dark-company/a-for-acronym/seen-from-yesterday

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Now, The Light, by Dark Company.From CD 1, 'SNAFU', of the triple CD album 'A for Acronym'.NOW, THE LIGHTMake me a retard, lower the skyI wanted to know but I didn't know whyPrevious pressuring updates the needHothouse flowers each grown from seedNow light me up, light me upL-l-l-l-light me upLight me up, light me upL-l-l-l-light me upTrilobytes flourish in an ancient seaNobody ever swims for freeTrapped in ignorance beneath the roadThe way lit only by rocks that glowedNow light me up, light me upL-l-l-l-light me upLight me up, light me upL-l-l-l-light me upSpiritual confusion often is funSo you don't know where you're fromBe the 'you' that they want you to beThey will tell you what they want you to seeNow light me up, light me upL-l-l-l-light me upLight me up, light me upL-l-l-l-light me upCall Veronica, tell her the newsShe's gotta get off my blue suede shoesLife goes on but I'm too shortHaven't the fare but I can be boughtNow light me up, light me upL-l-l-l-light me upLight me up, light me upL-l-l-l-light me upLyrics by P. Greatorex 1st June 2013.Music by G. Davies/P. Greatorex.Copyright ℗ 2013 D & G Music/Explicit Music.Vocals and rhythm guitar recorded at Wud Records Studio One, Exeter, 2015.Everything else recorded at Wud Records Studio One, Europe, 2020.Engineered, mixed and produced at Wud Records Studio One, Central Europe, 2024.Cover Art:“Electric Sun” by Peter GreatorexSee: https://www.wudrecords.co.uk/artists/dark-company/original-artwork-by-peter-greatorex/original-artwork-by-peter-greatorex-gallery-2/Copyright © 2024 Wud Records.Performers:‘Speedy’ Pete Greatorex – vocalsZakk Black – guitarsMaxx Damage – bassSven Stiglund – drumsFun Facts: The lyrics for this song were written 1st June 2013. This is a song that Pete never sang a proper studio version of and his vocals were lifted from the demo and cleaned up a bit. Well, quite a lot actually. 🙂 It was during the editing of this track that the main studio computer suddenly decided to mangle itself beyond all recognition, causing weeks of delay and expensive replacement parts to be bought. Fortunately no data was lost due to our cunning back-up strategies. This song is a piece of classic rock in a Britpop style.* It is in the key of G and features the gratuitous use of D7 and Cmaj7 chords.See also:https://www.wudrecords.co.uk/artists/dark-company/https://www.wudrecords.co.uk/artists/dark-company/a-for-acronym-cd-1-snafu/https://linktr.ee/dark.companyhttps://www.explicitmusic.co.uk/lyrics-information/dark-company/a-for-acronym/now-the-light

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Decide to Ride, by Dark Company.From CD 1, 'SNAFU', of the triple CD album 'A for Acronym'.DECIDE TO RIDEReaction to refraction, a bent-stick water viewAdminister situations to part of Heaven's crewStand smartly dressed against the railUniforms with matching sailsShould we go along with youNow should we go alongShould we go along with youNow should we go alongShould we go along with youNow should we go alongShould we go along with youNow should we go alongInspected kinetics moving minds aroundArchetypal archetypes esoteric soundsTake a stand now on the stairsUnder signs saying "On The Air!"Should we go along with youNow should we go alongShould we go along with youNow should we go alongShould we go along with youNow should we go alongShould we go along with youNow should we go alongCheckerboard collectors, gamers of rare delightsWhale bone dice believers gifted with second sightBraided caps placed there just soEach one ready to stay or goShould we go along with youNow should we go alongShould we go along with youNow should we go alongShould we go along with youNow should we go alongShould we go along with youShould we go alongShould we go alongShould we go alongShould we go alongLyrics by P. Greatorex 15th December 2012.Music by G. Davies/P. Greatorex.Copyright © 2020 Wud Records.Copyright ℗ 2012 D & G Music/Explicit Music.Vocals and rhythm guitar recorded at Wud Records Studio One, Exeter, 2015.Everything else recorded at Wud Records Studio One, Europe, 2020.Engineered, mixed and produced at Wud Records Studio One, Central Europe, 2024.Cover Art:“Thing 2” by Peter GreatorexSee: https://www.wudrecords.co.uk/artists/dark-company/original-artwork-by-peter-greatorex/original-artwork-by-peter-greatorex-gallery-5/Performers:‘Speedy’ Pete Greatorex – vocalsZakk Black – guitarJosh Reynes – piano, synths, trumpetsMaxx Damage – bassSven Stiglund – drumsFun Facts: This is a song that Pete never sang a proper studio version of and his vocals were lifted from the very rough demo and cleaned up a bit. Well, quite a lot actually. :) The VST plugins didn't make the right kind of piano sound somehow so this is from the TG33. The guitar part is played on the Stratocaster. The trumpets come from the Akai S900 and a VST plugin called DSK Brass. There is an argument between the bass, which plays a C, and the piano and guitar, which play a C#, which has a wonderful emotive quality but which ceases to work when anything else is present.See also:https://www.wudrecords.co.uk/artists/dark-company/https://linktr.ee/dark.companyhttps://www.explicitmusic.co.uk/lyrics-information/dark-company/a-for-acronym/decide-to-ride

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Suns Set, by Dark Company.From CD 1, 'SNAFU', of the triple CD album, 'A for Acronym'.SUNS SETI'm waiting for the nite to come...I'm waiting for the nite to come...I'm waiting for the nite to come...I'm waiting for the nite to come...In the red rays of a dying sunI'm waiting for the nite to comeBooming surf across the bayMetal waves rolling night and dayCanisters marked with skull and bonesClick against the shoreline stonesWhat will be in the days aheadWill it be armies of the living deadWhat will be there when the sun comes upWill there ever be a loving touchOn the wine of evening airsGaudy music of war-torn fairsRoundabout of skeletal framesGoing round and round againIn my ears calliopes soundA new age gets off the groundWhat will be in the days aheadWill it be armies of the living deadWhat will be there when the sun comes upWill there ever be a loving touchYou should seek other countriesChoose your friends more carefullyThe leading kings of foreign landsYour destiny is within their handsYou seek justice of lasting peaceViolence is all you meetWhat will be in the days aheadWill it be armies of the living deadWhat will be there when the sun comes upWill there ever be a loving touchLyrics by P. Greatorex 25th June 2009.Music by G. Davies/P. Greatorex.Copyright © 2024 Wud Records.Copyright ℗ 2009 D & G Music/Explicit Music.This arrangement by Dark Company.Vocals and guitar recorded at Wud Records Studio One, Exeter, 2015.Everything else recorded at Wud Records Studio One, Europe, 2020.Engineered, mixed and produced at Wud Records Studio One, Central Europe, 2024.Cover Art:"Shapes Cross-Twist 1: Ignition" by Peter GreatorexSee: https://www.wudrecords.co.uk/artists/dark-company/original-artwork-by-peter-greatorex/original-artwork-by-peter-greatorex-gallery-2/Copyright © 2024 Wud Records.Performers:‘Speedy’ Pete Greatorex – vocalsZakk Black – guitars, vocalsJosh Reynes – synthsMaxx Damage – bassSven Stiglund – drumsFun Facts: The lyrics for this song were written 25th June 2009. Dark Company used the DSK Analog Matrix synth for three of the keyboard sounds (https://www.dskmusic.com/). Two of them are big pad sounds that play in unison, with shared heavy reverb and flange, so are hard to tell apart. The lead guitar parts are played on the Ice Maiden, as is the rhythm guitar part to the right. The rhythm guitar to the left is Nicodemus. Pete simply couldn’t remember the vocal melody for this, so a unison guitar was tracked to help him along. Dark Company ditched the unison guitar parts where Pete is singing and used it in the solo. It’s the filthy dirty one that always seems to sound slightly surprised.* Pete wrote this before various members of Wud Records left the uk and, like many of his other lyrics, it turned out to be extraordinarily prophetic.See also:https://www.wudrecords.co.uk/artists/dark-company/https://linktr.ee/dark.companyhttps://www.explicitmusic.co.uk/lyrics-information/dark-company/a-for-acronym/suns-set

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Don't Let It Pass You By, by Pok the Bard.Album: AnthologyDON'T LET IT PASS YOU BYDon’t let the times go slow MamaJust let them ride on easyIt’s happeningIt’s happeningDon’t let the blues fool you MamaJust let them pass you byThat’s what they’re there forThat’s what they’re there forOpen up your heart and let it all goCos you know sometimes you just gotta let it all flowAnd all those times there in your headWas only there to compensateAll the while the way was waitingYou just had to grab a hold of the wayAll todayOf the wayIn that swayAnd what is today is never tomorrowAnd who is gone may only followTake hold of my hand til the morning comesNew dawn come when you wake upWhen you wake upWhen you wake upDon’t let the times go slow MamaJust let them ride on easyIt’s happeningIt’s happeningDon’t let the blues fool you MamaJust let them pass you byThat’s what they’re there forThat’s what they’re there forOpen up your heart and let it all goCos you know sometimes you just gotta let it all flowAnd all those thoughts there in your brainWas only there to compensateCos all the while the way was waitingYou just had to grab a hold of the wayOf todayOf the wayCaught In the swayAnd what is today is never tomorrowAnd who is gone may only followTake hold of my hand til the morning comesNew dawn comes when you wake upWhen you wake upWhen you wake upMusic and lyrics by Simon Miller.Copyright ℗ 1985 Pok Songs / Explicit Music.This arrangement by Pok, Fedax Si-Hulmin, Josh Reynes, Maxx Damage and Sven Stiglund.Pok’s guitars and voices recorded at Wud Records Studio One, Exeter, 2017.Everything else recorded at Wud Records Studio One, Central Europe, 2023-4.Engineered, mixed, produced and mastered at Wud Records Studio One, Central Europe, 2024.Copyright © 2024 Wud Records.Performers:Pok the Bard – lead vocal, lead and rhythm guitarsFedax Si-Hulmin – guitar, backing vocalsJosh Reynes – organ, synthsMaxx Damage – bassSven Stiglund – drumsFun Facts: Don’t Let It Pass You By begins with a cute little instrumental in the key of A major. This section introduces the string section and keys, there are no drums. Pok plays a rhythm track on Marsha panned to the right throughout the song and a clean sounding lead track panned down the centre, also on Marsha. Fedax plays chords on the Ice Maiden panned left, and Maxx’s bass and Josh’s DSK B3x are also present. Fedax uses a patch on the Neural DSP Quad Cortex called Brit 2203, scene 1, and the Ice Maiden’s bridge pickup in humbucker configuration to conform with the original Laughing Sun interpretation. Once the intro is done, the key changes to E major and the feel becomes a hard blues rock vibe. The tempo for the song is 144 BPM, or allegro vivace. Don’t Let It Pass You By has a lyric that delivers a very strong and positive message. The whole song is upbeat and has a real feelgood factor about it. Don’t Let It Pass You By was composed by Pok in 1985 and the earliest version was performed by Laughing Sun. It was also performed by the Spacegoats during their brief Electric Elves incarnation, some of which you can hear in the Archives section of the Wud Records website. The synth that sounds a little like the EDP Wasp is the Kriminal Twilight synth, which is freeware, and you can learn more about it here: https://rekkerd.org/kriminal-releases-twilight-vsti/.* There is also a pad called fullonpad from the Polly8te by Osiris, which you can find here: https://sites.google.com/site/osirissynths/Home/synth-pageSee also:https://www.wudrecords.co.uk/artists/pok/https://www.wudrecords.co.uk/artists/pok/anthology/https://wudrecords.bandcamp.com/track/dont-let-it-pass-you-by-2https://www.explicitmusic.co.uk/lyrics-information/pok-bard/anthology/dont-let-it-pass-you-byhttps://www.youtube.com/@poktv6148/videoshttps://www.facebook.com/pokthebardhttp://pookofpok.blogspot.com/https://linktr.ee/pokthebard

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The Lecher by Pok the Bard.Album: AnthologyTHE LECHERLecher crawls, his fingers gropingSkinny hands and eyes like fireDon’t you just want to know him?Really, I don’t think you wanna try!He’s the lecherHe’s the lecherLecher crawls, his fingers gropingSkinny hands and eyes like fireDon’t you just want to know him?Really, I don’t think you wanna try!He’s the lecherHe’s the lecherLyrics by Simon Miller.Music by Simon Miller / George Davies.Copyright ℗ 1982 Pok Songs / Explicit Music.Performers:Pok the Bard – voice, guitarsMaxx Damage – bassSven Stiglund – drumsThis arrangement by Pok, Maxx Damage and Sven Stiglund.Also creditworthy: Dick White, Roy Brimblecombe.Recorded, engineered and produced at Wud Records Studio One, Exeter, 2012.Remixed and remastered at Wud Records Studio One, Central Europe, 2024.Originally released February 2012.First re-release July 2013.Second re-release June 2024.Copyright © 2024 Wud Records.Fun Facts: The Lecher is in the glorious key of E major. The tempo is 88 BPM with a 12/8 feel. The Lecher is one of the oldest songs in the Wud Records pantheon of awesome music. The Lecher was composed by Pok in the music rooms at The King's Grammar School, Ottery St Mary in the spring of 1982. This song was included in the repertoire of Achilles Heel. The Lecher is, in essence, a truly great riff enhanced by some jamming. Pok plays all of the guitar parts on Betty the Bastard, a Tokai SG with a mean streak. We invite the listener to listen out for the place where Pok doesn't play any notes at all and just makes some delightfully lecherish scratchy noises on the strings. The Lecher was the first song that was finished for Pok's Anthology album. It is no longer certain which ‘lecher’ in particular this song was about.* It was for certain one or more of the teachers at the aforementioned King’s Grammar School.See also:https://www.wudrecords.co.uk/artists/pok/https://www.wudrecords.co.uk/artists/pok/anthology/https://www.explicitmusic.co.uk/lyrics-information/pok-bard/anthology/lecherhttps://wudrecords.bandcamp.com/track/the-lecherhttps://linktr.ee/pokthebard

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Young Light by Pok the Bard.Album: AnthologyYOUNG LIGHTWhen I'm close to you like thisWhat is it that I missAlways takes so many yearsAnd meanwhile your conscience sneersTo be always thereAlways thereTo be always thereAlways thereSilver dust is in your hairYou can become awareYou can tell a sunset by the way she moves her eyesYou can't catch the wind but you sure can tryYou can tryTryYou can tryYou can tryYoung lightYoung lightYou will always be turned on for meYoung lightI can hear you calling meYou will always be turned onFor us...Music and lyrics by Simon Miller.This arrangement by Pok, Fedax Si-Hulmin, Maxx Damage and Sven Stiglund.Copyright ℗ 1983 Pok Songs / Explicit Music.Performers:Pok the Bard - vocals, acoustic guitar, banjoFedax Si-Hulmin - electric guitar, pianoMaxx Damage - bassSven Stiglund - cymbalsRecorded and engineered at Wud Records Studio One, Exeter, January 2013, then October 2016 and March 2017.Remixed, produced and remastered at Wud Records Studio One, Central Europe, 2024.Originally released 19th January 2013.First re-release 24th March 2024.Copyright © 2024 Wud Records.Fun Facts: Young Light was composed in the summer of 1983. The song is dedicated to the memory of the inspiration that Mark Drower brought. It is in the key of G major. There have been many versions of this song over the years, and this is the only one with a banjo. Pok happened to have brought a banjo along on the occasion when this song was recorded and it seemed like a fun idea to include it. Fedax came up with the little melodic motif on the piano and guitar in the "always there" and "you can try" sections many years previously.* There is no particularly discernable tempo.See also:https://www.wudrecords.co.uk/artists/pok/https://www.wudrecords.co.uk/artists/pok/anthology/https://wudrecords.bandcamp.com/track/young-lighthttps://www.explicitmusic.co.uk/lyrics-information/pok-bard/anthology/young-lighthttps://www.youtube.com/@poktv6148/videoshttps://www.facebook.com/pokthebardhttp://pookofpok.blogspot.com/https://linktr.ee/pokthebard

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Wear a Feather in Your Hat by Pok the Bard.Album: AnthologyWEAR A FEATHER IN YOUR HATWell we came across some Indians, they were sitting in our roadAnd with careful words we offered peace and them our weapons showedThey made it and said that they sought a man with such purple skinIf we had him there on board they’d scalp and do us in“It’s a long time since I saw such a man,” I said and they replied“OK, go on, you tell the truth. I can see it in your eyes.”Later on our road there was a boulder in our pathMeg the man said “What can we do? No way can we get past.”I steamed a bit and thought a bit and said “This man tells the truth.”So I gave up being leader and sat down to pick my toothMeg took on the role and quickly had it sussedWith forty pounds of dynamite the rock he did bustSoon the cook was heard to cry: “There is no more water left in here! –I am making a casserole and the pot is boiling dry.”So I threw a coin up into the air, said: “This one I’ll try.”A few words from the good old book and rain fell from the sky“What was the other choice you had?” they asked and I replied“I don’t want to answer that now. Now let me out, I want to pass.”Vainly nightfall does its bit and we rattle on in darkToothy starts a-singing, he says it’s for a larkUnfortunate for him it wakes something to cause his demiseA stowaway that was on board pokes his head outsideToothy gets a fright and falls down and diesWhat was more was still to come – at night, colour liesOf the four of us left on the bus – Mook, Meg, Mog and INot one of us did realise until the sun did riseThat the new man who’d spent the night explaining who he was and where he’d beenHad a case of the most purple skin we’d ever seenWe whistled nervously ’til mid-afternoonThen Meg saw a bunch of Redskins, I fell down in a swoonRound about that time an eagle flies on downSays we gotta wrap it up here before we reach the next townSo he does a bit of act shifting, messes around with our sceneThe Indians become a film projection on a Hollywood film screenWhat a pity they had to go like that, we could have made some friendsThe purple man smiles, disappears, and leaves a feather where he’s beenGet up, stand up, be yourself, wear a feather in your hatIf you truly believe in yourself you will remember thatWhen you see your light a-coming, and come to you it willExpose yourself to its full rays and just soak up your fillYou can be so lonely or you can be amazedTake my advice my friend and wear a feather above your faceGet up, stand up, be yourself, wear a feather in your hatIf you truly believe in yourself you will remember thatWhen you see your light a-coming, and come to you it willExpose yourself to its full rays and just soak up your fillYou can be a man of wud or you can go insaneTake our advice my friend and wear a feather above your brainMusic and lyrics by Simon Miller.Copyright ℗ 1985 Pok Songs / Explicit Music.This arrangement by Pok, Maxx Damage and Sven Stiglund.Performers:Pok the Bard – voices, lead and rhythm acoustic guitarsMaxx Damage – bassSven Stiglund – drums, percussionPok’s guitars and voices recorded at Wud Records Studio One, Exeter, 2017.Everything else recorded at Wud Records Studio One, Central Europe, 2024.Engineered, mixed, produced and mastered at Wud Records Studio One, Central Europe, 2024.Originally released 4th March 2024.Copyright © 2024 Wud Records.Fun Facts:See Explicit Music link below.See also:https://www.wudrecords.co.uk/artists/pok/https://www.wudrecords.co.uk/artists/pok/anthology/https://wudrecords.bandcamp.com/track/wear-a-feather-in-your-hathttps://www.explicitmusic.co.uk/lyrics-information/pok-bard/anthology/wear-a-feather-in-your-hathttps://www.wudrecords.co.uk/artists/laughing-sun/indeed-1985/https://www.youtube.com/@poktv6148/videoshttps://www.facebook.com/pokthebardhttp://pookofpok.blogspot.com/https://linktr.ee/pokthebard

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The Sidewalk Song by Pok the Bard.Album: AnthologyTHE SIDEWALK SONGWell I don’t care what you’re wearingNo, I really don’t give a damnJust tell me where you’ve been, boyCos I don’t know where I amAnd the sun don’t shine for you, it shines for me“G!!!”Well I don’t care what you’re wearingNo, I really don’t give a damnJust tell me where you’ve been, boyCos I don’t know who I amAnd the sun don’t shine for you, it shines for meWell I don’t care what you’re wearingNo, I really don’t give a damnJust tell me where you came fromCos I’m lost in strawberry jamAnd the sun don’t shine for you, it shines for me(Improvised)Walking down the road almost every dayI see the people and they’re coming my wayI see their eyes and they’re looking at meDo you see themDo you see meI love you tooDo you love meI know youDo you know meI say whooo!I see them walking almost every daySee them walking and they’re coming my wayI see their eyes and they’re looking at meYou can’t kid me that you are free, noYou can’t kid me that you’re freeAnd the sun don’t shine for you it shines for meWell I don’t care what you’re wearingNo, I really don’t give a damnJust tell me where you’ve been, boyCos I don’t know who I amAnd the sun don’t shine for you, it shines for meAnd the sun don’t shine for you, it shines for meAnd the sun don’t shine for you, it shines for meMusic and lyrics by Mark Drower / Simon Miller.Copyright ℗ 1982 MGD Music/Pok Songs/Explicit Music.Performers:Pok the Bard – voices, lead and rhythm guitarsFedax Si-Hulmin – rhythm guitar, shaker, woodblockMaxx Damage – bass, maracas, cowbellSven Stiglund – drums, guiro, bongos, congasThis arrangement by Pok, Fedax Si-Hulmin, Maxx Damage and Sven Stiglund.Pok’s guitars and voices recorded at Wud Records Studio One, Exeter, 2017.Everything else recorded at Wud Records Studio One, Central Europe, 2023-4.Engineered, mixed, produced and mastered at Wud Records Studio One, Central Europe, 2024.Copyright © 2024 Wud Records.Fun Facts: The Sidewalk Song is in the glorious key of E major. The tempo is 120 BPM, or allegro moderato if you will. The Sidewalk Song is one of the oldest songs in the Wud Records pantheon of awesome music. It is full of the bombastic swagger of a young person who sees the world and its exciting possibilities beginning to open up. The Sidewalk Song was first composed by Pok and Mark Drower and performed by Now. This song was also included in the repertoire of Lemming Meringue and Wud, with Ken adding his own special flare to proceedings. The Sidewalk Song in essence is a very simple song, with just four chords – E7, A7, G and D. Pok, panned to the right, plays Betty the Bastard, a Tokai SG with a mean streak, and handles all of the lead breaks as well as the rhythm. Fedax plays rhythm guitar on Nicodemus and is panned to the left. During the breakdown, Fedax plays the clean riff in the centre and Pok is double tracked, left and right, for some guitar wizardry. There is a shout of “G!!!”, as became traditional, to warn everyone that the first G of the song was approaching. There are three definitive combinations of E7 and A7 on the guitars which you can read about at the Explicit Music website (see below). The improvised vocal section was never performed quite the same twice. Pok used a classic recording of Mark Drower singing during a 1982 Now session for his vocal improvistaion template. Maxx uses distortion on his bass from after the breakdown section to the end. Sven, Maxx and Fedax overdubbed their percussion parts, which Sven arranged.See also:https://www.wudrecords.co.uk/artists/pok/https://www.wudrecords.co.uk/artists/pok/anthology/https://www.explicitmusic.co.uk/lyrics-information/pok-bard/anthology/the-sidewalk-songhttps://wudrecords.bandcamp.com/track/the-sidewalk-songhttps://linktr.ee/pokthebard

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The Dark, The Ring, and The Knowledge by Pok the Bard.Album: AnthologyTHE DARK, THE RING, AND THE KNOWLEDGEHow can you tell if it’s friend or if it’s foeYou never can be sure in the darkReminding you of horrors read on someone’s older kneeKeep you tucked well in your sheetsA crack of light from out the skyThe door swings to and froMiddle of night, what a frightPick a movie slowYes this is a world full of portals and windowsWe don’t know what lies beyondStuck in a room you’ll play a sick tuneIf you don’t breathe the air outsideShould you but one day walk on outSee what you can findThe darkness is a friend you knowBut seems to make us blindIt’s been a long time since I took a walkWith you by the streamSo if you like we’ll go down thereAnd talk of where we’ve beenLying in the water clearI found an ancient ringGave it to you, I felt I oughtI’m sure you’ve worn that one beforeThen you spoke to me about the fearThat lies hidden out of viewYou want to know just what to doAs if I held some clueLook within yourself my loveWithin will rule withoutBut while you’re chasing phantoms roundMake sure you’re getting something to laugh aboutYou told me about a month onWoke up in the dead of nightA wizard was there in your room all rightYou shuddered but it seemed OKHe took hold of the ring that wasLying there on the deskAnd said “Oh child, you’re one of usBut you must just wait a while.”And so we talked about this for a whileHow she coped with it allShe seemed so much better nowShe faced her darkness came to herIn knowledge of the ways and meansOf fear of the unknownShe found the way to all our heartsIs the way to her ownLyrics and music by Simon Miller.Copyright ℗ 1985 Pok Songs/Explicit Music.This arrangement by Pok, Josh Reynes, Maxx Damage and Sven Stiglund.Performers:Pok the Bard – voices, guitarsJosh Reynes – organ (left hand), piano (right hand), congasMaxx Damage – bassSven Stiglund – drums, shakerGuitars, bass and voices recorded at Wud Records Studio One, Exeter, 2017.Drums, percussion and keys recorded at Wud Records Studio One, Central Europe, 2023.Engineered, mixed, produced and mastered at Wud Records Studio One, Central Europe, 2023.Original release date: 12th November 2023Copyright © 2023 Wud Records.Fun Facts: The Dark, The Ring, and The Knowledge is in the key of G. The tempo is 78.5 BPM, or andante if you wish. This song first appears on the Laughing Sun cassette called Indeed. Pok wrote it in 1985. It was based on an allegedly true story told by a friend of Pok and the wider Wud posse. She apparently lost a piece of jewelry and then found it again, several years later. It was lying on the tarmac of a country lane, many miles from where it had vanished. She was always somewhat prone to rather odd events and may indeed have awoken one night with a benign wizardly stranger shuffling and poking about in her bedroom. We believe the stream where Pok and his friend went walking was in Hoopern Valley, in the grounds of Exeter University. Pok plays a delightful fingerstyle acoustic guitar on the Tanglewood. His lead parts were performed on Marsha, a beautiful Ibanez Roadstar II that was later stolen. Pok is accompanied on drums by Sven’s infectious dancehall shuffle. Josh played piano and organ at the same time and almost in one take. Sven and Josh overdubbed the percussion. Maxx completes the ensemble with understated and precision bass that works perfectly. For full details click the link to Explicit Music below.See also:https://www.wudrecords.co.uk/artists/pok/https://www.wudrecords.co.uk/artists/pok/anthology/https://www.explicitmusic.co.uk/lyrics-information/pok-bard/anthology/the-dark-the-ring-and-the-knowledgehttps://wudrecords.bandcamp.com/album/anthologyhttps://www.youtube.com/@poktv6148/videoshttps://www.facebook.com/pokthebardhttp://pookofpok.blogspot.com/https://linktr.ee/pokthebard

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Wild by Critical Error. Album: Critical Error. Bonus track!

WILD Down and out and spiralling about Give your love but don’t go without You are a ghost in somebody’s dream You are a dream that someone’s left behind I can’t take it, I must fake it.

Sometimes you make me feel so savage Sometimes you make me feel so wild Sometimes you make me feel so damaged Sometimes you make me feel a child, a child

How can you turn around and look at me as if I’ve turned to stone And if I just walk away, I can’t look back, I must just turn to salt All those things I want to say to you and make you do oh yeah You make me feel so wild

Down and out and spiralling about I gave my love and I went without I don’t understand what this is leading to And I can’t comprehend why I feel this to Cos your love is an itch that just crawls like a bitch Under my skin, my skin

Sometimes you make me feel so savage Sometimes you make me feel so wild Sometimes you make me feel so damaged Sometimes you make me feel a child, a child

Music and lyrics by Steve Mavin and Rosie Mullin. This arrangement by Critical Error.

Performers: Rosie Mullin - vocals Steve Mavin - acoustic guitar, vocals Aidan Whiteley - acoustic guitar Allan Veal - bass

Recorded live at the Black Horse, Longbrook Street, Exeter, summer 1995. Cassette salvage, logistics and co-ordination by Rosie Mullin. Audio cleaned and mastered at Wud Records Studio One, February 2021.

Cover photo by Emma Waters.

Copyright ℗ 1995 Parsnip Music. Copyright © 2022 Wud Records.

See also: https://www.wudrecords.co.uk/archives/critical-error/ https://www.wudrecords.co.uk/news/critical-error-three-bonus-tracks/ https://substanceandshadow.co.uk/ https://twitter.com/WudRecords

Wild was the last song ever written by Critical Error and only performed once, at the Black Horse in Longbrook Street, Exeter, in the summer of 1995.

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Cry Like A Wolf by Critical Error. Album: Critical Error. Bonus track!

CRY LIKE A WOLF Saw a hanging man, on a twisted tree Saw the lightening strike, it never come near me Cried burning tears in the bitter snow Saw the fire burn where no trees grow

Saw a drowning man in a raging sea Saw the hurrince it never come near me Cried burning tears on my face Saw the fire burn in a barren waste

Cry like a wolf, cry like the demon wind Cry like a mother who just lost her child The wind is wild The wind is wild The wind is wild Yeah the wind is wild

Words and Music by Steve Mavin. This arrangement by Critical Error.

Performers: Rosie Mullin - vocals Steve Mavin - acoustic guitar Aidan Whiteley - acoustic guitar Allan Veal - bass

This recording is a live bootleg, taken from the mixing desk to a cassette.

Cassette salvage by Aidan Whiteley. Logistics and co-ordination by Rosie Mullin. Audio cleaned and mastered at Wud Records Studio One, February 2021.

Cover photo by Emma Waters.

Copyright ℗ 1992 Parsnip Music. Copyright © 2022 Wud Records.

See also: https://www.wudrecords.co.uk/archives/critical-error/ https://substanceandshadow.co.uk/ https://twitter.com/WudRecords

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Scratch The Image by Critical Error. Album: Critical Error. Bonus track!

SCRATCH THE IMAGE You scratch my back and I’ll scratch yours I’ll scratch yours with my metal claws You’ll scratch mine, with love divine Cos your in a dream and I’m in a mime You see an image, I see a fool You love an idol, I play the cool

And when the act’s over, I’ll take a bow Leaving a black rose, for then and for now

I was then young and now I am old I am alone and I think of you Cos I was false and you were true

Cos your in a dream and I’m in a mime You see an image, I see a fool You love an idol, I play the cool

And when the act’s over, I’ll take a bow Leaving a black rose, for then and for now

Lyrics by Rosie Mullin. Music by Critical Error.

Performers: Rosie Mullin - vocals Steve Mavin - acoustic guitar Aidan Whiteley - acoustic guitar Allan Veal - bass Stuart "The Amazing Blind Screaming Blue Stu" Cannon - harmonica

This recording is a live bootleg, taken from the mixing desk to a cassette.

Cassette salvage by Aidan Whiteley. Logistics and co-ordination by Rosie Mullin. Audio cleaned and mastered at Wud Records Studio One, February 2021.

Cover photo by Emma Waters.

Copyright ℗ 1987 Parsnip Music. Copyright © 2022 Wud Records.

See also: https://www.wudrecords.co.uk/archives/critical-error/ https://substanceandshadow.co.uk/ https://twitter.com/WudRecords

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Preachers Gather Round From the EP Demo One by Demon Groove Lizards.

Demon Groove Lizards were a fantastic funk rock band from Devon. They formed in 1993.

Demon Groove Lizards' high energy performances were notable for the band's outstanding musicianship. Virtuosity was a virtue which they continued to value over the course of several lineup changes.

Performers: Ben - lead vocals James Shipway - lead guitar, backing vocals Brent Cassidy - rhythm guitar, backing vocals Ian Lee - bass, backing vocals Andy Bolitho - drums, backing vocals

Recorded, engineered, mixed and produced at Silent Running Studios in Countess Weir, Exeter by George Davies in July 1993. Cassette salvage by Ian Lee. Audio cleaned and mastered at Wud Records Studio One, August 2021.

Copyright ℗ 1993 DGL Music Publishing. Copyright © 2021 Wud Records.

See also: https://www.wudrecords.co.uk/archives/demon-groove-lizards/ https://twitter.com/WudRecords

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Sleepwalking From the EP Demo One by Demon Groove Lizards

Demon Groove Lizards were a fantastic funk rock band from Devon. They formed in 1993.

Demon Groove Lizards' high energy performances were notable for the band's outstanding musicianship. Virtuosity was a virtue which they continued to value over the course of several lineup changes.

Performers: Ben - lead vocals James Shipway - lead guitar, backing vocals Brent Cassidy - rhythm guitar, backing vocals Ian Lee - bass, backing vocals Andy Bolitho - drums, backing vocals

Recorded, engineered, mixed and produced at Silent Running Studios in Countess Weir, Exeter by George Davies in July 1993. Cassette salvage by Ian Lee. Audio cleaned and mastered at Wud Records Studio One, August 2021.

Copyright ℗ 1993 DGL Music Publishing. Copyright © 2021 Wud Records.

See also: https://www.wudrecords.co.uk/archives/demon-groove-lizards/ https://twitter.com/WudRecords

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Halloween Jack From the EP Demo One by Demon Groove Lizards.

Demon Groove Lizards were a fantastic funk rock band from Devon. They formed in 1993.

Demon Groove Lizards' high energy performances were notable for the band's outstanding musicianship. Virtuosity was a virtue which they continued to value over the course of several lineup changes.

Performers: Ben - lead vocals James Shipway - lead guitar, backing vocals Brent Cassidy - rhythm guitar, backing vocals Ian Lee - bass, backing vocals Andy Bolitho - drums, backing vocals

Recorded, engineered, mixed and produced at Silent Running Studios in Countess Weir, Exeter by George Davies in July 1993. Cassette salvage by Ian Lee. Audio cleaned and mastered at Wud Records Studio One, August 2021.

Copyright ℗ 1993 DGL Music Publishing. Copyright © 2021 Wud Records.

See also: https://www.wudrecords.co.uk/archives/demon-groove-lizards/ https://twitter.com/WudRecords

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Lizard From the EP Demo One by Demon Groove Lizards

Demon Groove Lizards were a fantastic funk rock band from Devon. They formed in 1993.

Demon Groove Lizards' high energy performances were notable for the band's outstanding musicianship. Virtuosity was a virtue which they continued to value over the course of several lineup changes.

Performers: Ben - lead vocals James Shipway - lead guitar, backing vocals Brent Cassidy - rhythm guitar, backing vocals Ian Lee - bass, backing vocals Andy Bolitho - drums, backing vocals

Recorded, engineered, mixed and produced at Silent Running Studios in Countess Weir, Exeter by George Davies in July 1993. Cassette salvage by Ian Lee. Audio cleaned and mastered at Wud Records Studio One, August 2021.

Copyright ℗ 1993 DGL Music Publishing. Copyright © 2021 Wud Records.

See also: https://www.wudrecords.co.uk/archives/demon-groove-lizards/ https://twitter.com/WudRecords

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Come In Out Of The Rain by The Acolytes.

From the EP "Three Versions" by Critical Error and Friends.

Come In Out Of The Rain was resurrected in 2016 when Rosie and her husband Midge formed The Acolytes with Mike Gilpin and Jo Hooper.

COME IN OUT OF THE RAIN Mirrors on the wall Reflect all of her lies When she looks at his face She knows what she's hiding inside This is her new horizon Too young to be so wise Forsaken education Her life cut down to size

And in motherhood she tries To blind all of her lies She's moving on from here Travelling under the sky

Nothing's been easy Since passion begun to rust And the flame of lust wasn't trust but dust And now she's dying inside

But it's alright to break down and cry Yes it's alright to have tears in your eyes Alright to ask yourself why Come in out of the rain

Then came the fire Burning so low Out in the storm where she was afraid to go Out in the fast lane, driving insane Too young to compromise, too young to decide And she asked for nothing, she got the pain She asked for nothing and down came the rain And it's falling down again

But it's alright to break down and cry Yes it's alright to have tears in your eyes Alright to ask yourself why Come in out of the rain

And she's trying to find Peace in her life and a meaning not a fight Trying to find peace in her life And a meaning not a fight

Words and verse melody by Rosie Mullin. Verse chords, chorus words and other music by Steve Mavin.

Performers: Rosie Mullin - vocals Grice Peters - vocals Midge Mullin - acoustic guitar and vocals Mike Gilpin - acoustic guitar Jo Hooper - cello

This arrangement by The Acolytes / Grice. Produced and recorded by Grice 2016 at Sound Gallery Studios. Mastered at Wud Records Studio One 2021.

Copyright ℗ 1987 Dark Rain Music. Copyright © 2021 Wud Records.

Artwork of the mermaid with the blind eye by Joolz Denby.

See also: https://criticalerror1.bandcamp.com/track/come-in-out-of-the-rain https://www.wudrecords.co.uk/archives/critical-error/three-versions-ep/ https://www.wudrecords.co.uk/news/critical-error-friends-three-versions-come-in-out-of-the-rain-ep/ https://www.facebook.com/groups/855776735256800/ https://twitter.com/WudRecords

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Come In Out Of The Rain by Headzoo.

From the EP "Three Versions" by Critical Error and Friends.

Come In Out Of The Rain was performed by Headzoo in the early nineties and features on the band's one and only demo.

COME IN OUT OF THE RAIN Mirrors on the wall Reflect all of her lies When she looks at his face She knows what she's hiding inside This is her new horizon Too young to be so wise Forsaken education Her life cut down to size

And in motherhood she tries To blind all of her lies She's moving on from here Travelling under the sky

Nothing's been easy Since passion begun to rust And the flame of lust wasn't trust but dust And now she's dying inside

But it's alright to break down and cry Yes it's alright to have tears in your eyes Alright to ask yourself why Come in out of the rain

Then came the fire Burning so low Out in the storm where she was afraid to go Out in the fast lane, driving insane Too young to compromise, too young to decide And she asked for nothing, she got the pain She asked for nothing and down came the rain And it's falling down again

But it's alright to break down and cry Yes it's alright to have tears in your eyes Alright to ask yourself why Come in out of the rain

And she's trying to find Peace in her life and a meaning not a fight Trying to find peace in her life And a meaning not a fight

Words and verse melody by Rosie Mullin. Verse chords, chorus words other music by Steve Mavin.

Rosie Mullin - vocals Steve Mavin - acoustic guitar and vocals Steve Hearne - lead guitar and backing vocals Helen Argyrou - bass guitar John Franks - drums

This arrangement by Headzoo. Recorded, engineered and produced at an unknown studio in Minehead, 1991. Mastered at Wud Records Studio One 2021.

Copyright ℗ 1987 Dark Rain Music. Copyright © 1991 Headzoo.

See also: https://criticalerror1.bandcamp.com/track/come-in-out-of-the-rain-headzoo https://www.wudrecords.co.uk/archives/critical-error/three-versions-ep/ https://www.wudrecords.co.uk/news/critical-error-friends-three-versions-come-in-out-of-the-rain-ep/ https://www.facebook.com/groups/855776735256800/ https://twitter.com/WudRecords

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Come In Out Of The Rain by City Man Panics.

From the EP "Three Versions" by Critical Error and Friends.

This is the last recording of Rosie, Steve and Jo performing Come In Out Of The Rain before Steve sadly passed away in 1999.

COME IN OUT OF THE RAIN Mirrors on the wall Reflect all of her lies When she looks at his face She knows what she's hiding inside This is her new horizon Too young to be so wise Forsaken education Her life cut down to size

And in motherhood she tries To blind all of her lies She's moving on from here Travelling under the sky

Nothing's been easy Since passion begun to rust And the flame of lust wasn't trust but dust And now she's dying inside

But it's alright to break down and cry Yes it's alright to have tears in your eyes Alright to ask yourself why Come in out of the rain

Then came the fire Burning so low Out in the storm where she was afraid to go Out in the fast lane, driving insane Too young to compromise, too young to decide And she asked for nothing, she got the pain She asked for nothing and down came the rain And it's falling down again

But it's alright to break down and cry Yes it's alright to have tears in your eyes Alright to ask yourself why Come in out of the rain

And she's trying to find Peace in her life and a meaning not a fight Trying to find peace in her life And a meaning not a fight

Words and verse melody by Rosie Mullin. Verse chords, chorus words other music by Steve Mavin.

Performers: Rosie Mullin - vocals Steve Mavin - vocals and 12 string acoustic guitar Jo Hooper - cello

This arrangement by City Man Panics. Recorded live by Paul Bateman at Rosie and Steve's flat, 80 Longbrook Street, Exeter, on 17th February 1992.

Copyright ℗ 1987 Dark Rain Music. Copyright © 2021 Wud Records.

Artwork of the mermaid with the blind eye by Joolz Denby.

See also: https://criticalerror1.bandcamp.com/track/come-in-out-of-the-rain-2 https://www.wudrecords.co.uk/archives/critical-error/three-versions-ep/ https://www.wudrecords.co.uk/news/critical-error-friends-three-versions-come-in-out-of-the-rain-ep/ https://www.facebook.com/groups/855776735256800/ https://twitter.com/WudRecords

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The Centre of the Cyclone by Alchemeon, from Alchemeon Live In Session Spring 2009.

• The Centre of the Cyclone is more-or-less in the key of A major.
• The rhythm and noises at the start and then in the instrumental section are in the key of E.
• There is a classic chord progression in the first verses, which is A - Em - G - Bm - D.
• This mutates into C - G - D - Am - Em - G.
• The final chord of the whole song is an Asus4, which leaves a giant tantalising question mark dangling in the air.
• The Centre of the Cyclone has several sections, each with a different tempo and texture.
• It was first performed live in 1985 by Laughing Sun in the drama studio at Exeter College during a free lunchtime concert given for the students.
• Jim used his amazing understanding of arrangement to take this wonderful song and make it longer and more elegant with the addition of a guitar solo before the vocals start.
• It seems more and more extraordinary that Pok wrote the lyrics for this when he was only 19.

THE CENTRE OF THE CYCLONE In forlorn castles too brief for living We rose to catch the sun but were defeated Just around the corner beyond the eyes Beyond the skies we set ourselves as real Like spaceships casting cosmic lines Left behind with stars strewn from our astral selves And planets in our eyes

You walk along the road of life Too high to see the mountain you are climbing Casting seeds and scrolls from our outstretched hands The forgiven forget of the gift And it’s too late, the ladder stretches up and down And where do you stand in perspective to it all?

Can you imagine a place A space where you have not been before But which is not new to you? A place you can recall softly Push through bad dreams Make it real, remember Complications contradict but reality sticks And unbounded has its realms In everything you see

Yes, what do you see? Push through the dark vales to the sea Cast your cosmic line wherever it may fall Maybe you will find some higher guidance there Or maybe you will find a place where you may truly rest Maybe you will find some friends who love you the best

Listen Listen Listen

The tides of swirling memories Are nearly gone but forgotten Would you choose to beg or lose The axis which you hold onto Thirteen is the number, twelve it is the rite Thirteen red eyed ravens Outside the house til night

Outward, outward on out Cast light, cast light about Outward, outward on out Look out, which way is far out?

Petty wages are falling like leaves Calling the master to apprenticeship again Will he recall the time, the chimes of freedom Blowing through his keyhole Step down from your pedestal and mingle once again With the crowds that you shunned as a youth

At the centre of the cyclone Where all our thoughts are real You’re cacooned in your mental egg Imprisoned inside your head

When you look out the bars you’ve made Can you maybe follow a little way To see there are no more shackles to pass Yet more fresh air, green fields and grass

And we are like the butterfly Cannot take off, our wings aren’t dry But soon if we shall heed the guides The caterpillar metamorphosise

Words and music by Simon Miller. This arrangement by S. Miller/G. Davies/J. Peters/Iggy.

Performers: Pok the Bard – guitar and voice Jim Iz – keys and voice Iggy – drums and percussion George – bass and technicals

This version recorded live at Sound Gallery, Exeter, 22nd February 2009. Cassette salvage and remastering at Wud Records Studio One, 2020.

Released worldwide September 14, 2020. Original release date: 10th April 2009.

Copyright © 2020 Wud Records. Copyright ℗ 1984 Pok Songs/Explicit Music.

See also: https://www.wudrecords.co.uk/artists/alchemeon/ https://www.explicitmusic.co.uk/lyrics-information/alchemeon/alchemeon-lyrics/the-centre-of-the-cyclone https://wudrecords.bandcamp.com/album/live-in-session-spring-2009 https://wudrecords.bandcamp.com/album/live-in-session-winter-2008-09 https://twitter.com/WudRecords

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Finale by Alchemeon, from Alchemeon Live In Session Spring 2009.

• Finale is a song in the key of E.
• It would have been the final encore of an Alchemeon live show.
• Finale was originally performed as the closing track for the play Chameleon, which Pok wrote in the mid 1980s.
• A version of this song is in the works for Pok’s growing Anthology album.
• Finale was also performed live by the Spacegoats.

FINALE When we were young We saw the faces And friends from the stars Built the earthworks with us And energy ran through The earth’s sacred surface Messages ran from star to star Aaaah

All you can see All you can be All that is now All that’s to come And all that means something All that’s inside All that you covet All that you hide Aaaah Aaaaah

Words and music by Simon Miller. This arrangement by S. Miller/G. Davies/J. Peters/Iggy.

Performers: Pok the Bard – guitar and voice Jim Iz – keys and voice Iggy – drums and percussion George – bass and technicals

This version recorded live at Sound Gallery, Exeter, 6th April 2009. Cassette salvage and remastering at Wud Records Studio One, 2018.

Cover illustration by Pok the Bard. Graphic design by Sam James.

Released worldwide September 14, 2020. Original release date: 10th April 2009.

Copyright © 2018 Wud Records. Copyright ℗ 1985 Pok Songs/Explicit Music.

See also: https://www.wudrecords.co.uk/artists/alchemeon/ https://www.explicitmusic.co.uk/lyrics-information/alchemeon/finale https://wudrecords.bandcamp.com/album/live-in-session-spring-2009 https://wudrecords.bandcamp.com/album/live-in-session-winter-2008-09 https://twitter.com/WudRecords

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It's a Blue Sky Don't Hold No Rain by Alchemeon, from Alchemeon Live In Session Spring 2009.

Jim takes the lead vocal at the start of this song. A little later on, there is a moment of comedy.

At about 5.20, when the vocals come back in again, Jim's lyric sheet makes a sudden leap for freedom. He manages to grab it in mid-air before it escapes. You can hear the "glorch!" of the keys as some part of his anatomy comes into contact with them when he goes for the grab, the little giggle when he catches the sheet, and the mumbulated lyrics as he tries to unfold the paper with one hand while playing the keys with the other.

• It’s a Blue Sky Don’t Hold No Rain was one of the very first songs that Pok ever wrote.
• There are probably not many 17-year-olds who would write such a thoughtful lyric as this.
• Pok once described the song as being about “the loss by genocide of the native Americans and general early eco lament directive for that generation.”
• He also said that the original idea for it came from listening to Neil Young.
• The very first time we heard this was when it was played by Pok on a 12-string acoustic with only six strings, as he sat on a bench along a footpath in the dark in Honiton late one evening.
• Its first proper live performance was at the Sidmouth International Folk Festival in the summer of 1983.
• It’s a Blue Sky Don’t Hold No Rain has been performed by Laughing Sun and the Spacegoats previously to Alchemeon performing it and you can hear their versions at Bandcamp, SoundCloud and the Wud Records website.
• It’s a Blue Sky Don’t Hold No Rain is in the key of E minor and begins and ends with a big glorious Em7 chord.
• The chords in the verses are Em7 – Am7 – C/G – B11#9.
• There is a rather wonderful key change in the “What have we done” section, which is C7 – D7 – Gm7 – D7 – Am – C/G – Em7.

IT’S A BLUE SKY DON’T HOLD NO RAIN I'll try and try and try and try to get to you I'll try and try and try and try forever I'll try and try and try and try to get to you I'll try and try and try and try forever Forever

We came across some bones of men Scattered in the rust So many good souls turned to dust Within their shattered husks And these people had worn jewels And their heads had been held high Speckled foreheads touched the sky Behold the sparkling in their eye

Don’t you know it’s a blue sky Don’t hold no rain Don’t hold your love in vain ‘Cos we’ve still got some loving to do

Some time ago the white man came Bringing bible books and swords Bound them up in twining cords In the name of their great lord They slew down the Aztec, Inca, Ibu, Masai Now we hide in concrete lies So to my Mammon side I cry:

"What have we done To the Mother Goddess Gaia? Why can’t we nestle in her Warm aching bosom?"

Aaaah...

Now the world’s a spinning ball Two thirds with none to eat So while we chew our scrawny meat Can you hear those big bells beat?

What have we done To the Mother Goddess Gaia? Why can’t we nestle in her Warm aching bosom?

Words and music by Simon Miller. This arrangement by S. Miller/G. Davies/J. Peters/Iggy.

Performers: Pok the Bard – guitar and voice Jim Iz – keys and voice Iggy – drums and percussion George – bass and technicals

This version recorded live at Sound Gallery, Exeter, 22nd February 2009. Cassette salvage and remastering at Wud Records Studio One, 2020.

Cover illustration by Pok the Bard. Graphic design by Sam James.

Released worldwide September 14, 2020. Original release date: 10th April 2009.

Copyright © 2020 Wud Records. Copyright ℗ 1983 Pok Songs/Explicit Music.

See also: https://www.wudrecords.co.uk/artists/alchemeon/ https://www.explicitmusic.co.uk/lyrics-information/alchemeon/alchemeon-lyrics/its-a-blue-sky-dont-hold-no-rain https://wudrecords.bandcamp.com/album/live-in-session-spring-2009 https://wudrecords.bandcamp.com/album/live-in-session-winter-2008-09 https://twitter.com/WudRecords

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Castrol GTX a Go-Go by Alchemeon, from Alchemeon Live In Session Spring 2009.

This song was composed by Pok in 1992 at George's flat, opposite the Heavitree swimming baths and just a couple of doors downhill from The Emporium, a fabulous old traditional second-hand hi-fi and vinyl shop in Exeter run by John John, who still to this day DJs a fabulous weekly progressive rock radio show on Phonic FM.

Among those present were the famous and acclaimed photographer Marcus Podilchuk. Pok said he would write a song for Marcus and sat on the floor with pen and paper. After some time, when he had finished, he sang this for us. We loved it!

"Is that really for me?" asked Marcus, slightly surprised.

"Actually, no," replied Pok.

• Castrol GTX a Go-Go starts on an A major ands ends on a D minor.
• Simplified, the chord sequence for the verses is A – G# – Dm – Bb – A – Dm.
• Describing to Iggy how the beginning should be played, Jim said “Play some jokes! Play some musical jokes!”
• Children seem to love the whackiness of this wonderful song.
• Castrol GTX a Go-Go was first performed by the Spacegoats before Alchemeon started playing it.

CASTROL GTX A GO-GO We’re gonna juice you to the bone Feed the ogre faintly bold He’s grinding chrome

West is my kind of tree Feel till you’re opaque in the door Scooping up the gnomes from the floor

Blessed be the world For there is a dragon deeply curled Well I’ll sing a sweep of dreams Crown the day with night

I’m a matt-bam-bootle Ride away on my scooter I peel oranges now

Castrol GTX a go-go I’m gonna motor your mojo Brideshead’s eagle and a seagull Home again, ogre-man

Words and music by Simon Miller. This arrangement by S. Miller/G. Davies/J. Peters/Iggy.

Performers: Pok the Bard – guitar and voice Jim Iz – keys and voice Iggy – drums and percussion George – bass and technicals

This version recorded live at Sound Gallery, Exeter, 23rd February 2009. Cassette salvage and remastering at Wud Records Studio One, 2020.

Cover illustration by Pok the Bard. Graphic design by Sam James.

Released worldwide September 14, 2020. Original release date: 10th April 2009.

Copyright © 2020 Wud Records. Copyright ℗ 1992 Pok Songs/Explicit Music.

See also: https://www.wudrecords.co.uk/artists/alchemeon/ https://www.explicitmusic.co.uk/lyrics-information/alchemeon/alchemeon-lyrics/castrol-gtx-a-go-go https://wudrecords.bandcamp.com/album/live-in-session-spring-2009 https://wudrecords.bandcamp.com/album/live-in-session-winter-2008-09 https://twitter.com/WudRecords

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Celestine by Alchemeon, from Alchemeon Live In Session Spring 2009.

• Celestine is a song of several parts.
• Sometimes it seems to be in the key of B minor, other times G major.
• In the end it resolves to D major.
• Celestine is an Alchemeon exclusive, having not been performed by the Spacegoats, nor any of the Masters of Drone bands such as Now or Laughing Sun.

CELESTINE Celestine they make their way Brothers to the water To cleanse the crystal in the head Still in silent laughter

The drop into the forehead Silver people roam To lace the time With story rhyme And drink the river’s daughter Drink the river’s daughter

Oh! La la la la…

Pyramids inside the mind They walk the crystalline To trade their scarlet thoughts for talk All wisdoms from the grail

Tower stands against the sky The people are not there Stone’s old voice speaks of an age The brothers hear and reel amazed The brothers hear and reel amazed

Oh! La la la la...

Wind through stone Your eyes and your ears Our time has come Wonder begun

Wind through stone Your eyes and your ears The time has come Wonder begun Wonder, wonder

Now to be Now to be Now to be Now to be Now to be

La la la la la…

Words and music by Simon Miller. This arrangement by S. Miller/G. Davies/J. Peters/Iggy.

Performers: Pok the Bard – guitar and voice Jim Iz – keys and voice Iggy – drums and percussion George – bass and technicals

This version recorded live at Sound Gallery, Exeter, 22nd February 2009. Cassette salvage and remastering at Wud Records Studio One, 2020.

Cover illustration by Pok the Bard. Graphic design by Sam James.

Released worldwide September 14, 2020. Original release date: 10th April 2009.

Copyright © 2020 Wud Records. Copyright ℗ 1993 Pok Songs/Explicit Music.

See also: https://www.wudrecords.co.uk/artists/alchemeon/ https://www.explicitmusic.co.uk/lyrics-information/alchemeon/alchemeon-lyrics/celestine https://wudrecords.bandcamp.com/album/live-in-session-spring-2009 https://wudrecords.bandcamp.com/album/live-in-session-winter-2008-09 https://twitter.com/WudRecords

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Orb by Alchemeon, from Alchemeon Live In Session Spring 2009.

• There are some songs that give the listener goosebumps as soon as they hear and recognise the first couple of notes and realise they are about to hear something truly extraordinary.
• Orb is one of those special songs.
• There are several distinct sections to the song with classic riffs and earworm la-la-la vocals.
• It was performed by the Spacegoats before Alchemeon started playing it.
• Orb would have been the first of two encore songs in a live performance.

ORB When the walls of the temple Are cast to the ground And light shines through the ruins When the form decays To leave no trace That is the time of re-doing

And the sun is shining Casting rays throughout the universe And everything goes on as before The slip of light has pierced The very heart and soul of you Take a look now, open up your door

At first you may find it a little curious Just let go to the feeling Describe a circle your arms outstretched Learn to feel this healing

Singing... Li la li li li li la li Li li li li la la li la la li li la la

Send the sun’s rays into the earth And round and round and round revolving The moon will shine her light upon you As round the stones we are returning

Return... Li la li li li li la li Li li li li la la li la la li li la la

Become a tribe of many lives Around and round and round and round evolving The moon will shine her light upon we As round the stones we are returning

Return... Li la li li li li la li Li li li li la la li la la li li la la

Send the seeds into the earth You know you know you know it’s worth Send the seeds into the ground It’s a holy holy holy sound

La la li la la la li li Hey hey!

Don’t you don’t you don’t you know We gotta sow sow sow sow And don’t’ya don’t ya don’t ya know We’re gonna grow grow grow grow Grow grow grow grow grow grow grow grow!

La la li la la la li li Hey hey!

And the sun is shining Casting rays throughout the universe And everything goes on like never before The slip of light has pierced The very heart and soul of you Take a look now Open up your door

Words and music by Simon Miller. This arrangement by S. Miller/G. Davies/J. Peters/Iggy.

Performers: Pok the Bard – guitar and voice Jim Iz – keys and voice Iggy – drums and percussion George – bass and technicals

This version recorded live at Sound Gallery, Exeter, 23rd February 2009. Cassette salvage and remastering at Wud Records Studio One, 2020.

Cover illustration by Pok the Bard. Graphic design by Sam James.

Released worldwide September 14, 2020. Original release date: 10th April 2009.

Copyright © 2020 Wud Records. Copyright ℗ 1995 Pok Songs/Explicit Music.

See also: https://www.wudrecords.co.uk/artists/alchemeon/ https://www.explicitmusic.co.uk/lyrics-information/alchemeon/orb https://wudrecords.bandcamp.com/album/live-in-session-spring-2009 https://wudrecords.bandcamp.com/album/live-in-session-winter-2008-09 https://twitter.com/WudRecords

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Born of Stars by Alchemeon, from Alchemeon Live In Session Spring 2009.

This was recorded right at the end of a session. At the start you hear George saying that there's about 16 minutes left (until they have to start to pack up and leave). "Let's make it a good one," he says.

The whole session should have been filmed by a friend of Pok's who was allegedly something of a whizz where it came to video matters.

Unfortunately, he turned out to be rather unreliable. He suddenly entered the room through the door, camera to eye and rolling, halfway through this version of Born of Stars, which was actually the very last song Alchemeon played that day. At 1:25 Pok shouts "Hey!" to greet the man's arrival. Fashionably late would be understating it somewhat.

Not only was he very late, he also filmed a lot of things that were not very interesting, such as George's bare foot for about a minute in close-up, some cymbal stands and the carpet.

As the band were packing, he sat on the floor leaning against a wall with hands in pockets, surreptitiously stroking his raging boner. It was all just a bit too weird.

Later that evening, Pok saw the footage. He was so appalled at how awful it was he simply deleted it all. Blam!

Pok plays Marsha on this track. She is a 1985 Ibanez Roadstar II in pale gold with a floating trem. At 8:11, just after a shout of "Rebirth!", he breaks a string and the instrument immediately goes completely out of tune. Unfazed, Pok finishes the rendition, expertly using the whammy bar to control the guitar. You can hear him grinning as he goes into the following vocal.

• Born of Stars is a highly rifftastic space rock song in the key of E.
• Several sections are deliberately left quite loose to allow for improvisation.
• The lyrics also tend to vary from one version to another.

BORN OF STARS We are born of stars We are born of stars We are born of stars We are born of stars

Om nam maya maitraya Om nam maya Om nam maya maitraya Om nam maya Gaia

We are seeds of time We are seeds of time You are a seed of time You are a seed of time

Om nam maya maitraya Om nam maya maitraya Om nam maya maitraya Om nam maya Gaia

Create a brighter future Create a brighter future We are a brighter future Create a brighter future

Om nam maya maitraya Om nam maya maitraya Om nam maya maitraya Om nam maya Gaia

Earth Planet Earth Has made a conscious decision To become one To become whole.

Entombed, cocooned In metal and plastic and effluence And pollution and nuclear waste

Yet she shall break free Free from these chains Free from this prison

Planet Earth And all her people and creatures and life forms Are undergoing an interplanterary, evolutionary, galactical REBIRTH!!!

We are born of stars We are born of stars We are born of stars We are born of stars

We are seeds of time We are seeds of time You are a seed of time We are seeds of… time!

Create a brighter future Create a brighter future We are a brighter future We are a brighter future

Om nam maya maitraya Om nam maya maitraya Om nam maya maitraya Om nam maya Gaia

Words and music by Simon Miller/Pete Phoenix/Chrissie Ortner. This arrangement by S. Miller/G. Davies/J. Peters/Iggy.

Performers: Pok the Bard – guitar and voice Jim Iz – keys and voice Iggy – drums and percussion George – bass and technicals

This version recorded live at Sound Gallery, Exeter, 23rd February 2009. Cassette salvage and remastering at Wud Records Studio One, 2020.

Cover illustration by Pok. Graphic design by Sam James.

Released worldwide September 14, 2020. Original release date: 10th April 2009.

Copyright © 2020 Wud Records. Copyright ℗ 1996 Pok Songs/Explicit Music.

See also: https://www.wudrecords.co.uk/artists/alchemeon/ https://www.explicitmusic.co.uk/lyrics-information/alchemeon/alchemeon-lyrics/born-of-stars https://wudrecords.bandcamp.com/album/live-in-session-spring-2009 https://wudrecords.bandcamp.com/album/live-in-session-winter-2008-09 https://twitter.com/WudRecords

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The Freaks (Shall Inherit The Earth) by Alchemeon, from Alchemeon Live In Session Spring 2009.

The Freaks (Shall Inherit the Earth) is a glorious rock n roll anthem and call to action in the key of G major. It was performed by the Spacegoats before Alchemeon started playing it. The Freaks (Shall Inherit the Earth) would have been the final song in an Alchemeon set, with Orb and Finale as encores.

During this rendition one of Jim's keyboards started to misbehave. It was either too quiet or too loud and harsh despite his numerous and ongoing fiddlings and twiddlings. At 3:29 he becomes a bit frustrated and gives it a good bash.

THE FREAKS (SHALL INHERIT THE EARTH) How many jacks are kept in their boxes? How many dreams are trodden underfoot? Could it be in you or it could be in me The fate of all nations or a colour TV

Look down any road see a million faces Scream back their pain from a sheer concrete wall There’s a million products made just to fill that hole But you never never, can never fill it at all

It’s a cry from the depths of a pin-stripe suit And whose voice dares not to conform Why is it just those who can see through the see through? They’re the misfits who break out from the norm

The Freaks! The Freaks! The Freaks shall inherit the Earth The Freaks! The Geeks! Who speak shall inherit the Earth

Should we obey what the government say? Is it wrong not to tag along? The question is no question at all But what we do with our backs to the wall

What is a freak? I think we’ll see When what is established gets washed away Those who cling to it will not survive if Destiny’s child awakes a new day

Just look around you see those bulldozers working Ripping up the land for fool’s gold again It’s getting worse, can’t go on forever And who’s gonna be here when these dinosaurs fall?

Ok. What’s it going to be if it is as we’ve hear? Who’s gonna emerge with these worlds have submerged? When the profit is made from the damage is done You wanna cling to the wreckage or go with the change?

CHANGE!!!!!

Now there’s some pretty megaton forces Stirring up hate and making a war Who can get poison and spit out the bullet? Who are these freaks, do you think that one’s you?

The Freaks! The Freaks! The Freaks shall inherit the Earth The Freaks! The Geeks! Who speak shall inherit the Earth

The Freaks! The Freaks! The Freaks shall inherit the Earth The Freaks! The Geeks! Who speak shall inherit the ….. Earth!!!!

Words and music by Simon Miller. This arrangement by S. Miller/G. Davies/J. Peters/Iggy.

Performers: Pok the Bard – guitar and voice Jim Iz – keys and voice Iggy – drums and percussion George – bass and technicals

This version recorded live at Sound Gallery, Exeter, 23rd February 2009. Cassette salvage and remastering at Wud Records Studio One, 2020.

Cover illustration by Pok the Bard. Graphic design by Sam James.

Released worldwide September 14, 2020. Original release date: 10th April 2009.

Copyright © 2020 Wud Records. Copyright ℗ 1992 Pok Songs/Explicit Music.

See also: https://www.wudrecords.co.uk/artists/alchemeon/ https://www.explicitmusic.co.uk/lyrics-information/alchemeon/the-freaks-shall-inherit-the-earth https://wudrecords.bandcamp.com/album/live-in-session-spring-2009 https://wudrecords.bandcamp.com/album/live-in-session-winter-2008-09 https://twitter.com/WudRecords

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Crazy Mandy by Alchemeon, from Alchemeon Live In Session Spring 2009.

• Crazy Mandy is in the key of D minor.
• It was originally performed by Laughing Sun in 1985.
• When this was recorded it was still a new song for Alchemeon.
• Pok had the idea for this song after meeting one of George's girlfriends, whose name was not actually Mandy.
• A new development in the Alchemeon version was that Jim and Iggy made the Boosa Nova section towards the end of the song much more Bossa Nova-ish.

CRAZY MANDY If you have flown too far from the nest If they got you under sedation Come rest in here, come meet your fears Come greet some human relation And we shall wait and say the words That cool you like a breeze Becoming part of the clothes that you wear Becoming whole, it’s easy

It’s all in the plan, crazy Mandy It’s all as it should be It’s all in the winds of time my love And it weighs out like sand

Add two and two, it’s all you need do You already have done that No sign on the line, everything’s fine Everyone’s here from the start And to take a bet and jape and jest Is all you might have done This matters not because what you have got Is really much more than that

It’s all in the plan, crazy Mandy It’s all as it should be It’s all in the winds of time my love And it weighs out like sand

Silently she has to wait in the long halls of stone Red drops the blood from her fingers to the floor Will she know? Will her children grow? Will she hear? Is she near? Watch her go Mindfire glow She is seeking

Mandy a bird of some sort she soared High above civilization And looking down she gulped and frowned Saying this is not my inclination To bank and shop the streets and follow All these rules I see Something else must I do Or am I really being me?

It’s all in the plan, crazy Mandy It’s all as it should be It’s all in the winds of time my love And it weighs out like sand

Words and music by Simon Miller. This arrangement by S. Miller/G. Davies/J. Peters/Iggy.

Performers: Pok the Bard – guitar and voice Jim Iz – keys and voice Iggy – drums and percussion George – bass and technicals

This version recorded live at Sound Gallery, Exeter, 6th April 2009. Cassette salvage and remastering at Wud Records Studio One, 2020.

Released worldwide September 14, 2020. Original release date: 10th April 2009.

Copyright © 2020 Wud Records. Copyright ℗ 1985 Pok Songs/Explicit Music.

See also: https://www.wudrecords.co.uk/artists/alchemeon/ https://www.explicitmusic.co.uk/lyrics-information/alchemeon/alchemeon-lyrics/crazy-mandy https://wudrecords.bandcamp.com/album/live-in-session-spring-2009 https://wudrecords.bandcamp.com/album/live-in-session-winter-2008-09 https://twitter.com/WudRecords

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The Winged Man by Alchemeon, from Alchemeon Live In Session Spring 2009.

• The Winged Man is in the key of A major.
• This is the version with the new ending.
• The Winged Man is an Alchemeon exclusive.
• It was never performed by any of the Masters of Drone bands such as Laughing Sun or Now, nor by the Spacegoats.

THE WINGED MAN Heaven knows why but he saved us from the furnace We mistreated his kind and stained his need to see

Heaven knows why Our people will fly Memory will die This winged man he cried

Melting above he drew his energy from below And seeing the sun he knew he had to go

Heaven knows why Our people will fly Memory will die This winged man he cried

Can you hear the voices? Hear the voices around you And the echo of the voices Hear them too Play on Play on

Seething below the man was a wreck of invention And we brought him down just like a crash landing

Heaven knows why Our people will fly Memory will die This winged man he cried

He was too far ahead for us here and so he flew Back to the sun where he’s working on something new

Heaven knows why Our people will fly Memory will die This winged man he cried

Words and music by Simon Miller. This arrangement by S. Miller/G. Davies/J. Peters/Iggy.

Performers: Pok the Bard – guitar and voice Jim Iz – keys and voice Iggy – drums and percussion George – bass and technicals

This version recorded live at Sound Gallery, Exeter, 6th April 2009. Cassette salvage and remastering at Wud Records Studio One, 2020.

Released worldwide September 14, 2020. Original release date: 10th April 2009.

Copyright © 2020 Wud Records. Copyright ℗ 1985 Pok Songs/Explicit Music.

See also: https://www.wudrecords.co.uk/artists/alchemeon/ https://www.explicitmusic.co.uk/lyrics-information/alchemeon/alchemeon-lyrics/the-winged-man https://wudrecords.bandcamp.com/album/live-in-session-spring-2009 https://wudrecords.bandcamp.com/album/live-in-session-winter-2008-09 https://twitter.com/WudRecords

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Good Times by The Bastard Sons of Dennis, from their album Cherry Smoke Empire.

Good Times was one of the earliest Bastard Sons of Dennis songs, first coming to light in their sand dune sessions on Exmouth beach in the summer of 1994. Sometimes was first performed live by the duo at The Cavern in Exeter that same summer. It also featured in their spontaneous one-off reunion in 1998.

Mr Lijkkes composed this song shortly after hitch hiking and being given a lift by a rather odd man who told him a very strange tale about his life.

Good Times is in the key of G and has some rather interesting temporal anomalies buried within. They sound very natural so you may not hear them immediately.

With its fun acoustic funk jam to start off, this track was sometimes used as a set opener in the duo's longer performances.

GOOD TIMES This has gotta be the good times No more bad No more in between for a while I wanna get down to it Don't wanna be the spoke in your wheel if I can help it

Well excuse while I tell you what I saw the other day I met a man with a life to hide and bridges burnt behind him He had a fleeting glimpse, a breath of freshness passed him Like he didn't have a chance to catch it when it settled upon his lip I don't suppose so

This has gotta be the good times No more bad No more in between for a while I wanna get down on it Don't wanna be a spoke in your wheel if I can help it

Well I came across your garden when your flower was unfurling May I relieve you of the burden of your innocence Your aura's tantalising, your scent is mesmerising When I'm near you I have to slip into a realm of fantasy

This has gotta be the good times No more bad No more in between for a while I wanna get down to it I don't wanna be the spoke in your wheel if I can help it

Well excuse me while I ask you what's your name and where you've been Cos you look so damn familiar like a painting, a rocket A reflection of my sin

(Take it down)

I see a hint of roses smiling on your face I don't mean to make you catch your breath I couldn't make you if I tried

I see a hint of roses smiling on your face I don't mean to make you catch your breath I couldn't make you if I tried

And I came across your garden where the walls were gently fading And the blossom was exhiilerating as it spoke to me My universe expanded and my questions became answers As I laid upon the earth and it accepted me

And this has gotta be the good times No more bad No more in between for a while I wanna get down on it Don't wanna be the spoke in your wheel if I can help it

This has gotta be the good times No more bad No more in between for a while I wanna get down on it Don't wanna be a smoke in your wheel if I can help it

This has gotta be the good times No more bad No more in between for a while I wanna get down to it Don't wanna be the spoke in your wheel if I can help it

This has gotta be the good times No more bad No more in between for a while I wanna get down on ya I'd like to be the seat upon your bike if you would let me

Music and lyrics by A. Richardson. This arrangement by The Bastard Sons of Dennis.

Performers: Acoustic guitar, lead vocal: Q. Wim Lijkkes Acoustic guitar, backing vocal: Yuri Nation

Recorded, engineered, mixed and mastered at Wud Records Studio One 2017.

Copyright © Wud Records 2017. Copyright ℗ Explicit Music 1993.

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The Furniture (part 7: the bureau) by The Bastard Sons of Dennis, from their album Cherry Smoke Empire.

The Furniture (Los Muebles) is a traditional northern Spanish sea shanty from the Asturias region.

It tells a tale of how a dysfunctional family of linguistically challenged fishermen lost and then found some furniture following a flood, and the consequences.

Linguistically challenged means, in this case, they were not terribly bright and could not even speak their own language very well.

The Spanish version has been loosely translated into English by The Bastard Sons of Dennis.

From an idea by Daniel Richardson.

This song and its anomalies of translation make a great teaching aid, if one happens to have students learning English or Spanish.

THE FURNITURE (PART 7: THE BUREAU) Aha! La oficina. La oficina ha sido picotiada por muchos pollos Y la puertas se han caido. La oficina ha sido picotiada por muchos pollos Y la puertas se han caido.

Ah, the bureau. The bureau has been pecked by a great many chickens And the doors have fallen off. The bureau has been pecked by a great many chickens And the doors have fallen off.

Eran una cortina agredable del marron. Pense que eran horrible! Usted tio el es porke usted neude espantoso.

That’s a shame, they were an agreeable shade of brown. I thought they were horrible! You would and that's because you smell appalling, uncle.

Music and lyrics: A. Richardson/G. Davies

Rhythm guitar and Spanish voices: Q.Wim Lijkkes Lead guitar and English voices: Yuri Nation

Originally released December 3, 2012 Recorded, engineered, mixed and mastered at Wud Records Studio One 2012.

Copyright © 2012 Wud Records. Copyright ℗ 2012 Explicit Music.

The full length version of The Furniture/Los Muebles is here: https://soundcloud.com/wud-records/the-bastard-sons-of-dennis-the-furniture-los-muebles https://wudrecords.bandcamp.com/track/the-furniture-los-muebles

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The Furniture (part 1: overture) by The Bastard Sons of Dennis, from their album Cherry Smoke Empire.

The Furniture (Los Muebles) is a traditional northern Spanish sea shanty from the Asturias region.

It tells a tale of how a dysfunctional family of linguistically challenged fishermen lost and then found some furniture following a flood, and the consequences.

Linguistically challenged means, in this case, they were not terribly bright and could not even speak their own language very well.

The Spanish version has been loosely translated into English by The Bastard Sons of Dennis.

From an idea by Daniel Richardson.

This song and its anomalies of translation make a great teaching aid, if one happens to have students learning English or Spanish.

THE FURNITURE (PART 1: OVERTURE) Donde esta mis muebles de los hermanos? Donde esta mis muebles de los hermanos? Se pierden, se pierden

Where is the furniture of my brother? Where is the furniture of my brother? It is lost, it is lost.

Donde la guaderropa, la tabla? Donde la silla, es banera? Donde la gabineta, la oficina Se pierden, se pierden Los incontrareos

Where is the wardrobe, the table? Where is the chair, the bathtub? Where are the cabinet and the bureau? They are lost, they are lost. We will find them!

Creo que esta perdido por siempre No! Los incontrareos

But I believe they are lost forever! No! We will find them!

Donde esta mis guaderropa de los hermanos? Donde esta mis guaderropa de los hermanos?

Where is the wardrobe of my brother? Where is the wardrobe of my brother?

Music and lyrics: A. Richardson/G. Davies

Rhythm guitar and Spanish voices: Q.Wim Lijkkes. Lead guitar and English voices: Yuri Nation.

Originally released November 10, 2012. Recorded, engineered, mixed and mastered at Wud Records Studio One 2012.

Copyright © 2012 Wud Records. Copyright ℗ 2012 Explicit Music.

The full length version of The Furniture/Los Muebles is here: https://soundcloud.com/wud-records/the-bastard-sons-of-dennis-the-furniture-los-muebles https://wudrecords.bandcamp.com/track/the-furniture-los-muebles

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The Furniture (part 9: epilogue) by The Bastard Sons of Dennis, from their album Cherry Smoke Empire.

The Furniture (Los Muebles) is a traditional northern Spanish sea shanty from the Asturias region.

It tells a tale of how a dysfunctional family of linguistically challenged fishermen lost and then found some furniture following a flood, and the consequences.

Linguistically challenged means, in this case, they were not terribly bright and could not even speak their own language very well.

The Spanish version has been loosely translated into English by The Bastard Sons of Dennis.

From an idea by Daniel Richardson.

This song and its anomalies of translation make a great teaching aid, if one happens to have students learning English or Spanish.

That particular potato you see in the photo is the object that was used to create the plopping sounds.

THE FURNITURE (PART 9: EPILOGUE) Plop! Hee hee hee!

Music and lyrics: A. Richardson/G. Davies

Q. Wim Lijkkes - ploppings and giggles Yuri Nation - distant giggles

Originally released December 15, 2012 Recorded, engineered, mixed and mastered at Wud Records Studio One 2012. Copyright © 2012 Wud Records. Copyright ℗ 2012 Explicit Music.

The full length version of The Furniture/Los Muebles is here: https://soundcloud.com/wud-records/the-bastard-sons-of-dennis-the-furniture-los-muebles https://wudrecords.bandcamp.com/track/the-furniture-los-muebles

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The Furniture (part 8: finale) by The Bastard Sons of Dennis, from their album Cherry Smoke Empire.

The Furniture (Los Muebles) is a traditional northern Spanish sea shanty from the Asturias region.

It tells a tale of how a dysfunctional family of linguistically challenged fishermen lost and then found some furniture following a flood, and the consequences.

Linguistically challenged means, in this case, they were not terribly bright and could not even speak their own language very well.

The Spanish version has been loosely translated into English by The Bastard Sons of Dennis.

From an idea by Daniel Richardson.

This song and its anomalies of translation make a great teaching aid, if one happens to have students learning English or Spanish.

THE FURNITURE (PART 8: FINALE) Ahora hemos encontrado todos sus muebles tio, Ahora hemos encontrado todos sus muebles tio, Ahora hemos encontrado todos sus muebles tio, Qué le hacen para decir, tío? Qué le hacen para decir, tío?

Now we have found all of your furniture uncle, Now we have found all of your furniture uncle, Now we have found all of your furniture uncle, What do you say, uncle? What do you say, uncle?

Oh... bueno.

Oh... good.

Music and lyrics: A. Richardson/G. Davies

Rhythm guitar and Spanish voices: Q.Wim Lijkkes Lead guitar and English voices: Yuri Nation

Originally released December 6, 2012 Recorded, engineered, mixed and mastered at Wud Records Studio One 2012.

Copyright © 2012 Wud Records. Copyright ℗ 2012 Explicit Music.

The full length version of The Furniture/Los Muebles is here: https://soundcloud.com/wud-records/the-bastard-sons-of-dennis-the-furniture-los-muebles https://wudrecords.bandcamp.com/track/the-furniture-los-muebles

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Pieces of Me by The Bastard Sons of Dennis, from their album Cherry Smoke Empire.

This song was written on Sunday 24th October 1993. It was first played by The Bastard Sons of Dennis on Exmouth beach in the early summer of 1994. It has never been performed live by our gruesome twosome as it has a slow tempo and a sensitive feel, which would be incongruous in one of their high-energy live performances.

This song has a long history and we all felt it deserved to be included on this album. It was performed at the spontaneous gathering of The Bastard Sons of Dennis in May 1998. For a complete change, it features Yuri on bass rather than guitar. This is as an echo of the 1998 jam session. It was recorded at 432Hz instead of 440Hz.

PIECES OF ME I tell you but you don't want to know You made your mind up you want to go But then from the cold icy stare come the words "I care" I care

I don't want to wait around this time I don't want to wait for things to go wrong I've waited too long I've waited too long

I need to have you now I need your release I need your peace before I tear myself in two I want to want you now I want that release I want your peace Before I tear myself in two

Pieces of me, pieces of you We're beads on a worry bead threading us through I want your commitment I want your delicate hand in mine Oh babe please say yes this time Oh babe please say yes this time

Words and music by A. Richardson. This arrangement by The Bastard Sons of Dennis. Original release date: 15th April 2017.

Performers: Q.Wim Lijkkes - guitars, vocals Yuri Nation - bass

Copyright © 2017 Wud Records. Copyright ℗ 1993 Explicit Music.

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Horsemon by The Bastard Sons of Dennis, from their album Cherry Smoke Empire.

In the summer of 1992, The Bastard Sons of Dennis convened and fooled around in a recording studio. Q plucked the strings of Nicodemus and Yuri operated the sequencer. This is the result.

It's a curious piece of music as everything is improvised. Q came up with the main guitar theme as Yuri added new parts to the sequencer loop. Parts were dropped out, dropped back in, and faders and other knobs on the mixing desk were twiddled.

Horsemon may sound like a Jamaican word, meaning 'postman', but actually came about due to restrictions of length on a filename. In the very beginning, our gruesome twosome were searching for a name for themselves. They used their combined Chinese astrological signs, which resulted in 'HorseMonkey', the name that appeared on the poster for their very first live performance. However, only eight characters were permitted by the old Atari Cubase at Silent Running Studios, so the file was truncated and saved as 'Horsemon'.

This is probably the earliest recording of The Bastard Sons of Dennis to exist anywhere on the planet. As such, we felt it was worth including on this album as a bonus track. It is also quite unusual to hear live jamming on a sequencer, and Q's guitar is fabulous, so despite the various messes contained within, we felt the track possesses plenty of artistic merit.

\B/

All music by G. Davies/A. Richardson.

Copyright © 2017 Wud Records. Copyright ℗ 1992 Explicit Music.

Performers: Q.Wim Lijkkes - guitar Yuri Nation - sequencer, synths, mixing

Salvaged from cassette and remastered at Wud Records Studio One.

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Ten Years Later by The Bastard Sons of Dennis, from their album Cherry Smoke Empire.

Ten Years Later is an original song from the pen of Andy and was written many years ago, with the duo first performing it back in 1994. Is this track about uncertainty? Is God an atheist? Are your flies still undone?

During the recording of Ten Years Later, our engineers and the band together felt that the nature and subject of the song might be a scene between two friends having a chat over coffee. We set about creating a cafe scene, and thanks to those wonderful providers of great sound samples at soundjay.com we have achieved a pleasing result. The adlib voices from Q.Wim and Yuri were all done in one take, and it was the first as it happens.

There's a dark-ish video (of a pretty ordinary performance) of this track here: www.youtube.com/watch?v=XaSkIapo7Is

TEN YEARS LATER When I was just thirteen She said that I could take her... Where could I take her? And now it's ten years later... Is it over? Tell me when it's over... Is it over? I'd like to think it over...

I like to get the best of the changes I'd like to get the best from the re-arranges But if we get much closer There's a danger we'll start over Now I take it there's no-one left to shake you from your tree

Is it over? I'd like to think it over... Is it over? I'd like to think it over...

I like to get the best of the changes I'd like to get the best from the re-arranges But if we get much closer There's a danger I'll fall over Now I take it there's no-one left to break you from that scene

Is it over? Tell me when it's over... Is it over? I'd like to think it over... Is it over?

Music and lyrics by A. Richardson. This arrangement by The Bastard Sons of Dennis.

Acoustic guitar, lead guitar to start, lead vocal and voices: Q. Wim Lijkkes Acoustic guitar, lead guitar elsewhere and voices: Yuri Nation

Cafe sounds created courtesy of those fabulous people at Soundjay, please visit their website here: www.soundjay.com

Recorded, engineered, mixed and mastered at Wud Records Studio One.

Copyright © 2017 Wud Records. Copyright ℗ 1992 Explicit Music.

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Short and Sweet by The Subterraineans.

The Subterraineans Demo is a collection of songs that were recorded on George’s Tascam 244 during the winter of 1986-7.

The demo features Dean on voice and guitars, George on guitars and voice, Jerry on bass and Graham on drums.

Due to many years of cassette deterioration the quality is not great, but we have managed to improve a little on what remained.

SHORT AND SWEET Somehow it just doesn't suit me Oh I try but it just won't fit Some way a promise of another day Means nothing, nothing to me

Hold on - I've been here before Waiting here - looking for an open door Go to sleep - it's just another empty day Go around - and do it again Time - time on my shoulder Death - awaits round the corner

Life, life, give me life

Oh dear Lord there's got to be another way I've done no wrong yet somehow I pay The truth - it doesn't seem to play no part I can't moan though nothing is right

Fight - running up another hill It's tight - a little more than before Expense - is all there ever seems to be Push and shove - just for a little bit more Time - time on my shoulder Death - awaits round the corner

Life, life, give me life Because life is short and sweet It's short and sweet

Words and music: D. Trotter Arrangement: G. Davies/D. Trotter/J. Peirce/G. Barbe

Copyright © Wud Records 1987, ℗ Explicit Music 1986.

See also: https://soundcloud.com/theeldarstar/6-short-and-sweet-eldar-cover-of-the-subteraneans-7th-oct

Previously: Plays - 103 Likes - 5 Comments - 6

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Who Owns You Now by Watershed, from Watershed Live at The Cooperage 24/12/1990.

Written by Al Shalliker. Copyright (c) Al Shalliker 1990.

WATERSHED Jo Atkins – vocals, percussion Mark Flack – bass Dave Gregory – Fender Rhodes, keys Tony Gullis – drums, percussion Al Shalliker – guitars, vocals Steve Smallwood – sound

This is a bootleg recording of the fabulous Plymouth reggae ensemble known as Watershed. This mix may have come straight off the desk as they were inclined to roll that way. The low hum from the cassette machine is somewhat ghastly, but the band mask it when they are playing.

As this is from a live performance, we left some of the gribulage between songs so you could get a flavour of the band. You might even be able to remember where you were and what you were dong on the night in question. Al, the main songwriter and guitarist, and Jo on vocals and percussion, were both highly charismatic individuals and the band always seemed to have a great rapport with the crowd wherever they played.

These are the last five tracks that the band played that night. The rest of the show was on another 90-minute cassette which was sadly stolen by someone who also loved Watershed’s music many years ago, so we no longer have that in our archives. Songs on that cassette included Judgement Level, Back Page Rage, It’s Not Yours, Saddest Letter, Purple Town, Fashion Conscious and some others.

See also: http://www.wudrecords.co.uk/archives/watershed http://www.wudrecords.co.uk/archives/watershed/live-cooperage-24121990 https://www.youtube.com/watch?v=13DknmiCstM https://www.youtube.com/watch?v=2slWp3l4WP4 https://myspace.com/watershedplymouth http://www.bandmine.com/watershedplymouth http://plymouthlivemusic.yolasite.com/past-bands.php

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Ghost of the Art is the fifth album by Dark Company and widely regarded as their most emotional. Sequencing was performed by George and Jeff at Silent Running Studios using an Atari 1040 with Cubase v. 2.01, a Kawai K4r, Yamaha TG33, Akai S900 and an E-Mu Pro-Cussion.

These are the pieced together fragments of the songs Dark Company were creating during 1993 and the early part of 1994. Much of the sequenced material managed to survive the interim period. Guide guitar and bass tracks have been added to provide an idea of how these songs go.

Wud Records are currently engaged in restoring all of Dark Company’s back catalogue. These songs on Ghost of the Art are alpha mixes and need a lot of work to finish them off. When updates are uploaded we shall let you know in the Wud Records ‘news’ service.

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Ghost of the Art is the fifth album by Dark Company and widely regarded as their most emotional. Sequencing was performed by George and Jeff at Silent Running Studios using an Atari 1040 with Cubase v. 2.01, a Kawai K4r, Yamaha TG33, Akai S900 and an E-Mu Pro-Cussion.

These are the pieced together fragments of the songs Dark Company were creating during 1993 and the early part of 1994. Much of the sequenced material managed to survive the interim period. Guide guitar and bass tracks have been added to provide an idea of how these songs go.

Wud Records are currently engaged in restoring all of Dark Company’s back catalogue. These songs on Ghost of the Art are alpha mixes and need a lot of work to finish them off. When updates are uploaded we shall let you know in the Wud Records ‘news’ service.

View Details

Ghost of the Art is the fifth album by Dark Company and widely regarded as their most emotional. Sequencing was performed by George and Jeff at Silent Running Studios using an Atari 1040 with Cubase v. 2.01, a Kawai K4r, Yamaha TG33, Akai S900 and an E-Mu Pro-Cussion.

These are the pieced together fragments of the songs Dark Company were creating during 1993 and the early part of 1994. Much of the sequenced material managed to survive the interim period. Guide guitar and bass tracks have been added to provide an idea of how these songs go.

Wud Records are currently engaged in restoring all of Dark Company’s back catalogue. These songs on Ghost of the Art are alpha mixes and need a lot of work to finish them off. When updates are uploaded we shall let you know in the Wud Records ‘news’ service.

View Details

Ghost of the Art is the fifth album by Dark Company and widely regarded as their most emotional. Sequencing was performed by George and Jeff at Silent Running Studios using an Atari 1040 with Cubase v. 2.01, a Kawai K4r, Yamaha TG33, Akai S900 and an E-Mu Pro-Cussion.

These are the pieced together fragments of the songs Dark Company were creating during 1993 and the early part of 1994. Much of the sequenced material managed to survive the interim period. Guide guitar and bass tracks have been added to provide an idea of how these songs go.

Wud Records are currently engaged in restoring all of Dark Company’s back catalogue. These songs on Ghost of the Art are alpha mixes and need a lot of work to finish them off. When updates are uploaded we shall let you know in the Wud Records ‘news’ service.

View Details

Ghost of the Art is the fifth album by Dark Company and widely regarded as their most emotional. Sequencing was performed by George and Jeff at Silent Running Studios using an Atari 1040 with Cubase v. 2.01, a Kawai K4r, Yamaha TG33, Akai S900 and an E-Mu Pro-Cussion.

These are the pieced together fragments of the songs Dark Company were creating during 1993 and the early part of 1994. Much of the sequenced material managed to survive the interim period. Guide guitar and bass tracks have been added to provide an idea of how these songs go.

Wud Records are currently engaged in restoring all of Dark Company’s back catalogue. These songs on Ghost of the Art are alpha mixes and need a lot of work to finish them off. When updates are uploaded we shall let you know in the Wud Records ‘news’ service.

View Details

Ghost of the Art is the fifth album by Dark Company and widely regarded as their most emotional. Sequencing was performed by George and Jeff at Silent Running Studios using an Atari 1040 with Cubase v. 2.01, a Kawai K4r, Yamaha TG33, Akai S900 and an E-Mu Pro-Cussion.

These are the pieced together fragments of the songs Dark Company were creating during 1993 and the early part of 1994. Much of the sequenced material managed to survive the interim period. Guide guitar and bass tracks have been added to provide an idea of how these songs go.

Wud Records are currently engaged in restoring all of Dark Company’s back catalogue. These songs on Ghost of the Art are alpha mixes and need a lot of work to finish them off. When updates are uploaded we shall let you know in the Wud Records ‘news’ service.

View Details

Ghost of the Art is the fifth album by Dark Company and widely regarded as their most emotional. Sequencing was performed by George and Jeff at Silent Running Studios using an Atari 1040 with Cubase v. 2.01, a Kawai K4r, Yamaha TG33, Akai S900 and an E-Mu Pro-Cussion.

These are the pieced together fragments of the songs Dark Company were creating during 1993 and the early part of 1994. Much of the sequenced material managed to survive the interim period. Guide guitar and bass tracks have been added to provide an idea of how these songs go.

Wud Records are currently engaged in restoring all of Dark Company’s back catalogue. These songs on Ghost of the Art are alpha mixes and need a lot of work to finish them off. When updates are uploaded we shall let you know in the Wud Records ‘news’ service.

View Details

Ghost of the Art is the fifth album by Dark Company and widely regarded as their most emotional. Sequencing was performed by George and Jeff at Silent Running Studios using an Atari 1040 with Cubase v. 2.01, a Kawai K4r, Yamaha TG33, Akai S900 and an E-Mu Pro-Cussion.

These are the pieced together fragments of the songs Dark Company were creating during 1993 and the early part of 1994. Much of the sequenced material managed to survive the interim period. Guide guitar and bass tracks have been added to provide an idea of how these songs go.

Wud Records are currently engaged in restoring all of Dark Company’s back catalogue. These songs on Ghost of the Art are alpha mixes and need a lot of work to finish them off. When updates are uploaded we shall let you know in the Wud Records ‘news’ service.

View Details

Ghost of the Art is the fifth album by Dark Company and widely regarded as their most emotional. Sequencing was performed by George and Jeff at Silent Running Studios using an Atari 1040 with Cubase v. 2.01, a Kawai K4r, Yamaha TG33, Akai S900 and an E-Mu Pro-Cussion.

These are the pieced together fragments of the songs Dark Company were creating during 1993 and the early part of 1994. Much of the sequenced material managed to survive the interim period. Guide guitar and bass tracks have been added to provide an idea of how these songs go.

Wud Records are currently engaged in restoring all of Dark Company’s back catalogue. These songs on Ghost of the Art are alpha mixes and need a lot of work to finish them off. When updates are uploaded we shall let you know in the Wud Records ‘news’ service.

View Details

Ghost of the Art is the fifth album by Dark Company and widely regarded as their most emotional. Sequencing was performed by George and Jeff at Silent Running Studios using an Atari 1040 with Cubase v. 2.01, a Kawai K4r, Yamaha TG33, Akai S900 and an E-Mu Pro-Cussion.

These are the pieced together fragments of the songs Dark Company were creating during 1993 and the early part of 1994. Much of the sequenced material managed to survive the interim period. Guide guitar and bass tracks have been added to provide an idea of how these songs go.

Wud Records are currently engaged in restoring all of Dark Company’s back catalogue. These songs on Ghost of the Art are alpha mixes and need a lot of work to finish them off. When updates are uploaded we shall let you know in the Wud Records ‘news’ service.

View Details

Ghost of the Art is the fifth album by Dark Company and widely regarded as their most emotional. Sequencing was performed by George and Jeff at Silent Running Studios using an Atari 1040 with Cubase v. 2.01, a Kawai K4r, Yamaha TG33, Akai S900 and an E-Mu Pro-Cussion.

These are the pieced together fragments of the songs Dark Company were creating during 1993 and the early part of 1994. Much of the sequenced material managed to survive the interim period. Guide guitar and bass tracks have been added to provide an idea of how these songs go.

Wud Records are currently engaged in restoring all of Dark Company’s back catalogue. These songs on Ghost of the Art are alpha mixes and need a lot of work to finish them off. When updates are uploaded we shall let you know in the Wud Records ‘news’ service.

View Details

Ghost of the Art is the fifth album by Dark Company and widely regarded as their most emotional. Sequencing was performed by George and Jeff at Silent Running Studios using an Atari 1040 with Cubase v. 2.01, a Kawai K4r, Yamaha TG33, Akai S900 and an E-Mu Pro-Cussion.

These are the pieced together fragments of the songs Dark Company were creating during 1993 and the early part of 1994. Much of the sequenced material managed to survive the interim period. Guide guitar and bass tracks have been added to provide an idea of how these songs go.

Wud Records are currently engaged in restoring all of Dark Company’s back catalogue. These songs on Ghost of the Art are alpha mixes and need a lot of work to finish them off. When updates are uploaded we shall let you know in the Wud Records ‘news’ service.

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Get on the Road, by The Subterraineans.

The Subterraineans Demo is a collection of songs that were recorded on George’s Tascam 244 during the winter of 1986-7.

The demo features Dean on voice and guitars, George on guitars and voice, Jerry on bass and Graham on drums.

Due to many years of cassette deterioration the quality is not great, but we have managed to improve a little on what remained.

Words and music: G.Davies Arrangement: G.Davies/D.Trotter/J.Peirce/G.Barbe

Copyright (c) Wud Records 1987, (p) Explicit Music 1987

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Work In Progress / Demo

Pale Sky by Dark Company Album: Bad Habits

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex. Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2008 Wud Records. Copyright ℗ 2008 The Dark Brothers/Explicit Music.

Performers: PJ Speed – vocals Zak Black – guitars, vocals Maxx Damage - bass Sven Stiglund - drums

PALE SKY Caught in the crossfire of being out of date Shot by both sides, it’s way past late Can’t you see the enemy is you and me And the votes we cast for those who’d set us free

Liers and triers and users too All the suits and secrets and ‘the long term view’ Now we’ve got a famine of the food of ideals Nothing that we’re told has turned out real

Turn down the volume, turn up the gain Take all you can it won’t come round again Waltzing to the music of embassies and states Dance to the beat of pre-emptive hates

I’m no Solomon but I can see the view It doesn’t take genius to see we’ve been screwed Only if you’re Croesus will you get out Hell’s in a basket at the market checkout

We’ve been framed, distorted, rearranged You don’t need a degree to see we’ve been blamed Play me the music that’s really real Too late to escape we can’t make the deal

Fun facts: The song is in the key of Em. All of the guitar parts were played on the Ice Maiden. When Dark Company were listening back to a load of demos of songs for the Bad Habits album, this was the first one that jumped out and made everyone excited.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/bad-habits http://www.explicitmusic.co.uk/lyrics-information/dark-company/bad-habits/pale-sky https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Work In Progress / Demo

More Or Less by Dark Company Album: Bad Habits

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex. Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2008 Wud Records. Copyright ℗ 2008 The Dark Brothers/Explicit Music.

Performers: PJ Speed – vocals Zak Black – guitars Maxx Damage - bass Sven Stiglund - drums

MORE OR LESS I’ll give you an evening I’ll give you a day I’ll give you a good game for you to play I’ll give you some feelings I’ll give you some fun I’ll set the controls for the heart of the sun I’ll give you some feelings I’ll give you some fun I’ll set the controls for the heart of the sun

You caught in fine light trapped by the stars You think now is forever and it’s not very far Caught by the magic of boozing and bands Magazine faces make up your land I’ll set the controls for the heart of the sun I’ll give you some feelings I’ll give you some fun

Keep me there with you, keep me in mind Inside the darkness but I’m easy to find I’ll be your conscience I’ll be your guilt Give me your dreams and they won’t get spilt I’ll be your conscience I’ll be your guilt Give me your dreams and they won’t get spilt I’ll give you some feelings I’ll give you some fun I’ll set the controls for the heart of the sun

I’ll give you some feelings I’ll give you some fun I’ll set the controls for the heart of the sun I’ll give you some feelings I’ll give you some fun I’ll set the controls for the heart of the sun

Fun facts: This song is in the key of G and oscillates between major and minor. It starts on a Bb, implying the minor, although most of the song leans toward the major. The first guitar you hear is Nicodemus, the Ice Maiden comes in later with a big loud G. Pete loved this song, he said "Don't change anything!" Being compulsive knob-twiddlers, some things were changed subtlely, but he didn't notice.

See also: https://www.wudrecords.co.uk/artists/dark-company https://www.wudrecords.co.uk/artists/dark-company/bad-habits https://www.explicitmusic.co.uk/lyrics-information/dark-company/bad-habits/more-or-less https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Work In Progress / Demo

Tip the Rest by Dark Company Album: Bad Habits

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex. Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2008 Wud Records. Copyright ℗ 2008 The Dark Brothers/Explicit Music.

Performers: PJ Speed – vocals Zak Black – guitars Maxx Damage - bass Sven Stiglund - drums

TIP THE REST Do what you do What you do, what you do Do what you do so well Do what you do What you do, what you do Do what you do don’t tell

I’ve heard all the words And they sound absurd So do what you do so well What’s for sure Is that we know the score Cos you do what you do so well Yeah, you can keep People that are cheap So do what you do don’t tell

Do what you do What you do, what you do Do what you do so well Do what you do What you do, what you do Do what you do don’t tell

There’s none can feel If they’re real Do what you do so well Life’s a bomb Then you’re gone Just do what you do don’t tell You know you’re hot Use what you’ve got Do what you do so well

Do what you do What you do, what you do Do what you do so well Do what you do What you do, what you do Do what you do don’t tell

Do what you do What you do, what you do Do what you do so well Do what you do What you do, what you do Do what you do don’t tell

Fun facts: Despite the title, Tip the Rest has nothing to do with snooker coaching. If you say Tip the Rest out loud, it sounds a bit like 'Tiphareth'. The song is in the key of A. Tip the Rest has one of the great classic guitar riffs in all of the pantheon of rock. Pete wrote the words for this after George had mentioned that some of his friends were unhappy that he was doing music with Pete. Again.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/bad-habits http://www.explicitmusic.co.uk/lyrics-information/dark-company/bad-habits/tip-the-rest https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Work in Progress / Demo

Whisky Priest by Dark Company Album: Bad Habits

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex. Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2008 Wud Records. Copyright ℗ 2008 The Dark Brothers/Explicit Music.

Performers: PJ Speed – vocals Zak Black – guitars Josh Reynes - keys Maxx Damage - bass Sven Stiglund - drums

WHISKY PRIEST There are weevils in my tea And my mind is much too free I won’t think as I am told I’m not marked as can be sold

Questions, I got questions But no answers do I hear I asked the beings that are all seeing But none of them were near Questions, I got questions But no answers do I get I asked the Gods an’ odds an’ sods But I haven’t heard back yet

I asked what was life for I asked was there any more I asked will the grass grow I asked does the rainbow

I don’t walk the way they said I like to talk to the living dead I won’t believe the lies That come around like garbage flies

Questions, I got questions But no answers do I hear I asked the beings that are all seeing But none of them were near Questions, I got questions But no answers do I get I asked the Gods an’ odds an’ sods But I haven’t heard back yet

I asked where the poets went I asked if Heaven sent I asked where the door was I asked was it because

Answers, I’ve got answers But no sense do they make I asked those beings that were all-seeing But they were on the take Answers, I’ve got answers But no sense is in there I asked the Gods an’ odds an’ sods But they didn’t want to share

I asked what was life for I asked was there any more I asked will the grass grow I asked does the rainbow I asked where the poets went I asked if Heaven sent I asked where the door was I asked was it because

Fun facts: The song is in the key of Dm. The music was inspired by Back to Black by Amy Winehouse, which was in the charts and on every radio station at the time when Whisky Priest was written. This song is about Pete trying to come to terms with the rather grave news from his doctors.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/bad-habits http://www.explicitmusic.co.uk/lyrics-information/dark-company/bad-habits/whisky-priest https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Nightshifters by Dark Company Album: Bad Habits

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex. Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2008 Wud Records. Copyright ℗ 2008 The Dark Brothers/Explicit Music.

Performers: PJ Speed – vocals Zak Black – guitars Josh Reynes - keys Maxx Damage - bass Sven Stiglund - acoustic and electric drums

NIGHTSHIFTERS I saw the men that work the machines That live under bridges that lead to your dreams I saw the light that spills from the lamps That light up the roadways at the end of the ramps

I saw the men with coveralls and tools That toil away hours while rain fills the pools I saw the dark that shadows their eyes That see all the things that crawl, walk and fly

I have seen the dream machines I have seen the dream machines I have seen the dream machines Machines that make your dreams Machines to make your dreams

I saw the men with goggles and flares That cut up the memories that say that you cared I saw the dawn with its pearly light But under the bridges there was no one in sight

I have seen the dream machines I have seen the dream machines I have seen the dream machines Machines that make your dreams Machines to make your dreams

I have seen the dream machines I have seen the dream machines I have seen the dream machines Machines that make your dreams Machines to make your dreams

Fun facts: The filthy dirty rhythm guitars are stratocasters tuned to DADGAD. The lead guitar is the Ice Maiden, in standard tuning.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/bad-habits http://www.explicitmusic.co.uk/lyrics-information/dark-company/bad-habits/nightshifters https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Buick Visions by Dark Company Album: Bad Habits

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex. Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2008 Wud Records. Copyright ℗ 2008 The Dark Brothers/Explicit Music.

Performers: PJ Speed – vocals Zak Black – guitars, wobbulator Maxx Damage - bass Sven Stiglund - drums

BUICK VISIONS Dumb colours through the icy rain Soundless shades that are so plain With flicking lights at the four cross way The night decides they’re dim by day Hiss of rubber on the road Clicking past the sentry poles

Now here I am What shall I do Do I stay Turn old to new I’m waiting here Waiting to ride I’m waiting here Waiting to ride

Mystery sounds from out the dark Who knows what made all those sparks In telling ways the truth comes through But I’m not sure that it’s for you Rain like pearls in the lights Round each one so very bright

Now here I am What shall I do Do I stay Turn old to new I’m waiting here Waiting to ride I’m waiting here Waiting to ride

Clumsy puddles of shiny black Shifting slicks from the tyre tracks On windy gusts down the street The dark decides which will meet Sweeping blades scrape the air You know I’m going but I don’t know where

Now here I am What shall I do Do I stay Turn old to new I’m waiting here Waiting to ride I’m waiting here Waiting to ride

Fun facts: There are not many other songs that have a wobbulator on them. Much of the rhythm guitar is played on a stratocaster.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/bad-habits http://www.explicitmusic.co.uk/lyrics-information/dark-company/bad-habits/buick-visions https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Days Like These by Dark Company Album: Bad Habits

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex. Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2008 Wud Records. Copyright ℗ 2008 The Dark Brothers/Explicit Music.

Performers: PJ Speed – vocals Zak Black – guitars Maxx Damage - bass Sven Stiglund - drums

DAYS LIKE THESE Am I in time to stand in line Just to make it better Am I the kind to fail to find The winning lucky letter You bet I am, I am that man Who waits like you for wonder But I also can be meaner than A one night binge drunk blunder

So you say these days are strange Well I don’t disagree So you say you’d like a change Well that’s alright with me So you say these days are strange Well I don’t disagree So you say you’d like a change Well that’s alright with me

Am I the best, not like the rest A winner to be sure Was there a test, did I guess The rehab’s secret cure You bet I am, I am that man Who waits like you for wonder But I also can be meaner than A one night binge drunk blunder

So you say these days are strange Well I don’t disagree So you say you’d like a change Well that’s alright with me So you say these days are strange Well I don’t disagree So you say you’d like a change Well that’s alright with me

So you say these days are strange Well I don’t disagree So you say you’d like a change Well that’s alright with me So you say these days are strange Well I don’t disagree So you say you’d like a change Well that’s alright with me

Fun facts: This song is in the key of Ebm. Sven hit his snare drum so hard that masonry fell from the ceiling in the drum booth when this was recorded, causing no injuries or further damage.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/bad-habits http://www.explicitmusic.co.uk/lyrics-information/dark-company/bad-habits/days-like-these https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Knowing, We Are by Dark Company Album: Bad Habits

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex. Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2008 Wud Records. Copyright ℗ 2008 The Dark Brothers/Explicit Music.

Performers: PJ Speed – vocals Zak Black – guitars Josh Reynes - keys Maxx Damage - bass Sven Stiglund - drums

KNOWING, WE ARE The beast moves around the basement Its shadows on the wall I find the door to the bottom floor But it’s not me at all

Face that’s shined in the morning The one I carry outside It smiles and talks and even walks The body round to which it’s tied

Everything is too well used There is nothing new to do The games are all played and I am afraid There’s no-one to answer to

It’s dark behind the daylight The music’s all been made Rock and roll will save your soul That’s what they used to say

I’m a lone voice forever captured By the beauties of the past When hope and dope were the masters And Alice laid the looking glass

The beast moves around the basement Its shadows on the wall I find the door to the bottom floor But it’s not me at all

Fun facts: This song is in the key of Em. The Zak Black Guitar Quintet makes an appearance in the instrumental sections if you feel like counting the different guitar parts.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/bad-habits http://www.explicitmusic.co.uk/lyrics-information/dark-company/bad-habits/knowing-we-are https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Pick It Up by Dark Company Album: Bad Habits

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex. Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2008 Wud Records. Copyright ℗ 2008 The Dark Brothers/Explicit Music.

Performers: PJ Speed – vocals Zak Black – guitars Josh Reynes - keys, trumpet, tenor saxophone Maxx Damage - bass Sven Stiglund - drums

PICK IT UP M-m-m the penguin took that Yeah Chilli Willi took that Took a snowcone fools hat You know he was a cool cat

It was all kinda scary It made me sorta wary But it was just a query From someone who was weary

And the penguin took that Yeah Chilli Willi took that Took a snow cone fools hat You know he was a cool cat

Stood around in the snow He was quick but acting slow But he knew which way to go It was good that this was so

Oh-h the penguin took that Yeah Chilli Willi took that Took a snow cone fools hat You know he was a cool cat

With the crystals in his brain Letting go his anchor chain Then he went off like a train Left his shadow like a stain

M-m-m the penguin took that Yeah Chilli Willi took that Took a snow cone fools hat You know he was a cool cat

Fun facts: This song is in the key of F#m. Pete had the idea of having the bass play in unison with his vocal.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/bad-habits http://www.explicitmusic.co.uk/lyrics-information/dark-company/bad-habits/pick-it-up https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Don't Look Down by Dark Company Album: Bad Habits

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex. Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2008 Wud Records. Copyright ℗ 2008 The Dark Brothers/Explicit Music.

Performers: PJ Speed – vocals, harmonica Zak Black – guitars Maxx Damage - bass Sven Stiglund - drums

DON’T LOOK DOWN What you got are you hot Are you free for the Turkey Trot Dance with me glance at me Give me a sign your spirit’s free

Don’t look down lose the crown Don’t be late for the ride down town Walk with me talk with me Give me a sign your Spirit’s free

Ring ring ring goes the telephone Is that God? No, he ain’t home Well then, the other guy I don’t mind who if they can tell me why I don’t mind who if they can tell me why

Get on up take the cup Drink the drink before the door is shut Be with me let me see Give me a sign your spirit’s free

Ring ring ring goes the telephone Is that God? No, he ain’t home Well then, the other guy I don’t mind who if they can tell me why I don’t mind who if they can tell me why

Fun facts: This song is in the key of Em. Pete uses two different harmonicas to make the harmony with his vocal, but that's a trade secret so don't tell anyone.

See also: https://www.wudrecords.co.uk/artists/dark-company https://www.wudrecords.co.uk/artists/dark-company/bad-habits https://www.explicitmusic.co.uk/lyrics-information/dark-company/bad-habits/dont-look-down https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Road Tripped by Dark Company Album: Bad Habits

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex. Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2008 Wud Records. Copyright ℗ 2008 The Dark Brothers/Explicit Music.

Performers: PJ Speed – vocals Zak Black – guitars Josh Reynes - keys Maxx Damage - bass Sven Stiglund - drums

ROAD TRIPPED Keep me posted Tell me of your trip Where are you going With your eyes on your hip Tell me about the size of the maze What it is like to be out of phase

Call me collect From weird telephones Keep me informed When collecting bones Let me know about the edge of the map Find out why the world is flat

We wanna, we wanna, we wanna see How you do in the far country We wanna, we wanna, we wanna see How you do in the far country

Tell me stories Of goblins and earls Why the side roads Are lined with pearly girls Write me a letter, post it express Just a little as more is less

We wanna, we wanna, we wanna see How you do in the far country We wanna, we wanna, we wanna see How you do in the far country

We wanna, we wanna, we wanna see How you do in the far country We wanna, we wanna, we wanna see How you do in the far country

Fun facts: This song is in the key of D. The rhythm guitars are played using a stratocaster tuned to DADGAD, Nicodemus is drop-D and the Ice Maiden plays the lead guitar in standard tuning.

See also: https://www.wudrecords.co.uk/artists/dark-company https://www.wudrecords.co.uk/artists/dark-company/bad-habits https://www.explicitmusic.co.uk/lyrics-information/dark-company/bad-habits/road-tripped https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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A Pocket Full of Rye by Dark Company Album: Bad Habits

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex. Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2008 Wud Records. Copyright ℗ 2008 The Dark Brothers/Explicit Music.

Performers: PJ Speed – vocals Zak Black – guitars Maxx Damage - bass Sven Stiglund - drums

A POCKET FULL OF RYE Can you see the act, can you be the act Are you ready for your cue To die and be born anew They say it’s all true But what if they’re screwing with you If they are what do you do What do you do, what do you do If they are what do you do What do you do, what do you do

Can you hoist the flag, can you give up scag Inside are you pure and clean Generous and never mean But what if it’s not your scene That you’re really in between If it is what do you do What do you do, what do you do If it is what do you do What do you do, what do you do

Can you jump the rail, can you never fail Is this too much to ask Do you want some other task But what if you’ve got no mask Then they’ll see you going past If they look what do you do What do you do, what do you do If they look what do you do What do you do, what do you do

Fun facts: This song is in the key of C. Pete had the idea for the lyrics after watching a 1985 episode of Agatha Christy's Miss Marple, starring Joan Hickson.

See also: https://www.wudrecords.co.uk/artists/dark-company https://www.wudrecords.co.uk/artists/dark-company/bad-habits https://www.explicitmusic.co.uk/lyrics-information/dark-company/bad-habits/a-pocket-full-of-rye https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Way To Go by Dark Company Album: Bad Habits

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex. Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2008 Wud Records. Copyright ℗ 2008 The Dark Brothers/Explicit Music.

Performers: PJ Speed – vocals Zak Black – guitars, vocals Maxx Damage - bass Sven Stiglund - drums

WAY TO GO Don’t eat the turtles they’re much too hard Stick to the frogs that you find in the yard What you see at the bottom of the well Is just small ads there to buy and sell Souls and faces and body parts Coltrane jazz and modern art

Way to go, way to go, way to go, way to go Way to go, way to go, way to go, way to go Way to go, way to go, way to go, way to go Way to go, way to go, way to go, way to go

Cork up the bottle save all the wine The grapes are good on your outhouse vine What you do to get through the day Keep it secret or they’ll take it away Cars and keys and metal snow It’s all part of the way to go

Way to go, way to go, way to go, way to go Way to go, way to go, way to go, way to go Way to go, way to go, way to go, way to go Way to go, way to go, way to go, way to go

Ethical men, fish in the pond Fishing for games and they’re not wrong What you need is a king-high win Keep it closer than you keep your skin Patterns and palaces and moonlight show It’s all part of the way to go

Way to go, way to go, way to go, way to go Way to go, way to go, way to go, way to go Way to go, way to go, way to go, way to go Way to go, way to go, way to go, way to go

Way to go, way to go, way to go, way to go Way to go, way to go, way to go, way to go Way to go, way to go, way to go, way to go Way to go, way to go, way to go, way to go

Fun facts: This song is in the key of F#m. We used a load of out-takes of Pete when he was recording his vocal parts to make a track of odd outbursts of speech, then added the background conversation hubbub. Guitar parts are played on Nicodemus.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/bad-habits http://www.explicitmusic.co.uk/lyrics-information/dark-company/bad-habits/way-to-go https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Night Man by Dark Company Album: Bad Habits

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex. Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2008 Wud Records. Copyright ℗ 2008 The Dark Brothers/Explicit Music.

Performers: PJ Speed – vocals Zak Black – guitars Maxx Damage - bass Sven Stiglund - acoustic and electric drums

NIGHT MAN Who took the fun out of wild wild women? Who took the gas out of the attack? Who played footsie with the Gray Lady? Who brings me dinner in a paper sack?

I ask you who was it, who was it Who was it, who? Was it you, was it you, was it you Was it you? I ask you who was it, who was it Who was it, who? Was it you, was it you, was it you Was it you?

Who took the wings off my favourite plane? Who took the wheels off my kit car crane? Who asked the judge could he boogie-woogie? Who gives me dreams and asks why should he?

I ask you who was it, who was it Who was it, who? Was it you, was it you, was it you Was it you? I ask you who was it, who was it Who was it, who? Was it you, was it you, was it you Was it you?

Who took the snakes out of the snake pit? Who took the fun out of the fastest gun? Who played guitar in a hot rod car? Who set the controls for the bracket race run?

I ask you who was it, who was it Who was it, who? Was it you, was it you, was it you Was it you? I ask you who was it, who was it Who was it, who? Was it you, was it you, was it you Was it you?

Fun facts: This song is in the key of B. During the breakdown there an assortment of percussion instruments that were found around the place are played, some of which were excluded from the mix, such as the coffee tin and the copper tube. The title Night Man is a reference to the Dark Company song Future Sadness Past on their 1991 Signmaker album. The Gray Lady is the New York Times. A bracket race is a form of drag racing.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/bad-habits http://www.explicitmusic.co.uk/lyrics-information/dark-company/bad-habits/night-man https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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One Heart by Dark Company Album: Bad Habits

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex. Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2008 Wud Records. Copyright ℗ 2008 The Dark Brothers/Explicit Music.

Performers: PJ Speed – vocals Zak Black – guitars Josh Reynes - keys, organ Maxx Damage - bass Sven Stiglund - acoustic and electric drums

ONE HEART One heart, one love, one belief is quite enough One world, one way, one power that’s for the day Where you go, what you see, what you say is what you’ll be Where you run, where you climb, what you believe is your life’s time

What you wish, what you dream, what you know is what you’ve seen What you make, what you do, what you are is from these two There’s the start, there’s the end, there’s the time for you to spend In the day, in the night, in between you live your life

Whatever you wish, whatever you dream Win or lose it’s yours to do Whatever you see, whatever you say When you see the mirror you’ll pass right through

Whatever you wish, whatever you dream Win or lose it’s yours to do Whatever you see, whatever you say When you see the mirror you’ll pass right through

One heart, one love, one belief is quite enough One world, one way, one power that’s for the day Where you go, what you see, what you say is what you’ll be Where you run, where you climb, what you believe is your life’s time

When you see the mirror you’ll pass right through When you see the mirror you’ll pass right through When you see the mirror you’ll pass right through When you see the mirror you’ll pass right through

Что бы вы хотели, что бы вы сон Выигрывая или проигрывая, он твой, чтобы делать Что бы вы видите, что вы говорите Когда вы видите в зеркало вы будете проходить насквозь

Что бы вы хотели, что бы вы сон Выигрывая или проигрывая, он твой, чтобы делать Что бы вы видите, что вы говорите Когда вы видите в зеркало вы будете проходить насквозь

Fun facts: Zak plays all the arpeggios and there are delays but no loops. The sub bass towards the end will cause speaker-flap. Pete wanted an organ, and behold, one appeared. In the beginning this song was titled simply "One" and the heart was added subsequently to avoid any confusion with Metallica. The Russian part is the "Whatever you wish" verse backwards.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/bad-habits http://www.explicitmusic.co.uk/lyrics-information/dark-company/bad-habits/one-heart https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Amanita Alice by Dark Company Album: Bad Habits

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex. Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2008 Wud Records. Copyright ℗ 2008 The Dark Brothers/Explicit Music.

Performers: PJ Speed – vocals Zak Black – guitars Josh Reynes - keys Maxx Damage - bass Sven Stiglund - drums

AMANITA ALICE Everybody move round there’s no room One place one space knife fork and spoon Glue in the hat made him see The seats were filled there was nowhere free

Child of a summer day Child of a summer day Child of a summer day Child of a summer day

View from the hill in a chessboard land The strangest thoughts of a well known man Under a tree on sunlit grass Mushroom questions all were asked A doorway opened in the ground Through which you went without a sound

Child of a summer day Child of a summer day Child of a summer day Child of a summer day

Just a dream in the afternoon From which you’ll wake far too soon

Child of a summer day Child of a summer day Child of a summer day Child of a summer day

Fun facts: This song is in the key of Dm and the stratocaster which plays the main guitar part is tuned to DADGAD. Pete loved the solo at the end and would play air guitar to it, sometimes in his kitchen with an open packet of rice in hand. He would report by text message a monumental spillage from time to time. Two tracks of guitar feedback from the Ice Maiden were recorded for this song and both run for the entire length of it, causing local neighbourly disgruntlement chez Zak. A little twinkly keyboard was used and plays exactly the same notes during the D section and the Eb section, neither of which it is quite in tune with.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/bad-habits http://www.explicitmusic.co.uk/lyrics-information/dark-company/bad-habits/amanita-alice https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Alarm Clock by Dark Company Album: Noir

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex. Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2015 Wud Records. Copyright ℗ 2009 The Dark Brothers / Explicit Music.

Performers: PJ Speed - vocals Zak Black - guitars Maxx Damage - bass Sven Stiglund - drums

ALARM CLOCK Deftly sold I am told Phases of light living In sea shells fossil bells And the tolling of their ringing Well - deep sea divers run to check And find it is a precious wreck Of sirens and their singing

Ohh-hoh! Waking from the dream Ohh-hoh! Seeing what it means Ohh-hoh! Waking from the dream Ohh-hoh! Seeing what it means

Gaily clad land has had Rolling sunlight spilling In the trees I see keys That unlock stories telling We rushed out to catch the dawn Just to see the sky get torn And the clouds with water filling

Ohh-hoh! Waking from the dream Ohh-hoh! Seeing what it means Ohh-hoh! Waking from the dream Ohh-hoh! Seeing what it means

Called to arms a soldier’s charms Goes to frontline fighting He is told the medal’s gold But it’s just the lighting All at once he seeks to ask Whether that his given task Is killing that exciting

Ohh-hoh! Waking from the dream Ohh-hoh! Seeing what it means Ohh-hoh! Waking from the dream Ohh-hoh! Seeing what it means

Fun Facts: This song is in the key of Fm. Most of what you can hear was recorded first take.

See also: https://www.wudrecords.co.uk/artists/dark-company/ https://www.wudrecords.co.uk/artists/dark-company/noir/ https://www.explicitmusic.co.uk/lyrics-information/dark-company/noir/alarm-clock https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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All Julian's Parties by Dark Company Album: Noir

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex. Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2015 Wud Records. Copyright ℗ 2009 The Dark Brothers / Explicit Music.

Performers: PJ Speed - vocals Zak Black - guitars Maxx Damage - bass Sven Stiglund - drums

ALL JULIAN’S PARTIES Perfection of selection Tears the barriers down I walk inside my head Through a dark and mystic town No-one greets my footsteps No-one shouts my name But noise I hear from somewhere near And ideas become a game

I’m part of a party That got lost in the ‘burbs I wandered to the bright lights Hoping to be heard No-one knows my face No-one says a word But there’s a way to the break of day Even though it sounds absurd

Distant divas’ calling Bring wolves to the feast They wait for the bones of love And catch the scraps of meat No-one seems to care No-one writes it down But I’ve got a ticket for the subway And I’m leaving without a sound

Perfection of selection Tears the barriers down I walk inside my head Through a dark and mystic town No-one greets my footsteps No-one shouts my name But noise I hear from somewhere near And ideas become a game

Fun Facts: This is a song in the key of A, with a distinctly phrygian feel. Pete wrote the lyrics for Julian, who wanted - so very much - to just... be. The twin lead guitars are first take sketches to demonstrate they should exist. They both jam in different octaves so they don't overlap too much. Sven had a hip-hop head on when he recorded this and the drums are great, if in need of a little tidying up.

See also: https://www.wudrecords.co.uk/artists/dark-company/ https://www.wudrecords.co.uk/artists/dark-company/noir/ https://www.explicitmusic.co.uk/lyrics-information/dark-company/noir/alarm-clock https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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Change the Light by Dark Company Album: Noir

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex. Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2015 Wud Records. Copyright ℗ 2009 The Dark Brothers / Explicit Music.

Performers: PJ Speed - vocals Zak Black - guitars Maxx Damage - bass

CHANGE THE LIGHT History’s blistered with mountains of lies The Earth is buried under easy skies But I’ve seen demons look round the sun I’ve seen badlands and too many guns

War torn stories with scenes of the dead Both sides fighting, rules are not read But I know different from what they are told It’s all for one master and his hold on gold

I know too much about the rulers and ruled And vaccinations kids get in the schools Someday someone will knock on my door But it won’t be my blood soaking the floor

Stone aged stones walked the Earth The sunlight sighed and went in reverse Now look around, what is it you see The thaw has started but it’s not for free

The sphinx it bowed down the sky Lowering its head with blazing eyes It kissed the few and caught up man We gotta break free while we surely can

Fun Facts: Change the Light is a song about the legend of the Nephilim, a fascinating topic which you can read more about starting here: https://en.wikipedia.org/wiki/Nephilim You might also like to read a bit more about the Easter Island statues. We're not very keen on vaccinations - vaccine damage in young children is considered normal - or is it? This song speaks of the truth, and by that we recommend you investigate things such as The Chords of Lust, The Gemstones Papers, The Trilateral Commision and so on. There are no drums! Sven said it sounded great just like it is and it didn't need any and the rest of the band agreed. The key is A major with a good glug of mixolydian.

See also: https://www.wudrecords.co.uk/artists/dark-company/ https://www.wudrecords.co.uk/artists/dark-company/noir/ https://www.explicitmusic.co.uk/lyrics-information/dark-company/noir/change-the-light https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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Cable Guy by Dark Company Album: Noir

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex. Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2015 Wud Records. Copyright ℗ 2009 The Dark Brothers / Explicit Music.

Performers: PJ Speed - vocals Zak Black - guitars Maxx Damage - bass Sven Stiglund - drums, percussion

CABLE GUY Dead heads in livid lead Marching through your life Ad queens like living dreams Waving a carving knife Soldier boys with lethal toys Going off to war Flags and bags and teary eyes They won’t be home no more

You gotta be a patriot You gotta lock and load Invade the heathens’ bitter lands Do what you’ve been you’re told Do what you’ve been you’re told, yeah Do what you’ve been you’re told Invade the heathens’ bitter lands Do what you’ve been you’re told

Bugging phones living drones Break in to your place Secret mics on kiddies’ trikes Men hear with no face The ones in black they stand at the back Shadows nothing more Each time you strike a keyboard They’re marking up the score

You gotta be a patriot You gotta lock and load Invade the heathens’ bitter lands Do what you’ve been you’re told Do what you’ve been you’re told, yeah Do what you’ve been you’re told Invade the heathens’ bitter lands Do what you’ve been you’re told

Nursery rhymes in better times Wound their wonder tight Now the young their songs are sung About how to kill and fight Faceless corporations Feed endless credit choice Entice you in the “Debt Set” Before you’ve got a voice

You gotta be a patriot You gotta lock and load Invade the heathens’ bitter lands Do what you’ve been you’re told Do what you’ve been you’re told, yeah Do what you’ve been you’re told Invade the heathens’ bitter lands Do what you’ve been you’re told

You gotta be a patriot You gotta lock and load Invade the heathens’ bitter lands Do what you’ve been you’re told Do what you’ve been you’re told, yeah Do what you’ve been you’re told Invade the heathens’ bitter lands Do what you’ve been you’re told

Fun Facts: This song is in the key of E minor. The lyrics were written about a friend of Pete's who had a satellite TV system installed and then, soon after, saw on his new system the guy who had installed it shown on the national news, having been arrested on terrorism charges. The notorious speech from Donald Rumsfeld was a perfect fit. The idea for the instrumental sections came very suddenly a few days after the rest of the song had been recorded and were captured as quickly as possible before they vanished back into the ether again.

See also: https://www.wudrecords.co.uk/artists/dark-company/ https://www.wudrecords.co.uk/artists/dark-company/noir/ https://www.explicitmusic.co.uk/lyrics-information/dark-company/noir/cable-guy https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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Coloured Drum by Dark Company Album: Noir

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex. Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2015 Wud Records. Copyright ℗ 2009 The Dark Brothers / Explicit Music.

Performers: PJ Speed - vocals Zak Black - guitars Maxx Damage - bass Sven Stiglund - drums

COLOURED DRUM I see a face blown back in the wind Yesterday’s far away memories of sin I see the moon shine on a better time I see many keys to doors without signs Turning back a film reel to a better time Turning back a film reel to a better time

We got no heroes just zeros by the score Lots of little people walking round the floor Role model dolls you can buy them all Hanging in the window nailed to the wall Freeze frame fractures on a plasma sreen Pixel pictures of well remembered dreams

You gotta meet it you gotta beat it You gotta leave it alone You gotta meet it you gotta beat it ‘fore it turns you into stone You gotta meet it you gotta beat it You gotta leave it alone You gotta meet it you gotta beat it ‘fore it turns you into stone

You can see your life in a TV show Everyway you want to be, a golden glow You can live your fantasy anyway you like Celeb culture vultures riding round on bikes Paparazzi leeches sucking out the souls They’ll put you down into selfish holes

Listen what we say or you’ll be absorbed Into the prison of the media’s hoard Listen to the words we’re giving you To the sticky chicks you’re the gum they chew Armageddon end to private ideas You lose what you are with the passing years

You can see your life in a TV show Every way you want to be, a golden glow You can live your fantasy anyway you like Celeb culture vultures riding round on bikes Paparazzi leeches sucking out the souls They’ll put you down into selfish holes

You gotta meet it you gotta beat it You gotta leave it alone You gotta meet it you gotta beat it ‘fore it turns you into stone You gotta meet it you gotta beat it You gotta leave it alone You gotta meet it you gotta beat it ‘fore it turns you into stone

Fun Facts: This is a song in the key of G. Having tried to play the bassline, it would be fair to say that Maxx has fingers of steel. Have you noticed how much everything is being dumbed down in the mainstream media?

See also: https://www.wudrecords.co.uk/artists/dark-company/ https://www.wudrecords.co.uk/artists/dark-company/noir/ https://www.explicitmusic.co.uk/lyrics-information/dark-company/noir/coloured-drum https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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Dead Generation by Dark Company Album: Noir

Lyrics: P. Greatorex Music: G. Davies/P. Greatorex Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2015 Wud Records. Copyright ℗ 2009 The Dark Brothers / Explicit Music.

Performers: PJ Speed - vocals Zak Black - guitars Maxx Damage - bass Sven Stiglund - drums

DEAD GENERATION Why don’t you have the voices That we used to hear Why don’t you know the stories Why don’t you live the fear

Why don’t you have the juice That makes it all so clear Without the kicks you won’t know If you’re really here

Why don’t you Why don’t you Why don’t you need Why aren’t you Why aren’t you Why aren’t you free (Be like me)

Why don’t you Why don’t you Why don’t you need Why aren’t you Why aren’t you Why aren’t you free (Be like me)

Why don’t you have the pain That you should really feel Why don’t you see what we saw Why don’t you think it’s real

Why don’t you have the hate That you should really have Why’re you so dumb and bland Why don’t you fight them back

Why don’t you Why don’t you Why don’t you need Why aren’t you Why aren’t you Why aren’t you free (Be like me)

Why don’t you Why don’t you Why don’t you need Why aren’t you Why aren’t you Why aren’t you free (Be like me)

Why don’t you have the speed To make you fast enough Why don’t you have the words To talk about sweet love

Why don’t you see me here Looking down the years Saying don’t you worry It’s just time you fear

Why don’t you Why don’t you Why don’t you need Why aren’t you Why aren’t you Why aren’t you free (Be like me)

Why don’t you Why don’t you Why don’t you need Why aren’t you Why aren’t you Why aren’t you free (Be like me)

Why don’t you Why don’t you Why don’t you need Why aren’t you Why aren’t you Why aren’t you free (Be like me) (Be like me) (Be like me)

Fun Facts: This is a song in the key of E minor. The guitars are all a bit jumbled up in this version although the ideas are largely right. There are also sometimes too many notes in the bass. The 'mystery chord' is F#m11/E - fret the A and G strings on the 9th fret, the D string on the 7th fret and let the three open strings ring out.

See also: https://www.wudrecords.co.uk/artists/dark-company/ https://www.wudrecords.co.uk/artists/dark-company/noir/ http://www.explicitmusic.co.uk/lyrics-information/dark-company/noir/dead-generation https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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Code Red by Dark Company Album: Noir

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex. Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2015 Wud Records. Copyright ℗ 2009 The Dark Brothers / Explicit Music.

Performers: PJ Speed - vocals Zak Black - guitars Maxx Damage - bass Sven Stiglund - drums

CODE RED I do like I do like I would for you Would you do the same for me? I didn’t lie when I said they’re here That they were plain was to see Just depends on the way you look Just depends on your mind They blend in with any crowd It’s all done by design

Well I do like I do like I could for you Could you do the same for me? I was told it was years ago Someone set them free But careful who you choose to tell Careful who you say it to They can find a knowing mind They’ll come with the psycho crew

I do like I do like I would for you Would you do the same for me? I do like I do like I would for you Would you do the same for me?

I do like I do like I would for you Would you do the same for me? I didn’t lie when I said they’re here That they were plain was to see Just depends on the way you look Just depends on your mind They blend in with any crowd It’s all done by design

Fun Facts: This is a song in the key of D minor. We shall be editing it down a bit as it is too long. Just about everything except the vocals is first take.

See also: https://www.wudrecords.co.uk/artists/dark-company/ https://www.wudrecords.co.uk/artists/dark-company/noir/ https://www.explicitmusic.co.uk/lyrics-information/dark-company/noir/code-red https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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Mainstream Man by Dark Company Album: Noir

Lyrics: P. Greatorex Music: G. Davies/P. Greatorex Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2015 Wud Records. Copyright ℗ 2009 The Dark Brothers / Explicit Music.

Performers: PJ Speed - vocals Zak Black - guitars Josh Reynes - keys Maxx Damage - bass Sven Stiglund - drums

MEAT GRINDER Every clock that you got Tells the time of the plot But your mirrors tell you nothing Every break that you make Shows they’re all on the take And you got to keep on running

Why do they do what they tell you to Why do you do it at all Why do you do what they tell you to You know you’re riding for a fall

Every ruler’s a fool That wants to trap you in school You’re left with the lies they feed you Then they get you a job And you believe it is God Telling you He really needs you

Why do they do what they tell you to Why do you do it at all Why do you do what they tell you to You know you’re riding for a fall

But the best joke of all When you find you’re on call Is you don’t know what you’re making Shiny things are your king And the money you bring Means they’re gonna go on taking

Why do they do what they tell you to Why do you do it at all Why do you do what they tell you to You know you’re riding for a fall

Why do they do what they tell you to Why do you do it at all Why do you do what they tell you to You know you’re riding for a fall

Fun Facts: Before Josh recorded his parts we drank tea and happened to hear some music by Goodstaff, in our Archives. Goodstaff may have therefore influenced how he played his parts. Pete wrote the lyrics about the terrible waste of life when a young person is indoctrinated to become a suicide bomber.

See also: https://www.wudrecords.co.uk/artists/dark-company/ https://www.wudrecords.co.uk/artists/dark-company/noir/ http://www.explicitmusic.co.uk/lyrics-information/dark-company/noir/meat-grinder https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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F B I by Dark Company Album: Noir

Lyrics: P. Greatorex Music: G. Davies/P. Greatorex Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2015 Wud Records. Copyright ℗ 2009 The Dark Brothers / Explicit Music.

Performers: PJ Speed - vocals, harmonica Zak Black - guitars Maxx Damage - bass Sven Stiglund - drums

F B I Something broke In the smoke I couldn’t see the people They were there But kinda bare Pricked out with a needle

Undercover man see what you can See the words spelt in the sand Undercover man Undercover man see what you can See the words spelt in the sand Undercover man

Some sorta switch There was a hitch And those I knew got doubled They got names That are the same But now they just spell trouble

Undercover man see what you can See the words spelt in the sand Undercover man Undercover man see what you can See the words spelt in the sand Undercover man

If you want more You can’t score But less then it’s real easy Blank the slate They will wait Then wring you like a squeezy

Undercover man see what you can See the words spelt in the sand Undercover man Undercover man see what you can See the words spelt in the sand Undercover man

Fun Facts: This is a song in the key of D minor.

See also: https://www.wudrecords.co.uk/artists/dark-company/ https://www.wudrecords.co.uk/artists/dark-company/noir/ http://www.explicitmusic.co.uk/lyrics-information/dark-company/noir/fbi https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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Mainstream Man by Dark Company Album: Noir

Lyrics: P. Greatorex Music: G. Davies/P. Greatorex Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2015 Wud Records. Copyright ℗ 2009 The Dark Brothers / Explicit Music.

Performers: PJ Speed - vocals Zak Black - guitars Maxx Damage - bass Sven Stiglund - drums

MAINSTREAM MAN I’m a psychic guru with a tinfoil hat But the trains are on time and I’m glad of that Down the tunnels there inside my head Run to the shuttles of the living dead Run to the shuttles of the living dead

I board up my windows with copper plate I gotta steel ceiling and a glass paperweight The rats are fixed with mini photo-cams So I can watch all across the land So I can watch all across the land

There’s sweet antennae up on my roof I can receive and I’ve got proof Aliens they’re landing in my yard Their embassy’s in a railroad car Their embassy’s in a railroad car

There’s saucers parked all over my lawn Neighbours don’t mind ‘cos they’re gone by dawn The bunco squad knows where I am And the repo men took ma red TransAm The repo men took ma red TransAm

I smoke dope to keep me straight Got my own rocket ship ‘cos I can’t wait I wanna go to my home in the sky They sent me here but I don’t know why They sent me here but I don’t know why

Fun Facts: Mainstream Man is in the key of B minor. Pete had the idea for the lyrics after watching the 1984 sci-fi movie directed by Alex Cox Repo Man. Zak makes a musical reference to the 1977 Spielberg movie Close Encounters of the Third Kind with a guitar motif. There's something about Zak's guitar that makes us think of Blue Oyster Cult and Buck Dharma. We managed to source a red TransAm for a photoshoot but sadly Pete passed away before we could make it happen.

See also: https://www.wudrecords.co.uk/artists/dark-company/ https://www.wudrecords.co.uk/artists/dark-company/noir/ http://www.explicitmusic.co.uk/lyrics-information/dark-company/noir/mainstream-man https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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Now or Never by Dark Company Album: Noir

Lyrics: P. Greatorex Music: G. Davies/P. Greatorex Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2015 Wud Records. Copyright ℗ 2009 The Dark Brothers / Explicit Music.

Performers: PJ Speed - vocals Zak Black - guitars Maxx Damage - bass Sven Stiglund - drums

NOW OR NEVER Empires of glass Skies of the fallen The sons of derision Come for you calling What will you give me What will you say How will you tell me It’s the end of the day

Pretty emotions Child of the times Who do you drift with With what do you rhyme What will you give me What will you say How will you tell me It’s the end of the day

Chattering pavements Rain on the tiles In the shop windows You look like a child How will you thank me How will you call Is it for ever Or never at all

Carpeted classrooms Money chalked signs Grafitti beckons And whispers the time How will you thank me How will you call Is it for ever Or never at all

Is it for ever Or never at all Is it for ever Or never at all Is it for ever Is it for ever Is it for ever Or never at all

Fun Facts: This is a song in the key of E minor. In this version there are four vocal measures to start, but that will be reduced to three when we work on this song. The rhythm guitars tell a wonderful tale. Zak plays Nicodemus for all the guitar parts. One cannot help but think of some of the wonderful early Blue Oyster Cult songs when hearing this.

See also: https://www.wudrecords.co.uk/artists/dark-company/ https://www.wudrecords.co.uk/artists/dark-company/noir/ http://www.explicitmusic.co.uk/lyrics-information/dark-company/noir/now-or-never https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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Mirror Mirror on the Wall by Dark Company Album: Noir

Lyrics: P. Greatorex Music: G. Davies/P. Greatorex Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2015 Wud Records. Copyright ℗ 2009 The Dark Brothers / Explicit Music.

Performers: PJ Speed - vocals Zak Black - guitars Barry Bridges - guitars Maxx Damage - bass Sven Stiglund - drums

MIRROR MIRROR ON THE WALL Is it fun, are you done Climbing up the wall Did you like the lightning strike That struck the pinball ball Is it so, do you glow Or merely radiate Are you sure there’s no more To illuminate your fate

Tell me you can hear me Tell me that I’m here ‘Cos when I look in the looking glass Nobody else is near Tell me you can hear me Tell me that I’m here ‘Cos when I look in the looking glass Nobody else is near

Give me strength to last the length Of the turning of the night Is it me or can it be I was woken by the light Call them all, the short the tall So they see themselves They will come, watch them run To sell reflective spells

Tell me you can hear me Tell me that I’m here ‘Cos when I look in the looking glass Nobody else is near Tell me you can hear me Tell me that I’m here ‘Cos when I look in the looking glass Nobody else is near

Monday’s come, I act dumb Doing what time clocks say I walk the walk, I talk the talk Keep my nose clean every day But Armageddon’s going to get on Everybody’s case Sailors ride the daily tide To the weekend that they chase

Tell me you can hear me Tell me that I’m here ‘Cos when I look in the looking glass Nobody else is near Tell me you can hear me Tell me that I’m here ‘Cos when I look in the looking glass Nobody else is near

Fun Facts: This is a song in the key of E minor. We tend to think that the lyrics are slightly related to Jigsaw, from the Alien Heat album.

See also: https://www.wudrecords.co.uk/artists/dark-company/ https://www.wudrecords.co.uk/artists/dark-company/noir/ http://www.explicitmusic.co.uk/lyrics-information/dark-company/noir/mirror-mirror-on-the-wall https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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Please Try Later by Dark Company Album: Noir

Lyrics: P. Greatorex Music: G. Davies/P. Greatorex Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2015 Wud Records. Copyright ℗ 2009 The Dark Brothers / Explicit Music.

Performers: PJ Speed - vocals Zak Black - guitars, backing vocals Josh Reynes - keys Maxx Damage - bass Sven Stiglund - drums

PLEASE TRY LATER It’s like a dream when you’re not there Just the sound of rushing air In the space where help should be Is the face you don’t always see If only we knew where the rough roads were If only we knew what mists we’d stir Then we’d know where to be Then we’d know where to be

Praying hands like fleshy glands Reaching for the sky God do this and God do that Never ask Him why No, never asking Never asking Never asking why

It’s like a TV with the sound turned off What looks hard is really soft In the queue for tomorrow’s show There are those that don’t wanna go You’d think we’d have learnt peace by now That we’d be happy ‘cos we know how Watching the brake lights glow Watching the brake lights glow

Praying hands like fleshy glands Reaching for the sky God do this and God do that Never ask Him why No, never asking Never asking Never asking why

It’s like the captain of a pirate ship You feel the Flying Dutchman’s grip As you sail your inner seas Love is there for free

But as you tack into the wind Sailing across the sea of sins You find the final freeze You find the final freeze

Praying hands like fleshy glands Reaching for the sky God do this and God do that Never ask Him why No, never asking Never asking Never asking why

Fun facts: This is a song on the key of A major. Some of the guitar chords sound a bit obscure and we plan to demystify them at some point in the future. Zak plays a particularly epic and lighter-igniting definitive solo. Josh's piano lines are equally as epic. There are one or two things that will be stripped back a little come the final version. Please Try Later is a song about a lasting friendship, maybe a bromance.

See also: https://www.wudrecords.co.uk/artists/dark-company/ http://www.wudrecords.co.uk/artists/dark-company/noir http://www.explicitmusic.co.uk/lyrics-information/dark-company/noir/please-try-later https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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Right by Dark Company Album: Noir

Lyrics: P. Greatorex Music: G. Davies/P. Greatorex Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2015 Wud Records. Copyright ℗ 2009 The Dark Brothers / Explicit Music.

Performers: PJ Speed - vocals Zak Black - guitars, backing vocals Josh Reynes - keys Maxx Damage - bass Sven Stiglund - drums

RIGHT You know what I want I want a special place Somewhere to go Where I can wear my face Where I don’t pretend To be someone else Where I don’t offend By being myself

You know what I want Oh yes you do Somewhere to stand Where there’s no one like you Because I am tired Of trying to be So straight not wired I want to be free

I dream of being told I’m good I dream of being understood I dream of living in the neon night I dream of being where I’m right

You know what I want I wanna place that’s best Somewhere laid back Away from the rest Where days are short And the nights are long And you can’t be bought With right or wrong

I dream of being told I’m good I dream of being understood I dream of living in the neon night I dream of being where I’m right I dream of being told I’m good I dream of being understood I dream of living in the neon night I dream of being where I’m right

You know what I want Sure I know you do Somewhere so sweet That is shiny new Where I fit in To a perfect view And I always win Ahead of the queue

I dream of being told I’m good I dream of being understood I dream of living in the neon night I dream of being where I’m right I dream of being told I’m good I dream of being understood I dream of living in the neon night I dream of being where I’m right

Fun facts: This is a song on the key of A minor. One tends to think of a child who wants so much to be seen as good, whose actions are approved, even though that might be a tough ask. Josh uses a couple of synths from DSK music: https://www.dskmusic.com/

See also: https://www.wudrecords.co.uk/artists/dark-company/ http://www.wudrecords.co.uk/artists/dark-company/noir http://www.explicitmusic.co.uk/lyrics-information/dark-company/noir/right https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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Sailor by Dark Company Album: Noir

Lyrics: P. Greatorex Music: G. Davies/P. Greatorex Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2015 Wud Records. Copyright ℗ 2009 The Dark Brothers / Explicit Music.

Performers: PJ Speed - vocals Zak Black - guitars Josh Reynes - keys Maxx Damage - bass Sven Stiglund - drums

SAILOR Crimson button’s glowlight strike Beneath the clouds we’re alright Start the ship turn the wheel Cleave the air in which we deal

Cryptic crosswinds catch the sails A lover’s touch that never fails Captain cutlass a pirate’s dream In stealing feelers shadows lean

Sailing on an inner sea What you are is what you’ll be Swimming in the world’s duress Drowning us in lies and stress Sailing on an inner sea What you are is what you’ll be Swimming in the world’s duress Drowning us in lies and stress Sailing on an inner sea What you are is what you’ll be Swimming in the world’s duress Drowning us in lies and stress

Diamond dolphins leap and sway Crested wave-tops gold and grey Curling lightships invert the sky Mirrored bright in moonlit eyes

Sawtooth martyrs in basking shoals Roll over bibles of night black coals Silver sextant breaking shells Steering courses on the edge of Hell

Sailing on an inner sea What you are is what you’ll be Swimming in the world’s duress Drowning us in lies and stress Sailing on an inner sea What you are is what you’ll be Swimming in the world’s duress Drowning us in lies and stress Sailing on an inner sea What you are is what you’ll be Swimming in the world’s duress Drowning us in lies and stress

Darkened triremes cross my dreams Rowed by many ghostly teams Splash and crash to reach the land Until they’re beached upon the sand

Storms imprint upon the sky They frighten those who don’t know why Boiling clouds of blue and black I can stop them coming back

Sailing on an inner sea What you are is what you’ll be Swimming in the world’s duress Drowning us in lies and stress Sailing on an inner sea What you are is what you’ll be Swimming in the world’s duress Drowning us in lies and stress Sailing on an inner sea What you are is what you’ll be Swimming in the world’s duress Drowning us in lies and stress

Fun facts: The most extraordinary thing about this version of this song is the bassline. Maxx only heard it once and recorded the whole thing first take. Those of us who were present were all stunned! What a magnificent player is Maxx the bass! Sailor is a song on the key of E minor with a phrygian vibe. This song is a follow-up to Ship to Shore, from the album Alien Heat. The guitar is tuned to DADGAD.

See also: https://www.wudrecords.co.uk/artists/dark-company/ http://www.wudrecords.co.uk/artists/dark-company/noir http://www.explicitmusic.co.uk/lyrics-information/dark-company/noir/sailor https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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Work In Progress / Demo

Those Like Us by Dark Company Album: Noir

Lyrics: P. Greatorex Music: G. Davies/P. Greatorex Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2015 Wud Records. Copyright ℗ 2009 The Dark Brothers / Explicit Music.

Performers: PJ Speed - vocals Zak Black - guitars Maxx Damage - bass Sven Stiglund - drums

THOSE LIKE US I look through cracks And see the attacks On all of us inside But there aren’t too many as one by one They were caught and tried They say justice came But what’s in a name Except that you’re a number We’re reeling from their silly jokes That we gotta get out from under

If you wait too long Then the moment’s gone You’re left there at the station You know cool trains they won’t linger on It’s no good being impatient It’s gonna get cold As the roof’s been sold Right from over your head They’ll take the building away brick by brick And say that’s what you said

But one day we’ll get The whole damn set And all will come back to you Then there we will stand hand in hand Telling you what’s old is new I look through cracks And see the attacks On all of us inside But there aren’t too many as one by one They were caught and tried

If you wait too long Then the moment’s gone You’re left there at the station You know cool trains they won’t linger on It’s no good being impatient It’s gonna get cold As the roof’s been sold Right from over your head They’ll take the building away brick by brick And say that’s what you said

They say justice came But what’s in a name Except that you’re a number We’re reeling from their silly jokes That we gotta get out from under But one day we’ll get The whole damn set And all will come back to you Then there we will stand hand in hand Telling you what’s old is new

If you wait too long Then the moment’s gone You’re left there at the station You know cool trains they won’t linger on It’s no good being impatient It’s gonna get cold As the roof’s been sold Right from over your head They’ll take the building away brick by brick And say that’s what you said

I got some thoughts That I bought Here inside my head I bought them from night creatures And the walking dead Well it’s too late To close the gate To stop the coming tide To weave some magic tricky spells And keep us here inside

If you wait too long Then the moment’s gone You’re left there at the station You know cool trains they won’t linger on It’s no good being impatient It’s gonna get cold As the roof’s been sold Right from over your head They’ll take the building away brick by brick And say that’s what you said

Fun facts: This is a song on the key of E minor. Dark Company wanted to make this song a bit longer than it originally was. In order to achieve that, the verses were mixed up the way they are. Pete then wrote the "I got some thoughts" verse.

See also: https://www.wudrecords.co.uk/artists/dark-company/ http://www.wudrecords.co.uk/artists/dark-company/noir https://www.explicitmusic.co.uk/lyrics-information/dark-company/noir/those-like-us https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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Work In Progress / Demo

Tilt by Dark Company Album: Noir

Lyrics: P. Greatorex Music: G. Davies/P. Greatorex Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2015 Wud Records. Copyright ℗ 2009 The Dark Brothers / Explicit Music.

Performers: PJ Speed - vocals Zak Black - guitars, backing vocals Josh Reynes - keys Maxx Damage - bass Sven Stiglund - drums

TILT When the scenery is painted greenery The sun’s a yellow crown Skip to the station I hear the nation Moving itself around And the noise of gears Of the passing years Each new hullabaloo And tiny tots pulling their cots Grab everything that’s new

When I see this when I see that When I reach for love When I take this when I take that I know I’ve had enough

When the finery is inside of me The circus is in town Park in the long stay Run to the take away Buy a face for the clown Then you’re looking to see Where you want to be In the happy snappy show And deacons reek of Christian chic Basking in the Holy glow

When I see this when I see that When I reach for love When I take this when I take that I know I’ve had enough When I see this when I see that When I reach for love When I take this when I take that I know I’ve had enough

Fun facts: This is a song on the key of F# minor. The chorus is in B minor. There are a lot of false harmonics in the guitar. Maxx plays the bass like the fretboard is very hot with all those lightning pull-offs.

See also: https://www.wudrecords.co.uk/artists/dark-company/ http://www.wudrecords.co.uk/artists/dark-company/noir https://www.explicitmusic.co.uk/lyrics-information/dark-company/noir/tilt https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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Work In Progress / Demo

Up West by Dark Company Album: Noir

Lyrics: P. Greatorex Music: G. Davies/P. Greatorex Recorded, engineered and mixed at Wud Records Studio One, Exeter.

Copyright © 2015 Wud Records. Copyright ℗ 2009 The Dark Brothers / Explicit Music.

Performers: PJ Speed - vocals Zak Black - guitars Maxx Damage - bass Sven Stiglund - drums

UP WEST Just another lightbulb licker Looking for a light Beating dusty wings on air Bumping round the night Just another silent thing Using up the dark Living out its short run life Feeling for a spark

I walk among looted roots I drink from rainy pools I lie looking at the sky And watch the dancing Fool I walk among looted roots I drink from rainy pools I lie looking at the sky And watch the dancing Fool

Just another lightbulb licker Looking for a flame Waving velvet eyes like fire It hasn’t got a name Dancing for the pale sweet moon Taking up the air Bouncing round the darkened leaves Moves without a care

I walk among looted roots I drink from rainy pools I lie looking at the sky And watch the dancing Fool I walk among looted roots I drink from rainy pools I lie looking at the sky And watch the dancing Fool

Just another lightbulb licker Reaching for the heat Body of smoke darkened rings Dines on insect meat Fluttering my dawn lost dreams Give me peace or go Loitering about the woods Many look like snow

I walk among looted roots I drink from rainy pools I lie looking at the sky And watch the dancing Fool I walk among looted roots I drink from rainy pools I lie looking at the sky And watch the dancing Fool

Fun facts: Up West gets its title from Londoners going out at the weekend. "Where are you going tonight?" "Up west." We also think it is a song about a moth. The key is A minor.

See also: https://www.wudrecords.co.uk/artists/dark-company/ http://www.wudrecords.co.uk/artists/dark-company/noir https://www.explicitmusic.co.uk/lyrics-information/dark-company/noir/up-west https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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Joe Right by Dark Company

Lyrics: P.Greatorex Music: G.Davies/P.Greatorex

Vocals: PJ Speed Guitars: Zak Black Bass: Maxx Damage Drums: Sven Stiglund

JOE RIGHT You say the grass is greener To me it looks just cleaner Must I have to say that you are right You buy your answers daily Before the light is fading You know you’re really gone and out of sight

You always got umbrella You always one dry fella Must I have to listen to your talk You pick the winning ticket No-one else can hit it You even got a special way to walk

Insurance is your temple You set some fine example Must I have to keep smiles from my face You save up for the summer You sure long distance runner But I don’t see no gravy on your plate

You’re so legal, you’re so honest You’re so good you are a tonic Must I have to hide my jokes and sins You never ever wonder You always so much stronger No feelings you don’t own do you let in

Copyright (c) Wud Records 2015, (p)Pig Pen Music 1989

http://www.wudrecords.co.uk/artists/dark-company/old-hands http://www.explicitmusic.co.uk/lyrics-information/dark-company/old-hands/joe-right twitter.com/#!/Dark_Company http://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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One-2-One by Dark Company

Lyrics: P.Greatorex Music: G.Davies/P.Greatorex/J.Willmot

Vocals: PJ Speed Synths, Programming: Josh Reynes, Sven Stiglund

ONE-2-ONE If I call you long distance Will you listen to me If I send you some telegram Will you make yourself free

Ah, ah, you’re so sneaky So clean that you’re squeaky Ah, ah, you’re so sneaky So clean that you’re squeaky

Will a registered letter Be read any quicker And if I send it ‘collect’ Is it something you’ll get

Ah, ah, you’re so sneaky So clean that you’re squeaky Ah, ah, you’re so sneaky So clean that you’re squeaky

Sent person-to-person Does it make you love and listen If I reach out and grab you Will I learn what is and isn’t

Sent person-to-person Does it make you love and listen If I reach out and grab you Will I learn what is and isn’t

Ah, ah, you’re so sneaky So clean that you’re squeaky Ah, ah, you’re so sneaky So clean that you’re squeaky

Sent person-to-person Does it make you love and listen If I reach out and grab you Will I learn what is and isn’t

Copyright (c) Wud Records 2015, (p)DGW Music 1993

http://www.wudrecords.co.uk/artists/dark-company/old-hands http://www.explicitmusic.co.uk/lyrics-information/dark-company/old-hands/one-2-one twitter.com/#!/Dark_Company http://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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Pale Rider by Dark Company

Lyrics: P.Greatorex Music: G.Davies/P.Greatorex

Vocals: PJ Speed Guitars: Zak Black Bass: Maxx Damage Drums: Sven Stiglund

PALE RIDER You’re standing in my time Cutting silence very fine Mouthing out the lost words I heard I heard I heard I heard I heard I heard I heard I heard

You’re getting oh so slow What you’ve got has got to go Everything is most absurd I heard I heard I heard I heard I heard I heard I heard I heard

Never leave you said before Yet you opened up the door You’re getting what you deserve I heard I heard I heard I heard I heard I heard I heard I heard

Lonely street you made for me Claiming that you’d set me free Losing out your precious nerve I heard I heard I heard I heard I heard I heard I heard I heard

Copyright (c) Wud Records 2015, (p)D & G Music 1991

http://www.wudrecords.co.uk/artists/dark-company/old-hands http://www.explicitmusic.co.uk/lyrics-information/dark-company/old-hands/pale-rider twitter.com/#!/Dark_Company http://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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Distant Dream by Dark Company

Lyrics: P.Greatorex Music: G.Davies/P.Greatorex

Vocals: PJ Speed Guitars: Zak Black Bass: Maxx Damage Drums: Sven Stiglund

DISTANT DREAM I know there is a window To see through space and time Glass framed oh so darkly Round skies of red, red wine

Tell me tomorrow About the dreams of yesterday Tell me tomorrow What is it that I say

Caught up in a mountain Thoughts of freezing snow Tales of war and wonder Legends of long ago

Tell me tomorrow About the dreams of yesterday Tell me tomorrow What is it that I say

Silence is not golden Without words of love Heartbreak is a city Where zero is too much

Tell me tomorrow About the dreams of yesterday Tell me tomorrow What is it that I say

Tell me tomorrow, tell me Tell me tomorrow, tell me Tell me tomorrow, tell me Tell me tomorrow What is it that I say

I know there is a window To see through space and time Glass framed oh so darkly Round your picture in my mind

Tell me tomorrow About the dreams of yesterday Tell me tomorrow What is it that I say

Copyright (c) Wud Records 2015, (p)D & G Music 1992

http://www.wudrecords.co.uk/artists/dark-company/old-hands http://www.explicitmusic.co.uk/lyrics-information/dark-company/old-hands/distant-dream twitter.com/#!/Dark_Company http://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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The Furniture (part 6: the cabinet) by The Bastard Sons of Dennis, from their album Cherry Smoke Empire.

The Furniture (Los Muebles) is a traditional northern Spanish sea shanty from the Asturias region.

It tells a tale of how a dysfunctional family of linguistically challenged fishermen lost and then found some furniture following a flood, and the consequences.

Linguistically challenged means, in this case, they were not terribly bright and could not even speak their own language very well.

The Spanish version has been loosely translated into English by The Bastard Sons of Dennis.

From an idea by Daniel Richardson.

This song and its anomalies of translation make a great teaching aid, if one happens to have students learning English or Spanish.

THE FURNITURE (PART 6: THE CABINET) Aha! El gabineta. El gabineta se ha utilizado almacanar pescados. El gabineta se ha utilizado almacanar pescados.

Ah, the cabinet! The cabinet has been used to store fish. The cabinet has been used to store fish.

E so es razonable. Eran abadejos? No.

That’s reasonable. Were there any haddock? No.

Donde esta mis oficina de los hermanos? Donde esta mis oficina de los hermanos?

Where is the bureau of my brother? Where is the bureau of my brother?

Music and lyrics: A. Richardson/G. Davies

Rhythm guitar and Spanish voices: Q.Wim Lijkkes Lead guitar and English voices: Yuri Nation

Originally released November 25, 2012 Recorded, engineered, mixed and mastered at Wud Records Studio One 2012.

Copyright © 2012 Wud Records. Copyright ℗ 2012 Explicit Music.

The full length version of The Furniture/Los Muebles is here: https://soundcloud.com/wud-records/the-bastard-sons-of-dennis-the-furniture-los-muebles https://wudrecords.bandcamp.com/track/the-furniture-los-muebles

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The Furniture (part 5: the bathtub) by The Bastard Sons of Dennis, from their album Cherry Smoke Empire.

The Furniture (Los Muebles) is a traditional northern Spanish sea shanty from the Asturias region.

It tells a tale of how a dysfunctional family of linguistically challenged fishermen lost and then found some furniture following a flood, and the consequences.

Linguistically challenged means, in this case, they were not terribly bright and could not even speak their own language very well.

The Spanish version has been loosely translated into English by The Bastard Sons of Dennis.

From an idea by Daniel Richardson.

This song and its anomalies of translation make a great teaching aid, if one happens to have students learning English or Spanish.

THE FURNITURE (PART 5: THE BATHTUB) Aha! La banera. Una morsa con una erupcion repugnante se esta recuperando en la banera. Una morsa con una erupcion repugnante se esta recuperando en la banera.

Aha, there's the bathtub! A walrus with a nasty rash is recovering in the bathtub. A walrus with a nasty rash is recovering in the bathtub.

Oh no, no otra vez.

Oh no, not again.

Donde esta mis gabineta de los hermanos? Donde esta mis gabineta de los hermanos?

Where is the cabinet of my brother? Where is the cabinet of my brother?

Music and lyrics: A. Richardson/G. Davies

Rhythm guitar, Spanish voices and ploppage: Q.Wim Lijkkes Lead guitar and English voices: Yuri Nation

Originally released November 25, 2012 Recorded, engineered, mixed and mastered at Wud Records Studio One 2012.

Copyright © 2012 Wud Records. Copyright ℗ 2012 Explicit Music.

The full length version of The Furniture/Los Muebles is here: https://soundcloud.com/wud-records/the-bastard-sons-of-dennis-the-furniture-los-muebles https://wudrecords.bandcamp.com/track/the-furniture-los-muebles

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The Furniture (part 4: the chair) by The Bastard Sons of Dennis, from their album Cherry Smoke Empire.

The Furniture (Los Muebles) is a traditional northern Spanish sea shanty from the Asturias region.

It tells a tale of how a dysfunctional family of linguistically challenged fishermen lost and then found some furniture following a flood, and the consequences.

Linguistically challenged means, in this case, they were not terribly bright and could not even speak their own language very well.

The Spanish version has been loosely translated into English by The Bastard Sons of Dennis.

From an idea by Daniel Richardson.

This song and its anomalies of translation make a great teaching aid, if one happens to have students learning English or Spanish.

THE FURNITURE (PART 4: THE CHAIR) Aha! La silla! Alguien fijo el fuego a la silla. Alguien fijo el fuego a la silla.

Ah, there's the chair! Somebody has set fire to the chair. Somebody has set fire to the chair.

Que se ardia cuando llegue... ¿Por qué usted no llamó al departamento de bomberos? Mi teléfono barato tiene solamente los números cero a ocho. Tire el otro que hace las campanas atar.

It was like that when I arrived... Why did you not call the Fire Brigade? My cheap phone only has the numbers zero to eight. Pull the other one, it has bells on.

¿Cómo llegaste a todos aquellos vinculados a la pierna? Bueno, no fue fácil y tardó algo más de una semana, pero lo logré al final, como se puede escuchar.

How did you manage to get all of those attached to your leg? Well, it wasn't easy and it took just over a week, but I managed it in the end, as you can hear.

Donde esta mis banera de los hermanos? Donde esta mis banera de los hermanos?

Where is the bathtub of my brother? Where is the bathtub of my brother?

Music and lyrics: A. Richardson/G. Davies

Rhythm guitar and Spanish voices: Q.Wim Lijkkes. Lead guitar and English voices: Yuri Nation. Surprised squeak: Kim Davies. Bells downloaded from various free online sound sample sources.

Originally released November 19, 2012. Recorded, engineered, mixed and mastered at Wud Records Studio One 2012.

Copyright © 2012 Wud Records. Copyright ℗ 2012 Explicit Music.

The full length version of The Furniture/Los Muebles is here: https://soundcloud.com/wud-records/the-bastard-sons-of-dennis-the-furniture-los-muebles https://wudrecords.bandcamp.com/track/the-furniture-los-muebles

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The Furniture (part 3: the table) by The Bastard Sons of Dennis, from their album Cherry Smoke Empire.

The Furniture (Los Muebles) is a traditional northern Spanish sea shanty from the Asturias region.

It tells a tale of how a dysfunctional family of linguistically challenged fishermen lost and then found some furniture following a flood, and the consequences.

Linguistically challenged means, in this case, they were not terribly bright and could not even speak their own language very well.

The Spanish version has been loosely translated into English by The Bastard Sons of Dennis.

From an idea by Daniel Richardson.

This song and its anomalies of translation make a great teaching aid, if one happens to have students learning English or Spanish.

THE FURNITURE (PART 3: THE TABLE) Aha! La table. La table ha sufriedo ponderosa mente en las manos de piratas. La table ha sufriedo ponderosa mente en las manos de piratas.

Ah, there's the table! (translation unclear)

Donde esta mis silla de los hermanos? Donde esta mis silla de los hermanos?

Where is the chair of my brother? Where is the chair of my brother?

Music and lyrics: A. Richardson/G. Davies

Rhythm guitar and Spanish voices: Q.Wim Lijkkes. Lead guitar and English voices: Yuri Nation.

Originally released November 11, 2012. Recorded, engineered, mixed and mastered at Wud Records Studio One 2012.

Copyright © 2012 Wud Records. Copyright ℗ 2012 Explicit Music.

The full length version of The Furniture/Los Muebles is here: https://soundcloud.com/wud-records/the-bastard-sons-of-dennis-the-furniture-los-muebles https://wudrecords.bandcamp.com/track/the-furniture-los-muebles

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The Furniture (part 2: the wardrobe) by The Bastard Sons of Dennis, from their album Cherry Smoke Empire.

The Furniture (Los Muebles) is a traditional northern Spanish sea shanty from the Asturias region.

It tells a tale of how a dysfunctional family of linguistically challenged fishermen lost and then found some furniture following a flood, and the consequences.

Linguistically challenged means, in this case, they were not terribly bright and could not even speak their own language very well.

The Spanish version has been loosely translated into English by The Bastard Sons of Dennis.

From an idea by Daniel Richardson.

This song and its anomalies of translation make a great teaching aid, if one happens to have students learning English or Spanish.

THE FURNITURE (PART 2: THE WARDROBE) Aha! La guaderropa! Pero el abuelo defecado en al guaderropa. Pero el abuelo defecado en al guaderropa. Como irrita.

Ah, there is the wardrobe! Grandfather has defecated in the wardrobe. Grandfather has defecated in the wardrobe. How irritating.

Donde esta mis tabla de los hermanos? Donde esta mis tabla de los hermanos?

Where is the table of my brother? Where is the table of my brother?

Music and lyrics: A. Richardson/G. Davies

Rhythm guitar and Spanish voices: Q.Wim Lijkkes. Lead guitar and English voices: Yuri Nation.

Originally released November 10, 2012. Recorded, engineered, mixed and mastered at Wud Records Studio One 2012.

Copyright © 2012 Wud Records. Copyright ℗ 2012 Explicit Music.

The full length version of The Furniture/Los Muebles is here: https://soundcloud.com/wud-records/the-bastard-sons-of-dennis-the-furniture-los-muebles https://wudrecords.bandcamp.com/track/the-furniture-los-muebles

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The Cruellest Dream by The Bastard Sons of Dennis, from their album Cherry Smoke Empire.

The Cruellest Dream is a beautiful, haunting, whimsical song which is performed solo on guitar and voice by Q. Wim Lijkkes. It is an old song that was recorded on 1st November 2012 in Studio One, and it was mixed and mastered on 2nd November 2012.

It first became a part of the repertoire of The Bastard Sons of Dennis during their early days in the sand dunes on Exmouth beach in the summer of 1994. Yuri was never quite able to fully understand or master the various temporal conundrums contained within and eventually abandoned the idea of being able to perform it with any degree of certainty.

As The Cruellest Dream is such a wonderful song, we all wanted to include it on this collection of recordings so that the fans of The Bastard Sons of Dennis could finally enjoy it as well. The Cruellest Dream was never performed live by our gruesome twosome.

The song is available for download from our shop at Bandcamp.

THE CRUELLEST DREAM Did you remember me that morning The things that I said As the sun crept up your body As you lay in your bed Well my feet barely touched the ground In the daylight the night time sound That enveloped my tired and weary head

Awakened by a sunrise a glow of delight And I knew that I had kissed you, I knew it felt right While I deciphered the way it seemed I had cried at the cruellest dreams And you enlightened my soul with mouth to mouth

While I followed you excited, I wasn't prepared For the energies created, the things that we shared I began to believe in you From the forests of love anew Comes the screaming of heart's desire released

But my symbols were distorted, your eyes held the truth Had I looked I would have noticed the sign of his hoof My invocation was part undone as I cried for the setting sun And the mother I held the love frowned down

Words and music by A. Richardson.

This recording is copyright © 2012 Wud Records. The intellectual property of this song is copyright ℗ 1993 Explicit Music.

Recorded, engineered, mixed and mastered at Wud Records Studio One. Artwork by Blueprint Studios.

Performed by Q.Wim Lijkkes on vocals and guitar.

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The Furniture (Los Muebles) by The Bastard Sons of Dennis.

This is a song in nine parts sung in both Spanish and English. The Furniture (Los Muebles) is a traditional northern Spanish sea shanty from the Asturias region. It tells a tale of how a dysfunctional family of linguistically challenged fishermen lost and then found some furniture following a flood, and the consequences.

Linguistically challenged means, in this case, they were not terribly bright and could not even speak their own language very well.

The Spanish version has been loosely translated into English by The Bastard Sons of Dennis.

From an idea by Daniel Richardson.

This song and its anomalies of translation make a great teaching aid, if one happens to have students learning English or Spanish. If you do, and you happen to use this track as a teaching aid, do please let us know how your lesson went and what you did! :)

A complete set of lyrics are available here: https://www.explicitmusic.co.uk/lyrics-information/the-bastard-sons-of-dennis/cherry-smoke-empire/furniture-los-muebles

You can download the song from Bandcamp here: https://wudrecords.bandcamp.com/track/the-furniture-los-muebles

Music and lyrics: A. Richardson/G. Davies.

Rhythm guitar and Spanish voices: Q. Wim Lijkkes Lead guitar and English voices: Yuri Nation

Recorded, engineered, mixed and mastered at Wud Records Studio One 2012.

Copyright © Wud Records 2012. Copyright ℗ Explicit Music 2012.

Originally released as part of the Cherry Smoke Empire album by by The Bastard Sons of Dennis 31/10/2102.

Compiled and released as a separate single 22/01/2017.

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Laughing Sun Live in Session Autumn 1985 came from a cassette of Laughing Sun recorded sometime before performing their first ever show at Exeter College. It was recorded at Cowick Lane in Exeter.

Numerous musicians deserve a mention for their part in the makings of this. Simon sings and plays guitar, Marc plays bass and bongos, Graham plays bongos and bass, George plays guitar and fur drum, Cliff plays guitar and Senga sings. Thanks also to Dave, Suzy and Peter.

There are all manner of curiosities taking place between as well as during the songs. There is blapping in places.

This differs from the standard collection because of the inclusion of all of the extras. These includes the moments of gribulage that take place when songs finish and before the next one starts.

It also includes the recordings that were unmarked on the cassette. The Thing is a composition by Graham that is being jammed. It may in fact have some completely different name, although we are not sure what that might be as of this moment.

Performers: Pok - vocals, guitar George Davies - guitar, vocals, bass, percussion Marc Greatorex - bass, percussion Graham Barbe - percussion, bass Senga Steel - vocals Cliff Smith - lead guitar

Also present - Suzie, Dave the Parrot.

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Laughing Sun Live in Session Autumn 1985 came from a cassette of Laughing Sun recorded sometime before performing their first ever show at Exeter College. It was recorded at Cowick Lane in Exeter.

Numerous musicians deserve a mention for their part in the makings of this. Simon sings and plays guitar, Marc plays bass and bongos, Graham plays bongos and bass, George plays guitar and fur drum, Cliff plays guitar and Senga sings. Thanks also to Dave, Suzy and Peter.

There are all manner of curiosities taking place between as well as during the songs. There is blapping in places.

This differs from the standard collection because of the inclusion of all of the extras. These includes the moments of gribulage that take place when songs finish and before the next one starts.

It also includes the recordings that were unmarked on the cassette. The Thing is a composition by Graham that is being jammed. It may in fact have some completely different name, although we are not sure what that might be as of this moment.

Performers: Pok - vocals, guitar George Davies - guitar, vocals, bass, percussion Marc Greatorex - bass, percussion Graham Barbe - percussion, bass Senga Steel - vocals Cliff Smith - lead guitar

Also present - Suzie, Dave the Parrot.

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Laughing Sun Live in Session Autumn 1985 came from a cassette of Laughing Sun recorded sometime before performing their first ever show at Exeter College. It was recorded at Cowick Lane in Exeter.

Numerous musicians deserve a mention for their part in the makings of this. Simon sings and plays guitar, Marc plays bass and bongos, Graham plays bongos and bass, George plays guitar and fur drum, Cliff plays guitar and Senga sings. Thanks also to Dave, Suzy and Peter.

There are all manner of curiosities taking place between as well as during the songs. There is blapping in places.

This differs from the standard collection because of the inclusion of all of the extras. These includes the moments of gribulage that take place when songs finish and before the next one starts.

It also includes the recordings that were unmarked on the cassette. The Thing is a composition by Graham that is being jammed. It may in fact have some completely different name, although we are not sure what that might be as of this moment.

Performers: Pok - vocals, guitar George Davies - guitar, vocals, bass, percussion Marc Greatorex - bass, percussion Graham Barbe - percussion, bass Senga Steel - vocals Cliff Smith - lead guitar

Also present - Suzie, Dave the Parrot.

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Laughing Sun Live in Session Autumn 1985 came from a cassette of Laughing Sun recorded sometime before performing their first ever show at Exeter College. It was recorded at Cowick Lane in Exeter.

Numerous musicians deserve a mention for their part in the makings of this. Simon sings and plays guitar, Marc plays bass and bongos, Graham plays bongos and bass, George plays guitar and fur drum, Cliff plays guitar and Senga sings. Thanks also to Dave, Suzy and Peter.

There are all manner of curiosities taking place between as well as during the songs. There is blapping in places.

This differs from the standard collection because of the inclusion of all of the extras. These includes the moments of gribulage that take place when songs finish and before the next one starts.

It also includes the recordings that were unmarked on the cassette. The Thing is a composition by Graham that is being jammed. It may in fact have some completely different name, although we are not sure what that might be as of this moment.

Performers: Pok - vocals, guitar George Davies - guitar, vocals, bass, percussion Marc Greatorex - bass, percussion Graham Barbe - percussion, bass Senga Steel - vocals Cliff Smith - lead guitar

Also present - Suzie, Dave the Parrot.

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Laughing Sun Live in Session Autumn 1985 came from a cassette of Laughing Sun recorded sometime before performing their first ever show at Exeter College. It was recorded at Cowick Lane in Exeter.

Numerous musicians deserve a mention for their part in the makings of this. Simon sings and plays guitar, Marc plays bass and bongos, Graham plays bongos and bass, George plays guitar and fur drum, Cliff plays guitar and Senga sings. Thanks also to Dave, Suzy and Peter.

There are all manner of curiosities taking place between as well as during the songs. There is blapping in places.

This differs from the standard collection because of the inclusion of all of the extras. These includes the moments of gribulage that take place when songs finish and before the next one starts.

It also includes the recordings that were unmarked on the cassette. The Thing is a composition by Graham that is being jammed. It may in fact have some completely different name, although we are not sure what that might be as of this moment.

Performers: Pok - vocals, guitar George Davies - guitar, vocals, bass, percussion Marc Greatorex - bass, percussion Graham Barbe - percussion, bass Senga Steel - vocals Cliff Smith - lead guitar

Also present - Suzie, Dave the Parrot.

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Laughing Sun Live in Session Autumn 1985 came from a cassette of Laughing Sun recorded sometime before performing their first ever show at Exeter College. It was recorded at Cowick Lane in Exeter.

Numerous musicians deserve a mention for their part in the makings of this. Simon sings and plays guitar, Marc plays bass and bongos, Graham plays bongos and bass, George plays guitar and fur drum, Cliff plays guitar and Senga sings. Thanks also to Dave, Suzy and Peter.

There are all manner of curiosities taking place between as well as during the songs. There is blapping in places.

This differs from the standard collection because of the inclusion of all of the extras. These includes the moments of gribulage that take place when songs finish and before the next one starts.

It also includes the recordings that were unmarked on the cassette. The Thing is a composition by Graham that is being jammed. It may in fact have some completely different name, although we are not sure what that might be as of this moment.

Performers: Pok - vocals, guitar George Davies - guitar, vocals, bass, percussion Marc Greatorex - bass, percussion Graham Barbe - percussion, bass Senga Steel - vocals Cliff Smith - lead guitar

Also present - Suzie, Dave the Parrot.

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Laughing Sun Live in Session Autumn 1985 came from a cassette of Laughing Sun recorded sometime before performing their first ever show at Exeter College. It was recorded at Cowick Lane in Exeter.

Numerous musicians deserve a mention for their part in the makings of this. Simon sings and plays guitar, Marc plays bass and bongos, Graham plays bongos and bass, George plays guitar and fur drum, Cliff plays guitar and Senga sings. Thanks also to Dave, Suzy and Peter.

There are all manner of curiosities taking place between as well as during the songs. There is blapping in places.

This differs from the standard collection because of the inclusion of all of the extras. These includes the moments of gribulage that take place when songs finish and before the next one starts.

It also includes the recordings that were unmarked on the cassette. The Thing is a composition by Graham that is being jammed. It may in fact have some completely different name, although we are not sure what that might be as of this moment.

Performers: Pok - vocals, guitar George Davies - guitar, vocals, bass, percussion Marc Greatorex - bass, percussion Graham Barbe - percussion, bass Senga Steel - vocals Cliff Smith - lead guitar

Also present - Suzie, Dave the Parrot.

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Laughing Sun Live in Session Autumn 1985 came from a cassette of Laughing Sun recorded sometime before performing their first ever show at Exeter College. It was recorded at Cowick Lane in Exeter.

Numerous musicians deserve a mention for their part in the makings of this. Simon sings and plays guitar, Marc plays bass and bongos, Graham plays bongos and bass, George plays guitar and fur drum, Cliff plays guitar and Senga sings. Thanks also to Dave, Suzy and Peter.

There are all manner of curiosities taking place between as well as during the songs. There is blapping in places.

This differs from the standard collection because of the inclusion of all of the extras. These includes the moments of gribulage that take place when songs finish and before the next one starts.

It also includes the recordings that were unmarked on the cassette. The Thing is a composition by Graham that is being jammed. It may in fact have some completely different name, although we are not sure what that might be as of this moment.

Performers: Pok - vocals, guitar George Davies - guitar, vocals, bass, percussion Marc Greatorex - bass, percussion Graham Barbe - percussion, bass Senga Steel - vocals Cliff Smith - lead guitar

Also present - Suzie, Dave the Parrot.

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Laughing Sun Live in Session Autumn 1985 came from a cassette of Laughing Sun recorded sometime before performing their first ever show at Exeter College. It was recorded at Cowick Lane in Exeter.

Numerous musicians deserve a mention for their part in the makings of this. Simon sings and plays guitar, Marc plays bass and bongos, Graham plays bongos and bass, George plays guitar and fur drum, Cliff plays guitar and Senga sings. Thanks also to Dave, Suzy and Peter.

There are all manner of curiosities taking place between as well as during the songs. There is blapping in places.

This differs from the standard collection because of the inclusion of all of the extras. These includes the moments of gribulage that take place when songs finish and before the next one starts.

It also includes the recordings that were unmarked on the cassette. The Thing is a composition by Graham that is being jammed. It may in fact have some completely different name, although we are not sure what that might be as of this moment.

Performers: Pok - vocals, guitar George Davies - guitar, vocals, bass, percussion Marc Greatorex - bass, percussion Graham Barbe - percussion, bass Senga Steel - vocals Cliff Smith - lead guitar

Also present - Suzie, Dave the Parrot.

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Laughing Sun Live in Session Autumn 1985 came from a cassette of Laughing Sun recorded sometime before performing their first ever show at Exeter College. It was recorded at Cowick Lane in Exeter.

Numerous musicians deserve a mention for their part in the makings of this. Simon sings and plays guitar, Marc plays bass and bongos, Graham plays bongos and bass, George plays guitar and fur drum, Cliff plays guitar and Senga sings. Thanks also to Dave, Suzy and Peter.

There are all manner of curiosities taking place between as well as during the songs. There is blapping in places.

This differs from the standard collection because of the inclusion of all of the extras. These includes the moments of gribulage that take place when songs finish and before the next one starts.

It also includes the recordings that were unmarked on the cassette. The Thing is a composition by Graham that is being jammed. It may in fact have some completely different name, although we are not sure what that might be as of this moment.

Performers: Pok - vocals, guitar George Davies - guitar, vocals, bass, percussion Marc Greatorex - bass, percussion Graham Barbe - percussion, bass Senga Steel - vocals Cliff Smith - lead guitar

Also present - Suzie, Dave the Parrot.

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Laughing Sun Live in Session Autumn 1985 came from a cassette of Laughing Sun recorded sometime before performing their first ever show at Exeter College. It was recorded at Cowick Lane in Exeter.

Numerous musicians deserve a mention for their part in the makings of this. Simon sings and plays guitar, Marc plays bass and bongos, Graham plays bongos and bass, George plays guitar and fur drum, Cliff plays guitar and Senga sings. Thanks also to Dave, Suzy and Peter.

There are all manner of curiosities taking place between as well as during the songs. There is blapping in places.

This differs from the standard collection because of the inclusion of all of the extras. These includes the moments of gribulage that take place when songs finish and before the next one starts.

It also includes the recordings that were unmarked on the cassette. The Thing is a composition by Graham that is being jammed. It may in fact have some completely different name, although we are not sure what that might be as of this moment.

Performers: Pok - vocals, guitar George Davies - guitar, vocals, bass, percussion Marc Greatorex - bass, percussion Graham Barbe - percussion, bass Senga Steel - vocals Cliff Smith - lead guitar

Also present - Suzie, Dave the Parrot.

View Details

Laughing Sun Live in Session Autumn 1985 came from a cassette of Laughing Sun recorded sometime before performing their first ever show at Exeter College. It was recorded at Cowick Lane in Exeter.

Numerous musicians deserve a mention for their part in the makings of this. Simon sings and plays guitar, Marc plays bass and bongos, Graham plays bongos and bass, George plays guitar and fur drum, Cliff plays guitar and Senga sings. Thanks also to Dave, Suzy and Peter.

There are all manner of curiosities taking place between as well as during the songs. There is blapping in places.

This differs from the standard collection because of the inclusion of all of the extras. These includes the moments of gribulage that take place when songs finish and before the next one starts.

It also includes the recordings that were unmarked on the cassette. The Thing is a composition by Graham that is being jammed. It may in fact have some completely different name, although we are not sure what that might be as of this moment.

Performers: Pok - vocals, guitar George Davies - guitar, vocals, bass, percussion Marc Greatorex - bass, percussion Graham Barbe - percussion, bass Senga Steel - vocals Cliff Smith - lead guitar

Also present - Suzie, Dave the Parrot.

View Details

Laughing Sun Live in Session Autumn 1985 came from a cassette of Laughing Sun recorded sometime before performing their first ever show at Exeter College. It was recorded at Cowick Lane in Exeter.

Numerous musicians deserve a mention for their part in the makings of this. Simon sings and plays guitar, Marc plays bass and bongos, Graham plays bongos and bass, George plays guitar and fur drum, Cliff plays guitar and Senga sings. Thanks also to Dave, Suzy and Peter.

There are all manner of curiosities taking place between as well as during the songs. There is blapping in places.

This differs from the standard collection because of the inclusion of all of the extras. These includes the moments of gribulage that take place when songs finish and before the next one starts.

It also includes the recordings that were unmarked on the cassette. The Thing is a composition by Graham that is being jammed. It may in fact have some completely different name, although we are not sure what that might be as of this moment.

Performers: Pok - vocals, guitar George Davies - guitar, vocals, bass, percussion Marc Greatorex - bass, percussion Graham Barbe - percussion, bass Senga Steel - vocals Cliff Smith - lead guitar

Also present - Suzie, Dave the Parrot.

View Details

Laughing Sun Live in Session Autumn 1985 came from a cassette of Laughing Sun recorded sometime before performing their first ever show at Exeter College. It was recorded at Cowick Lane in Exeter.

Numerous musicians deserve a mention for their part in the makings of this. Simon sings and plays guitar, Marc plays bass and bongos, Graham plays bongos and bass, George plays guitar and fur drum, Cliff plays guitar and Senga sings. Thanks also to Dave, Suzy and Peter.

There are all manner of curiosities taking place between as well as during the songs. There is blapping in places.

This differs from the standard collection because of the inclusion of all of the extras. These includes the moments of gribulage that take place when songs finish and before the next one starts.

It also includes the recordings that were unmarked on the cassette. The Thing is a composition by Graham that is being jammed. It may in fact have some completely different name, although we are not sure what that might be as of this moment.

Performers: Pok - vocals, guitar George Davies - guitar, vocals, bass, percussion Marc Greatorex - bass, percussion Graham Barbe - percussion, bass Senga Steel - vocals Cliff Smith - lead guitar

Also present - Suzie, Dave the Parrot.

View Details

Laughing Sun Live in Session Autumn 1985 came from a cassette of Laughing Sun recorded sometime before performing their first ever show at Exeter College. It was recorded at Cowick Lane in Exeter.

Numerous musicians deserve a mention for their part in the makings of this. Simon sings and plays guitar, Marc plays bass and bongos, Graham plays bongos and bass, George plays guitar and fur drum, Cliff plays guitar and Senga sings. Thanks also to Dave, Suzy and Peter.

There are all manner of curiosities taking place between as well as during the songs. There is blapping in places.

This differs from the standard collection because of the inclusion of all of the extras. These includes the moments of gribulage that take place when songs finish and before the next one starts.

It also includes the recordings that were unmarked on the cassette. The Thing is a composition by Graham that is being jammed. It may in fact have some completely different name, although we are not sure what that might be as of this moment.

Performers: Pok - vocals, guitar George Davies - guitar, vocals, bass, percussion Marc Greatorex - bass, percussion Graham Barbe - percussion, bass Senga Steel - vocals Cliff Smith - lead guitar

Also present - Suzie, Dave the Parrot.

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Smile by The Bastard Sons of Dennis, from their album Cherry Smoke Empire.

Smile was one of the earliest Bastard Sons of Dennis songs, first coming to light in their sand dune sessions on Exmouth beach in the summer of 1994 and was first performed live at The Cavern in Exeter that same summer.

The song originally appeared on the 1992 Levitation album Need For Not, released by Rough Trade. Terry Bickers of the band Levitation and Q.Wim were at university together and collaborated on a number of musical delights, including this.

Yuri was completely unaware of the band Levitation and created his own lead guitar parts independently having never heard the original recording until this track was about to be released.

In their one-off spontaneous 1998 session, the Bastard Sons of Dennis played Smile again, with Scott on balalaika providing the high ostinato and Yuri on bass.

There are three consecutive guitar solos towards the end of the song, capturing the way the duo performed it live. Yuri takes the first and third solos and Q the middle one.

SMILE Smile, for the experience is here Smile Wash away your tears today, smile

And if you find time And if you find time Smile

I pick up all the pieces that I left lying around I cast them to the wind, yeah There is no sound Instinct, revelation Your life starts here And how many tomorrows can I see

In the cauldron of worn ideas How many might follow this lost feeling Instincts, revelation Your life stops here And how many tomorrows can you see

I pick up all the pieces that I left lying around I cast them to the wind, yeah There is no sound Instincts, revelation Your life starts here And how many tomorrows can I see

Smile Smile Smile

So let me take you there They're going to strip you bare

Smile, for the experience is here Smile And if you find time And if you find time Smile

I pick up all the pieces that I left lying around I've cast them to the wind, yeah There is no sound Instinct, revelation Your life starts here And how many tomorrows can I see

Smile Smile Smile

So let me take you there They're going to strip you bare

Smile, for the experience is here Smile Wash away your fears today, smile

And if you find time If you find time Smile

I pick up all the pieces that I left lying around I've cast them to the wind, yeah There is no sound Instinct, revelation Your life starts here And how many tomorrows can I see

I pick up all the pieces that I left Pick up all the pieces that I left I pick up all the pieces that I left lying around I've cast them to the wind, yeah There is no sound

Words and music by T. Bickers/A. Richardson. This arrangement by The Bastard Sons of Dennis.

This recording is copyright © 2011 Wud Records. The intellectual property of this song is copyright ℗ 1992 Rough Trade Recordings Ltd.

Recorded, engineered, mixed and mastered at Wud Records Studio One. Artwork by Blueprint Studios.

Performers: Q.Wim Lijkkes - vocals, guitar Yuri Nation - guitar

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Sometimes by The Bastard Sons of Dennis, from their album Cherry Smoke Empire.

Sometimes was one of the earliest Bastard Sons of Dennis songs, first coming to light in their sand dune sessions on Exmouth beach in the summer of 1994. Sometimes was first performed live by the duo at The Cavern in Exeter that same summer.

The song originally appeared on the 1992 Levitation album Need For Not, released by Rough Trade. Terry Bickers of the band Levitation and Q.Wim were at university together and collaborated on a number of musical delights, including this.

Yuri was completely unaware of the band Levitation and created his own lead guitar parts independently having never heard the original recording until this track was about to be released.

In their one-off spontaneous 1998 session, the Bastard Sons of Dennis played Sometimes again, with Scott on balalaika and Yuri on bass.

Mr Lijkkes tells a short ad lib tale at the start of this song that is different every time. Usually it is a rather dark-humoured and grizzly tale about Spiderlings.

Sometimes is called Resist on Levitation's Need For Not album.

This track was recorded before Yuri's battered old guitar was repaired. The slight distortion you hear on his guitar is actually the way the instrument sounded, with an assortment of rattles at the nut end, rather than a level that was too hot.

SOMETIMES Read it young and so it spun A web of madness on my screen Expressions led me to a place It's not the world I'd intended to be in Sometimes I feel like everyone knows

People believe in your lies People believe in all our our lies

And who we are the Fates did ask Can't believe the sentence passed Sometimes I feel like everyone knows Sometimes I feel like everyone knows

People believe in your lies People believe in all our lies

Read it young and so it spun A web of madness on my screen Expressions led me to a place It's not the world I'd intended to be in Sometimes I feel like everyone knows

People believe in all our our lies People believe in my lies

Sometimes... I feel like everyone knows Sometimes... I feel like everyone knows Sometimes... I feel like everyone knows Sometimes... I feel like everyone knows

Words and music by T. Bickers/A. Richardson. This arrangement by The Bastard Sons of Dennis.

This recording is copyright © 2011 Wud Records. The intellectual property of this song is copyright ℗ 1992 Rough Trade Recordings Ltd.

Recorded, engineered, mixed and mastered at Wud Records Studio One. Artwork by Blueprint Studios.

Performers: Q.Wim Lijkkes - vocals, guitar Yuri Nation - guitar, vocals

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Losing Feeling by The Bastard Sons of Dennis, from their album Cherry Smoke Empire.

!! Beware !! Strong language !!

Losing Feeling is not what it may seem at first. Everything starts out quite gently and pleasantly, and then in the third verse an overwhelming quantity of entropy begins to become manifest, as the 'feeling' becomes well and truly 'lost'. The song ends in disharmony and apparent chaos. Beware of carpets that are suddenly yanked from under one's feet!

LOSING FEELING So I lost that feeling I don’t know what I can do now Losing feeling I don’t know what I could have done To stop me feeling I’m losing the feeling I love I don’t even know your name It’s backwards and forwards the same I’m falling backwards again

And so I Lost that feeling I don’t know what I could have done Losing feeling I don’t know what I can do now To stop me feeling I’m losing the feeling I love You don’t even know my name It’s backwards and forward the same And I’m falling backwards again

Why don’t you get over yourself There’s not enough hours in the day Why don’t you get over yourself Leaving the last words unsaid There’s simply a hole in your heart Try to let somebody in

And so I got to thinking I’d better go home instead Have a wank and some biscuits And then I’ll get pissed with my friends And we’ll talk of Eastenders And who won X-Factor in the end You don’t even know my name It’s backwards and forwards the same And I’m falling backwards again

Words by A. Richardson. Music by A. Richardson/G. Davies.

This recording is copyright © 2010 Wud Records. The intellectual property of this song is copyright ℗ 2010 Explicit Music.

Recorded, engineered, mixed and mastered at Wud Records Studio One. Artwork by Blueprint Studios.

Performers: Q.Wim Lijkkes - vocals, guitar Yuri Nation - guitar, vocals

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Born by Alchemeon, from Alchemeon Live In Session Spring 2009.

• Born is in the key of E minor.
• It was first performed by Laughing Sun in 1985.
• There are many changes of tempo throughout, some subtle, some not.
• One of the changes that Jim introduced was replacing two of the B minors with G majors during the main ascending theme.
• The main ascending theme is ten bars long, four measures of 2.5 bars.
• Pok plays Marsha, a pale gold 1985 Ibanez Roadstar II.

BORN Can she see? Will she be? Saintly lady by the water Faintly fiery fisher’s daughter

And you see nothing is as it is Nothing is as it ought to be And you see it’s back to where we began Back so far you’re out in front again…

It’s time.

Born – you were meant to be Born – into the family Born – we were meant to be Born – into the family

Words and music by Simon Miller. This arrangement by S. Miller/G. Davies/J. Peters/Iggy.

Performers: Pok the Bard – guitar and voice Jim Iz – keys and voice Iggy – drums and percussion George – bass and technicals

This version recorded live at Sound Gallery, Exeter, 23rd February 2009. Cassette salvage and remastering at Wud Records Studio One, 2020.

Released worldwide September 14, 2020. Original release date: 10th April 2009.

Copyright © 2020 Wud Records. Copyright ℗ 1985 Pok Songs/Explicit Music.

See also: https://www.wudrecords.co.uk/artists/alchemeon/ https://www.explicitmusic.co.uk/lyrics-information/alchemeon/alchemeon-lyrics/born https://wudrecords.bandcamp.com/album/live-in-session-spring-2009 https://wudrecords.bandcamp.com/album/live-in-session-winter-2008-09 https://twitter.com/WudRecords

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Alchemeon Out-Takes

A great many movies have a section for out-takes at the end. Very few albums of music have similar such moments of comedy. Why is this? Musicians are not really gods, just mere mortals like you and me. They all make mistakes at times. Trust us, we’ve heard them!

We all thought it might be fun to share some of the more untriumphant moments of Alchemeon’s blortings with you for comedy reasons. Enjoy!

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Alchemeon Out-Takes

A great many movies have a section for out-takes at the end. Very few albums of music have similar such moments of comedy. Why is this? Musicians are not really gods, just mere mortals like you and me. They all make mistakes at times. Trust us, we’ve heard them!

We all thought it might be fun to share some of the more untriumphant moments of Alchemeon’s blortings with you for comedy reasons. Enjoy!

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Alchemeon Out-Takes

A great many movies have a section for out-takes at the end. Very few albums of music have similar such moments of comedy. Why is this? Musicians are not really gods, just mere mortals like you and me. They all make mistakes at times. Trust us, we’ve heard them!

We all thought it might be fun to share some of the more untriumphant moments of Alchemeon’s blortings with you for comedy reasons. Enjoy!

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Alchemeon Out-Takes

A great many movies have a section for out-takes at the end. Very few albums of music have similar such moments of comedy. Why is this? Musicians are not really gods, just mere mortals like you and me. They all make mistakes at times. Trust us, we’ve heard them!

We all thought it might be fun to share some of the more untriumphant moments of Alchemeon’s blortings with you for comedy reasons. Enjoy!

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Alchemeon Out-Takes

A great many movies have a section for out-takes at the end. Very few albums of music have similar such moments of comedy. Why is this? Musicians are not really gods, just mere mortals like you and me. They all make mistakes at times. Trust us, we’ve heard them!

We all thought it might be fun to share some of the more untriumphant moments of Alchemeon’s blortings with you for comedy reasons. Enjoy!

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It's A Blue Sky Don't Hold No Rain by Alchemeon, from Alchemeon Live In Session Winter 2008-09.

• It’s a Blue Sky Don’t Hold No Rain was one of the very first songs that Pok ever wrote.
• There are probably not many 17-year-olds who would write such a thoughtful lyric as this.
• Pok once described the song as being about “the loss by genocide of the native Americans and general early eco lament directive for that generation.”
• He also said that the original idea for it came from listening to Neil Young.
• The very first time we heard this was when it was played by Pok on a 12-string acoustic with only six strings, as he sat on a bench along a footpath in the dark in Honiton late one evening.
• Its first proper live performance was at the Sidmouth International Folk Festival in the summer of 1983.
• It’s a Blue Sky Don’t Hold No Rain has been performed by Laughing Sun and the Spacegoats previously to Alchemeon performing it and you can hear their versions at Bandcamp, SoundCloud and the Wud Records website.
• A studio version of it is in the works and will appear on Pok’s Anthology album when it is finished.
• One of the most definitve moments of the song are the three riffs that are repeated during the instrumental section.
• These can be heard as far back as Laughing Sun’s Cander recording, with Ken redoubtably bashing out the Em7 – A7 rhythm on the acoustic in the background.
• In earlier versions of the song these riffs were repeated four times each, but Alchemeon chose to repeat them only twice.
• It’s a Blue Sky Don’t Hold No Rain is in the key of E minor and begins and ends with a big glorious Em7 chord.
• The chords in the verses are Em7 – Am7 – C/G – B11#9.
• There is a rather wonderful key change in the “What have we done” section, which is C7 – D7 – Gm7 – D7 – Am – C/G – Em7.

IT’S A BLUE SKY DON’T HOLD NO RAIN We came across some bones of men Scattered in the rust So many good souls turned to dust Within their shattered husks And these people had worn jewels And their heads had been held high Speckled foreheads touched the sky Behold the sparkling in their eye

Don’t you know it’s a blue sky Don’t hold no rain Don’t hold your love in vain ‘Cos we’ve still got some loving to do

Some time ago the white man came Bringing bible books and swords Bound them up in twining cords In the name of their great lord They slew down the Aztec Inca Ibu Masai Now we hide in concrete lies So to my Mammon side I cry

What have we done To the Mother Goddess Gaia Why can’t we nestle in her Warm aching bosom

Now the world’s a spinning ball Two thirds with none to eat So while we chew our scrawny meat Can you hear those big bells beat?

What have we done To the Mother Goddess Gaia Why can’t we nestle in her Warm aching bosom

Words and music by Simon Miller. This arrangement by S. Miller/G. Davies/J. Peters/Iggy.

Performers: Pok the Bard – guitar and voice Jim Iz – keys and voice Iggy – drums and percussion George – bass and technicals

This version recorded live at Depot X, Exeter, 13th January 2009. Cassette salvage and remastering at Wud Records Studio One, 2018.

Cover illustration by Pok the Bard. Graphic design by Sam James.

Released August 23, 2018 Original release date: 15th January 2009

Copyright © 2018 Wud Records. Copyright ℗ 1983 Pok Songs/Explicit Music.

See also: https://www.wudrecords.co.uk/artists/alchemeon/ https://www.explicitmusic.co.uk/lyrics-information/alchemeon/alchemeon-lyrics/its-a-blue-sky-dont-hold-no-rain https://wudrecords.bandcamp.com/album/live-in-session-spring-2009 https://wudrecords.bandcamp.com/album/live-in-session-winter-2008-09 https://twitter.com/WudRecords

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The Centre of the Cyclone by Alchemeon, from Alchemeon Live In Session Winter 2008-09.

• The Centre of the Cyclone is more-or-less in the key of A major.
• There is a classic chord progression in the first verses, which is A - Em - G - Bm - D.
• This mutates into C - G - D - Am - Em - G.
• The final chord of the whole song is an Asus4, which leaves a giant tantalising question mark dangling in the air.
• The Centre of the Cyclone has several sections, each with a different tempo and texture.
• It was first performed live in 1985 by Laughing Sun in the drama studio at Exeter College during a free lunchtime concert given for the students.
• Jim used his amazing understanding of arrangement to take this wonderful song and make it longer and more elegant with the addition of a guitar solo before the vocals start.
• It seems more and more extraordinary that Pok wrote the lyrics for this when he was only 19.

THE CENTRE OF THE CYCLONE In forlorn castles too brief for living We rose to catch the sound but were defeated Just around the corner beyond the eyes Beyond the skies we set ourselves as real Like spaceships casting cosmic lines, left behind With stars strewn from our astral selves and planets in our eyes

You walk along the road of life too high to see The mountain you are climbing Casting seeds and scrolls from our outstretched hands The forgiven forget of the gift And it’s too late, the ladder stretches up and down And where do you stand in perspective to it all?

Can you imagine a place, a space that you have not been before But which is not new to you? A place you can recall softly, push through bad dreams Make it real, remember Complications contradict but reality sticks And unbounded has its realms In everything you see

Yes, what do you see? Push through the dark vales to the sea Cast your cosmic line wherever it may fall Maybe you will find some higher guidance there or Maybe you will find a place that you can truly rest Maybe you will find some friends who love you the best Listen Listen Listen

The tides of swirling memories Are nearly gone but forgotten Would you choose to beg or loose The axis which you hold onto Thirteen is the number, twelve it is the rite Thirteen red eyed ravens Outside the house at night

Outward, outward on out Cast light, cast light about Outward, outward on out Look out, which way is far out?

Petty wages are falling like leaves, calling the master To apprenticeship again Will he recall the time, the chime of freedom Blowing through his keyhole Step down from your pedestal and mingle once again With the crowds that you shunned as a youth

At the centre of the cyclone Where all our thoughts are real You’re cacooned in your mental egg Imprisoned inside your head

If we look out the bars we’ve made Can we maybe follow just a little way To see there are no shackles to pass Yet more fresh air, green fields and grass

And we are like the butterfly We can’t take off, our wings aren’t dry But soon if we shall heed the guides The caterpillar metamorphosise

Words and music by Simon Miller. This arrangement by S. Miller/G. Davies/J. Peters/Iggy.

Performers: Pok the Bard – guitar and voice Jim Iz – keys and voice Iggy – drums and percussion George – bass and technicals

This version recorded live at Depot X, Exeter, 13th January 2009. Cassette salvage and remastering at Wud Records Studio One, 2018.

Cover illustration by Pok the Bard. Graphic design by Sam James.

Released August 23, 2018 Original release date: 15th January 2009

Copyright © 2018 Wud Records. Copyright ℗ 1984 Pok Songs/Explicit Music.

See also: https://www.wudrecords.co.uk/artists/alchemeon/ https://www.explicitmusic.co.uk/lyrics-information/alchemeon/alchemeon-lyrics/the-centre-of-the-cyclone https://wudrecords.bandcamp.com/album/live-in-session-spring-2009 https://wudrecords.bandcamp.com/album/live-in-session-winter-2008-09 https://twitter.com/WudRecords

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Born by Alchemeon, from Alchemeon Live In Session Winter 2008-09.

• Born is in the key of E minor.
• It was first performed by Laughing Sun in 1985.
• There are many changes of tempo throughout, some subtle, some not.
• One of the changes that Jim introduced was replacing two of the B minors with G majors during the main ascending theme.
• The main ascending theme is ten bars long, four measures of 2.5 bars.
• This version has slightly mangled audio to start on the right hand side but it sorts itself out before long when the beats kick in.
• Pok plays Marsha, a pale gold 1985 Ibanez Roadstar II.

BORN Can she see? Will she be? Saintly lady by the water Faintly fiery fisher’s daughter

And you see nothing is as it is Nothing is as it ought to be And you see it’s back to where we began Back so far you’re out in front again…

It’s time.

Born – you were meant to be Born – into the family Born – we were meant to be Born – into the family

Words and music by Simon Miller. This arrangement by S. Miller/G. Davies/J. Peters/Iggy.

Performers: Pok the Bard – guitar and voice Jim Iz – keys and voice Iggy – drums and percussion George – bass and technicals

This version recorded live at Depot X, Exeter, 12th December 2008. Cassette salvage and remastering at Wud Records Studio One, 2018.

Cover illustration by Pok the Bard. Graphic design by Sam James.

Released August 23, 2018 Original release date: 15th January 2009

Copyright © 2018 Wud Records. Copyright ℗ 1985 Pok Songs/Explicit Music.

See also: https://www.wudrecords.co.uk/artists/alchemeon/ https://www.explicitmusic.co.uk/lyrics-information/alchemeon/alchemeon-lyrics/born https://wudrecords.bandcamp.com/album/live-in-session-spring-2009 https://wudrecords.bandcamp.com/album/live-in-session-winter-2008-09 https://twitter.com/WudRecords

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Born Of Stars by Alchemeon, from Alchemeon Live In Session Winter 2008-09.

The audio file for this song was plagued with hundreds, maybe thousands, of corrupted waves. These ranged in sound from a very big click at the small end of the scale, to something akin to trousers being ripped when bending over in a Carry On movie at the large end of the scale.

The audio file is now massively better than it was. A few blemishes and some sounds not unlike that of a scratchy old vinyl record still exist in places.

Repairing the damaged audio file for this song was an incredibly time-consuming and tedious task. It required massive amounts of the wave forms to be redrawn by hand in tiny, tiny detail.

The first time we attempted to repair it, the work was almost finished when the main hard drive on the mastering machine lost the will to live and mangled itself beyond all recognition. We had to buy a new one and completely reinstall the entire system.

All the repair work already done to Born of Stars was therefore utterly destroyed. It had to be done again from the start. Fortunately, as we are reasonably diligent with regard to backing up our work, no other files were lost.

This is why the Winter version of Born of Stars appeared two years after the rest of the album was released!

• Born of Stars is a highly rifftastic space rock song in the key of E.
• Several sections are deliberately left quite loose to allow for improvisation.
• The lyrics also tend to vary from one version to another.
• Born of Stars was performed by the Spacegoats, including in their brief “Electric Elves” manifestation.

BORN OF STARS We are born of stars We are born of stars We are born of stars We are born of stars

Om nam maya maitraya Om nam maya Om nam maya maitraya Om nam maya Gaia

We are seeds of time We are seeds of time You are a seed of time We are seeds of time

Om nam maya maitraya Om nam maya maitraya Om nam maya maitraya Om nam maya Gaia

Create a brighter future Create a brighter future We are a brighter future Create a brighter future

Om nam maya maitraya Om nam maya maitraya Om nam maya maitraya Om nam maya Gaia

Earth Planet Earth Planet Earth Our planet Terra Firma Has made a conscious decision A conscious, conscious decision To become whole To become one.

Entombed, cocooned In concrete, metal, plastic, tarmac Effluence of all kinds Chemicals, radiation and nuclear waste

Yet she shall break free She shall break free from this prison Free from these chains

Planet Earth is undergoing An evolutionary, interpersonal, galactical REBIRTH!!!

We are born of stars We are born of stars We are born of stars We are born of stars

Om nam maya maitraya Om nam maya maitraya Om nam maya maitraya Om nam maya maitraya

We are seeds of time We are seeds of time You are a seed of time We are seeds of… time!

Om nam maya maitraya Om nam maya maitraya Om nam maya maitraya Om nam maya Gaia

Create a brighter future Create a brighter future You are a brighter future Create a brighter future

Om nam maya maitraya Om nam maya maitraya Om nam maya maitraya Om nam maya Gaia

Words and music by Simon Miller/Pete Phoenix/Chrissie Ortner. This arrangement by S. Miller/G. Davies/J. Peters/Iggy.

Performers: Pok the Bard – guitar and voice Jim Iz – keys and voice Iggy – drums and percussion George – bass and technicals

This version recorded live at Depot X, Exeter, 17th December 2008. Cassette salvage and remastering at Wud Records Studio One, 2020.

Cover illustration by Pok. Graphic design by Sam James.

Released 27th July 2020 Original release date: 15th January 2009

Copyright © 2020 Wud Records. Copyright ℗ 1996 Pok Songs/Explicit Music.

See also: https://www.wudrecords.co.uk/artists/alchemeon/ https://www.explicitmusic.co.uk/lyrics-information/alchemeon/alchemeon-lyrics/born-of-stars https://wudrecords.bandcamp.com/album/live-in-session-spring-2009 https://wudrecords.bandcamp.com/album/live-in-session-winter-2008-09 https://twitter.com/WudRecords

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Castrol GTX a Go-Go by Alchemeon, from Alchemeon Live In Session Winter 2008-09.

Castrol GTX a Go-Go was composed by Pok in 1992 at George’s flat, opposite the Heavitree swimming baths and just a couple of doors downhill from The Emporium, a splendid old traditional second-hand hi-fi and vinyl shop in Exeter run by John John, who still to this day DJs a fabulous weekly progressive rock radio show on Phonic FM.

Amongst those present was the famous and acclaimed photographer Marcus Podilchuk. Pok said he would write a song for Marcus and sat on the floor with pen and paper. After some time, when he had finished, he sang this for all of us. We loved it!

“Is that really for me?” asked Marcus, slightly surprised.

“Actually, no,” replied Pok.

• Castrol GTX a Go-Go starts on an A major ands ends on a D minor.
• Simplified, the chord sequence for the verses is A – G# – Dm – Bb – A – Dm.
• Describing to Iggy how the beginning should be played, Jim said “Play some jokes! Play some musical jokes!”
• Children seem to love the whackiness of this wonderful song.
• Castrol GTX a Go-Go was first performed by the Spacegoats before Alchemeon started playing it.

CASTROL GTX A GO-GO We’re gonna juice you to the bone Feed the ogre faintly bold He’s grinding chrome

West is my kind of tree Feel till you’re opaque in the door Scooping up the gnomes from the floor

Blessed be the world For there is a dragon so deeply curled I’ll sing you a sweep of dreams Crown the day with night

I’m a matt-bam-bootle Ride away on my scooter I peel oranges now

Castrol GTX a go-go I’ll motor your mojo Brideshead’s eagle and a seagull Home again, ogre-man

Words and music by Simon Miller. This arrangement by S. Miller/G. Davies/J. Peters/Iggy.

Performers: Pok the Bard – guitar and voice Jim Iz – keys and voice Iggy – drums and percussion George – bass and technicals

This version recorded live at Depot X, Exeter, 17th December 2008. Cassette salvage and remastering at Wud Records Studio One, 2018.

Cover illustration by Pok the Bard. Graphic design by Sam James.

Released August 23, 2018 Original release date: 15th January 2009

Copyright © 2018 Wud Records. Copyright ℗ 1992 Pok Songs/Explicit Music.

See also: https://www.wudrecords.co.uk/artists/alchemeon/ https://www.explicitmusic.co.uk/lyrics-information/alchemeon/alchemeon-lyrics/castrol-gtx-a-go-go https://wudrecords.bandcamp.com/album/live-in-session-spring-2009 https://wudrecords.bandcamp.com/album/live-in-session-winter-2008-09 https://twitter.com/WudRecords

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Orb by Alchemeon, from Alchemeon Live In Session Winter 2008-09.

• There are some songs that give the listener goosebumps as soon as they hear and recognise the first couple of notes and realise they are about to hear something truly extraordinary.
• Orb is one of those special songs.
• There are several distinct sections to the song with classic riffs and earworm la-la-la vocals.
• It was performed by the Spacegoats before Alchemeon started playing it.
• Orb would have been the first of two encore songs in a live performance.
• Jim’s droll “Thank you and good morning.” at the end was a moment of sublime comedy.

ORB When the walls of the temple Are cast to the ground And light shines through the ruins When the form decays To leave no trace That is the time of re-doing

And the sun is shining Casting rays throughout the universe And everything goes on as before The slip of light has pierced The very heart and soul of you Take a look now, open up your door

At first you may find it a little curious Just let go to the feeling Describe a circle your arms outstretched Learn to feel this healing

Singing... Li la li li li li la li Li li li li la la li la la li li la la

Send the sun’s rays into the earth And round and round and round revolving The moon will shine her light upon you As round the stones we are returning

Return... Li la li li li li la li Li li li li la la li la la li li la la

Become a tribe of many lives Around and round and round and round evolving The moon will shine her light upon you As round the stones we surely are returning

Return... Li la li li li li la li Li li li li la la li la la li li la la

Send the seeds into the earth You know you know you know it’s worth Send the seeds into the ground It’s a holy holy holy sound

La la li la la la li li Hey hey!

Don’t you don’t you don’t you know We gotta sow sow sow sow And don’t ya don’t ya don’t ya know We’re gonna grow grow grow grow Grow grow grow grow grow grow grow grow!

La la li la la la li li Hey hey!

And the sun is shining Casting rays throughout the universe And everything goes on like never before The slip of light has pierced The very heart and soul of you Take a look now Open up your door

Words and music by Simon Miller. This arrangement by S. Miller/G. Davies/J. Peters/Iggy.

Performers: Pok the Bard – guitar and voice Jim Iz – keys and voice Iggy – drums and percussion George – bass and technicals

This version recorded live at Depot X, Exeter, 13th January 2009. Cassette salvage and remastering at Wud Records Studio One, 2018.

Cover illustration by Pok the Bard. Graphic design by Sam James.

Released August 23, 2018 Original release date: 15th January 2009

Copyright © 2018 Wud Records. Copyright ℗ 1995 Pok Songs/Explicit Music.

See also: https://www.wudrecords.co.uk/artists/alchemeon/ https://www.explicitmusic.co.uk/lyrics-information/alchemeon/orb https://wudrecords.bandcamp.com/album/live-in-session-spring-2009 https://wudrecords.bandcamp.com/album/live-in-session-winter-2008-09 https://twitter.com/WudRecords

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Finale by Alchemeon, from Alchemeon Live In Session Winter 2008-09.

• Finale is a song in the key of E.
• It would have been the final encore of an Alchemeon live show.
• Finale was originally performed as the closing track for the play Chameleon, which Pok wrote in the mid 1980s.
• A version of this song is in the works for Pok’s growing Anthology album.
• Finale was also performed live by the Spacegoats.

FINALE When we were young We saw the faces And friends from the stars Built the earthworks with us And energy ran through The earth’s sacred surface Messages ran from star to star Aaaah

All you can see All you can be All that is now All that’s to come And all that means something All that’s inside All that you covet All that you hide Aaaah Aaaaah

Words and music by Simon Miller. This arrangement by S. Miller/G. Davies/J. Peters/Iggy.

Performers: Pok the Bard – guitar and voice Jim Iz – keys and voice Iggy – drums and percussion George – bass and technicals

This version recorded live at Depot X, Exeter, 13th January 2009. Cassette salvage and remastering at Wud Records Studio One, 2018.

Cover illustration by Pok the Bard. Graphic design by Sam James.

Released August 23, 2018 Original release date: 15th January 2009

Copyright © 2018 Wud Records. Copyright ℗ 1985 Pok Songs/Explicit Music.

See also: https://www.wudrecords.co.uk/artists/alchemeon/ https://www.explicitmusic.co.uk/lyrics-information/alchemeon/finale https://wudrecords.bandcamp.com/album/live-in-session-spring-2009 https://wudrecords.bandcamp.com/album/live-in-session-winter-2008-09 https://twitter.com/WudRecords

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Celestine by Alchemeon, from Alchemeon Live In Session Winter 2008-09.

• Celestine is a song of several parts.
• Sometimes it seems to be in the key of B minor, other times G major.
• In the end it resolves to D major.
• Celestine is an Alchemeon exclusive, having not been performed by the Spacegoats, nor any of the Masters of Drone bands such as Now or Laughing Sun.

CELESTINE Celestine they make their way Brothers to the water To cleanse the crystal in the head Still in silent laughter

The drop into the forehead Silver people roam To lace the time With story rhyme And drink the river’s daughter Drink the river’s daughter

Oh! La la la la…

Pyramids inside the mind They walk the crystal line Or trade their scarlet dreams for talk All wisdoms from the grail

Tower stands against the sky You people are not there Stone’s old voice speaks of an age The brothers hear and reel amazed The brothers hear and reel amazed

Oh! La la la la...

Wind through stone Your eyes and ears The time has come Wonder begun

Wind through stone Your eyes and ears The time has come Wonder begun

(They break their fast!)

Now to be Now to be Now to be Now to be Now to be

La la la la la…

Words and music by Simon Miller. This arrangement by S. Miller/G. Davies/J. Peters/Iggy.

Performers: Pok the Bard – guitar and voice Jim Iz – keys and voice Iggy – drums and percussion George – bass and technicals

This version recorded live at Depot X, Exeter, 17th December 2008. Cassette salvage and remastering at Wud Records Studio One, 2018.

Cover illustration by Pok the Bard. Graphic design by Sam James.

Released August 23, 2018 Original release date: 15th January 2009

Copyright © 2018 Wud Records. Copyright ℗ 1993 Pok Songs/Explicit Music.

See also: https://www.wudrecords.co.uk/artists/alchemeon/ https://www.explicitmusic.co.uk/lyrics-information/alchemeon/alchemeon-lyrics/celestine https://wudrecords.bandcamp.com/album/live-in-session-spring-2009 https://wudrecords.bandcamp.com/album/live-in-session-winter-2008-09 https://twitter.com/WudRecords

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The Winged Man by Alchemeon, from Alchemeon Live In Session Winter 2008-09.

• The Winged Man is in the key of A major.
• It is an Alchemeon exclusive.
• The Winged Man was never performed by any of the Masters of Drone bands such as Laughing Sun or Now, nor by the Spacegoats.

THE WINGED MAN Heaven knows why but he saved us from the furnace We mistreated his kind and stained his need to see

Heaven knows why Our people will fly Memory will die This winged man he cried

Melting above he drew his energy from below And seeing the sun he knew he had to go

Heaven knows why Our people will fly Memory will die This winged man he cried

Can you hear the voices Hear the voices around you? And the echo of the voices Hear them too Play on Play on

Seething below the man was a wreck of invention And we brought him down just like a crash landing

Heaven knows why Our people will fly Memory will die This winged man he cried

He was too far ahead for us here so he flew Back to the sun where he’s working on something new

Heaven knows why Our people will fly Memory will die This winged man he cried

Words and music by Simon Miller. This arrangement by S. Miller/G. Davies/J. Peters/Iggy.

Performers: Pok the Bard – guitar and voice Jim Iz – keys and voice Iggy – drums and percussion George – bass and technicals

This version recorded live at Depot X, Exeter, 12th December 2008. Cassette salvage and remastering at Wud Records Studio One, 2018.

Cover illustration by Pok the Bard. Graphic design by Sam James.

Released August 23, 2018 Original release date: 15th January 2009

Copyright © 2018 Wud Records. Copyright ℗ 1985 Pok Songs/Explicit Music.

See also: https://www.wudrecords.co.uk/artists/alchemeon/ https://www.explicitmusic.co.uk/lyrics-information/alchemeon/alchemeon-lyrics/the-winged-man https://wudrecords.bandcamp.com/album/live-in-session-spring-2009 https://wudrecords.bandcamp.com/album/live-in-session-winter-2008-09 https://twitter.com/WudRecords

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The Freaks (Shall Inherit the Earth) by Alchemeon, from Alchemeon Live In Session Winter 2008-09.

The Freaks (Shall Inherit the Earth) is a glorious rock n roll anthem and call to action in the key of G major. It was performed by the Spacegoats before Alchemeon started playing it. The Freaks (Shall Inherit the Earth) would have been the final song in an Alchemeon set, with Orb and Finale as encores.

THE FREAKS (SHALL INHERIT THE EARTH) How many jacks are kept in their boxes? How many dreams are trodden underfoot? It could be in you or it could be in me The fate of all nations or a colour TV

Look down any road see a million faces Scream back their pain from a sheer concrete wall There’s a million products made just to fill that hole But you never never, can never fill it at all

It’s a cry from the depths of a pin-stripe suit And whose voice dares not to conform Why is it just those who can see through the see through? They’re the misfits who break out from the norm

The Freaks! The Freaks! The Freaks shall inherit the Earth The Freaks! The Geeks! Who speak shall inherit the Earth

Should we obey what the government says? Is it wrong not to tag along? The question is no question at all But what we do with our backs to the wall

What is a freak? I think we’ll see When what is established gets washed away Those who cling to it will not survive it Destiny’s child awakes a new day

Just look around you see those bulldozers working Their ripping up the land for fool’s gold again It’s getting worse, can’t go on forever And who’s gonna be here when these dinosaurs fall?

Ok. What’s it going to be if it is as we’ve hear? Who’s gonna emerge with these worlds submerged? When the damage is done from the profit we made Are you gonna cling to the wreckage or else go with the change?

CHANGE!!!!!

Now there’s some pretty megaton forces Stirring up hate and making a war Who can get poison and spit out the bullet? Who are these freaks, do you think that one’s you?

The Freaks! The Freaks! The Freaks shall inherit the Earth The Freaks! The Geeks! Who speak shall inherit the Earth

The Freaks! The Freaks! The Freaks shall inherit the Earth The Freaks! The Geeks! Who speak shall inherit the ….. Earth!!!!

Words and music by Simon Miller. This arrangement by S. Miller/G. Davies/J. Peters/Iggy.

Performers: Pok the Bard – guitar and voice Jim Iz – keys and voice Iggy – drums and percussion George – bass and technicals

This version recorded live at Depot X, Exeter, 17th December 2008. Cassette salvage and remastering at Wud Records Studio One, 2018.

Cover illustration by Pok the Bard. Graphic design by Sam James.

Released August 23, 2018 Original release date: 15th January 2009

Copyright © 2018 Wud Records. Copyright ℗ 1992 Pok Songs/Explicit Music.

See also: https://www.wudrecords.co.uk/artists/alchemeon/ https://www.explicitmusic.co.uk/lyrics-information/alchemeon/the-freaks-shall-inherit-the-earth https://wudrecords.bandcamp.com/album/live-in-session-spring-2009 https://wudrecords.bandcamp.com/album/live-in-session-winter-2008-09 https://twitter.com/WudRecords

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Week Five by Flicker. Album: At Least 1000 Words (2002).

Music by G. Davies/D. Danielli.

Copyright © 2002 Wud Records. Copyright ℗ 2002 Explicit Music.

Performers: George: guitars, samples Dave: bass, dums, djembe, calve, EDP Wasp

Samples: the Prague metro

Fun Facts: Week Five is a tune that George wrote around the time of his TEFL course. It was a four week course, and Week Five is all the stuff that happens to you as a teacher after completing that initial course of training. The sound of the Prague Metro was recorded on George’s tape recorder that he used during his teaching. He simply pressed record and left the thing running as he went from his digs at the Hotel Opatov to the office of his school in Albertov to capture some sounds of the city.

See also: http://www.wudrecords.co.uk/artists/flicker/at-least-1000-words http://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words https://wudrecords.bandcamp.com/album/at-least-1000-words http://www.facebook.com/flickermusic http://twitter.com/flickermusic https://twitter.com/WudRecords

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Oily Road Hideaway by Flicker. Album: At Least 1000 Words (2002).

Music by G. Davies/D. Danielli.

Copyright © 2002 Wud Records. Copyright ℗ 2002 Explicit Music.

Performers: George: guitars, Plank, string fish, synths Dave: bass, percussion, keys, programming

Fun Facts: Oily Road Hideaway was written after being stuck near Stonehenge on the A303 for several hours while a breakdown recovery service tried not too hard and with little joy to come to the rescue. One would have thought there were not too many roads called the A303 in that area. Nevertheless it took about 10 hours to get back home. As a consequence of the breakdown Floyd’s wedding was missed by several, This tune was the first thing George played when he arrived back home, having had no sleep at all the night before. It was rather unglorious. The Hideaway was also the name of the club where the Live Stage used to put on bands in Torquay. The stranded people in the car were all the Live Stage posse. This is the only remaining tune with a drum machine program on the album after It Starts Right Here was dropped. It also has a two-string lead guitar part, so if ever you’re at a party and find a broken guitar, you can play… this! Martyn from Pyg built the string fish himself and kindly loaned it for this recording. Oily Road Hideaway contains twin bass guitars which are panned apart from each other in the stereo spectrum. Dave plays his Fender and George plays The Plank.

See also: http://www.wudrecords.co.uk/artists/flicker/at-least-1000-words http://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words https://wudrecords.bandcamp.com/album/at-least-1000-words http://www.facebook.com/flickermusic http://twitter.com/flickermusic https://twitter.com/WudRecords

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Beautiful Wings by Flicker. Album: At Least 1000 Words (2002).

Music by G. Davies/D. Danielli/L. Welsman/E. Williams.

Copyright © 2002 Wud Records. Copyright ℗ 2002 Explicit Music.

Performers: George: guitar, synths, samples Dave: Plank, drums Lucy: cello, keys Emma: flute

Samples: hollywoodedge.com, The Double Locks Hotel, Exeter

Fun Facts: Black Sabbath once told us that fairies wear boots. We can confirm that this statement is absolutely true. Beautiful Wings is another Flicker tune written using DADFCE tuning on acoustic guitar. It is dedicated to George’s girlfriend at the time of it being written, which was around the time of the solar eclipse in 1999. She often wore fairy wings, and if she walked past something and brushed her wings against it, she would then hold the wing, grimace, and complain of a having terrible wing-ache. During the solar eclipse of 1999 this same person told a member of the public how she had grown them, which was highly entertaining and well worthy of a tune. The conversation went like this. P: Where did you get your beautiful wings? GGF: Well... when I was a very small fairy I had these two funny little stumps on my shoulder blades, and then suddenly one day, I woke up and these two beautiful wings had grown. P: Huh. Come on, where did you get them, really? GGF: (stamping her foot in indignation) I just told you where! P: (a little wide-eyed) ...

See also: http://www.wudrecords.co.uk/artists/flicker/at-least-1000-words http://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words https://wudrecords.bandcamp.com/album/at-least-1000-words http://www.facebook.com/flickermusic http://twitter.com/flickermusic https://twitter.com/WudRecords

Video of George playing the acoustic guitar part, with out-takes: https://www.youtube.com/watch?v=3P1MKkQCTOo

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Lucky Stone by Flicker. Album: At Least 1000 Words (2002).

Music by G. Davies/D. Danielli.

Copyright © 2002 Wud Records. Copyright ℗ 2002 Explicit Music.

Performers: George: guitars, keys, synths, samples Dave: bass, drums, percussion

Samples: thewavplace.com, the wildlife and nature of Sidmouth sea front

Fun Facts: Lucky Stone is about two things. It describes a day at the seaside with a friend and a souvenir from that day which lived in the dashboard of George’s car. This piece also describes a fortunate and unexpected encounter with a certain trader who had an excess of goods he could impart. Note: no ducks were harmed in the making of this tune... although it was close.

See also: http://www.wudrecords.co.uk/artists/flicker/at-least-1000-words http://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words https://wudrecords.bandcamp.com/album/at-least-1000-words http://www.facebook.com/flickermusic http://twitter.com/flickermusic https://twitter.com/WudRecords

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Another Star in the Sky by Flicker. Album: At Least 1000 Words (2002).

Music by G. Davies/D. Danielli.

Copyright © 2002 Wud Records. Copyright ℗ 2002 Explicit Music.

Performers: George: guitars, keys, synths, percussion Dave: Plank, drums Lucy: cello

Fun Facts: Another Star in the Sky was almost named Another Scar in the Sty due to an outburst of mispronunciation, which would have been appropriate in some ways as George and Dave were the bassist and drummer for a kick-ass folk band called Pyg for a time. Another Star in the Sky was dedicated to George’s father who passed away around the time of its creation. In the evening of the day when Mr Davies senior died, the sky was cloudy and only one star could be seen.

See also: http://www.wudrecords.co.uk/artists/flicker/at-least-1000-words http://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words https://wudrecords.bandcamp.com/album/at-least-1000-words http://www.facebook.com/flickermusic http://twitter.com/flickermusic https://twitter.com/WudRecords

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Hair and Eyes by Flicker. Album: At Least 1000 Words (2002).

Music by G. Davies/D. Danielli.

Copyright © 2002 Wud Records. Copyright ℗ 2002 Explicit Music.

Performers: George: guitars, Plank, synths, EDP Wasp Dave: drums, analogue synth

Fun Facts: Sometimes, if a person has especially beautiful hair and eyes, it is impossible for a person attracted to said delicious morsel of loveliness to see beyond their beautiful hair or eyes. It is not possible for them to realise that there is in fact a whole person there, with things like a character, a soul, intelligence, a sense of humour, aspiration, even... a nose. This piece is a reminder to the wilfully blind that there is sometimes more to a person than just the superficial. The gunshot was always too quiet until the final mix, when it was too loud. There are sections of 7/8 time although mostly this piece is in the key of Am in common time. At the very end, the EDP Wasp says "Wud wud wud wud wud wud wud!", which we thought was awesome.

See also: http://www.wudrecords.co.uk/artists/flicker/at-least-1000-words http://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words https://wudrecords.bandcamp.com/album/at-least-1000-words http://www.facebook.com/flickermusic http://twitter.com/flickermusic https://twitter.com/WudRecords

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Aeroplane by Flicker. Album: At Least 1000 Words (2002).

Music by G. Davies/D. Danielli/P. Jones/L. Welsman.

Copyright © 2002 Wud Records. Copyright ℗ 2002 Explicit Music.

Performers: George: guitars Dave: Plank, drums, synth, keys, samples Lucy: cello

Fun Facts: Aeroplane is a tune composed in a non-standard guitar tuning. It uses DADFCE and was the first tune George wrote upon moving to Prague. Phil the Fiddle played some lovely soaring thermals in it during their frequent performances on the Charles Bridge. When it was time to record the piece, no fiddle player was available, so Lucy did much of the same kind of thing on her 150-year-old blonde cello, which shook the whole room.

See also: http://www.wudrecords.co.uk/artists/flicker/at-least-1000-words http://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words https://wudrecords.bandcamp.com/album/at-least-1000-words http://www.facebook.com/flickermusic http://twitter.com/flickermusic https://twitter.com/WudRecords

Video of George playing the acoustic guitar part, with out-takes: https://www.youtube.com/watch?v=ZuJayOjRlfc

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Blown Away by Flicker. Album: At Least 1000 Words (2002).

Music by G. Davies/D. Danielli.

Copyright © 2002 Wud Records. Copyright ℗ 2002 Explicit Music.

Performers: George: guitars, synths Dave: bass, drums

Fun Facts: Blown Away is a piece that is about surprise, although it actually contains few true musical surprises. Sometimes one imagines one is stood firmly upon solid rock, yet when one wakes from one’s delusions it can clearly be seen that said solid rock is actually quicksand.

See also: http://www.wudrecords.co.uk/artists/flicker/at-least-1000-words http://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words https://wudrecords.bandcamp.com/album/at-least-1000-words http://www.facebook.com/flickermusic http://twitter.com/flickermusic https://twitter.com/WudRecords

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One Place by Flicker. Album: At Least 1000 Words (2002).

Music by G. Davies/D. Danielli/L. Welsman.

Copyright © 2002 Wud Records. Copyright ℗ 2002 Explicit Music.

Performers: George: guitar Dave: tabla, maracas Lucy: cello

Fun Facts: One Place was another piece written for acoustic guitar by George in Prague. It was largely composed under an archway opposite the entrance to a bar called Chapeau Rouge, between Staroměstská and Náměstí Republiky. It uses the tuning DADGAD and first became manifest in the late spring of 1997. One Place was inspired by a Polish drinking game of the same name. Both players must sit cross-legged in the lotus position and stare intently into both eyes of the other player simultaneously, for as long as possible, without blinking or breaking off the gaze. Becoming hypnotised is permitted. One Place is also dedicated to the idea that making music or art of any type necessitates being in a special place to which you can go - essentially all the same place whatever the form of expression - and accessing that place when the artist is ‘in the zone’.

See also: http://www.wudrecords.co.uk/artists/flicker/at-least-1000-words http://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words https://wudrecords.bandcamp.com/album/at-least-1000-words http://www.facebook.com/flickermusic http://twitter.com/flickermusic https://twitter.com/WudRecords

Video of George playing the acoustic guitar part, with out-takes: https://www.youtube.com/watch?v=yt-cdo-Vt4k

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Welcome to the Family by Flicker. Album: At Least 1000 Words (2002).

Music by G. Davies/D. Danielli/F. Zoboki/A. Celestine.

Copyright © 2002 Wud Records. Copyright ℗ 2002 Explicit Music.

Performers: George: guitars Dave: bass, drums, keys, synths

Fun Facts: After returning to the UK from Prague, George made friends with a Hungarian called Floyd. Floyd showed him a new chord that was from a Portuguese sea shanty. George was later headhunted by the MD of the company that Floyd worked for. After agreeing terms, Floyd gave George a copy of Mario Puzo’s book "The Godfather", and wrote ‘Welcome to the family!’ inside the front cover. Obviously this piece in Am could have no other name.

See also: http://www.wudrecords.co.uk/artists/flicker/at-least-1000-words http://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words https://wudrecords.bandcamp.com/album/at-least-1000-words http://www.facebook.com/flickermusic http://twitter.com/flickermusic https://twitter.com/WudRecords

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Moonpath by Flicker. Album: At Least 1000 Words (2002).

Music by G. Davies/D. Danielli.

Copyright © 2002 Wud Records. Copyright ℗ 2002 Explicit Music.

Performers: George: guitars, Plank, synths, percussion Dave: drums, djembe

Fun Facts: After dark, when the moon hangs low in the sky, it makes a beautiful road of sparkly light all the way from the shore to itself along the top of the sea. You may believe you can walk along this path all the way to moon if you have consumed the right amount of alcolhol. You may also be able to convince others, who have consumed a similar amount of alcohol, that they too could make that journey with you, If you are any heavier than a duck, more than just your feet will get wet when you embark along this road, or Moonpath, as we called it. This tune is in the key of C#m.

See also: http://www.wudrecords.co.uk/artists/flicker/at-least-1000-words http://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words https://wudrecords.bandcamp.com/album/at-least-1000-words http://www.facebook.com/flickermusic http://twitter.com/flickermusic https://twitter.com/WudRecords

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Farsight by Flicker. Album: At Least 1000 Words (2002).

Music by G. Davies/D. Danielli/G. Barbe/N. Board.

Copyright © 2002 Wud Records. Copyright ℗ 2002 Explicit Music.

Performers: George: guitars, synths, keys, samples Dave: bass, drums, samples

Samples: Guru Maharaj Ji, Jonathan Agnew, stinsv.com

Fun Facts: Farsight was a piece that George wrote around March 1995. Originally there were words for it too. George took it to The Ug Brothers as a potential Ug song. Dave subsequently wrote some other words. The Ug Brothers split before they ever really nailed it. This was a great shame as it was one of the band’s collective favourites. It was one of the last new pieces The Ug Brothers worked upon. This instrumental version seemed to be a convenient resolution and is largely true to the original.

See also: http://www.wudrecords.co.uk/artists/flicker/at-least-1000-words http://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words https://wudrecords.bandcamp.com/album/at-least-1000-words http://www.facebook.com/flickermusic http://twitter.com/flickermusic https://twitter.com/WudRecords

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The Percolator by Flicker. Album: At Least 1000 Words (2002).

Music by D. Danielli/G. Davies.

Copyright © 2002 Wud Records. Copyright ℗ 2002 Explicit Music.

Performers: George: guitars Dave: bass, percussion Emma: flute

Fun Facts: The Percolator was written largely by Dave and modified by George. George composed and scored the flute part for Emma after his guitar part. It seems to be about the vague imaginings one might have that manifest into more coherent thought after musing has occured. This may be nonsense though, Dave wrote it and maybe it was just some tune - hard to know as nobody has seen anything of him for years, A lot of this piece is in a slow 11/8 time - count 1-2-1-2-3-1-2-3-1-2-3 for the main theme. One of the keys to unlocking this piece is to follow the claive. It plays on every other beat, so sometimes it is on the beat and sometimes off.

See also: http://www.wudrecords.co.uk/artists/flicker/at-least-1000-words http://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words https://wudrecords.bandcamp.com/album/at-least-1000-words http://www.facebook.com/flickermusic http://twitter.com/flickermusic https://twitter.com/WudRecords

Video of George playing the acoustic guitar part, with out-takes: https://www.youtube.com/watch?v=4EzCjSTSyG8 "And now...!"

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Phoenix in the Bin by Flicker. Album: At Least 1000 Words (2002).

Music by G. Davies/D. Danielli/L. Welsman.

Copyright © 2002 Wud Records. Copyright ℗ 2002 Explicit Music.

Performers: George: guitars, samples Dave: Plank, drums Lucy: cello

Samples: thewavplace.com

Fun Facts: Phoenix In The Bin is a situation that will change. How on earth do you fit a phoenix into a bin? Do you suppose it will stay there long? What will happen when it escapes? This piece tries to examine these issues. Originally this tune was just a groove with a working title of In the Bin. Somehow the image of the phoenix seemed an appropriate addition. The section with the heavy cellos was the result of a splendid jam between Dave and George which was never again properly recaptured, however hard they tried.

See also: http://www.wudrecords.co.uk/artists/flicker/at-least-1000-words http://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words https://wudrecords.bandcamp.com/album/at-least-1000-words http://www.facebook.com/flickermusic http://twitter.com/flickermusic https://twitter.com/WudRecords

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Tomorrow by Flicker. Album: At Least 1000 Words (2002).

Music by G. Davies/D. Danielli.

Copyright © 2002 Wud Records. Copyright ℗ 2002 Explicit Music.

Performers: George: guitars Dave: bass, drums

Fun Facts: Tomorrow was almost called Tomorrow Will Be Better, as it’s good to have something to look forward to when one is feeling glum. This is a tune of hope. "Smile in the teeth of adversity." "Tweak the nose of terror." It is in the key of E, and towards the end changes to the key of A.

See also: http://www.wudrecords.co.uk/artists/flicker/at-least-1000-words http://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words https://wudrecords.bandcamp.com/album/at-least-1000-words http://www.facebook.com/flickermusic http://twitter.com/flickermusic https://twitter.com/WudRecords

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Serendipity by Flicker. Album: At Least 1000 Words (2002).

Music by G. Davies/D. Danielli.

Copyright © 2002 Wud Records. Copyright ℗ 2002 Explicit Music.

Performers: George: guitars, synths Dave: bass, drums

Fun Facts: After George returned to England from the Czech Republic, it was not long before he became involved in the music scene again. One of the bands he worked with at that time was Search Party,. Serendipity was inspired by a Search Party song called One Direction Serendipity was subsequently composed in honour of the Search Party posse. A search may lead to serendipity, after all. Some Search Party material is available to be heard at the Wud Records website.

See also: http://www.wudrecords.co.uk/artists/flicker/at-least-1000-words http://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words https://wudrecords.bandcamp.com/album/at-least-1000-words http://www.facebook.com/flickermusic http://twitter.com/flickermusic https://twitter.com/WudRecords

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Or Maybe Not...? by Flicker. Album: At Least 1000 Words (2002).

Music by G. Davies/D. Danielli.

Copyright © 2002 Wud Records. Copyright ℗ 2002 Explicit Music.

Performers: George: guitar, Plank, keys, synths, percussion Dave: drums

Fun Facts: Or Maybe Not…? is a piece about uncertainty, the ending of one thing and the beginning of the next, fears and insecurities, and the notion that perhaps we never really know each other very well at all. Or is it?

All of the guitar was played on the Ice Maiden, using the neck pickup. The player needs to use the fret-hand thumb as a fifth finger to hold down some of the chords. The bass was played on The Plank early in the morning after an all-nighter.

See also: https://www.wudrecords.co.uk/artists/flicker/at-least-1000-words https://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words https://wudrecords.bandcamp.com/album/at-least-1000-words https://www.facebook.com/flickermusic https://twitter.com/flickermusic https://twitter.com/WudRecords

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Confusion (Purple Rabbit Remix) by Guarana, from Unreleased Demo.

The copyright in these sound recordings is owned by Guarana (c) 2002. All rights reserved.

These are four songs that we found lying around on other Guarana CDs that didn't belong with any of the other collections. We felt that fans of Guarana would love to hear these tracks, so here they are. Enjoy!

Are Guarana the finest band Guernsey ever produced? We think so. In fact, we think Guarana are one of the finest bands the planet ever produced. There are few bands more capable of evoking the sheer power of raw emotion. Their live sets were each like a precious multi-faceted jewel to be treasured.

After leaving Guernsey to try to forge a career on the north island, Guarana found themselves based in Exeter. From there they proceeded to wow audiences across the south of England with their shows, which were full of humour as well as stunning songwriting. Their sound was much bigger than your usual three-piece, thanks mainly to singer and guitarist Danny le Pelley’s unusual chords using jangly open strings.

Unfortunately we have very little information on what happened to the band and where they are now. There was a website with a realplayer stream and photos and discussion, and somewhere out in the universe there is a lot of video footage as every show they played that we remember was filmed by a tall amiable French fellow.

Guarana’s previous contact details were as follows, if you use the Wayback Machine or the Archive – www.guarana-music.co.uk and info@guarana-music.co.uk – we hope you enjoy the music of Guarana as much as we do.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/guarana http://www.wudrecords.co.uk/archives/guarana/guarana-unreleased-demo https://soundcloud.com/wud-records/sets/guarana-live https://twitter.com/WudRecords

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Outside by Guarana, from Unreleased Demo.

The copyright in these sound recordings is owned by Guarana (c) 2002. All rights reserved.

These are four songs that we found lying around on other Guarana CDs that didn't belong with any of the other collections. We felt that fans of Guarana would love to hear these tracks, so here they are. Enjoy!

Are Guarana the finest band Guernsey ever produced? We think so. In fact, we think Guarana are one of the finest bands the planet ever produced. There are few bands more capable of evoking the sheer power of raw emotion. Their live sets were each like a precious multi-faceted jewel to be treasured.

After leaving Guernsey to try to forge a career on the north island, Guarana found themselves based in Exeter. From there they proceeded to wow audiences across the south of England with their shows, which were full of humour as well as stunning songwriting. Their sound was much bigger than your usual three-piece, thanks mainly to singer and guitarist Danny le Pelley’s unusual chords using jangly open strings.

Unfortunately we have very little information on what happened to the band and where they are now. There was a website with a realplayer stream and photos and discussion, and somewhere out in the universe there is a lot of video footage as every show they played that we remember was filmed by a tall amiable French fellow.

Guarana’s previous contact details were as follows, if you use the Wayback Machine or the Archive – www.guarana-music.co.uk and info@guarana-music.co.uk – we hope you enjoy the music of Guarana as much as we do.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/guarana http://www.wudrecords.co.uk/archives/guarana/guarana-unreleased-demo https://soundcloud.com/wud-records/sets/guarana-live https://twitter.com/WudRecords

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Out In The Evening by Guarana, from Unreleased Demo.

The copyright in these sound recordings is owned by Guarana (c) 2002. All rights reserved.

These are four songs that we found lying around on other Guarana CDs that didn't belong with any of the other collections. We felt that fans of Guarana would love to hear these tracks, so here they are. Enjoy!

Are Guarana the finest band Guernsey ever produced? We think so. In fact, we think Guarana are one of the finest bands the planet ever produced. There are few bands more capable of evoking the sheer power of raw emotion. Their live sets were each like a precious multi-faceted jewel to be treasured.

After leaving Guernsey to try to forge a career on the north island, Guarana found themselves based in Exeter. From there they proceeded to wow audiences across the south of England with their shows, which were full of humour as well as stunning songwriting. Their sound was much bigger than your usual three-piece, thanks mainly to singer and guitarist Danny le Pelley’s unusual chords using jangly open strings.

Unfortunately we have very little information on what happened to the band and where they are now. There was a website with a realplayer stream and photos and discussion, and somewhere out in the universe there is a lot of video footage as every show they played that we remember was filmed by a tall amiable French fellow.

Guarana’s previous contact details were as follows, if you use the Wayback Machine or the Archive – www.guarana-music.co.uk and info@guarana-music.co.uk – we hope you enjoy the music of Guarana as much as we do.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/guarana http://www.wudrecords.co.uk/archives/guarana/guarana-unreleased-demo https://soundcloud.com/wud-records/sets/guarana-live https://twitter.com/WudRecords

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Lullaby by Guarana, from Unreleased Demo.

The copyright in these sound recordings is owned by Guarana (c) 2002. All rights reserved.

These are four songs that we found lying around on other Guarana CDs that didn't belong with any of the other collections. We felt that fans of Guarana would love to hear these tracks, so here they are. Enjoy!

Are Guarana the finest band Guernsey ever produced? We think so. In fact, we think Guarana are one of the finest bands the planet ever produced. There are few bands more capable of evoking the sheer power of raw emotion. Their live sets were each like a precious multi-faceted jewel to be treasured.

After leaving Guernsey to try to forge a career on the north island, Guarana found themselves based in Exeter. From there they proceeded to wow audiences across the south of England with their shows, which were full of humour as well as stunning songwriting. Their sound was much bigger than your usual three-piece, thanks mainly to singer and guitarist Danny le Pelley’s unusual chords using jangly open strings.

Unfortunately we have very little information on what happened to the band and where they are now. There was a website with a realplayer stream and photos and discussion, and somewhere out in the universe there is a lot of video footage as every show they played that we remember was filmed by a tall amiable French fellow.

Guarana’s previous contact details were as follows, if you use the Wayback Machine or the Archive – www.guarana-music.co.uk and info@guarana-music.co.uk – we hope you enjoy the music of Guarana as much as we do.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/guarana http://www.wudrecords.co.uk/archives/guarana/guarana-unreleased-demo https://soundcloud.com/wud-records/sets/guarana-live https://twitter.com/WudRecords

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La Guerra by Guarana, from Guarana: Live!

Here are some live recordings from top Guernsey trio Guarana. We have attempted to arrange the songs into the order they might have played them live, from what we can remember.

These songs were recorded live in 2002. The copyright in these sound recordings is owned by Guarana (c) 2002. All rights reserved.

Are Guarana the finest band Guernsey ever produced? We think so. In fact, we think Guarana are one of the finest bands the planet ever produced. There are few bands more capable of evoking the sheer power of raw emotion. Their live sets were each like a precious multi-faceted jewel to be treasured.

After leaving Guernsey to try to forge a career on the north island, Guarana found themselves based in Exeter. From there they proceeded to wow audiences across the south of England with their shows, which were full of humour as well as stunning songwriting. Their sound was much bigger than your usual three-piece, thanks mainly to singer and guitarist Danny le Pelley’s unusual chords using jangly open strings.

Unfortunately we have very little information on what happened to the band and where they are now. There was a website with a realplayer stream and photos and discussion, and somewhere out in the universe there is a lot of video footage as every show they played that we remember was filmed by a tall amiable French fellow.

Guarana’s previous contact details were as follows, if you use the Wayback Machine or the Archive – www.guarana-music.co.uk and info@guarana-music.co.uk – we hope you enjoy the music of Guarana as much as we do.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/guarana http://www.wudrecords.co.uk/archives/guarana/guarana-live-2002 https://twitter.com/WudRecords

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Lullaby by Guarana, from Guarana: Live!

Here are some live recordings from top Guernsey trio Guarana. We have attempted to arrange the songs into the order they might have played them live, from what we can remember.

These songs were recorded live in 2002. The copyright in these sound recordings is owned by Guarana (c) 2002. All rights reserved.

Are Guarana the finest band Guernsey ever produced? We think so. In fact, we think Guarana are one of the finest bands the planet ever produced. There are few bands more capable of evoking the sheer power of raw emotion. Their live sets were each like a precious multi-faceted jewel to be treasured.

After leaving Guernsey to try to forge a career on the north island, Guarana found themselves based in Exeter. From there they proceeded to wow audiences across the south of England with their shows, which were full of humour as well as stunning songwriting. Their sound was much bigger than your usual three-piece, thanks mainly to singer and guitarist Danny le Pelley’s unusual chords using jangly open strings.

Unfortunately we have very little information on what happened to the band and where they are now. There was a website with a realplayer stream and photos and discussion, and somewhere out in the universe there is a lot of video footage as every show they played that we remember was filmed by a tall amiable French fellow.

Guarana’s previous contact details were as follows, if you use the Wayback Machine or the Archive – www.guarana-music.co.uk and info@guarana-music.co.uk – we hope you enjoy the music of Guarana as much as we do.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/guarana http://www.wudrecords.co.uk/archives/guarana/guarana-live-2002 https://soundcloud.com/wud-records/guarana-lullaby-ud?in=wud-records/sets/guarana-unreleased-demo https://twitter.com/WudRecords

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Little Town by Guarana, from Guarana: Live!

Here are some live recordings from top Guernsey trio Guarana. We have attempted to arrange the songs into the order they might have played them live, from what we can remember.

These songs were recorded live in 2002. The copyright in these sound recordings is owned by Guarana (c) 2002. All rights reserved.

Are Guarana the finest band Guernsey ever produced? We think so. In fact, we think Guarana are one of the finest bands the planet ever produced. There are few bands more capable of evoking the sheer power of raw emotion. Their live sets were each like a precious multi-faceted jewel to be treasured.

After leaving Guernsey to try to forge a career on the north island, Guarana found themselves based in Exeter. From there they proceeded to wow audiences across the south of England with their shows, which were full of humour as well as stunning songwriting. Their sound was much bigger than your usual three-piece, thanks mainly to singer and guitarist Danny le Pelley’s unusual chords using jangly open strings.

Unfortunately we have very little information on what happened to the band and where they are now. There was a website with a realplayer stream and photos and discussion, and somewhere out in the universe there is a lot of video footage as every show they played that we remember was filmed by a tall amiable French fellow.

Guarana’s previous contact details were as follows, if you use the Wayback Machine or the Archive – www.guarana-music.co.uk and info@guarana-music.co.uk – we hope you enjoy the music of Guarana as much as we do.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/guarana http://www.wudrecords.co.uk/archives/guarana/guarana-live-2002 https://twitter.com/WudRecords

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River by Guarana, from Guarana: Live!

Here are some live recordings from top Guernsey trio Guarana. We have attempted to arrange the songs into the order they might have played them live, from what we can remember.

These songs were recorded live in 2002. The copyright in these sound recordings is owned by Guarana (c) 2002. All rights reserved.

Are Guarana the finest band Guernsey ever produced? We think so. In fact, we think Guarana are one of the finest bands the planet ever produced. There are few bands more capable of evoking the sheer power of raw emotion. Their live sets were each like a precious multi-faceted jewel to be treasured.

After leaving Guernsey to try to forge a career on the north island, Guarana found themselves based in Exeter. From there they proceeded to wow audiences across the south of England with their shows, which were full of humour as well as stunning songwriting. Their sound was much bigger than your usual three-piece, thanks mainly to singer and guitarist Danny le Pelley’s unusual chords using jangly open strings.

Unfortunately we have very little information on what happened to the band and where they are now. There was a website with a realplayer stream and photos and discussion, and somewhere out in the universe there is a lot of video footage as every show they played that we remember was filmed by a tall amiable French fellow.

Guarana’s previous contact details were as follows, if you use the Wayback Machine or the Archive – www.guarana-music.co.uk and info@guarana-music.co.uk – we hope you enjoy the music of Guarana as much as we do.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/guarana http://www.wudrecords.co.uk/archives/guarana/guarana-live-2002 https://twitter.com/WudRecords

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The Real World by Guarana, from Guarana: Live!

Here are some live recordings from top Guernsey trio Guarana. We have attempted to arrange the songs into the order they might have played them live, from what we can remember.

These songs were recorded live in 2002. The copyright in these sound recordings is owned by Guarana (c) 2002. All rights reserved.

Are Guarana the finest band Guernsey ever produced? We think so. In fact, we think Guarana are one of the finest bands the planet ever produced. There are few bands more capable of evoking the sheer power of raw emotion. Their live sets were each like a precious multi-faceted jewel to be treasured.

After leaving Guernsey to try to forge a career on the north island, Guarana found themselves based in Exeter. From there they proceeded to wow audiences across the south of England with their shows, which were full of humour as well as stunning songwriting. Their sound was much bigger than your usual three-piece, thanks mainly to singer and guitarist Danny le Pelley’s unusual chords using jangly open strings.

Unfortunately we have very little information on what happened to the band and where they are now. There was a website with a realplayer stream and photos and discussion, and somewhere out in the universe there is a lot of video footage as every show they played that we remember was filmed by a tall amiable French fellow.

Guarana’s previous contact details were as follows, if you use the Wayback Machine or the Archive – www.guarana-music.co.uk and info@guarana-music.co.uk – we hope you enjoy the music of Guarana as much as we do.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/guarana http://www.wudrecords.co.uk/archives/guarana/guarana-live-2002 https://twitter.com/WudRecords

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Make Believe by Guarana, from Guarana: Live!

The first time we saw Guarana play live was at the Exeter annexe of Plymouth Art College in November 2000. They introduced this song as their newest and it was the first time they ever played it live.

Here are some live recordings from top Guernsey trio Guarana. We have attempted to arrange the songs into the order they might have played them live, from what we can remember.

These songs were recorded live in 2002. The copyright in these sound recordings is owned by Guarana (c) 2002. All rights reserved.

Are Guarana the finest band Guernsey ever produced? We think so. In fact, we think Guarana are one of the finest bands the planet ever produced. There are few bands more capable of evoking the sheer power of raw emotion. Their live sets were each like a precious multi-faceted jewel to be treasured.

After leaving Guernsey to try to forge a career on the north island, Guarana found themselves based in Exeter. From there they proceeded to wow audiences across the south of England with their shows, which were full of humour as well as stunning songwriting. Their sound was much bigger than your usual three-piece, thanks mainly to singer and guitarist Danny le Pelley’s unusual chords using jangly open strings.

Unfortunately we have very little information on what happened to the band and where they are now. There was a website with a realplayer stream and photos and discussion, and somewhere out in the universe there is a lot of video footage as every show they played that we remember was filmed by a tall amiable French fellow.

Guarana’s previous contact details were as follows, if you use the Wayback Machine or the Archive – www.guarana-music.co.uk and info@guarana-music.co.uk – we hope you enjoy the music of Guarana as much as we do.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/guarana http://www.wudrecords.co.uk/archives/guarana/guarana-live-2002 https://twitter.com/WudRecords

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Old Life by Guarana, from Guarana: Live!

Here are some live recordings from top Guernsey trio Guarana. We have attempted to arrange the songs into the order they might have played them live, from what we can remember.

These songs were recorded live in 2002. The copyright in these sound recordings is owned by Guarana (c) 2002. All rights reserved.

Are Guarana the finest band Guernsey ever produced? We think so. In fact, we think Guarana are one of the finest bands the planet ever produced. There are few bands more capable of evoking the sheer power of raw emotion. Their live sets were each like a precious multi-faceted jewel to be treasured.

After leaving Guernsey to try to forge a career on the north island, Guarana found themselves based in Exeter. From there they proceeded to wow audiences across the south of England with their shows, which were full of humour as well as stunning songwriting. Their sound was much bigger than your usual three-piece, thanks mainly to singer and guitarist Danny le Pelley’s unusual chords using jangly open strings.

Unfortunately we have very little information on what happened to the band and where they are now. There was a website with a realplayer stream and photos and discussion, and somewhere out in the universe there is a lot of video footage as every show they played that we remember was filmed by a tall amiable French fellow.

Guarana’s previous contact details were as follows, if you use the Wayback Machine or the Archive – www.guarana-music.co.uk and info@guarana-music.co.uk – we hope you enjoy the music of Guarana as much as we do.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/guarana http://www.wudrecords.co.uk/archives/guarana/guarana-live-2002 https://twitter.com/WudRecords

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Keep on Walking by Guarana, from Guarana: Live!

Here are some live recordings from top Guernsey trio Guarana. We have attempted to arrange the songs into the order they might have played them live, from what we can remember.

These songs were recorded live in 2002. The copyright in these sound recordings is owned by Guarana (c) 2002. All rights reserved.

Are Guarana the finest band Guernsey ever produced? We think so. In fact, we think Guarana are one of the finest bands the planet ever produced. There are few bands more capable of evoking the sheer power of raw emotion. Their live sets were each like a precious multi-faceted jewel to be treasured.

After leaving Guernsey to try to forge a career on the north island, Guarana found themselves based in Exeter. From there they proceeded to wow audiences across the south of England with their shows, which were full of humour as well as stunning songwriting. Their sound was much bigger than your usual three-piece, thanks mainly to singer and guitarist Danny le Pelley’s unusual chords using jangly open strings.

Unfortunately we have very little information on what happened to the band and where they are now. There was a website with a realplayer stream and photos and discussion, and somewhere out in the universe there is a lot of video footage as every show they played that we remember was filmed by a tall amiable French fellow.

Guarana’s previous contact details were as follows, if you use the Wayback Machine or the Archive – www.guarana-music.co.uk and info@guarana-music.co.uk – we hope you enjoy the music of Guarana as much as we do.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/guarana http://www.wudrecords.co.uk/archives/guarana/guarana-live-2002 https://twitter.com/WudRecords

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Height by Guarana, from Guarana: Live!

Here are some live recordings from top Guernsey trio Guarana. We have attempted to arrange the songs into the order they might have played them live, from what we can remember.

These songs were recorded live in 2002. The copyright in these sound recordings is owned by Guarana (c) 2002. All rights reserved.

Are Guarana the finest band Guernsey ever produced? We think so. In fact, we think Guarana are one of the finest bands the planet ever produced. There are few bands more capable of evoking the sheer power of raw emotion. Their live sets were each like a precious multi-faceted jewel to be treasured.

After leaving Guernsey to try to forge a career on the north island, Guarana found themselves based in Exeter. From there they proceeded to wow audiences across the south of England with their shows, which were full of humour as well as stunning songwriting. Their sound was much bigger than your usual three-piece, thanks mainly to singer and guitarist Danny le Pelley’s unusual chords using jangly open strings.

Unfortunately we have very little information on what happened to the band and where they are now. There was a website with a realplayer stream and photos and discussion, and somewhere out in the universe there is a lot of video footage as every show they played that we remember was filmed by a tall amiable French fellow.

Guarana’s previous contact details were as follows, if you use the Wayback Machine or the Archive – www.guarana-music.co.uk and info@guarana-music.co.uk – we hope you enjoy the music of Guarana as much as we do.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/guarana http://www.wudrecords.co.uk/archives/guarana/guarana-live-2002 https://twitter.com/WudRecords

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Closed and Confused by Guarana, from Guarana: Live!

Here are some live recordings from top Guernsey trio Guarana. We have attempted to arrange the songs into the order they might have played them live, from what we can remember.

These songs were recorded live in 2002. The copyright in these sound recordings is owned by Guarana (c) 2002. All rights reserved.

Are Guarana the finest band Guernsey ever produced? We think so. In fact, we think Guarana are one of the finest bands the planet ever produced. There are few bands more capable of evoking the sheer power of raw emotion. Their live sets were each like a precious multi-faceted jewel to be treasured.

After leaving Guernsey to try to forge a career on the north island, Guarana found themselves based in Exeter. From there they proceeded to wow audiences across the south of England with their shows, which were full of humour as well as stunning songwriting. Their sound was much bigger than your usual three-piece, thanks mainly to singer and guitarist Danny le Pelley’s unusual chords using jangly open strings.

Unfortunately we have very little information on what happened to the band and where they are now. There was a website with a realplayer stream and photos and discussion, and somewhere out in the universe there is a lot of video footage as every show they played that we remember was filmed by a tall amiable French fellow.

Guarana’s previous contact details were as follows, if you use the Wayback Machine or the Archive – www.guarana-music.co.uk and info@guarana-music.co.uk – we hope you enjoy the music of Guarana as much as we do.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/guarana http://www.wudrecords.co.uk/archives/guarana/guarana-live-2002 https://twitter.com/WudRecords

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Weevil by Guarana, from Guarana: Live!

Here are some live recordings from top Guernsey trio Guarana. We have attempted to arrange the songs into the order they might have played them live, from what we can remember.

These songs were recorded live in 2002. The copyright in these sound recordings is owned by Guarana (c) 2002. All rights reserved.

Are Guarana the finest band Guernsey ever produced? We think so. In fact, we think Guarana are one of the finest bands the planet ever produced. There are few bands more capable of evoking the sheer power of raw emotion. Their live sets were each like a precious multi-faceted jewel to be treasured.

After leaving Guernsey to try to forge a career on the north island, Guarana found themselves based in Exeter. From there they proceeded to wow audiences across the south of England with their shows, which were full of humour as well as stunning songwriting. Their sound was much bigger than your usual three-piece, thanks mainly to singer and guitarist Danny le Pelley’s unusual chords using jangly open strings.

Unfortunately we have very little information on what happened to the band and where they are now. There was a website with a realplayer stream and photos and discussion, and somewhere out in the universe there is a lot of video footage as every show they played that we remember was filmed by a tall amiable French fellow.

Guarana’s previous contact details were as follows, if you use the Wayback Machine or the Archive – www.guarana-music.co.uk and info@guarana-music.co.uk – we hope you enjoy the music of Guarana as much as we do.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/guarana http://www.wudrecords.co.uk/archives/guarana/guarana-live-2002 https://twitter.com/WudRecords

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Man Stacks Stone by Stephen Yates.

Stephen Yates is a composer and guitarist of extraordinary virtuosity. After winning Guitarist magazine’s coveted Classical Guitarist of the Year award, he worked as a session musician both in the studio and on tour, and as a guitar teacher.

These demos are four electric guitar pieces from 2001. All the instruments are played by Stephen Yates himself and he programmed the drums and produced the finished tracks as well.

All four tracks are hosted here with permission. Copyright © 2001 Stephen Yates. Copyright ℗ 2001 Stephen Yates.

See also: https://www.youtube.com/user/stephenyatesacoustic http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/stephen-yates https://twitter.com/WudRecords

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Beautificus by Stephen Yates.

Stephen Yates is a composer and guitarist of extraordinary virtuosity. After winning Guitarist magazine’s coveted Classical Guitarist of the Year award, he worked as a session musician both in the studio and on tour, and as a guitar teacher.

These demos are four electric guitar pieces from 2001. All the instruments are played by Stephen Yates himself and he programmed the drums and produced the finished tracks as well.

All four tracks are hosted here with permission. Copyright © 2001 Stephen Yates. Copyright ℗ 2001 Stephen Yates.

See also: https://www.youtube.com/user/stephenyatesacoustic http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/stephen-yates https://twitter.com/WudRecords

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Gorilla Tango by Stephen Yates.

Stephen Yates is a composer and guitarist of extraordinary virtuosity. After winning Guitarist magazine’s coveted Classical Guitarist of the Year award, he worked as a session musician both in the studio and on tour, and as a guitar teacher.

These demos are four electric guitar pieces from 2001. All the instruments are played by Stephen Yates himself and he programmed the drums and produced the finished tracks as well.

All four tracks are hosted here with permission. Copyright © 2001 Stephen Yates. Copyright ℗ 2001 Stephen Yates.

See also: https://www.youtube.com/user/stephenyatesacoustic http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/stephen-yates https://twitter.com/WudRecords

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Rednose Chose to Die by Stephen Yates.

Stephen Yates is a composer and guitarist of extraordinary virtuosity. After winning Guitarist magazine’s coveted Classical Guitarist of the Year award, he worked as a session musician both in the studio and on tour, and as a guitar teacher.

These demos are four electric guitar pieces from 2001. All the instruments are played by Stephen Yates himself and he programmed the drums and produced the finished tracks as well.

All four tracks are hosted here with permission. Copyright © 2001 Stephen Yates. Copyright ℗ 2001 Stephen Yates.

See also: https://www.youtube.com/user/stephenyatesacoustic http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/stephen-yates https://twitter.com/WudRecords

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Sad, from the album World 3 by Andromeda.

All tracks written, performed and produced by Andromeda.

Copyright © 2001 Joe Ings/Amy McGill/Adam Bonner/Tom Brown.

Thanks to Paul Mumford.

Tracks salvaged from promo copy.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/andromeda http://www.wudrecords.co.uk/archives/andromeda/world-3 https://www.bandmix.co.uk/trimorphous/ https://twitter.com/WudRecords

andromedabeast@hotmail.com

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Don't Be a Goat, from the album World 3 by Andromeda.

Written, performed and produced by Andromeda.

Copyright © 2001 Joe Ings/Amy McGill/Adam Bonner/Tom Brown.

Thanks to Paul Mumford.

Tracks salvaged from promo copy.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/andromeda http://www.wudrecords.co.uk/archives/andromeda/world-3 https://www.bandmix.co.uk/trimorphous/ https://twitter.com/WudRecords

andromedabeast@hotmail.com

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Queenie, from the album World 3 by Andromeda.

Written, performed and produced by Andromeda.

Copyright © 2001 Joe Ings/Amy McGill/Adam Bonner/Tom Brown.

Thanks to Paul Mumford.

Tracks salvaged from promo copy.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/andromeda http://www.wudrecords.co.uk/archives/andromeda/world-3 https://www.bandmix.co.uk/trimorphous/ https://twitter.com/WudRecords

andromedabeast@hotmail.com

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World 3, from the album World 3 by Andromeda.

Written, performed and produced by Andromeda.

Copyright © 2001 Joe Ings/Amy McGill/Adam Bonner/Tom Brown.

Thanks to Paul Mumford.

Tracks salvaged from promo copy.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/andromeda http://www.wudrecords.co.uk/archives/andromeda/world-3 https://www.bandmix.co.uk/trimorphous/ https://twitter.com/WudRecords

andromedabeast@hotmail.com

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Look What You Get, from the album World 3 by Andromeda.

Written, performed and produced by Andromeda.

Copyright © 2001 Joe Ings/Amy McGill/Adam Bonner/Tom Brown.

Thanks to Paul Mumford.

Tracks salvaged from promo copy.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/andromeda http://www.wudrecords.co.uk/archives/andromeda/world-3 https://www.bandmix.co.uk/trimorphous/ https://twitter.com/WudRecords

andromedabeast@hotmail.com

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Clown's Head in a Box, from the album World 3 by Andromeda.

Written, performed and produced by Andromeda.

Copyright © 2001 Joe Ings/Amy McGill/Adam Bonner/Tom Brown.

Thanks to Paul Mumford.

Tracks salvaged from promo copy.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/andromeda http://www.wudrecords.co.uk/archives/andromeda/world-3 https://www.bandmix.co.uk/trimorphous/ https://twitter.com/WudRecords

andromedabeast@hotmail.com

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The Sense that Someone Somewhere Is Tending the Light at the End of the Tunnel, from the album World 3 by Andromeda.

Written, performed and produced by Andromeda.

Copyright © 2001 Joe Ings/Amy McGill/Adam Bonner/Tom Brown.

Thanks to Paul Mumford.

Tracks salvaged from promo copy.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/andromeda http://www.wudrecords.co.uk/archives/andromeda/world-3 https://www.bandmix.co.uk/trimorphous/ https://twitter.com/WudRecords

andromedabeast@hotmail.com

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B, from the album World 3 by Andromeda.

Written, performed and produced by Andromeda.

Copyright © 2001 Joe Ings/Amy McGill/Adam Bonner/Tom Brown.

Thanks to Paul Mumford.

Tracks salvaged from promo copy.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/andromeda http://www.wudrecords.co.uk/archives/andromeda/world-3 https://www.bandmix.co.uk/trimorphous/ https://twitter.com/WudRecords

andromedabeast@hotmail.com

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Hypersimulacrareal, from the album World 3 by Andromeda.

Written, performed and produced by Andromeda.

Copyright © 2001 Joe Ings/Amy McGill/Adam Bonner/Tom Brown.

Thanks to Paul Mumford.

Tracks salvaged from promo copy.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/andromeda http://www.wudrecords.co.uk/archives/andromeda/world-3 https://www.bandmix.co.uk/trimorphous/ https://twitter.com/WudRecords

andromedabeast@hotmail.com

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A, from the album World 3 by Andromeda.

Written, performed and produced by Andromeda.

Copyright © 2001 Joe Ings/Amy McGill/Adam Bonner/Tom Brown.

Thanks to Paul Mumford.

Tracks salvaged from promo copy.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/andromeda http://www.wudrecords.co.uk/archives/andromeda/world-3 https://www.bandmix.co.uk/trimorphous/ https://twitter.com/WudRecords

andromedabeast@hotmail.com

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C, from the album World 3 by Andromeda.

Written, performed and produced by Andromeda.

Copyright © 2001 Joe Ings/Amy McGill/Adam Bonner/Tom Brown.

Thanks to Paul Mumford.

Tracks salvaged from promo copy.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/andromeda http://www.wudrecords.co.uk/archives/andromeda/world-3 https://www.bandmix.co.uk/trimorphous/ https://twitter.com/WudRecords

andromedabeast@hotmail.com

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Pin, from the album World 3 by Andromeda.

Written, performed and produced by Andromeda.

Copyright © 2001 Joe Ings/Amy McGill/Adam Bonner/Tom Brown.

Thanks to Paul Mumford.

Tracks salvaged from promo copy.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/andromeda http://www.wudrecords.co.uk/archives/andromeda/world-3 https://www.bandmix.co.uk/trimorphous/ https://twitter.com/WudRecords

andromedabeast@hotmail.com

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Nothingtime TV, from the album World 3 by Andromeda.

All tracks written, performed and produced by Andromeda.

Copyright © 2001 Joe Ings/Amy McGill/Adam Bonner/Tom Brown.

Thanks to Paul Mumford.

Tracks salvaged from promo copy.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/andromeda http://www.wudrecords.co.uk/archives/andromeda/world-3 https://www.bandmix.co.uk/trimorphous/ https://twitter.com/WudRecords

andromedabeast@hotmail.com

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Heavitree Hill by Pyg, from the 2001 Gruntings album.

The original Gruntings recording was not to the satisfaction of Pyg so they re-made the thing and this was the result.

These songs were recorded by Martin Dearmun. Copyright Transit Recordings 2001.

All arrangements by Pyg. All songs were written by Malcolm Learmonth except Crying Shame which was written by Martin Dearmun.

Martin Dearmun – vocals, acoustic guitar, dulcimer Malcolm Learmonth – acoustic and electric guitars, bouzouki Kes Cross – electric fiddle George Davies – bass Dave Danielli – drums

Some quotes: “A stomping good gyg.” – Pyg Breeders Weekly “We danced ’til our tales dropped off!” – Trotter Times “Possibly the best gig since feeding time.” – Scratchings Gazette

Pyg were mostly a really good live band and their studio recorded material never really managed to entirely capture the essence of their live power. They played a loud kick-ass brand of what they termed ‘caustic folk’, quite a rocky variant of folk music, perhaps in a similar vein to The Levellers or The Waterboys but with a harder, edgier approach. The songwriting duo of Martin and Malcolm crafted wonderfully thought-provoking and hauntingly beautiful songs that stay in the memory once heard.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/pyg-2 http://www.wudrecords.co.uk/archives/pyg-2/gruntings https://twitter.com/WudRecords

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The Way It Is by Pyg, from the 2001 Gruntings album.

The original Gruntings recording was not to the satisfaction of Pyg so they re-made the thing and this was the result.

These songs were recorded by Martin Dearmun. Copyright Transit Recordings 2001.

All arrangements by Pyg. All songs were written by Malcolm Learmonth except Crying Shame which was written by Martin Dearmun.

Martin Dearmun – vocals, acoustic guitar, dulcimer Malcolm Learmonth – acoustic and electric guitars, bouzouki Kes Cross – electric fiddle George Davies – bass Dave Danielli – drums

Some quotes: “A stomping good gyg.” – Pyg Breeders Weekly “We danced ’til our tales dropped off!” – Trotter Times “Possibly the best gig since feeding time.” – Scratchings Gazette

Pyg were mostly a really good live band and their studio recorded material never really managed to entirely capture the essence of their live power. They played a loud kick-ass brand of what they termed ‘caustic folk’, quite a rocky variant of folk music, perhaps in a similar vein to The Levellers or The Waterboys but with a harder, edgier approach. The songwriting duo of Martin and Malcolm crafted wonderfully thought-provoking and hauntingly beautiful songs that stay in the memory once heard.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/pyg-2 http://www.wudrecords.co.uk/archives/pyg-2/gruntings https://twitter.com/WudRecords

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Crying Shame by Pyg, from the 2001 Gruntings album.

The original Gruntings recording was not to the satisfaction of Pyg so they re-made the thing and this was the result.

These songs were recorded by Martin Dearmun. Copyright Transit Recordings 2001.

All arrangements by Pyg. All songs were written by Malcolm Learmonth except Crying Shame which was written by Martin Dearmun.

Martin Dearmun – vocals, acoustic guitar, dulcimer Malcolm Learmonth – acoustic and electric guitars, bouzouki Kes Cross – electric fiddle George Davies – bass Dave Danielli – drums

Some quotes: “A stomping good gyg.” – Pyg Breeders Weekly “We danced ’til our tales dropped off!” – Trotter Times “Possibly the best gig since feeding time.” – Scratchings Gazette

Pyg were mostly a really good live band and their studio recorded material never really managed to entirely capture the essence of their live power. They played a loud kick-ass brand of what they termed ‘caustic folk’, quite a rocky variant of folk music, perhaps in a similar vein to The Levellers or The Waterboys but with a harder, edgier approach. The songwriting duo of Martin and Malcolm crafted wonderfully thought-provoking and hauntingly beautiful songs that stay in the memory once heard.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/pyg-2 http://www.wudrecords.co.uk/archives/pyg-2/gruntings https://twitter.com/WudRecords

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Touch And Go by Pyg, from the 2001 Gruntings album.

The original Gruntings recording was not to the satisfaction of Pyg so they re-made the thing and this was the result.

These songs were recorded by Martin Dearmun. Copyright Transit Recordings 2001.

All arrangements by Pyg. All songs were written by Malcolm Learmonth except Crying Shame which was written by Martin Dearmun.

Martin Dearmun – vocals, acoustic guitar, dulcimer Malcolm Learmonth – acoustic and electric guitars, bouzouki Kes Cross – electric fiddle George Davies – bass Dave Danielli – drums

Some quotes: “A stomping good gyg.” – Pyg Breeders Weekly “We danced ’til our tales dropped off!” – Trotter Times “Possibly the best gig since feeding time.” – Scratchings Gazette

Pyg were mostly a really good live band and their studio recorded material never really managed to entirely capture the essence of their live power. They played a loud kick-ass brand of what they termed ‘caustic folk’, quite a rocky variant of folk music, perhaps in a similar vein to The Levellers or The Waterboys but with a harder, edgier approach. The songwriting duo of Martin and Malcolm crafted wonderfully thought-provoking and hauntingly beautiful songs that stay in the memory once heard.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/pyg-2 http://www.wudrecords.co.uk/archives/pyg-2/gruntings https://twitter.com/WudRecords

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Waiting Room by Pyg, from the 2001 Gruntings album.

The original Gruntings recording was not to the satisfaction of Pyg so they re-made the thing and this was the result.

These songs were recorded by Martin Dearmun. Copyright Transit Recordings 2001.

All arrangements by Pyg. All songs were written by Malcolm Learmonth except Crying Shame which was written by Martin Dearmun.

Martin Dearmun – vocals, acoustic guitar, dulcimer Malcolm Learmonth – acoustic and electric guitars, bouzouki Kes Cross – electric fiddle George Davies – bass Dave Danielli – drums

Some quotes: “A stomping good gyg.” – Pyg Breeders Weekly “We danced ’til our tales dropped off!” – Trotter Times “Possibly the best gig since feeding time.” – Scratchings Gazette

Pyg were mostly a really good live band and their studio recorded material never really managed to entirely capture the essence of their live power. They played a loud kick-ass brand of what they termed ‘caustic folk’, quite a rocky variant of folk music, perhaps in a similar vein to The Levellers or The Waterboys but with a harder, edgier approach. The songwriting duo of Martin and Malcolm crafted wonderfully thought-provoking and hauntingly beautiful songs that stay in the memory once heard.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/pyg-2 http://www.wudrecords.co.uk/archives/pyg-2/gruntings https://twitter.com/WudRecords

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Wish I'd Known by Pyg, from the 2001 Gruntings album.

The original Gruntings recording was not to the satisfaction of Pyg so they re-made the thing and this was the result.

These songs were recorded by Martin Dearmun. Copyright Transit Recordings 2001.

All arrangements by Pyg. All songs were written by Malcolm Learmonth except Crying Shame which was written by Martin Dearmun.

Martin Dearmun – vocals, acoustic guitar, dulcimer Malcolm Learmonth – acoustic and electric guitars, bouzouki Kes Cross – electric fiddle George Davies – bass Dave Danielli – drums

Some quotes: “A stomping good gyg.” – Pyg Breeders Weekly “We danced ’til our tales dropped off!” – Trotter Times “Possibly the best gig since feeding time.” – Scratchings Gazette

Pyg were mostly a really good live band and their studio recorded material never really managed to entirely capture the essence of their live power. They played a loud kick-ass brand of what they termed ‘caustic folk’, quite a rocky variant of folk music, perhaps in a similar vein to The Levellers or The Waterboys but with a harder, edgier approach. The songwriting duo of Martin and Malcolm crafted wonderfully thought-provoking and hauntingly beautiful songs that stay in the memory once heard.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/pyg-2 http://www.wudrecords.co.uk/archives/pyg-2/gruntings https://twitter.com/WudRecords

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Seize the Day by Pyg, from the 2001 Gruntings album.

The original Gruntings recording was not to the satisfaction of Pyg so they re-made the thing and this was the result.

These songs were recorded by Martin Dearmun. Copyright Transit Recordings 2001.

All arrangements by Pyg. All songs were written by Malcolm Learmonth except Crying Shame which was written by Martin Dearmun.

Martin Dearmun – vocals, acoustic guitar, dulcimer Malcolm Learmonth – acoustic and electric guitars, bouzouki Kes Cross – electric fiddle George Davies – bass Dave Danielli – drums

Some quotes: “A stomping good gyg.” – Pyg Breeders Weekly “We danced ’til our tales dropped off!” – Trotter Times “Possibly the best gig since feeding time.” – Scratchings Gazette

Pyg were mostly a really good live band and their studio recorded material never really managed to entirely capture the essence of their live power. They played a loud kick-ass brand of what they termed ‘caustic folk’, quite a rocky variant of folk music, perhaps in a similar vein to The Levellers or The Waterboys but with a harder, edgier approach. The songwriting duo of Martin and Malcolm crafted wonderfully thought-provoking and hauntingly beautiful songs that stay in the memory once heard.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/pyg-2 http://www.wudrecords.co.uk/archives/pyg-2/gruntings https://twitter.com/WudRecords

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Box Shots by Murdock.

Box Shots

Gun shot, through a window of an apartment in San Fancisco And a nuke sub crashes into the bottom of the Atlantic Ocean. It's bad news everywhere I go, on the radio, On my favourite tv show, What's going on?

Concorde hits the floor with a tremendous roar, a tremendous roar, And then Ronan's roller coaster goes straight into a wall, straight into a wall, Bad news, everywhere I go, on the radio, On my favourite tv show, What's going on?

It's box shots everywhere I go, on the radio, On my favourite tv show What's going on?

Gun shot, through a window of an apartment in San Fancisco And a nuke sub crashes into the bottom of the Atlantic Ocean. It's bad news everywhere I go, on the radio, On my favourite tv show, What's going on?

It's box shots everywhere I go, on the radio, On my favourite tv show What's going on?

It's box shots, box shots, Everywhere I go. It's box shots.

Paul Russell: vocals, guitar Adam Hughes: bass Peter Haig: drums David Breeze: lead guitar

Lyrics by Paul Russell, music by Murdock.

Copyright © & ℗ Murdock 2001. Recorded at PMC Studios, Plymouth. Engineered and mastered by Phil Sheppard.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/murdock https://twitter.com/WudRecords

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Albino by Murdock.

Albino

Have you seen there's someone out there, Hid behind a perfect outlook Waiting for someone like you so he can take the things you do And give them away. He's gonna give them away.

Little girl beware the man who's always talking about your band And telling you how good you are and soon you'll be a superstar He's lying to you, Yes he is lying to you.

He said that he would take you far, a festival like Glastonbury Where everyone would be amazed Because the things you've got to say are so very true, But he is lying to you.

So just beware that he is out there, Hid behind his perfect outlook Waiting for someone like you so he can take the things you do And give them away. He's gonna give them away.

Yes he's going to give them away, take it from you, Give it to someone new.

Paul Russell: vocals, guitar Adam Hughes: bass Peter Haig: drums David Breeze: lead guitar

Lyrics by Paul Russell, music by Murdock.

Additional percussion: Joe Catcheside

Copyright © & ℗ Murdock 2001. Recorded at PMC Studios, Plymouth. Engineered and mastered by Phil Sheppard.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/murdock https://twitter.com/WudRecords

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Nocturnal by Murdock.

Nocturnal If I were a woman, I'd slap you in the face But I'm not allowed to, not a part of your race Some girls always tell me, "Equal rights aren't fair, They just get thrown out of the window", truly.

If I were a crook, I wouldn't look you in the eye, Roaming round your boring shop, looking for crap to buy. Why do you always follow me? Why do you always stare at me? Is it I'm nocturnal?

Nocturnal

You think that I'm diseased because the things that I believe But it is you, my friend, who ends up in the sticky end. Some sink so slowly, before they can be free, But I am not alone.

If I were a Satanist, preaching in the street I fear that I would be shot because of my beliefs But if I were a Christian, or a Holy Man in an S.A. band Then maybe they'd adore me.

Nocturnal

You think that I'm diseased because the things that I believe But it is you, my friend, who ends up in the sticky end. Some sink so slowly, before they can be free, But I am not alone, no.

Paul Russell: vocals, guitar Adam Hughes: bass Peter Haig: drums David Breeze: lead guitar

Lyrics by Paul Russell, music by Murdock.

Strings: Debbie Codling Fender Rhodes: Joe Catcheside

Copyright © & ℗ Murdock 2001. Recorded at PMC Studios, Plymouth. Engineered and mastered by Phil Sheppard.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/murdock https://twitter.com/WudRecords

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Pin, from Living Thing (EP) by Andromeda.

Copyright © 2001 Joe Ings/Amy McGill/Adam Bonner.

Written and produced by Andromeda.

Joe Ings, Amy McGill, Chubs: vocals, guitars, keyboards, bass, programming.

Salvaged from promo copy.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/andromeda http://www.wudrecords.co.uk/archives/andromeda/living-thing https://www.bandmix.co.uk/trimorphous/ https://twitter.com/WudRecords

andromedabeast@hotmail.com

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Emdee Emmay, from Living Thing (EP) by Andromeda.

Copyright © 2001 Joe Ings/Amy McGill/Adam Bonner.

Written and produced by Andromeda.

Joe Ings, Amy McGill, Chubs: vocals, guitars, keyboards, bass, programming.

Salvaged from promo copy.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/andromeda http://www.wudrecords.co.uk/archives/andromeda/living-thing https://www.bandmix.co.uk/trimorphous/ https://twitter.com/WudRecords

andromedabeast@hotmail.com

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A Flash Into Your Eye, from Living Thing (EP) by Andromeda.

Copyright © 2001 Joe Ings/Amy McGill/Adam Bonner.

Written and produced by Andromeda.

Joe Ings, Amy McGill, Chubs: vocals, guitars, keyboards, bass, programming.

Salvaged from promo copy.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/andromeda http://www.wudrecords.co.uk/archives/andromeda/living-thing https://www.bandmix.co.uk/trimorphous/ https://twitter.com/WudRecords

andromedabeast@hotmail.com

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Living Thing, from Living Thing (EP) by Andromeda.

Copyright © 2001 Joe Ings/Amy McGill/Adam Bonner.

Written and produced by Andromeda.

Joe Ings, Amy McGill, Chubs: vocals, guitars, keyboards, bass, programming.

Salvaged from promo copy.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/andromeda http://www.wudrecords.co.uk/archives/andromeda/living-thing https://www.bandmix.co.uk/trimorphous/ https://twitter.com/WudRecords

andromedabeast@hotmail.com

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Lights Out, from Ride That Fantasy by Recluse.

This is the 2001 album Ride That Fantasy by Devon trio Recluse.

Sadly we have no information accompanying this album called Ride That Fantasy by Recluse, other than the track titles and the name of the band, Recluse.

We are fairly sure that it is Alex Painter on guitar and vocals and writing most of the material, although as to whether or not Chris White and Tim Desmond provide the bass and drums (or more, or less) and other such detail remains largely mysterious. It sounds as if Alex played a baritone guitar, or at least tuned one of his guitars down somewhat, for some of the songs.

We like Recluse a lot and hope its members are still making great music somewhere, somehow.

Recluse were a three piece band from Devon who wrote the most disarmingly haunting and powerful songs. They were three of the most polite and unassuming young men if you met any of them, yet when put on a stage with some instruments to play they produced the most gloriously demonic musical cacophony.

The main songwriter in Recluse was Alex Painter (guitar, vocals) and when he left the area to study music at Salford the band seemed to grind to a halt. This was a great shame as he was one of the most accomplished young rock musicians and composers in Devon. Chris White played bass and Tim Desmond drums to complete the line-up.

As far as we know, the band made just two albums – Propaganda in 2000 and Ride That Fantasy in 2001. We hope you enjoy listening to the music of Recluse as much as we still do, even after all these years.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/recluse http://www.wudrecords.co.uk/archives/recluse/ride-that-fantasy-2001 https://twitter.com/WudRecords

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Shameful Smile, from Ride That Fantasy by Recluse.

This is the 2001 album Ride That Fantasy by Devon trio Recluse.

Sadly we have no information accompanying this album called Ride That Fantasy by Recluse, other than the track titles and the name of the band, Recluse.

We are fairly sure that it is Alex Painter on guitar and vocals and writing most of the material, although as to whether or not Chris White and Tim Desmond provide the bass and drums (or more, or less) and other such detail remains largely mysterious. It sounds as if Alex played a baritone guitar, or at least tuned one of his guitars down somewhat, for some of the songs.

We like Recluse a lot and hope its members are still making great music somewhere, somehow.

Recluse were a three piece band from Devon who wrote the most disarmingly haunting and powerful songs. They were three of the most polite and unassuming young men if you met any of them, yet when put on a stage with some instruments to play they produced the most gloriously demonic musical cacophony.

The main songwriter in Recluse was Alex Painter (guitar, vocals) and when he left the area to study music at Salford the band seemed to grind to a halt. This was a great shame as he was one of the most accomplished young rock musicians and composers in Devon. Chris White played bass and Tim Desmond drums to complete the line-up.

As far as we know, the band made just two albums – Propaganda in 2000 and Ride That Fantasy in 2001. We hope you enjoy listening to the music of Recluse as much as we still do, even after all these years.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/recluse http://www.wudrecords.co.uk/archives/recluse/ride-that-fantasy-2001 https://soundcloud.com/wud-records/recluse-shameful-smile-p?in=wud-records/sets/recluse-propaganda https://twitter.com/WudRecords

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In The End, from Ride That Fantasy by Recluse.

This is the 2001 album Ride That Fantasy by Devon trio Recluse.

Sadly we have no information accompanying this album called Ride That Fantasy by Recluse, other than the track titles and the name of the band, Recluse.

We are fairly sure that it is Alex Painter on guitar and vocals and writing most of the material, although as to whether or not Chris White and Tim Desmond provide the bass and drums (or more, or less) and other such detail remains largely mysterious. It sounds as if Alex played a baritone guitar, or at least tuned one of his guitars down somewhat, for some of the songs.

We like Recluse a lot and hope its members are still making great music somewhere, somehow.

Recluse were a three piece band from Devon who wrote the most disarmingly haunting and powerful songs. They were three of the most polite and unassuming young men if you met any of them, yet when put on a stage with some instruments to play they produced the most gloriously demonic musical cacophony.

The main songwriter in Recluse was Alex Painter (guitar, vocals) and when he left the area to study music at Salford the band seemed to grind to a halt. This was a great shame as he was one of the most accomplished young rock musicians and composers in Devon. Chris White played bass and Tim Desmond drums to complete the line-up.

As far as we know, the band made just two albums – Propaganda in 2000 and Ride That Fantasy in 2001. We hope you enjoy listening to the music of Recluse as much as we still do, even after all these years.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/recluse http://www.wudrecords.co.uk/archives/recluse/ride-that-fantasy-2001 https://twitter.com/WudRecords

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Promise the World, from Ride That Fantasy by Recluse.

This is the 2001 album Ride That Fantasy by Devon trio Recluse.

Sadly we have no information accompanying this album called Ride That Fantasy by Recluse, other than the track titles and the name of the band, Recluse.

We are fairly sure that it is Alex Painter on guitar and vocals and writing most of the material, although as to whether or not Chris White and Tim Desmond provide the bass and drums (or more, or less) and other such detail remains largely mysterious. It sounds as if Alex played a baritone guitar, or at least tuned one of his guitars down somewhat, for some of the songs.

We like Recluse a lot and hope its members are still making great music somewhere, somehow.

Recluse were a three piece band from Devon who wrote the most disarmingly haunting and powerful songs. They were three of the most polite and unassuming young men if you met any of them, yet when put on a stage with some instruments to play they produced the most gloriously demonic musical cacophony.

The main songwriter in Recluse was Alex Painter (guitar, vocals) and when he left the area to study music at Salford the band seemed to grind to a halt. This was a great shame as he was one of the most accomplished young rock musicians and composers in Devon. Chris White played bass and Tim Desmond drums to complete the line-up.

As far as we know, the band made just two albums – Propaganda in 2000 and Ride That Fantasy in 2001. We hope you enjoy listening to the music of Recluse as much as we still do, even after all these years.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/recluse http://www.wudrecords.co.uk/archives/recluse/ride-that-fantasy-2001 https://twitter.com/WudRecords

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Glances, from Ride That Fantasy by Recluse.

This is the 2001 album Ride That Fantasy by Devon trio Recluse.

Sadly we have no information accompanying this album called Ride That Fantasy by Recluse, other than the track titles and the name of the band, Recluse.

We are fairly sure that it is Alex Painter on guitar and vocals and writing most of the material, although as to whether or not Chris White and Tim Desmond provide the bass and drums (or more, or less) and other such detail remains largely mysterious. It sounds as if Alex played a baritone guitar, or at least tuned one of his guitars down somewhat, for some of the songs.

We like Recluse a lot and hope its members are still making great music somewhere, somehow.

Recluse were a three piece band from Devon who wrote the most disarmingly haunting and powerful songs. They were three of the most polite and unassuming young men if you met any of them, yet when put on a stage with some instruments to play they produced the most gloriously demonic musical cacophony.

The main songwriter in Recluse was Alex Painter (guitar, vocals) and when he left the area to study music at Salford the band seemed to grind to a halt. This was a great shame as he was one of the most accomplished young rock musicians and composers in Devon. Chris White played bass and Tim Desmond drums to complete the line-up.

As far as we know, the band made just two albums – Propaganda in 2000 and Ride That Fantasy in 2001. We hope you enjoy listening to the music of Recluse as much as we still do, even after all these years.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/recluse http://www.wudrecords.co.uk/archives/recluse/ride-that-fantasy-2001 https://twitter.com/WudRecords

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Crash and Burn, from Ride That Fantasy by Recluse.

This is the 2001 album Ride That Fantasy by Devon trio Recluse.

Sadly we have no information accompanying this album called Ride That Fantasy by Recluse, other than the track titles and the name of the band, Recluse.

We are fairly sure that it is Alex Painter on guitar and vocals and writing most of the material, although as to whether or not Chris White and Tim Desmond provide the bass and drums (or more, or less) and other such detail remains largely mysterious. It sounds as if Alex played a baritone guitar, or at least tuned one of his guitars down somewhat, for some of the songs.

We like Recluse a lot and hope its members are still making great music somewhere, somehow.

Recluse were a three piece band from Devon who wrote the most disarmingly haunting and powerful songs. They were three of the most polite and unassuming young men if you met any of them, yet when put on a stage with some instruments to play they produced the most gloriously demonic musical cacophony.

The main songwriter in Recluse was Alex Painter (guitar, vocals) and when he left the area to study music at Salford the band seemed to grind to a halt. This was a great shame as he was one of the most accomplished young rock musicians and composers in Devon. Chris White played bass and Tim Desmond drums to complete the line-up.

As far as we know, the band made just two albums – Propaganda in 2000 and Ride That Fantasy in 2001. We hope you enjoy listening to the music of Recluse as much as we still do, even after all these years.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/recluse http://www.wudrecords.co.uk/archives/recluse/ride-that-fantasy-2001 https://twitter.com/WudRecords

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Ride That Fantasy, from Ride That Fantasy by Recluse.

This is the 2001 album Ride That Fantasy by Devon trio Recluse.

Sadly we have no information accompanying this album called Ride That Fantasy by Recluse, other than the track titles and the name of the band, Recluse.

We are fairly sure that it is Alex Painter on guitar and vocals and writing most of the material, although as to whether or not Chris White and Tim Desmond provide the bass and drums (or more, or less) and other such detail remains largely mysterious. It sounds as if Alex played a baritone guitar, or at least tuned one of his guitars down somewhat, for some of the songs.

We like Recluse a lot and hope its members are still making great music somewhere, somehow.

Recluse were a three piece band from Devon who wrote the most disarmingly haunting and powerful songs. They were three of the most polite and unassuming young men if you met any of them, yet when put on a stage with some instruments to play they produced the most gloriously demonic musical cacophony.

The main songwriter in Recluse was Alex Painter (guitar, vocals) and when he left the area to study music at Salford the band seemed to grind to a halt. This was a great shame as he was one of the most accomplished young rock musicians and composers in Devon. Chris White played bass and Tim Desmond drums to complete the line-up.

As far as we know, the band made just two albums – Propaganda in 2000 and Ride That Fantasy in 2001. We hope you enjoy listening to the music of Recluse as much as we still do, even after all these years.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/recluse http://www.wudrecords.co.uk/archives/recluse/ride-that-fantasy-2001 https://twitter.com/WudRecords

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New Light, from Ride That Fantasy by Recluse.

This is the 2001 album Ride That Fantasy by Devon trio Recluse.

Sadly we have no information accompanying this album called Ride That Fantasy by Recluse, other than the track titles and the name of the band, Recluse.

We are fairly sure that it is Alex Painter on guitar and vocals and writing most of the material, although as to whether or not Chris White and Tim Desmond provide the bass and drums (or more, or less) and other such detail remains largely mysterious. It sounds as if Alex played a baritone guitar, or at least tuned one of his guitars down somewhat, for some of the songs.

We like Recluse a lot and hope its members are still making great music somewhere, somehow.

Recluse were a three piece band from Devon who wrote the most disarmingly haunting and powerful songs. They were three of the most polite and unassuming young men if you met any of them, yet when put on a stage with some instruments to play they produced the most gloriously demonic musical cacophony.

The main songwriter in Recluse was Alex Painter (guitar, vocals) and when he left the area to study music at Salford the band seemed to grind to a halt. This was a great shame as he was one of the most accomplished young rock musicians and composers in Devon. Chris White played bass and Tim Desmond drums to complete the line-up.

As far as we know, the band made just two albums – Propaganda in 2000 and Ride That Fantasy in 2001. We hope you enjoy listening to the music of Recluse as much as we still do, even after all these years.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/recluse http://www.wudrecords.co.uk/archives/recluse/ride-that-fantasy-2001 https://twitter.com/WudRecords

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Chosen Few (acoustic), from Ride That Fantasy by Recluse.

This is the 2001 album Ride That Fantasy by Devon trio Recluse.

Sadly we have no information accompanying this album called Ride That Fantasy by Recluse, other than the track titles and the name of the band, Recluse.

We are fairly sure that it is Alex Painter on guitar and vocals and writing most of the material, although as to whether or not Chris White and Tim Desmond provide the bass and drums (or more, or less) and other such detail remains largely mysterious. It sounds as if Alex played a baritone guitar, or at least tuned one of his guitars down somewhat, for some of the songs.

We like Recluse a lot and hope its members are still making great music somewhere, somehow.

Recluse were a three piece band from Devon who wrote the most disarmingly haunting and powerful songs. They were three of the most polite and unassuming young men if you met any of them, yet when put on a stage with some instruments to play they produced the most gloriously demonic musical cacophony.

The main songwriter in Recluse was Alex Painter (guitar, vocals) and when he left the area to study music at Salford the band seemed to grind to a halt. This was a great shame as he was one of the most accomplished young rock musicians and composers in Devon. Chris White played bass and Tim Desmond drums to complete the line-up.

As far as we know, the band made just two albums – Propaganda in 2000 and Ride That Fantasy in 2001. We hope you enjoy listening to the music of Recluse as much as we still do, even after all these years.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/recluse http://www.wudrecords.co.uk/archives/recluse/ride-that-fantasy-2001 https://soundcloud.com/wud-records/recluse-chosen-few?in=wud-records/sets/recluse-propaganda https://twitter.com/WudRecords

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For You, from Ride That Fantasy by Recluse.

This is the 2001 album Ride That Fantasy by Devon trio Recluse.

Sadly we have no information accompanying this album called Ride That Fantasy by Recluse, other than the track titles and the name of the band, Recluse.

We are fairly sure that it is Alex Painter on guitar and vocals and writing most of the material, although as to whether or not Chris White and Tim Desmond provide the bass and drums (or more, or less) and other such detail remains largely mysterious. It sounds as if Alex played a baritone guitar, or at least tuned one of his guitars down somewhat, for some of the songs.

We like Recluse a lot and hope its members are still making great music somewhere, somehow.

Recluse were a three piece band from Devon who wrote the most disarmingly haunting and powerful songs. They were three of the most polite and unassuming young men if you met any of them, yet when put on a stage with some instruments to play they produced the most gloriously demonic musical cacophony.

The main songwriter in Recluse was Alex Painter (guitar, vocals) and when he left the area to study music at Salford the band seemed to grind to a halt. This was a great shame as he was one of the most accomplished young rock musicians and composers in Devon. Chris White played bass and Tim Desmond drums to complete the line-up.

As far as we know, the band made just two albums – Propaganda in 2000 and Ride That Fantasy in 2001. We hope you enjoy listening to the music of Recluse as much as we still do, even after all these years.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/recluse http://www.wudrecords.co.uk/archives/recluse/ride-that-fantasy-2001 https://twitter.com/WudRecords

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Treat It As A Practice, from Ride That Fantasy by Recluse.

This is the 2001 album Ride That Fantasy by Devon trio Recluse.

Sadly we have no information accompanying this album called Ride That Fantasy by Recluse, other than the track titles and the name of the band, Recluse.

We are fairly sure that it is Alex Painter on guitar and vocals and writing most of the material, although as to whether or not Chris White and Tim Desmond provide the bass and drums (or more, or less) and other such detail remains largely mysterious. It sounds as if Alex played a baritone guitar, or at least tuned one of his guitars down somewhat, for some of the songs.

We like Recluse a lot and hope its members are still making great music somewhere, somehow.

Recluse were a three piece band from Devon who wrote the most disarmingly haunting and powerful songs. They were three of the most polite and unassuming young men if you met any of them, yet when put on a stage with some instruments to play they produced the most gloriously demonic musical cacophony.

The main songwriter in Recluse was Alex Painter (guitar, vocals) and when he left the area to study music at Salford the band seemed to grind to a halt. This was a great shame as he was one of the most accomplished young rock musicians and composers in Devon. Chris White played bass and Tim Desmond drums to complete the line-up.

As far as we know, the band made just two albums – Propaganda in 2000 and Ride That Fantasy in 2001. We hope you enjoy listening to the music of Recluse as much as we still do, even after all these years.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/recluse http://www.wudrecords.co.uk/archives/recluse/ride-that-fantasy-2001 https://twitter.com/WudRecords

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Outro, from Ride That Fantasy by Recluse.

This is the 2001 album Ride That Fantasy by Devon trio Recluse.

Sadly we have no information accompanying this album called Ride That Fantasy by Recluse, other than the track titles and the name of the band, Recluse.

We are fairly sure that it is Alex Painter on guitar and vocals and writing most of the material, although as to whether or not Chris White and Tim Desmond provide the bass and drums (or more, or less) and other such detail remains largely mysterious. It sounds as if Alex played a baritone guitar, or at least tuned one of his guitars down somewhat, for some of the songs.

We like Recluse a lot and hope its members are still making great music somewhere, somehow.

Recluse were a three piece band from Devon who wrote the most disarmingly haunting and powerful songs. They were three of the most polite and unassuming young men if you met any of them, yet when put on a stage with some instruments to play they produced the most gloriously demonic musical cacophony.

The main songwriter in Recluse was Alex Painter (guitar, vocals) and when he left the area to study music at Salford the band seemed to grind to a halt. This was a great shame as he was one of the most accomplished young rock musicians and composers in Devon. Chris White played bass and Tim Desmond drums to complete the line-up.

As far as we know, the band made just two albums – Propaganda in 2000 and Ride That Fantasy in 2001. We hope you enjoy listening to the music of Recluse as much as we still do, even after all these years.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/recluse http://www.wudrecords.co.uk/archives/recluse/ride-that-fantasy-2001 https://twitter.com/WudRecords

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Gods by Guarana.

Are Guarana the finest band Guernsey ever produced? We think so. In fact, we think Guarana are one of the finest bands the planet ever produced. There are few bands more capable of evoking the sheer power of raw emotion. Their live sets were each like a precious multi-faceted jewel to be treasured.

After leaving Guernsey to try to forge a career on the north island, Guarana found themselves based in Exeter. From there they proceeded to wow audiences across the south of England with their shows, which were full of humour as well as stunning songwriting. Their sound was much bigger than your usual three-piece, thanks mainly to singer and guitarist Danny le Pelley’s unusual chords using jangly open strings.

Unfortunately we have very little information on what happened to the band and where they are now. There was a website with a realplayer stream and photos and discussion, and somewhere out in the universe there is a lot of video footage as every show they played that we remember was filmed by a tall amiable French fellow.

Guarana’s previous contact details were as follows, if you use the Wayback Machine or the Archive – www.guarana-music.co.uk and info@guarana-music.co.uk – we hope you enjoy the music of Guarana as much as we do.

The Real World EP was a CD release by Guarana in November 2000. These are studio recordings made at a time when the band were in fine form. There is very little information to pass on from the sleeve notes, everything on there has been copied to here other than the distorted photo of the drummer on the front cover and the bass with poised thumb on the rear.

“You don’t want to think too much There are no reasons in the real world.”

The copyright in these recordings is owned by Guarana Music. Copyright © November 2000 – all rights reserved.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/guarana https://twitter.com/WudRecords

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Cathy Says by Guarana.

Are Guarana the finest band Guernsey ever produced? We think so. In fact, we think Guarana are one of the finest bands the planet ever produced. There are few bands more capable of evoking the sheer power of raw emotion. Their live sets were each like a precious multi-faceted jewel to be treasured.

After leaving Guernsey to try to forge a career on the north island, Guarana found themselves based in Exeter. From there they proceeded to wow audiences across the south of England with their shows, which were full of humour as well as stunning songwriting. Their sound was much bigger than your usual three-piece, thanks mainly to singer and guitarist Danny le Pelley’s unusual chords using jangly open strings.

Unfortunately we have very little information on what happened to the band and where they are now. There was a website with a realplayer stream and photos and discussion, and somewhere out in the universe there is a lot of video footage as every show they played that we remember was filmed by a tall amiable French fellow.

Guarana’s previous contact details were as follows, if you use the Wayback Machine or the Archive – www.guarana-music.co.uk and info@guarana-music.co.uk – we hope you enjoy the music of Guarana as much as we do.

The Real World EP was a CD release by Guarana in November 2000. These are studio recordings made at a time when the band were in fine form. There is very little information to pass on from the sleeve notes, everything on there has been copied to here other than the distorted photo of the drummer on the front cover and the bass with poised thumb on the rear.

“You don’t want to think too much There are no reasons in the real world.”

The copyright in these recordings is owned by Guarana Music. Copyright © November 2000 – all rights reserved.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/guarana https://twitter.com/WudRecords

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The Real World by Guarana.

Are Guarana the finest band Guernsey ever produced? We think so. In fact, we think Guarana are one of the finest bands the planet ever produced. There are few bands more capable of evoking the sheer power of raw emotion. Their live sets were each like a precious multi-faceted jewel to be treasured.

After leaving Guernsey to try to forge a career on the north island, Guarana found themselves based in Exeter. From there they proceeded to wow audiences across the south of England with their shows, which were full of humour as well as stunning songwriting. Their sound was much bigger than your usual three-piece, thanks mainly to singer and guitarist Danny le Pelley’s unusual chords using jangly open strings.

Unfortunately we have very little information on what happened to the band and where they are now. There was a website with a realplayer stream and photos and discussion, and somewhere out in the universe there is a lot of video footage as every show they played that we remember was filmed by a tall amiable French fellow.

Guarana’s previous contact details were as follows, if you use the Wayback Machine or the Archive – www.guarana-music.co.uk and info@guarana-music.co.uk – we hope you enjoy the music of Guarana as much as we do.

The Real World EP was a CD release by Guarana in November 2000. These are studio recordings made at a time when the band were in fine form. There is very little information to pass on from the sleeve notes, everything on there has been copied to here other than the distorted photo of the drummer on the front cover and the bass with poised thumb on the rear.

“You don’t want to think too much There are no reasons in the real world.”

The copyright in these recordings is owned by Guarana Music. Copyright © November 2000 – all rights reserved.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/guarana https://twitter.com/WudRecords

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Slide by Dark Company, from the album Old Hands.

• Work in progress! This is a demo! *

~ Composers ~ Lyrics: P. Greatorex Music: G. Davies/P. Greatorex

~ Performers ~ PJ Speed - vocals Zak Black - guitar Josh Reynes - keys, sequencing Maxx Damage - bass Sven Stiglund - drums

Copyright © 2015 Wud Records. Copyright ℗ 1992 D & G Music.

SLIDE Turning time inside out Negative photo score You got reasons for the way you sound But I don’t listen any more Sleeping around in the old school yard Memory shadows hide You got time to do it right But I’m not there inside

Taking minutes for a walk Copying all the news You got smiles to spare for love But I don’t like the view Making home a last resort Seaside dreaming fun You got lies to talk about But I know every one

Being fast about the house Visit every room You got tickets for the show tonight But I wanna go home soon Caring sharing a meal of life Woman she takes your time You got burnt for the pains you took But I didn’t give you mine

See also: http://www.wudrecords.co.uk/artists/dark-company/old-hands http://www.explicitmusic.co.uk/lyrics-information/dark-company/old-hands/slide twitter.com/#!/Dark_Company http://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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In Case of Emergency by Dark Company, from the album Old Hands.

• Work in progress! This is a demo! *

~ Composers ~ Lyrics: P. Greatorex Music: G. Davies/P. Greatorex

~ Performers ~ PJ Speed - vocals Zak Black - guitar Josh Reynes - keys Maxx Damage - bass Sven Stiglund - drums

Copyright © 2015 Wud Records. Copyright ℗ 1993 D & G Music.

IN CASE OF EMERGENCY I’ve got a little bottle of silent dreams Keep it in my pocket Yeah you know what I mean Lid screwed down, I’m screwed up Don’t wanna sleep cos I dream too much

Gotta little barrel of a thousand laughs Right up on the shelf In case I need it fast Easy-pour scoop, carrying loop Ready for my mouth, got no time to lose

Are you not a mirror boy, mirror boy Are you not a dangerous toy, dangerous toy Are you not a mirror boy, mirror boy Are you not a dangerous toy, dangerous toy

Gotta little packet of common sense Way back in the larder Yeah dark and intense Carefully wrapped, flavour’s trapped Waiting for the time when I’m outta whack

I’ve got a little bottle of silent dreams Keep it in my pocket Yeah you know what I mean Lid screwed down, I’m screwed up Don’t wanna sleep cos I dream too much

Are you not a mirror boy, mirror boy Are you not a dangerous toy, dangerous toy Are you not a mirror boy, mirror boy Are you not a dangerous toy, dangerous toy

Are you not a mirror boy, mirror boy Are you not a dangerous toy, dangerous toy Are you not a mirror boy, mirror boy Are you not a dangerous toy, dangerous toy

Gotta little packet of common sense Way back in the larder Yeah dark and intense Carefully wrapped, flavour’s trapped Waiting for the time when I’m outta whack

I’ve got a little bottle of silent dreams Keep it in my pocket Yeah you know what I mean Lid screwed down, I’m screwed up Don’t wanna sleep cos I dream too much

Are you not a mirror boy, mirror boy Are you not a dangerous toy, dangerous toy Are you not a mirror boy, mirror boy Are you not a dangerous toy, dangerous toy

See also: https://www.wudrecords.co.uk/artists/dark-company/old-hands https://www.explicitmusic.co.uk/lyrics-information/dark-company/old-hands/in-case-of-emergency https://twitter.com/Dark_Company https://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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Fixed & Free by Dark Company. from the album Old Hands.

• Work in progress *

~ Composers ~ Lyrics: P. Greatorex Music: G. Davies/P. Greatorex

~ Performers ~ PJ Speed - vocals Zak Black - guitar Barry Bridges - guitar Maxx Damage - bass Sven Stiglund - drums

Copyright © 2015 Wud Records. Copyright ℗ 1990 Pig Pen Music.

FIXED AND FREE Wrong to be right! Wrong to be right! It seems to me it’s gotta be Wrong to be right

Why do I see the flaws Imperfect days are yours Why is my vision clear My eyes so full of fear Watching the machine of passing days

Wrong to be right! Wrong to be right! It seems to me it’s gotta be Wrong to be right

In aching solitude I give my hand to you My words they have no sound And I can’t climb back down To feel the beating heart of angels’ wings

Oh so wrong to be right! So wrong to be right! It seems to me it’s gotta be Wrong to be right

No-one will stay outside In case their lies collide Why aren’t I just like them Drawn deep with an opium pen With pointless signals directing empty streets

Cos it’s wrong to be right! Wrong to be right! It seems to me it’s gotta be Wrong to be right

Oblivion, sweet youth of dreams Speaking with his tongue unseen Fixed and free, fixed and free He says it’s him, he says it’s me Oblivion, sweet youth of dreams Speaking with his tongue unseen Fixed and free, fixed and free He says it’s him, he says it’s me

See also: http://www.wudrecords.co.uk/artists/dark-company/old-hands http://www.explicitmusic.co.uk/lyrics-information/dark-company/old-hands/fixed-and-free twitter.com/#!/Dark_Company http://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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Peek-a-boo! by Dark Company, from the album Old Hands.

• Work in progress *

~ Composers ~ Lyrics: P. Greatorex Music: G. Davies/P. Greatorex

~ Performers ~ PJ Speed - vocals Zak Black - guitar Maxx Damage - bass Sven Stiglund - drums

Copyright © 2015 Wud Records. Copyright ℗ 2000 Gibber Gibber Music.

PEEK-A-BOO! Got a PHD just to answer the door I got a degree in sleaze, made the neighbours move abroad Got a hurricane eye that sees through walls Keep snakes in the kitchen that eat meatballs

And I know there’s a lantern in my head It’s a heavy shine like a polished lead And I know there’s a lantern in my head It’s a heavy shine like a polished lead

Got a bean sack coat that looks real sharp I got a hosepipe haircut I’m ahead at the start I got a steel-wheeled turkey that sings like a dove But I can never get enough of your love

And I know there’s a lantern in my head It’s a heavy shine like a polished lead And I know there’s a lantern in my head It’s a heavy shine like a polished lead

Got a red white and blue nine dollar bill I got an Eskimo ostrich that never keeps still Got a talking picture that hangs on my wall But surely can’t get you to come and call

And I know there’s a lantern in my head It’s a heavy shine like a polished lead And I know there’s a lantern in my head It’s a heavy shine like a polished lead

Got a badass beaver that steals my shorts I got a helping hand gadget that I’m teaching to talk I got a cool mojo but it ain’t enough Cause it don’t bring me your sweet sweet love

And I know there’s a lantern in my head It’s a heavy shine like a polished lead And I know there’s a lantern in my head It’s a heavy shine like a polished lead

And I know there’s a lantern in my head It’s a heavy shine like a polished lead And I know there’s a lantern in my head It’s a heavy shine like a polished lead

See also: http://www.wudrecords.co.uk/artists/dark-company/old-hands http://www.explicitmusic.co.uk/lyrics-information/dark-company/old-hands/peek-a-boo twitter.com/#!/Dark_Company http://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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Double or Many by Dark Company, from the album Old Hands.

• Work in progress *

~ Composers ~ Lyrics: P. Greatorex Music: G. Davies/P. Greatorex

~ Performers ~ PJ Speed - vocals Zak Black - guitar Maxx Damage - bass Sven Stiglund - drums

Copyright © 2015 Wud Records. Copyright ℗ 1991 D & G Music.

DOUBLE OR MANY Through a rent in the blanket an eye is watching me The science of its presence is a mystery Your lover’s got a camera she can lend to me For photographic fluids capture memory And I must see if it’s only just me And I must see if it’s only just me

Through the dust of the clouds a face looks down A mouth made of sky forms words with no sound Saying “All was lost but now is found.” Saying “All was lost but now is found.” And I must see if it’s only just me And I must see if it’s only just me

Then I come to a sign saying pressure must drop You’re not so important everything’s gotta stop Maybe your brother’s got a letter to read For written down things make it easy to see And I must see if it’s only just me And I must see if it’s only just me

See also: http://www.wudrecords.co.uk/artists/dark-company/old-hands http://www.explicitmusic.co.uk/lyrics-information/dark-company/old-hands/double-or-many twitter.com/#!/Dark_Company http://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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Failsafe by Dark Company, from the album Old Hands.

• Work in progress! This is a demo! *

~ Composers ~ Lyrics: P. Greatorex Music: G. Davies/P. Greatorex

~ Performers ~ PJ Speed - vocals Zak Black - lead guitars Barry Bridges - rumbuloid guitar Maxx Damage - bass Sven Stiglund - drums

Copyright © 2015 Wud Records. Copyright ℗ 2000 D & G Music.

FAILSAFE Darkness like the halo round the head of a saint Drama warm faces made with twilight paint What is ‘not’ is what you got What you want you wanna be hot

Hammer and sickle under the bed Secret service agents resurrecting the dead What is ‘not’ is what you got What you want you wanna be hot

Up above the window is a terrible sky Tears of acid rain raining down from your eye What is ‘not’ and what you got What you want you wanna be hot

Take a blender from the kitchen and a stick from the hall Tell them you’re going to the woodcutters’ ball What is ‘not’ is what you got What you want you wanna be hot

Keeping up appearances on the stage in your head What you see as gold is really only lead What is ‘not’ is what you got What you want you wanna be hot

Ali Baba’s thieves remembered in a rhyme The cop who caught them has been dead a long time What is ‘not’ is what you got What you want you wanna be hot

Can you see it's the end of a dream Can’t you see it’s just a machine Can you see it's the end of a dream Can’t you see it’s just a machine

Can you see it's the end of a dream Can’t you see it’s just a machine Can you see it's the end of a dream Can’t you see it’s just a machine

See also: http://www.wudrecords.co.uk/artists/dark-company/old-hands http://www.explicitmusic.co.uk/lyrics-information/dark-company/old-hands/failsafe twitter.com/#!/Dark_Company http://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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One-2-One by Dark Company. from the album Old Hands.

*Work in progress *

This is the full-length 12-inch mix.

~ Composers ~ Lyrics: P. Greatorex Music: G. Davies/P. Greatorex/J. Willmot

~ Performers ~ Vocals: PJ Speed Synths, Programming: Josh Reynes, Sven Stiglund

Original lost programming: Jeff Willmot

Copyright © 2015 Wud Records. Copyright ℗ 1993 DGW Music.

ONE-2-ONE If I call you long distance Will you listen to me If I send you some telegram Will you make yourself free

Ah, ah, you’re so sneaky So clean that you’re squeaky Ah, ah, you’re so sneaky So clean that you’re squeaky

Will a registered letter Be read any quicker And if I send it ‘collect’ Is it something you’ll get

Ah, ah, you’re so sneaky So clean that you’re squeaky Ah, ah, you’re so sneaky So clean that you’re squeaky

Sent person-to-person Does it make you love and listen If I reach out and grab you Will I learn what is and isn’t

Sent person-to-person Does it make you love and listen If I reach out and grab you Will I learn what is and isn’t

Ah, ah, you’re so sneaky So clean that you’re squeaky Ah, ah, you’re so sneaky So clean that you’re squeaky

Sent person-to-person Does it make you love and listen If I reach out and grab you Will I learn what is and isn’t

If I call you long distance Will you listen to me If I send you some telegram Will you make yourself free

Ah, ah, you’re so sneaky So clean that you’re squeaky Ah, ah, you’re so sneaky So clean that you’re squeaky

Sent person-to-person Does it make you love and listen If I reach out and grab you Will I learn what is and isn’t

Will a registered letter Be read any quicker And if I send it ‘collect’ Is it something you’ll get

Ah, ah, you’re so sneaky So clean that you’re squeaky Ah, ah, you’re so sneaky So clean that you’re squeaky

If I call you long distance Will you listen to me If I send you some telegram Will you make yourself free

Ah, ah, you’re so sneaky So clean that you’re squeaky Ah, ah, you’re so sneaky So clean that you’re squeaky

Sent person-to-person Does it make you love and listen If I reach out and grab you Will I learn what is and isn’t

Will a registered letter Be read any quicker And if I send it ‘collect’ Is it something you’ll get

See also: http://www.wudrecords.co.uk/artists/dark-company/old-hands http://www.explicitmusic.co.uk/lyrics-information/dark-company/old-hands/one-2-one twitter.com/#!/Dark_Company http://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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Medicine Man by Dark Company. from the album Old Hands.

• Work in progress *

~ Composers ~ Lyrics: P. Greatorex Music: G. Davies/P. Greatorex

~ Performers ~ PJ Speed - vocals Zak Black - guitar Barry Bridges - guitar Maxx Damage - bass Sven Stiglund - drums

Copyright © 2015 Wud Records. Copyright ℗ 1990 D & G Music.

MEDICINE MAN I woke up in a dream I dreamed I could not be seen I walked around without a sound Amongst the dead below the ground Selling life in tiny jars

I was a medicine man With eyes the colour of sand With tricks and Styx and 6-6-6 I strode across the land

It was a place I knew Enchantments grew there too Where gravestones talked and corpses walked And inside the night demons stalked Pulling down the stars

I was a medicine man With eyes the colour of sand With tricks and Styx and 6-6-6 I strode across the land

In silence people spoke Their mouths made out of smoke Their thoughts they stirred into weird words And all they said they knew I heard Saying “Oh too fast too far”

I was a medicine man With eyes the colour of sand With tricks and Styx and 6-6-6 I strode across the land

You gotta understand, understand I am a medicine man, medicine man You gotta know that I could show The path on which they could come and go Which way the river was going to flow All these things they were just so Cos I’m a medicine man, medicine man Cos I’m a medicine man, medicine man Cos I’m a medicine I’m a medicine I’m a medicine man, Medicine man

See also: http://www.wudrecords.co.uk/artists/dark-company/old-hands http://www.explicitmusic.co.uk/lyrics-information/dark-company/old-hands/medicine-man twitter.com/#!/Dark_Company http://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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Dangerous by Dark Company, from the album Old Hands.

• Work in progress! This is a demo! *

~ Composers ~ Lyrics: P. Greatorex Music: G. Davies/P. Greatorex

~ Performers ~ PJ Speed - vocals Zak Black - guitar Maxx Damage - bass Sven Stiglund - drums

Copyright © 2015 Wud Records. Copyright ℗ 1999 Dangerous Ditties.

DANGEROUS Keepsake cuties fair weather fruities Jam-packed in your head Wearing wide smiles walking crooked miles Ransacked from the dead

You you you You know it’s true When in the night they come for you You you you You know it’s true When in the night they come for you

Violent action political faction Bought with faultless lies Same performance racial adornments Awaits behind their eyes

You you you You know it’s true When in the night they come for you You you you You know it’s true When in the night they come for you

Lucrezia Borgia poisoned the water Didn’t like the neighbours at all Revenge is sweet she laid the bodies out neat Hung a 'Fresh Meat' sign on the wall

You you you You know it’s true When in the night they come for you You you you You know it’s true When in the night they come for you In the night they come for you

You you you You know it’s true When in the night they come for you You you you You know it’s true When in the night they come for you

In the night they come for you In the night they come for you In the night they come for you Well come for you Yeah they come for you Yeah they come for you They come for you they come for you they come for you

See also: http://www.wudrecords.co.uk/artists/dark-company/old-hands http://www.explicitmusic.co.uk/lyrics-information/dark-company/old-hands/dangerous twitter.com/#!/Dark_Company http://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

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Grain of Sand by Dayglow. From the Grain of Sand Demo by Dayglow.

Copyright © 2000 Dayglow.

We found this demo amongst our archives and felt it deserved to be shared, along with a somewhat incomplete biographical history of the band Dayglow based on our memories.

First up, it's very important to say that we have no information accompanying the demo CD. All that is written on the CD is 'Dayglow' and 'Grain of Sand'.

So, dear gentlemen of Dayglow, we know not what your names are. We also don't know for sure the names of these tracks, we simply guessed based on what we could hear in the lyrics. If we got it all horribly wrong, please let us know!

Dayglow were without a doubt the most improved band in the Torbay area during the 18 month (or so) period with which we were familiar with that whole scene. The live music scene in Torbay just after the turn of the millenium was fantastic, largely thanks to The Live Stage run by Joe and Mel at The Hideaway and another orange venue before the Hideaway became home for all the live music shenanigans that went on every week.

Dayglow started out as a three-piece grunge band. These recordings are almost certainly from their early days. Their first show was at the orange venue and they played support to another act, possibly Murdock or Kickdown or Outcast or Torna-K, who were all quite big on the scene at the time. Also on the bill were Parafinalia and Goodstaff. Goodstaff played every week and opened the proceedings.

The first Dayglow performance we witnessed was not particularly spectacular, apart from one highly memorable comedy moment. There was a song they tried to play that involved a somewhat twiddly riff on the bass, and during the first three or four attempts the string on which the riff was being played kept popping out of the nut of the bass, so the poor bass player had to replace it and try again.

After several attempts, the guitarist, singer and frontman of Parafinalia stepped up to hold the recalcitrant string in position, and continued to do so for the remainder of the rendition of that particular number. He held it in place rather firmly, effectively putting a massive bend on the whole string, so it was entirely out of tune with the rest of the band. The two of them cavorted awkwardly around the stage in a weird comical dance, like conjoined twins in a 19th century cabaret or two wounded beetles trying bravely to reproduce. The few of us that noticed what was going on found it hilarious. At the end of the song, the assistant was warmly thanked and Dayglow continued with their set.

Dayglow played the Hideaway two or three more times after that, each performance better than the previous as the band grew tighter and more accomplished as they gained experience. The last time we saw them they had grown to a four-piece having added a second guitarist. This latest performance was fantastic and the band probably had the best sound of any performance anybody ever gave at any of the Live Stage shows we remember.

There was one other thing that was rather striking about Dayglow. Their bass player was ludicrously tall. There were several extremely tall bass players for some reason at that time on that scene, and Dayglow's was probably the tallest.

We hope you enjoy these tracks.

JANUARY 2022 UPDATE !!

The following information was provided to us by Myke, the band’s drummer.

Performers: Ross Sanders – Vox & Guitar Myke Heath – Drums Will Little – Bass (yep an ironic name for a bloke who is 6ft 4” tall)

Later on Rob Duncan joined Dayglow on guitar and eventually the band changed their name to After The Blackout.

Myke and Ross carried on together with another band, which was a continued evolution of Dayglow, called Drawn On Empty Faces. That lasted until 2009, when Ross gave up on playing music.

Myke is still playing and writing with a band called Fabulous Weapons, which you can listen to by clicking here: https://soundcloud.com/user-480179699

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Dancer by Dayglow. From the Grain of Sand Demo by Dayglow.

Copyright © 2000 Dayglow.

We found this demo amongst our archives and felt it deserved to be shared, along with a somewhat incomplete biographical history of the band Dayglow based on our memories.

First up, it's very important to say that we have no information accompanying the demo CD. All that is written on the CD is 'Dayglow' and 'Grain of Sand'.

So, dear gentlemen of Dayglow, we know not what your names are. We also don't know for sure the names of these tracks, we simply guessed based on what we could hear in the lyrics. If we got it all horribly wrong, please let us know!

Dayglow were without a doubt the most improved band in the Torbay area during the 18 month (or so) period with which we were familiar with that whole scene. The live music scene in Torbay just after the turn of the millenium was fantastic, largely thanks to The Live Stage run by Joe and Mel at The Hideaway and another orange venue before the Hideaway became home for all the live music shenanigans that went on every week.

Dayglow started out as a three-piece grunge band. These recordings are almost certainly from their early days. Their first show was at the orange venue and they played support to another act, possibly Murdock or Kickdown or Outcast or Torna-K, who were all quite big on the scene at the time. Also on the bill were Parafinalia and Goodstaff. Goodstaff played every week and opened the proceedings.

The first Dayglow performance we witnessed was not particularly spectacular, apart from one highly memorable comedy moment. There was a song they tried to play that involved a somewhat twiddly riff on the bass, and during the first three or four attempts the string on which the riff was being played kept popping out of the nut of the bass, so the poor bass player had to replace it and try again.

After several attempts, the guitarist, singer and frontman of Parafinalia stepped up to hold the recalcitrant string in position, and continued to do so for the remainder of the rendition of that particular number. He held it in place rather firmly, effectively putting a massive bend on the whole string, so it was entirely out of tune with the rest of the band. The two of them cavorted awkwardly around the stage in a weird comical dance, like conjoined twins in a 19th century cabaret or two wounded beetles trying bravely to reproduce. The few of us that noticed what was going on found it hilarious. At the end of the song, the assistant was warmly thanked and Dayglow continued with their set.

Dayglow played the Hideaway two or three more times after that, each performance better than the previous as the band grew tighter and more accomplished as they gained experience. The last time we saw them they had grown to a four-piece having added a second guitarist. This latest performance was fantastic and the band probably had the best sound of any performance anybody ever gave at any of the Live Stage shows we remember.

There was one other thing that was rather striking about Dayglow. Their bass player was ludicrously tall. There were several extremely tall bass players for some reason at that time on that scene, and Dayglow's was probably the tallest.

We hope you enjoy these tracks.

JANUARY 2022 UPDATE !!

The following information was provided to us by Myke, the band’s drummer.

Performers: Ross Sanders – Vox & Guitar Myke Heath – Drums Will Little – Bass (yep an ironic name for a bloke who is 6ft 4” tall)

Later on Rob Duncan joined Dayglow on guitar and eventually the band changed their name to After The Blackout.

Myke and Ross carried on together with another band, which was a continued evolution of Dayglow, called Drawn On Empty Faces. That lasted until 2009, when Ross gave up on playing music.

Myke is still playing and writing with a band called Fabulous Weapons, which you can listen to by clicking here: https://soundcloud.com/user-480179699

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Land by Dayglow. From the Grain of Sand Demo by Dayglow.

Copyright © 2000 Dayglow.

We found this demo amongst our archives and felt it deserved to be shared, along with a somewhat incomplete biographical history of the band Dayglow based on our memories.

First up, it's very important to say that we have no information accompanying the demo CD. All that is written on the CD is 'Dayglow' and 'Grain of Sand'.

So, dear gentlemen of Dayglow, we know not what your names are. We also don't know for sure the names of these tracks, we simply guessed based on what we could hear in the lyrics. If we got it all horribly wrong, please let us know!

Dayglow were without a doubt the most improved band in the Torbay area during the 18 month (or so) period with which we were familiar with that whole scene. The live music scene in Torbay just after the turn of the millenium was fantastic, largely thanks to The Live Stage run by Joe and Mel at The Hideaway and another orange venue before the Hideaway became home for all the live music shenanigans that went on every week.

Dayglow started out as a three-piece grunge band. These recordings are almost certainly from their early days. Their first show was at the orange venue and they played support to another act, possibly Murdock or Kickdown or Outcast or Torna-K, who were all quite big on the scene at the time. Also on the bill were Parafinalia and Goodstaff. Goodstaff played every week and opened the proceedings.

The first Dayglow performance we witnessed was not particularly spectacular, apart from one highly memorable comedy moment. There was a song they tried to play that involved a somewhat twiddly riff on the bass, and during the first three or four attempts the string on which the riff was being played kept popping out of the nut of the bass, so the poor bass player had to replace it and try again.

After several attempts, the guitarist, singer and frontman of Parafinalia stepped up to hold the recalcitrant string in position, and continued to do so for the remainder of the rendition of that particular number. He held it in place rather firmly, effectively putting a massive bend on the whole string, so it was entirely out of tune with the rest of the band. The two of them cavorted awkwardly around the stage in a weird comical dance, like conjoined twins in a 19th century cabaret or two wounded beetles trying bravely to reproduce. The few of us that noticed what was going on found it hilarious. At the end of the song, the assistant was warmly thanked and Dayglow continued with their set.

Dayglow played the Hideaway two or three more times after that, each performance better than the previous as the band grew tighter and more accomplished as they gained experience. The last time we saw them they had grown to a four-piece having added a second guitarist. This latest performance was fantastic and the band probably had the best sound of any performance anybody ever gave at any of the Live Stage shows we remember.

There was one other thing that was rather striking about Dayglow. Their bass player was ludicrously tall. There were several extremely tall bass players for some reason at that time on that scene, and Dayglow's was probably the tallest.

We hope you enjoy these tracks.

JANUARY 2022 UPDATE !!

The following information was provided to us by Myke, the band’s drummer.

Performers: Ross Sanders – Vox & Guitar Myke Heath – Drums Will Little – Bass (yep an ironic name for a bloke who is 6ft 4” tall)

Later on Rob Duncan joined Dayglow on guitar and eventually the band changed their name to After The Blackout.

Myke and Ross carried on together with another band, which was a continued evolution of Dayglow, called Drawn On Empty Faces. That lasted until 2009, when Ross gave up on playing music.

Myke is still playing and writing with a band called Fabulous Weapons, which you can listen to by clicking here: https://soundcloud.com/user-480179699

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Sapling by Dayglow. From the Grain of Sand Demo by Dayglow.

Copyright © 2000 Dayglow.

We found this demo amongst our archives and felt it deserved to be shared, along with a somewhat incomplete biographical history of the band Dayglow based on our memories.

First up, it's very important to say that we have no information accompanying the demo CD. All that is written on the CD is 'Dayglow' and 'Grain of Sand'.

So, dear gentlemen of Dayglow, we know not what your names are. We also don't know for sure the names of these tracks, we simply guessed based on what we could hear in the lyrics. If we got it all horribly wrong, please let us know!

Dayglow were without a doubt the most improved band in the Torbay area during the 18 month (or so) period with which we were familiar with that whole scene. The live music scene in Torbay just after the turn of the millenium was fantastic, largely thanks to The Live Stage run by Joe and Mel at The Hideaway and another orange venue before the Hideaway became home for all the live music shenanigans that went on every week.

Dayglow started out as a three-piece grunge band. These recordings are almost certainly from their early days. Their first show was at the orange venue and they played support to another act, possibly Murdock or Kickdown or Outcast or Torna-K, who were all quite big on the scene at the time. Also on the bill were Parafinalia and Goodstaff. Goodstaff played every week and opened the proceedings.

The first Dayglow performance we witnessed was not particularly spectacular, apart from one highly memorable comedy moment. There was a song they tried to play that involved a somewhat twiddly riff on the bass, and during the first three or four attempts the string on which the riff was being played kept popping out of the nut of the bass, so the poor bass player had to replace it and try again.

After several attempts, the guitarist, singer and frontman of Parafinalia stepped up to hold the recalcitrant string in position, and continued to do so for the remainder of the rendition of that particular number. He held it in place rather firmly, effectively putting a massive bend on the whole string, so it was entirely out of tune with the rest of the band. The two of them cavorted awkwardly around the stage in a weird comical dance, like conjoined twins in a 19th century cabaret or two wounded beetles trying bravely to reproduce. The few of us that noticed what was going on found it hilarious. At the end of the song, the assistant was warmly thanked and Dayglow continued with their set.

Dayglow played the Hideaway two or three more times after that, each performance better than the previous as the band grew tighter and more accomplished as they gained experience. The last time we saw them they had grown to a four-piece having added a second guitarist. This latest performance was fantastic and the band probably had the best sound of any performance anybody ever gave at any of the Live Stage shows we remember.

There was one other thing that was rather striking about Dayglow. Their bass player was ludicrously tall. There were several extremely tall bass players for some reason at that time on that scene, and Dayglow's was probably the tallest.

We hope you enjoy these tracks.

JANUARY 2022 UPDATE !!

The following information was provided to us by Myke, the band’s drummer.

Performers: Ross Sanders – Vox & Guitar Myke Heath – Drums Will Little – Bass (yep an ironic name for a bloke who is 6ft 4” tall)

Later on Rob Duncan joined Dayglow on guitar and eventually the band changed their name to After The Blackout.

Myke and Ross carried on together with another band, which was a continued evolution of Dayglow, called Drawn On Empty Faces. That lasted until 2009, when Ross gave up on playing music.

Myke is still playing and writing with a band called Fabulous Weapons, which you can listen to by clicking here: https://soundcloud.com/user-480179699

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Thin Layers of Thick by Goodstaff.

Goodstaff were Silverton’s finest post-punk extreme sports band of the late nineties and early noughties.

Goodstaff were an awesome live band. Besides creating a most joyous hullabaloo on stage, they were visually one of the most interesting bands of their time and sounded unlike any other act in the south west. Many of their songs were about subjects such as snowboarding and the winter sports lifestyle and some of their songs were used on snowboarding videos.

Frontman Ross Martin was the main songwriter and provides all the guitars and main vocals that you can hear, including some rather interesting and unusual stomp-box effects. He played his guitar slung so low you would think that his knuckles must drag along the ground when he walked. Mik E played the keys, sang backing vocals and provided a lot of stage presence and psychotic uber-geek strangeness and digital waveform finery.

Goodstaff had one of the finest rhythm sections around. John Thornhill was an awesome drummer and highly visual, especially during Superstitious White or Black which was mostly in seven time. Ant Barron on five-string bass also had a great stage presence with his facial hair and piercings and numerous coloured contact lenses. He also provided backing vocals and acted superbly as a dry foil to Ross’s on-stage wit.

Despite a couple of years of success playing the south of England and developing a formidable reputation for their live shows, which had a much bigger and far more powerful sound than these recordings, the band ground to a halt when Ross failed to return from a snowboarding holiday in New Zealand. As far as we know, he is still there.

Tracks 1-5 recorded at CrazyCat Studios Exeter. Mixed by Rick November 1999. Copyright © Ross Martin and Goodstaff 1999.

Tracks 6-8 recorded and mixed at Torna-K’s studios. Engineered by J.Burrough. Mastered by Dave Bliss. Copyright © Ross Martin and Goodstaff 2000. 6635 Records. More details can be found at peoplesound.com

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/goodstaff https://twitter.com/WudRecords

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Superstitious White or Black by Goodstaff.

Goodstaff were Silverton’s finest post-punk extreme sports band of the late nineties and early noughties.

Goodstaff were an awesome live band. Besides creating a most joyous hullabaloo on stage, they were visually one of the most interesting bands of their time and sounded unlike any other act in the south west. Many of their songs were about subjects such as snowboarding and the winter sports lifestyle and some of their songs were used on snowboarding videos.

Frontman Ross Martin was the main songwriter and provides all the guitars and main vocals that you can hear, including some rather interesting and unusual stomp-box effects. He played his guitar slung so low you would think that his knuckles must drag along the ground when he walked. Mik E played the keys, sang backing vocals and provided a lot of stage presence and psychotic uber-geek strangeness and digital waveform finery.

Goodstaff had one of the finest rhythm sections around. John Thornhill was an awesome drummer and highly visual, especially during Superstitious White or Black which was mostly in seven time. Ant Barron on five-string bass also had a great stage presence with his facial hair and piercings and numerous coloured contact lenses. He also provided backing vocals and acted superbly as a dry foil to Ross’s on-stage wit.

Despite a couple of years of success playing the south of England and developing a formidable reputation for their live shows, which had a much bigger and far more powerful sound than these recordings, the band ground to a halt when Ross failed to return from a snowboarding holiday in New Zealand. As far as we know, he is still there.

Tracks 1-5 recorded at CrazyCat Studios Exeter. Mixed by Rick November 1999. Copyright © Ross Martin and Goodstaff 1999.

Tracks 6-8 recorded and mixed at Torna-K’s studios. Engineered by J.Burrough. Mastered by Dave Bliss. Copyright © Ross Martin and Goodstaff 2000. 6635 Records. More details can be found at peoplesound.com

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/goodstaff https://twitter.com/WudRecords

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Agent Orange by Goodstaff.

Goodstaff were Silverton’s finest post-punk extreme sports band of the late nineties and early noughties.

Goodstaff were an awesome live band. Besides creating a most joyous hullabaloo on stage, they were visually one of the most interesting bands of their time and sounded unlike any other act in the south west. Many of their songs were about subjects such as snowboarding and the winter sports lifestyle and some of their songs were used on snowboarding videos.

Frontman Ross Martin was the main songwriter and provides all the guitars and main vocals that you can hear, including some rather interesting and unusual stomp-box effects. He played his guitar slung so low you would think that his knuckles must drag along the ground when he walked. Mik E played the keys, sang backing vocals and provided a lot of stage presence and psychotic uber-geek strangeness and digital waveform finery.

Goodstaff had one of the finest rhythm sections around. John Thornhill was an awesome drummer and highly visual, especially during Superstitious White or Black which was mostly in seven time. Ant Barron on five-string bass also had a great stage presence with his facial hair and piercings and numerous coloured contact lenses. He also provided backing vocals and acted superbly as a dry foil to Ross’s on-stage wit.

Despite a couple of years of success playing the south of England and developing a formidable reputation for their live shows, which had a much bigger and far more powerful sound than these recordings, the band ground to a halt when Ross failed to return from a snowboarding holiday in New Zealand. As far as we know, he is still there.

Tracks 1-5 recorded at CrazyCat Studios Exeter. Mixed by Rick November 1999. Copyright © Ross Martin and Goodstaff 1999.

Tracks 6-8 recorded and mixed at Torna-K’s studios. Engineered by J.Burrough. Mastered by Dave Bliss. Copyright © Ross Martin and Goodstaff 2000. 6635 Records. More details can be found at peoplesound.com

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/goodstaff https://twitter.com/WudRecords

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Pathfinder by Goodstaff.

Goodstaff were Silverton’s finest post-punk extreme sports band of the late nineties and early noughties.

Goodstaff were an awesome live band. Besides creating a most joyous hullabaloo on stage, they were visually one of the most interesting bands of their time and sounded unlike any other act in the south west. Many of their songs were about subjects such as snowboarding and the winter sports lifestyle and some of their songs were used on snowboarding videos.

Frontman Ross Martin was the main songwriter and provides all the guitars and main vocals that you can hear, including some rather interesting and unusual stomp-box effects. He played his guitar slung so low you would think that his knuckles must drag along the ground when he walked. Mik E played the keys, sang backing vocals and provided a lot of stage presence and psychotic uber-geek strangeness and digital waveform finery.

Goodstaff had one of the finest rhythm sections around. John Thornhill was an awesome drummer and highly visual, especially during Superstitious White or Black which was mostly in seven time. Ant Barron on five-string bass also had a great stage presence with his facial hair and piercings and numerous coloured contact lenses. He also provided backing vocals and acted superbly as a dry foil to Ross’s on-stage wit.

Despite a couple of years of success playing the south of England and developing a formidable reputation for their live shows, which had a much bigger and far more powerful sound than these recordings, the band ground to a halt when Ross failed to return from a snowboarding holiday in New Zealand. As far as we know, he is still there.

Tracks 1-5 recorded at CrazyCat Studios Exeter. Mixed by Rick November 1999. Copyright © Ross Martin and Goodstaff 1999.

Tracks 6-8 recorded and mixed at Torna-K’s studios. Engineered by J.Burrough. Mastered by Dave Bliss. Copyright © Ross Martin and Goodstaff 2000. 6635 Records. See also peoplesound.com for more.

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Perfection Imperfection by Goodstaff.

Goodstaff were Silverton’s finest post-punk extreme sports band of the late nineties and early noughties.

Goodstaff were an awesome live band. Besides creating a most joyous hullabaloo on stage, they were visually one of the most interesting bands of their time and sounded unlike any other act in the south west. Many of their songs were about subjects such as snowboarding and the winter sports lifestyle and some of their songs were used on snowboarding videos.

Frontman Ross Martin was the main songwriter and provides all the guitars and main vocals that you can hear, including some rather interesting and unusual stomp-box effects. He played his guitar slung so low you would think that his knuckles must drag along the ground when he walked. Mik E played the keys, sang backing vocals and provided a lot of stage presence and psychotic uber-geek strangeness and digital waveform finery.

Goodstaff had one of the finest rhythm sections around. John Thornhill was an awesome drummer and highly visual, especially during Superstitious White or Black which was mostly in seven time. Ant Barron on five-string bass also had a great stage presence with his facial hair and piercings and numerous coloured contact lenses. He also provided backing vocals and acted superbly as a dry foil to Ross’s on-stage wit.

Despite a couple of years of success playing the south of England and developing a formidable reputation for their live shows, which had a much bigger and far more powerful sound than these recordings, the band ground to a halt when Ross failed to return from a snowboarding holiday in New Zealand. As far as we know, he is still there.

Tracks 1-5 recorded at CrazyCat Studios Exeter. Mixed by Rick November 1999. Copyright © Ross Martin and Goodstaff 1999.

Tracks 6-8 recorded and mixed at Torna-K’s studios. Engineered by J.Burrough. Mastered by Dave Bliss. Copyright © Ross Martin and Goodstaff 2000. 6635 Records. More details can be found at peoplesound.com

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/goodstaff https://twitter.com/WudRecords

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Billie Holiday by Goodstaff.

Goodstaff were Silverton’s finest post-punk extreme sports band of the late nineties and early noughties.

Goodstaff were an awesome live band. Besides creating a most joyous hullabaloo on stage, they were visually one of the most interesting bands of their time and sounded unlike any other act in the south west. Many of their songs were about subjects such as snowboarding and the winter sports lifestyle and some of their songs were used on snowboarding videos.

Frontman Ross Martin was the main songwriter and provides all the guitars and main vocals that you can hear, including some rather interesting and unusual stomp-box effects. He played his guitar slung so low you would think that his knuckles must drag along the ground when he walked. Mik E played the keys, sang backing vocals and provided a lot of stage presence and psychotic uber-geek strangeness and digital waveform finery.

Goodstaff had one of the finest rhythm sections around. John Thornhill was an awesome drummer and highly visual, especially during Superstitious White or Black which was mostly in seven time. Ant Barron on five-string bass also had a great stage presence with his facial hair and piercings and numerous coloured contact lenses. He also provided backing vocals and acted superbly as a dry foil to Ross’s on-stage wit.

Despite a couple of years of success playing the south of England and developing a formidable reputation for their live shows, which had a much bigger and far more powerful sound than these recordings, the band ground to a halt when Ross failed to return from a snowboarding holiday in New Zealand. As far as we know, he is still there.

Tracks 1-5 recorded at CrazyCat Studios Exeter. Mixed by Rick November 1999. Copyright © Ross Martin and Goodstaff 1999.

Tracks 6-8 recorded and mixed at Torna-K’s studios. Engineered by J.Burrough. Mastered by Dave Bliss. Copyright © Ross Martin and Goodstaff 2000. 6635 Records. More details can be found at peoplesound.com

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/goodstaff https://twitter.com/WudRecords

View Details

Heidi by Goodstaff.

Goodstaff were Silverton’s finest post-punk extreme sports band of the late nineties and early noughties.

Goodstaff were an awesome live band. Besides creating a most joyous hullabaloo on stage, they were visually one of the most interesting bands of their time and sounded unlike any other act in the south west. Many of their songs were about subjects such as snowboarding and the winter sports lifestyle and some of their songs were used on snowboarding videos.

Frontman Ross Martin was the main songwriter and provides all the guitars and main vocals that you can hear, including some rather interesting and unusual stomp-box effects. He played his guitar slung so low you would think that his knuckles must drag along the ground when he walked. Mik E played the keys, sang backing vocals and provided a lot of stage presence and psychotic uber-geek strangeness and digital waveform finery.

Goodstaff had one of the finest rhythm sections around. John Thornhill was an awesome drummer and highly visual, especially during Superstitious White or Black which was mostly in seven time. Ant Barron on five-string bass also had a great stage presence with his facial hair and piercings and numerous coloured contact lenses. He also provided backing vocals and acted superbly as a dry foil to Ross’s on-stage wit.

Despite a couple of years of success playing the south of England and developing a formidable reputation for their live shows, which had a much bigger and far more powerful sound than these recordings, the band ground to a halt when Ross failed to return from a snowboarding holiday in New Zealand. As far as we know, he is still there.

Tracks 1-5 recorded at CrazyCat Studios Exeter. Mixed by Rick November 1999. Copyright © Ross Martin and Goodstaff 1999.

Tracks 6-8 recorded and mixed at Torna-K’s studios. Engineered by J.Burrough. Mastered by Dave Bliss. Copyright © Ross Martin and Goodstaff 2000. 6635 Records. More details can be found at peoplesound.com

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/goodstaff https://twitter.com/WudRecords

View Details

Fake Hero by Goodstaff.

Goodstaff were Silverton’s finest post-punk extreme sports band of the late nineties and early noughties.

Goodstaff were an awesome live band. Besides creating a most joyous hullabaloo on stage, they were visually one of the most interesting bands of their time and sounded unlike any other act in the south west. Many of their songs were about subjects such as snowboarding and the winter sports lifestyle and some of their songs were used on snowboarding videos.

Frontman Ross Martin was the main songwriter and provides all the guitars and main vocals that you can hear, including some rather interesting and unusual stomp-box effects. He played his guitar slung so low you would think that his knuckles must drag along the ground when he walked. Mik E played the keys, sang backing vocals and provided a lot of stage presence and psychotic uber-geek strangeness and digital waveform finery.

Goodstaff had one of the finest rhythm sections around. John Thornhill was an awesome drummer and highly visual, especially during Superstitious White or Black which was mostly in seven time. Ant Barron on five-string bass also had a great stage presence with his facial hair and piercings and numerous coloured contact lenses. He also provided backing vocals and acted superbly as a dry foil to Ross’s on-stage wit.

Despite a couple of years of success playing the south of England and developing a formidable reputation for their live shows, which had a much bigger and far more powerful sound than these recordings, the band ground to a halt when Ross failed to return from a snowboarding holiday in New Zealand. As far as we know, he is still there.

Tracks 1-5 recorded at CrazyCat Studios Exeter. Mixed by Rick November 1999. Copyright © Ross Martin and Goodstaff 1999.

Tracks 6-8 recorded and mixed at Torna-K’s studios. Engineered by J.Burrough. Mastered by Dave Bliss. Copyright © Ross Martin and Goodstaff 2000. 6635 Records. More details can be found at peoplesound.com

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/goodstaff https://twitter.com/WudRecords

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Until The Summer Comes by Recluse.

This is from the 2000 album Propaganda by Devon trio Recluse.

Alex Painter – lead vocals, lead guitar, bass, cello Chris White – guitars, backing vocals Tim Desmond – drums, percussion, backing vocals

Recorded, produced and engineered by Jon Burrough at Buzzland Studios. Mastered by Dave Bliss.

All songs written by Alex Painter. Additional material by Chris White and Tim Desmond.

Recluse were a three piece band from Devon who wrote the most disarmingly haunting and powerful songs. They were three of the most polite and unassuming young men if you met any of them, yet when put on a stage with some instruments to play they produced the most gloriously fiendish musical cacophony.

The main songwriter in Recluse was Alex Painter (guitar, vocals) and when he left the area to study music at Salford the band seemed to grind to a halt. This was a great shame as he was one of the most accomplished young rock musicians and composers in Devon. Chris White played bass and Tim Desmond drums to complete the line-up.

As far as we know, the band made just two albums – Propaganda in 2000 and Ride That Fantasy in 2001. We hope you enjoy listening to the music of Recluse as much as we still do, even after all these years.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/recluse http://www.wudrecords.co.uk/archives/recluse/propaganda-2000 https://twitter.com/WudRecords

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Signals by Recluse.

This is from the 2000 album Propaganda by Devon trio Recluse.

Alex Painter – lead vocals, lead guitar, bass, cello Chris White – guitars, backing vocals Tim Desmond – drums, percussion, backing vocals

Recorded, produced and engineered by Jon Burrough at Buzzland Studios. Mastered by Dave Bliss.

All songs written by Alex Painter. Additional material by Chris White and Tim Desmond.

Recluse were a three piece band from Devon who wrote the most disarmingly haunting and powerful songs. They were three of the most polite and unassuming young men if you met any of them, yet when put on a stage with some instruments to play they produced the most gloriously fiendish musical cacophony.

The main songwriter in Recluse was Alex Painter (guitar, vocals) and when he left the area to study music at Salford the band seemed to grind to a halt. This was a great shame as he was one of the most accomplished young rock musicians and composers in Devon. Chris White played bass and Tim Desmond drums to complete the line-up.

As far as we know, the band made just two albums – Propaganda in 2000 and Ride That Fantasy in 2001. We hope you enjoy listening to the music of Recluse as much as we still do, even after all these years.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/recluse http://www.wudrecords.co.uk/archives/recluse/propaganda-2000 https://twitter.com/WudRecords

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Parasite by Recluse.

This is from the 2000 album Propaganda by Devon trio Recluse.

Alex Painter – lead vocals, lead guitar, bass, cello Chris White – guitars, backing vocals Tim Desmond – drums, percussion, backing vocals

Recorded, produced and engineered by Jon Burrough at Buzzland Studios. Mastered by Dave Bliss.

All songs written by Alex Painter. Additional material by Chris White and Tim Desmond.

Recluse were a three piece band from Devon who wrote the most disarmingly haunting and powerful songs. They were three of the most polite and unassuming young men if you met any of them, yet when put on a stage with some instruments to play they produced the most gloriously fiendish musical cacophony.

The main songwriter in Recluse was Alex Painter (guitar, vocals) and when he left the area to study music at Salford the band seemed to grind to a halt. This was a great shame as he was one of the most accomplished young rock musicians and composers in Devon. Chris White played bass and Tim Desmond drums to complete the line-up.

As far as we know, the band made just two albums – Propaganda in 2000 and Ride That Fantasy in 2001. We hope you enjoy listening to the music of Recluse as much as we still do, even after all these years.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/recluse http://www.wudrecords.co.uk/archives/recluse/propaganda-2000 https://twitter.com/WudRecords

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We All Survive by Recluse.

This is from the 2000 album Propaganda by Devon trio Recluse.

Alex Painter – lead vocals, lead guitar, bass, cello Chris White – guitars, backing vocals Tim Desmond – drums, percussion, backing vocals

Recorded, produced and engineered by Jon Burrough at Buzzland Studios. Mastered by Dave Bliss.

All songs written by Alex Painter. Additional material by Chris White and Tim Desmond.

Recluse were a three piece band from Devon who wrote the most disarmingly haunting and powerful songs. They were three of the most polite and unassuming young men if you met any of them, yet when put on a stage with some instruments to play they produced the most gloriously fiendish musical cacophony.

The main songwriter in Recluse was Alex Painter (guitar, vocals) and when he left the area to study music at Salford the band seemed to grind to a halt. This was a great shame as he was one of the most accomplished young rock musicians and composers in Devon. Chris White played bass and Tim Desmond drums to complete the line-up.

As far as we know, the band made just two albums – Propaganda in 2000 and Ride That Fantasy in 2001. We hope you enjoy listening to the music of Recluse as much as we still do, even after all these years.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/recluse http://www.wudrecords.co.uk/archives/recluse/propaganda-2000 https://twitter.com/WudRecords

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Shameful Smile by Recluse.

This is from the 2000 album Propaganda by Devon trio Recluse.

Alex Painter – lead vocals, lead guitar, bass, cello Chris White – guitars, backing vocals Tim Desmond – drums, percussion, backing vocals

Recorded, produced and engineered by Jon Burrough at Buzzland Studios. Mastered by Dave Bliss.

All songs written by Alex Painter. Additional material by Chris White and Tim Desmond.

Recluse were a three piece band from Devon who wrote the most disarmingly haunting and powerful songs. They were three of the most polite and unassuming young men if you met any of them, yet when put on a stage with some instruments to play they produced the most gloriously fiendish musical cacophony.

The main songwriter in Recluse was Alex Painter (guitar, vocals) and when he left the area to study music at Salford the band seemed to grind to a halt. This was a great shame as he was one of the most accomplished young rock musicians and composers in Devon. Chris White played bass and Tim Desmond drums to complete the line-up.

As far as we know, the band made just two albums – Propaganda in 2000 and Ride That Fantasy in 2001. We hope you enjoy listening to the music of Recluse as much as we still do, even after all these years.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/recluse http://www.wudrecords.co.uk/archives/recluse/propaganda-2000 https://soundcloud.com/wud-records/recluse-shameful-smile-rtf?in=wud-records/sets/recluse-ride-that-fantasy https://twitter.com/WudRecords

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Let Me In by Recluse.

This is from the 2000 album Propaganda by Devon trio Recluse.

Alex Painter – lead vocals, lead guitar, bass, cello Chris White – guitars, backing vocals Tim Desmond – drums, percussion, backing vocals

Recorded, produced and engineered by Jon Burrough at Buzzland Studios. Mastered by Dave Bliss.

All songs written by Alex Painter. Additional material by Chris White and Tim Desmond.

Recluse were a three piece band from Devon who wrote the most disarmingly haunting and powerful songs. They were three of the most polite and unassuming young men if you met any of them, yet when put on a stage with some instruments to play they produced the most gloriously fiendish musical cacophony.

The main songwriter in Recluse was Alex Painter (guitar, vocals) and when he left the area to study music at Salford the band seemed to grind to a halt. This was a great shame as he was one of the most accomplished young rock musicians and composers in Devon. Chris White played bass and Tim Desmond drums to complete the line-up.

As far as we know, the band made just two albums – Propaganda in 2000 and Ride That Fantasy in 2001. We hope you enjoy listening to the music of Recluse as much as we still do, even after all these years.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/recluse http://www.wudrecords.co.uk/archives/recluse/propaganda-2000 https://twitter.com/WudRecords

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Reactions by Recluse.

This is from the 2000 album Propaganda by Devon trio Recluse.

Alex Painter – lead vocals, lead guitar, bass, cello Chris White – guitars, backing vocals Tim Desmond – drums, percussion, backing vocals

Recorded, produced and engineered by Jon Burrough at Buzzland Studios. Mastered by Dave Bliss.

All songs written by Alex Painter. Additional material by Chris White and Tim Desmond.

Recluse were a three piece band from Devon who wrote the most disarmingly haunting and powerful songs. They were three of the most polite and unassuming young men if you met any of them, yet when put on a stage with some instruments to play they produced the most gloriously fiendish musical cacophony.

The main songwriter in Recluse was Alex Painter (guitar, vocals) and when he left the area to study music at Salford the band seemed to grind to a halt. This was a great shame as he was one of the most accomplished young rock musicians and composers in Devon. Chris White played bass and Tim Desmond drums to complete the line-up.

As far as we know, the band made just two albums – Propaganda in 2000 and Ride That Fantasy in 2001. We hope you enjoy listening to the music of Recluse as much as we still do, even after all these years.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/recluse http://www.wudrecords.co.uk/archives/recluse/propaganda-2000 https://twitter.com/WudRecords

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Chosen Few by Recluse.

This is from the 2000 album Propaganda by Devon trio Recluse.

Alex Painter – lead vocals, lead guitar, bass, cello Chris White – guitars, backing vocals Tim Desmond – drums, percussion, backing vocals

Recorded, produced and engineered by Jon Burrough at Buzzland Studios. Mastered by Dave Bliss.

All songs written by Alex Painter. Additional material by Chris White and Tim Desmond.

Recluse were a three piece band from Devon who wrote the most disarmingly haunting and powerful songs. They were three of the most polite and unassuming young men if you met any of them, yet when put on a stage with some instruments to play they produced the most gloriously fiendish musical cacophony.

The main songwriter in Recluse was Alex Painter (guitar, vocals) and when he left the area to study music at Salford the band seemed to grind to a halt. This was a great shame as he was one of the most accomplished young rock musicians and composers in Devon. Chris White played bass and Tim Desmond drums to complete the line-up.

As far as we know, the band made just two albums – Propaganda in 2000 and Ride That Fantasy in 2001. We hope you enjoy listening to the music of Recluse as much as we still do, even after all these years.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/recluse http://www.wudrecords.co.uk/archives/recluse/propaganda-2000 https://twitter.com/WudRecords

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Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex/R. Parsons/D. Wills/J. Willmot/B. Ballard/S. Malpas. Recorded, mixed and produced by George Davies at Silent Running Studios Exeter, Autumn 1991. Remastered at Wud Records Studios 2010.

Performers: Peter Greatorex – vocals George Davies – guitar Don Wills – guitar Rowena Parsons – tenor sax Simon Malpas – trumpet

BLUE HOUSE (LAUGHTER VERSION) I don’t fit in your ice lolly mould I don’t fit in your car I don’t fit in your cute hornrims I don’t follow your star

I’m just so awkward It’s too good to be true Got ideas like a disease There’s nothing in my head except John Coltrane I can’t make sense of what I see I can’t make sense of what I see

I’m just so precious Cos I know I’m so right Got no limitations of thought There’s nothing in my pocket except a lump of steel Money’s no honey and life is short Money’s no honey and life is short

I’m just so dreamy And I’m living a lie I like the lie I’m living too There’s nothing in my wallet except a smeared photo And you know it isn’t even of you You know it isn’t even of you

I’m just so twisted Don’t want to find the door Outside is where you should be There’s nothing in my heart except a Bowie knife One cut, you know, it sets me free One cut, you know, it sets me free

I don’t fit in your white ski pants I don’t fit in your tweeds I don’t fit in your hip Raybans I don’t have your needs

I’m just so weary Much too tired to sleep Got this roller coaster bed There’s nothing in my soul except some hot be-bop What you asked is what I said What you asked is what I said

I’m just so cool I’m cut right outta ice Got words like a freezing snow There’s nothing in my mind except a long bus ride I keep telling you I’ve got to go Keep telling you I’ve got to go

Words by Peter Greatorex. Copyright (c) Wud Records 2010, (p) D & G Music 1991.

Everybody giggled at some point in this song, and there was one place where everybody caught the giggles at the same time. This recording captures a few moments of absolute hysteria, mostly caused by Simon discovering a whole scale of entirely inappropriate notes. It’s not easy to play trumpet or sax when laughing as one’s mouth will not generally maintain the correct shape. Pete did a great job keeping the band rolling along. This song is in Ab minor and has some fabulously jazzy chords. In later versions of this song there was a 3/4 section and a bass/drums duel. A more polished version of this song will eventually be found on Dark Company’s unfinished Can of Worms album.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.explicitmusic.co.uk/lyrics-information/dark-company/signmaker/blue-house-laughter-version https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex/S. Lock/J. Willmot. Mixed by Jeff Willmot. Recorded, engineered and produced by George Davies at Silent Running Studios Exeter, Autumn 1991. Remastered at Wud Records Studios 2010.

Performers: Peter Greatorex – vocals George Davies – electric and acoustic guitars, bass, Boss DR55A drum machine Sammi Lock – flute Jeff Willmot – soprano sax, mixing desk Rowena Parsons – tenor sax

DANGEROUS DUB In the circus there’s a uniform for fun The love they got is fired from clownish guns But it’s so dangerous Armed laughter changing us Warmed up with a yellow paper sun

Each act in line comes right in on cue Bringing our emotions into view And it’s so dangerous Armed laughter changing us Next time bring your mind along with you

There’s a pistol in my smile It shoots grins for miles and miles But look into my eyes The reflection’s saying goodbye

Outside the ring we sit and blankly stare Nobody but our own selves in the chair But it’s so dangerous Armed laughter changing us Close your eyes and no-one knows you’re there

With animals such tricks are neatly made They nod and wink in terminal parade It’s oh so dangerous Armed laughter changing us Into their souls we think we can invade

There’s a pistol in my smile It shoots grins for miles and miles But look into my eyes The reflection’s saying goodbye

Words by Peter Greatorex. Copyright (c) Wud Records 2010, (p) D & G Music 1991.

This track first appeared as a bonus track on the reissue of Signmaker in 2000. This is more of an & co piece as it is a remix of Armed & Dangerous. One of the most interesting things about this track is the fact that some of Jeff’s sax parts and Sammi’s flute parts were later replaced by the ones you hear in the finished studio version of Armed & Dangerous. This track and Armed & Dubwise came about when Jeff and George had a mix-off in the studio to make a dub mix of Armed & Dangerous. We cannot confirm whether any eastern spices were involved, although we suspect there probably were. This track and Dangerous Dub led to the birth of & co, the remixing division of Dark Company. The name stems from the ‘&’ in ‘Armed & Dangerous’.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.explicitmusic.co.uk/lyrics-information/dark-company/signmaker/dangerous-dub https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex/S. Lock/J. Willmot. Recorded, mixed and produced by George Davies at Silent Running Studios Exeter, Autumn 1991. Remastered at Wud Records Studios 2010.

Performers: Peter Greatorex – vocals George Davies – electric and acoustic guitars, bass, Boss DR55A drum machine, mixing desk Sammi Lock – flute Jeff Willmot – soprano sax Rowena Parsons – tenor sax

ARMED & DUBWISE In the circus there’s a uniform for fun The love they got is fired from clownish guns But it’s so dangerous Armed laughter changing us Warmed up with a yellow paper sun

Each act in line comes right in on cue Bringing our emotions into view And it’s so dangerous Armed laughter changing us Next time bring your mind along with you

There’s a pistol in my smile It shoots grins for miles and miles But look into my eyes The reflection’s saying goodbye

Outside the ring we sit and blankly stare Nobody but our own selves in the chair But it’s so dangerous Armed laughter changing us Close your eyes and no-one knows you’re there

With animals such tricks are neatly made They nod and wink in terminal parade It’s oh so dangerous Armed laughter changing us Into their souls we think we can invade

There’s a pistol in my smile It shoots grins for miles and miles But look into my eyes The reflection’s saying goodbye

Words by Peter Greatorex. Copyright (c) Wud Records 2010, (p) D & G Music 1991.

This track first appeared as a bonus track on the reissue of Signmaker in 2000. This is more of an & co piece as it is a remix of Armed & Dangerous. One of the most interesting things about this track is the fact that some of Jeff’s sax parts and Sammi’s flute parts were later replaced by the ones you hear in the finished studio version of Armed & Dangerous. This track and Dangerous Dub came about when Jeff and George had a mix-off in the studio to make a dub mix of Armed & Dangerous. We cannot confirm whether any eastern spices were involved, although we suspect there probably were. This track and Dangerous Dub led to the birth of & co, the remixing division of Dark Company. The name stems from the ‘&’ in ‘Armed & Dangerous’.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.explicitmusic.co.uk/lyrics-information/dark-company/signmaker/armed-dubwise https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Music by G. Davies. Recorded, mixed and produced by George Davies at Silent Running Studios Exeter, 1993. Remastered at Wud Records Studios 2010.

Performers: George Davies – synths, sequencer

ASTROLOGER (KIDDIES’ TV FROM HELL RMX) The planets run their course and then Make signs we cannot read The stars of choice they got no voice Just wink and dumbly plead When dawnlight speaks from out the dark Of night’s grim cloak of ice All the telescopes of the scientists Don’t help them to be wise

And I hear rainbows climb the sky Coloured tears from Heaven’s eyes I taste sunlight’s yellow wine See black night fade back into time

Mystic men write words that flame To banish Satan’s lies The human race must join the chase Instead it just slips and slides On special days weird omens come Judged by blind-eyed priests But the tribes of man like grains of sand Pray only for release

And I hear rainbows climb the sky Coloured tears from Heaven’s eyes I taste sunlight’s yellow wine See black night fade back into time

The planets run their course and then Make signs we cannot read The stars of choice they got no voice Just wink and dumbly plead When dawnlight speaks from out the dark Of night’s grim cloak of ice All the telescopes of the scientists Don’t help them to be wise

And I hear rainbows climb the sky Coloured tears from Heaven’s eyes I taste sunlight’s yellow wine See black night fade back into time

Words by Peter Greatorex. Copyright (c) Wud Records 2010, (p) Explicit Music 1993.

When Dark Company went digital in 1992, George and Jeff spent a long time making Cubase play all of their songs and many new songs were written at this time also. This is a fairly embryonic version of Astrologer that was transferred to the Atari. Most of the main musical themes of the original are evident. Nothing further was done with this but we felt it had a quaint charm all of its own and we felt that Dark Company fans would be interested to hear some of this rare material. This track first appeared as a bonus track on the reissue of Signmaker in 2000. This is more of an & co piece as Pete is not featured in this version. It is unclear exactly why this version was as twee-sounding as it is. Music sometimes seems to take on a life all of its own. Several people commented that it sounded like some kind of theme tune for a kiddies’ TV programme. A Dark Company spokesperson said that it was nice to not have to write out any score in F#major for tenor saxophone for this version. The keen-eared can compare the sax line of the original version to the synth line in this version to hear how the original sax part was scored in the choruses.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.explicitmusic.co.uk/lyrics-information/dark-company/signmaker/astrologer-kiddies-tv-from-hell-rmx https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Music by G. Davies. Recorded, mixed and produced by George Davies at Silent Running Studios Exeter, 1993. Remastered at Wud Records Studios 2010.

Performers: George Davies – synths, sequencer

KILLER Learning is a clock with only one hand Dreaming is a beach with speaking sands Knowledge is a vice that grips a man And Cain was a killer that didn’t understand

Wisdom is a yo-yo with a broken string Time is a bird that cannot sing And you can’t stop the rain with anything Except love

Wanting is a boat that doesn’t know the sea Needing is a pain that hurts to be free Waiting is a lock that doesn’t have no key And Cain was a killer that could have been me

Wisdom is a yo-yo with a broken string Time is a bird that cannot sing And you can’t stop the rain with anything Except love

War is a sore that won’t go away Night is a bruise on the skin of day Children are the reason that you say you’ll stay And Cain was a killer who got clean away

Wisdom is a yo-yo with a broken string Time is a bird that cannot sing And you can’t stop the rain with anything Except love

Teachers are people who shoot at sparks Lessons are knives that shine in the dark Sins are boats on the lake in the park And Cain was a killer right there at the start

Wisdom is a yo-yo with a broken string Time is a bird that cannot sing And you can’t stop the rain with anything Except love

Words by Peter Greatorex. Copyright (c) Wud Records 2010, (p) Explicit Music 1993.

When Dark Company went digital in 1992, George and Jeff spent a long time making Cubase play all of their songs and many new songs were written at this time also. This is a fairly embryonic version of Killer that was transferred to the Atari. Some of the main musical themes of the original are evident. It doesn’t have a proper ending as such. Nothing further was done with this but we felt it had a quaint charm all of its own and we felt that Dark Company fans would be interested to hear some of this rare material. This track first appeared as a bonus track on the reissue of Signmaker in 2000. This is more of an & co piece as Pete is not featured in this version.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.explicitmusic.co.uk/lyrics-information/dark-company/signmaker/killer-digital-rmx https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex/R. Parsons. Recorded, mixed and produced by George Davies at Silent Running Studios Exeter, Autumn 1991. Remastered at Wud Records Studios 2010.

Performers: Peter Greatorex – vocals George Davies – guitars, bass, Boss DR55A drum machine Rowena Parsons – tenor sax

KILLER Learning is a clock with only one hand Dreaming is a beach with speaking sands Knowledge is a vice that grips a man And Cain was a killer that didn’t understand

Wisdom is a yo-yo with a broken string Time is a bird that cannot sing And you can’t stop the rain with anything Except love

Wanting is a boat that doesn’t know the sea Needing is a pain that hurts to be free Waiting is a lock that doesn’t have no key And Cain was a killer that could have been me

Wisdom is a yo-yo with a broken string Time is a bird that cannot sing And you can’t stop the rain with anything Except love

War is a sore that won’t go away Night is a bruise on the skin of day Children are the reason that you say you’ll stay And Cain was a killer who got clean away

Wisdom is a yo-yo with a broken string Time is a bird that cannot sing And you can’t stop the rain with anything Except love

Teachers are people who shoot at sparks Lessons are knives that shine in the dark Sins are boats on the lake in the park And Cain was a killer right there at the start

Wisdom is a yo-yo with a broken string Time is a bird that cannot sing And you can’t stop the rain with anything Except love

Words by Peter Greatorex. Copyright (c) Wud Records 2010, (p) D & G Music 1991.

This is an out-take from the recording of Killer. It stars Rowena on tenor saxophone. If you listen carefully, you can hear the assorted gigglings of all those present after she unexpectedly blew a particularly horrid comedy note at the end of her phrase.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.explicitmusic.co.uk/lyrics-information/dark-company/signmaker/killer-classic-blort https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Music by G. Davies. Recorded, mixed and produced by George Davies at Silent Running Studios Exeter, 1993. Remastered at Wud Records Studios 2010.

Performers: George Davies – synths, sequencer

Copyright (c) Wud Records 2010, (p) Explicit Music 1993.

When Dark Company went digital in 1992, George and Jeff spent a long time making Cubase play all of their songs and many new songs were written at this time also. This is an extremely embryonic version of Armed & Dangerous that was transferred to the Atari. Some of the main musical themes of the original are evident. It doesn’t have a proper ending as such. Nothing further was done with this but we felt it had a quaint charm all of its own and we felt that Dark Company fans would be interested to hear some of this rare material. This track first appeared as a bonus track on the reissue of Signmaker in 2000. This is more of an & co piece as Pete is not featured in this version. Jeff deserves credit for finding the splendid drum sample.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.explicitmusic.co.uk/lyrics-information/dark-company/signmaker/armed-dangerous-digital-rmx https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Cosmic Dancer by Spacegoats, from Spacegoats Live at Glastonbury Town Hall 18/12/1999.

Cosmic Dancer is a cover of a song by Marc Bolan and T-Rex.

This is a recording of a live concert by Spacegoats at Glastonbury Town Hall on 18th December 1999. Spacegoats personnel were Pok (guitar, vocals), Clive (vocals, percussion), Ruth (flute, vocals), Dave (drums) and George (bass).

Also on the bill that day were Gandiva and The Ripple Effect.

Somewhere between Track 8 (Broken Eagle) and Track 9 (The Freaks) there were several other tracks, including Centre of the Cyclone, but due to some absent-mindedness on the part of the sound engineer the tape was not flipped over and some of the recording of the performance was forever lost. Similarly, the end of Broken Eagle and the start of The Freaks are missing.

Spacegoats had had just one rehearsal, earlier that same day, and then taken the songs out live. It was freezing cold and there was snow on the ground which made driving rather hazardous for those who came to the show. George had been kept awake for the whole of the previous night and was somewhat shattered before the start of the gig.

This particular combination of Spacegoats personnel never played together again after this night, although the band with a different drummer to Dave and a variety of extra singers managed one more show at the Art College in Exeter. Also included in this line-up were Jim on keys and vocals and Hills on guitar and vocals.

Several of the songs in this performance came from the early Laughing Sun set and many also lived on to become incorporated in Alchemeon’s repertoire.

This performance represented a new direction for Spacegoats and Pok described the metamorphosis as being akin to “electric elves”.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/space-goats http://www.pookofpok.blogspot.com/ https://www.youtube.com/channel/UCC5dMV4lKtN4-L2KbtnplDw http://pondlifestudios.com/artist_information.asp?id=1 http://www.tribalvoices.org.uk/space-goats/ https://www.youtube.com/channel/UCC5dMV4lKtN4-L2KbtnplDw https://twitter.com/WudRecords

There is a lot more on the web concerning Spacegoats if you search, but this particular collection of songs is unique.

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Born by Spacegoats, from Spacegoats Live at Glastonbury Town Hall 18/12/1999.

This is a recording of a live concert by Spacegoats at Glastonbury Town Hall on 18th December 1999. Spacegoats personnel were Pok (guitar, vocals), Clive (vocals, percussion), Ruth (flute, vocals), Dave (drums) and George (bass).

Also on the bill that day were Gandiva and The Ripple Effect.

Somewhere between Track 8 (Broken Eagle) and Track 9 (The Freaks) there were several other tracks, including Centre of the Cyclone, but due to some absent-mindedness on the part of the sound engineer the tape was not flipped over and some of the recording of the performance was forever lost. Similarly, the end of Broken Eagle and the start of The Freaks are missing.

Spacegoats had had just one rehearsal, earlier that same day, and then taken the songs out live. It was freezing cold and there was snow on the ground which made driving rather hazardous for those who came to the show. George had been kept awake for the whole of the previous night and was somewhat shattered before the start of the gig.

This particular combination of Spacegoats personnel never played together again after this night, although the band with a different drummer to Dave and a variety of extra singers managed one more show at the Art College in Exeter. Also included in this line-up were Jim on keys and vocals and Hills on guitar and vocals.

Several of the songs in this performance came from the early Laughing Sun set and many also lived on to become incorporated in Alchemeon’s repertoire.

This performance represented a new direction for Spacegoats and Pok described the metamorphosis as being akin to “electric elves”.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/space-goats http://www.pookofpok.blogspot.com/ https://www.youtube.com/channel/UCC5dMV4lKtN4-L2KbtnplDw http://pondlifestudios.com/artist_information.asp?id=1 http://www.tribalvoices.org.uk/space-goats/ https://www.youtube.com/channel/UCC5dMV4lKtN4-L2KbtnplDw https://twitter.com/WudRecords

There is a lot more on the web concerning Spacegoats if you search, but this particular collection of songs is unique.

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Friend by Spacegoats, from Spacegoats Live at Glastonbury Town Hall 18/12/1999.

This is a recording of a live concert by Spacegoats at Glastonbury Town Hall on 18th December 1999. Spacegoats personnel were Pok (guitar, vocals), Clive (vocals, percussion), Ruth (flute, vocals), Dave (drums) and George (bass).

Also on the bill that day were Gandiva and The Ripple Effect.

Somewhere between Track 8 (Broken Eagle) and Track 9 (The Freaks) there were several other tracks, including Centre of the Cyclone, but due to some absent-mindedness on the part of the sound engineer the tape was not flipped over and some of the recording of the performance was forever lost. Similarly, the end of Broken Eagle and the start of The Freaks are missing.

Spacegoats had had just one rehearsal, earlier that same day, and then taken the songs out live. It was freezing cold and there was snow on the ground which made driving rather hazardous for those who came to the show. George had been kept awake for the whole of the previous night and was somewhat shattered before the start of the gig.

This particular combination of Spacegoats personnel never played together again after this night, although the band with a different drummer to Dave and a variety of extra singers managed one more show at the Art College in Exeter. Also included in this line-up were Jim on keys and vocals and Hills on guitar and vocals.

Several of the songs in this performance came from the early Laughing Sun set and many also lived on to become incorporated in Alchemeon’s repertoire.

This performance represented a new direction for Spacegoats and Pok described the metamorphosis as being akin to “electric elves”.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/space-goats http://www.pookofpok.blogspot.com/ https://www.youtube.com/channel/UCC5dMV4lKtN4-L2KbtnplDw http://pondlifestudios.com/artist_information.asp?id=1 http://www.tribalvoices.org.uk/space-goats/ https://www.youtube.com/channel/UCC5dMV4lKtN4-L2KbtnplDw https://twitter.com/WudRecords

There is a lot more on the web concerning Spacegoats if you search, but this particular collection of songs is unique.

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It's A Blue Sky Don't Hold No Rain by Spacegoats, from Spacegoats Live at Glastonbury Town Hall 18/12/1999.

This is a recording of a live concert by Spacegoats at Glastonbury Town Hall on 18th December 1999. Spacegoats personnel were Pok (guitar, vocals), Clive (vocals, percussion), Ruth (flute, vocals), Dave (drums) and George (bass).

Also on the bill that day were Gandiva and The Ripple Effect.

Somewhere between Track 8 (Broken Eagle) and Track 9 (The Freaks) there were several other tracks, including Centre of the Cyclone, but due to some absent-mindedness on the part of the sound engineer the tape was not flipped over and some of the recording of the performance was forever lost. Similarly, the end of Broken Eagle and the start of The Freaks are missing.

Spacegoats had had just one rehearsal, earlier that same day, and then taken the songs out live. It was freezing cold and there was snow on the ground which made driving rather hazardous for those who came to the show. George had been kept awake for the whole of the previous night and was somewhat shattered before the start of the gig.

This particular combination of Spacegoats personnel never played together again after this night, although the band with a different drummer to Dave and a variety of extra singers managed one more show at the Art College in Exeter. Also included in this line-up were Jim on keys and vocals and Hills on guitar and vocals.

Several of the songs in this performance came from the early Laughing Sun set and many also lived on to become incorporated in Alchemeon’s repertoire.

This performance represented a new direction for Spacegoats and Pok described the metamorphosis as being akin to “electric elves”.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/space-goats http://www.pookofpok.blogspot.com/ https://www.youtube.com/channel/UCC5dMV4lKtN4-L2KbtnplDw http://pondlifestudios.com/artist_information.asp?id=1 http://www.tribalvoices.org.uk/space-goats/ https://www.youtube.com/channel/UCC5dMV4lKtN4-L2KbtnplDw https://twitter.com/WudRecords

There is a lot more on the web concerning Spacegoats if you search, but this particular collection of songs is unique.

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Don't Let It Pass You By by Spacegoats, from Spacegoats Live at Glastonbury Town Hall 18/12/1999.

This is a recording of a live concert by Spacegoats at Glastonbury Town Hall on 18th December 1999. Spacegoats personnel were Pok (guitar, vocals), Clive (vocals, percussion), Ruth (flute, vocals), Dave (drums) and George (bass).

Also on the bill that day were Gandiva and The Ripple Effect.

Somewhere between Track 8 (Broken Eagle) and Track 9 (The Freaks) there were several other tracks, including Centre of the Cyclone, but due to some absent-mindedness on the part of the sound engineer the tape was not flipped over and some of the recording of the performance was forever lost. Similarly, the end of Broken Eagle and the start of The Freaks are missing.

Spacegoats had had just one rehearsal, earlier that same day, and then taken the songs out live. It was freezing cold and there was snow on the ground which made driving rather hazardous for those who came to the show. George had been kept awake for the whole of the previous night and was somewhat shattered before the start of the gig.

This particular combination of Spacegoats personnel never played together again after this night, although the band with a different drummer to Dave and a variety of extra singers managed one more show at the Art College in Exeter. Also included in this line-up were Jim on keys and vocals and Hills on guitar and vocals.

Several of the songs in this performance came from the early Laughing Sun set and many also lived on to become incorporated in Alchemeon’s repertoire.

This performance represented a new direction for Spacegoats and Pok described the metamorphosis as being akin to “electric elves”.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/space-goats http://www.pookofpok.blogspot.com/ https://www.youtube.com/channel/UCC5dMV4lKtN4-L2KbtnplDw http://pondlifestudios.com/artist_information.asp?id=1 http://www.tribalvoices.org.uk/space-goats/ https://www.youtube.com/channel/UCC5dMV4lKtN4-L2KbtnplDw https://twitter.com/WudRecords

There is a lot more on the web concerning Spacegoats if you search, but this particular collection of songs is unique.

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Born of Stars by Spacegoats, from Spacegoats Live at Glastonbury Town Hall 18/12/1999.

This is a recording of a live concert by Spacegoats at Glastonbury Town Hall on 18th December 1999. Spacegoats personnel were Pok (guitar, vocals), Clive (vocals, percussion), Ruth (flute, vocals), Dave (drums) and George (bass).

Also on the bill that day were Gandiva and The Ripple Effect.

Somewhere between Track 8 (Broken Eagle) and Track 9 (The Freaks) there were several other tracks, including Centre of the Cyclone, but due to some absent-mindedness on the part of the sound engineer the tape was not flipped over and some of the recording of the performance was forever lost. Similarly, the end of Broken Eagle and the start of The Freaks are missing.

Spacegoats had had just one rehearsal, earlier that same day, and then taken the songs out live. It was freezing cold and there was snow on the ground which made driving rather hazardous for those who came to the show. George had been kept awake for the whole of the previous night and was somewhat shattered before the start of the gig.

This particular combination of Spacegoats personnel never played together again after this night, although the band with a different drummer to Dave and a variety of extra singers managed one more show at the Art College in Exeter. Also included in this line-up were Jim on keys and vocals and Hills on guitar and vocals.

Several of the songs in this performance came from the early Laughing Sun set and many also lived on to become incorporated in Alchemeon’s repertoire.

This performance represented a new direction for Spacegoats and Pok described the metamorphosis as being akin to “electric elves”.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/space-goats http://www.pookofpok.blogspot.com/ https://www.youtube.com/channel/UCC5dMV4lKtN4-L2KbtnplDw http://pondlifestudios.com/artist_information.asp?id=1 http://www.tribalvoices.org.uk/space-goats/ https://www.youtube.com/channel/UCC5dMV4lKtN4-L2KbtnplDw https://twitter.com/WudRecords

There is a lot more on the web concerning Spacegoats if you search, but this particular collection of songs is unique.

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Castrol GTX a Go-Go by Spacegoats, from Spacegoats Live at Glastonbury Town Hall 18/12/1999.

This is a recording of a live concert by Spacegoats at Glastonbury Town Hall on 18th December 1999. Spacegoats personnel were Pok (guitar, vocals), Clive (vocals, percussion), Ruth (flute, vocals), Dave (drums) and George (bass).

Also on the bill that day were Gandiva and The Ripple Effect.

Somewhere between Track 8 (Broken Eagle) and Track 9 (The Freaks) there were several other tracks, including Centre of the Cyclone, but due to some absent-mindedness on the part of the sound engineer the tape was not flipped over and some of the recording of the performance was forever lost. Similarly, the end of Broken Eagle and the start of The Freaks are missing.

Spacegoats had had just one rehearsal, earlier that same day, and then taken the songs out live. It was freezing cold and there was snow on the ground which made driving rather hazardous for those who came to the show. George had been kept awake for the whole of the previous night and was somewhat shattered before the start of the gig.

This particular combination of Spacegoats personnel never played together again after this night, although the band with a different drummer to Dave and a variety of extra singers managed one more show at the Art College in Exeter. Also included in this line-up were Jim on keys and vocals and Hills on guitar and vocals.

Several of the songs in this performance came from the early Laughing Sun set and many also lived on to become incorporated in Alchemeon’s repertoire.

This performance represented a new direction for Spacegoats and Pok described the metamorphosis as being akin to “electric elves”.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/space-goats http://www.pookofpok.blogspot.com/ https://www.youtube.com/channel/UCC5dMV4lKtN4-L2KbtnplDw http://pondlifestudios.com/artist_information.asp?id=1 http://www.tribalvoices.org.uk/space-goats/ https://www.youtube.com/channel/UCC5dMV4lKtN4-L2KbtnplDw https://twitter.com/WudRecords

There is a lot more on the web concerning Spacegoats if you search, but this particular collection of songs is unique.

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Broken Eagle by Spacegoats, from Spacegoats Live at Glastonbury Town Hall 18/12/1999.

This is a recording of a live concert by Spacegoats at Glastonbury Town Hall on 18th December 1999. Spacegoats personnel were Pok (guitar, vocals), Clive (vocals, percussion), Ruth (flute, vocals), Dave (drums) and George (bass).

Also on the bill that day were Gandiva and The Ripple Effect.

Somewhere between Track 8 (Broken Eagle) and Track 9 (The Freaks) there were several other tracks, including Centre of the Cyclone, but due to some absent-mindedness on the part of the sound engineer the tape was not flipped over and some of the recording of the performance was forever lost. Similarly, the end of Broken Eagle and the start of The Freaks are missing.

Spacegoats had had just one rehearsal, earlier that same day, and then taken the songs out live. It was freezing cold and there was snow on the ground which made driving rather hazardous for those who came to the show. George had been kept awake for the whole of the previous night and was somewhat shattered before the start of the gig.

This particular combination of Spacegoats personnel never played together again after this night, although the band with a different drummer to Dave and a variety of extra singers managed one more show at the Art College in Exeter. Also included in this line-up were Jim on keys and vocals and Hills on guitar and vocals.

Several of the songs in this performance came from the early Laughing Sun set and many also lived on to become incorporated in Alchemeon’s repertoire.

This performance represented a new direction for Spacegoats and Pok described the metamorphosis as being akin to “electric elves”.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/space-goats http://www.pookofpok.blogspot.com/ https://www.youtube.com/channel/UCC5dMV4lKtN4-L2KbtnplDw http://pondlifestudios.com/artist_information.asp?id=1 http://www.tribalvoices.org.uk/space-goats/ https://www.youtube.com/channel/UCC5dMV4lKtN4-L2KbtnplDw https://twitter.com/WudRecords

There is a lot more on the web concerning Spacegoats if you search, but this particular collection of songs is unique.

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The Freaks by Spacegoats, from Spacegoats Live at Glastonbury Town Hall 18/12/1999.

This is a recording of a live concert by Spacegoats at Glastonbury Town Hall on 18th December 1999. Spacegoats personnel were Pok (guitar, vocals), Clive (vocals, percussion), Ruth (flute, vocals), Dave (drums) and George (bass).

Also on the bill that day were Gandiva and The Ripple Effect.

Somewhere between Track 8 (Broken Eagle) and Track 9 (The Freaks) there were several other tracks, including Centre of the Cyclone, but due to some absent-mindedness on the part of the sound engineer the tape was not flipped over and some of the recording of the performance was forever lost. Similarly, the end of Broken Eagle and the start of The Freaks are missing.

Spacegoats had had just one rehearsal, earlier that same day, and then taken the songs out live. It was freezing cold and there was snow on the ground which made driving rather hazardous for those who came to the show. George had been kept awake for the whole of the previous night and was somewhat shattered before the start of the gig.

This particular combination of Spacegoats personnel never played together again after this night, although the band with a different drummer to Dave and a variety of extra singers managed one more show at the Art College in Exeter. Also included in this line-up were Jim on keys and vocals and Hills on guitar and vocals.

Several of the songs in this performance came from the early Laughing Sun set and many also lived on to become incorporated in Alchemeon’s repertoire.

This performance represented a new direction for Spacegoats and Pok described the metamorphosis as being akin to “electric elves”.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/space-goats http://www.pookofpok.blogspot.com/ https://www.youtube.com/channel/UCC5dMV4lKtN4-L2KbtnplDw http://pondlifestudios.com/artist_information.asp?id=1 http://www.tribalvoices.org.uk/space-goats/ https://www.youtube.com/channel/UCC5dMV4lKtN4-L2KbtnplDw https://twitter.com/WudRecords

There is a lot more on the web concerning Spacegoats if you search, but this particular collection of songs is unique.

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Here is a collection of Dark Company demos that the band made when writing, arranging and otherwise organising their songs.

Back at the end of 1999 the Mind Dance demos featuring Pete, Sammi and George were recorded as stereo on two channels of a four-track. The bass and lead guitar (or keys) were added to the remaining two channels later. They are rough recordings but possess a certain unique charm, including one of the most horrid beatboxes ever heard.

See also: http://www.wudrecords.co.uk/artists/dark-company/mind-dance-alphas http://www.explicitmusic.co.uk/lyrics-information/dark-company/mind-dance https://twitter.com/WudRecords https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

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Here is a collection of Dark Company demos that the band made when writing, arranging and otherwise organising their songs.

Back at the end of 1999 the Mind Dance demos featuring Pete, Sammi and George were recorded as stereo on two channels of a four-track. The bass and lead guitar (or keys) were added to the remaining two channels later. They are rough recordings but possess a certain unique charm, including one of the most horrid beatboxes ever heard.

See also: http://www.wudrecords.co.uk/artists/dark-company/mind-dance-alphas http://www.explicitmusic.co.uk/lyrics-information/dark-company/mind-dance https://twitter.com/WudRecords https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

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Here is a collection of Dark Company demos that the band made when writing, arranging and otherwise organising their songs.

Back at the end of 1999 the Mind Dance demos featuring Pete, Sammi and George were recorded as stereo on two channels of a four-track. The bass and lead guitar (or keys) were added to the remaining two channels later. They are rough recordings but possess a certain unique charm, including one of the most horrid beatboxes ever heard.

See also: http://www.wudrecords.co.uk/artists/dark-company/mind-dance-alphas http://www.explicitmusic.co.uk/lyrics-information/dark-company/mind-dance https://twitter.com/WudRecords https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

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Here is a collection of Dark Company demos that the band made when writing, arranging and otherwise organising their songs.

Back at the end of 1999 the Mind Dance demos featuring Pete, Sammi and George were recorded as stereo on two channels of a four-track. The bass and lead guitar (or keys) were added to the remaining two channels later. They are rough recordings but possess a certain unique charm, including one of the most horrid beatboxes ever heard.

See also: http://www.wudrecords.co.uk/artists/dark-company/mind-dance-alphas http://www.explicitmusic.co.uk/lyrics-information/dark-company/mind-dance https://twitter.com/WudRecords https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

View Details

Here is a collection of Dark Company demos that the band made when writing, arranging and otherwise organising their songs.

Back at the end of 1999 the Mind Dance demos featuring Pete, Sammi and George were recorded as stereo on two channels of a four-track. The bass and lead guitar (or keys) were added to the remaining two channels later. They are rough recordings but possess a certain unique charm, including one of the most horrid beatboxes ever heard.

See also: http://www.wudrecords.co.uk/artists/dark-company/mind-dance-alphas http://www.explicitmusic.co.uk/lyrics-information/dark-company/mind-dance https://twitter.com/WudRecords https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

View Details

Here is a collection of Dark Company demos that the band made when writing, arranging and otherwise organising their songs.

Back at the end of 1999 the Mind Dance demos featuring Pete, Sammi and George were recorded as stereo on two channels of a four-track. The bass and lead guitar (or keys) were added to the remaining two channels later. They are rough recordings but possess a certain unique charm, including one of the most horrid beatboxes ever heard.

See also: http://www.wudrecords.co.uk/artists/dark-company/mind-dance-alphas http://www.explicitmusic.co.uk/lyrics-information/dark-company/mind-dance https://twitter.com/WudRecords https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

View Details

Here is a collection of Dark Company demos that the band made when writing, arranging and otherwise organising their songs.

Back at the end of 1999 the Mind Dance demos featuring Pete, Sammi and George were recorded as stereo on two channels of a four-track. The bass and lead guitar (or keys) were added to the remaining two channels later. They are rough recordings but possess a certain unique charm, including one of the most horrid beatboxes ever heard.

See also: http://www.wudrecords.co.uk/artists/dark-company/mind-dance-alphas http://www.explicitmusic.co.uk/lyrics-information/dark-company/mind-dance https://twitter.com/WudRecords https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

View Details

Here is a collection of Dark Company demos that the band made when writing, arranging and otherwise organising their songs.

Back at the end of 1999 the Mind Dance demos featuring Pete, Sammi and George were recorded as stereo on two channels of a four-track. The bass and lead guitar (or keys) were added to the remaining two channels later. They are rough recordings but possess a certain unique charm, including one of the most horrid beatboxes ever heard.

See also: http://www.wudrecords.co.uk/artists/dark-company/mind-dance-alphas http://www.explicitmusic.co.uk/lyrics-information/dark-company/mind-dance https://twitter.com/WudRecords https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

View Details

Here is a collection of Dark Company demos that the band made when writing, arranging and otherwise organising their songs.

Back at the end of 1999 the Mind Dance demos featuring Pete, Sammi and George were recorded as stereo on two channels of a four-track. The bass and lead guitar (or keys) were added to the remaining two channels later. They are rough recordings but possess a certain unique charm, including one of the most horrid beatboxes ever heard.

See also: http://www.wudrecords.co.uk/artists/dark-company/mind-dance-alphas http://www.explicitmusic.co.uk/lyrics-information/dark-company/mind-dance https://twitter.com/WudRecords https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

View Details

Here is a collection of Dark Company demos that the band made when writing, arranging and otherwise organising their songs.

Back at the end of 1999 the Mind Dance demos featuring Pete, Sammi and George were recorded as stereo on two channels of a four-track. The bass and lead guitar (or keys) were added to the remaining two channels later. They are rough recordings but possess a certain unique charm, including one of the most horrid beatboxes ever heard.

See also: http://www.wudrecords.co.uk/artists/dark-company/mind-dance-alphas http://www.explicitmusic.co.uk/lyrics-information/dark-company/mind-dance https://twitter.com/WudRecords https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

View Details

Here is a collection of Dark Company demos that the band made when writing, arranging and otherwise organising their songs.

Back at the end of 1999 the Mind Dance demos featuring Pete, Sammi and George were recorded as stereo on two channels of a four-track. The bass and lead guitar (or keys) were added to the remaining two channels later. They are rough recordings but possess a certain unique charm, including one of the most horrid beatboxes ever heard.

See also: http://www.wudrecords.co.uk/artists/dark-company/mind-dance-alphas http://www.explicitmusic.co.uk/lyrics-information/dark-company/mind-dance https://twitter.com/WudRecords https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

View Details

Here is a collection of Dark Company demos that the band made when writing, arranging and otherwise organising their songs.

Back at the end of 1999 the Mind Dance demos featuring Pete, Sammi and George were recorded as stereo on two channels of a four-track. The bass and lead guitar (or keys) were added to the remaining two channels later. They are rough recordings but possess a certain unique charm, including one of the most horrid beatboxes ever heard.

See also: http://www.wudrecords.co.uk/artists/dark-company/mind-dance-alphas http://www.explicitmusic.co.uk/lyrics-information/dark-company/mind-dance https://twitter.com/WudRecords https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

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Here is a collection of Dark Company demos that the band made when writing, arranging and otherwise organising their songs.

Back at the end of 1999 the Mind Dance demos featuring Pete, Sammi and George were recorded as stereo on two channels of a four-track. The bass and lead guitar (or keys) were added to the remaining two channels later. They are rough recordings but possess a certain unique charm, including one of the most horrid beatboxes ever heard.

See also: http://www.wudrecords.co.uk/artists/dark-company/mind-dance-alphas http://www.explicitmusic.co.uk/lyrics-information/dark-company/mind-dance https://twitter.com/WudRecords https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

View Details

Here is a collection of Dark Company demos that the band made when writing, arranging and otherwise organising their songs.

Back at the end of 1999 the Mind Dance demos featuring Pete, Sammi and George were recorded as stereo on two channels of a four-track. The bass and lead guitar (or keys) were added to the remaining two channels later. They are rough recordings but possess a certain unique charm, including one of the most horrid beatboxes ever heard.

See also: http://www.wudrecords.co.uk/artists/dark-company/mind-dance-alphas http://www.explicitmusic.co.uk/lyrics-information/dark-company/mind-dance https://twitter.com/WudRecords https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://wudrecords.bandcamp.com/

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Götterdämmerung by Dark Company, from the album Mind Dance.

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex/S. Lock.

Copyright © 2015 Wud Records. Copyright ℗ 1999 Explicit Music/Dangerous Ditties.

Performers: PJ Speed - vocals Zak Black - guitar Maxx Damage - bass Sven Stiglund - percussion

GÖTTERDÄMMERUNG Silent cyclones you can see but can’t hear Move me, move me, move me Winds of change that turn to rain Move me, move me, move me Living in nights of a thousand days Move me, move me, move me Yawning dawn’s slow motion replays Move me, move me, move me.

Telegraphs show epitaphs of religion and belief The lightning rods of old time gods separate the weak And shadows grim and dolls of tin earth me to the ground On angels' breath the words of death in my head they run around

Beautiful whores and the strangest dwarves come to me at night Mutated cells like Dead Sea shells lie empty without light Lie empty without light Lie empty without light Lie empty without light Lie empty without light

And it moves me, moves me, moves me And it moves me, moves me, moves me And it moves me, moves me, moves me And it moves me, moves me, moves me And it moves me, moves me, moves me And it moves me, moves me, moves me And it moves me, moves me, moves me And it moves me, moves me, moves me

Fun Facts: This curious song refers to the Dead Sea Scrolls, the missing books of the Bible. The line concerning whores and dwarves refers to two of Pete's best friends, who would often appear long after the clock had passed midnight. The first section, which sounds like drum'n'bass meets metal, is in the key of F#m. The rest of the song is in the key of C#m.

See also: http://www.wudrecords.co.uk/artists/dark-company/mind-dance http://www.explicitmusic.co.uk/lyrics-information/dark-company/mind-dance/gotterdammerung https://soundcloud.com/wud-records/gottedamerung?in=wud-records/sets/dark-company-mind-dance-demos http://wudrecords.bandcamp.com/ https://twitter.com/Dark_Company https://twitter.com/WudRecords

Email: darkcompany@wudrecords.co.uk

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Victory Garden by Dark Company, from the album Mind Dance.

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex/S. Lock.

Copyright © 2015 Wud Records. Copyright ℗ 1999 Explicit Music/Dangerous Ditties.

Performers: PJ Speed - vocals Zak Black - guitars Maxx Damage - bass Sven Stiglund - drums

VICTORY GARDEN Freeze frame the victim The picture in the still Is that really what you look like When you’ve got time to kill The world it went off sideways Became a pig-in-a-poke Bought with your last dollars And now you say you’re broke

Carbon up the date The past place where I stood Can this be the Memphis blues I heard that was no good My yoyo spun like crazy It turned into a sword Flying up and down the string Saying: “Are you insured?”

Keep back all the data The disks and other things “Why are you so just like me?” The mirror gaily sings I lost my heart to an organ bank My life is Looney Tunes “I don’t inhale,” said the President, “But I get high on the fumes.” “I don’t inhale,” said the President, “But I get high on the fumes.” “I don’t inhale,” said the President, “But I get high on the fumes.”

Fun Facts: This song is in the key of F#m. The other chords are D, Eadd9 and C#m7. Pete drew inspiration for these lyrics when the media were trying to impeach the then president of the USA, Bill Clinton, for various alleged actions. The line "Is that what you really look like when you've got time to kill" refers to the alleged existance or otherwise of photographic stills taken from CCTV footage. "I don't inhale" is apparently something that ex-President Clinton once may have said in an interview regarding his college days and smoking marijuana. "My life is Looney Tunes" refers to a time when Pete was watching a lot of cartoons on satellite television. A victory garden is something that existed during wartime in Europe where people grew some of their own produce to help ease the burden on the food supply. Pete never felt that this was a very strong song until George wrote the lead guitar melodies, which totally made it for him.

See also: http://www.wudrecords.co.uk/artists/dark-company/mind-dance http://www.explicitmusic.co.uk/lyrics-information/dark-company/mind-dance/victory-garden https://soundcloud.com/wud-records/victory-garden?in=wud-records/sets/dark-company-mind-dance-demos http://wudrecords.bandcamp.com/ https://twitter.com/Dark_Company https://twitter.com/WudRecords

Email: darkcompany@wudrecords.co.uk

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Meteor by Dark Company, from the album Mind Dance.

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex/S. Lock.

Copyright © 2015 Wud Records. Copyright ℗ 1999 Explicit Music/Munchkin Music/After The Flood Productions.

Performers: PJ Speed - vocals, harmonica Zak Black - guitar Maxx Damage - bass Sven Stiglund - percussion

METEOR In the centre of the lotus a raindrop mirror of me And if I look still further what more is it I see I see the future I see the past I see the future it’s coming up fast

At the edge of the spread a pasteboard picture that’s new Upside down he can get a better view He sees the hard place, he sees the stone He sees who it is sits on the throne

Under the moonlite shadows come and go Cinema scene one we already know We know the answer we know the score We know everything we gotta know more

We know the answer we know the score We know everything we gotta know more We know the answer we know the score We know everything we gotta know more

Fun Facts: The idea for this song came from a tarot reading that Pete did. The upside-down pasteboard picture refers to The Hanged Man. During the recording of the Demo version of Meteor, Pete just about managed to get all of his singing and harmonica blowing parts in the right places at the right time, largely thanks to some prompting from Sammi. His relief was so great that he made a funny noise using his lips and finger. This sounded comical and fabulous, and somewhow seemed to fit the song rather well, so we persuaded him to do it again for the album version. Meteor is in the key of E.

See also: http://www.wudrecords.co.uk/artists/dark-company/mind-dance http://www.explicitmusic.co.uk/lyrics-information/dark-company/mind-dance/meteor https://soundcloud.com/wud-records/meteor?in=wud-records/sets/dark-company-mind-dance-demos http://wudrecords.bandcamp.com/ https://twitter.com/Dark_Company https://twitter.com/WudRecords

Email: darkcompany@wudrecords.co.uk

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Slave of Days by Dark Company, from the album Mind Dance.

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex/S. Lock.

Copyright © 2015 Wud Records. Copyright ℗ 1999 Explicit Music/Rotgut Records.

Performers: PJ Speed - vocals Zak Black - guitars Maxx Damage - bass Sven Stiglund - drums

SLAVE OF DAYS So low you really can’t be seen So low drifting in a dream So low locked in your mind Hiding from the people that you left behind

Geometry is measuring buildings of force Crescents and circles through twilight they walk Cameo cutbacks of everyday life Cutting out the pictures with my sharp little knife

So low you really can’t be seen So low drifting in a dream So low locked in your mind Hiding from the people that you left behind

I can’t taste the people they are melting away In brushed out rush hours twice a day And suicide surgeons inside their heads Slice up reality both living and dead

So low you really can’t be seen So low drifting in a dream So low locked in your mind Hiding from the people that you've left behind Hiding from the people that you've left behind Hiding from the people that you've left behind Hiding from the people

Fun Facts: Slave of Days is a song in the key of B. It only has three chords - A, B and F#. If you don't like playing bar chords, you can transpose it down to A and play just G, A and E, or to D and play just C, D and A. We always loved the raw punky energy of this song. ‘So low’ refers to keeping your head down and remaining out of sight, rather than suffering from depression. The references to geometry and shapes come from visualisation exercises to practice when studying the Kaballah. This is a song about the happy and bewildered misfit, looking in from society’s ragged edge.

See also: http://www.wudrecords.co.uk/artists/dark-company/mind-dance http://www.explicitmusic.co.uk/lyrics-information/dark-company/mind-dance/slave-of-days https://soundcloud.com/wud-records/slave-of-days?in=wud-records/sets/dark-company-mind-dance-demos http://wudrecords.bandcamp.com/ https://twitter.com/Dark_Company https://twitter.com/WudRecords

Email: darkcompany@wudrecords.co.uk

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Venturi by Dark Company, from the album Mind Dance.

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex/S. Lock.

Copyright © 2015 Wud Records. Copyright ℗ 1999 Explicit Music/Dangerous Ditties.

Performers: PJ Speed - vocals Zak Black - guitars Maxx Damage - bass Sven Stiglund - drums

VENTURI Haunted by the gypsy tug That takes fat ships in tow Crossed by wire The fence grows higher Stopped where I cannot go Caught outside in sunset’s light Where insects bite and twist The walking dead Now feed my head With creatures of the blitz

Freedom for the broken toys Lying by the road Freedom from the aching lies That say tomorrow knows Freedom for the broken toys Lying by the road Freedom from the aching lies That say tomorrow knows That say tomorrow knows That say tomorrow knows That say tomorrow knows That say tomorrow knows

Chained am I to an acid dream Love’s labour can’t be found The joke’s on me Now can’t you see I’m falling to the ground Souls of old time working gods And angels of the sky Come not on Nor walk upon My mind’s sweet inner eye

Freedom for the broken toys Lying by the road Freedom from the aching lies That say tomorrow knows Freedom for the broken toys Lying by the road Freedom from the aching lies That say tomorrow knows That say tomorrow knows That say tomorrow knows That say tomorrow knows That say tomorrow knows

Freedom for the broken toys Lying by the road Freedom from the aching lies That say tomorrow knows Freedom for the broken toys Lying by the road Freedom from the aching lies That say tomorrow knows That say tomorrow knows That say tomorrow knows That say tomorrow knows They say tomorrow knows

That say tomorrow knows That say tomorrow knows That say tomorrow knows

They say tomorrow knows…

Fun Facts: Of all the songs that Dark Company ever recorded, Venturi has the largest amount of vocal parts in order to build the choir. We always loved the lyrics for this track and believe them to be some real classics of Pete's. It was written at around the same time as Damaged from the Benign Inquisition album. As Damaged was far more complicated in terms of melody, Pete never took it on when the Mind Dance album was being put together. The demo version features a lot of late-night stereo speaker guitar feedback that George created round at Pete's house one evening. Venturi is in the key of Dm (the saddest of all keys) and has a wistful, melancholic feel.

See also: http://www.wudrecords.co.uk/artists/dark-company/mind-dance http://www.explicitmusic.co.uk/lyrics-information/dark-company/mind-dance/venturi https://soundcloud.com/wud-records/venturi?in=wud-records/sets/dark-company-mind-dance-demos http://wudrecords.bandcamp.com/ https://twitter.com/Dark_Company https://twitter.com/WudRecords

Email: darkcompany@wudrecords.co.uk

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Beasts & Angels by Dark Company, from the album Mind Dance.

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex/S. Lock.

Copyright © 2015 Wud Records. Copyright ℗ 1999 Explicit Music/Dangerous Ditties.

Performers: PJ Speed - vocals Zak Black - guitars Josh Reynes - keys Maxx Damage - bass Sven Stiglund - drums

BEASTS & ANGELS Ah ah - where the beasts and angels live Oh oh - where the beasts and angels live Ah ah - where the beasts and angels live Oh oh - where the beasts and angels live

Far out in leftfield we deal With problems beyond imagination All that’s on TV that you can see To us bears no relation Inside the museum humanity sits Exhibiting its present intention What you don’t know and what they don’t say Is that it’s all their own invention

Oh Mama! It’s dark in here And I’m afraid of the crowd And all the people trying to get in Make the turnstiles click real loud The only light is madness From a thousand monitor screens Making us burn our fingers On red hot terminal dreams

There’s a smell of ozone From electric bones and flesh Uniforms are issued now For the regiments of stress

I stand and call your name out Friends, you must run The real me can’t stand up Crashing out through all the fun They’ve closed the doors and windows Shut out all fantasy Barred the emergency exits That lead to sweet entropy

There’s a smell of ozone From electric bones and flesh Uniforms are issued now For the regiments of stress

Where the beasts and angels live Where the beasts and angels live Where the beasts and angels live Where the beasts and angels live Ah ah - where the beasts and angels live Oh oh - where the beasts and angels live Ah ah - where the beasts and angels live Oh oh - where the beasts and angels live

Fun Facts: Beasts & Angels is one of Dark Company's multi-genre songs. It has elements of metal, motown, alternative rock and classic rock. Dark Company are perhaps the most multi-genre band we have ever heard. When Pete and Sammi were singing the chorus together, their voices sounded like a beast and an angel singing together. As Pete was a Hell's Angel for some time, it's hard to say who was which. The title of this song comes from a Kaballistic parable, in which a new pleasure is discovered. A devil and an angel rush to the home of the person indulging in the new pleasure. The devil and the angel begin to fight each other for ownership of the new pleasure, one proclaiming "It is a virtue!" and the other "It is a vice!" Beasts & Angels seems to begin in the key of Bb, although really the key of the whole song is Dm.

See also: http://www.wudrecords.co.uk/artists/dark-company/mind-dance http://www.explicitmusic.co.uk/lyrics-information/dark-company/mind-dance/beasts-angels https://soundcloud.com/wud-records/beasts-angels?in=wud-records/sets/dark-company-mind-dance-demos http://wudrecords.bandcamp.com/ https://twitter.com/Dark_Company https://twitter.com/WudRecords

Email: darkcompany@wudrecords.co.uk

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My Eye Hurts, from the EP Walking in a Straight Line by Andromeda.

Copyright © 1999 Joe Ings/Amy McGill/Adam Bonner.

Written and recorded by Andromeda. Produced by Gavin Jurkschat and Andromeda. Recorded at Blue in Green Studios.

Joe Ings - vocals, guitars, keyboards Amy McGill - guitars, vocals Chubs - bass, keyboards Max Welsman - drums

Salvaged from promo copy.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/andromeda http://www.wudrecords.co.uk/archives/andromeda/walking-in-a-straight-line https://www.bandmix.co.uk/trimorphous/ https://twitter.com/WudRecords

andromedabeast@hotmail.com

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Health, from the EP Walking in a Straight Line by Andromeda.

Copyright © 1999 Joe Ings/Amy McGill/Adam Bonner.

Written and recorded by Andromeda. Produced by Gavin Jurkschat and Andromeda. Recorded at Blue in Green Studios.

Joe Ings - vocals, guitars, keyboards Amy McGill - guitars, vocals Chubs - bass, keyboards Max Welsman - drums

Salvaged from promo copy.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/andromeda http://www.wudrecords.co.uk/archives/andromeda/walking-in-a-straight-line https://www.bandmix.co.uk/trimorphous/ https://twitter.com/WudRecords

andromedabeast@hotmail.com

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Cheat, from the EP Walking in a Straight Line by Andromeda.

Copyright © 1999 Joe Ings/Amy McGill/Adam Bonner.

Written and recorded by Andromeda. Produced by Gavin Jurkschat and Andromeda. Recorded at Blue in Green Studios.

Joe Ings - vocals, guitars, keyboards Amy McGill - guitars, vocals Chubs - bass, keyboards Max Welsman - drums

Salvaged from promo copy.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/andromeda http://www.wudrecords.co.uk/archives/andromeda/walking-in-a-straight-line https://www.bandmix.co.uk/trimorphous/ https://twitter.com/WudRecords

andromedabeast@hotmail.com

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Walking in a Straight Line, from the EP Walking in a Straight Line by Andromeda.

Copyright © 1999 Joe Ings/Amy McGill/Adam Bonner.

Written and recorded by Andromeda. Produced by Gavin Jurkschat and Andromeda. Recorded at Blue in Green Studios.

Joe Ings - vocals, guitars, keyboards Amy McGill - guitars, vocals Chubs - bass, keyboards Max Welsman - drums

Salvaged from promo copy.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/andromeda http://www.wudrecords.co.uk/archives/andromeda/walking-in-a-straight-line https://www.bandmix.co.uk/trimorphous/ https://twitter.com/WudRecords

andromedabeast@hotmail.com

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Gunpowder at Route 66, from the EP Walking in a Straight Line by Andromeda.

Copyright © 1999 Joe Ings/Amy McGill/Adam Bonner.

Written and recorded by Andromeda. Produced by Gavin Jurkschat and Andromeda. Recorded at Blue in Green Studios.

Joe Ings - vocals, guitars, keyboards Amy McGill - guitars, vocals Chubs - bass, keyboards Max Welsman - drums

Salvaged from promo copy.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/andromeda http://www.wudrecords.co.uk/archives/andromeda/walking-in-a-straight-line https://www.bandmix.co.uk/trimorphous/ https://twitter.com/WudRecords

andromedabeast@hotmail.com

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No Limit by Search Party, from the Search Party Demo (1999)

Search Party were a progressive rock band from Exeter, notable for their wonderful songcraft and use of a DAT machine for their live backing tracks instead of a drummer.

Frontman Lawrence Morgan Anstee played five-string guitar, keyboards, pipes and sang lead vocals. Brother Luke Morgan-Anstee played bass and Glen Sherlock played guitars, keyboards and sang.

Search Party had an occasional percussionist called Dave who brought a unique twist to the band with his ethnic instruments and eastern rhythms.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/search-party http://www.explicitmusic.co.uk/sub-publishers https://twitter.com/WudRecords

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One Direction by Search Party, from the Search Party Demo (1999)

Search Party were a progressive rock band from Exeter, notable for their wonderful songcraft and use of a DAT machine for their live backing tracks instead of a drummer.

Frontman Lawrence Morgan Anstee played five-string guitar, keyboards, pipes and sang lead vocals. Brother Luke Morgan-Anstee played bass and Glen Sherlock played guitars, keyboards and sang.

Search Party had an occasional percussionist called Dave who brought a unique twist to the band with his ethnic instruments and eastern rhythms.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/search-party http://www.explicitmusic.co.uk/sub-publishers https://twitter.com/WudRecords

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Inner Time by Search Party, from the Search Party Demo (1999)

Search Party were a progressive rock band from Exeter, notable for their wonderful songcraft and use of a DAT machine for their live backing tracks instead of a drummer.

Frontman Lawrence Morgan Anstee played five-string guitar, keyboards, pipes and sang lead vocals. Brother Luke Morgan-Anstee played bass and Glen Sherlock played guitars, keyboards and sang.

Search Party had an occasional percussionist called Dave who brought a unique twist to the band with his ethnic instruments and eastern rhythms.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/search-party http://www.explicitmusic.co.uk/sub-publishers https://twitter.com/WudRecords

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All Fall Down by Pyg, from the 1999 Tracks album.

Pyg were Devon’s finest exponents of caustic folk, and on a good day were capable of filling the dancefloor and rocking the house.

All songs recorded by Martin Dearmun April 1999 at Fig Tree Farm near Butterleigh, Devon. Copyright Transit Recordings 1999.

Let’s Dance and Hit the Bottle by Malcolm Learmonth, all other songs by Martin Dearmun. Arrangements by Pyg.

Martin Dearmun – vocals, acoustic guitar Malcolm Learmonth – electric guitar, bouzouki George Davies – bass Tony Price – drums

Some quotes: “A stomping good gyg.” – Pyg Breeders Weekly “We danced ’til our tales dropped off!” – Trotter Times “Possibly the best gig since feeding time.” – Scratchings Gazette

And there was a considerable outburst of grunting from behind the rhododendrons.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/pyg-2 http://www.wudrecords.co.uk/archives/pyg-2/tracks-1999 https://twitter.com/WudRecords

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Don't Jump by Pyg, from the 1999 Tracks album.

Pyg were Devon’s finest exponents of caustic folk, and on a good day were capable of filling the dancefloor and rocking the house.

All songs recorded by Martin Dearmun April 1999 at Fig Tree Farm near Butterleigh, Devon. Copyright Transit Recordings 1999.

Let’s Dance and Hit the Bottle by Malcolm Learmonth, all other songs by Martin Dearmun. Arrangements by Pyg.

Martin Dearmun – vocals, acoustic guitar Malcolm Learmonth – electric guitar, bouzouki George Davies – bass Tony Price – drums

Some quotes: “A stomping good gyg.” – Pyg Breeders Weekly “We danced ’til our tales dropped off!” – Trotter Times “Possibly the best gig since feeding time.” – Scratchings Gazette

And there was a considerable outburst of grunting from behind the rhododendrons.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/pyg-2 http://www.wudrecords.co.uk/archives/pyg-2/tracks-1999 https://twitter.com/WudRecords

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Let's Dance (Dulcimer Mix) by Pyg, from the 1999 Tracks album.

Pyg were Devon’s finest exponents of caustic folk, and on a good day were capable of filling the dancefloor and rocking the house.

All songs recorded by Martin Dearmun April 1999 at Fig Tree Farm near Butterleigh, Devon. Copyright Transit Recordings 1999.

Let’s Dance and Hit the Bottle by Malcolm Learmonth, all other songs by Martin Dearmun. Arrangements by Pyg.

Martin Dearmun – vocals, acoustic guitar Malcolm Learmonth – electric guitar, bouzouki George Davies – bass Tony Price – drums

Some quotes: “A stomping good gyg.” – Pyg Breeders Weekly “We danced ’til our tales dropped off!” – Trotter Times “Possibly the best gig since feeding time.” – Scratchings Gazette

And there was a considerable outburst of grunting from behind the rhododendrons.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/pyg-2 http://www.wudrecords.co.uk/archives/pyg-2/tracks-1999 https://twitter.com/WudRecords

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Hit the Bottle by Pyg, from the 1999 Tracks album.

Pyg were Devon’s finest exponents of caustic folk, and on a good day were capable of filling the dancefloor and rocking the house.

All songs recorded by Martin Dearmun April 1999 at Fig Tree Farm near Butterleigh, Devon. Copyright Transit Recordings 1999.

Let’s Dance and Hit the Bottle by Malcolm Learmonth, all other songs by Martin Dearmun. Arrangements by Pyg.

Martin Dearmun – vocals, acoustic guitar Malcolm Learmonth – electric guitar, bouzouki George Davies – bass Tony Price – drums

Some quotes: “A stomping good gyg.” – Pyg Breeders Weekly “We danced ’til our tales dropped off!” – Trotter Times “Possibly the best gig since feeding time.” – Scratchings Gazette

And there was a considerable outburst of grunting from behind the rhododendrons.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/pyg-2 http://www.wudrecords.co.uk/archives/pyg-2/tracks-1999 https://twitter.com/WudRecords

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Let's Dance (Bare Mix) by Pyg, from the 1999 Tracks album.

Pyg were Devon’s finest exponents of caustic folk, and on a good day were capable of filling the dancefloor and rocking the house.

All songs recorded by Martin Dearmun April 1999 at Fig Tree Farm near Butterleigh, Devon. Copyright Transit Recordings 1999.

Let’s Dance and Hit the Bottle by Malcolm Learmonth, all other songs by Martin Dearmun. Arrangements by Pyg.

Martin Dearmun – vocals, acoustic guitar Malcolm Learmonth – electric guitar, bouzouki George Davies – bass Tony Price – drums

Some quotes: “A stomping good gyg.” – Pyg Breeders Weekly “We danced ’til our tales dropped off!” – Trotter Times “Possibly the best gig since feeding time.” – Scratchings Gazette

And there was a considerable outburst of grunting from behind the rhododendrons.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/pyg-2 http://www.wudrecords.co.uk/archives/pyg-2/tracks-1999 https://twitter.com/WudRecords

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Crying Shame by Pyg, from the 1999 Tracks album.

Pyg were Devon’s finest exponents of caustic folk, and on a good day were capable of filling the dancefloor and rocking the house.

All songs recorded by Martin Dearmun April 1999 at Fig Tree Farm near Butterleigh, Devon. Copyright Transit Recordings 1999.

Let’s Dance and Hit the Bottle by Malcolm Learmonth, all other songs by Martin Dearmun. Arrangements by Pyg.

Martin Dearmun – vocals, acoustic guitar Malcolm Learmonth – electric guitar, bouzouki George Davies – bass Tony Price – drums

Some quotes: “A stomping good gyg.” – Pyg Breeders Weekly “We danced ’til our tales dropped off!” – Trotter Times “Possibly the best gig since feeding time.” – Scratchings Gazette

And there was a considerable outburst of grunting from behind the rhododendrons.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/pyg-2 http://www.wudrecords.co.uk/archives/pyg-2/tracks-1999 https://twitter.com/WudRecords

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Hands Off by Pyg, from the 1999 Tracks album.

Pyg were Devon’s finest exponents of caustic folk, and on a good day were capable of filling the dancefloor and rocking the house.

All songs recorded by Martin Dearmun April 1999 at Fig Tree Farm near Butterleigh, Devon. Copyright Transit Recordings 1999.

Let’s Dance and Hit the Bottle by Malcolm Learmonth, all other songs by Martin Dearmun. Arrangements by Pyg.

Martin Dearmun – vocals, acoustic guitar Malcolm Learmonth – electric guitar, bouzouki George Davies – bass Tony Price – drums

Some quotes: “A stomping good gyg.” – Pyg Breeders Weekly “We danced ’til our tales dropped off!” – Trotter Times “Possibly the best gig since feeding time.” – Scratchings Gazette

And there was a considerable outburst of grunting from behind the rhododendrons.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/pyg-2 http://www.wudrecords.co.uk/archives/pyg-2/tracks-1999 https://twitter.com/WudRecords

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Falling by Pyg, from the 1999 Tracks album.

Pyg were Devon’s finest exponents of caustic folk, and on a good day were capable of filling the dancefloor and rocking the house.

All songs recorded by Martin Dearmun April 1999 at Fig Tree Farm near Butterleigh, Devon. Copyright Transit Recordings 1999.

Let’s Dance and Hit the Bottle by Malcolm Learmonth, all other songs by Martin Dearmun. Arrangements by Pyg.

Martin Dearmun – vocals, acoustic guitar Malcolm Learmonth – electric guitar, bouzouki George Davies – bass Tony Price – drums

Some quotes: “A stomping good gyg.” – Pyg Breeders Weekly “We danced ’til our tales dropped off!” – Trotter Times “Possibly the best gig since feeding time.” – Scratchings Gazette

And there was a considerable outburst of grunting from behind the rhododendrons.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/pyg-2 http://www.wudrecords.co.uk/archives/pyg-2/tracks-1999 https://twitter.com/WudRecords

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Nothing Else Remains by Ember.

Ember was a band from Exeter which featured Joe Catcheside on vocals, Dan Wright on lead guitar, Floyd Zoboki on rhythm guitar, George Davies on bass and Tony Price on drums. Previously there were different members, including Vince Canning on bass, with Dan Wright remaining the constant creative force throughout the entire length of Ember’s existence.

Floyd had already left the band and the country when these recordings were made, although the emigration and the recordings were coincidental to each other.

Moving On was written by Joe Catcheside/Phil Woodward/James Willmott. The other songs were written by the original Ember line-up, which was Dan Wright (guitar)/Vince Canning (bass)/Robert Coache (vocals)/Emma Richardson (drums).

These songs formed the Moving on a Moment in Life demo and were recorded by Martin Dearmun of Transit Recordings in 1999 at Fig Tree Farm, Butterleigh, in deepest, darkest rural Devonshire.

Copyright © 1999 Ember.

If we locate more of Ember’s recordings in our archives, we shall upload those as well.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/ember https://soundcloud.com/danwright https://twitter.com/WudRecords

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Aquamarine by Ember.

Ember was a band from Exeter which featured Joe Catcheside on vocals, Dan Wright on lead guitar and backing vocals, Floyd Zoboki on rhythm guitar, George Davies on bass and Tony Price on drums. Previously there were different members, including Vince Canning on bass, with Dan Wright remaining the constant creative force throughout the entire length of Ember’s existence.

Floyd had already left the band and the country when these recordings were made, although the emigration and the recordings were coincidental to each other.

Moving On was written by Joe Catcheside/Phil Woodward/James Willmott. The other songs were written by the original Ember line-up, which was Dan Wright (guitar)/Vince Canning (bass)/Robert Coache (vocals)/Emma Richardson (drums).

These songs formed the Moving on a Moment in Life demo and were recorded by Martin Dearmun of Transit Recordings in 1999 at Fig Tree Farm, Butterleigh, in deepest, darkest rural Devonshire.

Copyright © 1999 Ember.

If we locate more of Ember’s recordings in our archives, we shall upload those as well.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/ember https://soundcloud.com/danwright https://twitter.com/WudRecords

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Moving on a Moment in Life by Ember.

Ember was a band from Exeter which featured Joe Catcheside on vocals, Dan Wright on lead guitar, Floyd Zoboki on rhythm guitar, George Davies on bass and Tony Price on drums. Previously there were different members, including Vince Canning on bass, with Dan Wright remaining the constant creative force throughout the entire length of Ember’s existence.

Floyd had already left the band and the country when these recordings were made, although the emigration and the recordings were coincidental to each other.

Moving On was written by Joe Catcheside/Phil Woodward/James Willmott. The other songs were written by the original Ember line-up, which was Dan Wright (guitar)/Vince Canning (bass)/Robert Coache (vocals)/Emma Richardson (drums).

These songs formed the Moving on a Moment in Life demo and were recorded by Martin Dearmun of Transit Recordings in 1999 at Fig Tree Farm, Butterleigh, in deepest, darkest rural Devonshire.

Copyright © 1999 Ember.

If we locate more of Ember’s recordings in our archives, we shall upload those as well.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/ember https://soundcloud.com/danwright https://twitter.com/WudRecords

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Days Like This by Ember.

Ember was a band from Exeter which featured Joe Catcheside on vocals, Dan Wright on lead guitar, Floyd Zoboki on rhythm guitar, George Davies on bass and Tony Price on drums. Previously there were different members, including Vince Canning on bass, with Dan Wright remaining the constant creative force throughout the entire length of Ember’s existence.

Floyd had already left the band and the country when these recordings were made, although the emigration and the recordings were coincidental to each other.

Moving On was written by Joe Catcheside/Phil Woodward/James Willmott. The other songs were written by the original Ember line-up, which was Dan Wright (guitar)/Vince Canning (bass)/Robert Coache (vocals)/Emma Richardson (drums).

These songs formed the Moving on a Moment in Life demo and were recorded by Martin Dearmun of Transit Recordings in 1999 at Fig Tree Farm, Butterleigh, in deepest, darkest rural Devonshire.

Copyright © 1999 Ember.

If we locate more of Ember’s recordings in our archives, we shall upload those as well.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/ember https://soundcloud.com/danwright https://twitter.com/WudRecords

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Amerikay, from the EP Scratchings by Pyg.

Scratchings is a live demo recorded in 1998. Recorded by Glen Sherlock at Woodrow Barton Farm, Brampford Speke. Cassette salvage and mastering at Wud Records Studio One.

We believe all songs to be by Martin Dearmunn and/or Malcolm Learmonth. These arrangements by Pyg. All songs copyright © 1998 their respective owners. All intellectual property copyright ℗ 1998 its respectful owners.

Performers: Martin Dearmunn - voices, acoustic guitar Steve McTavish - fiddle Malcolm Learmonth - electric guitar George Davies - bass Tony Price - drums

We tend to feel that these songs are a great snapshot of how Pyg sounded in 1998, which was a lot more raw and raucous than their rather refined studio recordings,

We hope you can make it past the rather nasty guitar sound at the start of Amerikay.

Please see also: https://www.wudrecords.co.uk/archives/pyg-2/ https://www.wudrecords.co.uk/archives/ https://twitter.com/WudRecords

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Don't Jump, from the EP Scratchings by Pyg.

Scratchings is a live demo recorded in 1998. Recorded by Glen Sherlock at Woodrow Barton Farm, Brampford Speke. Cassette salvage and mastering at Wud Records Studio One.

We believe all songs to be by Martin Dearmunn and/or Malcolm Learmonth. These arrangements by Pyg. All songs copyright © 1998 their respective owners. All intellectual property copyright ℗ 1998 its respectful owners.

Performers: Martin Dearmunn - voices, acoustic guitar Steve McTavish - fiddle Malcolm Learmonth - electric guitar George Davies - bass Tony Price - drums

We tend to feel that these songs are a great snapshot of how Pyg sounded in 1998, which was a lot more raw and raucous than their rather refined studio recordings,

We hope you can make it past the rather nasty guitar sound at the start of Amerikay.

Please see also: https://www.wudrecords.co.uk/archives/pyg-2/ https://www.wudrecords.co.uk/archives/ https://twitter.com/WudRecords

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Hit The Bottle, from the EP Scratchings by Pyg.

Scratchings is a live demo recorded in 1998. Recorded by Glen Sherlock at Woodrow Barton Farm, Brampford Speke. Cassette salvage and mastering at Wud Records Studio One.

We believe all songs to be by Martin Dearmunn and/or Malcolm Learmonth. These arrangements by Pyg. All songs copyright © 1998 their respective owners. All intellectual property copyright ℗ 1998 its respectful owners.

Performers: Martin Dearmunn - voices, acoustic guitar Steve McTavish - fiddle Malcolm Learmonth - electric guitar George Davies - bass Tony Price - drums

We tend to feel that these songs are a great snapshot of how Pyg sounded in 1998, which was a lot more raw and raucous than their rather refined studio recordings,

We hope you can make it past the rather nasty guitar sound at the start of Amerikay.

Please see also: https://www.wudrecords.co.uk/archives/pyg-2/ https://www.wudrecords.co.uk/archives/ https://twitter.com/WudRecords

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Don't Look Down, from the EP Scratchings by Pyg.

Scratchings is a live demo recorded in 1998. Recorded by Glen Sherlock at Woodrow Barton Farm, Brampford Speke. Cassette salvage and mastering at Wud Records Studio One.

We believe all songs to be by Martin Dearmunn and/or Malcolm Learmonth. These arrangements by Pyg. All songs copyright © 1998 their respective owners. All intellectual property copyright ℗ 1998 its respectful owners.

Performers: Martin Dearmunn - voices, acoustic guitar Steve McTavish - fiddle Malcolm Learmonth - electric guitar George Davies - bass Tony Price - drums

We tend to feel that these songs are a great snapshot of how Pyg sounded in 1998, which was a lot more raw and raucous than their rather refined studio recordings,

We hope you can make it past the rather nasty guitar sound at the start of Amerikay.

Please see also: https://www.wudrecords.co.uk/archives/pyg-2/ https://www.wudrecords.co.uk/archives/ https://twitter.com/WudRecords

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Here are the results of a gathering of The Bastard Sons of Dennis that occurred spontaneously at Yuri’s flat on 9th May 1998. The week previously Q. Wim and Yuri had met up at the Double Locks Mayday celebrations and jammed, much to the delight of the gathered revellers. This was an attempt at recording some of the songs they had played, although it was in fact a good four years or so after the last proper performance by The Bastard Sons of Dennis. Q. Wim sings and plays guitar, Yuri plays bass and Scott (a radically surferish dude) plays balalaika, guitar and makes vocalisations of various sorts.

After making these recordings the threesome returned to Q. Wim’s house where another gathering was already in progress. There they drank beer and watched the results of the Eurovision Song Contest whilst everybody listened to the cassette tape that The Bastard Sons of Dennis had made earlier. At Wud Records we can no longer remember any details of that Eurovision Song Contest, although the beauty of Q. Wim’s songs will remain in our memories for as long as we draw breath. And now, they can remain in yours too!

Some of these songs have been or are in the process of being re-recorded properly at the Wud Records studios and may be found on the album Cherry Smoke Empire by The Bastard Sons of Dennis.

See also: http://www.wudrecords.co.uk/artists/the-bastard-sons-of-dennis https://wudrecords.bandcamp.com/album/cherry-smoke-empire https://wudrecords.bandcamp.com/album/cosy-lube-turtle https://twitter.com/WudRecords https://twitter.com/BastardSoD https://www.facebook.com/bastardsonsofdennis/

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Here are the results of a gathering of The Bastard Sons of Dennis that occurred spontaneously at Yuri’s flat on 9th May 1998. The week previously Q. Wim and Yuri had met up at the Double Locks Mayday celebrations and jammed, much to the delight of the gathered revellers. This was an attempt at recording some of the songs they had played, although it was in fact a good four years or so after the last proper performance by The Bastard Sons of Dennis. Q. Wim sings and plays guitar, Yuri plays bass and Scott (a radically surferish dude) plays balalaika, guitar and makes vocalisations of various sorts.

After making these recordings the threesome returned to Q. Wim’s house where another gathering was already in progress. There they drank beer and watched the results of the Eurovision Song Contest whilst everybody listened to the cassette tape that The Bastard Sons of Dennis had made earlier. At Wud Records we can no longer remember any details of that Eurovision Song Contest, although the beauty of Q. Wim’s songs will remain in our memories for as long as we draw breath. And now, they can remain in yours too!

Some of these songs have been or are in the process of being re-recorded properly at the Wud Records studios and may be found on the album Cherry Smoke Empire by The Bastard Sons of Dennis.

See also: http://www.wudrecords.co.uk/artists/the-bastard-sons-of-dennis https://wudrecords.bandcamp.com/album/cherry-smoke-empire https://wudrecords.bandcamp.com/album/cosy-lube-turtle https://twitter.com/WudRecords https://twitter.com/BastardSoD https://www.facebook.com/bastardsonsofdennis/

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Here are the results of a gathering of The Bastard Sons of Dennis that occurred spontaneously at Yuri’s flat on 9th May 1998. The week previously Q. Wim and Yuri had met up at the Double Locks Mayday celebrations and jammed, much to the delight of the gathered revellers. This was an attempt at recording some of the songs they had played, although it was in fact a good four years or so after the last proper performance by The Bastard Sons of Dennis. Q. Wim sings and plays guitar, Yuri plays bass and Scott (a radically surferish dude) plays balalaika, guitar and makes vocalisations of various sorts.

After making these recordings the threesome returned to Q. Wim’s house where another gathering was already in progress. There they drank beer and watched the results of the Eurovision Song Contest whilst everybody listened to the cassette tape that The Bastard Sons of Dennis had made earlier. At Wud Records we can no longer remember any details of that Eurovision Song Contest, although the beauty of Q. Wim’s songs will remain in our memories for as long as we draw breath. And now, they can remain in yours too!

Some of these songs have been or are in the process of being re-recorded properly at the Wud Records studios and may be found on the album Cherry Smoke Empire by The Bastard Sons of Dennis.

See also: http://www.wudrecords.co.uk/artists/the-bastard-sons-of-dennis https://wudrecords.bandcamp.com/album/cherry-smoke-empire https://wudrecords.bandcamp.com/album/cosy-lube-turtle https://twitter.com/WudRecords https://twitter.com/BastardSoD https://www.facebook.com/bastardsonsofdennis/

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Here are the results of a gathering of The Bastard Sons of Dennis that occurred spontaneously at Yuri’s flat on 9th May 1998. The week previously Q. Wim and Yuri had met up at the Double Locks Mayday celebrations and jammed, much to the delight of the gathered revellers. This was an attempt at recording some of the songs they had played, although it was in fact a good four years or so after the last proper performance by The Bastard Sons of Dennis. Q. Wim sings and plays guitar, Yuri plays bass and Scott (a radically surferish dude) plays balalaika, guitar and makes vocalisations of various sorts.

After making these recordings the threesome returned to Q. Wim’s house where another gathering was already in progress. There they drank beer and watched the results of the Eurovision Song Contest whilst everybody listened to the cassette tape that The Bastard Sons of Dennis had made earlier. At Wud Records we can no longer remember any details of that Eurovision Song Contest, although the beauty of Q. Wim’s songs will remain in our memories for as long as we draw breath. And now, they can remain in yours too!

Some of these songs have been or are in the process of being re-recorded properly at the Wud Records studios and may be found on the album Cherry Smoke Empire by The Bastard Sons of Dennis.

See also: http://www.wudrecords.co.uk/artists/the-bastard-sons-of-dennis https://wudrecords.bandcamp.com/album/cherry-smoke-empire https://wudrecords.bandcamp.com/album/cosy-lube-turtle https://twitter.com/WudRecords https://twitter.com/BastardSoD https://www.facebook.com/bastardsonsofdennis/

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Here are the results of a gathering of The Bastard Sons of Dennis that occurred spontaneously at Yuri’s flat on 9th May 1998. The week previously Q. Wim and Yuri had met up at the Double Locks Mayday celebrations and jammed, much to the delight of the gathered revellers. This was an attempt at recording some of the songs they had played, although it was in fact a good four years or so after the last proper performance by The Bastard Sons of Dennis. Q. Wim sings and plays guitar, Yuri plays bass and Scott (a radically surferish dude) plays balalaika, guitar and makes vocalisations of various sorts.

After making these recordings the threesome returned to Q. Wim’s house where another gathering was already in progress. There they drank beer and watched the results of the Eurovision Song Contest whilst everybody listened to the cassette tape that The Bastard Sons of Dennis had made earlier. At Wud Records we can no longer remember any details of that Eurovision Song Contest, although the beauty of Q. Wim’s songs will remain in our memories for as long as we draw breath. And now, they can remain in yours too!

Some of these songs have been or are in the process of being re-recorded properly at the Wud Records studios and may be found on the album Cherry Smoke Empire by The Bastard Sons of Dennis.

See also: http://www.wudrecords.co.uk/artists/the-bastard-sons-of-dennis https://wudrecords.bandcamp.com/album/cherry-smoke-empire https://wudrecords.bandcamp.com/album/cosy-lube-turtle https://twitter.com/WudRecords https://twitter.com/BastardSoD https://www.facebook.com/bastardsonsofdennis/

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Here are the results of a gathering of The Bastard Sons of Dennis that occurred spontaneously at Yuri’s flat on 9th May 1998. The week previously Q. Wim and Yuri had met up at the Double Locks Mayday celebrations and jammed, much to the delight of the gathered revellers. This was an attempt at recording some of the songs they had played, although it was in fact a good four years or so after the last proper performance by The Bastard Sons of Dennis. Q. Wim sings and plays guitar, Yuri plays bass and Scott (a radically surferish dude) plays balalaika, guitar and makes vocalisations of various sorts.

After making these recordings the threesome returned to Q. Wim’s house where another gathering was already in progress. There they drank beer and watched the results of the Eurovision Song Contest whilst everybody listened to the cassette tape that The Bastard Sons of Dennis had made earlier. At Wud Records we can no longer remember any details of that Eurovision Song Contest, although the beauty of Q. Wim’s songs will remain in our memories for as long as we draw breath. And now, they can remain in yours too!

Some of these songs have been or are in the process of being re-recorded properly at the Wud Records studios and may be found on the album Cherry Smoke Empire by The Bastard Sons of Dennis.

See also: http://www.wudrecords.co.uk/artists/the-bastard-sons-of-dennis https://wudrecords.bandcamp.com/album/cherry-smoke-empire https://wudrecords.bandcamp.com/album/cosy-lube-turtle https://twitter.com/WudRecords https://twitter.com/BastardSoD https://www.facebook.com/bastardsonsofdennis/

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Here are the results of a gathering of The Bastard Sons of Dennis that occurred spontaneously at Yuri’s flat on 9th May 1998. The week previously Q. Wim and Yuri had met up at the Double Locks Mayday celebrations and jammed, much to the delight of the gathered revellers. This was an attempt at recording some of the songs they had played, although it was in fact a good four years or so after the last proper performance by The Bastard Sons of Dennis. Q. Wim sings and plays guitar, Yuri plays bass and Scott (a radically surferish dude) plays balalaika, guitar and makes vocalisations of various sorts.

After making these recordings the threesome returned to Q. Wim’s house where another gathering was already in progress. There they drank beer and watched the results of the Eurovision Song Contest whilst everybody listened to the cassette tape that The Bastard Sons of Dennis had made earlier. At Wud Records we can no longer remember any details of that Eurovision Song Contest, although the beauty of Q. Wim’s songs will remain in our memories for as long as we draw breath. And now, they can remain in yours too!

Some of these songs have been or are in the process of being re-recorded properly at the Wud Records studios and may be found on the album Cherry Smoke Empire by The Bastard Sons of Dennis.

See also: http://www.wudrecords.co.uk/artists/the-bastard-sons-of-dennis https://wudrecords.bandcamp.com/album/cherry-smoke-empire https://wudrecords.bandcamp.com/album/cosy-lube-turtle https://twitter.com/WudRecords https://twitter.com/BastardSoD https://www.facebook.com/bastardsonsofdennis/

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Here are the results of a gathering of The Bastard Sons of Dennis that occurred spontaneously at Yuri’s flat on 9th May 1998. The week previously Q. Wim and Yuri had met up at the Double Locks Mayday celebrations and jammed, much to the delight of the gathered revellers. This was an attempt at recording some of the songs they had played, although it was in fact a good four years or so after the last proper performance by The Bastard Sons of Dennis. Q. Wim sings and plays guitar, Yuri plays bass and Scott (a radically surferish dude) plays balalaika, guitar and makes vocalisations of various sorts.

After making these recordings the threesome returned to Q. Wim’s house where another gathering was already in progress. There they drank beer and watched the results of the Eurovision Song Contest whilst everybody listened to the cassette tape that The Bastard Sons of Dennis had made earlier. At Wud Records we can no longer remember any details of that Eurovision Song Contest, although the beauty of Q. Wim’s songs will remain in our memories for as long as we draw breath. And now, they can remain in yours too!

Some of these songs have been or are in the process of being re-recorded properly at the Wud Records studios and may be found on the album Cherry Smoke Empire by The Bastard Sons of Dennis.

See also: http://www.wudrecords.co.uk/artists/the-bastard-sons-of-dennis https://wudrecords.bandcamp.com/album/cherry-smoke-empire https://wudrecords.bandcamp.com/album/cosy-lube-turtle https://twitter.com/WudRecords https://twitter.com/BastardSoD https://www.facebook.com/bastardsonsofdennis/

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Here are the results of a gathering of The Bastard Sons of Dennis that occurred spontaneously at Yuri’s flat on 9th May 1998. The week previously Q. Wim and Yuri had met up at the Double Locks Mayday celebrations and jammed, much to the delight of the gathered revellers. This was an attempt at recording some of the songs they had played, although it was in fact a good four years or so after the last proper performance by The Bastard Sons of Dennis. Q. Wim sings and plays guitar, Yuri plays bass and Scott (a radically surferish dude) plays balalaika, guitar and makes vocalisations of various sorts.

After making these recordings the threesome returned to Q. Wim’s house where another gathering was already in progress. There they drank beer and watched the results of the Eurovision Song Contest whilst everybody listened to the cassette tape that The Bastard Sons of Dennis had made earlier. At Wud Records we can no longer remember any details of that Eurovision Song Contest, although the beauty of Q. Wim’s songs will remain in our memories for as long as we draw breath. And now, they can remain in yours too!

Some of these songs have been or are in the process of being re-recorded properly at the Wud Records studios and may be found on the album Cherry Smoke Empire by The Bastard Sons of Dennis.

See also: http://www.wudrecords.co.uk/artists/the-bastard-sons-of-dennis https://wudrecords.bandcamp.com/album/cherry-smoke-empire https://wudrecords.bandcamp.com/album/cosy-lube-turtle https://twitter.com/WudRecords https://twitter.com/BastardSoD https://www.facebook.com/bastardsonsofdennis/

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Here are the results of a gathering of The Bastard Sons of Dennis that occurred spontaneously at Yuri’s flat on 9th May 1998. The week previously Q. Wim and Yuri had met up at the Double Locks Mayday celebrations and jammed, much to the delight of the gathered revellers. This was an attempt at recording some of the songs they had played, although it was in fact a good four years or so after the last proper performance by The Bastard Sons of Dennis. Q. Wim sings and plays guitar, Yuri plays bass and Scott (a radically surferish dude) plays balalaika, guitar and makes vocalisations of various sorts.

After making these recordings the threesome returned to Q. Wim’s house where another gathering was already in progress. There they drank beer and watched the results of the Eurovision Song Contest whilst everybody listened to the cassette tape that The Bastard Sons of Dennis had made earlier. At Wud Records we can no longer remember any details of that Eurovision Song Contest, although the beauty of Q. Wim’s songs will remain in our memories for as long as we draw breath. And now, they can remain in yours too!

Some of these songs have been or are in the process of being re-recorded properly at the Wud Records studios and may be found on the album Cherry Smoke Empire by The Bastard Sons of Dennis.

See also: http://www.wudrecords.co.uk/artists/the-bastard-sons-of-dennis https://wudrecords.bandcamp.com/album/cherry-smoke-empire https://wudrecords.bandcamp.com/album/cosy-lube-turtle https://twitter.com/WudRecords https://twitter.com/BastardSoD https://www.facebook.com/bastardsonsofdennis/

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Here are the results of a gathering of The Bastard Sons of Dennis that occurred spontaneously at Yuri’s flat on 9th May 1998. The week previously Q. Wim and Yuri had met up at the Double Locks Mayday celebrations and jammed, much to the delight of the gathered revellers. This was an attempt at recording some of the songs they had played, although it was in fact a good four years or so after the last proper performance by The Bastard Sons of Dennis. Q. Wim sings and plays guitar, Yuri plays bass and Scott (a radically surferish dude) plays balalaika, guitar and makes vocalisations of various sorts.

After making these recordings the threesome returned to Q. Wim’s house where another gathering was already in progress. There they drank beer and watched the results of the Eurovision Song Contest whilst everybody listened to the cassette tape that The Bastard Sons of Dennis had made earlier. At Wud Records we can no longer remember any details of that Eurovision Song Contest, although the beauty of Q. Wim’s songs will remain in our memories for as long as we draw breath. And now, they can remain in yours too!

Some of these songs have been or are in the process of being re-recorded properly at the Wud Records studios and may be found on the album Cherry Smoke Empire by The Bastard Sons of Dennis.

See also: http://www.wudrecords.co.uk/artists/the-bastard-sons-of-dennis https://wudrecords.bandcamp.com/album/cherry-smoke-empire https://wudrecords.bandcamp.com/album/cosy-lube-turtle https://twitter.com/WudRecords https://twitter.com/BastardSoD https://www.facebook.com/bastardsonsofdennis/

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Spin Gone Crazy by The Ug Brothers

Words: D. Danielli Music: G. Davies/D. Danielli/G. Barbe/N. Board

Recorded, engineered, mixed and produced by George Davies at Wud Records Studio Three, Fore Street, Exeter in Spring 1995.

Album art by Barb Design/Wud Records.

Copyright © 1995 Wud Records. Copyright ℗ 1995 Ug Music/Explicit Music.

Performers: Natalie Board – vocals George Davies – guitar Dave Danielli – bass Graham Barbe – drums

SPIN GONE CRAZY Always on the outside I’m working on the inside Always on the outside I’m focused and free A taste for freedom will beat the system I’m focused and free

A force for freedom feeling good in my veins I’m cutting loose from the city I’m cutting my chains

Always on the outside I’m working on the inside Always on the outside I’m focused and free Lives keep on changing it’s synchronicity It’s something so natural Life and love are free

Spinning of the wheel getting faster and faster Get out onto the road and ride into the future

A force for freedom feeling good in my veins I’m cutting out the conflict I’m cutting my chains

Always on the outside I’m working on the inside Always on the outside I’m focused and free Going through the changes Watching you watching me It’s something so natural Life and love are free

I feel the wheels turning round and round and round I hear the engine howling I feel the wind on my face Shiny metal in the hot summer sun Flashing lights through the trees Watching people wondering why Burning rubber in the haze Spin gone crazy

Fun Facts: This song began life as a guitar riff in Dm, which appears right at the start. This riff seemed to be an endless loop that didn’t go anywhere else for several years and then one day, during an Ug Brothers jam, it developed into this. Dave wrote the words to describe his feelings about motorcycling. This was something of a favourite when played live with its pounding bass and musical harmonies.

See also: http://www.wudrecords.co.uk/artists/the-ug-brothers/cute-but-weird http://www.explicitmusic.co.uk/lyrics-information/the-ug-brothers/cute-but-weird/spin-gone-crazy https://wudrecords.bandcamp.com/album/cute-but-weird https://wudrecords.bandcamp.com/ https://twitter.com/WudRecords

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Take Me Up by The Ug Brothers

Words: D. Danielli/G. Davies/G. Barbe Music: G. Davies/D. Danielli/G. Barbe/N. Board/H. Skuse

Recorded, engineered, mixed and produced by George Davies at Wud Records Studio Three, Fore Street, Exeter in Spring 1995.

Album art by Barb Design/Wud Records.

Copyright © 1995 Wud Records. Copyright ℗ 1995 Ug Music/Explicit Music.

Performers: Natalie Board – vocals George Davies – guitar, vocals Dave Danielli – bass, vocals Graham Barbe – drums

TAKE ME UP Was that a smile in your eyes I think I saw it while you were talking So let’s get down to feeling good Come on man that’s real good

Take me up to Take me up to the place I love Take me up to Take me up to the place I

Night life laser lights any time anywhere How’s it going put it there We’ll be dancing in the air Wide eyed wolf-like sometimes starry-eyed Looking out to hit looking out to hide Searching for a thing that we ain’t tried

There are things that take you up There are things that bring you down And there are things that get you high It’s right here in the sound

Take me up to Take me up to the place I love Take me up to Take me up to the place I

Night life laser lights any time anywhere How’s it going put it there We’ll be dancing in the air Wide eyed wolf-like sometimes starry-eyed Looking out to hit looking out to hide Searching for a thing that we ain’t tried

Take me up to Take me up to the place I love Take me up to Take me up to the place I love Take me up to Take me up to the place I love Take me up to Take me up to the place

I don’t wanna feel sad Don’t wanna feel bad Just wanna have some fun Just wanna see you come to the show

I know this is the one for me I know this is the one for me I know this is the one for me I know this is the one for me

The light shines on The light shines on The light shines on The light shines on

Fun Facts: This song starts on the second beat of the bar and as such seems slightly confusing at first to some musicians. It is in the key of Em and is something of a musical journey. Graham would always refer to it as ‘That One!’ Most of this song came from George’s guitar. The vocal melody for the choruses came from Amble jamming along on the saxophone. Dave wrote most of the lyrics during the massive drive for lyrics that the band embarked upon one smoky afternoon. He also composed most of the song’s vocal melody. George wrote the ‘Take me up’ and all the ‘I don’t wanna feel sad’ refrain. Graham wrote the spoken lyrics in the ‘Night life laser lights’ section. The rest of the words were created by Dave.

See also: http://www.wudrecords.co.uk/artists/the-ug-brothers/cute-but-weird http://www.explicitmusic.co.uk/lyrics-information/the-ug-brothers/cute-but-weird/take-me-up https://wudrecords.bandcamp.com/album/cute-but-weird https://wudrecords.bandcamp.com/ https://twitter.com/WudRecords

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Lifetime by The Ug Brothers

Words: D. Danielli Music: D. Danielli/G. Davies/G. Barbe/N. Board

Recorded, engineered, mixed and produced by George Davies at Wud Records Studio Three, Fore Street, Exeter in Spring 1995.

Album art by Barb Design/Wud Records.

Copyright © 1995 Wud Records. Copyright ℗ 1995 Ug Music/Explicit Music.

Performers: Natalie Board – vocals George Davies – guitar, vocals Dave Danielli – bass Graham Barbe – drums

LIFETIME Words can tell me some things but there’s much more to say You can’t catch your freedom but you can give it away Here’s a moment’s creation Here’s a billion people Here’s a child in my arms Here’s another day Once in every lifetime for every experience For everything

You and me we’re a paradox We could be total strangers And the grey ones among us are strangers to us all You and me as people We’re all one big heartbeat Between the good and the evil We’re all the same wall Social inter-harmony Racial co-existence Reflections of each other make up all our ways

Words can tell us some things but there’s much more can be said It’s all a case of freedom Never throw it away Here’s a new emotion Here’s a reason to stay Here’s my heart’s resolution Here’s the way Once in every lifetime for every experience You can do what you want But do you really want what you do?

Fun Facts: This song in A started life before the Ug Brothers reformed in the summer of 1994. It began as a bassline that Dave had composed and some guitar licks that George had put together. These parts had been composed independently and were put together during a serendipitous moment of jamming. Dave’s bassline became the verses and George’s guitar licks become the instrumental section. Dave wrote the lyrics during the massive drive for lyrics that the band embarked upon one afternoon. He also composed the vocal melody. George created and sang the vocal harmony. This is one of those rare songs where everything starts all at once.

See also: http://www.wudrecords.co.uk/artists/the-ug-brothers/cute-but-weird http://www.explicitmusic.co.uk/lyrics-information/the-ug-brothers/cute-but-weird/lifetime https://wudrecords.bandcamp.com/album/cute-but-weird https://wudrecords.bandcamp.com/ https://twitter.com/WudRecords

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The Ug Song by The Ug Brothers

Words: G. Davies Music: G. Davies/D. Danielli/G. Barbe

Recorded, engineered, mixed and produced by George Davies at Wud Records Studio Three, Fore Street, Exeter in Spring 1995.

Album art by Barb Design/Wud Records.

Copyright © 1995 Wud Records. Copyright ℗ 1995 Ug Music/Explicit Music.

Performers: Natalie Board – vocals George Davies – guitar, vocals Dave Danielli – bass, vocals Graham Barbe – drums, vocals

THE UG SONG Ug! Ug! Ug! Ug! Ug! Ug! Ug! Ug! Ug! Ug! Ug! Ug! Ug! Ug! Ug!

Fun Facts: This was The Ug Brothers’ sing-along song, or as they preferred to call it, their grunt-along song. It was usually used to close their set, and the nature of the song would often leave the crowd shouting “Ug! Ug! Ug!” after they had finished playing it, so they would usually return to the stage for more. Most of this song is just E and F, although there is a section that Dave created where the string section of the band tried to spell ‘Ug’ on their instruments by playing G and then making a U shape of sorts by playing F-E-F. Unfortunately this way round it actually spells “gu”, so please feel free to email us concerning musicians and their literacy levels. This is a fairly early recording of the song as the guitar melody evolved further during the lifespan of the band.

See also: http://www.wudrecords.co.uk/artists/the-ug-brothers/cute-but-weird http://www.explicitmusic.co.uk/lyrics-information/the-ug-brothers/cute-but-weird/the-ug-song https://wudrecords.bandcamp.com/album/cute-but-weird https://wudrecords.bandcamp.com/ https://twitter.com/WudRecords

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Lookout by The Ug Brothers

Words: D. Danielli Music: G. Davies/D. Danielli/G. Barbe/N. Board

Recorded, engineered, mixed and produced by George Davies at Wud Records Studio Three, Fore Street, Exeter in Spring 1995.

Album art by Barb Design/Wud Records.

Copyright © 1995 Wud Records. Copyright ℗ 1995 Ug Music/Explicit Music.

Performers: Natalie Board – vocals George Davies – guitar Dave Danielli – bass Graham Barbe – drums

LOOKOUT Eye to eye Station to station Face to face Nation to nation Head to head One on one Heart to heart All or none

Looking at me looking at you We see each other’s points of view In each other’s ways on each other’s face A moment’s harmony a touch of grace

Falling for the fantasies I can see behind your eyes Reaching out and touching me Smiling with your mind Looking out and looking back The feelings deep inside Your mystery is plain to see Too late to run and hide

Eye to eye Station to station Face to face Nation to nation Head to head One on one Heart to heart All or none

Face to face we come in view Eye to eye me touches you A smile exchanged a remembered face A chance to dream of days of grace

Falling for the fantasy I can see behind your eyes Reaching in and touching me Smiling with your mind Looking out and looking back Cutting to the chase A chance to dream eternally Of perfect days of grace

Fun Facts: The overdubbed guitar solo at the end of this song was intended to be a guide track. It was recorded in one take using a lot of fingernail and hammer-ons to illustrate the existence of a guitar solo there. The band liked the part and it was kept. When this song started out its life it had the working title of Sponge, which the band would say in more and more preposterous ways until nobody could remember why they were saying it. It was created at around the same time as another Ug Brothers song, also in the key of Gm, that had the working title of String. When this song was first created, it had completely different words and the vocal melody was what became the second half of the guitar solo. There are several key changes in this song: the verse section is Gm-Bbno3rd-Dm7-Cno3rd, Gm-Bbno3rd-F-C; the chorus is Em-Fmaj7-Am9-Bb(-5); the solo section is Dm-Bb-F-C, Dm-Bb-F-Am-C. Shortly before the words for this song were finalised, Dave went to a party where he met a girl whose name was Grace. Natalie added the word ‘like’ to the line ‘One on one’ although no such simile was intended by the author.

See also: http://www.wudrecords.co.uk/artists/the-ug-brothers/cute-but-weird http://www.explicitmusic.co.uk/lyrics-information/the-ug-brothers/cute-but-weird/lookout https://wudrecords.bandcamp.com/album/cute-but-weird https://wudrecords.bandcamp.com/ https://twitter.com/WudRecords

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Shake Yer Brother by The Ug Brothers

Words: D. Danielli/G. Davies Music: G. Davies/D. Danielli/G. Barbe/N. Board

Recorded, engineered, mixed and produced by George Davies at Wud Records Studio Three, Fore Street, Exeter in Spring 1995.

Album art by Barb Design/Wud Records.

Copyright © 1995 Wud Records. Copyright ℗ 1995 Ug Music/Explicit Music.

Performers: Natalie Board – vocals George Davies – guitar, vocals Dave Danielli – bass Graham Barbe – drums

SHAKE YER BROTHER Taking time as it comes You ain’t taking it on the run There’s sure to be friends You’ve gotta take care until the end Too many freak-outs to be reconciled So calm the inner voices of your mind Remember the trust of a child

Shake yer brother shake yer sister Shake yer brother shake yer sister Shake yer brother shake yer sister Shake yer brother shake yer sister

What could be better than the love of your friends What could be better than the love of your friends What could be better than the love of your friends What could be better than the love of your friends

Shake yer brother shake yer sister Shake yer brother shake yer sister Shake yer brother shake yer sister Shake yer brother shake yer sister

All of us are each other So please don’t hurt me brother Put some peace into this world Be careful with your mind Let’s stick together now and forever Throughout these empty nights We’ll be together to defend our rights Look up into the light

Shake yer brother shake yer sister Shake yer brother shake yer sister Shake yer brother shake yer sister Shake yer brother shake yer sister

Fun Facts: During the last days of Dark Company’s second incarnation there was a part-written song called Mustn’t But Must which was never finished and the guitar part from that song became the guitar part for this song instead. The first lyrics were the ‘Shake yer brother’ lines which George wrote. Dave wrote all the rest of the words apart from the ‘What could be better’ lines which again George wrote. This song is in Am and has a 6/8 feel. Sometimes The Ug Brothers would use the ending of this song to break down into feedback and noise to start off The Ug Song, instead of using Spin Gone Crazy to break down into feedback and noise to start off The Ug Song. The vocal harmonies and ‘Ooooo’ sections were all created by Natalie. ‘Look up into the light’ refers to the Sephirah Kether from the Kabbalistic Tree of Life, implying a raising one’s spiritual consciousness, rather than squinting at a 60 watt pearl bulb.

See also: http://www.wudrecords.co.uk/artists/the-ug-brothers/cute-but-weird http://www.explicitmusic.co.uk/lyrics-information/the-ug-brothers/cute-but-weird/shake-yer-brother https://wudrecords.bandcamp.com/album/cute-but-weird https://wudrecords.bandcamp.com/ https://twitter.com/WudRecords

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White Water by The Ug Brothers

Words: D. Danielli Music: D. Danielli/G. Davies/G. Barbe/N. Board

Recorded, engineered, mixed and produced by George Davies at Wud Records Studio Three, Fore Street, Exeter in Spring 1995.

Album art by Barb Design/Wud Records.

Copyright © 1995 Wud Records. Copyright ℗ 1995 Ug Music/Explicit Music.

Performers: Natalie Board – vocals George Davies – guitar Dave Danielli – bass Graham Barbe – drums

WHITE WATER The time of your life, the time to remember The adrenalin flashback, all the friends in the spaces It’s getting hard to recollect all those different faces I think I’ll go and hit me a little white water

Through the light years a second’s existence Orbital lives transcend through persistence See the white water in your personal wave Riding the colours you’re nobody’s slave

The cause and effect, synchronous chances A light in the dark, all those mystic romances It’s getting hard to navigate all those different spaces I think I’ll live floating deep in the white water

Through the light years a second’s existence Orbital lives transcend through persistence See the white water in your personal wave Riding the colours you’re nobody’s slave

The safest bet in the long run, a walk on the right path The illusion’s test, the game in the flightpath A razor’s edge in real time, all those different choices I think I’ll choose to flow with the white water

Through the light years a second’s existence Orbital lives transcend through persistence See the white water in your personal wave Riding the colours you’re nobody’s slave

Fun Facts: The origin of this song was Dave’s bass at the start with all the harmonics. Graham found a tom-based groove to fit it and the rest grew from there. The key change from Bm up to C#m was George’s idea. Natalie invented and sang the vocal harmony.

See also: http://www.wudrecords.co.uk/artists/the-ug-brothers/cute-but-weird http://www.explicitmusic.co.uk/lyrics-information/the-ug-brothers/cute-but-weird/white-water https://wudrecords.bandcamp.com/album/cute-but-weird https://wudrecords.bandcamp.com/ https://twitter.com/WudRecords

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What Is It? by The Ug Brothers

Words: D. Danielli Music: G. Davies/D. Danielli/G. Barbe/N. Board

Recorded, engineered, mixed and produced by George Davies at Wud Records Studio Three, Fore Street, Exeter in Spring 1995.

Album art by Barb Design/Wud Records.

Copyright © 1995 Wud Records. Copyright ℗ 1995 Ug Music/Explicit Music.

Performers: Natalie Board – vocals George Davies – guitar, vocals Dave Danielli – bass Graham Barbe – drums

WHAT IS IT? Move on up What is it Will you stay on line What is it Will you stay in time What is it Clearly defined This is it Every time

Move on up keep a smile on your face Turning the dial setting the pace Taking life easy fitting into the plan Giving it all just to understand

What is it What is it What is it

Move on up What is it Are we you or me What is it Can you be set free What is it Easy destiny This is it Every time

One more step to open the door Step right through to the inner core Keep on moving take it right to the top Feel it coming there’s no time to stop

All that you believe in is here and now And all that you are feeling is under your control Every little piece of all experience is living Every possibility of anything is now Take a look around you and anything can happen If you want to map it out start thinking in a pattern Just keep a cool head on the razor’s edge and anything is yours Monkey see, monkey get

Here it is a simple pleasure Keep pushing through just to be together A living experience on higher ground A healing feeling, live it up, get down

What is it What is it What is it This is it

Gotta move it on up Gotta move it on up

Fun Facts: There was a slight mishap during the recording of this song. George accidentally erased Dave’s talkover so had to record one himself. It ended up staying on the recording instead of Dave re-recording his part. The key for this song is Cm and the origin of it was the guitar at the very beginning. “A living experience on higher ground” refers to a metaphorical spiritual higher ground, rather than moving house to live at the top of a hill.

See also: http://www.wudrecords.co.uk/artists/the-ug-brothers/cute-but-weird http://www.explicitmusic.co.uk/lyrics-information/the-ug-brothers/cute-but-weird/what-is-it https://wudrecords.bandcamp.com/album/cute-but-weird https://wudrecords.bandcamp.com/ https://twitter.com/WudRecords

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Wibble and Bling by The Ug Brothers

Words: D. Danielli Music: G. Davies/D. Danielli/G. Barbe/N. Board

Recorded, engineered, mixed and produced by George Davies at Wud Records Studio Three, Fore Street, Exeter in Spring 1995.

Album art by Barb Design/Wud Records.

Copyright © 1995 Wud Records. Copyright ℗ 1995 Ug Music/Explicit Music.

Performers: Natalie Board – vocals George Davies – guitar Dave Danielli – bass Graham Barbe – drums

WIBBLE AND BLING It’s just in my nature to get a little deeper It’s in all the people all the time We get a little deeper and go and hit the beach And on the sands we sit and drink the wine It’s just in my nature to get a little deeper It’s in all the people all the time Keep the fire going til the daylight comes Keep the music flowing like the wine

Music loving feeling nature reason sunshine sky Music loving feeling nature reason sunshine sky

We’re at home with nature, it gets a little deeper We’re all here together getting high Happy making memories we share our thoughts around Good times just get better Pass the wine We’re at home with nature, it gets a little deeper We’re all here together getting high Keep that feeling moving round and round forever Keep the fire going through the night

Drifting through the years That day keeps coming by Telling me it’s here

Music loving feeling nature reason sunshine sky Music loving feeling nature reason sunshine sky Music loving feeling nature reason sunshine sky Music loving feeling nature reason sunshine sky

It’s just in my nature to get a little deeper

Fun Facts: Some of the guitar part that comes after the “Drifting through the years” section was later borrowed, transposed and inserted by George into Another Star in the Sky, a piece of music that appears on Flicker’s At Least 1000 Words album, and is of a somewhat slower tempo than Wibble and Bling. The key for this song is Cm and it was born when George sat and played Nicodemus alone late one night in the huge front room of the flat where Graham and Cliff lived in Fore Street above McCoy’s Arcade. That same night a couple more Ug tunes were born too. ‘Wibble’ was something that Fay would say to express surprise or wobbliness or both, and at the time ‘Bling’ didn’t mean ostentatious displays of jewellery and riches, rather the unexpected manifestation of something agreeable - how language can change in a relatively short time! This song was titled by Graham and was one of his favourites. Exactly why this song received such a title is now largely mysterious.

See also: http://www.wudrecords.co.uk/artists/the-ug-brothers/cute-but-weird http://www.explicitmusic.co.uk/lyrics-information/the-ug-brothers/cute-but-weird/wibble-and-bling https://wudrecords.bandcamp.com/album/cute-but-weird https://wudrecords.bandcamp.com/ https://twitter.com/WudRecords

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Lifetime by The Ug Brothers

Words: D. Danielli Music: D. Danielli/G. Davies/G. Barbe/N. Board

Recorded, engineered, mixed and produced by George Davies at Wud Records Studio Three, Fore Street, Exeter in Spring 1995.

Copyright © 1995 Wud Records. Copyright ℗ 1995 Ug Music/Explicit Music.

Performers: George Davies – guitar Dave Danielli – bass Graham Barbe – drums

Lyrics included so the listener can sing along. :)

LIFETIME Words can tell me some things but there’s much more to say You can’t catch your freedom but you can give it away Here’s a moment’s creation Here’s a billion people Here’s a child in my arms Here’s another day Once in every lifetime for every experience For everything

You and me we’re a paradox We could be total strangers And the grey ones among us are strangers to us all You and me as people We’re all one big heartbeat Between the good and the evil We’re all the same wall Social inter-harmony Racial co-existence Reflections of each other make up all our ways

Words can tell us some things but there’s much more can be said It’s all a case of freedom Never throw it away Here’s a new emotion Here’s a reason to stay Here’s my heart’s resolution Here’s the way Once in every lifetime for every experience You can do what you want But do you really want what you do?

Fun Facts: This song in A started life before the Ug Brothers reformed in the summer of 1994. It began as a bassline that Dave had composed and some guitar licks that George had put together. These parts had been composed independently and were put together during a serendipitous moment of jamming. Dave’s bassline became the verses and George’s guitar licks become the instrumental section. Dave wrote the lyrics during the massive drive for lyrics that the band embarked upon one afternoon. He also composed the vocal melody. George created and sang the vocal harmony. This is one of those rare song where everything starts all at once.

See also: http://www.wudrecords.co.uk/artists/the-ug-brothers/cute_but_weird_ugstrumentals http://www.explicitmusic.co.uk/lyrics-information/the-ug-brothers/cute-but-weird/lifetime https://wudrecords.bandcamp.com/album/cute-but-weird https://wudrecords.bandcamp.com/ https://twitter.com/WudRecords

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Take Me Up by The Ug Brothers

Words: D. Danielli/G. Davies/G. Barbe Music: G. Davies/D. Danielli/G. Barbe/N. Board/H. Skuse

Recorded, engineered, mixed and produced by George Davies at Wud Records Studio Three, Fore Street, Exeter in Spring 1995.

Copyright © 1995 Wud Records. Copyright ℗ 1995 Ug Music/Explicit Music.

Performers: George Davies – guitar Dave Danielli – bass Graham Barbe – drums

Lyrics included so the listener can sing along. :)

TAKE ME UP Was that a smile in your eyes I think I saw it while you were talking So let’s get down to feeling good Come on man that’s real good

Take me up to Take me up to the place I love Take me up to Take me up to the place I

Night life laser lights any time anywhere How’s it going put it there We’ll be dancing in the air Wide eyed wolf-like sometimes starry-eyed Looking out to hit looking out to hide Searching for a thing that we ain’t tried

There are things that take you up There are things that bring you down And there are things that get you high It’s right here in the sound

Take me up to Take me up to the place I love Take me up to Take me up to the place I

Night life laser lights any time anywhere How’s it going put it there We’ll be dancing in the air Wide eyed wolf-like sometimes starry-eyed Looking out to hit looking out to hide Searching for a thing that we ain’t tried

Take me up to Take me up to the place I love Take me up to Take me up to the place I love Take me up to Take me up to the place I love Take me up to Take me up to the place

I don’t wanna feel sad Don’t wanna feel bad Just wanna have some fun Just wanna see you come to the show

I know this is the one for me I know this is the one for me I know this is the one for me I know this is the one for me

The light shines on The light shines on The light shines on The light shines on

Fun Facts: This song starts on the second beat of the bar and as such seems slightly confusing at first to some musicians. It is in the key of Em and is something of a musical journey. Graham would always refer to it as ‘That One!’ Most of this song came from George’s guitar. The vocal melody for the choruses came from Amble jamming along on the saxophone. Dave wrote most of the lyrics during the massive drive for lyrics that the band embarked upon one smoky afternoon. He also composed most of the song’s vocal melody. George wrote the ‘Take me up’ and all the ‘I don’t wanna feel sad’ refrain. Graham wrote the spoken lyrics in the ‘Night life laser lights’ section. The rest of the words were created by Dave.

See also: http://www.wudrecords.co.uk/artists/the-ug-brothers/cute_but_weird_ugstrumentals http://www.explicitmusic.co.uk/lyrics-information/the-ug-brothers/cute-but-weird/take-me-up https://wudrecords.bandcamp.com/album/cute-but-weird https://wudrecords.bandcamp.com/ https://twitter.com/WudRecords

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What Is It? by The Ug Brothers

Words: D. Danielli Music: G. Davies/D. Danielli/G. Barbe/N. Board

Recorded, engineered, mixed and produced by George Davies at Wud Records Studio Three, Fore Street, Exeter in Spring 1995.

Copyright © 1995 Wud Records. Copyright ℗ 1995 Ug Music/Explicit Music.

Performers: George Davies – guitar Dave Danielli – bass Graham Barbe – drums

Lyrics included so the listener can sing along. :)

WHAT IS IT? Move on up What is it Will you stay on line What is it Will you stay in time What is it Clearly defined This is it Every time

Move on up keep a smile on your face Turning the dial setting the pace Taking life easy fitting into the plan Giving it all just to understand

What is it What is it What is it

Move on up What is it Are we you or me What is it Can you be set free What is it Easy destiny This is it Every time

One more step to open the door Step right through to the inner core Keep on moving take it right to the top Feel it coming there’s no time to stop

All that you believe in is here and now And all that you are feeling is under your control Every little piece of all experience is living Every possibility of anything is now Take a look around you and anything can happen If you want to map it out start thinking in a pattern Just keep a cool head on the razor’s edge and anything is yours Monkey see, monkey get

Here it is a simple pleasure Keep pushing through just to be together A living experience on higher ground A healing feeling, live it up, get down

What is it What is it What is it This is it

Gotta move it on up Gotta move it on up

Fun Facts: There was a slight mishap during the recording of this song. George accidentally erased Dave’s talkover so had to record one himself. It ended up staying on the recording instead of Dave re-recording his part. The key for this song is Cm and the origin of it was the guitar at the very beginning. “A living experience on higher ground” refers to a metaphorical spiritual higher ground, rather than moving house to live at the top of a hill.

See also: http://www.wudrecords.co.uk/artists/the-ug-brothers/cute_but_weird_ugstrumentals http://www.explicitmusic.co.uk/lyrics-information/the-ug-brothers/cute-but-weird/what-is-it https://wudrecords.bandcamp.com/album/cute-but-weird https://wudrecords.bandcamp.com/ https://twitter.com/WudRecords

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Lookout by The Ug Brothers

Words: D. Danielli Music: G. Davies/D. Danielli/G. Barbe/N. Board

Recorded, engineered, mixed and produced by George Davies at Wud Records Studio Three, Fore Street, Exeter in Spring 1995.

Copyright © 1995 Wud Records. Copyright ℗ 1995 Ug Music/Explicit Music.

Performers: George Davies – guitar Dave Danielli – bass Graham Barbe – drums

Lyrics included so the listener can sing along. :)

LOOKOUT Eye to eye Station to station Face to face Nation to nation Head to head One on one Heart to heart All or none

Looking at me looking at you We see each other’s points of view In each other’s ways on each other’s face A moment’s harmony a touch of grace

Falling for the fantasies I can see behind your eyes Reaching out and touching me Smiling with your mind Looking out and looking back The feelings deep inside Your mystery is plain to see Too late to run and hide

Eye to eye Station to station Face to face Nation to nation Head to head One on one Heart to heart All or none

Face to face we come in view Eye to eye me touches you A smile exchanged a remembered face A chance to dream of days of grace

Falling for the fantasy I can see behind your eyes Reaching in and touching me Smiling with your mind Looking out and looking back Cutting to the chase A chance to dream eternally Of perfect days of grace

Fun Facts: The overdubbed guitar solo at the end of this song was intended to be a guide track. It was recorded in one take using a lot of fingernail and hammer-ons to illustrate the existence of a guitar solo there. The band liked the part and it was kept. When this song started out its life it had the working title of Sponge, which the band would say in more and more preposterous ways until nobody could remember why they were saying it. It was created at around the same time as another Ug Brothers song, also in the key of Gm, that had the working title of String. When this song was first created, it had completely different words and the vocal melody was what became the second half of the guitar solo. There are several key changes in this song: the verse section is Gm-Bbno3rd-Dm7-Cno3rd, Gm-Bbno3rd-F-C; the chorus is Em-Fmaj7-Am9-Bb(-5); the solo section is Dm-Bb-F-C, Dm-Bb-F-Am-C. Shortly before the words for this song were finalised, Dave went to a party where he met a girl whose name was Grace. Natalie added the word ‘like’ to the line ‘One on one’ although no such simile was intended by the author.

See also: http://www.wudrecords.co.uk/artists/the-ug-brothers/cute_but_weird_ugstrumentals http://www.explicitmusic.co.uk/lyrics-information/the-ug-brothers/cute-but-weird/lookout https://wudrecords.bandcamp.com/album/cute-but-weird https://wudrecords.bandcamp.com/ https://twitter.com/WudRecords

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Shake Yer Brother by The Ug Brothers

Words: D. Danielli/G. Davies Music: G. Davies/D. Danielli/G. Barbe/N. Board

Recorded, engineered, mixed and produced by George Davies at Wud Records Studio Three, Fore Street, Exeter in Spring 1995.

Copyright © 1995 Wud Records. Copyright ℗ 1995 Ug Music/Explicit Music.

Performers: George Davies – guitar Dave Danielli – bass Graham Barbe – drums

Lyrics included so the listener can sing along. :)

SHAKE YER BROTHER Taking time as it comes You ain’t taking it on the run There’s sure to be friends You’ve gotta take care until the end Too many freak-outs to be reconciled So calm the inner voices of your mind Remember the trust of a child

Shake yer brother shake yer sister Shake yer brother shake yer sister Shake yer brother shake yer sister Shake yer brother shake yer sister

What could be better than the love of your friends What could be better than the love of your friends What could be better than the love of your friends What could be better than the love of your friends

Shake yer brother shake yer sister Shake yer brother shake yer sister Shake yer brother shake yer sister Shake yer brother shake yer sister

All of us are each other So please don’t hurt me brother Put some peace into this world Be careful with your mind Let’s stick together now and forever Throughout these empty nights We’ll be together to defend our rights Look up into the light

Shake yer brother shake yer sister Shake yer brother shake yer sister Shake yer brother shake yer sister Shake yer brother shake yer sister

Fun Facts: During the last days of Dark Company’s second incarnation there was a part-written song called Mustn’t But Must which was never finished and the guitar part from that song became the guitar part for this song instead. The first lyrics were the ‘Shake yer brother’ lines which George wrote. Dave wrote all the rest of the words apart from the ‘What could be better’ lines which again George wrote. This song is in Am and has a 6/8 feel. Sometimes The Ug Brothers would use the ending of this song to break down into feedback and noise to start off The Ug Song, instead of using Spin Gone Crazy to break down into feedback and noise to start off The Ug Song. The vocal harmonies and ‘Ooooo’ sections were all created by Natalie. ‘Look up into the light’ refers to the Sephirah Kether from the Kabbalistic Tree of Life, implying a raising one’s spiritual consciousness, rather than squinting at a 60 watt pearl bulb.

See also: http://www.wudrecords.co.uk/artists/the-ug-brothers/cute_but_weird_ugstrumentals http://www.explicitmusic.co.uk/lyrics-information/the-ug-brothers/cute-but-weird/shake-yer-brother https://wudrecords.bandcamp.com/album/cute-but-weird https://wudrecords.bandcamp.com/ https://twitter.com/WudRecords

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White Water by The Ug Brothers

Words: D. Danielli Music: D. Danielli/G. Davies/G. Barbe/N. Board

Recorded, engineered, mixed and produced by George Davies at Wud Records Studio Three, Fore Street, Exeter in Spring 1995.

Copyright © 1995 Wud Records. Copyright ℗ 1995 Ug Music/Explicit Music.

Performers: George Davies – guitar Dave Danielli – bass Graham Barbe – drums

Lyrics included so the listener can sing along. :)

WHITE WATER The time of your life, the time to remember The adrenalin flashback, all the friends in the spaces It’s getting hard to recollect all those different faces I think I’ll go and hit me a little white water

Through the light years a second’s existence Orbital lives transcend through persistence See the white water in your personal wave Riding the colours you’re nobody’s slave

The cause and effect, synchronous chances A light in the dark, all those mystic romances It’s getting hard to navigate all those different spaces I think I’ll live floating deep in the white water

Through the light years a second’s existence Orbital lives transcend through persistence See the white water in your personal wave Riding the colours you’re nobody’s slave

The safest bet in the long run, a walk on the right path The illusion’s test, the game in the flightpath A razor’s edge in real time, all those different choices I think I’ll choose to flow with the white water

Through the light years a second’s existence Orbital lives transcend through persistence See the white water in your personal wave Riding the colours you’re nobody’s slave

Fun Facts: The origin of this song was Dave’s bass at the start with all the harmonics. Graham found a tom-based groove to fit it and the rest grew from there. The key change from Bm up to C#m was George’s idea. Natalie invented and sang the vocal harmony.

See also: http://www.wudrecords.co.uk/artists/the-ug-brothers/cute_but_weird_ugstrumentals http://www.explicitmusic.co.uk/lyrics-information/the-ug-brothers/cute-but-weird/white-water https://wudrecords.bandcamp.com/album/cute-but-weird https://wudrecords.bandcamp.com/ https://twitter.com/WudRecords

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Spin Gone Crazy by The Ug Brothers

Words: D. Danielli Music: G. Davies/D. Danielli/G. Barbe/N. Board

Recorded, engineered, mixed and produced by George Davies at Wud Records Studio Three, Fore Street, Exeter in Spring 1995.

Copyright © 1995 Wud Records. Copyright ℗ 1995 Ug Music/Explicit Music.

Performers: George Davies – guitar Dave Danielli – bass Graham Barbe – drums

Lyrics included so the listener can sing along. :)

SPIN GONE CRAZY Always on the outside I’m working on the inside Always on the outside I’m focused and free A taste for freedom will beat the system I’m focused and free

A force for freedom feeling good in my veins I’m cutting loose from the city I’m cutting my chains

Always on the outside I’m working on the inside Always on the outside I’m focused and free Lives keep on changing it’s synchronicity It’s something so natural Life and love are free

Spinning of the wheel getting faster and faster Get out onto the road and ride into the future

A force for freedom feeling good in my veins I’m cutting out the conflict I’m cutting my chains

Always on the outside I’m working on the inside Always on the outside I’m focused and free Going through the changes Watching you watching me It’s something so natural Life and love are free

I feel the wheels turning round and round and round I hear the engine howling I feel the wind on my face Shiny metal in the hot summer sun Flashing lights through the trees Watching people wondering why Burning rubber in the haze Spin gone crazy

Fun Facts: This song began life as a guitar riff in Dm, which appears right at the start. This riff seemed to be an endless loop that didn’t go anywhere else for several years and then one day, during an Ug Brothers jam, it developed into this. Dave wrote the words to describe his feelings about motorcycling. This was something of a favourite when played live with its pounding bass and musical harmonies.

See also: http://www.wudrecords.co.uk/artists/the-ug-brothers/cute_but_weird_ugstrumentals http://www.explicitmusic.co.uk/lyrics-information/the-ug-brothers/cute-but-weird/spin-gone-crazy https://wudrecords.bandcamp.com/album/cute-but-weird https://wudrecords.bandcamp.com/ https://twitter.com/WudRecords

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Lifetime by The Ug Brothers

Words: D. Danielli Music: D. Danielli/G. Davies/G. Barbe/N. Board

Recorded, engineered, mixed and produced by George Davies at Wud Records Studio Three, Fore Street, Exeter in Spring 1995.

Copyright © 1995 Wud Records. Copyright ℗ 1995 Ug Music/Explicit Music.

Performers: George Davies – guitar Dave Danielli – bass Graham Barbe – drums

Lyrics included so the listener can sing along. :)

LIFETIME Words can tell me some things but there’s much more to say You can’t catch your freedom but you can give it away Here’s a moment’s creation Here’s a billion people Here’s a child in my arms Here’s another day Once in every lifetime for every experience For everything

You and me we’re a paradox We could be total strangers And the grey ones among us are strangers to us all You and me as people We’re all one big heartbeat Between the good and the evil We’re all the same wall Social inter-harmony Racial co-existence Reflections of each other make up all our ways

Words can tell us some things but there’s much more can be said It’s all a case of freedom Never throw it away Here’s a new emotion Here’s a reason to stay Here’s my heart’s resolution Here’s the way Once in every lifetime for every experience You can do what you want But do you really want what you do?

Fun Facts: This song in A started life before the Ug Brothers reformed in the summer of 1994. It began as a bassline that Dave had composed and some guitar licks that George had put together. These parts had been composed independently and were put together during a serendipitous moment of jamming. Dave’s bassline became the verses and George’s guitar licks become the instrumental section. Dave wrote the lyrics during the massive drive for lyrics that the band embarked upon one afternoon. He also composed the vocal melody. George created and sang the vocal harmony. This is one of those rare song where everything starts all at once.

See also: http://www.wudrecords.co.uk/artists/the-ug-brothers/cute_but_weird_ugstrumentals http://www.explicitmusic.co.uk/lyrics-information/the-ug-brothers/cute-but-weird/lifetime https://wudrecords.bandcamp.com/album/cute-but-weird https://wudrecords.bandcamp.com/ https://twitter.com/WudRecords

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String was composed as a funky bold guitar dance groove. The drums introduce the rhythm and the piece builds from there upwards. Dave wrote some lyrics and the song evolved into the band's live set, gaining a new title on the way. Sadly these things have all been lost in the mists of time, and possibly to Graham's "tape void" as well.

This recording features a completely unscripted improvised section where George goes off into some kind of new part that Dave and Graham manage to follow effortlessly. That particular section never appeared in any other performance ever again and was probably caused by a moment of lack of concentration by the guitarist as he looked out the window to the street below and probably spied one of the Ug Sisters, or a potential new one at least. The Ug Brothers did a lot of window posing back in the day and would often draw a crowd that way.

George famously performed an impromptu and highly inebriated solo version of this in a Polish bar after a local covers band had finished their set. It brought the entire place to its feet with much joyous stomping around the dancefloor in approval and the band returning to the stage to jam along.

These recordings of instrumentals – or Ugstrumentals – by The Ug Brothers were made at Graham’s flat in Fore Street, Exeter, above the Real McCoy Arcade during the late winter of 1994/5. They are most of the set of The Ug Brothers, including various pieces that were never performed live due to having had no lyrics written for them.

There are no vocals as Natalie was not there on the occasions that these Ugstrumentals were recorded. The idea was to have something to listen to and work on with a view to creating lyrics, and also as a karaoke tape for Natalie to sing along to when practising. Few further lyrics were forthcoming as things turned out. These Ugstrumental pieces still sound wonderful and full of interesting musical ideas. The concept of Ugstrumental pieces such as these was later developed by the Flicker project.

Copyright (c) Wud Records 1995, (p) Ug Music/Explicit Music 1995

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Sunflower was composed as a guitar picking exercise after George was shown an entirely new and rather splendid way of playing a Cmaj7 by Amble. It is another piece that The Ug Brothers never performed live. No lyrics at all were written for this. The title Sunflower came from those flowers being rather fashionable and Amble's sunny flowery nature. An updated version is planned for recording by Flicker.

These recordings of instrumentals – or Ugstrumentals – by The Ug Brothers were made at Graham’s flat in Fore Street, Exeter, above the Real McCoy Arcade during the late winter of 1994/5. They are most of the set of The Ug Brothers, including various pieces that were never performed live due to having had no lyrics written for them.

There are no vocals as Natalie was not there on the occasions that these Ugstrumentals were recorded. The idea was to have something to listen to and work on with a view to creating lyrics, and also as a karaoke tape for Natalie to sing along to when practising. Few further lyrics were forthcoming as things turned out. These Ugstrumental pieces still sound wonderful and full of interesting musical ideas. The concept of Ugstrumental pieces such as these was later developed by the Flicker project.

Copyright (c) Wud Records 1995, (p) Ug Music/Explicit Music 1995

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Shiny Boots is a hard rock guitar piece that was originally written as The Thin Man by Dark Company. However, as that band had disintegrated and there seemed no prospect of the music being used, George took the piece to The Ug Brothers and they started doing it. New lyrics were never written and the title comes from the feeling of satisfaction one has after polishing one's boots and a couple of the Ug Sisters who had painted their Doc Martins silver. Graham was not very keen on this track as it was too guitary and eventually Dark Company reformed and The Thin Man was recorded to their Ghost of the Art album.

These recordings of instrumentals – or Ugstrumentals – by The Ug Brothers were made at Graham’s flat in Fore Street, Exeter, above the Real McCoy Arcade during the late winter of 1994/5. They are most of the set of The Ug Brothers, including various pieces that were never performed live due to having had no lyrics written for them.

There are no vocals as Natalie was not there on the occasions that these Ugstrumentals were recorded. The idea was to have something to listen to and work on with a view to creating lyrics, and also as a karaoke tape for Natalie to sing along to when practising. Few further lyrics were forthcoming as things turned out. These Ugstrumental pieces still sound wonderful and full of interesting musical ideas. The concept of Ugstrumental pieces such as these was later developed by the Flicker project.

Copyright (c) Wud Records 1995, (p) Ug Music/Explicit Music 1995

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Homeless and Boneless was named as it was written at around the time that one of the Ug Sisters became simultaneously homeless and single. It was written as a rather wistful and melodic guitar piece with the guitar responding to the call of the bass in the opening section. The only lyrics that were ever written for this were "Look at the dream we made" and the song was never performed in public.

These recordings of instrumentals – or Ugstrumentals – by The Ug Brothers were made at Graham’s flat in Fore Street, Exeter, above the Real McCoy Arcade during the late winter of 1994/5. They are most of the set of The Ug Brothers, including various pieces that were never performed live due to having had no lyrics written for them.

There are no vocals as Natalie was not there on the occasions that these Ugstrumentals were recorded. The idea was to have something to listen to and work on with a view to creating lyrics, and also as a karaoke tape for Natalie to sing along to when practising. Few further lyrics were forthcoming as things turned out. These Ugstrumental pieces still sound wonderful and full of interesting musical ideas. The concept of Ugstrumental pieces such as these was later developed by the Flicker project.

Copyright (c) Wud Records 1995, (p) Ug Music/Explicit Music 1995

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Take Me Up is a veritable chordal orgy that begins on the wrong beat, often fooling dancers. It originally came from George's guitar, and he wanted to start a song on a weird beat - in this case, the two. It is one of the early Ug Brothers songs and was an ever-present in their live set. During the song's formation, Amble jammed some wonderful tenor sax along to it, which was highly memorable and joyous. Even Graham wrote some lyrics, the rap part in fact. They were the only lyrics he ever contributed to The Ug Brothers and the rest of the words for Take Me Up were mostly Dave's with a few by George.

These recordings of instrumentals – or Ugstrumentals – by The Ug Brothers were made at Graham’s flat in Fore Street, Exeter, above the Real McCoy Arcade during the late winter of 1994/5. They are most of the set of The Ug Brothers, including various pieces that were never performed live due to having had no lyrics written for them.

There are no vocals as Natalie was not there on the occasions that these Ugstrumentals were recorded. The idea was to have something to listen to and work on with a view to creating lyrics, and also as a karaoke tape for Natalie to sing along to when practising. Few further lyrics were forthcoming as things turned out. These Ugstrumental pieces still sound wonderful and full of interesting musical ideas. The concept of Ugstrumental pieces such as these was later developed by the Flicker project.

Copyright (c) Wud Records 1995, (p) Ug Music/Explicit Music 1995

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Grin was never performed live and never had a full set of lyrics written for it. It was going to be a song about smiling at strangers in the street. The piece developed from a rather unusual one-finger chord that appears after the Dm in 5th position. An updated version of Grin is slated for recording by Flicker.

These recordings of instrumentals – or Ugstrumentals – by The Ug Brothers were made at Graham’s flat in Fore Street, Exeter, above the Real McCoy Arcade during the late winter of 1994/5. They are most of the set of The Ug Brothers, including various pieces that were never performed live due to having had no lyrics written for them.

There are no vocals as Natalie was not there on the occasions that these Ugstrumentals were recorded. The idea was to have something to listen to and work on with a view to creating lyrics, and also as a karaoke tape for Natalie to sing along to when practising. Few further lyrics were forthcoming as things turned out. These Ugstrumental pieces still sound wonderful and full of interesting musical ideas. The concept of Ugstrumental pieces such as these was later developed by the Flicker project.

Copyright (c) Wud Records 1995, (p) Ug Music/Explicit Music 1995

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Secret was a song that George wrote in 1993 that even had lyrics but never saw the light of day as it was never performed live or even rehearsed very much, as you can probably tell from the horribly dodgy performance in this recording. This is a melodic rock piece that may someday become a track on a future Flicker album.

These recordings of instrumentals – or Ugstrumentals – by The Ug Brothers were made at Graham’s flat in Fore Street, Exeter, above the Real McCoy Arcade during the late winter of 1994/5. They are most of the set of The Ug Brothers, including various pieces that were never performed live due to having had no lyrics written for them.

There are no vocals as Natalie was not there on the occasions that these Ugstrumentals were recorded. The idea was to have something to listen to and work on with a view to creating lyrics, and also as a karaoke tape for Natalie to sing along to when practising. Few further lyrics were forthcoming as things turned out. These Ugstrumental pieces still sound wonderful and full of interesting musical ideas. The concept of Ugstrumental pieces such as these was later developed by the Flicker project.

Copyright (c) Wud Records 1995, (p) Ug Music/Explicit Music 1995

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Mouse Art was an instrumental piece written on guitar by the multi-talented Graham and was one of several interesting guitar pieces he composed around 1985-6 along with Stone, Temptation and Speeding With The Starlight. It was a piece that the original Ug Brothers attempted although no recording of it seems to exist.

Graham had a small mouse tattooed on his body around the time this piece was written and we believe that this tune is dedicated to his tattoo (this is speculation and may be utter nonsense). He liked the tattoo but not the conecpt and later had another tattoo put on top of it to hide it ("Can you find my hidden tattoo?").

On the full recording you can hear George announce "Mouse Art" just before the Ug Brothers launch into the piece. In the original edit of the recordings, the first part of the Mou in Mouse Art is deleted and it sounded as if the announcement was Arse Art, which made us giggle. How silly.

Despite the very best efforts of the band, this piece and its various subtle nuances was never quite performed to Graham's satisfaction and never made it to a live performance although this version is arguably reasonable in some parts.

These recordings of instrumentals – or Ugstrumentals – by The Ug Brothers were made at Graham’s flat in Fore Street, Exeter, above the Real McCoy Arcade during the late winter of 1994/5. They are most of the set of The Ug Brothers, including various pieces that were never performed live due to having had no lyrics written for them.

There are no vocals as Natalie was not there on the occasions that these Ugstrumentals were recorded. The idea was to have something to listen to and work on with a view to creating lyrics, and also as a karaoke tape for Natalie to sing along to when practising. Few further lyrics were forthcoming as things turned out. These Ugstrumental pieces still sound wonderful and full of interesting musical ideas. The concept of Ugstrumental pieces such as these was later developed by the Flicker project.

Music: G.Barbe Arrangement: The Ug Brothers

Copyright (c) Wud Records 1995, (p) Ug Music/Explicit Music 1995

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What Is It was a song that was soon added to the The Ug Brothers live set in 1995 and became one of their most popular tracks. Dave wrote the lyrics after the band had jammed out the main groove enough for it to make some kind of sense. The talking part (not heard here so this particular piece of information is somewhat superfluous) was also written by Dave and delegated to George by accident after a recording blunder. He was never entirely comfortable with it.

These recordings of instrumentals – or Ugstrumentals – by The Ug Brothers were made at Graham’s flat in Fore Street, Exeter, above the Real McCoy Arcade during the late winter of 1994/5. They are most of the set of The Ug Brothers, including various pieces that were never performed live due to having had no lyrics written for them.

There are no vocals as Natalie was not there on the occasions that these Ugstrumentals were recorded. The idea was to have something to listen to and work on with a view to creating lyrics, and also as a karaoke tape for Natalie to sing along to when practising. Few further lyrics were forthcoming as things turned out. These Ugstrumental pieces still sound wonderful and full of interesting musical ideas. The concept of Ugstrumental pieces such as these was later developed by the Flicker project.

Copyright (c) Wud Records 1995, (p) Ug Music/Explicit Music 1995

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Shake Yer Brother originally came from an unused Dark Company song and was a large, loud, bombastic staple of The Ug Brothers live set. It was also a song that could degenerate into feedback and noise at the end, allowing The Ug Song, the band's set closer, to grow from the sonic chaos. Lyrics were a collaborative effort by Dave and George.

These recordings of instrumentals – or Ugstrumentals – by The Ug Brothers were made at Graham’s flat in Fore Street, Exeter, above the Real McCoy Arcade during the late winter of 1994/5. They are most of the set of The Ug Brothers, including various pieces that were never performed live due to having had no lyrics written for them.

There are no vocals as Natalie was not there on the occasions that these Ugstrumentals were recorded. The idea was to have something to listen to and work on with a view to creating lyrics, and also as a karaoke tape for Natalie to sing along to when practising. Few further lyrics were forthcoming as things turned out. These Ugstrumental pieces still sound wonderful and full of interesting musical ideas. The concept of Ugstrumental pieces such as these was later developed by the Flicker project.

Copyright (c) Wud Records 1995, (p) Ug Music/Explicit Music 1995

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Kate's Leotard was composed as a guitar piece in early 1995 and would have been very new when this recording was made. The bass sets out a repetetive platform on which the piece is built. No lyrics were ever written and this piece was never performed in public. Flicker are planning an updated version of this for future release.

The title Kate's Leotard comes from a parody of Kate Bush, performed perhaps by the Not The Nine O' Clock News team, singing about how the largely male public would like access to the inside of the leotard worn by the wonderfully talented and beautiful Kate Bush, a sentiment with which the Ug Brothers wholeheartedly concurred.

These recordings of instrumentals – or Ugstrumentals – by The Ug Brothers were made at Graham’s flat in Fore Street, Exeter, above the Real McCoy Arcade during the late winter of 1994/5. They are most of the set of The Ug Brothers, including various pieces that were never performed live due to having had no lyrics written for them.

There are no vocals as Natalie was not there on the occasions that these Ugstrumentals were recorded. The idea was to have something to listen to and work on with a view to creating lyrics, and also as a karaoke tape for Natalie to sing along to when practising. Few further lyrics were forthcoming as things turned out. These Ugstrumental pieces still sound wonderful and full of interesting musical ideas. The concept of Ugstrumental pieces such as these was later developed by the Flicker project.

Copyright (c) Wud Records 1995, (p) Ug Music/Explicit Music 1995

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The Fool was almost one of the first batch of Ug Brothers songs and when added to their live set became a regular favourite and often the band's set opener, with its tempo cranking slowly up and building to a funky reggae rock soul groove. Graham and Dave had a wonderful intuitive understanding of each other's playing and were able to accomplish this with aplomb. It also enabled the lighting guy and the sound guy to fiddle with things as the band gradually appeared on the stage and began playing.

These recordings of instrumentals – or Ugstrumentals – by The Ug Brothers were made at Graham’s flat in Fore Street, Exeter, above the Real McCoy Arcade during the late winter of 1994/5. They are most of the set of The Ug Brothers, including various pieces that were never performed live due to having had no lyrics written for them.

There are no vocals as Natalie was not there on the occasions that these Ugstrumentals were recorded. The idea was to have something to listen to and work on with a view to creating lyrics, and also as a karaoke tape for Natalie to sing along to when practising. Few further lyrics were forthcoming as things turned out. These Ugstrumental pieces still sound wonderful and full of interesting musical ideas. The concept of Ugstrumental pieces such as these was later developed by the Flicker project.

Copyright (c) Wud Records 1995, (p) Ug Music/Explicit Music 1995

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Lookout was a rare slow number by The Ug Brothers. George wrote the music, drawing inspiration from Reasons by Dark Company and Could Have Lied by Red Hot Chili Peppers. He also wrote some lyrics and a melody which was incorporated into the eventual guitar solo on the later Cute But Weird release.

After George took this piece to the band as an instrumental, Dave wrote new lyrics. He drew inspiration from a girl called Grace that he met at a party one night and composed a new melody which Natalie later adapted brilliantly for the key-change section.

These recordings of instrumentals – or Ugstrumentals – by The Ug Brothers were made at Graham’s flat in Fore Street, Exeter, above the Real McCoy Arcade during the late winter of 1994/5. They are most of the set of The Ug Brothers, including various pieces that were never performed live due to having had no lyrics written for them.

There are no vocals as Natalie was not there on the occasions that these Ugstrumentals were recorded. The idea was to have something to listen to and work on with a view to creating lyrics, and also as a karaoke tape for Natalie to sing along to when practising. Few further lyrics were forthcoming as things turned out. These Ugstrumental pieces still sound wonderful and full of interesting musical ideas. The concept of Ugstrumental pieces such as these was later developed by the Flicker project.

Copyright (c) Wud Records 1995, (p) Ug Music/Explicit Music 1995

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The Ug Song was always a big hit live and was almost always used to close the band's show. It would be introduced as a sing-along, or perhaps to be more precise, a grunt-along and often wound the crowd up to a chorus of shouts of "Ug! Ug! Ug! Ug! Ug!" (etc.) at the end, bringing The Ug Brothers back onto stage for an encore.

It began as just a jam that the band had right at the beginning of their second life. After it started to manifest into a piece of music, Dave had the idea of trying to spell the word 'ug' using the strings. The G was quite easy to achieve, whereas the U was not so straightforward. They decided that the best way to represent a U would be to do it as it would be written, i.e. a movement down and then back up. This produced the F-E-F then back to G part in the middle of the piece, spelling 'ug'.

These recordings of instrumentals – or Ugstrumentals – by The Ug Brothers were made at Graham’s flat in Fore Street, Exeter, above the Real McCoy Arcade during the late winter of 1994/5. They are most of the set of The Ug Brothers, including various pieces that were never performed live due to having had no lyrics written for them.

There are no vocals as Natalie was not there on the occasions that these Ugstrumentals were recorded. The idea was to have something to listen to and work on with a view to creating lyrics, and also as a karaoke tape for Natalie to sing along to when practising. Few further lyrics were forthcoming as things turned out. These Ugstrumental pieces still sound wonderful and full of interesting musical ideas. The concept of Ugstrumental pieces such as these was later developed by the Flicker project.

Copyright (c) Wud Records 1995, (p) Ug Music/Explicit Music 1995

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Gigolo was one of the earliest songs by The Ug Brothers and was a constant favourite in the band's live set. It somehow never seemed to translate satisfactorily into a recorded version for some reason, perhaps because the lyrics were overtly sexualised and needed the live energy and Natalie's glances and wiggles to pull it off properly.

These recordings of instrumentals – or Ugstrumentals – by The Ug Brothers were made at Graham’s flat in Fore Street, Exeter, above the Real McCoy Arcade during the late winter of 1994/5. They are most of the set of The Ug Brothers, including various pieces that were never performed live due to having had no lyrics written for them.

There are no vocals as Natalie was not there on the occasions that these Ugstrumentals were recorded. The idea was to have something to listen to and work on with a view to creating lyrics, and also as a karaoke tape for Natalie to sing along to when practising. Few further lyrics were forthcoming as things turned out. These Ugstrumental pieces still sound wonderful and full of interesting musical ideas. The concept of Ugstrumental pieces such as these was later developed by the Flicker project.

Copyright (c) Wud Records 1995, (p) Ug Music/Explicit Music 1995

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Paperchase was one of the first songs that The Ug Brothers performed and it has a curious history. It began life when George went to Totnes to see the final degree performances of some music students at the art college there in the early summer of 1990. The most striking thing for him about the entire performance was the music played by the main guitarist of the event, on "a crusty old Aria Pro 2". Time signatures, modes and a rough, clunky yet delightful sound was the inspiration for the piece of music that George subsequently composed.

Upon taking the piece to Alien Heat, George's band of the day, they took up the music. A set of lyrics called Ulysses seemed to go with it quite well. Unfortunately, Alien Heat was about to disband in a rather violent and fiery set of situations and the piece became a solo acoustic guitar piece.

Eventually when The Ug Brothers formed, they revisited the ground that was once Ulysses. New lyrics were written by Dave, it was retitled as Paperchase, and the song rapidly became a live favourite, with its various virtuoso passages and Rush-like big sound.

After The Ug Brothers disbanded, the tune was again taken up by Dark Company, although the lyrics - which Pete confessed to not caring for as they were about somebody who he no longer liked - had gone astray. It is scheduled for recording to Dark Company's Old Hands album as Dark Company's sole instrumental, separate from the & Co material.

These recordings of instrumentals – or Ugstrumentals – by The Ug Brothers were made at Graham’s flat in Fore Street, Exeter, above the Real McCoy Arcade during the late winter of 1994/5. They are most of the set of The Ug Brothers, including various pieces that were never performed live due to having had no lyrics written for them.

There are no vocals as Natalie was not there on the occasions that these Ugstrumentals were recorded. The idea was to have something to listen to and work on with a view to creating lyrics, and also as a karaoke tape for Natalie to sing along to when practising. Few further lyrics were forthcoming as things turned out. These Ugstrumental pieces still sound wonderful and full of interesting musical ideas. The concept of Ugstrumental pieces such as these was later developed by the Flicker project.

Copyright (c) Wud Records 1995, (p) Ug Music/Explicit Music 1995

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Second Act has a certain amount of history to it and this rather untidy and untogether version of it does the piece no justice whatsoever. Back in the days of Rough Terrain, that band had a song called At One, which had an army of chords with very long names, and numerous key, tempo and time signature changes. Danny Bouget, Rough Terrain's drummer, nailed it easily. George felt he needed a tougher challenge and composed Second Act, named thusly as many people seemed to mis-hear the name At One and thought it to be Act One.

There were lyrics about being born, and probably reincarnated, although they were never really on the table. George plays the rhythm guitar part here rather than lead guitar part to try to keep the thing together. As there are frequent time signature changes, many musicians find this piece rather challenging and The Ug Brothers didn't develop Second Act significantly further, despite initially being up for the challenge of performing it live.

Second Act was later performed with some success by The Bastard Sons of Dennis on two acoustic guitars with Andy (Derek Broom) playing George's Ug part and George (Chuck Palmer) playing the lead. We hope to be able to find and release a decent recording of them sometime in the future.

These recordings of instrumentals – or Ugstrumentals – by The Ug Brothers were made at Graham’s flat in Fore Street, Exeter, above the Real McCoy Arcade during the late winter of 1994/5. They are most of the set of The Ug Brothers, including various pieces that were never performed live due to having had no lyrics written for them.

There are no vocals as Natalie was not there on the occasions that these Ugstrumentals were recorded. The idea was to have something to listen to and work on with a view to creating lyrics, and also as a karaoke tape for Natalie to sing along to when practising. Few further lyrics were forthcoming as things turned out. These Ugstrumental pieces still sound wonderful and full of interesting musical ideas. The concept of Ugstrumental pieces such as these was later developed by the Flicker project.

Copyright (c) Wud Records 1995, (p) Explicit Music 1995

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Drowning In Your Eyes was the only song from the original 1986 line-up of The Ug Brothers to make it onto a stage, as George was never able to play Mouse Art to Graham's satisfaction in 1986 and the band never took that particular tune to the stage during their second odyssey, which was a shame. Drowning In Your Eyes was in fact the song that The Ug Brothers played first at their first show, at the Cavern in Exeter, on Christmas Eve in 1994. Being the sole survivor from before, it seemed like the obvious thing to do.

It was a famous and auspicious performance as the band had already developed a considerable reputation and the venue probably exceeded its fire regulation quota by a factor of three or four, the place was absolutely crammed full of revelers. When The Ug Brothers took to the stage, the whole place went crazy. Honey Sucks, who were performing later, were somewhat disgruntled as the venue emptied soon after The Ug Brothers finished their set, leaving them playing to a rather sad and empty hall.

These recordings of instrumentals – or Ugstrumentals – by The Ug Brothers were made at Graham’s flat in Fore Street, Exeter, above the Real McCoy Arcade during the late winter of 1994/5. They are most of the set of The Ug Brothers, including various pieces that were never performed live due to having had no lyrics written for them.

There are no vocals as Natalie was not there on the occasions that these Ugstrumentals were recorded. The idea was to have something to listen to and work on with a view to creating lyrics, and also as a karaoke tape for Natalie to sing along to when practising. Few further lyrics were forthcoming as things turned out. These Ugstrumental pieces still sound wonderful and full of interesting musical ideas. The concept of Ugstrumental pieces such as these was later developed by the Flicker project.

Copyright (c) Wud Records 1995, (p) Ug Music/Explicit Music 1995

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White Water began life as a bass groove by Dave, to which George added guitar and Graham the tom-tom twinklings at the beginning. Then there came a key change and finally some surfing-related lyrics and thus was born perhpas the most well-known song by The Ug Brothers.

These recordings of instrumentals – or Ugstrumentals – by The Ug Brothers were made at Graham’s flat in Fore Street, Exeter, above the Real McCoy Arcade during the late winter of 1994/5. They are most of the set of The Ug Brothers, including various pieces that were never performed live due to having had no lyrics written for them.

There are no vocals as Natalie was not there on the occasions that these Ugstrumentals were recorded. The idea was to have something to listen to and work on with a view to creating lyrics, and also as a karaoke tape for Natalie to sing along to when practising. Few further lyrics were forthcoming as things turned out. These Ugstrumental pieces still sound wonderful and full of interesting musical ideas. The concept of Ugstrumental pieces such as these was later developed by the Flicker project.

Copyright (c) Wud Records 1995, (p) Ug Music/Explicit Music 1995

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Fang was a song composed by George about sleep vampires - people who are able to sleep perfectly peacefully whilst their presence prevents any sleep being had by anybody else. It was written around the time that The Ug Brothers reformed in 1994 and was the only song with lyrics that the band had for some time, until a great outburst of industry was had shortly before they were due to perform their first live gig.

These recordings of instrumentals – or Ugstrumentals – by The Ug Brothers were made at Graham’s flat in Fore Street, Exeter, above the Real McCoy Arcade during the late winter of 1994/5. They are most of the set of The Ug Brothers, including various pieces that were never performed live due to having had no lyrics written for them.

There are no vocals as Natalie was not there on the occasions that these Ugstrumentals were recorded. The idea was to have something to listen to and work on with a view to creating lyrics, and also as a karaoke tape for Natalie to sing along to when practising. Few further lyrics were forthcoming as things turned out. These Ugstrumental pieces still sound wonderful and full of interesting musical ideas. The concept of Ugstrumental pieces such as these was later developed by the Flicker project.

Copyright (c) Wud Records 1995, (p) Ug Music/Explicit Music 1995

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Lifetime began as a bass groove to which George added guitar and the instrumental section. It was one of the earliest pieces that The Ug Brothers wrote. It was decided that there should be no intro as such and the vocals should start with a bang with the rest of the band.

These recordings of instrumentals – or Ugstrumentals – by The Ug Brothers were made at Graham’s flat in Fore Street, Exeter, above the Real McCoy Arcade during the late winter of 1994/5. They are most of the set of The Ug Brothers, including various pieces that were never performed live due to having had no lyrics written for them.

There are no vocals as Natalie was not there on the occasions that these Ugstrumentals were recorded. The idea was to have something to listen to and work on with a view to creating lyrics, and also as a karaoke tape for Natalie to sing along to when practising. Few further lyrics were forthcoming as things turned out. These Ugstrumental pieces still sound wonderful and full of interesting musical ideas. The concept of Ugstrumental pieces such as these was later developed by the Flicker project.

Copyright (c) Wud Records 1995, (p) Ug Music/Explicit Music 1995

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Wibble and Bling was a guitar groove that came to George one evening as he sat in the dark playing some guitar in the room The Ug Brothers used for rehearsal whilst Graham and Dave partook of interesting vegetation and bourbon and played Risk on the Amiga with some Ug Sisters in a different room down the corridor. It grew and grew into - this. Dave wrote the lyrics and Graham particularly enjoyed playing the drums to it.

The title seemed to stick even after the lyrics had been written, as all of the Ugstrumentals were named something or other in order to have some idea of a term of reference. Wibble was something that Fay, one of the original Ug Sisters, would say after partaking of a strong measure of this or that, and Bling was a word that didn't mean 'bling' in the same sense that it does now as this particular form of bling predates the flashy jewelry kind of bling by at least a couple of years. Rather it is something that might be said when surprised by an idea, insight, realisation, discovery, serendipity or intuition, that occured freely and spontaneously.

These recordings of instrumentals – or Ugstrumentals – by The Ug Brothers were made at Graham’s flat in Fore Street, Exeter, above the Real McCoy Arcade during the late winter of 1994/5. They are most of the set of The Ug Brothers, including various pieces that were never performed live due to having had no lyrics written for them.

There are no vocals as Natalie was not there on the occasions that these Ugstrumentals were recorded. The idea was to have something to listen to and work on with a view to creating lyrics, and also as a karaoke tape for Natalie to sing along to when practising. Few further lyrics were forthcoming as things turned out. These Ugstrumental pieces still sound wonderful and full of interesting musical ideas. The concept of Ugstrumental pieces such as these was later developed by the Flicker project.

Copyright (c) Wud Records 1995, (p) Ug Music/Explicit Music 1995

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Good Thing may have been the very last song to be added to the live set of The Ug Brothers before the band disbanded in 1he autumn of 1995. It proved to be a pop;uar addition to their live shows with its happy uplifting positive lyrics penned by Dave.

These recordings of instrumentals – or Ugstrumentals – by The Ug Brothers were made at Graham’s flat in Fore Street, Exeter, above the Real McCoy Arcade during the late winter of 1994/5. They are most of the set of The Ug Brothers, including various pieces that were never performed live due to having had no lyrics written for them.

There are no vocals as Natalie was not there on the occasions that these Ugstrumentals were recorded. The idea was to have something to listen to and work on with a view to creating lyrics, and also as a karaoke tape for Natalie to sing along to when practising. Few further lyrics were forthcoming as things turned out. These Ugstrumental pieces still sound wonderful and full of interesting musical ideas. The concept of Ugstrumental pieces such as these was later developed by the Flicker project.

Copyright (c) Wud Records 1995, (p) Ug Music/Explicit Music 1995

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Wild by Demon Groove Lizards.

From the EP Demo Two by Demon Groove Lizards.

Demon Groove Lizards were a fantastic heavy funk and hard rock band from Devon. They formed in 1993.

Demon Groove Lizards' high energy performances were notable for the band's outstanding musicianship. Virtuosity was a virtue which they continued to value over the course of every lineup change.

Demo Two features four original songs composed and performed by Demon Groove Lizards.

By the time Demon Groove Lizards recorded Demo Two, their line-up had changed somewhat compared to their earlier Demo One recording. The band's hardcore of Ian Lee on bass and Brent Cassidy on rhythm guitar remained. Ben (vocals), James (lead guitar) and Andy (drums) had all left the ensemble and been replaced. Joining the band were Phil Stamp on vocals, Jay Henson on lead guitar and Chris White on drums.

In between the recording of Demo One and Demo Two, more than a year passed. During this time, Demon Groove Lizards performed many live shows. They were clearly a much more rehearsed, silkier and well-drilled unit.

Demo Two was recorded by Olly at The Beehive in 1994.

Cassette salvage by Ian Lee. Audio cleaned and mastered at Wud Records Studio One, February 2022.

All songs by Demon Groove Lizards.

Performers: Phil Stamp - vocals Jay Henson - lead guitar Brent Cassidy - rhythm guitar Ian Lee - bass Chris White - drums

Copyright ℗ 1994 DGL Music Publishing. Copyright © 2022 Wud Records.

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Halloween Jack by Demon Groove Lizards.

From the EP Demo Two by Demon Groove Lizards.

Demon Groove Lizards were a fantastic heavy funk and hard rock band from Devon. They formed in 1993.

Demon Groove Lizards' high energy performances were notable for the band's outstanding musicianship. Virtuosity was a virtue which they continued to value over the course of every lineup change.

Demo Two features four original songs composed and performed by Demon Groove Lizards.

By the time Demon Groove Lizards recorded Demo Two, their line-up had changed somewhat compared to their earlier Demo One recording. The band's hardcore of Ian Lee on bass and Brent Cassidy on rhythm guitar remained. Ben (vocals), James (lead guitar) and Andy (drums) had all left the ensemble and been replaced. Joining the band were Phil Stamp on vocals, Jay Henson on lead guitar and Chris White on drums.

In between the recording of Demo One and Demo Two, more than a year passed. During this time, Demon Groove Lizards performed many live shows. They were clearly a much more rehearsed, silkier and well-drilled unit.

Demo Two was recorded by Olly at The Beehive in 1994.

Cassette salvage by Ian Lee. Audio cleaned and mastered at Wud Records Studio One, February 2022.

All songs by Demon Groove Lizards.

Performers: Phil Stamp - vocals Jay Henson - lead guitar Brent Cassidy - rhythm guitar Ian Lee - bass Chris White - drums

Copyright ℗ 1993 DGL Music Publishing. Copyright © 2022 Wud Records.

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Horizontal Hilarious by Demon Groove Lizards.

From the EP Demo Two by Demon Groove Lizards.

Demon Groove Lizards were a fantastic heavy funk and hard rock band from Devon. They formed in 1993.

Demon Groove Lizards' high energy performances were notable for the band's outstanding musicianship. Virtuosity was a virtue which they continued to value over the course of every lineup change.

Demo Two features four original songs composed and performed by Demon Groove Lizards.

By the time Demon Groove Lizards recorded Demo Two, their line-up had changed somewhat compared to their earlier Demo One recording. The band's hardcore of Ian Lee on bass and Brent Cassidy on rhythm guitar remained. Ben (vocals), James (lead guitar) and Andy (drums) had all left the ensemble and been replaced. Joining the band were Phil Stamp on vocals, Jay Henson on lead guitar and Chris White on drums.

In between the recording of Demo One and Demo Two, more than a year passed. During this time, Demon Groove Lizards performed many live shows. They were clearly a much more rehearsed, silkier and well-drilled unit.

Demo Two was recorded by Olly at The Beehive in 1994.

Cassette salvage by Ian Lee. Audio cleaned and mastered at Wud Records Studio One, February 2022.

All songs by Demon Groove Lizards.

Performers: Phil Stamp - vocals Jay Henson - lead guitar Brent Cassidy - rhythm guitar Ian Lee - bass Chris White - drums

Copyright ℗ 1993 DGL Music Publishing. Copyright © 2022 Wud Records.

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Bring Me Home by Demon Groove Lizards.

From the EP Demo Two by Demon Groove Lizards.

Demon Groove Lizards were a fantastic heavy funk and hard rock band from Devon. They formed in 1993.

Demon Groove Lizards' high energy performances were notable for the band's outstanding musicianship. Virtuosity was a virtue which they continued to value over the course of every lineup change.

Demo Two features four original songs composed and performed by Demon Groove Lizards.

By the time Demon Groove Lizards recorded Demo Two, their line-up had changed somewhat compared to their earlier Demo One recording. The band's hardcore of Ian Lee on bass and Brent Cassidy on rhythm guitar remained. Ben (vocals), James (lead guitar) and Andy (drums) had all left the ensemble and been replaced. Joining the band were Phil Stamp on vocals, Jay Henson on lead guitar and Chris White on drums.

In between the recording of Demo One and Demo Two, more than a year passed. During this time, Demon Groove Lizards performed many live shows. They were clearly a much more rehearsed, silkier and well-drilled unit.

Demo Two was recorded by Olly at The Beehive in 1994.

Cassette salvage by Ian Lee. Audio cleaned and mastered at Wud Records Studio One, February 2022.

All songs by Demon Groove Lizards.

Performers: Phil Stamp - vocals Jay Henson - lead guitar Brent Cassidy - rhythm guitar Ian Lee - bass Chris White - drums

Copyright ℗ 1994 DGL Music Publishing. Copyright © 2022 Wud Records.

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Medicines (RMX) by & co

This is a remix of the Dark Company song Medicines, which you can hear here: https://wudrecords.bandcamp.com/track/medicines

The challenge to the listener is to compare the two tracks to find out what elements of the sequencer mix are present in both versions!

Original lyrics by P. Greatorex. Original music by G. Davies/P. Greatorex/J. Willmot.

Remix recorded, engineered and produced at Silent Running Studios Exeter 1992. Remastered at Wud Records Studio One.

Copyright © 1994 Wud Records. Copyright ℗ 1992 D & G Music/Lost In Space/Explicit Music.

This track was crafted mostly by Jeff and was subsequently remastered by George at Wud Records Studio One.

The remixing arm of the Dark Company project was named & co, and Drifting Stars is the album that features various remixes of assorted tunes.

& co have more of a dance flavour and lack guitars and vocals apart from samples. Some parts are lifted from the original song and you may hear them if you listen carefully.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/drifting-stars/ https://wudrecords.bandcamp.com/album/rage-in-heaven http://www.explicitmusic.co.uk/lyrics-information/dark-company/rage-in-heaven/medicines https://twitter.com/Dark_Company https://twitter.com/WudRecords https://www.facebook.com/Dark-Company-154909774522910/

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Bodyfire (RMX) by & co

This is a remix of the Dark Company song Bodyfire, which you can hear here: https://soundcloud.com/wud-records/dark-company-bodyfire?in=wud-records/sets/dark-company-alien-heat

The challenge to the listener is to compare the two tracks to find out what elements of the sequencer mix are present in both versions!

Original lyrics by P. Greatorex. Original music by G. Davies/P. Greatorex/J. Willmot/R. Holloway/M. Greatorex/G. Barbe.

Remix recorded, engineered and produced at Silent Running Studios Exeter 1993. Remastered at Wud Records Studio One.

Copyright © 1994 Wud Records. Copyright ℗ 1993 Pig Pen Music/Lost In Space/Explicit Music.

This track was crafted mostly by Jeff and was subsequently remastered by George at Wud Records Studio One.

The remixing arm of the Dark Company project was named & co, and Drifting Stars is the album that features various remixes of assorted tunes.

& co have more of a dance flavour and lack guitars and vocals apart from samples. Some parts are lifted from the original song and you may hear them if you listen carefully.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/drifting-stars/ http://www.wudrecords.co.uk/artists/dark-company/alien-heat/ http://www.explicitmusic.co.uk/lyrics-information/dark-company/alien-heat/bodyfire https://twitter.com/Dark_Company https://twitter.com/WudRecords https://www.facebook.com/Dark-Company-154909774522910/

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Final Nightmare by & co

This is a remix of the Dark Company song Terminal Road, which you can hear here: https://wudrecords.bandcamp.com/track/terminal-road

The challenge to the listener is to compare the two tracks to find out what elements of the sequencer mix are present in both versions!

Final Nightmare was the original working title given to the song Terminal Road and that title was kept for the remix version.

Original lyrics by P. Greatorex. Original music by G. Davies/P. Greatorex/J. Willmot.

Remix recorded, engineered and produced at Silent Running Studios Exeter 1992. Remastered at Wud Records Studio One.

Copyright © 1994 Wud Records. Copyright ℗ 1992 D & G Music/Lost In Space/Explicit Music.

This track was crafted mostly by Jeff and was subsequently remastered by George at Wud Records Studio One.

The remixing arm of the Dark Company project was named & co, and Drifting Stars is the album that features various remixes of assorted tunes.

& co have more of a dance flavour and lack guitars and vocals apart from samples. Some parts are lifted from the original song and you may hear them if you listen carefully.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/drifting-stars/ https://wudrecords.bandcamp.com/album/rage-in-heaven http://www.explicitmusic.co.uk/lyrics-information/dark-company/rage-in-heaven/terminal-road https://twitter.com/Dark_Company https://twitter.com/WudRecords https://www.facebook.com/Dark-Company-154909774522910/

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Mister Dream (RMX) by & co

This is a remix of the Dark Company song Mister Dream, which you can hear here: https://soundcloud.com/wud-records/dark-company-mister-dream?in=wud-records/sets/dark-company-alien-heat

The challenge to the listener is to compare the two tracks to find out what elements of the sequencer mix are present in both versions!

Original lyrics by P. Greatorex. Original music by G. Davies/P. Greatorex/J. Willmot/A. Richardson.

Remix recorded, engineered and produced at Silent Running Studios Exeter 1993. Remastered at Wud Records Studio One.

Copyright © 1994 Wud Records. Copyright ℗ 1993 Pig Pen Music/Lost In Space/Explicit Music.

This track was crafted mostly by Jeff and was subsequently remastered by George at Wud Records Studio One.

The remixing arm of the Dark Company project was named & co, and Drifting Stars is the album that features various remixes of assorted tunes.

& co have more of a dance flavour and lack guitars and vocals apart from samples. Some parts are lifted from the original song and you may hear them if you listen carefully.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/drifting-stars/ http://www.wudrecords.co.uk/artists/dark-company/alien-heat http://www.explicitmusic.co.uk/lyrics-information/dark-company/alien-heat/mister-dream https://twitter.com/Dark_Company https://twitter.com/WudRecords https://www.facebook.com/Dark-Company-154909774522910/

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Prisodub by & co

This is a remix of the Dark Company song Prisoner, which you can hear here: https://soundcloud.com/wud-records/dark-company-prisoner?in=wud-records/sets/dark-company-alien-heat

The challenge to the listener is to compare the two tracks to find out what elements of the sequencer mix are present in both versions!

Original lyrics by P. Greatorex. Original music by G. Davies/P. Greatorex/J. Willmot/R. Holloway/M. Greatorex/G. Barbe.

Remix recorded, engineered and produced at Silent Running Studios Exeter 1993. Remastered at Wud Records Studio One.

Copyright © 1994 Wud Records. Copyright ℗ 1993 Pig Pen Music/Lost In Space/Explicit Music.

This track was crafted mostly by Jeff and was subsequently remastered by George at Wud Records Studio One.

The remixing arm of the Dark Company project was named & co, and Drifting Stars is the album that features various remixes of assorted tunes.

& co have more of a dance flavour and lack guitars and vocals apart from samples. Some parts are lifted from the original song and you may hear them if you listen carefully.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/drifting-stars/ http://www.wudrecords.co.uk/artists/dark-company/alien-heat/ http://www.explicitmusic.co.uk/lyrics-information/dark-company/alien-heat/prisoner https://twitter.com/Dark_Company https://twitter.com/WudRecords https://www.facebook.com/Dark-Company-154909774522910/

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Lookin' Bad (RMX) by & co

This is a remix of the Dark Company song Lookin' Bad, which you can hear here: https://wudrecords.bandcamp.com/track/lookin-bad

The challenge to the listener is to compare the two tracks to find out what elements of the sequencer mix are present in both versions!

Original lyrics by P. Greatorex. Original music by G. Davies/P. Greatorex/J. Willmot.

Remix recorded, engineered and produced at Silent Running Studios Exeter 1992. Remastered at Wud Records Studio One.

Copyright © 1994 Wud Records. Copyright ℗ 1992 D & G Music/Lost In Space/Explicit Music.

This track was crafted mostly by Jeff and was subsequently remastered by George at Wud Records Studio One.

The remixing arm of the Dark Company project was named & co, and Drifting Stars is the album that features various remixes of assorted tunes.

& co have more of a dance flavour and lack guitars and vocals apart from samples. Some parts are lifted from the original song and you may hear them if you listen carefully.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/drifting-stars/ https://wudrecords.bandcamp.com/album/rage-in-heaven http://www.explicitmusic.co.uk/lyrics-information/dark-company/rage-in-heaven/lookin-bad https://twitter.com/Dark_Company https://twitter.com/WudRecords https://www.facebook.com/Dark-Company-154909774522910/

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Repossession (RMX) by & co

This is a remix of the Dark Company song Repossession, which you can hear here: https://soundcloud.com/wud-records/dark-company-repossession?in=wud-records/sets/dark-company-ghost-of-the-art-alpha-mixes

The challenge to the listener is to compare the two tracks to find out what elements of the sequencer mix are present in both versions!

Original lyrics by P. Greatorex. Original music by G. Davies/P. Greatorex/J. Willmot/R. Parsons.

Remix recorded, engineered and produced at Silent Running Studios Exeter 1993. Remastered at Wud Records Studio One.

Copyright © 1994 Wud Records. Copyright ℗ 1993 DGW Music/Lost In Space/Explicit Music.

This track was crafted mostly by Jeff and was subsequently remastered by George at Wud Records Studio One.

The remixing arm of the Dark Company project was named & co, and Drifting Stars is the album that features various remixes of assorted tunes.

& co have more of a dance flavour and lack guitars and vocals apart from samples. Some parts are lifted from the original song and you may hear them if you listen carefully.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/drifting-stars/ http://www.wudrecords.co.uk/artists/dark-company/ghost-of-the-art http://www.explicitmusic.co.uk/lyrics-information/dark-company/ghost-of-the-art/repossession https://twitter.com/Dark_Company https://twitter.com/WudRecords https://www.facebook.com/Dark-Company-154909774522910/

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Spoiler (Heavy Bass RMX) by & co

This is a remix of the Dark Company song Spoiler, which you can hear here: https://wudrecords.bandcamp.com/track/spoiler

The challenge to the listener is to compare the two tracks to find out what elements of the sequencer mix are present in both versions!

Original lyrics by P. Greatorex. Original music by G. Davies/P. Greatorex/J. Willmot.

Remix recorded, engineered and produced at Silent Running Studios Exeter 1992. Remastered at Wud Records Studio One.

Copyright © 1994 Wud Records. Copyright ℗ 1992 D & G Music/Lost In Space/Explicit Music.

This track was crafted mostly by Jeff and was subsequently remastered by George at Wud Records Studio One.

The remixing arm of the Dark Company project was named & co, and Drifting Stars is the album that features various remixes of assorted tunes.

& co have more of a dance flavour and lack guitars and vocals apart from samples. Some parts are lifted from the original song and you may hear them if you listen carefully.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/drifting-stars/ https://wudrecords.bandcamp.com/album/rage-in-heaven http://www.explicitmusic.co.uk/lyrics-information/dark-company/rage-in-heaven/spoiler https://twitter.com/Dark_Company https://twitter.com/WudRecords https://www.facebook.com/Dark-Company-154909774522910/

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Golden Eye by Dark Company, from the album Rage in Heaven.

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex/J. Willmot. Recorded, engineered and mixed at Silent Running Studios Exeter 1992-3. Remastered at Wud Records Studio One.

Copyright © 1993 Wud Records. Copyright ℗ 1992 D & G Music/Explicit Music.

Performers: Peter Greatorex – vocals George Davies – guitars, sequencing Jeff Willmot – sequencing

GOLDEN EYE Somebody’s leaning on my “Mine’n’Me” monitor Breaking off the flow from the floor I’ve got such a laid back character With much less it gives me more

Living inside a golden eye Living inside an eye-yi-yi Living inside a golden eye Living inside an eye-yi-yi

Tarbaby’s smiling at my old thermometer Cutting up on my peace pipe smoke I got such a rare disease I just can’t quite see the joke

Living inside a golden eye Living inside an eye-yi-yi Living inside a golden eye Living inside an eye-yi-yi

Sitting down there on my checkerboard chair Wasting away the hot house hours I can see the back of the scenery Wrapped around with them Nightshade flowers

Living inside a golden eye Living inside an eye-yi-yi Living inside a golden eye Living inside an eye-yi-yi

Corporation cleaning on my sleepy nite streets Sweeping up the dust of the day I got such a carefree stare You won’t think I care what you say

Living inside a golden eye Living inside an eye-yi-yi Living inside a golden eye Living inside an eye-yi-yi

Fun facts: This song is in the key of Fm. George plays the guitar parts on the Ice Maiden. Most of the sequencing was done using the TG33. It’s possible to play this whole song as a one-chord song by playing Fno3rd. Sometimes the F is major and sometimes minor. You can hear the differences in George’s guitar licks as well as the chords.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/rage-in-heaven http://www.explicitmusic.co.uk/lyrics-information/dark-company/rage-in-heaven/golden-eye https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex/J. Willmot. Recorded, engineered and mixed at Silent Running Studios Exeter 1992-3. Remastered at Wud Records Studio One.

Copyright © 1993 Wud Records. Copyright ℗ 1992 D & G Music/Explicit Music.

Performers: Peter Greatorex – vocals George Davies – guitars, sequencing Jeff Willmot – bass, sequencing

TERMINAL ROAD Flares burning, night stars turning The jugglers and the clowns of the circus are returning And the ghost of the hunter doesn’t stay any longer He’s killed all the old things to make himself younger

Smoke rolling, red fires melting The kings and the clerks of the money streets are running And the sign of the soldier has been eaten by a creature The world doesn’t need violence for a teacher

Here on Terminal Road We’re on Terminal Road Here on Terminal Road We’re on Terminal Road

Lamps bleeding, rain clouds twisting The mechanics and the mayors of the small towns are missing And the mark of the beast is getting much clearer It’s right up close and getting weirder and weirder

Flags flowing, colour fields glowing The jokers and the knights of the past are cloning And the shadows of the moon paint darkened faces With a mere mirrored light that midnight chases

Here on Terminal Road We’re on Terminal Road Here on Terminal Road We’re on Terminal Road

Fun facts: This song is in the key of Dm. George plays the guitar parts on Nicodemus. Jeff played his bassline into the S900 and parts of it were used throughout the song. When the band were to play live, the plan was to perform this song as the very last one so that they could leave the stage with just the machines working away.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/rage-in-heaven http://www.explicitmusic.co.uk/lyrics-information/dark-company/rage-in-heaven/terminal-road https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex/J. Willmot. Recorded, engineered and mixed at Silent Running Studios Exeter 1992-3. Remastered at Wud Records Studio One.

Copyright © 1993 Wud Records. Copyright ℗ 1992 D & G Music/Explicit Music.

Performers: Peter Greatorex – vocals George Davies – guitars, sequencing Jeff Willmot – bass, sequencing

LOOKIN’ BAD Lookin’ bad, tricky and sad Smile came in with what he had The dark-faced joker makes you pine for love Even though you know you’ve got enough Brewin’ a storm, sticky and warm The dress she wears says you’d best be gone What she got in mind for the midnite hour Is you, sweet boy, for a night-time flower

It’s lookin’ bad, lookin’ bad Oh, oh, oh, it’s lookin’ bad

Ringin’ the bell, can’t see too well I can tell there’s trouble by the smoky smell Your fine friend the doctor’s a-fading fast If you’ve got a wish you’d better make it your last Take your hand while you can Keep it well away from the monkey man I know lots of habits that can make you cold But there isn’t any cure for growing old

It’s lookin’ bad, lookin’ bad Oh, oh, oh, it’s lookin’ bad

Walkin’ around facin’ the ground Shot-away sugar’s in the lost and found Lucky charm loser’s changed another face Emotional cripple’s come to take your place You’ve got to run, leave it undone Eros got his arrow notched on ‘stun’ Gotta be the last time you empty out your face Or some Easy Rider sheriff’s gonna get on your case

It’s lookin’ bad, lookin’ bad Oh, oh, oh, it’s lookin’ bad

It’s lookin’ bad, lookin’ bad Oh, oh, oh, it’s lookin’ bad

Fun facts: This song is in the key of E. George plays all the guitar parts on the Ice Maiden. Jeff's bass is played rather than sampled.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/rage-in-heaven http://www.explicitmusic.co.uk/lyrics-information/dark-company/rage-in-heaven/lookin-bad https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex/J. Willmot/R. Parsons. Recorded, engineered and mixed at Silent Running Studios Exeter 1992-3. Remastered at Wud Records Studio One.

Copyright © 1993 Wud Records. Copyright ℗ 1992 D & G Music/Explicit Music.

Performers: Peter Greatorex – vocals George Davies – guitars, sequencing Jeff Willmot – sequencing

SACRIFICE Sand blown up from the desert makes faces on the wall Endless beach of sunset holds me in its thrall And I can’t seem to sleep or wake from this dream And I can’t seem to find what anything means

I just watch the world throw away what I keep I just watch the world throw away what I keep I just watch the world throw away what I keep I just watch the world throw away what I keep

Crowds that have but one head stumble around the town Opinions of the Doctor say that Heaven’s lost its crown And I can’t seem to walk, or talk of what I wish And I can’t seem to see the reason for a kiss

I just watch the world throw away what I keep I just watch the world throw away what I keep I just watch the world throw away what I keep I just watch the world throw away what I keep

Fumes snake across my ceiling, the writing is so plain Surely someone tomorrow will see I’m not to blame I can’t seem to move or undo this knot And I can’t seem to use what it is that I’ve got

I just watch the world throw away what I keep I just watch the world throw away what I keep I just watch the world throw away what I keep I just watch the world throw away what I keep

I just watch the world throw away what I keep I just watch the world throw away what I keep I just watch the world throw away what I keep I just watch the world throw away what I keep

Fun facts: This song is in the key of Cm. It was one of the last things Rowena ever jammed along to, hence the saxophone riff. George plays the sampled guitar parts on Nicodemus and the recorded guitar parts on the Ice Maiden.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/rage-in-heaven http://www.explicitmusic.co.uk/lyrics-information/dark-company/rage-in-heaven/sacrifice https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Stimulants by Dark Company, from the album Rage in Heaven.

Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex/J. Willmot. Recorded, engineered and mixed at Silent Running Studios Exeter 1992-3. Remastered at Wud Records Studio One.

Copyright © 1993 Wud Records. Copyright ℗ 1992 D & G Music/Explicit Music.

Performers: Peter Greatorex – vocals George Davies – guitars, sequencing Jeff Willmot – sequencing

STIMULANTS Technicolour clouds, soft sun melting by Hysterical intrusions through the heavy sky Mile high smiles, chemical kissing games Solo dawns, all the very same

And it’s all coming round again And it’s all coming round again

Darkened shadows, bare light breaking down Danceable solutions echo from the ground Carpetbaggers overload the town Shifting faces set into a frown

And it’s all coming round again And it’s all coming round again And it’s all coming round again And it’s all coming round again

And it’s all coming round again And it’s all coming round again And it’s all coming round again And it’s all coming round again And it’s all

Fun facts: This song is in the key of Bm. George plays the guitar parts on the Ice Maiden. Jeff played the synth solo that separates the guitar solo into two parts. The band discovered some beautiful vocal harmonies for this song after it had been finished. A new version complete with the harmonies may be forthcoming sometime in the future.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/rage-in-heaven http://www.explicitmusic.co.uk/lyrics-information/dark-company/rage-in-heaven/stimulants https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex/J. Willmot. Recorded, engineered and mixed at Silent Running Studios Exeter 1992-3. Remastered at Wud Records Studio One.

Copyright © 1993 Wud Records. Copyright ℗ 1991 D & G Music/Explicit Music.

Performers: Peter Greatorex – vocals, harmonica George Davies – guitars, sequencing Jeff Willmot – sequencing

LAST TRAIN TO HEAVEN It’s the last train to Heaven And this is midnite calling Sleep slipped out the window To where the stars are falling And the sandman points a finger And the shadows begin their crawling This is the last train to Heaven And this is midnite calling

How many miles to Babalon? Three score mile and ten… Will I get there by candlelight? Yes, and back again… And the joker shuts his eyes And the dream begins to end This is the last train to Heaven And it won’t call again

Well, it’s the last train to Heaven And this is midnite calling Moonlight minds the night time Rides while day is walking Lights the way to paradise And dawn lets in the morning It’s the last train to Heaven And this is midnite calling

How many miles to Babalon? Three score mile and ten… Will I get there by candlelight? Yes, and back again… And the joker shuts his eyes And the dream begins to end This is the last train to Heaven And it won’t call again

Fun facts: This song is in the key of G. Pete plays the harmonica parts on a full-scale harp which simply would not do concert pitch no matter how many hammers we bashed it with. It was a popular acoustic number when performed by Dr Watson and in George’s TEFL classes. Most of the sequencing is played on the Yamaha TG33. The clicky guitar that we wish was considerably quieter is a sample.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/rage-in-heaven http://www.explicitmusic.co.uk/lyrics-information/dark-company/rage-in-heaven/last-train-to-heaven https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex/J. Willmot. Recorded, engineered and mixed at Silent Running Studios Exeter 1992-3. Remastered at Wud Records Studio One.

Copyright © 1993 Wud Records. Copyright ℗ 1991 D & G Music/Explicit Music.

Performers: Peter Greatorex – vocals George Davies – guitars, sequencing Jeff Willmot – sequencing

THE FORGER Never missed a chance to make A lighter look, a happy fake So the masterpiece it was forged A different name can’t make it more So it’s short in antique years Do you like what you see and hear

Or are you some scientific son? If it don’t measure up do you come undone? Are you some scientific son? If it don’t measure up do you come undone?

Never walked a crooked mile That stayed so straight all the while So the picture didn’t fit the view Though the TV man said: “Yes, it do!” It’s more paste than precious gem Good enough for a close-up friend

Or are you some scientific son? If it don’t measure up do you come undone? Are you some scientific son? If it don’t measure up do you come undone?

Never missed a time to lie Just to see a gem-bright eye So the real emotion it was false But you can’t be nobody else So reality it isn’t real Then what you see is what you steal

Or are you some scientific son? If it don’t measure up do you come undone? Are you some scientific son? If it don’t measure up do you come undone?

Or are you some scientific son? If it don’t measure up do you come undone? Are you some scientific son? If it don’t measure up do you come undone?

Fun facts: This song is in the key of F#m. George plays the guitar parts on the Ice Maiden straight into the S900, although there are some sweet guitar passages in the live version. The bassline for this song has killed speakers! When the song was written, Jeff alternated between playing the chords on keys whilst Pete was singing, then bass in between the vocal measures.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/rage-in-heaven http://www.explicitmusic.co.uk/lyrics-information/dark-company/rage-in-heaven/the-forger https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex/J. Willmot. Recorded, engineered and mixed at Silent Running Studios Exeter 1992-3. Remastered at Wud Records Studio One.

Copyright © 1993 Wud Records. Copyright ℗ 1992 D & G Music/Explicit Music.

Performers: Peter Greatorex – vocals George Davies – guitars, sequencing Jeff Willmot – sequencing

UNDER THE HILL Now we are under Aubrey’s hill Mannequins holding time so still I’m alone beneath the trees and then I move Gliding on the ice of winter’s mood

I sit and wonder like a dove Three dreams from Heaven are enough I’m angry by the lake and then I walk Lean against the walls and hear them talk

I’m alone beside myself and never see What everybody else says I should be I’m alone beside myself and never see What everybody else says I should be

Until time and times are done No gold apples ripen in the sun I’m careless by the sea and then I fly Shell pressed to my ear, it whispers why

I’m alone beside myself and never see What everybody else says I should be I’m alone beside myself and never see What everybody else says I should be

In sorrow there is no reward Salt tears turn into a sword I’m free beneath the moon and then I dance With joy in every slyly sideways glance

I’m alone beside myself and never see What everybody else says I should be I’m alone beside myself and never see What everybody else says I should be

Fun facts: This song is in the key of Am and is 120BPM. George plays the guitar parts on the Ice Maiden. “Aubrey’s Hill” refers to the artist Aubrey Beardsley and his unfiished erotic novel also titled Under the Hill.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/rage-in-heaven http://www.explicitmusic.co.uk/lyrics-information/dark-company/rage-in-heaven/under-the-hill https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex/J. Willmot. Recorded, engineered and mixed at Silent Running Studios Exeter 1992. Remastered at Wud Records Studio One.

Copyright © 1992 Wud Records. Copyright ℗ 1992 D & G Music/Explicit Music.

Performers: Peter Greatorex – vocals George Davies – guitars, sequencing Jeff Willmot – bass, sequencing

SPOILER We knelt and prayed by the Walls of Wind Sinners that have lost the will to sin An army of the wild-eyed and the lost Itching with the truth and what it cost We looked through all the cracks in Heaven’s walls Mankind in there he looked so very small

We stood and walked to the Doors of Light Artists that have left their canvas white A sweet crowd of the haunted and the damned With knowledge of the Sea and of the Land. We looked through all the cracks in Heaven’s walls Mankind in there he looked so very small

We sat and talked with the Gods of Sound Fighters that have put their weapons down A regiment that’s fixed and now is free Blinded with the fact that we can see We looked through all the cracks in Heaven’s walls Mankind in there he looked so very small

We slept and thought of the Holy Ghost Sailors that dreamt only of the coast A navy of ships that had one name Captained by Fortune’s brother, Fame We looked through all the cracks in Heaven’s walls Mankind in there he looked so very small

Fun facts: This song is in the key of Dm. George plays the guitar parts on the Ice Maiden and the solo on Nicodemus. Jeff actually played his bass on this song. The rhythm track on the sequencer was used by Jeff for a great variety of strange remixes and subditties. Appropriately, the filename on the Atari was BEATS4IT.ALL! Spoiler in this sense is about e.g. reading the last page of a novel first, rather than e.g. assisting the aerodynamics of dodgy old hatchback.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/rage-in-heaven http://www.explicitmusic.co.uk/lyrics-information/dark-company/rage-in-heaven/spoiler https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex/J. Willmot. Recorded, engineered and mixed at Silent Running Studios Exeter 1992-3. Remastered at Wud Records Studio One.

Copyright © 1993 Wud Records. Copyright ℗ 1992 D & G Music/Explicit Music.

Performers: Peter Greatorex – vocals George Davies – guitars, sequencing Jeff Willmot – bass, sequencing

MEDICINES I can see that dark-set face Hands crawl by fingering fate Parsely, sage, rosary of time Herbs to heal the modern mind A wounded lover with a clockspring heart Hears not the Heavens only metal stars Drinks the liquor of certain flowers Is released from lust to count the hours There inside a secret garden There inside a secret garden

Night’s sweet hush is for us all No creeping thing is too small Wings and webs a mottled map Dawn will take the empties back A solo soldier with a gunmetal head Hears only the music of the marching dead Drinks the liquor of certain flowers Is released from lust to count the hours There inside a secret garden There inside a secret garden

Writhing vines climb the hill Where we stand so very still Columbine perfumed dark The whitest flowers an eternal spark A parish priest with a Bibled mouth Speaks unnoticed of God and Doubt Drinks the liquor of certain flowers Is released from lust to count the hours There inside a secret garden There inside a secret garden

Fun facts: This song is in the key of A#. George plays the guitar parts on the Ice Maiden. Jeff played his bassline into the S900. When Pete sang the melody to George for the first time it took him ages to decide which of the multitude of different possibilities to go with. There are two simultaneous guitar solos at the start of the song, both of which were recorded on the first take. Pete was initially sceptical about the whispered vocal. Various acoustic versions of this later appeared with the song transposed down to A. It was performed by The Bastard Sons of Dennis and Dr Watson and used as a teaching resource by George in his TEFL classes. Some of the bassdrum and snare parts were recorded by randomly bashing keys and then quantising. It produced some remarkably pleasing results.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.wudrecords.co.uk/artists/dark-company/rage-in-heaven http://www.explicitmusic.co.uk/lyrics-information/dark-company/rage-in-heaven/medicines https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex/B. Ballard/S. Malpas. Recorded, mixed and produced by George Davies at Silent Running Studios Exeter, Autumn 1991. Remastered at Wud Records Studios 2010.

Performers: Peter Greatorex – vocals George Davies – guitar, bass Simon Malpas – trumpet Ben Ballard – drums

THE JOKER I look out from this scratched and faded view Makeshift repairs instead of getting new Don’t you ever get tired of tracing all the wires Knowing that the switches won’t switch for you?

I work at the job that’s easiest, you see Paying rent instead of living free Don’t you wanna be bad instead of just being sad Finding out you can be you instead of me?

The Joker he stares proudly at the wall He can be who he wants to be But he don’t wanna ‘be’ at all He’s an empty Harlequin With colours growing dim And he struts about inside his little world

I keep up with the latest lines of talk So I can ride instead of having to walk Don’t you like the fashions that gotta little passion? Being daring takes an extra bit of thought

I sleep with one eye fixed upon the clock Waiting for the Reaper’s ghostly knock Don’t you keep the days checking which ones can stay Using them for your story’s clever plot?

The Joker he stares proudly at the wall He can be who he wants to be But he don’t wanna ‘be’ at all He’s an empty Harlequin With colours growing dim And he struts about inside his little world

Words by Peter Greatorex. Copyright (c) Wud Records 2010, (p) Pig Pen Music 1989.

This song is very closely related to Armed & Dangerous as they both share the same tune in the verses. George considered this tune-sharing conundrum a challenge and set about making this song and Armed & Dangerous appear to not be all that similar after all. The tempo is 138BPM and the key is Bm. This recording was never finished although we felt that it has a curious merit all of its own, despite a few musical blunders. Ben recorded the drums at the same time as George’s guide guitar track, which was played on the Ice Maiden. When Pete laid down a guide vocal track, Simon was rehearsing his trumpet parts in the background. If you listen carefully you can hear little snatches of his horn blowing occasionally in the background, and some of it is quite sweet. George then added a guide bass track on the Plank which in those days was tuned like any other bass. Even the click track makes an occasional appearance in the mix which has had trigger flange across the cymbals and liberal amounts of delays from the Quad. It is not certain why this was never finished.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.explicitmusic.co.uk/lyrics-information/dark-company/signmaker/the-joker https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex/J. Willmot/R. Holloway/M. Greatorex/G. Barbe. Recorded, mixed and produced by George Davies at Silent Running Studios Exeter, Autumn 1991. Remastered at Wud Records Studios 2010.

Performers: Peter Greatorex – vocals George Davies – guitars, Boss DR220A drum machine, organ, Wasp, samples Jeff Willmot – bass

CRASH No more candid picture shows Just soap bubble opera’s shallow glows They tell me it’s a story about my life To just ignore what I don’t like It’s so real I must live like that Script in my pocket and a ticket in my hat

We gotta stop We’re gonna crash Life is money you can’t pay back Life is money you can’t pay back

No more cracks in the temple walls Next week’s episode will save us all Your mirror becomes a TV tube What was reflection now is a view The face you see is not your own It spends its time in someone else’s home

We gotta stop We’re gonna crash Life is money you can’t pay back Life is money you can’t pay back

No more thoughts in a lazy way They scream from the glass: “We’ll make your day!” I believe it’s true because it’s on the screen But you can only see what they have seen We’re all plugged in to one beating heart Life don’t begin until the programme starts

We gotta stop We’re gonna crash Life is money you can’t pay back Life is money you can’t pay back

Words by Peter Greatorex. Copyright (c) Wud Records 2010, (p) Pig Pen Music 1990.

Essentially this song is identical to Crash except for one extra track of samples and some sounds from the Wasp on the reel-to-reel machine. All the samples were taken from the soundtrack of a single omnibus episode of Eastenders which was broadcast on British terrestrial TV during December 1991. The sampling was done using the Alesis Quadraverb Plus, which has a maximum sample length of just 1.55 seconds. This song was Alien Heat’s set opener, although sadly no recordings of the Alien Heat version still exist. The key for this is Bm, and when George went to entertain the folks of Plymouth with his acoustic guitar he used to play this sliced together with another Dark Company song called Ulysses (which later became an Ug Brothers song called Paperchase). This was the first song that Jeff played bass on for Dark Company. All the guitar dirt is natural Marshall overdrive. George had just had the thing revalved and spent around 45 minutes playing strictly feedback, until Pete appeared and asked him politely to stop. The guitar parts were recorded shortly after that. George and Richard wrote the organ part in George’s Haldon Road bedsit one day when Richard came to visit with his keyboards. Whatever contributions Marc and Graham made to the writing of this song are now lost in the mists of time, although they receive a small credit here nevertheless.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.explicitmusic.co.uk/lyrics-information/dark-company/signmaker/crash-eastenders-remix https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex/J. Willmot. Recorded, mixed and produced by George Davies at Silent Running Studios Exeter, Autumn 1991. Remastered at Wud Records Studios 2010.

Performers: Peter Greatorex – vocals, cigarette lighter, fast fret tin George Davies – guitar Jeff Willmot – bass

FUTURE SADNESS PAST Slow light, runway from the sun So right, time and times are done We must pay the price for fun Until we have Night Man on the run

Slow light, MacBeth witches’ brew Best seen from some distant view We know, do what you have to do It’s an icy night we must all live through

Now we rage against the cold sky Now we hate tomorrow Now we say we will try To kill the birds of sorrow To kill the birds of sorrow

Words by Peter Greatorex. Copyright (c) Wud Records 2010, (p) D & G Music 1991.

This song was written using just the two stringed instruments, an Alesis Quadraverb and a few pipes of some extraordinarily good gear. Although a few subsequent attempts were made to record this song using the reel-to-reel machines, this live version was by far the best. It is lifted straight off a rehearsal cassette on the day when it was written. George plays Nicodemus on this song for the beautiful icy ringing of the strings when played beyond the bridge and the nut. An acoustic version of this song emerged a few years after the original. It is based around an Em9 chord, exactly the same chord as the start of Ship to Shore. The tempo of this song is somewhere between 0.25 and 7 500 000 BPM. Mostly though it is 0 as there are no beats at all until Pete starts fiddling with his lighter by the mic and then tapping the Fast Fret tin, reminiscent of the clicking of dry bones echoing from inside a fog over the darkened River Styx.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.explicitmusic.co.uk/lyrics-information/dark-company/signmaker/future-sadness-past https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex. Recorded, mixed and produced by George Davies at Silent Running Studios Exeter, Autumn 1991. Remastered at Wud Records Studios 2010.

Performers: Peter Greatorex – vocals George Davies – guitars, bass, Boss DR55A drum machine, keys, Wasp Rowena Parsons – tenor sax, flute Sammi Lock - flute

ASTROLOGER The planets run their course and then Make signs we cannot read The stars of choice they got no voice Just wink and dumbly plead When dawnlight speaks from out the dark Of night’s grim cloak of ice All the telescopes of the scientists Don’t help them to be wise

And I hear rainbows climb the sky Coloured tears from Heaven’s eyes I taste sunlight’s yellow wine See black night fade back into time

Mystic men write words that flame To banish Satan’s lies The human race must join the chase Instead it just slips and slides On special days weird omens come Judged by blind-eyed priests But the tribes of man like grains of sand Pray only for release

And I hear rainbows climb the sky Coloured tears from Heaven’s eyes I taste sunlight’s yellow wine See black night fade back into time

The planets run their course and then Make signs we cannot read The stars of choice they got no voice Just wink and dumbly plead When dawnlight speaks from out the dark Of night’s grim cloak of ice All the telescopes of the scientists Don’t help them to be wise

And I hear rainbows climb the sky Coloured tears from Heaven’s eyes I taste sunlight’s yellow wine See black night fade back into time

Words by Peter Greatorex. Copyright (c) Wud Records 2010, (p) D & G Music 1991.

This song is in the key of E. When George wrote out the score for the sax parts, it had six sharps due to being in F# on the sax. Row was somewhat wide-eyed when she saw the score as concert E major is not the best key for tenor saxophone. The guitars were recorded straight into the desk. Although it worked fine on keys, the sax part in the choruses had too many notes to make sense, so every other one was dropped. Pete wrote the words for this during August 1991 whilst on holiday in Bexhill and informed George of its manifestation by postcard. This song is played at 112BPM. Chords for verses are E-Emaj7-Bm9-Bm7. Chords for choruses are Am7-B7-Am7-B7. The intro chords are E, Am, F#m11 and Bm11. Astrologer was later performed on the streets of Prague by Dr Watson and was also used by George during his English lessons when he worked as a TEFL teacher. An attempt was made at converting this song into a Cubase sequence a couple of years later, the results of which were a somewhat twee sounding ditty that could be a splendid theme tune for a TV programme for very young children. That particular arrangement of the song became one of the bonus tracks of the Signmaker album.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.explicitmusic.co.uk/lyrics-information/dark-company/signmaker/astrologer https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex/R. Parsons. Recorded, mixed and produced by George Davies at Silent Running Studios Exeter, Autumn 1991. Remastered at Wud Records Studios 2010.

Performers: Peter Greatorex – vocals George Davies – guitars, bass, Boss DR220A drum machine Rowena Parsons – tenor sax

KILLER Learning is a clock with only one hand Dreaming is a beach with speaking sands Knowledge is a vice that grips a man And Cain was a killer that didn’t understand

Wisdom is a yo-yo with a broken string Time is a bird that cannot sing And you can’t stop the rain with anything Except love

Wanting is a boat that doesn’t know the sea Needing is a pain that hurts to be free Waiting is a lock that doesn’t have no key And Cain was a killer that could have been me

Wisdom is a yo-yo with a broken string Time is a bird that cannot sing And you can’t stop the rain with anything Except love

War is a sore that won’t go away Night is a bruise on the skin of day Children are the reason that you say you’ll stay And Cain was a killer who got clean away

Wisdom is a yo-yo with a broken string Time is a bird that cannot sing And you can’t stop the rain with anything Except love

Teachers are people who shoot at sparks Lessons are knives that shine in the dark Sins are boats on the lake in the park And Cain was a killer right there at the start

Wisdom is a yo-yo with a broken string Time is a bird that cannot sing And you can’t stop the rain with anything Except love

Words by Peter Greatorex. Copyright (c) Wud Records 2010, (p) D & G Music 1991.

This song is in the key of Am. During the recording of the sax part, Row played a fabulous blort which caused much giggling and can be heard on the ‘out-takes and blorts’ page at Wud Records. Unfortunately much of the giggling cannot be heard. This was the very first Dark Company song that was completed. It received highly positive acclaim from the Guild of International Songwriters and Composers. Due to unfamiliarity with the gear, the DBX on the TSR8 was switched off for the recording, causing a most horrendous amount of hiss. This was later fixed with cunning use of noise gates and aural exciters. The song was written in August 1991 and is 110BPM. The guitars were recorded straight into the desk rather than using an amplifier.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.explicitmusic.co.uk/lyrics-information/dark-company/signmaker/killer https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex/S. Lock/J. Willmot. Recorded, mixed and produced by George Davies at Silent Running Studios Exeter, Autumn 1991. Remastered at Wud Records Studios 2010.

Performers: Peter Greatorex – vocals George Davies – electric and acoustic guitars, bass, Boss DR55A drum machine Sammi Lock – flute Jeff Willmot – soprano sax Rowena Parsons – tenor sax

ARMED & DANGEROUS In the circus there’s a uniform for fun The love they got is fired from clownish guns But it’s so dangerous Armed laughter changing us Warmed up with a yellow paper sun

Each act in line comes right in on cue Bringing our emotions into view And it’s so dangerous Armed laughter changing us Next time bring your mind along with you

There’s a pistol in my smile It shoots grins for miles and miles But look into my eyes The reflection’s saying goodbye

Outside the ring we sit and blankly stare Nobody but our own selves in the chair But it’s so dangerous Armed laughter changing us Close your eyes and no-one knows you’re there

With animals such tricks are neatly made They nod and wink in terminal parade It’s oh so dangerous Armed laughter changing us Into their souls we think we can invade

There’s a pistol in my smile It shoots grins for miles and miles But look into my eyes The reflection’s saying goodbye

Words by Peter Greatorex. Copyright (c) Wud Records 2010, (p) D & G Music 1990.

This song is very closely related to The Joker as they both share the same tune in the verses. George considered this tune-sharing conundrum a challenge and set about making this song and The Joker appear to not be all that similar after all. The original guitar parts came from a groove that George wrote whilst living in Plymouth. The tempo is 150BPM. When Sammi first heard this song, she sat and thought for a moment, then suddenly said: “I think here it should go like this,” and played the instrumental flute parts. During this recording we discovered that giggling and playing the flute are reasonably incompatible activities due to one’s inability to form the correct shape with one’s lips to blow anything resembling music from the silvery pipe. It took three or four weeks of visits and prolonged outbreaks of the giggles all round before Sammi finally nailed the parts. This was the most joyously memorable aspect of the entire recording of the Signmaker album. The 12-string was made by Melody. George acquired it by swapping a pair of jeans with ripped knees for it, a deal with which he was most chuffed. Some years later the guitar was destroyed by the boot of a drunken Satan’s Slave at an Ug Brothers after-show party (harumph). Jeff borrowed the soprano sax from Chrissie and recorded his parts before becoming a more permanent Dark Company member. The bass for Armed & Dangerous had already been recorded when he arrived. Guitars were plugged straight into the desk. George used the lyrics for this song in a fiendishly difficult English lesson when working as a TEFL teacher. When he ran seminars for other TEFL teachers on The Use of Music in the Classroom he would set the lesson’s tasks to groups of teachers, and even they would struggle with it. Pete wrote this song about the circus and enforced jolliness. George felt that it was about the unwanted and resented child whose role in life was to be its parent’s performing monkey, e.g. “aren’t I clever because isn’t my little Johnny clever”. To correctly spell the title of this song, an ampersand must be used. George and Jeff each produced a dub remix of this song, available as bonus tracks. Thus it came about that the ampersand would be used for & co, the remixing arm of the Dark Company project.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.explicitmusic.co.uk/lyrics-information/dark-company/signmaker/armed-dangerous https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex/J. Willmot/R. Holloway/M. Greatorex/G. Barbe. Recorded, mixed and produced by George Davies at Silent Running Studios Exeter, Autumn 1991. Remastered at Wud Records Studios 2010.

Performers: Peter Greatorex – vocals George Davies – guitars, Boss DR220A drum machine, organ, Wasp Jeff Willmot – bass

CRASH No more candid picture shows Just soap bubble opera’s shallow glows They tell me it’s a story about my life To just ignore what I don’t like It’s so real I must live like that Script in my pocket and a ticket in my hat

We gotta stop We’re gonna crash Life is money you can’t pay back Life is money you can’t pay back

No more cracks in the temple walls Next week’s episode will save us all Your mirror becomes a TV tube What was reflection now is a view The face you see is not your own It spends its time in someone else’s home

We gotta stop We’re gonna crash Life is money you can’t pay back Life is money you can’t pay back

No more thoughts in a lazy way They scream from the glass: “We’ll make your day!” I believe it’s true because it’s on the screen But you can only see what they have seen We’re all plugged in to one beating heart Life don’t begin until the programme starts

We gotta stop We’re gonna crash Life is money you can’t pay back Life is money you can’t pay back

Words by Peter Greatorex. Copyright (c) Wud Records 2010, (p) Pig Pen Music 1990.

This song was Alien Heat’s set opener, although sadly no recordings of the Alien Heat version still exist. The key for this is Bm, and when George went to entertain the folks of Plymouth with his acoustic guitar he used to play this sliced together with another Dark Company song called Ulysses (which later became an Ug Brothers song called Paperchase). This was the first song that Jeff played bass on for Dark Company. All the guitar dirt is natural Marshall overdrive. George had just had the thing revalved and spent around 45 minutes playing strictly feedback, until Pete appeared and asked him politely to stop as the neighbours were having palpitations. The guitar parts were recorded shortly after that. George and Richard wrote the organ part in George’s Haldon Road bedsit one day when Richard came to visit with his keyboards. Whatever contributions Marc and Graham made to the writing of this song are now lost in the mists of time, although they receive a small credit here nevertheless.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.explicitmusic.co.uk/lyrics-information/dark-company/signmaker/crash https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

"Crash sounds like the Who, Talking Heads and Yes all jamming together." - https://twitter.com/prosperousmu

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Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex. Recorded, mixed and produced by George Davies at Silent Running Studios Exeter, Autumn 1991. Remastered at Wud Records Studios 2010.

Performers: Peter Greatorex – vocals, harmonica George Davies – guitars, bass, Boss DR55A drum machine

ANIMAL HOUSE I don’t truck no garden stones Ain’t got a lawn full of little old gnomes Don’t grow roses round my gate No alarm clock rings cos I sleep real late Savings and loan sharks aren’t for me Ain’t got a boat floating on the sea All I wanna do is just be me

I ain’t got a number two car Ain’t even bought the first so far Watching TV I don’t get to do Ain’t got a tube in my room with a view Don’t whack balls with a little bitty stick Only drink brandy when I’m sick You can call me slow but don’t call me thick

Habitat furniture ain’t got in my home Telephone table’s no good with no phone Suits and ties from the charity store I help the aged more and more First class travel means you’re keeping dry My hotel roof is a piece of sky And it ain’t no good to ask me why And it ain’t no good to ask me why And it ain’t no good to ask me why And it ain’t no good to ask me why

Words by Peter Greatorex. Copyright (c) Wud Records 2010, (p) D & G Music 1989.

This song is in the key of E. In order to produce the ‘banjo’ effect, George tied a soft cloth around the strings of Nicodemus and pushed the cloth right up to the bridge to kill all the sustain. Don Wills played a track of slide guitar that was not used in the final mix. The slide guitar track that was used was recorded on Marcus’s Arbiter guitar which had a particularly high action. This instrument was tuned to an open D major chord. All the guitars were plugged straight into the desk. Originally this song was going to be an Alien Heat song but the band never managed to get around to it. The main riff in the intro is stolen from a song that George wrote about a girlfriend who caused him disgruntlement. In order to squeeze all the drum beats that were needed into this song, the drum machine had to be run at 214BPM, although the true tempo is probably nearer 107BPM.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.explicitmusic.co.uk/lyrics-information/dark-company/signmaker/animal-house https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Lyrics by P. Greatorex. Music by G. Davies/P. Greatorex. Recorded, mixed and produced by George Davies at Silent Running Studios Exeter, Autumn 1991. Remastered at Wud Records Studios 2010.

Performers: Peter Greatorex – vocals, harmonica George Davies – guitars, bass, Boss DR55A drum machine, Wasp

SECOND SIGHT Suicide swords of Samurai awarded for mistakes Give blessed absolution if you’ve got what it takes Certain kinds of solitude with memories are fused Valleys filled with shadows will dream up an excuse

He’s a charismatic man He’s a Judas in a can He’s a pocket-prophet poppet With dreams made out of sand

Jagged edge of jealousy, green-eyed prize of hate Grants a spiky shelter that mustn’t go to waste And the weapons of the warriors, priceless with their pain Make cutting out a heart an easy change of game

He’s a charismatic man He’s a Judas in a can He’s a pocket-prophet poppet With dreams made out of sand

Charismatic man, Judas in a can Charismatic man, Judas in a can

The labours of great Hercules weigh down many books Blindness to their meaning is no excuse not to look In ancient days a shaman made a watch out of the sun These days more important that he knows how to use a gun

He’s a charismatic man He’s a Judas in a can He’s a pocket-prophet poppet With dreams made out of sand

Words by Peter Greatorex. Copyright (c) Wud Records 2010, (p) D & G Music 1991.

The lyrics for this song were written in September 1991. The key is Cm and the tempo is 116BPM. This song was the second song that Dark Company finished recording. Along with Killer this song received highly positive acclaim from the Guild of International Songwriters and Composers. The original guitar solo had a few more pauses in it but Pete and Row preferred it to be full on, so outvoted, George re-recorded it and made unspeakable mutterings. It was during the recording of this song that we discovered how unreliable the timekeeping of the Wasp’s random sample hold function was. Pete did a fantastic job on the harmonica.

See also: http://www.wudrecords.co.uk/artists/dark-company http://www.explicitmusic.co.uk/lyrics-information/dark-company/signmaker/second-sight https://twitter.com/Dark_Company https://www.facebook.com/Dark-Company-154909774522910/ https://twitter.com/WudRecords

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Capital City Hero by Watershed, from Watershed Live at The Cooperage 24/12/1990.

Written by Al Shalliker. Copyright (c) Al Shalliker 1990.

WATERSHED Jo Atkins – vocals, percussion Mark Flack – bass Dave Gregory – Fender Rhodes, keys Tony Gullis – drums, percussion Al Shalliker – guitars, vocals Steve Smallwood – sound

This is a bootleg recording of the fabulous Plymouth reggae ensemble known as Watershed. This mix may have come straight off the desk as they were inclined to roll that way. The low hum from the cassette machine is somewhat ghastly, but the band mask it when they are playing.

As this is from a live performance, we left some of the gribulage between songs so you could get a flavour of the band. You might even be able to remember where you were and what you were dong on the night in question. Al, the main songwriter and guitarist, and Jo on vocals and percussion, were both highly charismatic individuals and the band always seemed to have a great rapport with the crowd wherever they played.

These are the last five tracks that the band played that night. The rest of the show was on another 90-minute cassette which was sadly stolen by someone who also loved Watershed’s music many years ago, so we no longer have that in our archives. Songs on that cassette included Judgement Level, Back Page Rage, It’s Not Yours, Saddest Letter, Purple Town, Fashion Conscious and some others.

See also: http://www.wudrecords.co.uk/archives/watershed http://www.wudrecords.co.uk/archives/watershed/live-cooperage-24121990 https://www.youtube.com/watch?v=13DknmiCstM https://www.youtube.com/watch?v=2slWp3l4WP4 https://myspace.com/watershedplymouth http://www.bandmine.com/watershedplymouth http://plymouthlivemusic.yolasite.com/past-bands.php

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I'll Take You With Me When I Go by Watershed, from Watershed Live at The Cooperage 24/12/1990.

Written by Al Shalliker. Copyright (c) Al Shalliker 1990.

WATERSHED Jo Atkins – vocals, percussion Mark Flack – bass Dave Gregory – Fender Rhodes, keys Tony Gullis – drums, percussion Al Shalliker – guitars, vocals Steve Smallwood – sound

This is a bootleg recording of the fabulous Plymouth reggae ensemble known as Watershed. This mix may have come straight off the desk as they were inclined to roll that way. The low hum from the cassette machine is somewhat ghastly, but the band mask it when they are playing.

As this is from a live performance, we left some of the gribulage between songs so you could get a flavour of the band. You might even be able to remember where you were and what you were dong on the night in question. Al, the main songwriter and guitarist, and Jo on vocals and percussion, were both highly charismatic individuals and the band always seemed to have a great rapport with the crowd wherever they played.

These are the last five tracks that the band played that night. The rest of the show was on another 90-minute cassette which was sadly stolen by someone who also loved Watershed’s music many years ago, so we no longer have that in our archives. Songs on that cassette included Judgement Level, Back Page Rage, It’s Not Yours, Saddest Letter, Purple Town, Fashion Conscious and some others.

See also: http://www.wudrecords.co.uk/archives/watershed http://www.wudrecords.co.uk/archives/watershed/live-cooperage-24121990 https://www.youtube.com/watch?v=13DknmiCstM https://www.youtube.com/watch?v=2slWp3l4WP4 https://myspace.com/watershedplymouth http://www.bandmine.com/watershedplymouth http://plymouthlivemusic.yolasite.com/past-bands.php

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Friendship and Life by Watershed, from Watershed Live at The Cooperage 24/12/1990.

Written by Al Shalliker. Copyright (c) Al Shalliker 1990.

WATERSHED Jo Atkins – vocals, percussion Mark Flack – bass Dave Gregory – Fender Rhodes, keys Tony Gullis – drums, percussion Al Shalliker – guitars, vocals Steve Smallwood – sound

This is a bootleg recording of the fabulous Plymouth reggae ensemble known as Watershed. This mix may have come straight off the desk as they were inclined to roll that way. The low hum from the cassette machine is somewhat ghastly, but the band mask it when they are playing.

As this is from a live performance, we left some of the gribulage between songs so you could get a flavour of the band. You might even be able to remember where you were and what you were dong on the night in question. Al, the main songwriter and guitarist, and Jo on vocals and percussion, were both highly charismatic individuals and the band always seemed to have a great rapport with the crowd wherever they played.

These are the last five tracks that the band played that night. The rest of the show was on another 90-minute cassette which was sadly stolen by someone who also loved Watershed’s music many years ago, so we no longer have that in our archives. Songs on that cassette included Judgement Level, Back Page Rage, It’s Not Yours, Saddest Letter, Purple Town, Fashion Conscious and some others.

See also: http://www.wudrecords.co.uk/archives/watershed http://www.wudrecords.co.uk/archives/watershed/live-cooperage-24121990 https://www.youtube.com/watch?v=13DknmiCstM https://www.youtube.com/watch?v=2slWp3l4WP4 https://myspace.com/watershedplymouth http://www.bandmine.com/watershedplymouth http://plymouthlivemusic.yolasite.com/past-bands.php

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Money'll Squeeze You by Watershed, from Watershed Live at The Cooperage 24/12/1990.

Written by Al Shalliker. Copyright (c) Al Shalliker 1990.

WATERSHED Jo Atkins – vocals, percussion Mark Flack – bass Dave Gregory – Fender Rhodes, keys Tony Gullis – drums, percussion Al Shalliker – guitars, vocals Steve Smallwood – sound

This is a bootleg recording of the fabulous Plymouth reggae ensemble known as Watershed. This mix may have come straight off the desk as they were inclined to roll that way. The low hum from the cassette machine is somewhat ghastly, but the band mask it when they are playing.

As this is from a live performance, we left some of the gribulage between songs so you could get a flavour of the band. You might even be able to remember where you were and what you were dong on the night in question. Al, the main songwriter and guitarist, and Jo on vocals and percussion, were both highly charismatic individuals and the band always seemed to have a great rapport with the crowd wherever they played.

These are the last five tracks that the band played that night. The rest of the show was on another 90-minute cassette which was sadly stolen by someone who also loved Watershed’s music many years ago, so we no longer have that in our archives. Songs on that cassette included Judgement Level, Back Page Rage, It’s Not Yours, Saddest Letter, Purple Town, Fashion Conscious and some others.

See also: http://www.wudrecords.co.uk/archives/watershed http://www.wudrecords.co.uk/archives/watershed/live-cooperage-24121990 https://www.youtube.com/watch?v=13DknmiCstM https://www.youtube.com/watch?v=2slWp3l4WP4 https://myspace.com/watershedplymouth http://www.bandmine.com/watershedplymouth http://plymouthlivemusic.yolasite.com/past-bands.php

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Recorded at Red Rug studios, Torquay, by Jake Klosin, Spring 1990 Lyrics by P. Greatorex Music by P.Greatorex/G.Davies/R.Holloway/M.Greatorex/G.Barbe

Performers: Speedy Pete Greatorex – vocals George Davies – guitar, vocals Richard Holloway – keys, vocals Marc Greatorex – bass, vocals Graham Barbe – drums, vocals

ODD Cessie was a bad girl She took more than she need She took her drugs as a body rub And gave birth to violent seeds She’d greet the dawn with a stifled yawn And looked in without a key

Odd, odd, oddity She was some oddity Odd, odd, oddity She was some oddity

Cessie was some party poop She always blew the lites She used the mains as a terminal drain And got the boys to fight And for lust she peaked on any stuff That gave her second sight

Odd, odd, oddity She was some oddity Odd, odd, oddity She was some oddity

Cessie was a metal maid A sad heart armoured star Sealed up in a mess of tin She said “So few, so fast, so far!” She walked around with a store-bought frown Got a chauffeur but no car

Odd, odd, oddity She was some oddity Odd, odd, oddity She was some oddity

Odd, odd, oddity She was some oddity Odd, odd, oddity She was some oddity Odd, odd, oddity She was some oddity Odd, odd, oddity She was some oddity Odd, odd, oddity She was some oddity Odd, odd, oddity She was some oddity

Cessie was a bad girl She took more than she need She took her drugs as a body rub And gave birth to violent seeds She’d greet the dawn with a stifled yawn And looked in without a key

Odd, odd, oddity She was some oddity Odd, odd, oddity She was some oddity

Pressurised, ionised, certified and more Madonna face without the grace With the kiss-me clothes she wore Sanitised, sanforised, polarised for war The human race is not her case She won’t tell you what she saw

Pressurised, ionised, pressurised, ionised Pressurised, ionised, pressurised, ionised Pressurised, ionised, pressurised, ionised Pressurised, ionised, pressurised, ionised

Words by Peter Greatorex. Copyright (p) Pig Pen Music 1989, (c) Wud Records 1990.

This song is in the key of A minor. Occasionally it goes to G, but not for long and not too often. According to Pete, this song is about a scarf he used to own. Hmmm… The guitar riff at the beginning is played around the 12th fret. The guitar riff near the end is also played around the 12th fret and is Am7, Am13, Am7, Am6. Marc’s bassline is largely mysterious and impossible to play for other humans. Richard uses a Yamaha DX7 and invented all the sounds you hear himself. During the long chorus where everybody yells a line, Pete goes first, then George, then Richard, then Marc, then Graham, then everyone.

http://www.wudrecords.co.uk/artists/alien-heat/red-rug-demo http://www.explicitmusic.co.uk/lyrics-information/alien-heat/red-rug-demo/odd https://wudrecords.bandcamp.com/album/red-rug-demo https://twitter.com/WudRecords

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Recorded at Red Rug studios, Torquay, by Jake Klosin, Spring 1990 Lyrics by P. Greatorex Music by P.Greatorex/G.Davies/R.Holloway/M.Greatorex/G.Barbe

Performers: Speedy Pete Greatorex – vocals George Davies – guitar Richard Holloway – keys Marc Greatorex – bass Graham Barbe – drums

BADASS BOOGIE I got backlash action Make a living staring at walls Need rock’n’roll for my poor soul Go funkin’ round the floor

I got high-heeled sneakers High-ride blues for boots Need love and stuff to make me tough Gonna go back to my roots

I ain’t Peaceful Patti Gonna fire up my rocket car Go bustin’ down the freeway Makin’ like a movie star Them dude-ranch hicks can’t get my kicks Take the whiskey from my jar It’s all backlash action, black flash action Gonna shine like a shooting star

I got freeze frame dinners Use my TV for a tub I need rhythm and blues and blue suede shoes And alcohol, massage and rub

I got speeding tickets Lost my job down out the store Need a rolling stone so the moss don’t grow And I can jive right out the door

I ain’t Peaceful Patti Gonna fire up my rocket car Go bustin’ down the freeway Makin’ like a movie star Them dude-ranch hicks can’t get my kicks Take the whiskey from my jar It’s all backlash action, black flash action Gonna shine like a shooting star

I ain’t Peaceful Patti Gonna fire up my rocket car Go bustin’ down the freeway Makin’ like a movie star Them dude-ranch hicks can’t get my kicks Take the whiskey from my jar It’s all backlash action, black flash action Gonna shine like a shooting star

Words by Peter Greatorex. Copyright (p) Pig Pen Music 1989, (c) Wud Records 1990.

This song is partly in the key of E and partly in the key of F#m. This was the second song by Alien Heat and the earliest surviving one. The guitar parts were written last and make little sense if the song is played with just guitar and voice. Graham and Marc wanted to play a drum’n'bass solo, so there is one of sorts in this. It would appear that the guide guitar track remained in the final mix. All the keyboard sounds were created by Richard from scratch on the DX7. Marc plays his Aria bass and George plays Nicodemus.

http://www.wudrecords.co.uk/artists/alien-heat/red-rug-demo http://www.explicitmusic.co.uk/lyrics-information/alien-heat/red-rug-demo/badass-boogie https://wudrecords.bandcamp.com/album/red-rug-demo https://twitter.com/WudRecords

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Recorded at Red Rug studios, Torquay, by Jake Klosin, Spring 1990 Lyrics by P. Greatorex Music by P.Greatorex/G.Davies/R.Holloway/M.Greatorex/G.Barbe

Performers: Speedy Pete Greatorex – vocals George Davies – guitar Richard Holloway – keys Marc Greatorex – bass Graham Barbe – drums

ABNORMAL Have you got a compass Do you know where you are Starless and Bible Black But you hear guitars Light years away but they’re there And I can tell you where Where, where, where

Have you got a problem With finding the sun Heart stopped and blinded Hearing melodies run Light years away but they’re there And I can show you where Where, where, where

Abnormal, unforgivingly Already warmed up We’ve come to set you free But there is a payment for reality Unless you wanna wait For Hell to freeze

Will you want a pilot Will you want a fast plane Ground-bound and lonely Chained to a refrain Light years away but it’s there And I can show you where Where, where, where

Will you sign agreement Will you pay for your soul Godless and friendless Down on Echo Road Light years away but I’m there And I can tell you where Where, where, where

Abnormal, unforgivingly Already warmed up We’ve come to set you free But there is a payment for reality Unless you wanna wait For Hell to freeze

Words by Peter Greatorex. Copyright (p) Pig Pen Music 1989, (c) Wud Records 1990.

This song is in the key of F#m. It has two chords, the other being Em. The band wrote this song in Pete’s bedroom in Topsham Road, Exeter during a cold wet November afternoon in 1989. Richard’s original keyboard parts were written on a Yamaha keyboard with tiny keys and 100 sounds that were all virtually the same. George plays the Ice Maiden on this song. During rehearsals, Pete would try his best to climb inside George’s Marshall cab during the feedback towards the end of the solo. The tempo of this song is 124BPM. Richard felt that Pete had written the words for George.

http://www.wudrecords.co.uk/artists/alien-heat/red-rug-demo http://www.explicitmusic.co.uk/lyrics-information/alien-heat/red-rug-demo/abnormal https://wudrecords.bandcamp.com/album/red-rug-demo https://twitter.com/WudRecords

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Recorded at Red Rug studios, Torquay, by Jake Klosin, Spring 1990 Lyrics by P. Greatorex Music by P.Greatorex/G.Davies/R.Holloway/M.Greatorex/G.Barbe

Performers: Speedy Pete Greatorex – vocals George Davies – guitar Richard Holloway – keys Marc Greatorex – bass Graham Barbe – drums

JIGSAW When time walks by in my best shoes I know I’ve got to race Don’t like morning’s newspaper news Oh mirror, give me a face With a daytime job like the third world war If I ain’t in the factory you know I’m in the store And I’m out of place

Just want the notes of a rhythm machine My friend’s inside the sound I shave and wash to keep me squeaky clean Friday come around I wish I’d find a reason for tomorrow being there Cos I got no ambition and I really don’t care It’s all upside down

It’s so weird just being here Dreamlines sometimes make it clear Common sense is nonsense and a life of fear I got no solution to the world’s intrusion I got no solution, no mix, no kicks, no fusion

Find me a lover in the neon nite You know, a girl for me! But all the women stand so bright and tight And I’m so loose and free With a four star heart like a junkyard fence And a rollerskate mind that don’t make no sense Can this really be?

I want a recipe for reality It ain’t asking much But all I get is entropy No loving touch Gotta smile the while while I’m slaving here They say go far but what I want is near And that’s enough

It’s so weird just being here Dreamlines sometimes make it clear Common sense is nonsense and a life of fear I got no solution to the world’s intrusion I got no solution, no mix, no kicks, no fusion

Words by Peter Greatorex. Copyright (p) Pig Pen Music 1989, (c) Wud Records 1990.

When this recording was made, the band did a dummy run to check everything before recording the actual track that you hear. Both versions were exactly the same length to the second, which impressed Jake the engineer greatly. This song is in the key of G#m and much of the music comes from the voice and Marc’s bass melody. George plays the guitar parts on Nicodemus. Verses are mostly G#m and D#m, and between verses the chords are C#m and D#m. Before the choruses the chords are C#m, A and G#m. Choruses are mostly G#m and E. Richard and George felt that this song was written about Marc. The tempo of this song is 134BPM.

http://www.wudrecords.co.uk/artists/alien-heat/red-rug-demo http://www.explicitmusic.co.uk/lyrics-information/alien-heat/red-rug-demo/jigsaw https://wudrecords.bandcamp.com/album/red-rug-demo https://twitter.com/WudRecords

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Recorded at Red Rug studios, Torquay, by Jake Klosin, Spring 1990 Lyrics by P. Greatorex Music by P.Greatorex/G.Davies/R.Holloway/M.Greatorex/G.Barbe

Performers: Speedy Pete Greatorex – vocals George Davies – guitar Richard Holloway – keys Marc Greatorex – bass Graham Barbe – drums

ASYLUM CHILD Dangerous decision to think before you talk Might find you’re saying something and making people bored Listen to the airwaves, gibberish is king Communication breakdown don’t mean a god-damn thing

Thinking is like blinking with soap upon your eye It hurts like hell when you do it first but you surely will not die Read a paper, see the news, the facts are there to see If that’s the case I wanna leave, this place is not for me

Confusion – wait, wait a minute Delusion is gripping us with its force Using blindness as its source Fusion is hot-wired up to talk It’s hot-wired up to talk

Can’t afford to breathe the air I can’t afford the fare God is in the biggest bank And we’re happy with him there Can’t afford to breathe the air I can’t afford the fare God is in the biggest bank His money’s everywhere

There is a secret garden but we’ve forgotten how to look We’re ace in space and swapping hearts, we’re taught to cook the books Money jungle, first-fuck fumble, do everything in cars The sheriff is shot, we bombed the lot, we can’t eat but we can go to Mars

Test tube life new recipe technology disease The joke’s on us, we missed the bus, there ain’t no money in peace Dangerous decision to think before you talk Might find you’re saying something and making people bored

Confusion – wait, wait a minute Delusion is gripping us with its force Using blindness as its source Fusion is hot-wired up to talk It’s hot-wired up to talk

Can’t afford to breathe the air I can’t afford the fare God is in the biggest bank And we’re happy with him there Can’t afford to breathe the air I can’t afford the fare God is in the biggest bank His money’s everywhere

Words by Peter Greatorex. Copyright (p) Pig Pen Music 1989, (c) Wud Records 1990.

This song is in the key of C#m and is 120BPM. The main riff is C#m, B, F#m, A. The song was written around the vocals, bass and keys. “We can’t eat but we can go to Mars” is two beats. “Peace” is a word that when sung sounds like “Peas”. “There ain’t no money in peas” was confirmed by a Watershed song, which told us “Sell your peas with a share certificate.” Andy once accidently sang “Fist-fuck fumble” instead of “First-fuck fumble”. Pete wrote out the original lyric sheet and included every ‘yeh’ in the song. “Thinking is like blinking with soap upon your eye, It hurts like hell when you do it first but you surely will not die” remains to this day a favourite lyric of the Explicit Music team. Some of the string sounds were from the Red Rug synths, the other keyboard sounds Richard invented himself. George plays the guitar parts on Nicodemus.

http://www.wudrecords.co.uk/artists/alien-heat/red-rug-demo http://www.explicitmusic.co.uk/lyrics-information/alien-heat/red-rug-demo/asylum-child https://wudrecords.bandcamp.com/album/red-rug-demo https://twitter.com/WudRecords

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Recorded at Red Rug studios, Torquay, by Jake Klosin, Spring 1990 Lyrics by P. Greatorex Music by P.Greatorex/G.Davies/R.Holloway/M.Greatorex/G.Barbe

Performers: Speedy Pete Greatorex – vocals George Davies – guitar Richard Holloway – keys Marc Greatorex – bass Graham Barbe – drums

SHIP TO SHORE Into the setting sun they sailed As brave as brave can be And across the world they went In boats upon the sea And with distant eyes they looked But they never did see me On this we all agree On this we all agree

With a night light flashing by the sea Sailors went there by twos and by threes I am a captain and I can’t drown Living neatly on white wave sound On this we all agree

With a bright light arcing across the dark Sailors went there steering by the stars I’ll be a bad man but I won’t steal No more than I can take away with me On this we all agree

In the sunset water turning to sky Sailors went there leaving by and by I am a black knight but I am so good Put all the pieces back wherever I should On this we all agree

On the reef rock shellfish gather and die Sailors went there telescopes to eyes I am a wizard but I’m misunderstood I’d like to be a pilot, oh really I would On this we all agree

On the ocean sleeping in the wind Sailors went there to forget their sins I am a soul man and I can keep The sounds of Heaven where the waters meet On this we all agree

Words by Peter Greatorex. Copyright (p) Pig Pen Music 1989, (c) Wud Records 1990.

This song is in the key of Em and the tempo in 128BPM. It was a real collective favourite of Alien Heat. The guitar parts are played on the Ice Maiden. The intro is mostly Em9 and Bm11. The verses are Em and Bm, and at the end they go to G, F#m11 and Bm11. The keyboard solo is based around a G, F#m, Bm riff. Before the keyboard solo and at the end of the song there is a section that goes G, F#, F, Em7, Cm7, Em7, Cm7. The song usually began with the cry: “Cue The Noise!” as Richard started the number with a huge sound that he created himself on the DX7. There were many great moments of inspiration from all five band members that led to this song being the way it is. Even after two decades, the Explicit Music team believe these lyrics are still some of Pete’s finest.

http://www.wudrecords.co.uk/artists/alien-heat/red-rug-demo http://www.explicitmusic.co.uk/lyrics-information/alien-heat/red-rug-demo/ship-to-shore https://wudrecords.bandcamp.com/album/red-rug-demo https://twitter.com/WudRecords

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Lyrics: P. Greatorex Music: P.Greatorex/G.Davies/R.Holloway/M.Greatorex/G.Barbe Recorded at Bandspace, Exeter

Performers: Peter Greatorex – vocals George Davies – guitar Richard Holloway – keys Marc Greatorex – bass Graham Barbe – drums

DANCIN’ IN THE DARK Dancin’ in the dark Watching all the sparks of heavy sound Pressed up to the nite Waiting for the lite, waiting for the lite Waiting for the lite to hit the ground

Walkin’ down the street Soaking up the heat of Blue Soul Sound Pressed up to the nite Waiting for the lite, waiting for the lite Waiting for the lite to hit the ground

I gotta hear, I gotta see I gotta set the rhythm free Got to, got to, got to get around Got to get around, get around

Gotta get around Put my soul into the sound Gotta hear, gotta see Gotta set the rhythm free Gotta feel, gotta be Got my own reality Gotta funk out to the baddest sound around

Yeah, I’m dancin’ in the dark Watching all the sparks Watching all the sparks get around Watching all the sparks of heavy sound Get around, get around

Words by Peter Greatorex. Copyright (c) Wud Records 1990, (p) Pig Pen Music 1989.

This song is mostly in the key of Bm. The guitar parts are played on the Ice Maiden. This was the song where Graham played a drum solo, during which the rest of the band would roll and light cigarettes before he brought them back in with a big drumroll.

See also: http://www.wudrecords.co.uk/artists/alien-heat/essential http://www.explicitmusic.co.uk/lyrics-information/alien-heat/essential/dancin-in-the-dark https://wudrecords.bandcamp.com/album/essential https://twitter.com/WudRecords

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Lyrics: P. Greatorex Music: P.Greatorex/G.Davies/R.Holloway/M.Greatorex/G.Barbe Recorded at Bandspace, Exeter

Performers: Peter Greatorex – vocals George Davies – guitar Richard Holloway – keys Marc Greatorex – bass Graham Barbe – drums

WONDERLUST Wandered down a hard road Just to see where it would go Came upon a bad man Living in a sad land I listened as he whispered How he hadn’t prospered Waited while he mumbled About his daily fear

Struggled up a steep hill Where the sky looked so ill Bird inside a white cage Said the world was my stage I listened as he spoke low Saying with him it wasn’t so Waited while he sang there About his daily fear

Is it any wonder Deafened by the thunder Blinded by the bright light From stars without number Break free, breaking free You’ll do it, you’ll see Break free, breaking free First for you, then for me

Slipped into a dark place Thought I’d buy a new face Found a dark-eyed lady Said she couldn’t save me I listened as she rambled About how it’s wrong to gamble Then waited while she shouted About her daily fear

Drove on down a freeway Thought at the end I could stay Read out on a roadsign I was on the right line Watched it as it hung there Seeming not to really care Waited while it added words About its daily fear

Is it any wonder Deafened by the thunder Blinded by the bright light From stars without number Break free, breaking free You’ll do it, you’ll see Break free, breaking free First for you, then for me

Words by Peter Greatorex. Copyright (c) Wud Records 1990, (p) Pig Pen Music 1989.

George plays the guitar parts on the Ice Maiden and during the verses are largely a harmony to the vocal melody. Choruses are mostly E and F. The music for this song was mostly created in Pete’s garage on Topsham Road on January 31st 1990, George’s 24th birthday.

See also: http://www.wudrecords.co.uk/artists/alien-heat/essential http://www.explicitmusic.co.uk/lyrics-information/alien-heat/essential/wonderlust https://wudrecords.bandcamp.com/album/essential https://twitter.com/WudRecords

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Lyrics: P. Greatorex Music: P.Greatorex/G.Davies/R.Holloway/M.Greatorex/G.Barbe Recorded at Bandspace, Exeter

Performers: Peter Greatorex – vocals George Davies – guitar, vocals Richard Holloway – keys, vocals Marc Greatorex – bass, vocals Graham Barbe – drums, vocals

ODD Cessie was a bad girl She took more than she need She took her drugs as a body rub And gave birth to violent seeds She’d greet the dawn with a stifled yawn And looked in without a key

Odd, odd, oddity She was some oddity Odd, odd, oddity She was some oddity

Cessie was some party poop She always blew the lites She used the mains as a terminal drain And got the boys to fight And for lust she peaked on any stuff That gave her second sight

Odd, odd, oddity She was some oddity Odd, odd, oddity She was some oddity

Cessie was a metal maid A sad heart armoured star Sealed up in a mess of tin She said “So few, so fast, so far!” She walked around with a store-bought frown Got a chauffeur but no car

Odd, odd, oddity She was some oddity Odd, odd, oddity She was some oddity

Odd, odd, oddity She was some oddity Odd, odd, oddity She was some oddity Odd, odd, oddity She was some oddity Odd, odd, oddity She was some oddity Odd, odd, oddity She was some oddity Odd, odd, oddity She was some oddity

Cessie was a bad girl She took more than she need She took her drugs as a body rub And gave birth to violent seeds She’d greet the dawn with a stifled yawn And looked in without a key

Odd, odd, oddity She was some oddity Odd, odd, oddity She was some oddity

Pressurised, ionised, certified and more Madonna face without the grace With the kiss-me clothes she wore Sanitised, sanforised, polarised for war The human race is not her case She won’t tell you what she saw

Pressurised, ionised, pressurised, ionised Pressurised, ionised, pressurised, ionised Pressurised, ionised, pressurised, ionised Pressurised, ionised, pressurised, ionised

Words by Peter Greatorex. Copyright (c) Wud Records 1990, (p) Pig Pen Music 1989.

This song is in the key of A minor. Occasionally it goes to G, but not for long and not too often. According to Pete, this song is about a scarf he used to own. Hmmm… The guitar riff at the beginning is played around the 12th fret. The guitar riff near the end is also played around the 12th fret and is Am7, Am13, Am7, Am6. Marc’s bassline is largely mysterious and impossible to play for other humans. Richard uses a Yamaha DX7 and invented all the sounds you hear himself. During the long chorus where everybody yells a line, Pete goes first, then George, then Richard, then Marc, then Graham, then everyone.

See also: http://www.wudrecords.co.uk/artists/alien-heat/essential http://www.explicitmusic.co.uk/lyrics-information/alien-heat/essential/odd https://wudrecords.bandcamp.com/album/essential https://twitter.com/WudRecords

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Lyrics: P. Greatorex Music: P.Greatorex/G.Davies/R.Holloway/M.Greatorex/G.Barbe Recorded at Bandspace, Exeter

Performers: Peter Greatorex – vocals George Davies – guitar Richard Holloway – keys Marc Greatorex – bass Graham Barbe – drums

EASY STREET Jumped back in the alley Couldn’t find what I was looking for Thought I’d stay in the shadows Living outside the law

Looked out from my window Saw I’d missed the dirty rain Only want to walk in sunshine Won’t get fooled again

Easy Street, don’t tell me this is Easy Street Easy Street, don’t tell me this is Easy Street Cos I know better than that, better than I know better than that, better than I know better than that, better than that

I stepped up to the corner To ask what happened and that Put on my friendly face But I stayed right at the back

Got some information About humans and their race It’s some kind of secret But it puts me out of place

Easy Street, don’t tell me this is Easy Street Easy Street, don’t tell me this is Easy Street Cos I know better than that, better than I know better than that, better than I know better than that, better than that

Words by Peter Greatorex. Copyright (c) Wud Records 1990, (p) Pig Pen Music 1989.

This song is in the key of A. George plays the guitar parts on Nicodemus and uses twin fuzz boxes – a Rat and a Boss Heavy Metal. The music for this song was largely created in Pete’s garage where Silent Running Studios would one day be.

See also: http://www.wudrecords.co.uk/artists/alien-heat/essential http://www.explicitmusic.co.uk/lyrics-information/alien-heat/essential/easy-street https://wudrecords.bandcamp.com/album/essential https://twitter.com/WudRecords

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Lyrics: P. Greatorex Music: P.Greatorex/G.Davies/R.Holloway/M.Greatorex/G.Barbe Recorded at Bandspace, Exeter

Performers: Peter Greatorex – vocals George Davies – guitar Richard Holloway – keys Marc Greatorex – bass Graham Barbe – drums

ABNORMAL Have you got a compass Do you know where you are Starless and Bible Black But you hear guitars Light years away but they’re there And I can tell you where Where, where, where

Have you got a problem With finding the sun Heart stopped and blinded Hearing melodies run Light years away but they’re there And I can show you where Where, where, where

Abnormal, unforgivingly Already warmed up We’ve come to set you free But there is a payment for reality Unless you wanna wait For Hell to freeze

Will you want a pilot Will you want a fast plane Ground-bound and lonely Chained to a refrain Light years away but it’s there And I can show you where Where, where, where

Will you sign agreement Will you pay for your soul Godless and friendless Down on Echo Road Light years away but I’m there And I can tell you where Where, where, where

Abnormal, unforgivingly Already warmed up We’ve come to set you free But there is a payment for reality Unless you wanna wait For Hell to freeze

Words by Peter Greatorex. Copyright (c) Wud Records 1990, (p) Pig Pen Music 1989.

This song is in the key of F#m. It has two chords, the other being Em. The band wrote this song in Pete’s bedroom in Topsham Road, Exeter during a cold wet November afternoon in 1989. Richard’s original keyboard parts were written on a Yamaha keyboard with tiny keys and 100 sounds that were all virtually the same. George plays the Ice Maiden on this song. During rehearsals, Pete would try his best to climb inside George’s Marshall cab during the feedback section towards the end of the guitar solo. The tempo of this song is 124BPM. Richard felt that Pete had written the words for George.

See also: http://www.wudrecords.co.uk/artists/alien-heat/essential http://www.explicitmusic.co.uk/lyrics-information/alien-heat/essential/abnormal https://wudrecords.bandcamp.com/album/essential https://twitter.com/WudRecords

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Lyrics: P. Greatorex Music: P.Greatorex/G.Davies/R.Holloway/M.Greatorex/G.Barbe Recorded at Bandspace, Exeter

Performers: Peter Greatorex – vocals George Davies – guitar Richard Holloway – keys Marc Greatorex – bass Graham Barbe – drums

ASYLUM CHILD Dangerous decision to think before you talk Might find you’re saying something and making people bored Listen to the airwaves, gibberish is king Communication breakdown don’t mean a god-damn thing

Thinking is like blinking with soap upon your eye It hurts like hell when you do it first but you surely will not die Read a paper, see the news, the facts are there to see If that’s the case I wanna leave, this place is not for me

Confusion – wait, wait a minute Delusion is gripping us with its force Using blindness as its source Fusion is hot-wired up to talk It’s hot-wired up to talk

Can’t afford to breathe the air I can’t afford the fare God is in the biggest bank And we’re happy with him there Can’t afford to breathe the air I can’t afford the fare God is in the biggest bank His money’s everywhere

There is a secret garden but we’ve forgotten how to look We’re ace in space and swapping hearts, we’re taught to cook the books Money jungle, first-fuck fumble, do everything in cars The sheriff is shot, we bombed the lot, we can’t eat but we can go to Mars

Test tube life new recipe technology disease The joke’s on us, we missed the bus, there ain’t no money in peace Dangerous decision to think before you talk Might find you’re saying something and making people bored

Confusion – wait, wait a minute Delusion is gripping us with its force Using blindness as its source Fusion is hot-wired up to talk It’s hot-wired up to talk

Can’t afford to breathe the air I can’t afford the fare God is in the biggest bank And we’re happy with him there Can’t afford to breathe the air I can’t afford the fare God is in the biggest bank His money’s everywhere

Words by Peter Greatorex. Copyright (c) Wud Records 1990, (p) Pig Pen Music 1989.

This song is in the key of C#m and is 120BPM. The main riff is C#m, B, F#m, A. The song was written around the vocals, bass and keys. “We can’t eat but we can go to Mars” is two beats. “Peace” is a word that when sung sounds like “Peas”. “There ain’t no money in peas” was confirmed by a Watershed song, which told us “Sell your peas with a share certificate.” Andy once accidently sang “Fist-fuck fumble” instead of “First-fuck fumble”. When Pete wrote out the original lyric sheet he included every ‘yeah’ in the song. George plays the guitar parts on Nicodemus.

See also: http://www.wudrecords.co.uk/artists/alien-heat/essential http://www.explicitmusic.co.uk/lyrics-information/alien-heat/essential/asylum-child https://wudrecords.bandcamp.com/album/essential https://twitter.com/WudRecords

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Lyrics: P. Greatorex Music: P.Greatorex/G.Davies/R.Holloway/M.Greatorex/G.Barbe Recorded at Bandspace, Exeter

Performers: Peter Greatorex – vocals George Davies – guitar Richard Holloway – keys Marc Greatorex – bass Graham Barbe – drums

SHIP TO SHORE Into the setting sun they sailed As brave as brave can be And across the world they went In boats upon the sea And with distant eyes they looked But they never did see me On this we all agree On this we all agree

With a night light flashing by the sea Sailors went there by twos and by threes I am a captain and I can’t drown Living neatly on white wave sound On this we all agree

With a bright light arcing across the dark Sailors went there steering by the stars I’ll be a bad man but I won’t steal No more than I can take away with me On this we all agree

In the sunset water turning to sky Sailors went there leaving by and by I am a black knight but I am so good Put all the pieces back wherever I should On this we all agree

On the reef rock shellfish gather and die Sailors went there telescopes to eyes I am a wizard but I’m misunderstood I’d like to be a pilot, oh really I would On this we all agree

On the ocean sleeping in the wind Sailors went there to forget their sins I am a soul man and I can keep The sounds of Heaven where the waters meet On this we all agree

Words by Peter Greatorex. Copyright (c) Wud Records 1990, (p) Pig Pen Music 1989.

This song is in the key of Em and the tempo is around 128BPM. It was a real collective favourite of Alien Heat. The guitar parts are played on the Ice Maiden. The intro is mostly Em9 and Bm11. The verses are Em and Bm, and at the end they go to G, F#m11 and Bm11. The keyboard solo is based around a G, F#m, Bm riff. Before the keyboard solo and at the end of the song there is a section that goes G, F#, F, Em7, Cm7, Em7, Cm7. The song usually began with the cry: “Cue The Noise!” as Richard started the number with a huge sound that he created himself on the DX7. There were many great moments of inspiration from all five band members that led to this song being the way it is.

See also: http://www.wudrecords.co.uk/artists/alien-heat/essential http://www.explicitmusic.co.uk/lyrics-information/alien-heat/essential/ship-to-shore https://wudrecords.bandcamp.com/album/essential https://twitter.com/WudRecords

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Lyrics: P. Greatorex Music: P.Greatorex/G.Davies/R.Holloway/M.Greatorex/G.Barbe Recorded at Bandspace, Exeter

Performers: Peter Greatorex – vocals George Davies – guitar Richard Holloway – keys Marc Greatorex – bass Graham Barbe – drums

JIGSAW When time walks by in my best shoes I know I’ve got to race Don’t like morning’s newspaper news Oh mirror, give me a face With a daytime job like the third world war If I ain’t in the factory you know I’m in the store And I’m out of place

Just want the notes of a rhythm machine My friend’s inside the sound I shave and wash to keep me squeaky clean Friday come around I wish I’d find a reason for tomorrow being there Cos I got no ambition and I really don’t care It’s all upside down

It’s so weird just being here Dreamlines sometimes make it clear Common sense is nonsense and a life of fear I got no solution to the world’s intrusion I got no solution, no mix, no kicks, no fusion

Find me a lover in the neon nite You know, a girl for me! But all the women stand so bright and tight And I’m so loose and free With a four star heart like a junkyard fence And a rollerskate mind that don’t make no sense Can this really be?

I want a recipe for reality It ain’t asking much But all I get is entropy No loving touch Gotta smile the while while I’m slaving here They say go far but what I want is near And that’s enough

It’s so weird just being here Dreamlines sometimes make it clear Common sense is nonsense and a life of fear I got no solution to the world’s intrusion I got no solution, no mix, no kicks, no fusion

Words by Peter Greatorex. Copyright (c) Wud Records 1990, (p) Pig Pen Music 1989.

This song is in the key of G#m and much of the music comes from the voice and Marc’s bass melody. George plays the guitar parts on Nicodemus. Verses are mostly G#m and D#m, and between verses the chords are C#m and D#m. Before the choruses the chords are C#m, A and G#m. Choruses are mostly G#m and E. Richard and George felt that this song was written about Marc. The tempo of this song is 134BPM.

See also: http://www.wudrecords.co.uk/artists/alien-heat/essential http://www.explicitmusic.co.uk/lyrics-information/alien-heat/essential/jigsaw https://wudrecords.bandcamp.com/album/essential https://twitter.com/WudRecords

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Lyrics: P. Greatorex Music: P.Greatorex/G.Davies/R.Holloway/M.Greatorex/G.Barbe Recorded at Bandspace, Exeter

Performers: Peter Greatorex – vocals George Davies – guitar Richard Holloway – keys Marc Greatorex – bass Graham Barbe – drums

BADASS BOOGIE I got backlash action Make a living staring at walls Need rock’n'roll for my poor soul Go funkin’ round the floor

I got high-heeled sneakers High-ride blues for boots Need love and stuff to make me tough Gonna go back to my roots

I ain’t Peaceful Patti Gonna fire up my rocket car Go bustin’ down the freeway Makin’ like a movie star Them dude-ranch hicks can’t get my kicks Take the whiskey from my jar It’s all backlash action, black flash action Gonna shine like a shooting star

I got freeze frame dinners Use my TV for a tub I need rhythm and blues and blue suede shoes And alcohol, massage and rub

I got speeding tickets Lost my job down out the store Need a rolling stone so the moss don’t grow And I can jive right out the door

I ain’t Peaceful Patti Gonna fire up my rocket car Go bustin’ down the freeway Makin’ like a movie star Them dude-ranch hicks can’t get my kicks Take the whiskey from my jar It’s all backlash action, black flash action Gonna shine like a shooting star

I ain’t Peaceful Patti Gonna fire up my rocket car Go bustin’ down the freeway Makin’ like a movie star Them dude-ranch hicks can’t get my kicks Take the whiskey from my jar It’s all backlash action, black flash action Gonna shine like a shooting star

Words by Peter Greatorex. Copyright (c) Wud Records 1990, (p) Pig Pen Music 1989.

This song is partly in the key of E and partly in the key of F#m. This was the second song by Alien Heat and the earliest surviving one. The guitar parts were written last and make little sense if the song is played with just guitar and voice. Graham and Marc wanted to play a drum’n'bass solo, so there is one of sorts in this. All the keyboard sounds were created from scratch by Richard on the DX7. George plays Nicodemus and uses two dirt pedals for the solo.

See also: http://www.wudrecords.co.uk/artists/alien-heat/essential http://www.explicitmusic.co.uk/lyrics-information/alien-heat/essential/badass-boogie https://wudrecords.bandcamp.com/album/essential https://twitter.com/WudRecords

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Living in the Gap, from Life, Times and Dreams by Watershed.

Recorded at The Acorn, Penzance. Engineered by Watershed and Steve Smallwood. Mixed at Elm Road (Mike's room). Produced by Watershed. Cover Art: Denise Andrews. Thanks to: Uffy and the Acorners, Denise and Mrs Lovely.

All songs by Al Shalliker. Copyright (c) Al Shalliker 1990.

WATERSHED Jo Atkins - vocals, percussion Mike Baldwin - soprano/tenor sax Mark Flack - bass Dave Gregory - grand piano Tony Gullis - drums, percussion Al Shalliker - guitars, vocals Steve Smallwood - sound & pound

LIVING IN THE GAP There ain't no crime in living in the gap If you want to take the shackles off your back, There's no crime in living, If you don't like what they're giving, There's no crime in living in the gap.

Living in the gap, Jack...

On your back Jack Losing contact Way too slack Jack Want our money back!

There ain't no crime in living in the gap If you want to take the shackles off your back, There's no crime in living, If you don't like what they're giving, There's no crime in living in the gap.

Want to live my life in my own way, Not tied up like a chess piece in the game. Want to live my life, Without the trouble and strife, That makes a mind get tireder every day.

Oh my sweetheart where am I? Just floating like a snowflake in the sky, When the prophet calls my name To introduce me to the game Tell him I cut the clouds right off my back.

Living in the gap, Jack...

Ain't gonna be no yes man saying Ain't going to carry the can...

Oh listen to the rain, Each fropthat falls comes back round again But with every drop that falls A voice shouts duty calls And duty knows the rules of the game.

Living in the gap, Jack... There's no crime in living in the gap...

See also: http://www.wudrecords.co.uk/archives/watershed http://www.wudrecords.co.uk/archives/watershed/life-times-dreams https://www.youtube.com/watch?v=13DknmiCstM https://www.youtube.com/watch?v=2slWp3l4WP4 https://myspace.com/watershedplymouth http://www.bandmine.com/watershedplymouth http://plymouthlivemusic.yolasite.com/past-bands.php

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Capital City Hero, from Life, Times and Dreams by Watershed.

Recorded at The Acorn, Penzance. Engineered by Watershed and Steve Smallwood. Mixed at Elm Road (Mike's room). Produced by Watershed. Cover Art: Denise Andrews. Thanks to: Uffy and the Acorners, Denise and Mrs Lovely.

All songs by Al Shalliker. Copyright (c) Al Shalliker 1990.

WATERSHED Jo Atkins - vocals, percussion Mike Baldwin - soprano/tenor sax Mark Flack - bass Dave Gregory - grand piano Tony Gullis - drums, percussion Al Shalliker - guitars, vocals Steve Smallwood - sound & pound

CAPITAL CITY HERO Another English hero's smiling Another English hero's shining But she don't care No, she don't care about it

I've got no friends in Whitehall I've got no friends who tax me to breathe my air Suffocate or pay your fare!

I'll never ask nobody to carry me home again, I'll never ask nobody to carry me home, My friends are gone and I'm feeling alone again, My friends are gone and I'm feeling alone.

Capital, capital, capital bluffing, Capital, capital, capital city hero, Radical, radical change in structure, Radical, radical change in structure.

Another English hero in a suit and a smile, Another English hero to watch and admire, Packaged and censored, the right way to be, The dimension that matters is the one you can see Heroes deceive us, ruling on mistrust Heroes deceive us, ruling on this Capital bluffing, capital city hero, Capital bluffing.

See also: http://www.wudrecords.co.uk/archives/watershed http://www.wudrecords.co.uk/archives/watershed/life-times-dreams https://www.youtube.com/watch?v=13DknmiCstM https://www.youtube.com/watch?v=2slWp3l4WP4 https://myspace.com/watershedplymouth http://www.bandmine.com/watershedplymouth http://plymouthlivemusic.yolasite.com/past-bands.php

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Cruisin' in Contours, from Life, Times and Dreams by Watershed.

Recorded at The Acorn, Penzance. Engineered by Watershed and Steve Smallwood. Mixed at Elm Road (Mike's room). Produced by Watershed. Cover Art: Denise Andrews. Thanks to: Uffy and the Acorners, Denise and Mrs Lovely.

All songs by Al Shalliker. Copyright (c) Al Shalliker 1990.

WATERSHED Jo Atkins - vocals, percussion Mike Baldwin - soprano/tenor sax Mark Flack - bass Dave Gregory - grand piano Tony Gullis - drums, percussion Al Shalliker - guitars, vocals Steve Smallwood - sound & pound

CRUISIN' IN CONTOURS Ain't moving up, ain't moving down Ain't reaching for the stars or the ground Ain't moving up, ain't moving down Just watching all the people on this merry-go-round

Just cruisin' in contours Just cruisin' in my low key contour for a while... Just cruisin' on I hit some pretty bad times but the bad times are gone...

I'm still dreaming of a brotherhood, We're just driftin' like ships without a sail, In my dreams I don't see no bloodshed Just all the children sleeping in their beds.

I ain't taking lessons from a preacher, Asking if I would, I ain't taking lessons from a soldier, Just shouting that I should, Because I'm finding too many answers, Just watching like I should, So I'll just keep cruisin' in my contour Just cruisin' how I should

See also: http://www.wudrecords.co.uk/archives/watershed http://www.wudrecords.co.uk/archives/watershed/life-times-dreams https://www.youtube.com/watch?v=13DknmiCstM https://www.youtube.com/watch?v=2slWp3l4WP4 https://myspace.com/watershedplymouth http://www.bandmine.com/watershedplymouth http://plymouthlivemusic.yolasite.com/past-bands.php

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Friendship and Life, from Life, Times and Dreams by Watershed.

Recorded at The Acorn, Penzance. Engineered by Watershed and Steve Smallwood. Mixed at Elm Road (Mike's room). Produced by Watershed. Cover Art: Denise Andrews. Thanks to: Uffy and the Acorners, Denise and Mrs Lovely.

All songs by Al Shalliker. Copyright (c) Al Shalliker 1990.

WATERSHED Jo Atkins - vocals, percussion Mike Baldwin - soprano/tenor sax Mark Flack - bass Dave Gregory - grand piano Tony Gullis - drums, percussion Al Shalliker - guitars, vocals Steve Smallwood - sound & pound

FRIENDSHIP AND LIFE Friendship and life, and human rights, Don't cost nothing but friendship and life

Don't you shut out the light on those who know your past Don't you shut out the light. Don't you cut down the line between you and your friends, Don't you cut down the lines.

Everybody needs a shoulder to cry on sometimes, don't they Everybody needs a shoulder to cry on sometimes, don't they

There's those who believe in riches, Those who strove to have might There's those who just believe in friendship and a happy life For a happy life, say friendship and life, Friendship and life Friendship and life, and human rights, Don't cost nothing but friendship and life

Tears are making patterns on a yellow sky Because those who believe in justice just don't close their eyes, Everybody needs a shoulder to cry on sometimes, don't they

A friend can pull you from the gutter, turn dark to light A friend can put back your fight like the kiss of life Everybody needs a shoulder to cry on sometimes, don't they

There's those who believe in riches... Friendship and life... Friendship and life...

See also: http://www.wudrecords.co.uk/archives/watershed http://www.wudrecords.co.uk/archives/watershed/life-times-dreams https://www.youtube.com/watch?v=13DknmiCstM https://www.youtube.com/watch?v=2slWp3l4WP4 https://myspace.com/watershedplymouth http://www.bandmine.com/watershedplymouth http://plymouthlivemusic.yolasite.com/past-bands.php

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Thinking About You (Whiteley / Mullin)

Performed by Fruit Bats.

Rosie Mullin - vocals Aidan Whiteley - guitar

Recorded and produced by Aidan Whiteley in Springfield Road, Exeter 1988 / 89. Mastered at Wud Records Studio One 2020.

THINKING ABOUT YOU Don't you cry no more All these tears on a glass floor And the storm is in your head And the rain in your tears, your tears

Broken glass at your feet and that knife in your hand Oh I'm thinking about you, I'm thinking about you yeah All the hate and all the pain Of fighting an enemy Oh you're the victim of the one you love You love

Oh I feel so sad just thinking about you, just thinking about you

And you've fought till your hands have run red Blood washing the tears away Sticks and stones may break your bones But a heart of steel will destroy you, destroy you All the hate and all the pain Of fighting an enemy Oh your the victim of the one you love You love

Don't you cry no more All this blood on a glass floor And the storm is in your head And the rain in your tears, your tears All the hate and all the pain Of fighting an enemy Oh your the victim of the one you love You love

Thinking about you, I'm thinking about you

Copyright ℗ 1989 Parsnip Music. Copyright © 2021 Wud Records.

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The Mad Song (Whiteley / Mullin)

Performed by Fruit Bats.

Rosie Mullin - vocals Aidan Whiteley - guitar

Recorded and produced by Aidan Whiteley in Springfield Road, Exeter 1988 / 89. Audio salvage by Rosie Mullin. Cleaned and mastered at Wud Records Studio One 2020.

THE MAD SONG It's all up and down and it's turning around Down by the ground and you can't hear a sound It's all in the air and you don't have a care Think you are there but you don't know where It's all in your mind and it's something you find We're all washed out, we're all washed out

Grey, black and blue One and two Strange kinda brew Doobie doo doo Snow and rain Love and pain Mad and sane, again and again It is insane, are you insane? We're all laid out, I said we're all laid out

Rain pours outside on the flowers of spring Tears drip inside on a sad rainbow scene They're locking the door and they're losing the key White coat and buckles, we'll never be free

Grey, black and blue One and two Strange kinda brew Doobie doo doo Snow and rain Love and pain Mad and sane, again and again It is insane, are you insane? We're all fading out, I said we're all faded out

Copyright ℗ 1989 Parsnip Music. Copyright © 2021 Wud Records.

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Amnesty from the eponymous album by Prism.

This is the eponymous album from that fabulous Exeter Art College band of the late 80s known as Prism. These tracks were all salvaged from cassette. Artwork is by Emma Waters and was scanned from the cassette insert. The spine is a bit faded by now.

Songs 1 - 4 recorded on Paul's portastudio July 1987. Songs 5 - 6 recorded on Paul's portastudio September 1987. Songs 7 - 8 recorded by Daylight Studios August 1988.

Emma - vocal, percussion Allan - bass, guitar Tom - guitar, bass, vocal, keyboards Paul - sound engineer, incidental guitar on The Hunted and Big Bang

Words - Emma, except Blindest Night - Tom. Music - Emma and Allan, except The Hunted - Emma and Tom, Blindest Night and Resurrection - Tom

I stared into their moon eyes, they stared back at me Taught me something most people can't see Peace is the answer, I said NO MORE WAR That's what I saw, take heed be sure... - Rainbow Song EW '88

Copyright © 1988 tom tom music.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/prism https://twitter.com/WudRecords

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Blindest Night from the eponymous album by Prism.

This is the eponymous album from that fabulous Exeter Art College band of the late 80s known as Prism. These tracks were all salvaged from cassette. Artwork is by Emma Waters and was scanned from the cassette insert. The spine is a bit faded by now.

Songs 1 - 4 recorded on Paul's portastudio July 1987. Songs 5 - 6 recorded on Paul's portastudio September 1987. Songs 7 - 8 recorded by Daylight Studios August 1988.

Emma - vocal, percussion Allan - bass, guitar Tom - guitar, bass, vocal, keyboards Paul - sound engineer, incidental guitar on The Hunted and Big Bang

Words - Emma, except Blindest Night - Tom. Music - Emma and Allan, except The Hunted - Emma and Tom, Blindest Night and Resurrection - Tom

I stared into their moon eyes, they stared back at me Taught me something most people can't see Peace is the answer, I said NO MORE WAR That's what I saw, take heed be sure... - Rainbow Song EW '88

Copyright © 1988 tom tom music.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/prism https://twitter.com/WudRecords

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Resurrection from the eponymous album by Prism.

This is the eponymous album from that fabulous Exeter Art College band of the late 80s known as Prism. These tracks were all salvaged from cassette. Artwork is by Emma Waters and was scanned from the cassette insert. The spine is a bit faded by now.

Songs 1 - 4 recorded on Paul's portastudio July 1987. Songs 5 - 6 recorded on Paul's portastudio September 1987. Songs 7 - 8 recorded by Daylight Studios August 1988.

Emma - vocal, percussion Allan - bass, guitar Tom - guitar, bass, vocal, keyboards Paul - sound engineer, incidental guitar on The Hunted and Big Bang

Words - Emma, except Blindest Night - Tom. Music - Emma and Allan, except The Hunted - Emma and Tom, Blindest Night and Resurrection - Tom

I stared into their moon eyes, they stared back at me Taught me something most people can't see Peace is the answer, I said NO MORE WAR That's what I saw, take heed be sure... - Rainbow Song EW '88

Copyright © 1988 tom tom music.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/prism https://twitter.com/WudRecords

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Sad Widow from the eponymous album by Prism.

This is the eponymous album from that fabulous Exeter Art College band of the late 80s known as Prism. These tracks were all salvaged from cassette. Artwork is by Emma Waters and was scanned from the cassette insert. The spine is a bit faded by now.

Songs 1 - 4 recorded on Paul's portastudio July 1987. Songs 5 - 6 recorded on Paul's portastudio September 1987. Songs 7 - 8 recorded by Daylight Studios August 1988.

Emma - vocal, percussion Allan - bass, guitar Tom - guitar, bass, vocal, keyboards Paul - sound engineer, incidental guitar on The Hunted and Big Bang

Words - Emma, except Blindest Night - Tom. Music - Emma and Allan, except The Hunted - Emma and Tom, Blindest Night and Resurrection - Tom

I stared into their moon eyes, they stared back at me Taught me something most people can't see Peace is the answer, I said NO MORE WAR That's what I saw, take heed be sure... - Rainbow Song EW '88

Copyright © 1988 tom tom music.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/prism https://twitter.com/WudRecords

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The Story of Samantha Kite from the eponymous album by Prism.

This is the eponymous album from that fabulous Exeter Art College band of the late 80s known as Prism. These tracks were all salvaged from cassette. Artwork is by Emma Waters and was scanned from the cassette insert. The spine is a bit faded by now.

Songs 1 - 4 recorded on Paul's portastudio July 1987. Songs 5 - 6 recorded on Paul's portastudio September 1987. Songs 7 - 8 recorded by Daylight Studios August 1988.

Emma - vocal, percussion Allan - bass, guitar Tom - guitar, bass, vocal, keyboards Paul - sound engineer, incidental guitar on The Hunted and Big Bang

Words - Emma, except Blindest Night - Tom. Music - Emma and Allan, except The Hunted - Emma and Tom, Blindest Night and Resurrection - Tom

I stared into their moon eyes, they stared back at me Taught me something most people can't see Peace is the answer, I said NO MORE WAR That's what I saw, take heed be sure... - Rainbow Song EW '88

Copyright © 1988 tom tom music.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/prism https://twitter.com/WudRecords

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The Hunted from the eponymous album by Prism.

This is the eponymous album from that fabulous Exeter Art College band of the late 80s known as Prism. These tracks were all salvaged from cassette. Artwork is by Emma Waters and was scanned from the cassette insert. The spine is a bit faded by now.

Songs 1 - 4 recorded on Paul's portastudio July 1987. Songs 5 - 6 recorded on Paul's portastudio September 1987. Songs 7 - 8 recorded by Daylight Studios August 1988.

Emma - vocal, percussion Allan - bass, guitar Tom - guitar, bass, vocal, keyboards Paul - sound engineer, incidental guitar on The Hunted and Big Bang

Words - Emma, except Blindest Night - Tom. Music - Emma and Allan, except The Hunted - Emma and Tom, Blindest Night and Resurrection - Tom

I stared into their moon eyes, they stared back at me Taught me something most people can't see Peace is the answer, I said NO MORE WAR That's what I saw, take heed be sure... - Rainbow Song EW '88

Copyright © 1988 tom tom music.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/prism https://twitter.com/WudRecords

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Big Bang from the eponymous album by Prism.

This is the eponymous album from that fabulous Exeter Art College band of the late 80s known as Prism. These tracks were all salvaged from cassette. Artwork is by Emma Waters and was scanned from the cassette insert. The spine is a bit faded by now.

Songs 1 - 4 recorded on Paul's portastudio July 1987. Songs 5 - 6 recorded on Paul's portastudio September 1987. Songs 7 - 8 recorded by Daylight Studios August 1988.

Emma - vocal, percussion Allan - bass, guitar Tom - guitar, bass, vocal, keyboards Paul - sound engineer, incidental guitar on The Hunted and Big Bang

Words - Emma, except Blindest Night - Tom. Music - Emma and Allan, except The Hunted - Emma and Tom, Blindest Night and Resurrection - Tom

I stared into their moon eyes, they stared back at me Taught me something most people can't see Peace is the answer, I said NO MORE WAR That's what I saw, take heed be sure... - Rainbow Song EW '88

Copyright © 1988 tom tom music.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/prism https://twitter.com/WudRecords

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Rainbow Song from the eponymous album by Prism.

This is the eponymous album from that fabulous Exeter Art College band of the late 80s known as Prism. These tracks were all salvaged from cassette. Artwork is by Emma Waters and was scanned from the cassette insert. The spine is a bit faded by now.

Songs 1 - 4 recorded on Paul's portastudio July 1987. Songs 5 - 6 recorded on Paul's portastudio September 1987. Songs 7 - 8 recorded by Daylight Studios August 1988.

Emma - vocal, percussion Allan - bass, guitar Tom - guitar, bass, vocal, keyboards Paul - sound engineer, incidental guitar on The Hunted and Big Bang

Words - Emma, except Blindest Night - Tom. Music - Emma and Allan, except The Hunted - Emma and Tom, Blindest Night and Resurrection - Tom

I stared into their moon eyes, they stared back at me Taught me something most people can't see Peace is the answer, I said NO MORE WAR That's what I saw, take heed be sure... - Rainbow Song EW '88

Copyright © 1988 tom tom music.

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/prism https://twitter.com/WudRecords

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Two Timer by Rough Terrain

Lyrics by G. Davies. Music by G. Davies/D. Bouget/J. Peirce/A. Richardson.

Engineered, mixed and produced by Paul Bateman. Recorded at Daylight Recording Studios, Honiton, summer 1988. Remastered at Wud Records Studios 2010.

Copyright © 1988 Wud Records. Copyright ℗ 1983 Explicit Music.

Performers: Andy Richardson - vocals, guitar George Davies – guitar, vocals Jerry Peirce - bass, vocals Danny Bouget - drums, vocals

TWO TIMER Low down dirty mean double crosser Slow down, make you scream, call a copper I want to give you a warning about a woman that I know Just when you think she’s yours you won’t be the only one She’ll play you around, she’ll move around She’ll lay you down

Two timer two timer two timer two timer Two timer two timer two timer She’ll lay you low

I had her for a while Was a very short while I had her, made me smile Was a very broad smile But then I found about this other guy And he found out about me She’ll play you around, she’ll move around She’ll lay you down

Two timer two timer two timer two timer Two timer two timer two timer She’ll lay you low

Black eye, don’t know why, howling on the sidewalk Scream, shout, sort it out, come and have a good talk It’s time to decide on what we must do And I think that I will be leaving you You play me around, you move around You lay me down

Two timer two timer two timer two timer Two timer two timer two timer She’ll lay you low

Fun Facts: George finds this song, which he wrote aged 17, makes him cringe now, partly due to the yucky words and partly due to the frighfully gratuitous use of a few notes hinting at a Cliff Richard melody on guitar. However, the guitars and drums sound great from a production perspective so Paul deserves credit for his part in the making of this. Andy played the rhythm guitar part on Nicodemus and George played the Ice Maiden. George was requested to use considerably less dirt on the recording than he used live which disappointed him at the time. The original sound and live sound for this was utterly filthy. When Rough Terrain played this live, if Jerry was late getting to the mic with his backing vocal in the chorus it sounded like the band were singing “I’m a two timer.” The key for this song is F# minor.

See also: http://www.wudrecords.co.uk/artists/rough-terrain http://www.explicitmusic.co.uk/lyrics-information/rough-terrain/daylight-demo/two-timer https://wudrecords.bandcamp.com/track/two-timer https://twitter.com/WudRecords

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Slark Lywilsbie by Rough Terrain

Music by G. Davies. This arrangement by Rough Terrain.

Engineered, mixed and produced by Paul Bateman. Recorded at Daylight Recording Studios, Honiton, summer 1988. Remastered at Wud Records Studios 2010.

Copyright © 1988 Wud Records. Copyright ℗ 1982 Explicit Music.

Performers: Andy Richardson - guitar George Davies – guitar Jerry Peirce - fretless bass Danny Bouget - drums, percussion

Fun Facts: This is another of Rough Terrain’s quirky instrumentals. This one is in the key of F major. It was written at around the same time as Frog, which appears on Rough Terrain's Howell Road Demo and their Exit Stage Deaf compilation. Professor Dinboffin always referred to this tune as ‘Jack Rabbit’. It was first played by Now, although no recordings of it have been found as yet. This sounds rather unlike the live version that Rough Terrain would play. The live version was somewhat more raucous and heavy without any acoustic guitar or percussion. For this studio version, George played the in-house Fender acoustic using the softest plectrum he could find (a white Jim Dunlop) for flappous maximus. Danny played some of Daylight Studio’s percussion instruments as well. The strange little melody of the rising scales at the end was very much a part of the piece although that part was rarely played live as George would usually play the main lead guitar part. Andy again plays the rhythm guitar on Nicodemus. The name Slark Lywilsbie was derived from ‘Slark’, a utopian city in a novel George had thought up but never wrote, and ‘Lywilsbie’ was from the ands and beginnings of the names of two beautiful girls from school that George missed after he left. ‘Lywilsbie’ is pronounced ‘Lie-WILLS-Bee’, with the stress on the second syllable. Laney invented and choreographed a special and rather ridiculous dance for this tune but sadly it was only ever performed in private.

See also: http://www.wudrecords.co.uk/artists/rough-terrain http://www.explicitmusic.co.uk/lyrics-information/rough-terrain/daylight-demo/slark-lywilsbie https://wudrecords.bandcamp.com/track/slark-lywilsbie https://twitter.com/WudRecords

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Slark Lywilsbie (Bare RMX) by Rough Terrain

Music by G. Davies. This arrangement by Rough Terrain.

Engineered, mixed and produced by Paul Bateman. Recorded at Daylight Recording Studios, Honiton, summer 1988. Remastered at Wud Records Studios 2010.

Copyright © 1988 Wud Records. Copyright ℗ 1982 Explicit Music.

Performers: Andy Richardson - guitar George Davies – guitar Jerry Peirce - fretless bass Danny Bouget - drums, percussion

Fun Facts: Slark Lywilsbie (Bare RMX) is in fact exactly the same as the full version of Slark Lywilsbie minus a few tracks of guitar and with different tweaks on the desk.

See also: http://www.wudrecords.co.uk/artists/rough-terrain http://www.explicitmusic.co.uk/lyrics-information/rough-terrain/daylight-demo/slark-lywilsbie-bare-rmx https://wudrecords.bandcamp.com/track/slark-lywilsbie-bare-rmx https://wudrecords.bandcamp.com/track/slark-lywilsbie https://twitter.com/WudRecords

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Won't You Come Around My Way by Rough Terrain

Lyrics by G. Davies. Music by G. Davies/D. Bouget/J. Peirce/A. Richardson.

Engineered, mixed and produced by Paul Bateman. Recorded at Daylight Recording Studios, Honiton, summer 1988. Remastered at Wud Records Studios 2010.

Copyright © 1988 Wud Records. Copyright ℗ 1986 Explicit Music.

Performers: Andy Richardson - vocals George Davies – guitars, vocals Jerry Peirce - fretless bass, vocals Danny Bouget - drums, percussion, vocals

WON'T YOU COME AROUND MY WAY Well I’ve come around here and I ain’t doing much Just paying a visit to keep in touch After a while I try the upstairs flat There’s nothing to say when we’ve run out of chat

Well I knock on the door of this guy I hardly know And he greets me I stay for a while then I’m wanting to go But this other guy’s got something on his knee What could that be…?!

Won’t you come around my way Won’t you come around my way Won’t you come around my way Won’t you come around my way

There’s four of us here, we’re not saying a word One’s looking out of the window We’re sitting around and we can hear the sounds Of music on the stereo And rustling…

Won’t you come around my way Won’t you come around my way Won’t you come around my way Won’t you come around my way

Won’t you come around my way Won’t you come around my way Won’t you come around my way Won’t you come around my way Won’t you come around my way Won’t you come around my way Won’t you come around my way Won’t you come around my way

I hear a click and I see a spark so I turn around In the centre of a cloud of smoke I see a man with a big grin on his face And who can blame him

Won’t you come around my way Won’t you come around my way Won’t you come around my way Won’t you come around my way

Fun Facts: Originally this song started with just the whole tone scale ascending and diminished scale descending, then went into the main riff of the song. The bluesy jam was invented mostly by Danny just for fun and Rough Terrain kept it. Jerry’s fretless bass was known as the Stretched Cat. The whole band contributed to the vocals of this song, with Andy and Danny singing the harmonies. This version sounds somewhat unlike the live version of the song that Rough Terrain performed as there was no acoustic guitar or extra percussion parts involved on stage and the sound was more raucous. The acoustic guitar belonged to Daylight Studios and was a Fender with seriously heavy strings. The ‘Oh Lord’ parts were entirely Andy’s doing on the day and never part of the original plan for the song. These days those parts make him cringe. This song can claim the gratuitous usage of a 13th chord - B13 in fact.

See also: http://www.wudrecords.co.uk/artists/rough-terrain http://www.explicitmusic.co.uk/lyrics-information/rough-terrain/daylight-demo/wont-you-come-around-my-way https://wudrecords.bandcamp.com/track/wont-you-come-around-my-way https://twitter.com/WudRecords

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Music/lyrics by G. Davies Recorded at The Riverside Nightclub and 32 Howell Road, Exeter by P. Bateman and G. Davies during July and August 1987 Remastered at Wud Records Studios 2010

Performers: Andy Richardson – vocals George Davies – guitars Jerry Peirce – bass Danny Bouget – drums

STARLIGHT DREAM Obscured by a light in the corner of an eye Awakening from a dream held in the sky Stars shine bright, galactic night Pathways to other worlds Moving through the spacelanes tonight The star chasers

A shaft of light stretches dawn across the sky Breezes like fond memories now blow A cosmic flight on wings so light Through patterns, colours, lives Loving it and hoping for some more The dream makers

Words by George Davies. Copyright (p) Explicit Music 1986, (c) Wud Records 2010.

This song was written at around 7am on 11th July 1986 after George had been up all night making Subterraineans music with Dean and then walking home through the city of Exeter as the sun was starting to rise one beautiful summer’s day in 1986. A lot of people seemed to like this song and it was usually played as an encore. The key is Cm and Jerry’s bassline was arguably his most melodic of the entire Rough Terrain set.

See also: http://www.wudrecords.co.uk/artists/rough-terrain/howell-road-demo https://wudrecords.bandcamp.com/album/exit-stage-deaf http://www.explicitmusic.co.uk/lyrics-information/rough-terrain/howell-road-demo/starlight-dream https://twitter.com/WudRecords

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Music/lyrics by G. Davies Recorded at The Riverside Nightclub and 32 Howell Road, Exeter by P. Bateman and G. Davies during July and August 1987 Remastered at Wud Records Studios 2010

Performers: Andy Richardson – vocals George Davies – guitars, synthesizer Jerry Peirce – bass Danny Bouget – drums

THE WARNING The world’s going crazy but what can we do Confusion and madness all around you Read the signs, heed the warning

Enemy aircraft darken the sky Sirens are screaming “We’re all going to die!” Read the signs, heed the warning

A world that’s in trouble is no place to be So come from the heavens, come set us free Read the signs, heed the warning

Words by George Davies. Copyright (p) Explicit Music 1986, (c) Wud Records 2010.

George wrote this song on 20th September 1986, the same day that he wrote two others, which was a rare thing in those days. 'Come from the heavens' refers to salvation from alien beings rather than angels or any religious belief. The key is A major and the guitar solo is recorded backwards. The synthesizer parts were all recorded in one long take after deciding which sounds to use. They all come from a Roland synth that may have belonged to either The Sicillians or Freda and had been left at Paul’s Howell Road studio. It had similarities to the Wasp which George owned, in that it was a digital synth with analogue controls. When played live this song required heavy use of the smoke machine and strobe where possible.

See also: http://www.wudrecords.co.uk/artists/rough-terrain/howell-road-demo https://wudrecords.bandcamp.com/album/exit-stage-deaf http://www.explicitmusic.co.uk/lyrics-information/rough-terrain/howell-road-demo/the-warning https://twitter.com/WudRecords

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Music/lyrics by G. Davies Recorded at The Riverside Nightclub and 32 Howell Road, Exeter by P. Bateman and G. Davies during July and August 1987 Remastered at Wud Records Studios 2010

Performers: Andy Richardson – vocals George Davies – guitars Jerry Peirce – bass Danny Bouget – drums

SAME OLD ROAD AGAIN Now I know it’s hard The struggle and pain You just get up on your feet And you’re in trouble again Now I know it’s hard You don’t have to tell me But when you say: “Let’s play it again!” Just what do you mean? There’s that look in your eyes I think you’re telling me lies

And we’re walking back down that same old road again We will come to the same old end The time has come to be moving on It’s safe to say that it’s over and done

Nothing is easy Nothing in this world Should make us change our minds And get together again We made a good sound Ideas were found But it seems we all move In different ways Look into the eyes Deceitfully wise

And we’re walking back down that same old road again We will come to the same old end The time has come to be moving on It’s safe to say that it’s over and done

And we’re walking back down that same old road again We will come to the same old end The time has come to be moving on It’s safe to say that it’s over and done

Words by George Davies. Copyright (p) Explicit Music 1986, (c) Wud Records 2010.

This used to be Rough Terrain’s set opener. Sometimes they would play it immediately after their cover of Born to be Wild, joining the two songs together. Jerry’s bassline is mostly just the low-E on his bass, something many bassists would struggle to maintain without Jerry’s discipline. George wrote this on 17th May 1986 after feeling somewhat disgruntled with the demise of a previous fledgling band, The Masters of Drone.

See also: http://www.wudrecords.co.uk/artists/rough-terrain/howell-road-demo https://wudrecords.bandcamp.com/album/exit-stage-deaf http://www.explicitmusic.co.uk/lyrics-information/rough-terrain/howell-road-demo/same-old-road-again https://twitter.com/WudRecords

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Music/lyrics by G. Davies Recorded at The Riverside Nightclub and 32 Howell Road, Exeter by P. Bateman and G. Davies during July and August 1987 Remastered at Wud Records Studios 2010

Performers: Andy Richardson – vocals George Davies – guitars Jerry Peirce – bass Danny Bouget – drums

DOWN AT THE ELEPHANT FAYRE It’s the summertime and you know what that means Better get your tent and your sleeping bag You better get out your thumb and stand by the side of the road You better get yourself ready for another crazy time Down at the Elephant Fayre

Put your hip clothes on and see who’s going too You better suss that lift or they’ll be hitching too Try to find out who’s playing, not that you really care Better get yourself ready for another crazy time Down at the Elephant Fayre Down at the Elephant Fayre

There’s milk and honey of a different kind There’s fun and laughs, enough to blow your mind Anything you could need you will surely find Better get yourself ready for another crazy time Down at the Elephant Fayre Down at the Elephant Fayre Down at the Elephant Fayre Down at the Elephant Fayre Down at the Elephant Fayre

Words by George Davies. Copyright (p) Explicit Music 1986, (c) Wud Records 2010.

This song is in the key of E major and was written on 30th December 1986. Andy recorded his vocals for this at George’s old flat at 19 Haldon Road, Exeter, the scene of many parties. The two last Elephant Fayres took place in 1985 and 1986 near St Germans in Cornwall. They were fantastic festivals. The 1986 Elephant Fayre had a serious outbreak of mud.

See also: http://www.wudrecords.co.uk/artists/rough-terrain/howell-road-demo https://wudrecords.bandcamp.com/album/exit-stage-deaf http://www.explicitmusic.co.uk/lyrics-information/rough-terrain/howell-road-demo/down-at-the-elephant-fayre https://twitter.com/WudRecords

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Lyrics by M. Drower, caused by P. Rippin Music by G. Davies/S. Miller/M. Greatorex Recorded at The Riverside Nightclub and 32 Howell Road, Exeter by P. Bateman and G. Davies during July and August 1987 Remastered at Wud Records Studios 2010

Performers: Andy Richardson – vocals George Davies – guitars, vocals Jerry Peirce – bass, vocals, water bucket Danny Bouget – drums, vocals

FROG Mmm, thanks!

Words by Mark Drower. Copyright (p) Explicit Music 1982, (c) Wud Records 2010.

Originally this was a Now number. It was composed on 8th November 1982. George wrote the chords and took the tune to a Now rehearsal where Simon composed the lead guitar parts. The “Mmmm, thanks!” came about at a rehearsal at the King’s Grammar School, Ottery St Mary, when Pete Rippin, Now’s roadie and main man, handed Mark Drower, Now’s singer and main songwriter, a self-rolled cigarette at the precise moment there was a pause in the guitar thrashings. Everybody laughed upon the interjection on the cassette and the moment was thus preserved forevermore in future versions of the number. Each ‘verse’ is different and the 'chorus' is G-C-Bb-D. To make the frog noises at the beginning, everybody made strange grunting noises and Jerry sloshed some water contained in champaign bucket at The Riverside. Rough Terrain made four separate tracks of this on the four-track. The idea for the frog noises came from Marc Greatorex, Now’s drummer. Exactly why this piece is called Frog is no longer known. The lead guitar part was recorded at Howell Road on somebody’s Washburn guitar that had been left there. It was a beautiful instrument, natural wood finish with gorgeous grain, and the strings on it were probably 8 gauge as they were thinner than George’s 9s. Whoever owned the Washburn must have taken it away soon after the recording as it was never seem again by the band. The rhythm guitar is played by George on the Ice Maiden. Normally in a live gig situation Andy would play the rhythm part on Nicodemus.

See also: http://www.wudrecords.co.uk/artists/rough-terrain/howell-road-demo https://wudrecords.bandcamp.com/album/exit-stage-deaf http://www.explicitmusic.co.uk/lyrics-information/rough-terrain/howell-road-demo/frog https://twitter.com/WudRecords

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Autumn Glory by Critical Error. Album: Critical Error.

AUTUMN GLORY Do you remember when we climbed the mountain Followed the river up to it's source Climbing higher than we'd ever dared before Guided by the river's course

Looking out over the autumn forest Crystal waters falling to the lake Looking out on creation Thought our hearts would surely break

I love you, I love you, I love you from that day I love you, I love you, more than I can say Autumn glory is captured in your autumn eyes Autumn glory took me by surprise Your glory, your glory, your glory, all your glory Your glory, your glory, your glory, all your glory

We discovered the breath taking beauty Of autumn glory under golden skies I discovered autumn had a rival It was the beauty captured in your eyes

All the colours of the autumn forest Under golden light from above Every autumn brings back memories Of the day we fell in love I love you, I love you, I loved you from that day I love you, I love you more than I can say Autumn glory is captured in your autumn eyes Autumn glory took me by surprise Autumn glory, autumn glory, autumn glory

Words and music by Steve Mavin. This arrangement by Critical Error.

Performers: Rosie Mullin - vocals Steve Mavin - vocals & 12 string guitar Allan Veal - bass guitar Tom Woods - accoustic guitar Paul Bateman = drum machine programming

Recorded, engineered and produced by Paul Bateman at 32 Howell Road, Exeter. Mixed by Paul Bateman and Critical Error.

Cassette salvage by Paul Bateman. Logistics and co-ordination by Rosie Mullin. Audio cleaned and mastered at Wud Records Studio One, October 2020.

Cover illustration by Paul Bateman.

Copyright ℗ 1987 Parsnip Music. Copyright © 2020 Wud Records.

See also: https://www.wudrecords.co.uk/archives/critical-error/ https://substanceandshadow.co.uk/ https://twitter.com/WudRecords

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Golden Wings by Critical Error. Album: Critical Error.

GOLDEN WINGS Don't think that you can bring this angel down to earth Her wings will tear away your chains The song of freedom is so strong she breaks away When she chooses she can fly on golden wings When she needs to she can fly on golden wings

Don't think that you can keep this angel when she falls Her life will take her to the blue Her wings can reach much further than a lover's eyes When she chooses she can fly on golden wings When she needs to she can fly on golden wings

Her golden, her golden wings Her golden, her golden wings Where your eyes cannot follow Her home is far away, so far away Far away, so far away Where angels fly on golden wings

Don't think that you can offer love without a risk She leads you, follow if you dare Her wings can reach so far beyond the sea or sky Where angels fly on golden wings Where angels fly on golden wings Where angels fly on golden wings

Words and music by Steve Mavin. This arrangement by Critical Error.

Performers: Rosie Mullin - lead vocals and tambourine Steve Mavin - accoustic guitar and backing vocals Allan Veal - bass guitar Paul Bateman - lead guitar and backing vocals Tim Peirce - congas Jim Peters - backing vocals

Recorded, engineered and produced by Paul Bateman at 32 Howell Road, Exeter. Mixed by Paul Bateman and Critical Error.

Cassette salvage by Paul Bateman. Logistics and co-ordination by Rosie Mullin. Audio cleaned and mastered at Wud Records Studio One, October 2020.

Cover illustration by Paul Bateman.

Copyright ℗ 1987 Parsnip Music. Copyright © 2020 Wud Records.

See also: https://www.wudrecords.co.uk/archives/critical-error/ https://substanceandshadow.co.uk/ https://twitter.com/WudRecords

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Sahara by Critical Error. Album: Critical Error.

SAHARA Oh Sahara, Sahara, Sahara Sahara the wind is a demon The sand is an ocean, so is the desert sun Sahara Sahara the night is a lover she dances in moonlight sure to discover love Sahara

Oh Sahara, Sahara, Sahara

Sahara casts an illusion, pulls you inside her Mirage and mystery Sahara Sahara dunes all around her Promising death to all that have found her love Sahara

Oh Sahara, Sahara, Sahara

Words and music by Steve Mavin / Aidan Whiteley. This arrangement by Critical Error.

Performers: Rosie Mullin - vocals Steve Mavin - lead vocals and guitar Allan Veal - bass guitar Paul Bateman - lead guitar Tim Peirce - congas

Recorded, engineered and produced by Paul Bateman at 32 Howell Road, Exeter. Mixed by Paul Bateman and Critical Error.

Cassette salvage by Paul Bateman. Logistics and co-ordination by Rosie Mullin. Audio cleaned and mastered at Wud Records Studio One, October 2020.

Cover illustration by Paul Bateman.

Copyright ℗ 1987 Parsnip Music. Copyright © 2020 Wud Records.

See also: https://www.wudrecords.co.uk/archives/critical-error/ https://substanceandshadow.co.uk/ https://twitter.com/WudRecords

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The Instrumental by Critical Error. Album: Critical Error.

Music by Steve Mavin / Aidan Whiteley. This arrangement by Critical Error.

Performers: Rosie Mullin - vocals and tambourine Steve Mavin - accoustic guitar and vocals Aidan Whiteley - electric and accoustic guitars Allan Veal - bass guitar

Recorded, engineered and produced by Paul Bateman at 32 Howell Road, Exeter. Mixed by Paul Bateman and Critical Error.

Cassette salvage by Paul Bateman. Logistics and co-ordination by Rosie Mullin. Audio cleaned and mastered at Wud Records Studio One, October 2020.

Cover illustration by Paul Bateman.

Copyright ℗ 1987 Parsnip Music. Copyright © 2020 Wud Records.

See also: https://www.wudrecords.co.uk/archives/critical-error/ https://substanceandshadow.co.uk/ https://twitter.com/WudRecords

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Lady Fuchsia by Critical Error. Album: Critical Error.

inspired by Mervyn Peake's 'Gormenghast'.

LADY FUSCHIA Oh Lady Fuchsia, where have you been? Out in the woods Out in the wind Away from here, away from here

Hair as black as midnight, crimson your robe Back in your empty room You find the blood red rose What keeps you here, is it love or fear? What keeps you here, is it love or fear?

Now she lies as cold as ancient stone Her mother says goodnight to a child that sleeps alone In darkness, in darkness, in darkness

Lost in the ritual, sealed in a living tomb The stranger preys upon you Haunts your secret room With cold desire, his face is fire With cold desire, his face is fire

Your father's books are burning Madness in his eyes Gaining love and losing love The water's rise The storm is here, the end is near The storm is here, the end is near

Now the flood has reached her window ledge She takes a step too far, the water drowns her easily. Takes her life, takes her breath It takes her life, brings her death Takes her life

Now she lies as cold as ancient stone Her mother says goodnight to a child that sleeps alone In darkness and in death In darkness and in death In darkness and in death In darkness and in death

Words and music by Steve Mavin / Rosie Mullin. This arrangement by Critical Error.

Performers: Rosie Mullin - lead vocals Steve Mavin - vocals and accoustic guitar Jim Peters - keyboard Paul Bateman - lead guitar

Recorded, engineered and produced by Paul Bateman at 32 Howell Road, Exeter. Mixed by Paul Bateman and Critical Error.

Cassette salvage by Paul Bateman. Logistics and co-ordination by Rosie Mullin. Audio cleaned and mastered at Wud Records Studio One, October 2020.

Cover illustration by Paul Bateman.

Copyright ℗ 1987 Parsnip Music. Copyright © 2020 Wud Records.

See also: https://www.wudrecords.co.uk/archives/critical-error/ https://substanceandshadow.co.uk/ https://twitter.com/WudRecords

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Majestic by Critical Error. Album: Critical Error.

MAJESTIC So the seagulls flew away towards the dying sun And she felt the rain on her shoulders But you know she can't forget Ice on fire and burning trees And a life alone Where does the time go? Where does the time go? But you know she can't explain Every heart beat filled with pain And you never know she's gone With the rising of the sun She's gone now, she's gone

Broken dreams fall from the sky At the glass by her feet And the fears they grow every time the rain falls But you know she won't forget The silver moon and dying stars And a life of hate Can she stop the changes? Can she rearrange it? But you know she can't explain Every heart beat's filled with pain And you never know she's gone With the rising of the sun She's gone now, she's gone

A single ship appears on the horizon Is it just a dream? If it's just a dream it's so majestic, majestic It's so majestic So majestic Rainbow sails that fill the sky with colour They're closer now No it's not a dream, it's real It's so majestic, majestic, so majestic

Now the ship has reached the shore The figurehead alive It turns to her and says it's come to take you home Cos you're majestic, majestic, you're all majestic

Goodbye, goodbye, goodbye, she waves goodbye

Words and music by Rosie Mullin / Steve Mavin. This arrangement by Critical Error.

Performers: Rosie Mullin - vocals Steve Mavin - vocals and guitar Allan Veal - bass guitar Baz Bishop - lead guitar Jim Peters - keyboards Paul Bateman - drum machine programming

Recorded, engineered and produced by Paul Bateman at 32 Howell Road, Exeter. Mixed by Paul Bateman and Critical Error.

Cassette salvage by Paul Bateman. Logistics and co-ordination by Rosie Mullin. Audio cleaned and mastered at Wud Records Studio One, October 2020.

Cover illustration by Paul Bateman.

Copyright ℗ 1987 Parsnip Music. Copyright © 2020 Wud Records.

See also: https://www.wudrecords.co.uk/archives/critical-error/ https://substanceandshadow.co.uk/ https://twitter.com/WudRecords

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Sweet Warrior by Critical Error. Album: Critical Error.

Rosie has a memory of how this song was created. This is what she said.

"Both me and Steve wrote the melody. I remember him looking at my poem and starting to strum a chord and I sang the first three notes and he got excited about those notes and we sat down and wrote the song.

Allan came in, put a bass line on it and we were well chuffed.

Aidan came back from work and we played it to him and he looked deadly serious and said that he hated it. Then confessed that he was joking.

He then came up with a medieval chord progression that fitted perfectly. It was the quickest song we wrote together! "

SWEET WARRIOR Hello my sweet warrior With your bloodshed dreams Has the battle torn you at the seams And has your fair maiden lost her grace, Lost her feelings, lost her place Lost her feelings, lost her grace

And is your dead brother In the battle mound Has his heart still not been found Will his heart never, ever be found

Sleep now, my brave warrior Close your eyes of blue Have the strangers broken you in two How is your fair maiden Does she sleep as your memory she keeps Does she weep as your memory keeps

And is your dead brother In the battle mound Has his heart still not been found Will his heart never, ever be found

Goodbye my dead warrior Now the bitter sword Has severed the bloodless silver cord So weeps your fair maiden The last sight, the pale lily of death The lost knight has taken his last breath

And is your dead brother In the battle mound Has his heart still not been found Will his heart never, ever be found

Words by Rosie Mullin. Music by Steve Mavin / Rosie Mullin. This arrangement by Critical Error.

Performers: Rosie Mullin - lead vocals and flageolet Steve Mavin - backing vocals and acoustic guitar Aidan Whiteley - lead guitar (6 & 12 string) Allan Veal - bass guitar

Recorded, engineered and produced by Paul Bateman at 32 Howell Road, Exeter. Mixed by Paul Bateman and Critical Error.

Cassette salvage by Paul Bateman. Logistics and co-ordination by Rosie Mullin. Audio cleaned and mastered at Wud Records Studio One, October 2020.

Cover illustration by Paul Bateman.

Copyright ℗ 1987 Parsnip Music. Copyright © 2020 Wud Records.

See also: https://www.wudrecords.co.uk/archives/critical-error/ https://substanceandshadow.co.uk/ https://twitter.com/WudRecords

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The Wilderness by Critical Error. Album: Critical Error.

THE WILDERNESS We used to be so close We had no need to touch each other We used to use our eyes and never say a word We used to give each other Everything that we needed We used to use our eyes and never say a word Thought love would last forever I thought we'd be together I never thought I'd have to say

I'd rather die in the wilderness than to have you back again I'd rather die in an empty room than to see your face again I used to laugh at your sweet caress now it only brings me pain I'd rather die in the wilderness I'd rather die in the burning rain, the burning rain In the wilderness, the burning rain

We used to be so strong, we fought the world together We stood there side by side against an angry world We used to give each other everything that we needed We used to use our eyes and never say a word Thought love would last forever I thought we'd be together I never thought I'd have to say

I'd rather die in the wilderness than to have you back again I'd rather die in an empty room than to see your face again I used to laugh at your sweet caress now it only brings me pain I'd rather die in the wilderness I'd rather die in the burning rain, the burning rain In the wilderness, the burning rain

Words and music by Steve Mavin. This arrangement by Critical Error.

Performers: Steve Mavin - lead vocals, acoustic guitar Rosie Mullin - backing vocals, percussion Allan Veal - bass Paul Bateman - drum programming, backing vocals Stuart "The Amazing Blind Screaming Blue Stu" Cannon - harmonica Baz Bishop - lead guitar Jim Peters - backing vocals

Recorded, engineered and produced by Paul Bateman at 32 Howell Road, Exeter. Mixed by Paul Bateman and Critical Error.

Cassette salvage by Paul Bateman. Logistics and co-ordination by Rosie Mullin. Audio cleaned and mastered at Wud Records Studio One, October 2020.

Cover illustration by Paul Bateman.

Copyright ℗ 1987 Parsnip Music. Copyright © 2020 Wud Records.

See also: https://www.wudrecords.co.uk/archives/critical-error/ https://substanceandshadow.co.uk/ https://twitter.com/WudRecords

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Gypsy by Critical Error. Album: Critical Error.

GYPSY And so they say that you're the wild one That you fade like evening light And the storm could never hold you Only love makes it right So you say you'll never stay here Like passing time you must move on If freedom is the only answer Maybe the questions are all wrong Gypsies come and go

Gypsy come gypsy go Where she roams nobody knows Gypsy come gypsy go Where she roams nobody knows

When the evening light is dying Her shadow fades and disappears A memory of love and laughter Will your waiting turn to fear Now the dusty road is empty The seasons have turned around Only her ghost is left to dance there Loneliness is all you found Gypsies come and go

Words and music by Rosie Mullin / Steve Mavin / Aidan Whiteley / Allan Veal. This arrangement by Critical Error.

Performers: Rosie Mullin - lead vocals Steve Mavin - 6 & 12 string guitar, backing vocals Allan Veal - bass guitar Aidan Whiteley - rhythm and lead guitar

Recorded, engineered and produced by Paul Bateman at 32 Howell Road, Exeter. Mixed by Paul Bateman and Critical Error.

Cassette salvage by Paul Bateman. Logistics and co-ordination by Rosie Mullin. Audio cleaned and mastered at Wud Records Studio One, October 2020.

Cover illustration by Paul Bateman.

Copyright ℗ 1987 Parsnip Music. Copyright © 2020 Wud Records.

See also: https://www.wudrecords.co.uk/archives/critical-error/ https://substanceandshadow.co.uk/ https://twitter.com/WudRecords

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Walk on Water by Critical Error. Album: Critical Error.

WALK ON WATER Standing by the river At the water's edge I saw reflections of the sky Inside my head, inside my head I saw blood I saw fire Faces that I miss Absent lovers, absent friends Dying with a kiss, dying with a kiss

Walk on water Walk on water Walk on water, wash away the pain Walk on water Walk on water Walk on water, wash away the pain

Walking on the water Rising to my heart Out of reach a flower dies Petals fall apart, love falls apart In my eyes, in my eyes Splinters breaking glass Tears join the river All things must pass

Words and music by Steve Mavin. This arrangement by Critical Error.

Performers: Steve Mavin - vocals and accoustic guitar Rosie Mullin - vocals and tambourine Allan Veal - bass guitar Dave Costello - lead guitar Paul Bateman - drum machine programming

Recorded, engineered and produced by Paul Bateman at 32 Howell Road, Exeter. Mixed by Paul Bateman and Critical Error.

Cassette salvage by Paul Bateman. Logistics and co-ordination by Rosie Mullin. Audio cleaned and mastered at Wud Records Studio One, October 2020.

Cover illustration by Paul Bateman.

Copyright ℗ 1987 Parsnip Music. Copyright © 2020 Wud Records.

See also: https://www.wudrecords.co.uk/archives/critical-error/ https://substanceandshadow.co.uk/ https://twitter.com/WudRecords

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The Wine by Critical Error. Album: Critical Error.

The Wine is a cover of a song by The Chillun. The Chillun's version is here: https://soundcloud.com/wud-records/chillun-the-wine?in=wud-records/sets/the-chillun-the-chillun

THE WINE Who's that sitting at the end of the bar Pouring his drinks from an earthenware jar What did you expect for this time of day You buy him a drink and he'll go away

He's an all time loser that they taught to sing Trouble and pain was all he could bring He sits there drinking by the telephone He can't get strength to go home alone

Cos the phone keeps ringing and there's no-one there It's just a dirty trick to get him out of his chair He dreams one day at the end of the line A voice will say: "Come taste the wine."

Sweet success looked him in the face He said you're good but to win this race You got to be mean enough to make you rich Forget lady luck, she's a filthy bitch

And how, and how?

So our little boy singer with the sweet silver voice Said to the man, "That's a hell of a choice. What about fun and all the good times?" "Forget about the rest, I want to taste the wine!"

Cos the phone keeps ringing and there's no-one there It's just a dirty trick to get him out of his chair He dreams one day at the end of the line A voice will say: "Come taste the wine."

I don't know what you thinking but it seems to be so plain That you're not prepared to tell us all of things that seem so strange The wine is there for taking by anyone who dares But the the one who drinks the deepest is the one with smallest cares

Come taste the wine, the wine, come taste the wine I need the wine

Whose that sitting at the end of the bar Pouring his drinks from an earthenware jar What did you expect for this time of day You buy him a drink and he'll go away

He's an all time loser that they taught to sing Trouble and pain was all he could bring He sits there drinking by the telephone He can't get strength to go home alone

Cos the phone keeps ringing and there's no-one there It's just a dirty trick to get him out of his chair He dreams one day at the end of the line A voice will say: "Come taste the wine."

Words and music by Andrew Russe. This arrangement by Critical Error.

Performers: Rosie Mullin - lead vocals Steve Mavin - vocals and 6 string guitar Aidan Whiteley - rhythm and lead guitar Allan Veal - bass guitar

Recorded, engineered and produced by Paul Bateman at 32 Howell Road, Exeter. Mixed by Paul Bateman and Critical Error.

Cassette salvage by Paul Bateman. Logistics and co-ordination by Rosie Mullin. Audio cleaned and mastered at Wud Records Studio One, October 2020.

Cover illustration by Paul Bateman.

Copyright ℗ 1982 The Chillun. Copyright © 2020 Wud Records.

See also: https://www.wudrecords.co.uk/archives/critical-error/ https://www.wudrecords.co.uk/archives/the-chillun/ https://substanceandshadow.co.uk/ https://twitter.com/WudRecords

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Out Of His Head by The Subterraineans.

The Subterraineans Demo is a collection of songs that were recorded on George’s Tascam 244 during the winter of 1986-7.

The demo features Dean on voice and guitars, George on guitars and voice, Jerry on bass and Graham on drums.

Due to many years of cassette deterioration the quality is not great, but we have managed to improve a little on what remained.

Words: D.Trotter Music: G.Davies/D.Trotter Arrangement: G.Davies/D.Trotter/J.Peirce/G.Barbe

Copyright (c) Wud Records 1987, (p) Explicit Music 1987

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Music and lyrics: G. Davies This arrangement by The Ug Brothers.

Graham Barbe - drums Marc Greatorex - bass George Davies - guitar, vocals

A song that George wrote for Graham before this formation of The Ug Brothers.

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Music and lyrics: G.Barbe/Y.Crone This arrangement by The Ug Brothers.

Graham Barbe - vocals, drums Marc Greatorex - bass George Davies - guitar

One of four songs at Wud Records that came from the pen of Graham, the others being Mouse Art (The Ug Brothers: Ugstrumentals), Speeding With The Starlight (The Subterraineans: Demo) and Stone (The Ug Brothers: In Session 20/11/86). This one was co-written with Yvonne Crone.

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Music and lyrics: G.Barbe This arrangement by The Ug Brothers.

Graham Barbe - vocals, drums Marc Greatorex - bass George Davies - guitar

One of four songs at Wud Records that came from the pen of Graham, the others being Mouse Art (The Ug Brothers: Ugstrumentals), Speeding With The Starlight (The Subterraineans: Demo) and Temptation (The Ug Brothers: In Session 20/11/86).

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Music and lyrics: G. Davies This arrangement by The Ug Brothers.

Graham Barbe - drums Marc Greatorex - bass George Davies - guitar, vocals

George wrote this on 17th May 1986 after feeling somewhat disgruntled with the demise of a previous fledgling band, The Masters of Drone. It also appears without the screechy guitar at the beginning on Rough Terrain's Howell Road Demo and Rough Terrain's Exit Stage Deaf compilation.

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Music and lyrics: G. Davies This arrangement by The Ug Brothers.

Graham Barbe - drums Marc Greatorex - bass George Davies - guitar, vocals

A simple song of lust with a slightly disco feel, written after George had spent some time in the company of a beautiful young maiden with the most hypnotising eyes.

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Music and lyrics: G. Davies This arrangement by The Ug Brothers.

Graham Barbe - drums Marc Greatorex - bass George Davies - guitar, vocals

In 1983 George deceided to write a concept album based on the idea of swords and sorcery. He wrote all of the music fairly quickly, but most of the lyrics were never finished and the concept album lies gathering dust, and probably will forever more.

Walking Over That Same Old Stony Ground was a song that George wrote one day in 1985 during a rare outburst of enthusiasm for said concept album. It was a late arrival having not been previously conceived.

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Music and lyrics: G. Davies This arrangement by The Ug Brothers.

Graham Barbe - drums Marc Greatorex - bass George Davies - guitar, vocals

This was a song George wrote after a bizarre and funny alcohol-related incident centred around a teenage Pok and a completely wrong girl named Kate at a disco.

'Lert' was one bogus name among many bogus names that Dave 'Destroyer of Microphones' Wareham signed on a somewhat degraded thank-you card to a largely inept music teacher following a reasonably decent school play.

This song was later performed live many times by the band Rough Terrain.

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The Subterraineans consisted of Dean Trotter (vocals, guitar, percussion), George Davies (guitar, vocals), Jerry Peirce (bass, vocals) and Graham Barbe (drums). The band was formed from the ashes of The Addled Eggs, so in that sense can be considered a phoenix. The Subterraineans formed in September 1986 and continued until around March 1987.

These songs were recorded when The Subterraineans had been rehearsing for about two months. They had not gigged at this point. Some of the songs are a bit rough and the quality of the recording is not great as the cassette has deteriorated over the years, but it is interesting to hear these songs nevertheless. It would seem that Graham was the chief presser of the ‘record’ button on this occasion.

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The Subterraineans consisted of Dean Trotter (vocals, guitar, percussion), George Davies (guitar, vocals), Jerry Peirce (bass, vocals) and Graham Barbe (drums). The band was formed from the ashes of The Addled Eggs, so in that sense can be considered a phoenix. The Subterraineans formed in September 1986 and continued until around March 1987.

These songs were recorded when The Subterraineans had been rehearsing for about two months. They had not gigged at this point. Some of the songs are a bit rough and the quality of the recording is not great as the cassette has deteriorated over the years, but it is interesting to hear these songs nevertheless. It would seem that Graham was the chief presser of the ‘record’ button on this occasion.

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The Subterraineans consisted of Dean Trotter (vocals, guitar, percussion), George Davies (guitar, vocals), Jerry Peirce (bass, vocals) and Graham Barbe (drums). The band was formed from the ashes of The Addled Eggs, so in that sense can be considered a phoenix. The Subterraineans formed in September 1986 and continued until around March 1987.

These songs were recorded when The Subterraineans had been rehearsing for about two months. They had not gigged at this point. Some of the songs are a bit rough and the quality of the recording is not great as the cassette has deteriorated over the years, but it is interesting to hear these songs nevertheless. It would seem that Graham was the chief presser of the ‘record’ button on this occasion.

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The Subterraineans consisted of Dean Trotter (vocals, guitar, percussion), George Davies (guitar, vocals), Jerry Peirce (bass, vocals) and Graham Barbe (drums). The band was formed from the ashes of The Addled Eggs, so in that sense can be considered a phoenix. The Subterraineans formed in September 1986 and continued until around March 1987.

These songs were recorded when The Subterraineans had been rehearsing for about two months. They had not gigged at this point. Some of the songs are a bit rough and the quality of the recording is not great as the cassette has deteriorated over the years, but it is interesting to hear these songs nevertheless. It would seem that Graham was the chief presser of the ‘record’ button on this occasion.

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The Subterraineans consisted of Dean Trotter (vocals, guitar, percussion), George Davies (guitar, vocals), Jerry Peirce (bass, vocals) and Graham Barbe (drums). The band was formed from the ashes of The Addled Eggs, so in that sense can be considered a phoenix. The Subterraineans formed in September 1986 and continued until around March 1987.

These songs were recorded when The Subterraineans had been rehearsing for about two months. They had not gigged at this point. Some of the songs are a bit rough and the quality of the recording is not great as the cassette has deteriorated over the years, but it is interesting to hear these songs nevertheless. It would seem that Graham was the chief presser of the ‘record’ button on this occasion.

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The Subterraineans consisted of Dean Trotter (vocals, guitar, percussion), George Davies (guitar, vocals), Jerry Peirce (bass, vocals) and Graham Barbe (drums). The band was formed from the ashes of The Addled Eggs, so in that sense can be considered a phoenix. The Subterraineans formed in September 1986 and continued until around March 1987.

These songs were recorded when The Subterraineans had been rehearsing for about two months. They had not gigged at this point. Some of the songs are a bit rough and the quality of the recording is not great as the cassette has deteriorated over the years, but it is interesting to hear these songs nevertheless. It would seem that Graham was the chief presser of the ‘record’ button on this occasion.

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The Subterraineans consisted of Dean Trotter (vocals, guitar, percussion), George Davies (guitar, vocals), Jerry Peirce (bass, vocals) and Graham Barbe (drums). The band was formed from the ashes of The Addled Eggs, so in that sense can be considered a phoenix. The Subterraineans formed in September 1986 and continued until around March 1987.

These songs were recorded when The Subterraineans had been rehearsing for about two months. They had not gigged at this point. Some of the songs are a bit rough and the quality of the recording is not great as the cassette has deteriorated over the years, but it is interesting to hear these songs nevertheless. It would seem that Graham was the chief presser of the ‘record’ button on this occasion.

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The Subterraineans consisted of Dean Trotter (vocals, guitar, percussion), George Davies (guitar, vocals), Jerry Peirce (bass, vocals) and Graham Barbe (drums). The band was formed from the ashes of The Addled Eggs, so in that sense can be considered a phoenix. The Subterraineans formed in September 1986 and continued until around March 1987.

These songs were recorded when The Subterraineans had been rehearsing for about two months. They had not gigged at this point. Some of the songs are a bit rough and the quality of the recording is not great as the cassette has deteriorated over the years, but it is interesting to hear these songs nevertheless. It would seem that Graham was the chief presser of the ‘record’ button on this occasion.

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The Subterraineans consisted of Dean Trotter (vocals, guitar, percussion), George Davies (guitar, vocals), Jerry Peirce (bass, vocals) and Graham Barbe (drums). The band was formed from the ashes of The Addled Eggs, so in that sense can be considered a phoenix. The Subterraineans formed in September 1986 and continued until around March 1987.

These songs were recorded when The Subterraineans had been rehearsing for about two months. They had not gigged at this point. Some of the songs are a bit rough and the quality of the recording is not great as the cassette has deteriorated over the years, but it is interesting to hear these songs nevertheless. It would seem that Graham was the chief presser of the ‘record’ button on this occasion.

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The Addled Eggs live in session in 1986.

HEAVEN AND HELL Word and music by Dean Trotter. Arrangement by The Addled Eggs.

Dean Trotter: vocals, rhythm guitar Martin Cartwright: lead guitar George Davies: bass, vocals Ben Ballard: drums

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The Addled Eggs live in session in 1986.

TAKE A LITTLE BIT Word and music by Dean Trotter. Arrangement by The Addled Eggs.

Dean Trotter: vocals, rhythm guitar Martin Cartwright: lead guitar, tambourine George Davies: bass, vocals

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The Addled Eggs live in session in 1986.

SHORT AND SWEET Word and music by Dean Trotter. Arrangement by The Addled Eggs.

Dean Trotter: vocals, rhythm guitar Martin Cartwright: lead guitar Senga Steel: acoustic guitar George Davies: bass

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The Addled Eggs live in session in 1986.

SUMMERTIME Word and music by Dean Trotter. Arrangement by The Addled Eggs.

Dean Trotter: vocals, rhythm guitar Martin Cartwright: lead guitar Senga Steel: acoustic guitar George Davies: bass

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The Addled Eggs live in session in 1986.

SILVER PAPER Words and music by Steve Knight, Leslie A. Weinstein, Felix Pappalardi, George Gardos, Laurence Laing, Gail Collins. Arrangement by The Addled Eggs.

Dean Trotter: vocals Martin Cartwright: guitar George Davies: bass Ben Ballard: drums

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The Addled Eggs live in session in 1986.

FLASHBACK Words: S.Miller Music and arrangement: G.Davies, S.Miller

Dean Trotter: vocals, rhythm guitar George Davies: lead guitar Martin Cartwright: bass Ben Ballard: drums

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The Addled Eggs live in session in 1986.

WAITING Word and music by Dean Trotter. Arrangement by The Addled Eggs.

Dean Trotter: vocals, rhythm guitar Martin Cartwright: lead guitar Senga Steel: acoustic guitar George Davies: bass

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Twilight on the Moon by Laughing Sun

Music by M.Greatorex Words (improvised) by S.Miller This arrangement by Laughing Sun Recorded 26th September 1985 at 31 Cowick Lane, Exeter, UK

Pok: vocals, electric George Davies: guitar Marc Greatorex: bass

TWILIGHT ON THE MOON The fortress was broken And our lives saw the light When we all found our Masters And life sublime We went on We went on Oh we went on

The fortress was fallen And we became what we did after Father Time Father Time Father Time we call you

It went on and on and on and on and on On and on and on and on and on On and on and on and on and on All together On and on and on and on and on It went on and on and on

Words by Simon Miller. Copyright (c) Pok Songs/Explicit Music 1985, (p) Wud Records 1985.

This song comes from a curious ditty composed on bass guitar by Marc.

http://www.wudrecords.co.uk/artists/laughing-sun/indeed-1985 http://www.explicitmusic.co.uk/lyrics-information/laughing-sun/indeed/twilight-on-the-moon twitter.com/#!/WudRecords https://wudrecords.bandcamp.com/

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Hassan-I-Sabbah by Laughing Sun

Words and music by R.Calvert/P.Rudolph This arrangement by Laughing Sun Recorded 26th September 1985 at 31 Cowick Lane, Exeter, UK

Pok: vocals, electric guitar George Davies: electric guitar, vocals Marc Greatorex: bass

HASSAN I SABBAH Hashish-hashin Hashish-hashin Hashish-hashin Hashish-hashin Hashish-hashin Hashish-hashin Hashishin Black-September Black-September Black-September Black-September Black-September Black-September Black-September

Death unto all infidels in oil Guide us O' thou genie of the smoke Lead us to a thousand and one nights In the perfumed garden of delights

Petro-dollar Petro-dollar Petrol-D'allah Petrol-D'allah Petro-dollar Petro-dollar Petrol-dollar Hashish-hashin Hashish-hashin Hashish-hashin Hashish-hashin Hashish-hashin Hashish-hashin Hashishin

Death unto all infidels in oil Guide us O' thou genie of the smoke Lead us to a thousand and one nights In the perfumed garden of In the perfumed garden of In the perfumed garden of delights

It is written It is written It is written It is written It is written In the soul of the desert It is written In signs in the stars It is written In the sands of the hour-glass It is written It is written In the eye of the falcon It is written In the shade of the scorpion It is written In the wealth of the sun It is written It is written Man's truth is a mirage It is written That death's an oasis It is written For all unbelievers It is written It is written It is written It is written It is written It is written It is written It is written It is written It is written

Hashish-hashin Hashish-hashin Hashish-hashin Hashish-hashin Hashish-hashin Hashish-hashin Hashishin

Death unto all infidels in oil Guide us O' thou genie of the smoke Lead us to a thousand and one nights In the perfumed garden of In the perfumed garden of In the perfumed garden of delights

http://www.wudrecords.co.uk/artists/laughing-sun/indeed-1985 twitter.com/#!/WudRecords https://wudrecords.bandcamp.com/

References: https://en.wikipedia.org/wiki/Quark,_Strangeness_and_Charm http://genius.com/Hawkwind-hassan-i-sabbah-lyrics http://www.metrolyrics.com/hassan-i-sahba-lyrics-hawkwind.html

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Set The Marks by Laughing Sun

Words and music by S.Miller This arrangement by Laughing Sun Recorded 26th September 1985 at 31 Cowick Lane, Exeter, UK

Pok: vocals, guitar George Davies: bass

SET THE MARKS Just a little bit over the mark Just a little bit in time Whole pillar of people all frozen in slime And you know all they need is some comfort You know all they need is a hand to guide Of course we’re all listening so intent now It makes the world go round

We all got out around summertime again Julie says to me “I’ll give you three points for style One for the other, two for the same, five for remainder Six if your with me and as Androcles said Don’t you ever offend her”

And back in school we jumped the gates and moved on again Teacher bid us begone with banners grey and pale If only he knew the problem He’d probably go grow roses instead What with his beard and his anthems We’d be better off red instead

Just for a joke for a bit of a poke we lit up the moon Showered silver fishes on New York City from a paper spoon Man-Trout says “Can anyone here remember what we are doing here?” Set out the marks tell the winner she’s won, speed on Tuesday Will he won’t he December?

Words by Simon Miller. Copyright (c) Pok Songs 1985, (p) Wud Records 1985.

http://www.wudrecords.co.uk/artists/laughing-sun/indeed-1985 http://www.explicitmusic.co.uk/lyrics-information/laughing-sun/indeed/set-the-marks twitter.com/#!/WudRecords https://wudrecords.bandcamp.com/

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Coping With The Runs In Mexico Blues by Laughing Sun

Words and music by N. Glanville/S. Miller/D. Leach/R. Rugg/G. Davies This arrangement by Laughing Sun Recorded 26th September 1985 at 31 Cowick Lane, Exeter, UK

Pok: vocals, guitar George Davies: guitar, vocals Marc Greatorex: bass

COPING WITH THE RUNS IN MEXICO BLUES Woke up this morning I was walking down the street Traces of vomit all over my feet And I’m so sick man, yeah, couldn’t take my eats So damn lonely I couldn’t stand the heat

Later that bad day I took a trip Someone had spiked my drink With some darn ‘lips’ And when I woke up I was sick So smashed man that I needed a kip

And by the evening I’d had my fill Lunch had been not a thrill Thousands of gallons of pigswill Felt so bad and pukey That I took some pills

By three in the morning Things were getting dire My whole body was afire Seems I’m always burning burning burning Like a funeral pyre It was so damn hot in there That I got the piles

Breakfast time once more It was bangers and mash I finished the barbs that give you a bash Head was spinning, going round I crashed out onto ground I was so low and downed man Freedom hadn’t been found

Round dinner time again The bacon pan sizzled Lost so much blood My liver was frizzled And now I’m an angel I died of the whistles Looked back in the pan again And the meat was gristled

Words by N. Glanville/S. Miller/D. Leach/R. Rugg/G. Davies. Copyright (c) Pok Songs/Explicit Music 1982, (p) Wud Records 1985.

http://www.wudrecords.co.uk/artists/laughing-sun/indeed-1985 http://www.explicitmusic.co.uk/lyrics-information/laughing-sun/indeed/coping-with-the-runs-in-mexico-blues twitter.com/#!/WudRecords https://wudrecords.bandcamp.com/

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Young Light by Laughing Sun

Words and music by S.Miller This arrangement by Laughing Sun Recorded 26th September 1985 at 31 Cowick Lane, Exeter, UK

Pok: vocals, guitar George Davies: bass, vocals

YOUNG LIGHT When I’m close to you like this What is it that I miss? Always takes so many years Meanwhile your conscience sneers To be always there Always there

Silver dust is in your hair You can become aware You can tell a sunset by the way she moves her eyes You can’t catch the wind but you sure can try You can try Try Try

Young Light Young Light You will always be turned on for me Young Light I hear you calling me You will always be turned on for us

Words by Simon Miller. Copyright (c) Pok Songs 1983, (p) Wud Records 1985.

http://www.wudrecords.co.uk/artists/laughing-sun/indeed-1985 http://www.explicitmusic.co.uk/lyrics-information/laughing-sun/indeed/young-light twitter.com/#!/WudRecords https://wudrecords.bandcamp.com/

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At One by Laughing Sun

Words by G.Davies Music by G.Davies/M.Greatorex This arrangement by Laughing Sun Recorded September 1985 at 31 Cowick Lane, Exeter, UK

Pok: guitar, vocals George Davies: guitar, vocals Marc Greatorex: bass

This is a fragment of a previous recording which went unnoticed until At One (part 2). As such a large portion of this song was recorded over by Laughing Sun recording their Indeed collection on the same cassette.

Copyright (c) Explicit Music 1985, (p) Wud Records 1985.

http://www.wudrecords.co.uk/artists/laughing-sun/indeed-1985 twitter.com/#!/WudRecords https://wudrecords.bandcamp.com/

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The Dark, The Ring, The Knowledge by Laughing Sun

Words and music by S.Miller This arrangement by Laughing Sun Recorded 26th September 1985 at 31 Cowick Lane, Exeter, UK

Pok: vocals, guitar George Davies: guitar

THE DARK, THE RING, THE KNOWLEDGE How can you tell if it’s friend or if it’s foe? You can never be sure in the dark Reminding you of horrors read on someone’s older knee Keep you tucked well in your sheets A crack of light from out the sky The door swings to and fro Middle of night and what a fright A figure moving slow

Yes this is a world full of portals and windows We don’t know what lies beyond Stuck in a room you’ll play a sick tune If you don’t breathe the air outside Should you but one day walk on out See what you can find The darkness is a friend you know Though it seems to make us blind

It’s been a long time since I took a walk With you by the stream So if you like we’ll go down there And talk of where we’ve been Lying in the water clear I found an ancient ring Gave it to you I felt I ought I’m sure you’ve worn that one before

Then you spoke to me about the fear That lies hidden in the dark You want to know just what to do As if I held some clue Look within yourself my love Within will rule without But while you’re chasing phantoms round Make sure you give ’em something to laugh about

You told me about a month on You woke in the dark of night A man was there in your room all right You shuddered but it seemed all right He took hold of the ring That was lying there on the desk And said” Oh child you’re one of us But you must just wait a while”

And so we talked about this for a while How she coped with her mind She seems so much better now She faced the fear as it came to her She understands the ways and means Of fear of the unknown She found the way to all our hearts Is the way to her own

Words by Simon Miller. Copyright (c) Pok Songs 1985, (p) Wud Records 1985.

http://www.wudrecords.co.uk/artists/laughing-sun/indeed-1985 http://www.explicitmusic.co.uk/lyrics-information/laughing-sun/indeed/the-dark-the-ring-the-knowledge twitter.com/#!/WudRecords https://wudrecords.bandcamp.com/

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Centre of the Cyclone by Laughing Sun

Words and music by S.Miller This arrangement by Laughing Sun Recorded 26th September 1985 at 31 Cowick Lane, Exeter, UK

Pok: vocals, electric guitar George Davies: electric guitar, vocals Marc Greatorex: bass

THE CENTRE OF THE CYCLONE In forlorn castles too brief for living We rose to catch the sound but were defeated Just around the corner beyond the eyes Beyond the skies we set ourselves as real Like spaceships casting cosmic lines, left behind With stars strewn from our astral selves and planets in our eyes

You walk along the road of life too high to see The mountain you are climbing Casting seeds and scrolls from our outstretched hands The forgiven forget of the gift And it’s too late, the ladder stretches up and down And where do you stand in perspective to it all?

Can you imagine a place, a space that you have not been before But which is not new to you? A place you can recall softly, push through bad dreams Make it real, remember Complications contradict but reality sticks And unbounded has its realms In everything you see

Yes, what do you see? Push through the dark vales to the sea Cast your cosmic line wherever it may fall Maybe you will find some higher guidance there or Maybe you will find a place that you can truly rest Maybe you will find some friends who love you the best Listen Listen Listen

The tides of swirling memories Are nearly gone but forgotten Would you choose to beg or loose The axis which you hold onto Thirteen is the number, twelve it is the rite Thirteen red eyed ravens Outside the house at night

Outward, outward on out Cast light, cast light about Outward, outward on out Look out, which way is far out?

Petty wages are falling like leaves, calling the master To apprenticeship again Will he recall the time, the chime of freedom Blowing through his keyhole Step down from your pedestal and mingle once again With the crowds that you shunned as a youth

At the centre of the cyclone Where all our thoughts are real You’re cacooned in your mental egg Imprisoned inside your head

If we look out the bars we’ve made Can we maybe follow just a little way To see there are no shackles to pass Yet more fresh air, green fields and grass

And we are like the butterfly We can’t take off, our wings aren’t dry But soon if we shall heed the guides The caterpillar metamorphosise

Words by Simon Miller. Copyright (c) Pok Songs 1984, (p) Wud Records 1985.

http://www.wudrecords.co.uk/artists/laughing-sun/indeed-1985 http://www.explicitmusic.co.uk/lyrics-information/laughing-sun/indeed/the-centre-of-the-cyclone twitter.com/#!/WudRecords https://wudrecords.bandcamp.com/

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Don't Let It Pass You By by Laughing Sun

Words and music by S.Miller This arrangement by Laughing Sun Recorded 26th September 1985 at 31 Cowick Lane, Exeter, UK

Pok: vocals, guitar George Davies: guitar, vocals Marc Greatorex: bass

DON’T LET IT PASS YOU BY Don’t get the blues, go slow mamma Just let them pass you by It’s happening, it’s happening Don’t let those blues fool ya mamma Just let them pass you by That’s what they’re there for That’s what they’re there for Open up your heart and let it all flow Because you know sometimes you just got to let it all go

All those times spent in your brain Was only there to compensate ‘Cos all the time the way was waiting You just have to grab a hold Of the way, of the way The sway, yes today

What is today is never tomorrow And who is gone may only follow Take hold of my hand till the morning comes New age come before you wake up When you wake up When you wake Up

Words by Simon Miller. Copyright (c) Pok Songs 1983, (p) Wud Records 1985.

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Wear a Feather in Your Hat by Laughing Sun

Words and music by S.Miller This arrangement by Laughing Sun Recorded 26th September 1985 at 31 Cowick Lane, Exeter, UK

Pok: vocals, guitar George Davies: bass, vocals

WEAR A FEATHER IN YOUR HAT Well we came across some Indians they were sitting in our road And with careful words we offered peace and them our weapons showed They made it and said they sought a man with such purple skin If we had him there on board they’d scalp and do us in It’s a long time since I saw such a man I said and they replied “OK go on you tell the truth I can see it in your eyes”

Later on our road there was a boulder in our path Meg the man said “What shall we do no way can we get past” I steamed a bit and thought a bit, said this man tells the truth So I gave up being leader and sat down to pick my tooth Meg took on the role and quickly had it sussed With forty pounds of dynamite the rock we did bust

Soon the cook was heard to cry “There is no more water left in here. I am making a casserole and the pot is burning dry” So I threw a coin into the air, said “This one I’ll try” A few words from the good old book and rain fell from the sky “What was the other choice you had” they asked, and I replied: “I don’t want to answer that now, let me out I want to pass”

Faintly nightfall does it’s bit and we rattle on in dark Tootsie starts a singing he says “It’s for a lark” Unfortunate for him it wakes something to cause his demise A stowaway that was on board who pokes his head outside Tootsie gets a fright and falls down and dies But what was more was still to come. At night, colour lies

Of the four of us left on the bus, Mook, Meg, Mos and I Not one of us did realise till the sun it did rise That the new man who spent the night explaining who he was and where he’d been Had a case of the most purple skin we’d ever seen We whistled nervously till mid afternoon Then Meg saw a bunch of Redskins, I feel down in a swoon

Round about that time an eagle flies on down Says “We got to wrap it up here before we reach the next town” So he does a bit of act shifting, messes round with our scene The Indians become a film projection on a Hollywood film screen “What a pity they had to go like that, we could have made some friends” Purple man smiles, disappears and leaves a feather where he’d been

(Chorus) Get up stand up be yourself, wear a feather in your hat If you truly believe in yourself you will remember that When you see your light a-coming, come to you it will Expose yourself to its full rays and just soak up your fill Take my advice my friend and wear a feather above your face

(last time) You can be a man of Wud or you can go insane Take our advice my friend and wear a feather in your mane

Words by Simon Miller. Copyright (c) Pok Songs 1985, (p) Wud Records 1985.

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Frog by Laughing Sun

Music by G.Davies/S.Miller/M.Greatorex Words by M.Drower This arrangement by Laughing Sun Recorded 26th September 1985 at 31 Cowick Lane, Exeter, UK

Pok: vocals, electric guitar George Davies: electric guitar, vocals Marc Greatorex: bass, vocals

FROG Mmmmm, thanks.

Words by Mark Drower. Copyright (c) Explicit Music 1983, (p) Wud Records 1985.

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Johnny Wake Up by Laughing Sun

Words and music by S.Miller This arrangement by Laughing Sun Recorded 26th September 1985 at 31 Cowick Lane, Exeter, UK

Pok: vocals, bass George Davies: guitar, vocals

JOHNNY WAKE UP Johnny wake up and go to school You’ll be late and made a fool Some day soon you’ll be a big towering man You can walk all over this aching land

The others used to say it would be all right If we all put our feet into the grave

Get your books or get your gun I don’t mind which, it’s either one Taught to be strangled, beauty obscured Difficult natures are not preferred

And what we gained was what we thought we’d lost And who came after were beyond the cost Saints and sinners, lovers and friends When shall we be back together again?

And what we gained was what we thought we’d lost And who came after were beyond the cost Saints and sinners, lovers and friends When shall we be back together again?

Words by Simon Miller. Copyright (c) Pok Songs 1983, (p) Wud Records 1985.

http://www.wudrecords.co.uk/artists/laughing-sun/indeed-1985 http://www.explicitmusic.co.uk/lyrics-information/laughing-sun/indeed/johnny-wake-up twitter.com/#!/WudRecords https://wudrecords.bandcamp.com/

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Stella Blue by Laughing Sun

Words and music by J.Garcia/R.Hunter This arrangement by Laughing Sun Recorded 26th September 1985 at 31 Cowick Lane, Exeter, UK

Pok: vocals, electric guitar George Davies: electric guitar, vocals Marc Greatorex: bass

STELLA BLUE All the years combine They melt into a dream A broken angel sings From a guitar

In the end there's just a song Comes crying like the wind Through all the broken dreams And vanished years Stella Blue

When all the cards are down There's nothing left to see There's just the pavement left And broken dreams

In the end there's still that song Comes crying like the wind Down every lonely street That's ever been Stella Blue

I've stayed in every blue-light cheap hotel Can't win for trying Dust off those rusty strings just One more time Gonna make em shine

It all rolls into one And nothing comes for free There's nothing you can hold For very long

And when you hear that song Come crying like the wind It seems like all this life Was just a dream Stella Blue

Songwriters: GARCIA, JEROME J. / HUNTER, ROBERT C. Stella Blue lyrics © Universal Music Publishing Group

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References: http://www.lyricsfreak.com/g/grateful+dead/stella+blue_20062518.html http://www.metrolyrics.com/stella-blue-lyrics-grateful-dead.html

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Crazy Mandy by Laughing Sun

Words and music by S.Miller This arrangement by Laughing Sun Recorded 26th September 1985 at 31 Cowick Lane, Exeter, UK

Pok: vocals, guitar George Davies: guitar

CRAZY MANDY If you have flown too far from the nest If they got you under sedation Come rest in here, come greet your fears Come meet some human relation And we shall wait to say the words That cool you like a breeze Becoming part of the clothes that you wear Becoming whole, it’s easy

It’s all in the plan, crazy Mandy It’s all as it should be It’s all in the winds of time my love And it weighs out like sand

Add two and two, it’s all you need do You already have done that No sign on the line, everything’s fine Everyone’s here from the start And to take a bet and jape and jest Is all you might have done This matters not because what you have got Is very much more than that

It’s all in the plan, crazy Mandy It’s all as it should be It’s all in the winds of time my love And it weighs out like sand

Silently she has to wait In the long halls of stone Red drops the blood From her fingers to the floor Will she know? Will her children grow? Will she hear? Is she near? Watch her go Mindfire glow She is seeking

Mandy a bird of some sort she soared High above civilization And looking down she gulped and frowned Saying this is not my inclination To bank and shop the streets and follow All these rules I see Something else must I do Or am I really being me?

It’s all in the plan, crazy Mandy It’s all as it should be It’s all in the winds of time my love And it weighs out like sand

La la la la…

Words by Simon Miller. Copyright (c) Pok Songs 1985, (p) Wud Records 1985.

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A rather poor example of some blapping by Laughing Sun. A shame as there were many occasions when they were absolutely brilliant at it.

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At One by Laughing Sun

Words by G.Davies Music by G.Davies/M.Greatorex This arrangement by Laughing Sun Recorded September 1985 at 31 Cowick Lane, Exeter, UK

This is a fragment of a previous recording which went unnoticed until At One (part 2). As such a large portion of this song was recorded over by Laughing Sun recording their Indeed collection on the same cassette.

The only instrument present in this fragment is George's guitar, an Ibanez RL530BS played through an Electro-Harmonix Electric Mistress and an HH 5-channel PA.

Copyright (c) Explicit Music 1985, (p) Wud Records 1985.

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Thanksgivings by Laughing Sun

Words and music by S.Miller This arrangement by Laughing Sun Recorded 26th September 1985 at 31 Cowick Lane, Exeter, UK

Pok: vocals, guitar George Davies: guitar

THANKSGIVINGS Have you ever been out in the cold light of dawn And been left floundering? I have tried in my time to get next to you I was like a freight train It was like a hurricane All trussed up and wondering which way to go Which way do I go from here?

Thanksgiving time

The mind at large that lives in us Oh how it is so patient There comes a time when it broadens And we see what we have done And we gasp to see how sore it is So picked and distant What is more is it is ourselves our bodies But the healing comes shining through

Thanksgiving time

Round the year the seasons change People die or get older Sometimes I have felt a yearning to be nearer Oh, that I am Nearer to nature’s bosom Nearer to my my true friends and family There’s so much I owe them Thanksgiving time

Thanksgiving Thanksgiving time

Thanksgiving Thanksgiving time

Words by Simon Miller. Copyright (c) Pok Songs 1985, (p) Wud Records.

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Blue Sky by Laughing Sun

Words and music by S.Miller This arrangement by Laughing Sun Recorded 4th September 1985 at 31 Cowick Lane, Exeter, UK

Pok: vocals, electric guitar George Davies: electric guitar, vocals Ken Staple: acoustic guitar Marc Greatorex: bass

IT’S A BLUE SKY DON’T HOLD NO RAIN We came across some bones of men Scattered in the rust So many good souls turned to dust Within their shattered husks And these people had worn jewels And their heads had been held high Speckled foreheads touched the sky Behold the sparkling in their eye

Don’t you know it’s a blue sky Don’t hold no rain Don’t hold your love in vain ‘Cos we’ve still got some loving to do

Some time ago the white man came Bringing bible books and swords Bound them up in twining cords In the name of their great lord They slew down the Aztec Inca Ibu Masai Now we hide in concrete lies So to my Mammon side I cry

What have we done To the Mother Goddess Gaia Why can’t we nestle in her Warm aching bosom

Now the world’s a spinning ball Two thirds with none to eat So while we chew our scrawny meat Can you hear those big bells beat?

What have we done To the Mother Goddess Gaia Why can’t we nestle in her Warm aching bosom

Copyright (c) Wud Records 1985, (p) Pok Songs 1983.

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Laughing Sun - Cander (1985)

Cander is the name of the earliest surviving recording of Laughing Sun. It is a Wud Dictionary term meaning ‘a meeting of friends after a long time apart’.

Here are the considered musings of the Pokstar on the subject of Cander:

“These recordings document a September 1985 cander between Pok, then Simon or Fooog Dinboffin and George a.k.a. Fedax Si-Hulmin. These are sessions where songs written down a couple of years by then were given an arrangement, however primitive our attempts to capture them.

These are teenage ravings at the centre of Pok’s world view, about girls (She’s Beautiful), decadance, paranoia and teachers (We Know You Well), vision and fragility mission statement (Wanted to be a Singer), the loss by genocide of the native Americans and general early eco lament directive for that generation written 1983 (It’s a Blue Sky Don’t Hold No Rain):

“What have we done to the Mother Goddess Gaia? Why can’t we nestle in her warm aching bosom?”

Indian Summer is a delicate evocation of its subject by George and our friend Ken. Ken sings and George plays acoustic guitar while Simon Pok plays idiosyncratic bongo then lead on Ken’s black Shaftesbury electric.

This was the start of collaborations becoming Laughing Sun, which shone briefly through 1985 and 1986, doing a few gigs around Devon and the Glastonbury ’86 Travellers’ Stage followed by early Ozric Tentacles (Jumping Jon remembers this!).

This period is where we are finding our sounds, following a scent or something, heading for what would become. The simple, pretty uni-chordal We Know you Well is a Mark Drower rhythm style rendition that pursues its theme relentlessly but continuously changing and it is a gas to hear it again.

More early formulations to come.”

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Indian Summer by Laughing Sun

Words by K.Staple Music by G.Davies/K.Staple/P.Kay This arrangement by Laughing Sun Recorded 11th September 1985 at 31 Cowick Lane, Exeter, UK

Ken Staple: vocals, then bongo George Davies: acoustic guitar Pok: bongo, then lead guitar

INDIAN SUMMER Burning incense on the breeze Floats out of your room Falling down the corridors of yesterday Feel it in the air Maybe it’ll be coming your way

Carry me away Indian summer Carry me away It’s been so long Carry me away

Standing on the doorstep Dancing round the room Rainbow dancing showers on the lawn Never thought at all That it would ever fade away

Carry me away Indian summer Carry me away It’s been so long Carry me away

Passing places full of you No longer seems to be Too far behind, too far away to see If I close my eyes I can sometimes drift away

Carry me away Indian summer Carry me away It’s been so long Carry me away

Copyright (c) Wud Records 1985, (p) Explicit Music 1985

http://www.wudrecords.co.uk/artists/laughing-sun/cander http://www.explicitmusic.co.uk/lyrics-information/laughing-sun/cander/indian-summer https://twitter.com/#!/WudRecords http://wudrecords.bandcamp.com/

Laughing Sun - Cander (1985)

Cander is the name of the earliest surviving recording of Laughing Sun. It is a Wud Dictionary term meaning ‘a meeting of friends after a long time apart’.

Here are the considered musings of the Pokstar on the subject of Cander:

“These recordings document a September 1985 cander between Pok, then Simon or Fooog Dinboffin and George a.k.a. Fedax Si-Hulmin. These are sessions where songs written down a couple of years by then were given an arrangement, however primitive our attempts to capture them.

These are teenage ravings at the centre of Pok’s world view, about girls (She’s Beautiful), decadance, paranoia and teachers (We Know You Well), vision and fragility mission statement (Wanted to be a Singer), the loss by genocide of the native Americans and general early eco lament directive for that generation written 1983 (It’s a Blue Sky Don’t Hold No Rain):

“What have we done to the Mother Goddess Gaia? Why can’t we nestle in her warm aching bosom?”

Indian Summer is a delicate evocation of its subject by George and our friend Ken. Ken sings and George plays acoustic guitar while Simon Pok plays idiosyncratic bongo then lead on Ken’s black Shaftesbury electric.

This was the start of collaborations becoming Laughing Sun, which shone briefly through 1985 and 1986, doing a few gigs around Devon and the Glastonbury ’86 Travellers’ Stage followed by early Ozric Tentacles (Jumping Jon remembers this!).

This period is where we are finding our sounds, following a scent or something, heading for what would become. The simple, pretty uni-chordal We Know you Well is a Mark Drower rhythm style rendition that pursues its theme relentlessly but continuously changing and it is a gas to hear it again.

More early formulations to come.”

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She's Beautiful by Laughing Sun

Words and music by S.Miller This arrangement by Laughing Sun Recorded 4th September 1985 at 31 Cowick Lane, Exeter, UK

Pok: vocals, guitar George Davies: guitar, vocals Marc Greatorex: bass

SHE’S BEAUTIFUL Well she’s walking with a sultry air Golden feather stuck in her hair Oh me oh my with her wake going by It occurred to me I might fly And these things going on inside my brain Won’t stop they only refrain Only refrain Only refrain

See the world open before you It may even appall you Step back before you fall you Cos you got a road to travel A road to travel A road

I say she’s beautiful Wanna make her mine I say she’s beautiful And she’s blowing my mind

Magnet thighs and peacock eyes Devil in an angel’s guise Chili hot and full of lust It’s a case of look don’t touch Look and don’t touch Look and don’t touch

See the world open before you It may even appall you Step back before you fall you Cos you got a road to travel A road to travel A road

I say she’s beautiful Wanna make her mine I say she’s beautiful And she’s blowing my mind

Copyright (c) Wud Records 1985, (p) Pok Songs 1982/2008.

http://www.wudrecords.co.uk/artists/laughing-sun/cander http://www.explicitmusic.co.uk/lyrics-information/laughing-sun/cander/shes-beautiful https://twitter.com/#!/WudRecords http://wudrecords.bandcamp.com/

Laughing Sun - Cander (1985)

Cander is the name of the earliest surviving recording of Laughing Sun. It is a Wud Dictionary term meaning ‘a meeting of friends after a long time apart’.

Here are the considered musings of the Pokstar on the subject of Cander:

“These recordings document a September 1985 cander between Pok, then Simon or Fooog Dinboffin and George a.k.a. Fedax Si-Hulmin. These are sessions where songs written down a couple of years by then were given an arrangement, however primitive our attempts to capture them.

These are teenage ravings at the centre of Pok’s world view, about girls (She’s Beautiful), decadance, paranoia and teachers (We Know You Well), vision and fragility mission statement (Wanted to be a Singer), the loss by genocide of the native Americans and general early eco lament directive for that generation written 1983 (It’s a Blue Sky Don’t Hold No Rain):

“What have we done to the Mother Goddess Gaia? Why can’t we nestle in her warm aching bosom?”

Indian Summer is a delicate evocation of its subject by George and our friend Ken. Ken sings and George plays acoustic guitar while Simon Pok plays idiosyncratic bongo then lead on Ken’s black Shaftesbury electric.

This was the start of collaborations becoming Laughing Sun, which shone briefly through 1985 and 1986, doing a few gigs around Devon and the Glastonbury ’86 Travellers’ Stage followed by early Ozric Tentacles (Jumping Jon remembers this!).

This period is where we are finding our sounds, following a scent or something, heading for what would become. The simple, pretty uni-chordal We Know you Well is a Mark Drower rhythm style rendition that pursues its theme relentlessly but continuously changing and it is a gas to hear it again.

More early formulations to come.”

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Master of the Universe by Laughing Sun

A cover of a song by Hawkwind from their 1971 album Xin Search of Space Words and music by D.Brock/N.Turner This arrangement by Laughing Sun Recorded 4th September 1985 at 31 Cowick Lane, Exeter, UK

Pok: vocals, electric guitar George Davies: electric guitar, vocals Marc Greatorex: bass

MASTER OF THE UNIVERSE I am the centre of this universe The wind of time is blowing through me And it's all moving relative to me It's all a figment of my mind In a world that I've designed I'm charged with cosmic energy Has the world gone mad or is it me?

I am the creator of this universe And all that it was meant to be So that we might learn to see The foolishness that lives in us And stupidity that we must suss How to banish from our minds And if you call this living I must be blind

Copyright (c) Wud Records 1985, (p) United Artists 1971

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Laughing Sun - Cander (1985)

Cander is the name of the earliest surviving recording of Laughing Sun. It is a Wud Dictionary term meaning ‘a meeting of friends after a long time apart’.

Here are the considered musings of the Pokstar on the subject of Cander:

“These recordings document a September 1985 cander between Pok, then Simon or Fooog Dinboffin and George a.k.a. Fedax Si-Hulmin. These are sessions where songs written down a couple of years by then were given an arrangement, however primitive our attempts to capture them.

These are teenage ravings at the centre of Pok’s world view, about girls (She’s Beautiful), decadance, paranoia and teachers (We Know You Well), vision and fragility mission statement (Wanted to be a Singer), the loss by genocide of the native Americans and general early eco lament directive for that generation written 1983 (It’s a Blue Sky Don’t Hold No Rain):

“What have we done to the Mother Goddess Gaia? Why can’t we nestle in her warm aching bosom?”

Indian Summer is a delicate evocation of its subject by George and our friend Ken. Ken sings and George plays acoustic guitar while Simon Pok plays idiosyncratic bongo then lead on Ken’s black Shaftesbury electric.

This was the start of collaborations becoming Laughing Sun, which shone briefly through 1985 and 1986, doing a few gigs around Devon and the Glastonbury ’86 Travellers’ Stage followed by early Ozric Tentacles (Jumping Jon remembers this!).

This period is where we are finding our sounds, following a scent or something, heading for what would become. The simple, pretty uni-chordal We Know you Well is a Mark Drower rhythm style rendition that pursues its theme relentlessly but continuously changing and it is a gas to hear it again.

More early formulations to come.”

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Wanted to Be a Singer by Laughing Sun

Words and music by S.Miller This arrangement by Laughing Sun Recorded 4th September 1985 at 31 Cowick Lane, Exeter, UK

Pok: vocals, guitar George Davies: guitar, vocals Marc Greatorex: bass

WANTED TO BE A SINGER Wanted to be a singer In a rock and roll band Back home where my zodiac lay Wanted everyone to follow in my footsteps See like me and be a part of my creation Wanted the whole universe to follow Especially my guitar and room to practice in Wanted everything so shiny With respects to you

Oooh I’ve wondered Oooh I’ve wondered Oooh I have wondered Just what’s going on

And she breaks just like a little child

Copyright (c) Wud Records 1985, (p) Pok Songs 1982

http://www.wudrecords.co.uk/artists/laughing-sun/cander http://www.explicitmusic.co.uk/lyrics-information/laughing-sun/cander/wanted-to-be-a-singer https://twitter.com/#!/WudRecords http://wudrecords.bandcamp.com/

Laughing Sun - Cander (1985)

Cander is the name of the earliest surviving recording of Laughing Sun. It is a Wud Dictionary term meaning ‘a meeting of friends after a long time apart’.

Here are the considered musings of the Pokstar on the subject of Cander:

“These recordings document a September 1985 cander between Pok, then Simon or Fooog Dinboffin and George a.k.a. Fedax Si-Hulmin. These are sessions where songs written down a couple of years by then were given an arrangement, however primitive our attempts to capture them.

These are teenage ravings at the centre of Pok’s world view, about girls (She’s Beautiful), decadance, paranoia and teachers (We Know You Well), vision and fragility mission statement (Wanted to be a Singer), the loss by genocide of the native Americans and general early eco lament directive for that generation written 1983 (It’s a Blue Sky Don’t Hold No Rain):

“What have we done to the Mother Goddess Gaia? Why can’t we nestle in her warm aching bosom?”

Indian Summer is a delicate evocation of its subject by George and our friend Ken. Ken sings and George plays acoustic guitar while Simon Pok plays idiosyncratic bongo then lead on Ken’s black Shaftesbury electric.

This was the start of collaborations becoming Laughing Sun, which shone briefly through 1985 and 1986, doing a few gigs around Devon and the Glastonbury ’86 Travellers’ Stage followed by early Ozric Tentacles (Jumping Jon remembers this!).

This period is where we are finding our sounds, following a scent or something, heading for what would become. The simple, pretty uni-chordal We Know you Well is a Mark Drower rhythm style rendition that pursues its theme relentlessly but continuously changing and it is a gas to hear it again.

More early formulations to come.”

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We Know You Well by Laughing Sun

Words and music by S.Miller/M.Drower This arrangement by Laughing Sun Recorded 4th September 1985 at 31 Cowick Lane, Exeter, UK

Pok: vocals, electric guitar George Davies: electric guitar, vocals

Copyright (c) Wud Records 1985, (p) Pok Songs 1982

http://www.wudrecords.co.uk/artists/laughing-sun/cander https://twitter.com/#!/WudRecords http://wudrecords.bandcamp.com/

Laughing Sun - Cander (1985)

Cander is the name of the earliest surviving recording of Laughing Sun. It is a Wud Dictionary term meaning ‘a meeting of friends after a long time apart’.

Here are the considered musings of the Pokstar on the subject of Cander:

“These recordings document a September 1985 cander between Pok, then Simon or Fooog Dinboffin and George a.k.a. Fedax Si-Hulmin. These are sessions where songs written down a couple of years by then were given an arrangement, however primitive our attempts to capture them.

These are teenage ravings at the centre of Pok’s world view, about girls (She’s Beautiful), decadance, paranoia and teachers (We Know You Well), vision and fragility mission statement (Wanted to be a Singer), the loss by genocide of the native Americans and general early eco lament directive for that generation written 1983 (It’s a Blue Sky Don’t Hold No Rain):

“What have we done to the Mother Goddess Gaia? Why can’t we nestle in her warm aching bosom?”

Indian Summer is a delicate evocation of its subject by George and our friend Ken. Ken sings and George plays acoustic guitar while Simon Pok plays idiosyncratic bongo then lead on Ken’s black Shaftesbury electric.

This was the start of collaborations becoming Laughing Sun, which shone briefly through 1985 and 1986, doing a few gigs around Devon and the Glastonbury ’86 Travellers’ Stage followed by early Ozric Tentacles (Jumping Jon remembers this!).

This period is where we are finding our sounds, following a scent or something, heading for what would become. The simple, pretty uni-chordal We Know you Well is a Mark Drower rhythm style rendition that pursues its theme relentlessly but continuously changing and it is a gas to hear it again.

More early formulations to come.”

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Wudsongs by Wud

Wud was a band based in Exeter in the mid-80s. The name ‘Wud’ comes from a special word that everyone used to say again and again when they were very stoned, which was often. The word stuck and we named our label after it.

Ken Staple – vocals, guitars George Davies – guitars, vocals Marc Greatorex – bass Graham Barbe – buckets, tambourines, bowls, grass bucket, round files, mic stand legs, etc

Recorded live using a cassette machine in the room. Everything was plugged into an HH 5-channel PA with spring reverb, circa 1975.

Graham had no drums but was so keen to play we arranged an assortment of things, including the grass bucket from the lawnmower, various buckets, Ken’s tambourine, George’s young sister’s toy tambourine, some crockery and kitchen equipment, and an assortment of other objects for him to play. The results were surprisingly good.

Everything you can hear here was recorded as follows:

19th August 1985 – What’s Going On, Take It Or Leave It, The Sidewalk Song, Planets, Dream, Planet Earth, So Begins the Crying, White Noise – ending Side 1 of the cassette.

21st August 1985 – Jamming…, Magic, Hard Times (Flashback Part 2), Fading, New Socks and Underwear, Losing Your Grip, Indian Summer, This Time Tomorrow, The Mirror, That’s No Way to Pay a Bodyguard, Julia (curtailed)- ending Side 2 of the cassette.

21st August 1985 – Julia, Flashback, Leaving Me Here, 1984 (the start of Side 1 of what became Laughing Sun’s Cander cassette.

22nd August 1985 – Piestnia Za (just George and Marc, nobody else present).

4th September 1985 – I Know I Know You, Frog, Change (Change didn’t fit on Side 1 of the cassette and was placed at the beginning of Side 2, before Laughing Sun started playing their Cander songs later that same day).

Wud was just on the brink of becoming quite good when the band folded not so very long after this, due largely to the personality clash between Ken and George.

We tend to feel that Wudsongs is probably the most definitive collection of Wud’s songs, even though some of them are arguably not the best versions recorded. It shows what potential the band did have, even though it was never fulfilled.

The trio of Marc, Graham and George would go on to perform together again in Laughing Sun and The Ug Brothers, among others. A few months after the band broke up, Ken became a born-again Christian and disappeared even further up his own fundamental orifice. He has not been seen or heard of for decades.

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Wudsongs by Wud

Wud was a band based in Exeter in the mid-80s. The name ‘Wud’ comes from a special word that everyone used to say again and again when they were very stoned, which was often. The word stuck and we named our label after it.

Ken Staple – vocals, guitars George Davies – guitars, vocals Marc Greatorex – bass Graham Barbe – buckets, tambourines, bowls, grass bucket, round files, mic stand legs, etc

Recorded live using a cassette machine in the room. Everything was plugged into an HH 5-channel PA with spring reverb, circa 1975.

Graham had no drums but was so keen to play we arranged an assortment of things, including the grass bucket from the lawnmower, various buckets, Ken’s tambourine, George’s young sister’s toy tambourine, some crockery and kitchen equipment, and an assortment of other objects for him to play. The results were surprisingly good.

Everything you can hear here was recorded as follows:

19th August 1985 – What’s Going On, Take It Or Leave It, The Sidewalk Song, Planets, Dream, Planet Earth, So Begins the Crying, White Noise – ending Side 1 of the cassette.

21st August 1985 – Jamming…, Magic, Hard Times (Flashback Part 2), Fading, New Socks and Underwear, Losing Your Grip, Indian Summer, This Time Tomorrow, The Mirror, That’s No Way to Pay a Bodyguard, Julia (curtailed)- ending Side 2 of the cassette.

21st August 1985 – Julia, Flashback, Leaving Me Here, 1984 (the start of Side 1 of what became Laughing Sun’s Cander cassette.

22nd August 1985 – Piestnia Za (just George and Marc, nobody else present).

4th September 1985 – I Know I Know You, Frog, Change (Change didn’t fit on Side 1 of the cassette and was placed at the beginning of Side 2, before Laughing Sun started playing their Cander songs later that same day).

Wud was just on the brink of becoming quite good when the band folded not so very long after this, due largely to the personality clash between Ken and George.

We tend to feel that Wudsongs is probably the most definitive collection of Wud’s songs, even though some of them are arguably not the best versions recorded. It shows what potential the band did have, even though it was never fulfilled.

The trio of Marc, Graham and George would go on to perform together again in Laughing Sun and The Ug Brothers, among others. A few months after the band broke up, Ken became a born-again Christian and disappeared even further up his own fundamental orifice. He has not been seen or heard of for decades.

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Wudsongs by Wud

Wud was a band based in Exeter in the mid-80s. The name ‘Wud’ comes from a special word that everyone used to say again and again when they were very stoned, which was often. The word stuck and we named our label after it.

Ken Staple – vocals, guitars George Davies – guitars, vocals Marc Greatorex – bass Graham Barbe – buckets, tambourines, bowls, grass bucket, round files, mic stand legs, etc

Recorded live using a cassette machine in the room. Everything was plugged into an HH 5-channel PA with spring reverb, circa 1975.

Graham had no drums but was so keen to play we arranged an assortment of things, including the grass bucket from the lawnmower, various buckets, Ken’s tambourine, George’s young sister’s toy tambourine, some crockery and kitchen equipment, and an assortment of other objects for him to play. The results were surprisingly good.

Everything you can hear here was recorded as follows:

19th August 1985 – What’s Going On, Take It Or Leave It, The Sidewalk Song, Planets, Dream, Planet Earth, So Begins the Crying, White Noise – ending Side 1 of the cassette.

21st August 1985 – Jamming…, Magic, Hard Times (Flashback Part 2), Fading, New Socks and Underwear, Losing Your Grip, Indian Summer, This Time Tomorrow, The Mirror, That’s No Way to Pay a Bodyguard, Julia (curtailed)- ending Side 2 of the cassette.

21st August 1985 – Julia, Flashback, Leaving Me Here, 1984 (the start of Side 1 of what became Laughing Sun’s Cander cassette.

22nd August 1985 – Piestnia Za (just George and Marc, nobody else present).

4th September 1985 – I Know I Know You, Frog, Change (Change didn’t fit on Side 1 of the cassette and was placed at the beginning of Side 2, before Laughing Sun started playing their Cander songs later that same day).

Wud was just on the brink of becoming quite good when the band folded not so very long after this, due largely to the personality clash between Ken and George.

We tend to feel that Wudsongs is probably the most definitive collection of Wud’s songs, even though some of them are arguably not the best versions recorded. It shows what potential the band did have, even though it was never fulfilled.

The trio of Marc, Graham and George would go on to perform together again in Laughing Sun and The Ug Brothers, among others. A few months after the band broke up, Ken became a born-again Christian and disappeared even further up his own fundamental orifice. He has not been seen or heard of for decades.

View Details

Wudsongs by Wud

Wud was a band based in Exeter in the mid-80s. The name ‘Wud’ comes from a special word that everyone used to say again and again when they were very stoned, which was often. The word stuck and we named our label after it.

Ken Staple – vocals, guitars George Davies – guitars, vocals Marc Greatorex – bass Graham Barbe – buckets, tambourines, bowls, grass bucket, round files, mic stand legs, etc

Recorded live using a cassette machine in the room. Everything was plugged into an HH 5-channel PA with spring reverb, circa 1975.

Graham had no drums but was so keen to play we arranged an assortment of things, including the grass bucket from the lawnmower, various buckets, Ken’s tambourine, George’s young sister’s toy tambourine, some crockery and kitchen equipment, and an assortment of other objects for him to play. The results were surprisingly good.

Everything you can hear here was recorded as follows:

19th August 1985 – What’s Going On, Take It Or Leave It, The Sidewalk Song, Planets, Dream, Planet Earth, So Begins the Crying, White Noise – ending Side 1 of the cassette.

21st August 1985 – Jamming…, Magic, Hard Times (Flashback Part 2), Fading, New Socks and Underwear, Losing Your Grip, Indian Summer, This Time Tomorrow, The Mirror, That’s No Way to Pay a Bodyguard, Julia (curtailed)- ending Side 2 of the cassette.

21st August 1985 – Julia, Flashback, Leaving Me Here, 1984 (the start of Side 1 of what became Laughing Sun’s Cander cassette.

22nd August 1985 – Piestnia Za (just George and Marc, nobody else present).

4th September 1985 – I Know I Know You, Frog, Change (Change didn’t fit on Side 1 of the cassette and was placed at the beginning of Side 2, before Laughing Sun started playing their Cander songs later that same day).

Wud was just on the brink of becoming quite good when the band folded not so very long after this, due largely to the personality clash between Ken and George.

We tend to feel that Wudsongs is probably the most definitive collection of Wud’s songs, even though some of them are arguably not the best versions recorded. It shows what potential the band did have, even though it was never fulfilled.

The trio of Marc, Graham and George would go on to perform together again in Laughing Sun and The Ug Brothers, among others. A few months after the band broke up, Ken became a born-again Christian and disappeared even further up his own fundamental orifice. He has not been seen or heard of for decades.

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Wudsongs by Wud

Wud was a band based in Exeter in the mid-80s. The name ‘Wud’ comes from a special word that everyone used to say again and again when they were very stoned, which was often. The word stuck and we named our label after it.

Ken Staple – vocals, guitars George Davies – guitars, vocals Marc Greatorex – bass Graham Barbe – buckets, tambourines, bowls, grass bucket, round files, mic stand legs, etc

Recorded live using a cassette machine in the room. Everything was plugged into an HH 5-channel PA with spring reverb, circa 1975.

Graham had no drums but was so keen to play we arranged an assortment of things, including the grass bucket from the lawnmower, various buckets, Ken’s tambourine, George’s young sister’s toy tambourine, some crockery and kitchen equipment, and an assortment of other objects for him to play. The results were surprisingly good.

Everything you can hear here was recorded as follows:

19th August 1985 – What’s Going On, Take It Or Leave It, The Sidewalk Song, Planets, Dream, Planet Earth, So Begins the Crying, White Noise – ending Side 1 of the cassette.

21st August 1985 – Jamming…, Magic, Hard Times (Flashback Part 2), Fading, New Socks and Underwear, Losing Your Grip, Indian Summer, This Time Tomorrow, The Mirror, That’s No Way to Pay a Bodyguard, Julia (curtailed)- ending Side 2 of the cassette.

21st August 1985 – Julia, Flashback, Leaving Me Here, 1984 (the start of Side 1 of what became Laughing Sun’s Cander cassette.

22nd August 1985 – Piestnia Za (just George and Marc, nobody else present).

4th September 1985 – I Know I Know You, Frog, Change (Change didn’t fit on Side 1 of the cassette and was placed at the beginning of Side 2, before Laughing Sun started playing their Cander songs later that same day).

Wud was just on the brink of becoming quite good when the band folded not so very long after this, due largely to the personality clash between Ken and George.

We tend to feel that Wudsongs is probably the most definitive collection of Wud’s songs, even though some of them are arguably not the best versions recorded. It shows what potential the band did have, even though it was never fulfilled.

The trio of Marc, Graham and George would go on to perform together again in Laughing Sun and The Ug Brothers, among others. A few months after the band broke up, Ken became a born-again Christian and disappeared even further up his own fundamental orifice. He has not been seen or heard of for decades.

View Details

Wudsongs by Wud

Wud was a band based in Exeter in the mid-80s. The name ‘Wud’ comes from a special word that everyone used to say again and again when they were very stoned, which was often. The word stuck and we named our label after it.

Ken Staple – vocals, guitars George Davies – guitars, vocals Marc Greatorex – bass Graham Barbe – buckets, tambourines, bowls, grass bucket, round files, mic stand legs, etc

Recorded live using a cassette machine in the room. Everything was plugged into an HH 5-channel PA with spring reverb, circa 1975.

Graham had no drums but was so keen to play we arranged an assortment of things, including the grass bucket from the lawnmower, various buckets, Ken’s tambourine, George’s young sister’s toy tambourine, some crockery and kitchen equipment, and an assortment of other objects for him to play. The results were surprisingly good.

Everything you can hear here was recorded as follows:

19th August 1985 – What’s Going On, Take It Or Leave It, The Sidewalk Song, Planets, Dream, Planet Earth, So Begins the Crying, White Noise – ending Side 1 of the cassette.

21st August 1985 – Jamming…, Magic, Hard Times (Flashback Part 2), Fading, New Socks and Underwear, Losing Your Grip, Indian Summer, This Time Tomorrow, The Mirror, That’s No Way to Pay a Bodyguard, Julia (curtailed)- ending Side 2 of the cassette.

21st August 1985 – Julia, Flashback, Leaving Me Here, 1984 (the start of Side 1 of what became Laughing Sun’s Cander cassette.

22nd August 1985 – Piestnia Za (just George and Marc, nobody else present).

4th September 1985 – I Know I Know You, Frog, Change (Change didn’t fit on Side 1 of the cassette and was placed at the beginning of Side 2, before Laughing Sun started playing their Cander songs later that same day).

Wud was just on the brink of becoming quite good when the band folded not so very long after this, due largely to the personality clash between Ken and George.

We tend to feel that Wudsongs is probably the most definitive collection of Wud’s songs, even though some of them are arguably not the best versions recorded. It shows what potential the band did have, even though it was never fulfilled.

The trio of Marc, Graham and George would go on to perform together again in Laughing Sun and The Ug Brothers, among others. A few months after the band broke up, Ken became a born-again Christian and disappeared even further up his own fundamental orifice. He has not been seen or heard of for decades.

View Details

Wudsongs by Wud

Wud was a band based in Exeter in the mid-80s. The name ‘Wud’ comes from a special word that everyone used to say again and again when they were very stoned, which was often. The word stuck and we named our label after it.

Ken Staple – vocals, guitars George Davies – guitars, vocals Marc Greatorex – bass Graham Barbe – buckets, tambourines, bowls, grass bucket, round files, mic stand legs, etc

Recorded live using a cassette machine in the room. Everything was plugged into an HH 5-channel PA with spring reverb, circa 1975.

Graham had no drums but was so keen to play we arranged an assortment of things, including the grass bucket from the lawnmower, various buckets, Ken’s tambourine, George’s young sister’s toy tambourine, some crockery and kitchen equipment, and an assortment of other objects for him to play. The results were surprisingly good.

Everything you can hear here was recorded as follows:

19th August 1985 – What’s Going On, Take It Or Leave It, The Sidewalk Song, Planets, Dream, Planet Earth, So Begins the Crying, White Noise – ending Side 1 of the cassette.

21st August 1985 – Jamming…, Magic, Hard Times (Flashback Part 2), Fading, New Socks and Underwear, Losing Your Grip, Indian Summer, This Time Tomorrow, The Mirror, That’s No Way to Pay a Bodyguard, Julia (curtailed)- ending Side 2 of the cassette.

21st August 1985 – Julia, Flashback, Leaving Me Here, 1984 (the start of Side 1 of what became Laughing Sun’s Cander cassette.

22nd August 1985 – Piestnia Za (just George and Marc, nobody else present).

4th September 1985 – I Know I Know You, Frog, Change (Change didn’t fit on Side 1 of the cassette and was placed at the beginning of Side 2, before Laughing Sun started playing their Cander songs later that same day).

Wud was just on the brink of becoming quite good when the band folded not so very long after this, due largely to the personality clash between Ken and George.

We tend to feel that Wudsongs is probably the most definitive collection of Wud’s songs, even though some of them are arguably not the best versions recorded. It shows what potential the band did have, even though it was never fulfilled.

The trio of Marc, Graham and George would go on to perform together again in Laughing Sun and The Ug Brothers, among others. A few months after the band broke up, Ken became a born-again Christian and disappeared even further up his own fundamental orifice. He has not been seen or heard of for decades.

View Details

Wudsongs by Wud

Wud was a band based in Exeter in the mid-80s. The name ‘Wud’ comes from a special word that everyone used to say again and again when they were very stoned, which was often. The word stuck and we named our label after it.

Ken Staple – vocals, guitars George Davies – guitars, vocals Marc Greatorex – bass Graham Barbe – buckets, tambourines, bowls, grass bucket, round files, mic stand legs, etc

Recorded live using a cassette machine in the room. Everything was plugged into an HH 5-channel PA with spring reverb, circa 1975.

Graham had no drums but was so keen to play we arranged an assortment of things, including the grass bucket from the lawnmower, various buckets, Ken’s tambourine, George’s young sister’s toy tambourine, some crockery and kitchen equipment, and an assortment of other objects for him to play. The results were surprisingly good.

Everything you can hear here was recorded as follows:

19th August 1985 – What’s Going On, Take It Or Leave It, The Sidewalk Song, Planets, Dream, Planet Earth, So Begins the Crying, White Noise – ending Side 1 of the cassette.

21st August 1985 – Jamming…, Magic, Hard Times (Flashback Part 2), Fading, New Socks and Underwear, Losing Your Grip, Indian Summer, This Time Tomorrow, The Mirror, That’s No Way to Pay a Bodyguard, Julia (curtailed)- ending Side 2 of the cassette.

21st August 1985 – Julia, Flashback, Leaving Me Here, 1984 (the start of Side 1 of what became Laughing Sun’s Cander cassette.

22nd August 1985 – Piestnia Za (just George and Marc, nobody else present).

4th September 1985 – I Know I Know You, Frog, Change (Change didn’t fit on Side 1 of the cassette and was placed at the beginning of Side 2, before Laughing Sun started playing their Cander songs later that same day).

Wud was just on the brink of becoming quite good when the band folded not so very long after this, due largely to the personality clash between Ken and George.

We tend to feel that Wudsongs is probably the most definitive collection of Wud’s songs, even though some of them are arguably not the best versions recorded. It shows what potential the band did have, even though it was never fulfilled.

The trio of Marc, Graham and George would go on to perform together again in Laughing Sun and The Ug Brothers, among others. A few months after the band broke up, Ken became a born-again Christian and disappeared even further up his own fundamental orifice. He has not been seen or heard of for decades.

View Details

Wudsongs by Wud

Wud was a band based in Exeter in the mid-80s. The name ‘Wud’ comes from a special word that everyone used to say again and again when they were very stoned, which was often. The word stuck and we named our label after it.

Ken Staple – vocals, guitars George Davies – guitars, vocals Marc Greatorex – bass Graham Barbe – buckets, tambourines, bowls, grass bucket, round files, mic stand legs, etc

Recorded live using a cassette machine in the room. Everything was plugged into an HH 5-channel PA with spring reverb, circa 1975.

Graham had no drums but was so keen to play we arranged an assortment of things, including the grass bucket from the lawnmower, various buckets, Ken’s tambourine, George’s young sister’s toy tambourine, some crockery and kitchen equipment, and an assortment of other objects for him to play. The results were surprisingly good.

Everything you can hear here was recorded as follows:

19th August 1985 – What’s Going On, Take It Or Leave It, The Sidewalk Song, Planets, Dream, Planet Earth, So Begins the Crying, White Noise – ending Side 1 of the cassette.

21st August 1985 – Jamming…, Magic, Hard Times (Flashback Part 2), Fading, New Socks and Underwear, Losing Your Grip, Indian Summer, This Time Tomorrow, The Mirror, That’s No Way to Pay a Bodyguard, Julia (curtailed)- ending Side 2 of the cassette.

21st August 1985 – Julia, Flashback, Leaving Me Here, 1984 (the start of Side 1 of what became Laughing Sun’s Cander cassette.

22nd August 1985 – Piestnia Za (just George and Marc, nobody else present).

4th September 1985 – I Know I Know You, Frog, Change (Change didn’t fit on Side 1 of the cassette and was placed at the beginning of Side 2, before Laughing Sun started playing their Cander songs later that same day).

Wud was just on the brink of becoming quite good when the band folded not so very long after this, due largely to the personality clash between Ken and George.

We tend to feel that Wudsongs is probably the most definitive collection of Wud’s songs, even though some of them are arguably not the best versions recorded. It shows what potential the band did have, even though it was never fulfilled.

The trio of Marc, Graham and George would go on to perform together again in Laughing Sun and The Ug Brothers, among others. A few months after the band broke up, Ken became a born-again Christian and disappeared even further up his own fundamental orifice. He has not been seen or heard of for decades.

View Details

Wudsongs by Wud

Wud was a band based in Exeter in the mid-80s. The name ‘Wud’ comes from a special word that everyone used to say again and again when they were very stoned, which was often. The word stuck and we named our label after it.

Ken Staple – vocals, guitars George Davies – guitars, vocals Marc Greatorex – bass Graham Barbe – buckets, tambourines, bowls, grass bucket, round files, mic stand legs, etc

Recorded live using a cassette machine in the room. Everything was plugged into an HH 5-channel PA with spring reverb, circa 1975.

Graham had no drums but was so keen to play we arranged an assortment of things, including the grass bucket from the lawnmower, various buckets, Ken’s tambourine, George’s young sister’s toy tambourine, some crockery and kitchen equipment, and an assortment of other objects for him to play. The results were surprisingly good.

Everything you can hear here was recorded as follows:

19th August 1985 – What’s Going On, Take It Or Leave It, The Sidewalk Song, Planets, Dream, Planet Earth, So Begins the Crying, White Noise – ending Side 1 of the cassette.

21st August 1985 – Jamming…, Magic, Hard Times (Flashback Part 2), Fading, New Socks and Underwear, Losing Your Grip, Indian Summer, This Time Tomorrow, The Mirror, That’s No Way to Pay a Bodyguard, Julia (curtailed)- ending Side 2 of the cassette.

21st August 1985 – Julia, Flashback, Leaving Me Here, 1984 (the start of Side 1 of what became Laughing Sun’s Cander cassette.

22nd August 1985 – Piestnia Za (just George and Marc, nobody else present).

4th September 1985 – I Know I Know You, Frog, Change (Change didn’t fit on Side 1 of the cassette and was placed at the beginning of Side 2, before Laughing Sun started playing their Cander songs later that same day).

Wud was just on the brink of becoming quite good when the band folded not so very long after this, due largely to the personality clash between Ken and George.

We tend to feel that Wudsongs is probably the most definitive collection of Wud’s songs, even though some of them are arguably not the best versions recorded. It shows what potential the band did have, even though it was never fulfilled.

The trio of Marc, Graham and George would go on to perform together again in Laughing Sun and The Ug Brothers, among others. A few months after the band broke up, Ken became a born-again Christian and disappeared even further up his own fundamental orifice. He has not been seen or heard of for decades.

View Details

Wudsongs by Wud

Wud was a band based in Exeter in the mid-80s. The name ‘Wud’ comes from a special word that everyone used to say again and again when they were very stoned, which was often. The word stuck and we named our label after it.

Ken Staple – vocals, guitars George Davies – guitars, vocals Marc Greatorex – bass Graham Barbe – buckets, tambourines, bowls, grass bucket, round files, mic stand legs, etc

Recorded live using a cassette machine in the room. Everything was plugged into an HH 5-channel PA with spring reverb, circa 1975.

Graham had no drums but was so keen to play we arranged an assortment of things, including the grass bucket from the lawnmower, various buckets, Ken’s tambourine, George’s young sister’s toy tambourine, some crockery and kitchen equipment, and an assortment of other objects for him to play. The results were surprisingly good.

Everything you can hear here was recorded as follows:

19th August 1985 – What’s Going On, Take It Or Leave It, The Sidewalk Song, Planets, Dream, Planet Earth, So Begins the Crying, White Noise – ending Side 1 of the cassette.

21st August 1985 – Jamming…, Magic, Hard Times (Flashback Part 2), Fading, New Socks and Underwear, Losing Your Grip, Indian Summer, This Time Tomorrow, The Mirror, That’s No Way to Pay a Bodyguard, Julia (curtailed)- ending Side 2 of the cassette.

21st August 1985 – Julia, Flashback, Leaving Me Here, 1984 (the start of Side 1 of what became Laughing Sun’s Cander cassette.

22nd August 1985 – Piestnia Za (just George and Marc, nobody else present).

4th September 1985 – I Know I Know You, Frog, Change (Change didn’t fit on Side 1 of the cassette and was placed at the beginning of Side 2, before Laughing Sun started playing their Cander songs later that same day).

Wud was just on the brink of becoming quite good when the band folded not so very long after this, due largely to the personality clash between Ken and George.

We tend to feel that Wudsongs is probably the most definitive collection of Wud’s songs, even though some of them are arguably not the best versions recorded. It shows what potential the band did have, even though it was never fulfilled.

The trio of Marc, Graham and George would go on to perform together again in Laughing Sun and The Ug Brothers, among others. A few months after the band broke up, Ken became a born-again Christian and disappeared even further up his own fundamental orifice. He has not been seen or heard of for decades.

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That's No Way to Pay a Bodyguard by Wud

Words and music by George Davies. Recorded and produced by Ian Dent at Daylight Recording Studios, Honiton. Remastered at Wud Records Studio One.

Copyright © 1985 Wud Records. Copyright ℗ 1983 Explicit Music.

Performers: Ken Staple – voices George Davies – guitars

THAT’S NO WAY TO PAY A BODYGUARD Well there’s whisky on the shelf What are you running from? Do you know if you’re coming or going? Well I have got an idea You’ll need someone to look after you Just like I know that I can do

And you know that’s not what I want from you And you know it’s over when the day is through

Well that’s no way to pay a bodyguard I don’t want to be tied down And I am so afraid of you Because I know just what you can do

And you know that’s not what I want from you And you know it’s over when the day is through

Fun Facts: This song in the key of Am was written a few days after George spent a day in the Stokeinteignhead music studio of a friend of his father’s. Said friend of father played the two chords that begin the song as he tested that the necessary things were all on. Having never seen the second chord before, George thought “Aha!”, although he spent most of the day fiddling with the rather magnificent organ and all its sounds and buttons and levers. The instrumental section that goes C-Bb-F-G-Am-Em-Bm-Dm originally had some lyrics that made a chorus that spoke of such things as sheep, fields, grass and the relative merits of the colours thereof. These were soon dropped due to being too silly. Fairly near the start of this version George almost makes a right mess of the lead guitar - again - but just about manages to get away with it. It’s take 3407, or thereabouts. The guitar used for this song was a Westone Paduak, which has subsequently seen a fair amount of action over the years and now lives at Cliff’s house. The sound of the guitar was never really quite right on this recording. It sounded much better when played through an Electric Mistress and a proper amplifier. This version also misses the drums and bass guitar. Ken is extremely restrained in the performance. The title of this song was too long for the eventual cassette that was produced, and was truncated to simply Bodyguard. This song was something a campfire favourite amongst the Wud posse.

See also: www.wudrecords.co.uk/artists/wudtheband www.explicitmusic.co.uk/lyrics-information/wud/daylight-demo/thats-no-way-to-pay-a-bodyguard https://wudrecords.bandcamp.com/album/daylight-demo https://twitter.com/WudRecords

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Flashback by Wud

Words by Simon Miller and George Davies. Music by George Davies, Simon Miller and Ken Staple. Recorded and produced by Ian Dent at Daylight Recording Studios, Honiton. Remastered at Wud Records Studio One.

Copyright © 1985 Wud Records. Copyright ℗ 1982 Explicit Music/Pok Songs.

Performers: Ken Staple – voices George Davies – guitars

FLASHBACK Hey Mandy won’t you come out and touch me Hey babe, won’t you ride on high It’s getting harder to see the sunshine You make love right through my eyes

It’s not the same without you We can’t make the same heat without you It’s just a fading memory You stay away from our kind

Waking up in a wasted body The slightest fear had ‘sturbed my fears I feel low and I need a good friend To help me laden through these years

It’s not the same without you We can’t make the same heat without you It’s just a fading memory You stay away from our kind

Hey Mandy won’t you come out and touch me Hey babe, won’t you ride on high It’s getting harder to see the sunshine You make love right through my eyes

It’s not the same without you We can’t make the same heat without you It’s just a fading memory You stay away from our kind

Fun Facts: This song is in fact Flashback Part 1. Flashback Part 2 is a song called Hard Times that was also played by Wud. Flashback Part 3 is the original lyrics to Flashback Part 1 with new music, a song that never made it to a band format. The words written by Simon were initially “Hey Judas won’t you come out and touch me”. George at that time felt uncomfortable with the religious connotations and changed “Judas” to “Mandy” and a couple of small things. An older, wiser George regrets doing that. These lyrics were a perfect fit for the original melody of the vocal line. The form and structure of the solo were Simon’s, and came from a few moments of inspiration during a Fooog Dinboffin and the Release jam session. As luck would have, we still have that recording of Fooog Dinboffin and the release and will be sharing it online at some time in the future. Ken’s contribution to the writing of this song was the harmony vocal in the final chorus - a small, but splendid contribution. The various tempo changes caused Ian the engineer some extra work, but he managed to press all the right buttons at the right time, so credit is due for a great job on his part. Ken’s performance is again admirably restrained. Guitars used on this song were the same Westone Paduak as used in That’s No Way to Pay a Bodyguard and Ken’s Flambeau acoustic, of which he was very proud indeed and never inclined to hold back when it came to bragging about it. The distortion comes from Simon’s ancient MXR Distortion pedal, which was borrowed for the day. It was mustard yellow and had just two knobs. As dirt pedals go it was the business, although it sounds slightly odd plugged straight into the desk via a pre-amp. This song subsequently evolved and gathered extra writers and performers. It became part of the sets of Laughing Sun, The Addled Eggs, The Subterraineans and Rough Terrain.

See also: www.wudrecords.co.uk/artists/wudtheband www.explicitmusic.co.uk/lyrics-information/wud/daylight-demo/flashback https://wudrecords.bandcamp.com/album/daylight-demo https://twitter.com/WudRecords

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Indian Summer by Wud

Words by Ken Staple. Music by George Davies, Ken Staple and Paul Kay. Recorded and produced by Ian Dent at Daylight Recording Studios, Honiton. Remastered at Wud Records Studio One.

Copyright © 1985 Wud Records. Copyright ℗ 1985 Explicit Music.

Performers: Ken Staple – voices George Davies – guitars

INDIAN SUMMER Burning incense on the breeze Floats out of your room Falling down the corridors of yesterday Feel it in the air Maybe it’ll be coming your way

Carry me away Indian summer Carry me away It’s been so long Carry me away

Standing on the doorstep Dancing round the room Rainbow dancing showers on the lawn Never thought at all That it would ever fade away

Carry me away Indian summer Carry me away It’s been so long Carry me away

Passing places full of you No longer seems to be Too far behind, too far away to see If I close my eyes I can sometimes drift away

Carry me away Indian summer Carry me away It’s been so long Carry me away

Fun Facts: This version was the second or third take, fortunate really as Ken’s Flambeau acoustic had battleship chains for strings. Paul wrote the little guitar lick at the start of the chorus from which the rest of the song develpoed. Ken composed the lyrics, the vocal melody and the scat singing at the end. The rest of the music was composed by George. During more foolish moments, some of the lyrics were changed. For example, “Burning insects on the breeze” and “It’s raining golden showers on the lawn” were often sung instead of the proper lyrics. This song is about a lady from India who Ken knew in Richmond, Surrey, rather than warm weather in the autumn.

www.wudrecords.co.uk/artists/wudtheband www.explicitmusic.co.uk/lyrics-information/wud/daylight-demo/indian-summer https://wudrecords.bandcamp.com/album/daylight-demo https://twitter.com/WudRecords

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1984 by Wud

Words by George Davies, with extra words by Ken Staple. Music by George Davies. Recorded and produced by Ian Dent at Daylight Recording Studios, Honiton. Remastered at Wud Records Studio One.

Performers: Ken Staple – voices George Davies – guitar

Copyright © 1985 Wud Records. Copyright ℗ 1984 Explicit Music.

1984 All across the world a brand new age is dawning The sunlight through the trees brings the prophet’s warning Will our lives soon come to their end?

This is 1984 This is 1984

Such a peaceful morning, such a peaceful night… I hear the words the prophet spoke I hope he’s not right Or our lives will soon come to their end

This is 1984 This is 1984

Cold, cold windy journey I’m going far away I’m going to join the others Back another day Maybe yet our children will grow old

This is 1984 This is 1984

Fun Facts: This recording is the first take. Ken added all the “yeah” “oh baby” and so on to the original lyrics as it was late in the day and he was flagging a bit. Ken also added all the things from The Prisoner. To fully appreciate everything that was added by Ken, it is advisable to read the lyrics whilst listening. George wrote this song after arriving back at his house on New Year’s Day, 1984, having been at a celebration in Ottery St Mary the night before. Its first performance was live on the streets of Exeter during a busking set. The changes of time signatures along with the lateness of the hour meant there was no click track.

See also: www.wudrecords.co.uk/artists/wudtheband www.explicitmusic.co.uk/lyrics-information/wud/daylight-demo/1984 https://wudrecords.bandcamp.com/album/daylight-demo https://twitter.com/WudRecords

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Words and music: G.Davies Copyright (c) Wud Records 1985, (p) Explicit Music 1984.

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Words: M. Drower Music: M.Drower, S.Miller Copyright (c) Wud Records 1985, (p) MGD Music 1982.

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Words and music: K.Staple Copyright (c) Wud Records 1985, (p) Explicit Music 1985.

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Words and music: G.Davies Copyright (c) Wud Records 1985, (p) Explicit Music 1983.

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Everyone present during the recording of this demo - except Cliff, because he is far too sensiburble - shouts 'Wud!'. Copyright (c) Wud Records 1985, (p) Explicit Music 1985.

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Words and music: G.Davies Copyright (c) Wud Records 1985, (p) Explicit Music 1983.

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Words and music: M. Drower. Copyright (c) Wud Records 1985, (p) MGD Music 1982.

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Words and music: M. Drower. Copyright (c) Wud Records 1985, (p) MGD Music 1982.

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Words and music: G.Davies Copyright (c) Wud Records 1985, (p) Explicit Music 1983.

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A Solace and a Burden by The Chillun.

The Chillun were one of the finest blues bands ever to play together and for a time they were based in Exeter where they had a residency at the river front pub which is still to this day called the Port Royal. We are not sure what the origins or the end of The Chillun’s story was, only that for the years they played together they were magnificent.

The songs we have here are from two of their demos. The first from 1982 was titled Booze and Blues – Yer Actual Demo and the second from 1984 titled simply Demo. The first four songs are from the Booze and Blues demo and the last four from the Demo.

Unfortunately, as we only had cassette versions of these songs to work with, the passage of time has caused the first two Demo tracks (Baby Too and Sleighride) to sound rather mangled, although the other six tracks seemed to clean up quite well. We will see if we can improve upon these at some time in the future.

We also believe that there was at least one other recording that The Chillun made, probably in 1983. Sadly we have no details of this recording.

We have been trying to remember other song titles and have come up with Painted Lady, which was a splendid rocky blues song in D that ended with Boggy’s drum solo, Cuddles which was rather a fun blues number that Boggy’s drum solo began, and The Bullfrog Blues, which was often the last song of a Chillun show.

The Chillun were Andrew ‘Angus’ Russe on guitar and voice, Nick Banwell on bass and Martin ‘Boggy’ Gorman on drums. Steve Clarke played the keys on the Booze and Blues recording.

Singer and guitarist Andy Russe wrote a fascinating autobiography of The Chillun for us and you can find it here: http://www.wudrecords.co.uk/archives/the-chillun/the-chillun-an-autobiography-by-andrew-angus-russe

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/the-chillun http://alonetone.com/andyr https://twitter.com/WudRecords

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Baby Too by The Chillun.

The Chillun were one of the finest blues bands ever to play together and for a time they were based in Exeter where they had a residency at the river front pub which is still to this day called the Port Royal. We are not sure what the origins or the end of The Chillun’s story was, only that for the years they played together they were magnificent.

The songs we have here are from two of their demos. The first from 1982 was titled Booze and Blues – Yer Actual Demo and the second from 1984 titled simply Demo. The first four songs are from the Booze and Blues demo and the last four from the Demo.

Unfortunately, as we only had cassette versions of these songs to work with, the passage of time has caused the first two Demo tracks (Baby Too and Sleighride) to sound rather mangled, although the other six tracks seemed to clean up quite well. We will see if we can improve upon these at some time in the future.

We also believe that there was at least one other recording that The Chillun made, probably in 1983. Sadly we have no details of this recording.

We have been trying to remember other song titles and have come up with Painted Lady, which was a splendid rocky blues song in D that ended with Boggy’s drum solo, Cuddles which was rather a fun blues number that Boggy’s drum solo began, and The Bullfrog Blues, which was often the last song of a Chillun show.

The Chillun were Andrew ‘Angus’ Russe on guitar and voice, Nick Banwell on bass and Martin ‘Boggy’ Gorman on drums. Steve Clarke played the keys on the Booze and Blues recording.

Singer and guitarist Andy Russe wrote a fascinating autobiography of The Chillun for us and you can find it here: http://www.wudrecords.co.uk/archives/the-chillun/the-chillun-an-autobiography-by-andrew-angus-russe

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/the-chillun http://alonetone.com/andyr https://twitter.com/WudRecords

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Sleighride by The Chillun.

The Chillun were one of the finest blues bands ever to play together and for a time they were based in Exeter where they had a residency at the river front pub which is still to this day called the Port Royal. We are not sure what the origins or the end of The Chillun’s story was, only that for the years they played together they were magnificent.

The songs we have here are from two of their demos. The first from 1982 was titled Booze and Blues – Yer Actual Demo and the second from 1984 titled simply Demo. The first four songs are from the Booze and Blues demo and the last four from the Demo.

Unfortunately, as we only had cassette versions of these songs to work with, the passage of time has caused the first two Demo tracks (Baby Too and Sleighride) to sound rather mangled, although the other six tracks seemed to clean up quite well. We will see if we can improve upon these at some time in the future.

We also believe that there was at least one other recording that The Chillun made, probably in 1983. Sadly we have no details of this recording.

We have been trying to remember other song titles and have come up with Painted Lady, which was a splendid rocky blues song in D that ended with Boggy’s drum solo, Cuddles which was rather a fun blues number that Boggy’s drum solo began, and The Bullfrog Blues, which was often the last song of a Chillun show.

The Chillun were Andrew ‘Angus’ Russe on guitar and voice, Nick Banwell on bass and Martin ‘Boggy’ Gorman on drums. Steve Clarke played the keys on the Booze and Blues recording.

Singer and guitarist Andy Russe wrote a fascinating autobiography of The Chillun for us and you can find it here: http://www.wudrecords.co.uk/archives/the-chillun/the-chillun-an-autobiography-by-andrew-angus-russe

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/the-chillun http://alonetone.com/andyr https://twitter.com/WudRecords

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Fisherman by The Chillun.

The Chillun were one of the finest blues bands ever to play together and for a time they were based in Exeter where they had a residency at the river front pub which is still to this day called the Port Royal. We are not sure what the origins or the end of The Chillun’s story was, only that for the years they played together they were magnificent.

The songs we have here are from two of their demos. The first from 1982 was titled Booze and Blues – Yer Actual Demo and the second from 1984 titled simply Demo. The first four songs are from the Booze and Blues demo and the last four from the Demo.

Unfortunately, as we only had cassette versions of these songs to work with, the passage of time has caused the first two Demo tracks (Baby Too and Sleighride) to sound rather mangled, although the other six tracks seemed to clean up quite well. We will see if we can improve upon these at some time in the future.

We also believe that there was at least one other recording that The Chillun made, probably in 1983. Sadly we have no details of this recording.

We have been trying to remember other song titles and have come up with Painted Lady, which was a splendid rocky blues song in D that ended with Boggy’s drum solo, Cuddles which was rather a fun blues number that Boggy’s drum solo began, and The Bullfrog Blues, which was often the last song of a Chillun show.

The Chillun were Andrew ‘Angus’ Russe on guitar and voice, Nick Banwell on bass and Martin ‘Boggy’ Gorman on drums. Steve Clarke played the keys on the Booze and Blues recording.

Singer and guitarist Andy Russe wrote a fascinating autobiography of The Chillun for us and you can find it here: http://www.wudrecords.co.uk/archives/the-chillun/the-chillun-an-autobiography-by-andrew-angus-russe

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/the-chillun http://alonetone.com/andyr https://twitter.com/WudRecords

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The Man Who Would Be King by The Chillun.

The Chillun were one of the finest blues bands ever to play together and for a time they were based in Exeter where they had a residency at the river front pub which is still to this day called the Port Royal. We are not sure what the origins or the end of The Chillun’s story was, only that for the years they played together they were magnificent.

The songs we have here are from two of their demos. The first from 1982 was titled Booze and Blues – Yer Actual Demo and the second from 1984 titled simply Demo. The first four songs are from the Booze and Blues demo and the last four from the Demo.

Unfortunately, as we only had cassette versions of these songs to work with, the passage of time has caused the first two Demo tracks (Baby Too and Sleighride) to sound rather mangled, although the other six tracks seemed to clean up quite well. We will see if we can improve upon these at some time in the future.

We also believe that there was at least one other recording that The Chillun made, probably in 1983. Sadly we have no details of this recording.

We have been trying to remember other song titles and have come up with Painted Lady, which was a splendid rocky blues song in D that ended with Boggy’s drum solo, Cuddles which was rather a fun blues number that Boggy’s drum solo began, and The Bullfrog Blues, which was often the last song of a Chillun show.

The Chillun were Andrew ‘Angus’ Russe on guitar and voice, Nick Banwell on bass and Martin ‘Boggy’ Gorman on drums. Steve Clarke played the keys on the Booze and Blues recording.

Singer and guitarist Andy Russe wrote a fascinating autobiography of The Chillun for us and you can find it here: http://www.wudrecords.co.uk/archives/the-chillun/the-chillun-an-autobiography-by-andrew-angus-russe

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/the-chillun http://alonetone.com/andyr https://twitter.com/WudRecords

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The Wine by The Chillun.

The Chillun were one of the finest blues bands ever to play together and for a time they were based in Exeter where they had a residency at the river front pub which is still to this day called the Port Royal. We are not sure what the origins or the end of The Chillun’s story was, only that for the years they played together they were magnificent.

The songs we have here are from two of their demos. The first from 1982 was titled Booze and Blues – Yer Actual Demo and the second from 1984 titled simply Demo. The first four songs are from the Booze and Blues demo and the last four from the Demo.

Unfortunately, as we only had cassette versions of these songs to work with, the passage of time has caused the first two Demo tracks (Baby Too and Sleighride) to sound rather mangled, although the other six tracks seemed to clean up quite well. We will see if we can improve upon these at some time in the future.

We also believe that there was at least one other recording that The Chillun made, probably in 1983. Sadly we have no details of this recording.

We have been trying to remember other song titles and have come up with Painted Lady, which was a splendid rocky blues song in D that ended with Boggy’s drum solo, Cuddles which was rather a fun blues number that Boggy’s drum solo began, and The Bullfrog Blues, which was often the last song of a Chillun show.

The Chillun were Andrew ‘Angus’ Russe on guitar and voice, Nick Banwell on bass and Martin ‘Boggy’ Gorman on drums. Steve Clarke played the keys on the Booze and Blues recording.

Singer and guitarist Andy Russe wrote a fascinating autobiography of The Chillun for us and you can find it here: http://www.wudrecords.co.uk/archives/the-chillun/the-chillun-an-autobiography-by-andrew-angus-russe

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/the-chillun http://alonetone.com/andyr https://twitter.com/WudRecords

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Red House by The Chillun.

Songwriters: D. King/R. W. Markmann/D. A. Pinnella/ C. S. Wagner. This arrangement by The Chillun. Red House lyrics © Universal Music Publishing Group.

The Chillun were one of the finest blues bands ever to play together and for a time they were based in Exeter where they had a residency at the river front pub which is still to this day called the Port Royal. We are not sure what the origins or the end of The Chillun’s story was, only that for the years they played together they were magnificent.

The songs we have here are from two of their demos. The first from 1982 was titled Booze and Blues – Yer Actual Demo and the second from 1984 titled simply Demo. The first four songs are from the Booze and Blues demo and the last four from the Demo.

Unfortunately, as we only had cassette versions of these songs to work with, the passage of time has caused the first two Demo tracks (Baby Too and Sleighride) to sound rather mangled, although the other six tracks seemed to clean up quite well. We will see if we can improve upon these at some time in the future.

We also believe that there was at least one other recording that The Chillun made, probably in 1983. Sadly we have no details of this recording.

We have been trying to remember other song titles and have come up with Painted Lady, which was a splendid rocky blues song in D that ended with Boggy’s drum solo, Cuddles which was rather a fun blues number that Boggy’s drum solo began, and The Bullfrog Blues, which was often the last song of a Chillun show.

The Chillun were Andrew ‘Angus’ Russe on guitar and voice, Nick Banwell on bass and Martin ‘Boggy’ Gorman on drums. Steve Clarke played the keys on the Booze and Blues recording.

Singer and guitarist Andy Russe wrote a fascinating autobiography of The Chillun for us and you can find it here: http://www.wudrecords.co.uk/archives/the-chillun/the-chillun-an-autobiography-by-andrew-angus-russe

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/the-chillun http://alonetone.com/andyr http://www.lyricsfreak.com/j/jimi+hendrix/red+house_10149565.html https://twitter.com/WudRecords

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Your Fault Not Mine by The Chillun.

The Chillun were one of the finest blues bands ever to play together and for a time they were based in Exeter where they had a residency at the river front pub which is still to this day called the Port Royal. We are not sure what the origins or the end of The Chillun’s story was, only that for the years they played together they were magnificent.

The songs we have here are from two of their demos. The first from 1982 was titled Booze and Blues – Yer Actual Demo and the second from 1984 titled simply Demo. The first four songs are from the Booze and Blues demo and the last four from the Demo.

Unfortunately, as we only had cassette versions of these songs to work with, the passage of time has caused the first two Demo tracks (Baby Too and Sleighride) to sound rather mangled, although the other six tracks seemed to clean up quite well. We will see if we can improve upon these at some time in the future.

We also believe that there was at least one other recording that The Chillun made, probably in 1983. Sadly we have no details of this recording.

We have been trying to remember other song titles and have come up with Painted Lady, which was a splendid rocky blues song in D that ended with Boggy’s drum solo, Cuddles which was rather a fun blues number that Boggy’s drum solo began, and The Bullfrog Blues, which was often the last song of a Chillun show.

The Chillun were Andrew ‘Angus’ Russe on guitar and voice, Nick Banwell on bass and Martin ‘Boggy’ Gorman on drums. Steve Clarke played the keys on the Booze and Blues recording.

Singer and guitarist Andy Russe wrote a fascinating autobiography of The Chillun for us and you can find it here: http://www.wudrecords.co.uk/archives/the-chillun/the-chillun-an-autobiography-by-andrew-angus-russe

See also: http://www.wudrecords.co.uk/archives http://www.wudrecords.co.uk/archives/the-chillun http://alonetone.com/andyr https://twitter.com/WudRecords

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Music and lyrics by M. Drower. Recorded 2nd September 1982. Engineered. mixed and produced at Blaze Recording Studios, Torquay.

Copyright © 1982 Wud Records. Copyright ℗ 1982 MGD Music/Explicit Music.

Performers: Mark Drower – acoustic guitar, lead vocal Simon Miller – lead guitar Lisa Williams – talkover The Everyones – backing vocals

TREASURE Operator, fornicator Grabbing and duping your friends Wheeling and dealing Tricking and stealing Double-crossing, double-dealing Renting and selling Buying, shopping, lying, leasing Lending and swapping Bullion bonds and real estate

Sorry fella, it’s too late Don’t slobber, I don’t wait

Cheating for a million Cheating for a dime Cheating is cheating boy, every time

You two-bit swindler millionaire Well now it’s over, I don’t care

Sorry fella, it’s too late Don’t slobber, I don’t wait You will never Never, never see the sun again You’ll never Never see the sun again You’ll never Never see the sun again

Fun facts: To play this song on guitar, it should be tuned DADGBE. This song evolved into a Now song called Obsession, which was truly ghastly. After lunch and a few ales, another version of this song was recorded. It was arguably not quite entirely triumphant. It is possible that the first verse of this song was taken directly from the Everyone play itself, so may need to be credited to Franz Frederick, its author. This song was played when Everyone was let down by his material possessions and his money. It was always called Treasure, its working title, and was never given another name.

See also: https://twitter.com/WudRecords http://www.wudrecords.co.uk/artists/mark-drower-and-the-everyones http://www.explicitmusic.co.uk/lyrics-information/mark-drower-and-the-everyones/the-blaze-tape/treasure

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Music and lyrics by M. Drower. Recorded 2nd September 1982. Engineered. mixed and produced at Blaze Recording Studios, Torquay.

Copyright © 1982 Wud Records. Copyright ℗ 1982 MGD Music/Explicit Music.

Performers: Mark Drower – acoustic guitar, lead vocal The Everyones – backing vocals

THIS TIME TOMORROW When I’ve said all I’ve got to say And you’re moving away Are you still gonna see my way This time tomorrow

When I’ve done all I can About what I feel and am Are you still gonna give a damn This time tomorrow

When I’ve told you all I plan Are you still gonna understand When I reach out for your hand In joy or sorrow

Do I have to tell you Do I have to say That all we ever needed Was to see each other’s way

When we’ve left all the queues And done what we’re going to do Will we be in each other’s shoes This time tomorrow

When we’ve left all the faces That we thought we would always wear Will we have left some traces Anywhere

Do we have to tell you Do I have to say Do we have to reach you Will we find our way And all we ever needed Was to see each other’s way

Fun facts: The guitar for this song is in standard tuning. The first chord is D/G. During the play this song came at the end of the scene where Everyone was let down by his Family.

See also: https://twitter.com/WudRecords http://www.wudrecords.co.uk/artists/mark-drower-and-the-everyones http://www.explicitmusic.co.uk/lyrics-information/mark-drower-and-the-everyones/the-blaze-tape/this-time-tomorrow

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Music and lyrics by M. Drower. Recorded 2nd September 1982. Engineered. mixed and produced at Blaze Recording Studios, Torquay.

Copyright © 1982 Wud Records. Copyright ℗ 1982 MGD Music/Explicit Music.

Performers: Mark Drower – acoustic guitar, lead vocal The Everyones – backing vocals

THE MIRROR I see my image is cast upon the wall I see the mirror but I don’t know what it’s for Reflected in a moment I can see all I am Passing on the light well I’m doing what I can

Now I’m gonna fly high I’m gonna fly high

Waves crest and crash in the rhythm of my waking Moving through the past I can feel foundations shaking Reflected on the screen I can see what might have been In others who before who had the strength to dream

Now I’m gonna fly high I’m gonna fly high

We want to say we love you We want to say it so We want to say we can feel you But the words they will not flow We want to say we love you We want to say it so We want to say we believe in you But the words they will not flow The words they will not The words they will not The words they will not flow

I can see the people move through the tides and the times From the past to future they will sing the same old rhymes Displayed before our eyes we can see eternal plays Merging into one as time begins to say

Now I’m gonna fly high I’m gonna fly high

Fun facts: To play this song on guitar, it should be tuned DADGBE. One time George performed this song at a friend’s 21st birthday celebration to a large hall of relatives and friends. During the performance he had a moment of mispronunciation and sang “From the past to pilchard they will sing the same old rhymes”, which caused much hilarity among the backing singers. The error went unnoticed by the relatives. During a Flicker rehearsal that took place at The King's Head in Ottery St Mary in 2002, this song was played at high volume to invoke any astral imps that may have lurked there for the previous 20 years. None manifested themselves. The Mirror was the last of the four live songs performed during the play, when Everyone finds resolution through self belief.

See also: https://twitter.com/WudRecords http://www.wudrecords.co.uk/artists/mark-drower-and-the-everyones http://www.explicitmusic.co.uk/lyrics-information/mark-drower-and-the-everyones/the-blaze-tape/the-mirror

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Music and lyrics by M. Drower. Recorded 2nd September 1982. Engineered. mixed and produced at Blaze Recording Studios, Torquay.

Copyright © 1982 Wud Records. Copyright ℗ 1982 MGD Music/Explicit Music.

Performers: Mark Drower – acoustic guitar, lead vocal Simon Miller - lead guitar The Everyones – backing vocals

I KNOW I KNOW YOU I may be mistaken babe Right or wrong, you’ll never know now I may be mistaken babe Right or wrong, it never shows now

I know I know you but I just cannot place it I know I know you but I just cannot trace it

You said you’d always be there Always be my friend But now you’re gone and I’m all alone And I’m on my own again

Well, you took all I gave you and you walked away You don’t care now I asked you to help me and you walked away We don’t share now

I know I know you but I just cannot place it I know I know you but I just cannot trace it

I thought it was worth my time To get to know you well But since you’ve gone I just can’t tell If I should try again

I know I know you but I just cannot place it I know I know you but I just cannot trace it

You said you’d always be there Always be my friend But now you’re gone and I’m all alone And I’m on my own again

Fun facts: To play this song on guitar, it should be tuned DADGBE. A few years later it was played by Lemming Meringue and Wud. During the play, this song had the working title of Friends as it came at the end of the scene where Everyone was let down by his Friends.

See also: https://twitter.com/WudRecords http://www.wudrecords.co.uk/artists/mark-drower-and-the-everyones http://www.explicitmusic.co.uk/lyrics-information/mark-drower-and-the-everyones/the-blaze-tape/i-know-i-know-you