Dreamers: A Night with the BMX Bandits

Independent pop music in 1986 was genuinely that – it was independent – fierce in spirit and attitude – it was not part of the plan – it was immediate – simple and available from the right record shops or fanzine networks and tape exchanges.  I remember those times with both happiness and fondness. It was a time of awakening and feeling accepted – or not feeling accepted and knowing you weren’t the only outsider.

Not that I was an outsider – a loner – that was never my bag – give me a slightest hint of an audience and I’d be performing to it – liked the sound of myself see – clearly I still do – or I wouldn’t write this.  Yet 1986 was a formative time for many.  I was 14 – nearly 15 – growing up – the weight of the world sitting heavy on my shoulders and then along came all of these bands – shambling as John Peel said or jangly this and that – as various music journalists coined it. One newspaper  - the NME put some of this emerging independent experimentation together ‘on tape’ ( I’ve got it on tape – well a tape of the tape)  they called it C86. 

 As a rolling stone of  a tape it gathered momentum – it’s now viewed as a pivotal moment in defining an era – it didn’t feel like that at the time – it was just a tape with some songs on it that the NME gave away that week – some of them were shit songs ( you decide?)

However as the apocryphal story goes ‘this tape’ begat all other indie bands from that ground zero – thus we have that tape to thank for fucking Slowdive or The Chesterfields. (joke – natch)  However – it’s fair to say there was a lo-fi revolution taking place – The Smiths had opened our eyes  (another apocryphal story) and now out of that re-appreciation of rock n roll came these bands with 'soul' - not all about the hits but rather these bands were making something with integrity. It didn't matter that many of these fledging singles sounded cheap - under produced - it was all about existing - perhaps being on the outside of the mainstream - but here you could set the agenda.

The BMX Bandits have always been on my radar – not quite central – but there – pinging away – I know they are there - do you get what I mean? It turns out they’ve been there for thirty years.  I first met Duglas in South London – it was at a Teenage Fanclub gig at the Venue in New Cross (now home to three floors of independent sounds and lots of covers bands) but at that time they used to put on bands.  I was talking to Norman Blake or whoever and Duglas was there.  We struck up a short conversation about the magic of Brian Wilson.  

HE talked about SMiLE and promised to send me a copy.

He was true to his word. 

He sent me a tape. I don't know where he'd got it from - but it was such a lovely thing to do - he track listed it and put on a few other Beach Boys gems too.  It took another twenty-five years before I could thank him properly - via the wonders of the web (wonderweb?) and connections via cables.

There's something about that attention to detail and wonderfully openness that Duglas and his 'family' of Bandits have that can easily be mis-read - as twee and past it - or creepy and calculated - but if you look close into Duglas's eyes you can see he's been 'for real' since their formation. This is no novelty act. Tonight the 100 Club will be witness to another extension of PuNK (it's where it started maaaaaan) - that freedom to do just what you want to do.

Before the BMX Bandits - we have The School - a seven piece mish-mash of the Shangri-las, Motown, Spector, Beach Boys, The Pastels and dare it say it a C86 vibe - there's a craft in this Cardiff based troupe - horns and xylophones - pianos and guitars - layered vocals and sing along ding a lings - they are perfect in their own right. Reaching right back to the past to come up with something new. They are not twee - they will take you out in the underpass. You should all check them out - I will be doing so again.

And then this thronged crowd witness a beautiful pop performance - finely tuned and honest in its approach. Having read the piece in The Guardian previously – maybe it helped shift that perception of Duglas as eccentric rogue – and placed him in that rock n roll list of tortured artist – confronting his demons on stage through the simplicity of songs like ‘Your Class’. He's the Bellshill Brian Wilson - he even has the hand gestures to match.  

Love and mercy, indeed.

We are party to the wee talks from Duglas peppered with his observations and ultimate belief in love. His talks are funny - he is a funny man.  He eats an apple - he eats a boiled sweet. He plays the kazoo.  He gives us his best tunes.  It's a testament to this band that you can put a song as magical and wonderful as 'Serious Drugs' four songs in and know that you've got belter after belter left for the crowd. 

We are party to a pop band with tunes that should have been high in the hit parade.  I'm not going to try and describe the sound - but this is pure pop craft - there's a nod to the past  - you can't write songs like this without referencing Spector and Wilson - but there's so much more hidden inside Duglas and his Bandits heads - listen to the howling guitars of 'Kylie's got a crush on us' or the Ramones meets The Shirelles stomp of my favourite song of the night 'I wanna fall in love'.  Duglas and CHloe are in fine voice - they swap and harmonise all night - all sixties glamour and well tailored suits. Then there's the beauty of 'The Day before Tomorrow' were Duglas is joined by Sean Dickson (previously of The Soup Dragons) on omnichord. It's quite poignant really - Duglas tells us the tale of choosing their name and how him, Sean, Jim and Norman phoned up Eugene (from The Vaselines) to tell him their choices - how he hated the name the BMX Bandits - so they stuck with it. - and now here is Sean on stage once more with his boyhood pal - they hug after a riotous E102.

Pure class.

And then they are back to tell us of the injunction they have had to get to stop Kylie following them - cue Kylie's got a crush on us and then a blissed out Witchi Tai To to round it all off.

Glasgow in the early eighties must have been an exciting time - oh to be at Splash One. But you know I didn't need to be there - because of it - I've had a chance to hear those beautiful dreaming minds - Duglas, Norman, Sean, Bobby, Stephen, Rose,  - what a gang - what a set of groups.

What a bunch of beautiful dreamers.

It was a pleasure to be with Duglas and his Bandits in The 100 Club.  It's important to be reminded of the power of love. Duglas sings from his heart to yours and makes it seem that everything will work out right in the end. 

Anything is possible in Duglas's impossible dream.

BMX Bandits are thirty years old.  Here's to another 30 years.

Here is a wonderful song from the night - thanks as always to Ruth for capturing it

And here's one from The School 

I love it when the roogie boogie band comes to town

It had been brewing for weeks - the inevitable time that I'd be back with Euros Childs again - and as it turns out The Wellgreen and Laura J Martin. You know I'd done my research - listening to the new album in the car and watching the last great situation comedy ‘dinnerladies’ on DVD – melding the two together. It had been a new engagement - this Euros Childs’ album - it took a little longer to work with me - possible because the leaked track to Mojo (the music magazine) and the associations with Macca (it was that issue with Paul on the front) and the writing in character - all eleven songs in the vein of.....I mean it's not as if Euros hasn't done a concept album before (although this isn’t a concept album – it’s just a good album)  but I was in that frame of mind - careful rather than simply expecting the goods.

And why should I have it my way - he's the songwriter.

And what a songwriter. He just gets better and better.

So where to begin? At the start I guess. Don't look for the laughs here - oh it's comic - but not necessarily laugh out loud. Originally I was going with my other half - she's had to put up with me since I started extolling the virtues of Chops (the album  - not the meat) way back after a Concretes concert. Instead it was the solitary forty something at the front – I was meant to be meeting a dear friend - except he didn't come - I met another Richard though - he'd been drinking since 12 noon - we shared our ways of the world with a pint in the bar next to the venue. I left him there – he should have come next door for a little bit of Euros but I feel he was already swaying too much for an evening of boogie woogie.

Then I sold my ticket to an entertaining mod with a sideline in insurance. All characters you see.

And our first characters of the night were The Wellgreen. I simply love The Wellgreen –their harmony inflected pop music should be playing out of transistor radios up and down the land. I’m not going to spend too long on this far too brief but absorbing set – it was early doors for these two Scottish lads – but they set the tone for the evening. Soul music. So I just grin throughout. I don’t need to bear it. It’s a pleasure. Opening with the Bacharach meets The Zombies structure of ‘Maybe it’s the pressure of the City Life that’s tearing us apart’ the ever growing crowd (arriving at The Boston Arms) are treated to simplicity served up with a slice of the Scottish Everly brothers. Except things have changed – it might have been that time spent with Errol Brown in the prison cells – but the harmonies are evoking Brian Wilson at his finest. Stu and Marco compliment each other so well – building harmony and melody into clouds of beauty (oh come on – I’m feeling over the top) I know I

reference the sixties when I write about The Wellgreen – but there a modernist slant – as if The La’s had bothered to keep writing tunes. It seems so effortless – but that’s the craft you see – make it seem easy – Cantona style. Suffice to say – I bought their new album. I am getting ready to weave a review into a post – it’s coming soon – so grin and bear with me. I then proceeded to harangue Stuart Kidd and did my best to appear like a stalker for the rest of the night (Brides in the Bath – back home)  He was as affable and interesting as ever  - it turns out The Wellgreen teach music out in the villages up their way – now that’s a music lesson I’d love to be in.

Laura J Martin still has this bewitching effect on audiences – and rightly so – you don’t expect the sounds to emerge from her slight frame all fraught yet formidable. I saw her first at a Jonny concert (oh you know I’m stalking Euros – you just have to accept it) and she blew me away – this repetition in the music  (and we’re never gonna lose it) built from loops of flute and bangs and chants. Well she was at it again on Friday – her set was fierce. I couldn’t quite get the words this time – I think the soundperson couldn’t quite get his and her levels – so we had treble flutes and ever expanding reverb – but her charm and ingenuity shone through a muddied mix. The addition of the bouncy Adam Stearn on bass and Stuart and Marco from The Wellgreen with harmonies and drums and guitar gave her new songs that different dimension. Sublime.  I won’t talk about Kate Bush and all that - but I will say she has this PJ Harvey way about her -you know with a flute – she has this enthralling way of telling a tale. You should buy her record to – you probably did – after the gig – from her – that’s how it works.

Sing and sell. Simple.

Euros’s new long player – and it is a long player all four sides and counting takes a different trajectory to the Summer Special of last year – there’s possibly a more intricate take on the pop song on this album. These are crafted tales of worry, woe, misery, love and bitterness written with a quirk and an aside. You’d cry if you weren’t smiling. And that’s what always comes out in a live performance with Euros manning the helm of the good ship Roogie Boogie – a smile – well a laugh if I’m being honest.

Euros performs with a kind of kinetic energy – all twists and flails – bends and turns. Not exactly a man possessed – more poised than that – but you can tell there’s a music coursing through them there bones. And a humour to. There’s nothing contrived about this band – about this man – no symbolism through sub culture – just good tunes and top times. I mean Marco is wearing shorts – perhaps these final dates had depleted the wardrobe – I don’t know - there might have been a mishap on the A1 or M4?

But it’s never been about fashion.

Euros has probably written some of the finest songs of the decade and for us lucky souls he lifts them from their CD cases into new spaces of sound and fury (signifying everything) Opening with Bore Da – eventually – after Euros was reminded of the actually chords he needed to play and issues with his microphone - you could easily see the connections between these early sounds and styles and this new long player. There’s no pause for breath as we hit Second Home Blues – and characters come alive in The Boston Arms.  All frets, regrets and tete a tetes.  Euros is weaving a picture of a bored Britain through Avon Ladies and second mortgages, motorway services and emerging romances. (It’s all economics to me.)

It’s warm inside and there’s a warmth on the stage and it radiates around. We have smiles on our faces because we are happy – even when he’s singing Brides in the Bath – all howls and menace. I was worried about Brides in the Bath – I couldn’t warm to it on the album – it rankled me for some reason – but here receiving the full strength assault of the band in full swing – all discordant and descending - it made sense to me. A killer tune (aha).

An expectant hush greets Parents’ Place – and I’ve said it before – but it brings me to my knees – slays me every time. Backed by the band and still part of the set  from last year  - you see the tragedy mined on Situation Comedy started a long time back on Ends, or The Miracle Inn and even Bora da – there’s a back catalogue there. If you haven’t got it then order it now – from the National Elf himself.

It’s worth every penny. And it funds the next release.

Cottage industries making worldwide music. It’s how it should be – not tainted by the execs and excess of corporate label management – don’t get me wrong I’d love it if Euros was even more widely known than he is – but there’s an integrity about doing it the way that he does. One rehearsal and then get on the road – no leather jackets and Aerosmith entrances for this band. Just Twitter feeds, photos and thank yous – simple connections in digital times. Although to see the Roogie Boogie band dressed in leather with a firework finale could be something worth saving up for. 

And then with the melancholy high in the room – we get that cheery and cheeky little number – Be Be High and then That’s Better. And it was – Euros Childs is simply on it. And number after pop number gets played. And here I am secretly waiting for Tina Said (I also wanted the first two parts of Miracle Inn – but I kind of knew I wasn’t going to get it) because that’s the one that does it for me on Situation Comedy. That driving melody wedded to a folk tradition that stretches way, way back to when I was younger. When we were younger. It’s another one for my children – we had it on a loop in the days before the concert. I like the fact my children sing Euros Childs numbers and ask about Lou Reed when their mum and I are mouthing disbelief at him dying. They’re not hip kids – they’re just good at listening. Open and honest. Which is what I get from Euros – he looks – he sees the minutiae – the odd glance, a glint in the eye, a beauty in the banal – ‘with her suitcase full she’s out of the door on the B13 to Teddlymore’  (Listen to Avon Lady)

And the set continues to confound and please – new songs and old ones. There was a chance to win a prize – because anything goes at a Euros gig maaaaaaan. And all the while it was leading to a blistering psychedelic romp through ‘Like This Then Try This’. A genuine aural assault. You know it’s going to go off when the Casio is deployed. Three hundred people dressed as cheese all dancing to the rhythm of the beat – you had to be there. If you weren’t – then why not?

Encoring with Spin that Girl Around with extra flute from Laura – this man in the audience is wearing a grin as long as ‘your’ arm and as always I had to buy something.  Having already received my copy of Situation Comedy through the post – you’ll have to decide what I bought by visiting Euros’ site and checking out the back catalogue.

So off I rolled into the cold November night. Happy again. So roll on next year.

I’ll be there. Dressed as cheese. Will you?

There's lots to watch and listen to in this post - Here's Euros from The Boston Arms last Friday, and then Laura J Martin and finally there's a video of Ants from a Glasgow gig by The Wellgreen. (Thanks to Ruth for putting these up amd Mike Watts for the Laura J Martin one and Geomck for The Wellies)

"I never travel far without a little Big Star"

I’ve been listening to Big Star. In fact I’ve been learning to play some Big Star tunes – they can have that effect on you. And Big Star are one of those early 1970s bands that time forgot (for a while). You know there are heaps and heaps of neglected bands – releasing songs of beauty and warmth – songs that bring you to your knees. Yet no one at the time had the time – do you get me? I mean the Velvet Underground hardly sold a record back in the 60s heyday – too New Yoooorrrrkkk man.  But Big Star – signed to Stax – having No.1 hit maker Box Tops Alex Chilton in the fold – really never sold any records.

No one wanted to listen to them. 

They couldn’t give them away.  Oh they had the reviews. Those who write about pop liked them. But not the regular (hey) Joe. It’s probably safe to say that Manson or Heavy Stereo sold more of their tunes in their day then Alex, Jody, Chris and Andy sold in theirs. Which is criminal – there is no other way to put it. This is a band formed in Memphis and in love with the simplicity of The Beatles and the power of pop that released three beautiful long players of honesty, integrity and invention. If you don’t own ‘em – then you should do.

And you will do when you’ve had a listen.

So where does it start. Once again with pale saints and late nights in Leeds.  Graeme Naysmith taped Dinosaur’s first album on one side of a cassette and ‘Third/Sister Lovers’ on side b and sent it winging it's way from Harold Avenue. This hallucinatory and untidy masterpiece of Chilton and Stephens  recorded at Ardent Studies – was just tucked away on tape. This must have been 1988. Before Teenage Fanclub had begun to mine that beautiful swamp rock and chime of Chilton’s gang and bring Big Star to the masses – to all us lads and lasses. Well I’m sure Teenage Fanclub were regular listeners up in the concrete jungle of Glasgow. But I’d never heard such fragility and beauty in Scunthorpe – it was all furnaces and smoke – heavy. Do you get me? It was the utter desolation in Chilton’s voice – notes stretched and broken – enquiring and imploring over guitars that break and howl and collapse in on themselves. Yet there’s a brooding rock n roll inherent throughout.

A menace in the misery.

I mean they had a rock n roll number called ‘Holocaust’. It wasn’t for the faint hearted – yet theres wonderful baroque like chiming guitars on songs like Kizza Me or Stroke it Noel and ‘Thank your friends’ sitting next to the desolation of Kangaroo. You know this a story blighted by mistrust, wrong moves, failing friendships, paranoia and drug abuse. It was always going to be.  

Actually – now I’m beginning to write about this discovery – this chance encounter with Big Star  - it starts earlier. A seven inch single – bought from Record Village – This Mortal Coil – 4AD super group singing super songs – Kangaroo. Possible heard on John Peel but bought by Paul and played in back bedrooms on Scunthorpe streets. Tapping into adolescent hopefulness and that feeling of falling in love. I first saw you , You had on blue jeans , Your eyes couldn't hide anything , I saw you breathing, oh. What seems just a surface emotion running ever deeper. Alex Chilton is the master of all that. He captures love as it emerges and flourishes and ends and breaks – in car parks and diners. Or if you were growing up in a steeltown in bus shelters and school corridors.

Big Star always manage to find a way into the car. I don’t mean they’ve got a spare set of keys – or I find them on the back seat – but they feature on many compilations – CDs to drive away to. From On the street and the high glam of No1 Record, to I’m in love with a girl, September Gurls and currently Thirteen.

Thirteen is simply beautiful.

A guitar and harmonies. There’s a post out there beyond these walls that Thirteen refers to when Alex first saw The Beatles. It captures that innocence and defiance of the time with his reference to Paint it Black and parents on his back, it’s both free and tense at the same time – like a child just shooting off their mouth. This pretty tune and it is pretty - is imbued with tension and beneath lurks the energy of a young man. There’s something doomed lurking in the spaces on the track.

There was something doomed about Big Star. They reformed for a while – but it didn’t last. Their music will though. I’m just passing it on. Like Graeme did on that tape.

Thank you friends.