Bristol Archive Records Blog


April 2nd, 2021

Remember ME – 1991 Bristol band?


We are delighted to confirm that they have joined the Archive. More news very soon but here’s an extract from some sleeve notes……….. Me’s proper work really starts with their meeting the mighty Seán Ó’Neill, founder of Bristol indie label PopGod, and front person of the legendary Moonflowers. PopGod’s P&D deal with Revolver and PIAS, not to mention the Moonflowers nous for selling a good few thousand records, financed the release of several critically-praised records by Me. Starting with ‘Wake Up e.p’. in 1991, Me proceeded to put out two albums (both quasi-or-actual double Lp-length) and a series of distinctive and highly differing Ep’s.

Tammy Payne

February 2nd, 2021

Tam guitar

Of the four self- penned albums Tammy has released, only one of them is under her name.

Whilst this is perhaps not the best strategy for building a music career, it does explain her preference to experiment.

As a singer, writer and drummer she has covered jazz, dance, Latin, alt-folk and rock.

At 19, she gave a demo to local DJ Tristan B. He passed it on to a plugger at Warner Bros and soon Tammy had an interview with Warners. Despite liking her own compositions, they felt it was safer for Tammy to launch her career with a cover.  She recorded a version of Denice Williams’ ‘Free’. Warners were pleased with the attention this got and gave the go ahead for Tammy to record a single of her own tune, ‘Take Me Now’. They put it round the clubs as a white label and due to the positive feedback Tammy earned herself a meeting with the ‘man who signed Madonna.’  She was told by the plugger to wear a nice little dress. She turned up in a baggy t-shirt and jeans feeling very nervous! The man who signed Madonna dropped Tammy from Warners but there was no cause for alarm. Her white label was still out there and reached the ears of Gilles Peterson.

Tammy released two singles of big chorus dance / soul tunes on Gilles – Talkin Loud label.

Then her love for Brazilian music took her to Brazil and across the USA to get percussion lessons.

Back in Bristol she did a lot of jazz gigs either on drums or as a singer covering bossa nova classics as well as standard jazz repertoire. Many of these gigs were with fellow jazz enthusiasts Adrian Utley of Portishead and Will Gregory of Goldfrapp.

Soon Tammy started writing her own material again and so began her solo output with Cup of Tea Records, then Sissi, Boca 45 and Smith and Mighty collaborations. She features on five tracks on Smith & Mighty’s album Big World Small World.

She toured Europe and USA as the drummer for John Parish (long-time producer of PJ Harvey) with a band that included Adrian Utley and Jim Barr.

Sometime into the 2000’s Tammy learned to strum acoustic guitar and experimented with a different voice, more fragile, more story-telling – an alter ego even – who appears as the artist / band Jukes on the album ‘A Thousand Dreamers’, released on Badly Drawn Boy’s and Andy Votel’s Manchester label, Twisted Nerve.

Here, she is dreamy and whimsical on her foray into the Bleeker Street of her imaginings, spurred on by listening to folk music and Dylan, Cohen and other 60’s and 70’s writers.

It is on her second album as Jukes; ‘We Might Disappear’, that her alter ego sounds most convincing, covering such topics as her relationship to fate and time, ego, identity and the search for connection to others.

After taking time out to be a mum, Tammy decided to make the jazz standards album she always wanted to make. What came out of this was anything but standard. She formed a band with Dylan Howe on drums, Dan Moore on organ, Neil Smith on guitar and Jim Barr on bass, called it Tamco and deconstructed the songs of Dolly Parton, Leonard Cohen, Elvis Costello to the effect of The Doors meets Julie Driscoll. It was released on Edition Records in 2010.

Tammy kept the line-up, with the addition of another drummer from Bristol, Matthew Jones, to record the only album under her own name, this album, ‘Viva Outsider’, brings together jazz, blues and pop of eras from the 50’s onwards.

There was no particular reason why Tammy finally used her full name for this. When asked, “It just felt like time” she said.



Sissi ft: Tammy Payne

February 2nd, 2021



1998 Voice of The Ocean. Cup of Tea Records.

1999 Come Down. Write A List. Angels Egg Records.

2002 Boy like ep. Angels Egg

2006 The Voice of the Ocean. Album. Angels Egg

Jim Barr and Tammy Payne (then partners in life as well as music) worked on the music of Sissi. together in Jim’s basement studio in Easton in Bristol from the mid to late 90’s.

During this time, they collaborated with Patrick Duff, The Invisible Pair of Hands, Marc Gauvin and John Parish.

Having spent two years playing bedroom drums along to The Low-End Theory album by Tribe Called Quest, Tammy started sampling her own beats to add to her songs. This led to her becoming a co-producer with Jim.

Many musicians who came through the doors to record their own music would end up contributing to the making of the one and only Sissi album. These i included Ian Matthews, who went on to drum with Kasabian, Dan Brown producer of Ilya, John Baggott (Robert Plant, Massive, Portishead) and Pete Judge of (Get the Blessing).

Two eps’ later (Look At Me on Cup Of Tea Records in 1998 and Come Down via Write A List in 1999) they had enough material for an album. They played a couple of gigs and they faded swiftly out of sight.

Maybe the major label hype around the gigs and the subsequent silence from said labels might have thrown Jim and Tammy somewhat. Maybe the idea to search for an independent label who would not be concerned about pigeonholes simply did not occur to Jim and Tammy. Or maybe other adventures came calling, involving for Tammy, playing percussion on the London salsa circuit and collaborating with Smith and Mighty back in Bristol for Jim – an upcoming world tour with Portishead came calling.

We only know that sometime later (2006) the album came out in Japan only on Angels Egg.

Vitus Dance – Jump on board (1979)

February 2nd, 2021

1. Down at The Park

2. Inter City Living

3. Problem Parade

4. I’m In Control

Founder member and guitarist Mark Byrne shares his memories.

Vitus Dance 1

We formed in February 1979. I had returned to Bristol after a short spell living in London, trying to join or start up a new wave band. I got back in touch with drummer Kearin Wright and guitarist Kevin McFadden as the three of us had played in bands together on and off since school days. Bass player Malcolm Young had posted an advert in the NME looking for a band to join, so we asked him to audition and on hearing him play, knew that the foursome was complete.

After a few months spent song writing and rehearsing we felt tight as a band and ready to rock. A weekly residency was blagged at local hotspot The Crown Cellar Bar which we were soon packing out.

Meanwhile I’d grabbed the attention of Swindon band XTC’s management team, which led to them taking us on and getting us gigs at the Bristol Locarno concert venue as second on the bill to LA punk stars The Dickies and soon after, UK power pop band The Records.

Studio time was booked at Sound Conception in Bristol with more local gigs played, including the well renowned Granary Club. DJ John Peel got to know about us and after hearing our studio demos, a recording session was booked for September 25th at BBC’s Maida Vale complex, which was broadcast nine days later.

Tour dates soon followed:


October 9th Reading Target Club

11th Weston Super Mare Sloopy’s Club

18th Weston Super Mare Sloopy’s Club

21st London Marquee Club (support act to Toyah Wilcox)

23rd London Nashville (support act to Classix Nouveau)

24th London Music Machine (support act to Sore Throat)

27th Bristol Crown Cellar Bar

November 1st London Fulham Greyhound

3rd Birmingham Underworld (support act to UB40)

6th London Hope and Anchor

13th Bristol Stonehouse

15th London Nashville (support act to The Screams)

21st Bristol Granary Club (support act to Generation X)

28th Twickenham West London College (support act to The Members)


January   11th Exmouth Pavilion

After the tour, we decided to take some time out to write more songs. 1979 had been a great year and we felt that we’d achieved a lot in a short period of time. The gigs had been so full of energy and excitement. Generation X were awesome to watch and hang out with. The UB40 gig was promoted as a Punky Reggae Party and it truly was. The John Peel session was ace! All the recordings were done in one or two takes. We were booked in for a whole day at Maida Vale but were finished in a few hours and left the Sound Engineer to it. The band Madness, who like us were just starting out, happened to be in the next studio along the corridor and we enjoyed chatting together over cups of tea in the canteen.

As a bunch of guys, with our crew, we clowned around a lot and had wild times and fun. As far as I know there are only three surviving photographs of the band and they’re here in this archive. We travelled to Birmingham to do the shoot and after getting bored with the ‘all stand in a line’ format, started to mess around as usual, which then led to the chaotic photo being taken that typified us. Standing left to right in the more standard photograph is Kevin, Mark, Kearin and Malcolm.

It turned out that Vitus Dance never did get back together after our break. Kevin and I had both shared the lead vocal roles yet there was a vibe emerging that a single frontman would better suit the line-up. Also, I was of the opinion that we were too late on the scene. Chrysalis, Virgin, CBS and Island records had passed on us and the Synth Pop bands as well as the New Romantics were just about to take off big time. As I write this, I’m thinking back to a time forty years ago and to be honest I can’t really remember why? We were young and moved on without too much deep thought.

Kevin and Kearin formed Misdemeanour and later on Malcolm and I became Voice of Nature.



Scream Secret – come on board the Archive

February 2nd, 2021

Scream Secret was started when Mark Garvey aka Garve (guitar/vocals) bumped into Reg Shaw(bass/vocals) at an Essential Bop gig in Hotwells in 1982. Garve had already been in a couple of New Wave bands including Eye on Youth and was looking for something new>

They brought on board Reg’s school friends Grant Brain(guitar/vocals) and Dave Gapper (drums), who were ex Recorded Delivery and began to write songs based around their love of 60’s bands and current groups like the Psychedelic Furs. They started gigging soon after that, playing Bristol institutions like The Fleece, Bristol Bridge etc., graduating to Dingwalls in London and regularly playing in Liverpool, where their brand of 60’s style guitar pop found a regular audience.

Back in Bristol they played gigs alongside similar bands like Eyes of The Crowd and started getting some record company attention from the likes of Chrysalis Records which unfortunately came to nothing in the end. Garve left in 1984 to be replaced by Rob Fry (keyboards). They carried on gigging and writing original tunes for another year until finally giving up and going on to other projects.

S.Secret 1 (2)

Paul Whitrow – RIP

December 23rd, 2019

So sad that Paul Whitrow has passed away.

Bristol musician, recording engineer and producer.




Chris Scott RIP

December 16th, 2019

Another sad piece of news – Chris Scott from The Royal Assassins, Decay Sisters (plus many others) has passed away- RIP

Decay Sisters 2

Jashwha (Joshua) Moses RIP

July 18th, 2019

I’ve just heard the incredibly sad news that Jashwha (Joshua) Moses passed away yesterday. Jash was a very dear friend of mine and a tremendous supporter of the record labels. In recognition of his enormous talent and with Jashwha’s full support, involvement and blessing, Sugar Shack are releasing his ‘Best of’ next week. Blessed love and thinking of you always. Mike Darby/


“The Best of Joshua to Jashwha 1978-2019”
Released on CD and Digital Download
26th July 2019 via Sugar Shack Records

It’s more than three decades since I first saw Jashwha Moses in concert. He was already a seasoned performer and there was no mistaking he was someone special; as with the best performers he oozed charisma, and his performances were mesmerising. He is a rare and genuine talent and to this day his live performances are just as captivating.
Jashwha’s recording career got off to a flying start with the Dennis Bovell produced “Africa (Is Our Land)” a British roots reggae classic – released under his original name Joshua Moses which disappeared into the relative obscurity that swallowed so many independent releases and deprived the artist of greater success and a wider audience. Jashwha followed up “Africa (Is Our Land)” the following year with the more lovers orientated “Pretty Girl” and although he continued to perform and to record, it was to be more than thirty years before Jashwha released anything new when our Bristol Archive Record’s imprint released “Joshua To Jashwha – 30 Years In The Wilderness”.
The album was well received allowing for his discovery by a new generation of fans whilst reconnecting Jashwha with those who knew him from old. With his career reinvigorated and a fruitful long-term musical collaboration with producer Mikey Taylor Hall, Jashwha returned to performing full time and over the next three years released two albums of brand-new recordings “No War on Earth” and “The Rising”.
Forty years after his first release we thought it was time to celebrate Jashwha’s unique career and his numerous achievements by selecting 17 of his finest recordings and packaging them together as a ‘best of’ compilation, although that description hardly does the music or artist justice.
The tracks on this compilation are firmly in the ‘roots reggae’ tradition. Jashwha writes and sings with total conviction, this is the life he has lived, the things he believes, and every word resonates with that belief. Naturally we start at the beginning with “Africa (Is Our Land)” a hard act to follow, but something Jashwha achieves with the remaining selections. The thirty-five years between that debut and Jashwha’s first proper album “No War on Earth”, provides an additional six tracks that were recorded over a twenty-year period yet fit perfectly with both his debut and the songs from his later albums. Jashwha’s song writing has always been an evolutionary process building on what’s gone before rather than jumping on whatever bandwagon is currently fashionable, therein lies one of his strengths. Several of the additional eleven songs we’ve included from Jashwha’s follow up albums demonstrate that evolutionary process, as earlier versions were reworked through performance and in the studio, sometimes just tweaking and improving what went before and at other times completely reconstructing those earlier ideas.
Jashwha’s music has naturally evolved as he’s aged, but the message, the joy and the outstanding quality have remained consistent, these songs are his manifesto for a better world, a world where music can make a difference. “The Best of Joshua to Jashwha” is released on Sugar Shack Records on 26th July 2019, distributed by Shellshock Distribution and available on CD and digital download.

ARTIST: Jashwha Moses
TITLE: “The Best of Joshua to Jashwha 1978-2019”
RELEASE DATE: 26th July 2019
LABEL: Sugar Shack Records
DISTRIBUTION: Shellshock / Proper
BARCODE: 5052571081921

Track Listing:

1. Africa (Is Our Land)
2. Suffering Is in The Past
3. No Weep
4. No War
5. Jah Time Has Come
6. Rise Up
7. Sign of The Times
8. Good Over Evil
9. Steel
10. I Believe
11. The Free Bird
12. Nothing to Lose
13. People of Power
14. Bobby Wrong
15. What A Situation
16. No! Not I and I
17. Children of The Light

The story of “PAPA’S GOT A BRAND NEW PIGBAG” by Ollie Moore

July 17th, 2019


It’s important to say that the song was written collectively,as that was always the way we worked as a band as everyone had an equal input to the music that evolved.
I think it’s fair to say that “Pigbag”, the band, and ‘“Papa’s got a brand new Pigbag” were inseparable in many people’s view.
I will endeavour to explain my part in how this tune came to be.
As I am the only remaining member to live in Bristol, this is entirely from my perspective and, inevitably, this is linked to how my career in music started.
My father wanted me to learn the clarinet whilst at Bristol Grammar school, and my Uncle ,who played clarinet in the London Symphony Orchestra, sourced a reasonable student model for me to play. I still remember the pleasant aroma of the instrument in its furry case with its cork and “woody” aroma. Any pleasant associations with this intriguing instrument were soon to be dashed by an extremely abusive bad tempered impatient teacher called Mr Stone. I was 12 years old.
He was a lumbering figure of a man who stood at about 6 foot three and wore a suit several sizes too small for him. He also drove a three wheeled Reliant Robin car, in which he looked plainly ridiculous. A bulging leather briefcase completed the dishevelled look.
He would ‘correct’ my mistakes by a thrust of the base of the clarinet upwards against my teeth if I made a squeak or played a wrong note, his face bulging and turning puce in colour, as if he were about to burst a blood vessel, as he spat angry words in disgust at my incompetence.

Consequently after a few lessons with this monster I stopped going altogether.
I didn’t tell my father ,(who was Head of Music at BBC Bristol),until the end of term.
My parents were divorced by the time I had reached 18. The family house was sold and I went to live with my father, who had bought a flat in Clifton.
It was now 1979. I had finished an intensive one year A level course in Birmingham, where I had lived with my grandmother, in her large house where she rented out rooms to overseas students and an Indian family lived at the top in a self contained flat.It was very multicultural, and she was featured in an article in the BIrmingham Mail, where she was described as “Mrs United Nations..” ???? This was 1970’s Birmingham where the English population weren’t that tolerant of “foreigners”.

So I was now back in Bristol, armed with 3 ‘O’level passes….( 2 of which I had already).
So I now had an O level in Law..Let’s just say I did a lot of socialising and didn’t quite knuckle down to study, despite my dear Gran’s best efforts.
I sold my year old motorcycle which I had saved up to buy, as the insurance had risen drastically, and bought a car for £95..I then bought a Martin Tenor saxophone in silver from the music store in Hotwells.It cost £240..I was over the moon and excited to learn how to play it…BY MYSELF!..
I had met Simon Underwood, bass player with the Pop Group. I had got to know him through going to their gigs.I knew the lead singer, Mark Stewart, having been at the same school together. Simon was becoming disillusioned with the band, and the inevitable clashes, personal and musical, had come to the fore..It was time for him to move on.
He was becoming more and more interested in jazz and world music and was eager to experiment in that direction. He shared a lot of this music and I was eager to lap it up and I ended up buying a lot of records from him and from Tony’s record store at Focus in Clifton village. Eric Dolphy, John Coltrane, Albert Ayler,Archie Shepp, Don Cherry, Fela Kuti,Chico Freeman, Funkadelic, James Brown,and of course, the totally out there Sun Ra and his Arkestra.(to name quite a few)????.

Unfortunately my father wasn’t very keen on me playing the sax in his flat, and I had several complaints from an elderly retired Austrian doctor,who lived in the flat below.
A toilet roll stuffed down the Bell of the saxophone wasn’t a very effective mute.
I was looking to move out within a few months. Fortunately for me, I moved in with old school friend Rich Beal,(artist, singer and songwriter with Head and Pregnant,) in a tiny room at the top of the house in Regent St, Clifton.
I was lucky enough to have friends who lived in a basement flat and they would let me use their cellar to go and practice my saxophone without fear of upsetting too many neighbours.
This was just a temporary move until I moved into a squat in Hotwells..This was called Trinity Rooms and was a great place (and free!) to live, as there was a rehearsal room there, ,where we could play pretty much whenever we wanted.
It also had an empty church hall out the back with a great natural reverb echo.
My first band was called Fish Food, featuring the ( now sadly departed ) hugely talented and eccentric singer/poet Andy Fairley, who went on to record with the mighty Adrian Sherwood and On U Sound.Howard Purse was on guitar, Daniel Swan, former Cortinas drummer, also featured. The Cortinas were the first proper punk band I ever saw.They supported the Damned at Malvern Winter Gardens in 1976..They were riveting.

The first gig I played was at the Granary in Bristol on Welsh Back. A band called Double vision were playing, featuring Melanie Dicks on vocals (Bristol City manager Alan Dicks’ daughter!).Rob Merrill was on drums. I ended up on stage with Mark Stewart who was singing a version of Max Romeo’s “Chase the devil”..I had been playing sax for about 3 months by now!.A little while later I hitched up to Hitchin in Hertfordshire and played with the Pop Group. On this occasion they had two drummers, Bruce Smith and Brian Nevill who later joined Pigbag after Chip had left in 1982.

By this time my dedication to practice and playing had paid off and I was quite proficient at navigating the full range if the horn, although later in the Summer of 1982 Pigbag played at Bracknell jazz festival on the same stage as jazz heroes Don Cherry and Ed Blackwell with Nana Vasconcelos (Old and new dreams).
A subsequent review in the Guardian described my saxophone tone as like being in an Iron foundry!

In the Spring of 1980 I was jamming with Simon, and we had been put in touch with some guys in Cheltenham who had heard that Simon had left the Pop Group and asked if he would be interested in playing with them. We would go up to Cheltenham and play in a place called Beech House in a room with black walls. Sadly early recordings if these sessions were lost from an Akai reel to reel tape recorder..This sessions were where ‘Papa’ was born and it would go on for about 20 minutes in a frenzy of percussion, including frying pans and horns!
The band was James Johnstone, Chip Carpenter, who were in a punk band called Hardware. Roger Freeman was on timbales and percussion and Chris Hamlin on congas and clarinet..myself and Simon Underwood. Chris Lee was on trumpet.
After a few months in the summer, I decided to head off to France to look for an adventure working picking fruit. I took the saxophone with me. Janine Rainforth’s father( Janine would go on to form Maximum Joy) had a house near Avignon and there was a possibility of some work (..there wasn’t.)..I don’t think he was overly impressed with our work ethic.
I returned some six weeks later on the day the Pop Group played their last gig at a huge CND rally in Trafalgar Square on 26/10/1980. Coming back to Bristol things had moved on and Pigbag had played their first gig supporting the Slits at Romeo and Juliet’s. Fortunately I was welcomed back to the fold.
Dick O Dell had approached Simon with a view to managing us and he wanted to record ‘Papa’..
We rehearsed at Janine’s dad’s house in a village outside Keynsham, called Burnett, near Bristol.
I remember that it was the day that John Lennon was shot and killed in New York by Mark Chapman. 8th December 1980.

My first gig with the band was at a Bristol Recorder event at the Anson Rooms at Bristol university. We were supposed to be top of the bill, I.e. we were to play last.
The other acts, including the Electric Guitars, played over their allocated times and we were left with 20 minutes before the curfew.. The porters turned the power off and we carried on acoustically, banging frying pans and blasting away on the horns for a good 20 minutes longer..
We continued rehearsing with a view to arranging ‘Papa’ to around 3 and a half minutes.This took place in Cheltenham and we were booked in to the studio in Berry St. Studios in Clerkenwell, London. This was March of 1981. Legendary film maker and documenter of the punk movement Don Letts was there with his video camera.
He filmed us as we recorded it. Unfortunately, despite trying to obtain the footage, the story goes that he didn’t actually have any film in the camera..
As we were still raw, rough, self taught musicians high on energy, we didn’t have a grasp of bar lengths and sections so when it came to recording the solos it was decided that Roger would stand in front of us with a stopwatch and after 1 minute of free blowing he signalled us to end!
Dick O Dell, in what turned out to be a very shrewd move, withheld the release after a year or so of regularly selling 1000 or so singles weekly and attaining top position in the independent charts of the time. The strategy worked, and in the summer of 1982, the single entered the top 40 playlist and Radio 1 had to give it airplay, The pre order sales had built up over 6 weeks or so. At that time the chart positions were based on weekly sales. We got to number 30, then number 9, then number 3..We were denied the number 1 slot by Bucks Fizz and Paul Mccarney and Stevie Wonder with “Ebony and Ivory”…
I remember it well, on a sunny Tuesday afternoon, on the green outside my flat, listening to the radio, hearing the chart countdown..Happy times.
I’d particularly like to thank my clarinet teacher, Mr Stone, who ensured that I was going to teach myself the saxophone and play it in my own way.,
At work, a few days ago, one of my colleagues introduced me to two other workers at Bristol docks. “ Do you know who this is?…Do you remember Pigbag.?…Yeah, one of the guys,who was about my age, replied…My mate was the only one who could dance to that song…”
There had been some discussion about whether or not we should do TOTP . We were concerned about “selling out”.. Fortunately we decided to do it.. Roger Freeman wasn’t happy though, as he claimed we had told him that he couldn’t wear his donkey jacket, which he always wore. He decided not to appear and subsequently left the band.
That was a shame. He is a very talented musician and taught himself trombone in a short space of time. He played a solo on the 12 inch extended version of the song.
My only regret now is that we didn’t include the single on our debut album.
Our worthy reasoning was that we wanted people to hear new material as we felt we had moved on since recording “Papa” and people could hear it by buying the single..

One of my most enduring memories was supporting the Specials at the Rainbow in Finsbury Park ( later to become infamous as a mosque where the radical Muslim Abu Hamsa made his hate speeches)..The Specials had just written “Ghost town” and were playing it in Soundcheck with the great late Rico Rodriguez on trombone. Wafts of ganja smoke drifted out from the open door of the dressing room as the legendary trombonist warmed up on his instrument.
We were very nervous to be playing in front of a huge crowd of mods and Skinheads and ended up playing at nearly twice the tempo..Jerry Dammers was grinning at the side of the stage, encouraging us. We were on for about 25 minutes.
After a couple of numbers one of the youths at the front shouted”..Oi, what’s the name of the band?”..(the single wasn’t in the charts at this time)..James Johnstone ,guitarist,percussionist and keyboards player,leant forward and politely said “Pigbag”.. “What?..Pigshit?”

We were then met with chants of “PIGSHIT” after each number..I think they enjoyed it really though…

Copyright Ollie Moore

Chris Bostock Interview

May 29th, 2019

Here’s a link for a great interview with Chris Bostock (The X-Certs, The Stingrays, Joboxers)