Here’s what Stormtrooper’s press guy had to say about the forthcoming ‘Pride Before A Fall’ album to be released in August via the Bristol Archive Records imprint:
“It’s a little bittersweet. Such a shame that the band didn’t pick up the recognition that they deserved. But it’s a killer record. I was a bit surprised to hear the more proggy aspects. The album spans from Rush to Dio to Zepplin and back again, great stuff!”
You can order in advance now from the record shop

If you’re a fan of great music and have a modicum of knowledge about the local scene then Rita Lynch should need no introduction. A highly regarded live performer she has a new anthology covering her career so far (Story to Tell (Anthology 1988 – 2011)) brought to us by those splendid people at Bristol Archive Recordings. The album is being launched at the Thunderbolt on Friday 6th May and Rita took time to answer a load of questions for us prior to the show.

What was the first record you ever bought and where did you buy it?

The first record I bought was Slade. Merry Xmas Everybody from Woolworths.

What was the most recent record you bought and where did you buy it?

I can’t remember the most recent, it’s been years since I had a record player.
What record do you stick on the deck to sooth your soul?

I don’t play records any more but the song I play a lot lately to soothe me is Peggy Seeger, Swim to the Star.

Have you bought a record on the basis of a great single and then been disappointed by the rest of the album? If so, tell us all about it…

Yes, Oasis with Wonderwall and the album was terrible, I loved their first album, Definitely Maybe, but the second was very disappointing.

What record do you turn up to maximum to get in to that party mood?

It changes a lot but recently has been The Saints, Know Your Product.

If we had the ability to land you at the recording of one classic LP so you could witness the whole recording process, what would you choose and why?

Patti Smith recording Horses, I’d love to hear what she had to say in between recording those songs and just to watch her would be amazing.

Ever bought a record solely because you liked the sleeve? If so, what was it and did it delight you or disappoint you?

No.

Oh no, your house is burning down and you can only rescue one record! What would it be and why?

I have so few records that I wouldn’t bother with them, but I’d try to get my Telecaster guitar out if I could.

What’s your favourite record sleeve? Tell us all about it (and whether or not the music gives you as much pleasure as the sleeve).

One of my favourite record sleeves is The Freewheelin’ Bob Dylan and I love the songs as well; it’s an all-round absolute hit.

Morbidity alert: what record(s) would you like played at your funeral?

The End, by the Doors (the beginning bit only) and a couple of songs by the Brian Jonestown Massacre from Revelation and Amazing Grace; one of my own: It Feels Like the End of The World.

Looking back, what were both the best and worst things about being a musician when you started out?

One of the best things was my own youth and belief that I could really “make it”. One of the worst things was my own lack of knowledge of the music business and how to go about making it happen. Also one of the best things was my belief in music itself as a worthy and moral useful thing to do with my life. One of the worst things was the sexism towards women at that time.

And by contrast what are the best and worst things about being a musician right here, right now?

One of the best things now is I have confidence in what I do. I find it easier to write songs but no longer have absolute faith that there is a whole lot of point in song writing any more when so much about the music world is not about if your songs are any good but how well you can promote yourself and “big yourself up” to get attention. It’s become a “bragger’s paradise”, but then the whole social media thing is a great platform to show people your work and the “open mic” thing is a great way for anyone to demo their songs.

How important do you think artwork is for bands in these digital days?

Artwork is always important.

The N.M.E., Kerrang!, Mojo, Classic Rock – how important is print media to a working band in the age of social media?

Absolutely as important as it ever was, anyone can be a bit of a star on social media but getting something in a magazine is a true commendation.

Speaking of the digital world: vinyl, CD or download – what’s your preference?

I think it means more to have a physical album on CD or vinyl with the artwork as well. But if you want to hear a certain song then it’s by any means possible. I still use tapes and record on a tape machine so whatever it takes really.

How does it feel to look back over your career as anthologised on the new recording?

I am really happy that Mike Darby has put out this Anthology. I feel proud of my staying power and the fact that I have written so many songs over the years. I have enough songs to do an Anthology 2 and 3 and I have nearly finished recording a new album to be released later this year. I hadn’t quite realised how many songs I’d written over the years. It’s not bad for a life’s work and I continually write songs at the moment – it’s a bit like a CV. Also I’ve written a longer biography for this album, with much more detail than any before. It is very honest. It has made me remember the days of punk and the young woman I was then; of how important it has always been for me to be myself and find my uniqueness even if it is not currently trendy or fashionable. And has reminded me, again, of why I do music.

If you could hop back in time, is there any single key choice you’ve made that you’d like to change, and if so, what & why?

I wish I had been more confident when I first started. There are things I regret but, I’m still here writing songs, doing music and still gigging. I love singing, especially since stopping smoking. It still feels new and exciting, I am more hopeful now than I’ve been in a long while.

Women in the music business have come a long way since Billie, Janis & Aretha; do you think women artists now have true equality with their male counterparts?

Women artists do not have true equality with men. They have the equality that men allow them. The same as in every other aspect of life. A lot of changes still have to happen. Both men and women have to look in to their own hearts, to be open and honest about these inequalities. It is not an easy task but I am hopeful.

What’s the best thing about the Bristol music scene…?

The best thing about the Bristol music scene is its diversity. Having lived in St Pauls for over 30 years I really appreciate the mix of cultures and ethnicity that is reflected in the music here.
…and keeping it positive, what would you say needs the most improvement in the scene?
I think more cheap venues would be good with bands playing every evening.

How has the music scene in town changed since you first started out (assuming it has changed in any significant way)?

It has changed and evolved as everywhere has in the last 30 years. I think there are more bands in Bristol now than there used to be.

Do you think Bristol is a good place for a band to launch a career, and if so why…and if not, why not?

I think Bristol is as good a place as anywhere to launch a career. With computers these days it’s not so important where you are located as long as you have a strong presence on the internet. And, as in so many other areas, it’s not so much where you are as who you know.

What have been some of your most memorable gigs in town?

One of my most memorable gigs in town was Sound City in about 1993 or 1994. I played on Castle Park; it was exciting – John Peel was there. Playing at the Fleece as part of Ladyfest in 2003 or 2004 when the Gossip headlined; playing at the Bierkeller when I was filmed for Channel 4. All these gigs stand out but there have been so many. Playing at Ashton Court Festival was always great.

We’ve lost some great venues over the decades (the Granary, Western Star Domino Club, the Dugout etc.); anywhere that you particularly miss?

The Western Star Domino Club was totally great, a really cool venue, The Malaap was great for a while.

Outside of town people have a perception that it’s all trip-hop round these parts; but Bristol has always had a wildly eclectic scene (the Brilliant Corners to Onslaught; the Seers to the Blue Aeroplanes), what’s your take on outside perceptions of the Bristol sound?

People always will focus on the bands that gain success and fame because they’re the bands they hear about. The Blue Aeroplanes have been very successful as well but don’t tend to get the same recognition.

Building on that question, is there anything that you think makes the scene here unique?

I used to enjoy the squat gigs, they were always so exciting and allowed many people a platform to start from. My first band ever, Rita and the Piss Artists, played mostly squat gigs. There was always such an air of excitement and possibilities at those shows. Maybe it was the same in other cities, but at the time I felt it to be unique to Bristol. It’s a shame it’s all become quite corporate now.

Would you care to mention a few of your favourite local bands – new outfits to check out, under sung acts from the past and any defunct groups worthy of resurrection?

So many bands, too many to mention but, from the past, God Bless You were brilliant – intense and dark, brilliant melodies. They were like the Bristol sound before the Bristol sound was invented.

So we’re finally getting an arena…probably. What’s your view…what impact do you think it will have on the musical landscape?

Artists on my level rarely get to play in big venues like the proposed Arena. I suppose it will make a few rich people even richer.

Pix: Jens Holm
Taken from and © http://www.bristol247.com/channel/culture/music/interviews/interview-rita-lynch-part-2

The Vice Squad book launch in Bristol this week. In the photo (left to right) Simon Edwards (Record label), Mark (Bass), Shane (Drummer and author), Lia (Singer after Becky left the band) wearing a rather lovely ‘Bristol Boys Make More Noise T Shirt! The book can be purchased by following this link: http://www.acmretro.com/last-rockers-the-vice-squad-story-by-shane-baldwin/

BRISTOL BOYS MAKE MORE NOISE:
MODS, POWER POP, SCOOTER BOYS: 1979-87
(Bristol Archive Records: www.bristolarchiverecords.com, AVAILABLE APRIL 1)

Like many buzzwords, the definition of Mod depends on who coins it. If you lived in London, you could plug into a readymade subculture – whether you caught the Who in their ’60s prime, or the unfairly-overlooked late ’70s/early ’80s “second wavers” (like the Chords, for instance) – and connect the dots. So firmly had the late Pete Meaden’s now-famous definition (“clean living under difficult circumstances”) imprinted itself on the UK’s psyche.

So what did you do, then, if you lived far from the madding capitol crowd, and its oh-so-cool aura? One answer lies in Bristol Music Archive’s latest compilation, BRISTOL BOYS MAKE MORE NOISE: MODS, POWER POP, SCOOTER BOYS: 1979-87, featuring 21 underdog nuggets that fell short of wider exposure (either appearing on small 7-inch single runs – or previously unreleased – that ain’t limited man, that’s incarcerated!). Further reinforcement will come with a novel, TO BE SOMEONE: BRISTOL MOD 1979-85, by Michael W. Salter, which Bristol Archive Records and Tangent Books will co-publish later this year.

“Bristol’s always been an amazing city for producing great bands. Whether it be any subculture (Punk, Mod, Ska, Reggae, Goth, Dark Wave, Rock, Metal), you can always find a great band that fitted the genre,” notes Mike Darby – who staked out his contribution as lead singer of the Rimshots, and now runs Bristol Archive Records. “Mod was quite small I would say in Bristol, Power Pop bands were much more commonplace. But the Power Pop bands were all influenced by the progression from punk into New Wave and then post punk (White shirts, thin black ties, skinny jeans).”

Phil Olerenshaw, drummer of Thin Air – also featured here – heartily seconds those sentiments “The great thing is, that there were dozens of bands gigging in Bristol at the time, and it was a really creative time. The Rimshots were the flagship for ska/bluebeat, and we were certainly grateful to them for giving us a lot of support slots in the early days,” Olerenshaw recalls. “Both bands fitted together well, and had a decent fan base. The Ska ‘thing’ actually only lasted 12-18 months in terms of fashion, and inevitably we all moved on in different directions.

“Personally, I always enjoyed the ‘Arty’ Bristol bands like Sneak Preview, The Hybrids, Creature Beat and The Controls. These bands were very clever musically, with plenty of social commentary, and catchy melodies. They were all gigging regularly at a number of venues, and it was easy to get to know their material. The other great thing to mention is that a lot of the bands supported each other, and it was very common to see faces from other bands in the crowd. There was none of the ‘rivalry’ bollocks that existed elsewhere. That’s how it should be.”

Playing in a local band had one other side benefit – the chance to open for your musical heroes. In the Rimshots’ case, that meant 2-Tone bands like the Selecter, the Specials, and the English Beat. Of the Rimshots’ latter opening slot, Darby recalls: “An amazing experience. The Beat had just blown up HUGE, so the place was packed, nearly 1,500. The whole building was jumping, the dance floor used to be like a trampoline.

“My lasting memory was asking Saxa to sign a copy of one of their 7-inch singles for me. He politely refused, saying that no musician would do this for another, we were all the same. I quickly changed approach and asked if he could do it for my younger brother, which of course he was delighted to do – I have still have that treasured 7” vinyl.”

Thin Air’s initial peak – supporting the Jam, at the Locarno – coincided with the horror of John Lennon’s murder, (December 8, 1980), as Olerenshaw vivdly recalls all too well: “He was assassinated in the early hours of the morning (UK time), so the whole crowd, and indeed the bands, were in a state of numbness by the time of the gig that evening.” The Jam’s singer-guitarist, Paul Weller, responded by dedicating “Start” – which nods melodically to the Beatles’ “Taxman” – in Lennon’s memory.

“For the gig itself, I remember coming on stage in darkness with the lights down, while the intro music played, and seeing pairs of eyes literally everywhere (there were 3,000 people watching!),” Olerenshaw says. “I remember the silence for a couple of seconds when our first song ended, followed by a huge roar! Finally, I recall Paul Weller telling us to go back for an encore, when we’d finished, because we’d ‘gone down’ really well, and the crowd were calling for us.

“We also got the best seats in the house to watch the Jam themselves, who were at the ‘top of their game’ at the time, and had been number 1 in the charts with their album, SOUND AFFECTS, and both singles (‘Going Underground’ and ‘Start’). Finally I remember signing autographs, giving away drumsticks, and getting home at 2 a.m., with school the next day!!”

With all those memories still ringing vividly in their holders’ minds, how do we start examining this thing called Bristol Mod? In this case,start with the opening blast of “Too Young Girl” (The A.T’s: 1980), which combines all the essential ingredients – a smart call and response vocal hook, a rousing chorus and a raveup that would do the Who or the Yardbirds proud – into a rumbling Mod-Pop recipe. Various Artists pull off the same trick on their contribution, “Weekends” – released on their own label, in 1981 – whose length (an epic 5:09) shouldn’t put you off – especially after you hear the extended coda that kicks in halfway through, and lifts the song to a whole ‘nother level.

As this disc makes plain, the line between its main genres – Mod, power pop and ska – is razor thin, one that Bristol’s finest relished blurring, and often to glorious effect. For examples, check out “A Thousand Burning Voices” (Thin Air: 1982, previously unreleased), whose anthemic blast offers a tantalizing glimpse into what might have been – had the proverbial “suits” resisted the temptation to break rock ‘n’ roll’s Unwritten 11th Commandment (Thou Shalt Not Mess With What’s Already Good).

Olerenshaw cites “Voices” as an example of singer-guitarist Paul Sandrone’s newfound maturity as a songwriter: “We learnt the song in a day (during the school holidays) and it evolved into a clever song with excellent dynamics, having a reflective, acoustic verse, and then it launches into a euphoric punchy chorus. Personally, I loved the way that the tempo goes from half-time in the verse, to standard-time in the bridge , and then double-time in the chorus which makes the song ‘take off’. The harmonies on that song were also pretty spectacular and the Beach Boys influence was very evident! It’s a clever song, about love and self doubt…and it became popular in the live set.”

This being the ’80s – and the twin spectres of yuppie drones and Margaret Thatcher’s aggressive monetarism ravaging the British landscape – it’s hardly surprising that a fair slice of social commentary runs through the proceedings here. Choice examples include the Rimshots’ “I Was Wrong” (1980), and its deadpan sendup of looking for work that doesn’t remotely promise any idea of fulfillment (“My mum said I would get a very good job/I went down to Bristol to get a job/I was wrong”), and the Cass Carnaby Five’s “November Rain” (1985), a propulsive look at the isolation of urban life (“He looks out of his window, hoping for more than he’s seen before/Just another day in November rain”). And, in “Fleet Street,” the Review gives the fourth estate a sound kicking, though the lyrics are a bit hard to make out (I’ll have to give that track another shot and try again, I suppose).

Other chordsmiths chose to work the lovelorn angle, such as Huw Gower – the biggest name here, who went on to the Records (and also played on bills with the Jam, incidentally). He turns is a moody, but shimmering slice of pop in “She’s Still A Mystery” (1981), which laments that perennially unavailable “girl who knocks you off your feet.” In a fairer world, this song – buoyed by a swirling, insistent guitar and keyboard line – should have snagged a smash hit for its composer. Then again, rock isn’t a meritocracy, or else compilations like this one wouldn’t be necessary, right?

At the same time, it’s also worth remembering that other styles coexisted comfortably under the Mod umbrella – with R&B, soul and ska providing the musical common denominator. Power pop and rock weren’t the only flavors of the day – though, in some cases, it meant going back to home base and turning a genre on its head. That’s what the Newbeats do on “Somebody’s Girl,” whose double-tracked vocals, shimmering guitars and telegrammatic lyrics (“I want to hold her tight through the night”) could slot comfortably in the Merseybeat file (albeit — released in 1985). By contrast, the Untouchables confidently mine the R&B angle on “Keep Your Distance” (1980) , which barrels along a prominent harmonica hook and solo that would give Lew Lewis a run for his money.

Other outfits preferred to fly the ska banner, as exemplified by Sky High’s “Maryanne,” which drives its romantic discontent home with a hefty dose of horns and organ. The CD ends with a pair of live tracks from Blue Riverside, who also show a definite ’60s-ish influence. For my money, “Experiments In Colour” is the stronger performance – though both tracks boast plenty of rip-roaring guitar to pull you along. (These bands always had good guitarists, which is only one reason that I – being a musician myself – appreciate this particular sub-genre.)

To untrained ears, ending with these two tracks seems like a curious choice – since the fidelity isn’t immaculate – but I’d much rather hear a basement show captured in all its gritty glory than a dull performance recorded immaculately. If nothing else, Mod is about rowdiness, sweat and passion, which is why the Blue Riverside tracks provide an apt exclamation point. Compilations are often hit or miss affairs – depending on who’s included, or excluded – but that’s not the case here.

Obviously, it helps to have a theme, but there’s plenty of strong material on offer (I just listed the ones that caught my attention first) – which is why you should pick up this release, and give it time on your shelf. In short, MODS stands up as a timely reminder of an era that casts a strong ripple effect on today’s culture, as Darby explains: “The Mod scene has never really gone away and it’s still fairly big to this day with the following bands having reformed and still out gigging, some to huge crowds – The Specials, The Selecter, Madness, The Beat (three versions), Bad Manners, the Chords, Secret Affair, The Purple Hearts and new mod bands that have just appeared, like The Spitfires.”

“I think it’s simply a great era to celebrate,” agrees Olerenshaw. “Mod and Ska has stood the test of time, and to this day, a lot of football grounds play stuff like ‘The Liquidator’ and ‘Double Barrel’ before matches. It’s the ultimate feelgood music, and I think it will always be popular!”

FURTHER INFO
BRISTOL ARCHIVE RECORDS: http://www.bristolarchiverecords.com/

BANDCAMP PAGE: http://bristolarchiverecords.bandcamp.com/

RIMSHOTS DISCOGRAPHY: http://www.bristolarchiverecords.com/bands/Rimshots.html

THIN AIR DISCOGRAPHY: http://www.bristolarchiverecords.com/bands/Thin_Air.html

INTERVIEW © Chairman Ralph’s Ministry Of Truth

Record Collector out today 4/5 album review for The Bristol Roots Explosion LP – respect

See you there…………

NEWS

The Cortinas – ‘Summer in The City’ (Previously unreleased and never heard before)

Available from 14th March 2016

To download and listen click on the link or copy/paste into your browser: https://soundcloud.com/bristolarchiverecords/the-cortinas-summer-in-the-city

Summer in City was recorded on Wednesday 5 April 1978 (’12 noon- 8am’) at Trident Studio, London W1. It was produced by Will Birch who reviewed one of our earliest gigs at The Roxy in Sounds (one of 3 or 4 national weekly music papers. Imagine.), perhaps our first, supporting The Stranglers. Anyway it would have been very early 1977, the first 100 days. The review was outstanding so we assumed that he had got the name of the band wrong. We also recognised the writer; Will Birch was the drummer in the Kursaal Flyers, a band that we had admired from the mid – 70s. The Kursaals were from Southend and played what can only be described as western-swing-tinged classic pop. They were a great live band, very theatrical and retro. Paul Shuttleworth, the singer, had a sort of flamboyant spiv image. They didn’t just play music. They were an act. They were a show. So the review was an endorsement from someone we admired.

That initial connection with the Kursaals was cemented later that year when we toured with them as support, having passed on an offer to tour with The Stranglers to the Pop Group (whatever happened to them?). By then we had done two Step Forward singles and were growing out of the punk thing, writing songs that were looking for pop magic, and had somehow obtained a contract with CBS. So the tour was an opportunity to test and refine the songs. It was also a great laugh. At the end of it, for reasons we didn’t quite grasp, the Kursaals called it a day.

After that we did the album, True Romances. I think that during the recording everyone had some sense of waiting for something to happen. It didn’t. What we didn’t understand was production. And neither did the producer. It’s very flat and doesn’t have a direction. That’s not to say it would have been any better with a proper producer and we made the mistake of thinking in terms of a live sound which, it turns out, has to be produced. But the songs had actually moved away from that and we didn’t know it. The album slipped out to, at best, sympathetic reviews, although John Peel had some kind words for it. CBS had probably been expecting a more cartoonish punky-wunky Vibrators record.

So after that, we were at a bit of a loose end. In fact, we were a bit bored. Then Miles Copeland suggested we do some recording with Will Birch. It was logical and exciting. We decided to do a cover and after having a go at Love’s version of Bacharach’s Little Red Book, (to sing Bacharach you actually have to be able to sing) The Lovin Spoonful’s Summer In The City was rehearsed and off we trotted to the world famous Trident Studios. It was as if we had been beamed onto the bridge of the Starship Enterprise.

I think we had imagined that producing records was all about someone knowing how to push some secret buttons on a machine. That’s part of it. But the main thing is about getting a performance. I think this recording shows that Will Birch knew how to do that. No big fuss or mystique. No psychology. But it wasn’t really enough to revive our enthusiasm. Other moods had started to emerge and we were pretty clear that we didn’t want to end up like those rock casualties reminiscing 40 years later about what might have been. Will went on to form The Records and subsequently produced (The Yachts, The Long Ryders), wrote music, journalism, and No Sleep Till Canvey Island: The Great Pub Rock Revolution (2004) and Ian Dury: The Definitive Biography (2010. who once, during the Kursaals Tour, told me to ‘fuck off’).

A few years ago Will contacted me – because of the internet – and told me that he had transferred the analogue tape to digital. We didn’t have any copies so of course we wanted to hear it. I think we thought it was better than we remembered. Then we ummed and ahhed about what to do with it! Eventually we decided that Bristol Archive Records was the right outlet. There were a few wobbles on the original so Steve Street, engineer on The Cortinas GBH demos (also available through Bristol Archive Records), pressed some secret buttons and sorted them out. I have heard it said that The Cortinas were whisked away from punkdom and exploited by the evil music industry. If only. Who knows? We might have got a Huey Lewis and The News support slot – Touring Germany – In February.

Jeremy Valentine – March 2016.