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Artifact, Part 4 – Longjohn Reviews

This entry is part 4 of 4 in the series Creation -Artifact

Artifact – The Dawn Of Creation Records

Cherry Red CRCDBOX19

The final two discs (4 & 5) on Creation Artifact – The Dawn of Creation Records 1983-85, are devoted to demo recordings and BBC Sessions which were hosted by Janice Long and the late John Peel. It is to some extent generally agreed that demos and BBC sessions are a hard sell for casual music fans, and the question that might be asked is do we really need a pile of old scrappy recordings and demos from bands that were not exactly household names? On the other hand if you are a rabid fan of obscure Indie bands and share the same obsession for music as the late John Peel then these discs will be a welcome inclusion on the Artifact box set.

Listening to demos is a good way for the listener to see how a song develops into the finished article. However, it is rather difficult to get a feel for the entire recording process here, as the tracks on disc 4 have to a large extent been completed. Some of the recordings have variable sound quality and some of the bands and in particular Biff Bang Pow! have an amateurish lo-fi quality, which would not have sounded out of place on the Pebbles and Back From The Grave compilation albums.

However, the bonus of having these demos included on the Artifact box set is that some of these tracks are finally seeing the light of day for the first time. There are three songs included from Meat Whiplash, and their only other known recording was the Jim Reid produced single Don’t Slip Up, (which is included on disc 1). It is a shame that these tracks were never officially released as Meat Whiplash have been unfairly tagged as a Jesus & Mary Chain clone, and what the fuzz guitar drenched Losing Your Grip, Always Sunday and Walk Away demonstrate was that Meat Whiplash had promise that was never
quite fulfilled.

The other highlights on disc 4 are The Jasmine Minks, who have five songs included here, but superior versions of these songs can be found on discs one and two of the Artifact box set, and the Cut Me Deep (The Anthology 1984 – 2014) compilation. The inclusion of the X Men also boosts this disc considerably and A Tryst For Liszt, Stone Cold One Note Mind, Home and Planet Of The X all have that exuberant and infectiously poppier take on the Pyschobilly genre.

The final disc in the Artifact box set comprises BBC Sessions, and it would be fair to say that for most musicians a spot on the John Peel show was a coveted slot indeed. These sessions gave the artists a chance to reach a national audience, and even though many of the bands did not necessarily have any notion to be famous, a John Peel session did their chances of some success no harm at all.

The Loft, The Bodines, The Jasmine Minks, The Moodists, The X Men and Meat Whiplash are all included here, and almost without exception John Peel was one of the very few people to give these bands valuable airplay, and it is thanks to Peel that many of the releases by these bands ended up in our record collections.

The BBC Sessions on this disc do not really reveal anything that has not been heard already on the previous 4 discs, and in hindsight it might have been more beneficial to include (if available) on this disc some dialogue between John Peel and the artists who appeared on his show, and ultimately including two discs of demos and BBC Sessions does feel a bit repetitious as superior versions of some of these songs already appear on the first three discs, which makes discs four and five for rabid music fans and completists only.

Many of the bands included on Artifact are to some extent long forgotten, which makes this box set such a timely welcome. The success of Creation Records was built on the foundations of these pioneers, and although the quality of the output is variable there is still more than enough to keep listeners happy for many hours, and for better or worse this is where the story of Creation Records begun and the rest as they say is history. BUY HERE!

Long John

Charming Chap and a new sharp force for Eyeplug, being a toppermost writer with a keen appreciation for things of quality and distinction. A well known face on the London ‘Mod’ Scene but with an open mind and heart. Got a strange interest in Pirates? One to watch out for!

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November 14, 2015 By : Category : Features Front page Indie Post-punk Reviews Tags:, , ,
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Artifact, Part 3 – Longjohn Reviews

This entry is part 3 of 4 in the series Creation -Artifact

Artifact – The Dawn Of Creation Records

Cherry Red CRCDBOX19

The third disc on the Creation Artifact – The Dawn of Creation Records 1983-85 is a mixed bag of assorted tracks, which cover a few singles, demos, album tracks and live performances, which were recorded at Alan McGee’s weekly club night The Living Room. This event was held in a tiny room above a pub in central London and it served an important purpose in that it gave a lot of unknown bands some much needed live exposure, and it provided McGee with the income to start Creation Records.

The money Alan McGee made from The Living Room was used to produce records by the bands that played at this weekly event. The studio time afforded to these bands in the fledgling years of Creation was pivotal as it gave them the time to hone and perfect their sound. Even more importantly these bands had a passionate music fan in McGee, who respected them as artists and always made sure that what profits were available was distributed evenly among the bands, and more importantly any surplus income was used to fund the release of
their records.

Alan McGee’s first band The Laughing Apple also featured Primal Scream guitarist Andrew Innes, and they recorded three singles for their own Autonomy label, including Participate/Wouldn’t You this single is featured here with McGee on bass. Participate in particular is a bruising slice of minimal post-punk, and you can’t help disagreeing with the self deprecating McGee, who felt prompted to start his own record label because he came to the conclusion that as a musician he was not particularly good.

Biff Bang Pow! reappear on disc three with an alternative version of Fifty Years of Fun and Waterbomb. The aforementioned is almost identical to the single version featured on disc 1 while Waterbomb is an unremarkable instrumental, which featured on their 1985 debut album Pass the Paintbrush Honey.

Not much is known about J.C Brouchard only that he is French and he is a fanatical fan of the brilliant Indie band Felt. His fanaticism is such that he even penned a (rather hard to find) book about the band called Felt, Ballad of the Fan in 2011. However, Brouchard did a bit of moonlighting as a recording artist in the 1980s, cut a single with Biff Bang Pow! in 1985. The swirling dreamy psychedelic inspired Someone Stole My Wheels/Sunny Days has all the jangly psych pop hallmarks that were associated with Creation acts at the time, and this somewhat melancholic single is a real hidden jangle pop gem and a welcome inclusion on this disc.

The Revolving Paint Dream also pops up again with an early version of the single In The Afternoon. This single is possibly sung by Andrew Innes, and although this is a pleasantly surreal recording it has the feel of a demo and does not capture the essence of the official single (on disc one of Artifact), which featured the beautifully breathy and fragile vocals of Christina Wanless.

The Bodines have an alternative version of God Bless featured here, which is identical to the original on disc two and you could question the merits of its inclusion here. Two tracks by The Jasmine Minks The Thirty Second Set Up and Somers Town, are taken from their 1984 debut One Two Three Four Five Six Seven, All Good Preachers Go To Heaven album. Both of these tracks blend the energy of post-punk and 1960s melodic pop, and The Jasmine Minks deliver these songs with their usual soulful verve and energy.

The Jesus & Mary Chain have a couple of demos included here and the first is an early version of their debut single Upside Down, which is a fuzz driven garage monster that almost captures the drenched in violence ear bleeding assault of the original single, which is featured on disc two of Artifact. However, the real surprise here is the demo of Just Like Honey, which is arguably better than the original version of the song that opens their 1985 debut album Pyschocandy. This version of Just Like Honey is a tambourine and acoustically driven track, with just a hint of electric guitar coming in at the midway point of the song. To describe a song by The Jesus & Mary Chain in their 1984-85 period as fragile and gentle is a bit of an anomaly, but that is exactly what this song is, and it is quite brilliant and could have been released as a single in its own right.

The Membranes formed in 1977 and have released a slew of singles and albums spanning an almost 40-year career. They recorded one album The Gift of Life on Creation in 1985 and two tracks from this album are included here. I Am Fish Eye and Gift of Life are delivered with sledgehammer abandon and are a discordant blend of experimental noise and distortion. How many people can claim to have heard of The Membranes? It seems remarkable that this band are not more well-known, but as these two tracks demonstrate The Membranes were very influential and this influence surely must have rubbed off on Sonic Youth, and one listen to their albums Goo and Daydream Nation may just clarify
that influence.

The very first album release on Creation Records was Alive In The Living Room. This album consisted of live recordings between 1983 and 1984 and these tracks, including a few bonus live tracks are also included on this disc. The first thing that will strike the listener is the poor sound quality of the recordings. Apparently members of the audience were roped in to help with these live recordings, and they were given hand-held recorders to capture the whole live experience of the bands who played at The Living Room.

The poor sound quality also highlights another problem and that is with the bands themselves. Many of them seem to be willfully incompetent live and the shambolic mess of these live gigs is epitomized by The Legend (AKA Jerry Thackray) in particular, who seems to take a delightful glee in his own incompetence as a musician, when he ironically announces to the audience that he will play Arrogant Bastards slow because he does not know any chords.

However, a shambolic live performance can still be an absolutely powerful and defining moment for the band and audience. So the live tracks featured here are not total disasters, and the stand out moments are The Jasmine Minks cover of the Love Garage-Punk classic 7 & 7 is, and The Television Personalities A Picture of Dorian Gray. There is a charm in the amateurish so-called musicianship to some of these live recordings, and if you are a fan of shambolic pop then you will appreciate these recordings, but will no doubt be put off by the poor sound quality, which make them sound nothing more than unofficial bootleg releases.

Stayed tuned for the final installment of the Creation Artifact series as we take a closer look at discs 4 and 5. BUY HERE!

Long John

Charming Chap and a new sharp force for Eyeplug, being a toppermost writer with a keen appreciation for things of quality and distinction. A well known face on the London ‘Mod’ Scene but with an open mind and heart. Got a strange interest in Pirates? One to watch out for!

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November 5, 2015 By : Category : Features Front page Indie Post-punk Reviews Tags:, , ,
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Artifact, Part 2 – Longjohn Reviews

This entry is part 2 of 4 in the series Creation -Artifact

Artifact – The Dawn Of Creation Records

Cherry Red CRCDBOX19

The second disc on Artifact – The Dawn of Creation Records 1983 – 85 contains the rest of the singles from this period, and a fitting way to kick off this disc is to unleash the full throttle ear bleeding assault of crude noise makers The Jesus & Mary Chain. The East Kilbride upstarts released just the one single on Creation Records, and what an explosive debut this record was. Upside Down and its B-side, Syd Barrett’s darkly satirical Vegetable Man was the blue print for the industrial white noise fest of J&MC seminal Pyschocandy album.

The Jesus & Mary Chain became one of the most divisive and controversial bands of the 1980s. Their live appearances were notoriously shambolic, and the band played with wrecked instruments, including a bass with just 2 strings and a drum kit that contained only 2 snare drums. This minimalist approach and seemingly total disregard for their craft was deceiving as brothers Jim and William Reid were music obsessives and were enthralled to 1960s pop in the shape of Phil Spector’s girl groups and The Beach Boys.

The Jesus & Mary Chain seemed to blend the cacophonous noise of the Velvet Underground’s White Light, White Heat and Sister Ray with songs that appeared to be influenced by 1960s Brill Building pop. Upside Down is a scary, brooding, violent mess of a song and it could be argued that this record was single-handedly one of the biggest influence on the nascent Shoe Gaze scene.

Their cover of Vegetable Man is incredible and it would be fair to say that Syd Barrett’s songs were too precious, disturbingly beautiful and uniquely him that no one should go anywhere near them. However, The Jesus & Mary Chain capture the essence of Vegetable Man and convincingly put their own musically chaotic stamp on this track, without making it appear like a pale imitation of
the original.

The absurdly named Meat Whiplash also came from East Kilbride and they released only one single on Creation Records in September 1985. They can claim some notoriety for being the opening act at the infamous North London Polytechnic gig headlined by The Jesus & Mary Chain, in which Meat Whiplash guitarist Stephen McLean threw a glass bottle in to the crowd, which proved to be the catalyst for a riot. The single Don’t Slip Up and its B-side Here It Comes are both fuzz guitar wig outs, with vocals seemingly recorded in the far distance to the point of being inaudible. Although this single owes something of an obvious debt to the Jesus & Mary Chain, it was still distinctive enough to earn a number 3 place on the indie charts, where it spent an incredible 13 weeks.

Taking their name from an Enid Blyton children’s novel, Five Go Down To The Sea recorded a 12” single at the tail end of 1985 featuring Singing In Braille, Aunt Nelly and Silk Brain Worm Women. These three tracks are unique in that they sound like nothing else on disc 2 of Artifact, and Five Go Down To The Sea obviously did not care about commercial success and seemed happy to make a discordant induced noise with crunching guitar riffs, pounding drums and nonsensical lyrics, which suggest that Captain Beefheart may have been an influence on this group.

Derbyshire four piece The Bodines recorded just three singles for Creation Records and featured here is the 1985 single God Bless/Paradise. This particular single has an Echo and the Bunnymen feel with its choppy guitar sound and high tempo, which was almost typical of that 1980s indie guitar sound and this particular single it could be argued was a direct influence on the nascent jangle pop scene, in which The Bodines were an integral part of as their subsequent single Therese featured on the NME’s influential C86 cassette.

Melbourne band The Moodists only made a fleeting appearance on Creation, and included here is the 12” EP Justice and Money Too; You’ve Got Your Story and Take Us All Home. The Moodists already had 2 albums under their belt prior to cutting this EP with Creation, and apparently the EP was recorded in a day and it is perhaps this haste, which makes this record a little unremarkable and hard to distinguish from other more well-known Creation acts on this disc like the The Bodines and The Jasmine Minks.

Biff, Bang, Pow, The Jasmine Minks, The Loft and The Pastels all make a reappearance on disc 2, and normal service is resumed as the jangle maestros all pitch in with shambling melodic pop that is almost typical of what you would except from bands signed to Creation Records in this period. Love & Hate by Biff, Bang, Pow yet again doffs its jingle jangle cap to 1960s British Psychedelia and What’s Happening/Black & Blue by The Jasmine Minks are both sung with plenty of soul, and this particular single has a harder edge and a sense of post punk urgency that still sounds fresh as a daisy 30 years after it was
originally recorded.

It is still quite unfathomable why The Loft were not more well-known and why they remain nothing more than a cult phenomenon to rabid Indie music fans. Their final recordings for Creation include Up The Hill & Down The Slope, Your Door Shines Like Gold and Lonely Street. The sublime Up The Hill & Down The Slope climbed to the top of the Indie charts in 1985; and it is this particular song that should have been the catalyst for The Loft to go on to greater commercial success. But this never happened and the band imploded in spectacular fashion onstage at the Hammersmith Palais in 1985, and front man Pete Astor eventually went on to form The Weather Prophets.

Yet again it is The Pastels who taste the sweetest as their final single on Creation demonstrates. I’m Alright With You, Couldn’t Care Less and What It’s Worth are delivered in that deceptively lazy manner, with hushed vocals and wry humorous lyrics. The Pastels lacked any kind of clichéd rock n roll machismo and their influence is subtle but far-reaching. They quietly blazed a trail throughout the 1980s Indie guitar scene and they are remarkably into their 34th year and despite only five album releases in this period they are still a relevant force to be reckoned with. One listen to I’m Alright With You, (this version being superior to the latter album version) will hopefully show the listener why the band are still revered by many, including their more celebrated Glaswegian counterparts Belle & Sebastian and Camera Obscura.

There is probably nothing more to say about post 1990 Primal Scream, and their success has rendered them part of the rock n roll aristocracy whether they like it or not. Their emphatic fusion of dance and rock n roll from Screamadelica to their latest album More Light has put them in a rare position of still being somewhat relevant when virtually all of their 1980s peers have either disappeared or are happy to continue rolling out the yawn inducing but lucrative greatest hits tours.

It would be fair to say that pre 1990 Primal Scream output is virtually unknown, however, they did create such lovely, gentle dreamy jangle pop that deserves more consideration. All Fall Down/It Happens was issued in 1985 and these tracks show the first incarnation of Primal Scream in thrall to 1960s West Coast pop and psych. Bobby Gillespie’s vocals sound sweet and fragile and the hazy sunshine pop of these tracks serves as a more than welcome antidote to the rumbustious shenanigans of some of the other artists on disc two of Artifact.

Keep your eyes peeled Indie boppers for part three of the Artifact story coming your way soon. BUY HERE!

Long John

Charming Chap and a new sharp force for Eyeplug, being a toppermost writer with a keen appreciation for things of quality and distinction. A well known face on the London ‘Mod’ Scene but with an open mind and heart. Got a strange interest in Pirates? One to watch out for!

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October 29, 2015 By : Category : Features Front page Indie Post-punk Reviews Tags:, , ,
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Artifact, Part 1 – Longjohn Reviews

This entry is part 1 of 4 in the series Creation -Artifact

Artifact – The Dawn Of Creation Records

Cherry Red CRCDBOX19

Artifact – The Dawn of Creation Records 1983-85 is a 5 CD box set containing 124 songs devoted to the early years of Alan McGee’s Creation Records. The collection pulls together singles, album tracks, rarities, demos and BBC sessions by a diverse range of bands including The Pastels, The Bodines, The Jesus and Mary Chain, The Loft, Primal Scream, The X Men, The Legend, The Jasmine Minks and The Membranes.  Also included is a 12,000-word essay by journalist Neil Taylor plus a detailed biography off all the bands signed to Creation Records in this seminal period.

When Alan McGee set off from Glasgow to London in 1982 to pursue his dream of being a musician and forming a band, it would be fair to assume that he could never have envisioned that within 15 years he would form arguably one of the most influential indie labels in the UK, sign some of the most iconic bands of the 1980s and 90s, sell half of Creation Records to the monolithic and corporate Sony Records, and end up in No 10 Downing Street quaffing champagne with Tony Blair.

The story of how Creation Records came into existence is fascinating as it is improbable. The label itself was started in 1983 in conjunction with McGee’s influential club night The Living Room. This seminal early club night was set up to showcase bands that McGee liked, and the success of the club allowed McGee to use what profits there were to start releasing singles by the bands that were a regular feature at The Living Room, and thus Creation Records was born and the rest as they say is history.

This article will focus on disc 1 of the Artifact box set and the bands featured here became the blueprint for what might be considered the definitive indie sound, while embodying the DIY ethos of punk. However, there are a few exceptions on this particular disc that do not necessarily fit this indie stereotype. With hindsight you would have to question McGee for giving any recording time to The Legend, aka Jerry Thackray. Both singles are feature here, including the ridiculous 73 in 83, as well as You (Chunk Chunka) Were Glamorous, The Legend! Destroys The Blues and Arrogant Bastards. These songs are spoken word, rambling and nonsensical but good fun nonetheless.

Glaswegian cult band The Pastels teamed up with Creation Records to record a number of singles in 1984, including Something Going On, Stay With Me Till Morning, Million Tears, Surprise Me and Baby Honey. The core members of the band were Stephen McRobbie and Katrina Mitchell, and the songs included on this particular disc clearly display their talent for recording joyously catchy shambling pop songs with nonchalant ease.

The problem for The Pastels was that they were never very prolific and only sporadically recorded when they seemingly felt like it. This might explain why they remain nothing more than a cult phenomenon. The highlights here are Something Going On and the beautifully ragged and dreamy pop of a Million Tears. These melancholic and angst ridden tracks are joyously uplifting, despite the sombre nature of the lyrics. Both songs are addictively catchy and they feel immediately familiar after only a couple of listens.

Revolving Paint Dream and Biff, Bang, Pow, owe something of an obvious debt to 1960s pop, beat and psychedelia. Revolving Paint Dream cut 2 singles and 2 albums with Creation, and featured here is the first single Flowers In The Sky. The band featured former Primal Scream guitarist Andrew Innes and on occasions Alan McGee.  Flowers In The Sky has a continuous Byrds like guitar chime, and despite its slightly pastiche nature it is nonetheless still a great and catchy tune. However, it is the B-side In The Afternoon that may attract the listener’s attention. This particular track was written by McGee and has a dreamy swirling organ sound coinciding with a chiming guitar melody. The song is completed by Christina Wanless’ breathy, fragile vocals, which blend in beautifully to create a song that should have been a stand alone A-side in its very own right.

Biff, Bang, Pow took their name from a song recorded by 1960s freak beat band The Creation. Their early singles featured Alan McGee on guitar and vocals and included on this disc are the singles, Fifty Years Of Fun, Then When I Scream, There Must Be A Better Life and The Chocolate Elephant Man. All these tunes have clear British psychedelic influences, and a swirling organ sound (Then When I Scream) and jingle jangle guitar wig outs on the other 3 songs. There is also a cheeky bit of riff pilfering on Fifty Years Of Fun, and the opening guitar chords sound suspiciously like the opening riff to The Who’s So Sad about Us.

The Jasmine Minks have several songs included here including, Think, Work For Nothing and Where The Traffic Goes, which were all recorded in 1984. These singles are fast up-tempo numbers, featuring the almost customary jangly Rickenbacker sound, and sit somewhere between 1960s pop and post punk. Not much is known about the X Men, but they did record some great records for Creation in 1984. Bad Girl, Talk and Do The Ghost all have a demented psychobilly thrash and these tracks would not sound out of place on the Nuggets and Pebbles compilation albums. Do The Ghost in particular is a fantastic single and on first listen there is a somewhat obvious comparison to the deranged sound of The Cramps. However, according to the notes in Artifact the song was inspired by The Novas stupendous 1964 single The Crusher.

It seems incredible that The Loft only released 2 singles with Creation Records, before disbanding in 1985. The 3 songs included on this disc demonstrate a promise that was never quite fulfilled. Why Does The Rain, Like and Winter all have the customary jangly guitar work delivered by guitarist Andy Strikland, and ruminative lyrics delivered in a somewhat languid tone by singer Pete Astor. These tracks ably demonstrate that The Loft could have been a creative success, but they never stuck around long enough to find out. Why Does The Rain in particular is an outstanding single and was one of the first releases on Creation Records, and it is arguably the most accomplished single that was released by the label in 1984.

This early period for Creation Records yielded nothing by way of commercial success but as the songs on this disc demonstrate it was a creatively fertile period for the bands on this fledgling label that always seemed on the verge of bankruptcy. McGee’s dedication and love of music somehow kept the label afloat and gradually the hit records and commercial success arrived, but that is another story. Stay tuned pop pickers as we delve even further into the Artifact box set in part two, which will be coming your way soon! BUY HERE!

Long John

Charming Chap and a new sharp force for Eyeplug, being a toppermost writer with a keen appreciation for things of quality and distinction. A well known face on the London ‘Mod’ Scene but with an open mind and heart. Got a strange interest in Pirates? One to watch out for!

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October 21, 2015 By : Category : Features Front page Indie Post-punk Reviews Tags:, , ,
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Alan McGee – Eyefocus 359 Music

This entry is part 1 of 7 in the series Eyefocus 359 Music

Creation Records founder Alan McGee claims he has been reinvigorated by music recently, to such an extent that he has launched a new record label in conjunction with Cherry Red Records. Not content with resting on his illustrious laurels, the man who helped bring bands such as the Jesus and Mary Chain, My Bloody Valentine, Ride, Primal Scream and Teenage Fanclub into our lucky lives has decided to once again grace the record buying public with his welcome presence, and hopefully to provide us with some much needed new music and great talent.

Creation Records was started in 1983 by Alan McGee, Dick Green and Joe Foster (and a £1000 bank loan) in order to put records out by bands that they liked, and according to McGee who no one else wanted. In a candid interview for the Guardian in 2010 McGee also revealed that part of the reason for starting Creation Records was because of ‘not wanting a real job’, which is as good a reason as any to start your own record company. However, to run a record label that seemed perennially in debt must have brought its own stresses and tribulations, and although McGee admits a lot of it was down to luck, there must surely have been a lot of hard work and a passion for what he was doing in order to keep Creation Records going as long as he did.

Some of the most influential bands from the past 25 years were signed to Creation Records, and they need no further introduction here. When Creation Records came to an end in 1999 the label had released records by at least 40 bands, and you would forgive Alan McGee if he felt like throwing the towel in at this point, however, he formed Poptones and signed The Hives before dissolving the record label for financial reasons in 2007.

Can the man who co founded Creation Records and subsequently Poptones have any more hunger for the trials and tribulations of the music business? The answer is comprehensively in the affirmative. However, Alan McGee has decided to set up his new venture from his home in rural Wales. McGee moved to Wales with his wife and daughter and he openly admits that he got bored with life in London. Thanks to modern technology McGee has been afforded the luxury of being able to operate his new venture from the comfort of his own home.

Alan McGee argues that all he needs is a Blackberry and a laptop in order to operate his label. Although McGee has found a new zest for music, he feels that technology has altered the importance of music. McGee argues that people are more enthused by Twitter than pop music, which makes uncovering the next Primal Scream or Oasis virtually non-existent. However, McGee is also canny enough to know that online social media sites is now the way to push new music, and YouTube, Twitter and Facebook do provide an important outlet for new bands, who can promote their music off their own backs. However, the other side of the argument is that the Internet is making it difficult for any aspiring musician to forge an identity amongst the deluge of sub standard music.

Luckily the artists signed to 359 Music do have an outlet for their music, which comes in the form of Cherry Red Records, who intend to handle the business side of the label with McGee responsible for A&R. How Cherry Red Records and Alan McGee came back together is somewhat amusing. McGee says he received a letter in the post from Cherry Red Records saying that he was due outstanding royalties to the tune of a £126. The royalties in question date back at least 30 years when he was in a band called the Laughing Apple. Cherry Red Records must be applauded for outstanding honesty and unwittingly helping to convince Alan McGee to return to the music business.

Cherry Red Records are still going strong and growing after 35 years in the music business, and can lay claim to being the biggest reissue company in the market. Now Cherry Red records are moving back to distributing music by new and upcoming artists, and this joint venture with Alan McGee sounds like a match made in musical heaven, especially for the lucky 15 or so artists who made the cut and are finally realizing their dream of actually recording music and getting it released for us lucky punters to hear.

Alan McGee had invited artists to send their music by MP3, and McGee then promised to listen to everything that he received, which must be a monumental but thoroughly enjoyable task in itself. Within a few days of announcing the formation of 359 Music Alan McGee said he had received at least a few thousand MP3’s, however, he would have also liked to have heard from more female artists as McGee claims that at least 85% of the MP3’s he received were from male bands. According to McGee ‘there is more talent in Huyton than there is in Hoxton’, which reveals his disenchantment with London was not just geographical but musical as well. The request to send MP3’s is closed for for now, but will periodically re-open with fresh opportunities when the time is right. Our advice would be to follow 359 Music on Facebook and Twitter, to keep up with the action.

November is set to be a busy and exciting month for 359 Music and the artists who are lucky enough to be signed to the label. 359 Music are set to unleash at least half a dozen albums throughout the course of the month, and I have been lucky enough to have a sneak preview of 3 of these albums. Pete McLeod, Gun Club Cemetery and Tess Parks have been fully endorsed and supported by Alan McGee, and he feels that 359 Music will provide a much-needed outlet for these artists to showcase their talents.

Alan’s Interview to follow…

A Series has been set-up for 359 Music on eyeplug.net, which include interviews and reviews of the 6 newly signed Artist’s and they will be published very soon!

 

Long John

Charming Chap and a new sharp force for Eyeplug, being a toppermost writer with a keen appreciation for things of quality and distinction. A well known face on the London ‘Mod’ Scene but with an open mind and heart. Got a strange interest in Pirates? One to watch out for!

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November 7, 2013 By : Category : Features Front page Interviews Music Reviews Tags:, , , , , ,
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