One of these days, is none of these days.An idle brain is the Devil's workshop.
Writing began in January 2010, the first few tracks were instrumentals. I knew almost instantly, this wasn't the direction I wanted to go. The first one of the press was "My Lady" in late January. A month went by prior to cranking over 'I'll Carry Ya Home". I'd been trying too hard to come up with a perfect pop-song. With too many complicated chords and links and bridges I'd never remember...just blast it! I pushed REC and out came the intro for "I'll Carry Ya... loved every minute of recording that and is my favourite song on the record.The words were inspired by a stumble back from a 150 strong flat party. The Purple Flower lines from the song had been written in the Meadows during the heatwave of 2006. They fitted perfectly.Then came the experimentation of: double-layering the bass guitar riffs with clean and dirty harmonising. "To Make People Dance" was my first one recorded with that technique. And then there were 3.
"Shine Like Rain" also used this method, although the clean part escaped during a bounce error. Then a LOT of similar sounding compositions came out during this phase, but they did not make the final tracklist. "The Thrill Lives On" took an entire weekend to complete. It started as a few synth-vibes looping in the background. I then added a 70's Disco beat at a slow tempo, to create the laid-back feel. Then the bass-line slotted into place with ease. Song-building like this, tends to have a stepping-stone effect, with each instrument added, another idea falls into place behind it. "Blow, Bugle, Blow" then followed shortly afterwards. This track also featured Disco drums and a melodic bass riff. The song reminiscent of early 90's French ambient-pop bands. I originally wanted to find a female singer to complete this one, but within a couple of weeks, I had what I wanted. Then there were 6.
I can only guess that during this keyboard-based track building stage, "Song For Edie" came about. Originally called 'Deer Park', coincidentally, I later found out Ms Edie Sedgwick (girl on the cover) auditioned for a part in a film of the same name, but did not get the role. As this was also a Fall song-title- I opted for "Song For Edie" instead. It possesses haunting 'Blade Runner-esque' sounds, but it's exact date of origin is left unanswered. I then began a new chapter and penned new song ideas, using the lyrical-building technique I developed during the 'Night Singer' album in 2009. The first was
"She Be A Witch" with the same vocal-patch used on "City O' Despair" from 'The Moneyshot'. I then watched a series of films, one of those being the JoyDivision film 'Control' (Corbijn, 2007) and decided to write a song as a tribute to that mesmerising, but short-lived band."Move Move Move" was the first one. The final one, "Emergency"
also nodded to the characteristic chugging bass similar to New Order etc. A disco snare sound was also added to that track for added 80's effect. But I was still left with the hard part to complete... I have to admit to struggling at the best of times with vocals. But with this one, the key didn't fit my voice range at all. 5 or 6 even 7 takes later, I reverted to Tangina Barrons patch and that sweetened it up nicely. Then there were 10.
I spent the final day/night doing a 14 hour clean-up and trim.
I recorded 38 tunes during the "Shine Like Rain" sessions, 10 of which fitted the feel and balance of the finished work.
Too bad she won't live...but then again, who does?