THE VPME AWARDS 2011- (Including Top 20 Podcast)

THE VPME AWARDS 2011

It’s almost the season to be jolly, but just before the holiday season we are in the midst of “the list.”  Yes music mags/zines and blogs are full of endless lists, lists about the best albums, best gigs, best songs, lists about lists. It could leave you feeling quite listless and we can’t have that, so , here’s our list, we’ve even checked it twice!  Yup it’s that vertigo inducing  career high that results in being presented with a special VPME trophy ( known colloquially as a “Pipster” )  we therefore present the music that touched, inspired and kept us sane during a bumpy 2011……

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ALBUMS OF THE YEAR 2011.

You can listen to the Album of the year podcast below whilst you read along 😉  ( or on Mixcloud)

Vodpod videos no longer available.

       1. Sarabeth Tucek – “Get Well Soon”

Sarabeth Tucek With Her Magnificent Album Of The Year Trophy - The Von Pip Musical Express

Sarabeth and her "Pipster" award !

When we first heard the title track from Sarabeth’s second album our reaction was thus . . . “There are occasions in life when you come across a song of such exquisite beauty that it literally stops you dead in your tracks. One that has the power to effect you so profoundly that it makes your heart ache whilst simultaneously gives cause for your ears to quiver with joy.”  And so the album had quite something to live up to, but happily it surpassed expectations.  Of the album we wrote “‘Get Well Soon’ chimes and resonates with sincerity and beauty, it crackles with genuine emotion and ultimately turns the pain of loss into something incredibly poignant and life affirming. What starts out as a lament to her late father becomes a celebration of remembrance in terms of, not only her relationship with her Dad, but also in how she survived grief and emerged from the darkness. Quite why it’s been ignored by  much  of printed musical press in their albums on the year lists is a mystery. Or is it ? Much of them sadly are more concerned with short term hipsterism rather than long term talent.  You can read the full review and interview with Sarabeth HERE

      2. Dum Dum Girls – “Only In Dreams”

“Whereas Dum Dum Girls debut album,  ‘I Will Be’ was essentially the one woman  project of songwriter and front lady Dee Dee Penny (real name Kristen Gundred) ‘Only In Dreams’ sees Dum Dum Girls flourish into a formidable, fully formed, holistic musical entity.  At the risk of being accused of indulging in hyperbole it’s my opinion that in any right thinking society this album should be regarded as a genuine slice of  pop genius and as such ought to be mentioned in the same breath as canonised classics such as ‘Presenting the Fabulous Ronettes,’  Blondie’s ‘Parallel Lines’ or The Ramones ‘Leave Home.’ With Richard Gottehrer and Raveonette, Sune Rose Wagner on production duties, the album demonstrates just what an amazingly gifted songwriter Dee Dee is. This is not empty vacuous, throw away pop, for the twist is that beneath the often blissful melodies you’ll discover dark lyrics full of poetic candour imbued with genuine emotional depth and intelligence that is both profoundly beautiful and extremely moving.” Read the rest of the review and interview with Dee Dee HERE.

3.       The Joy Formidable – The Big Roar.

We wrote “Amongst the fury, the power and the often giddy pace of the album, The Joy Formidable manage to stir something deep inside you, connecting  an emotional level, filling you with a sense of euphoria and ultimately  leaving you to ponder just what is it about  such a magnificent noise that is so incredibly moving and life affirming ?  It’s also an album that in time may well be cited as an inspiration for many future bands, because it really is that good. Just weeks into 2011 The Joy Formidable have already thrown down the gauntlet in the album of the year stakes.   On the sublime ‘A Heavy Abacus’ Ritzy sings ‘ Happiness, it won’t last long’ well maybe not, but goodness while it does last, the joy is truly formidable.”   Original Review here

 4.       Veronica  Falls –Veronica Falls

We wrote  Their eponymous debut album, called somewhat surprisingly, ‘Veronica Falls’ is  raw, edgy, melodious and mysterious. “Found Love In A Grave Yard” is, excuse the pun, a killer tune and has been rattling its ghostly chains about the internet for some time. It’s a perfect album opener, laying the ground work for some dark sparkling indie pop nuggets such as “Right Side Of My Brain”, “Misery” “Stephen” and “Come On Over” whilst “The Fountain” vocally conjures up  Lush’s Miki Berenyi [Hurrah!] Given some of  slightly macabre subject matter,  graveyards, loss,death and everybodys  favourite one way destination  “Beachy Head” you may think this could be an earnest, po-faced hipster ride through angst and existentialism. You would of course be very much mistaken. Veronica Falls’ sunny pop shimmer belies the dark lyrical thematics, which you sense are sung with a knowing wink and a sense of mischievous fun.”

Read the interview and review HERE  

 5.       Pete And Pirates  “One Thousand Pictures”

The hope and romantic idealism that permeated ‘Little Death’ is replaced by the sort of cynicism that comes from experience and the jangle pop is replaced by a much more rounded rockier sound. Ok so they haven’t done the whole Arctic ‘This is what Led Zeppelin would sound like fronted by George Formby Monkeys rock thing but there are some fantastically meaty guitar riffs in evidence. However Pete And The Pirates are an eclectic bunch and don’t really conform to one particular template instead they take us on an intriguing musical journey through indie, rock and even shades of Donna Summer (on ‘Winter.’)  As ever it’s the quality of the songs that ultimately ensure that the band build on the success of their debut and ‘One Thousand Pictures’ is definite progression forward.  Underneath the jaunty veneer of many of the songs you may find something rather darker lurking and it’s this juxtaposition along with fabulous melodies that once again makes Pete And The Pirates stand out from their peers”  Read the interview and review HERE

6.  Half Man Half Biscuit – “90 Bisodol (Crimond)

Wirral’s own poet laureate Nigel Blackwell and gang return with a mix of Shakespeare meets Edward Lear I mean where else  can find songs about Gok Wan, D.I.Y. Geezer Tommy Walsh, Indie bands appearing on the Sky soccer sofa, despite knowing nothing about football ( But then, disastrously/They ask him casually/“You come from Leigh-On-Sea,/Do you ever get to Roots Hall?”/Which to him means fuck all”  Or  actress Lynette McMorrough ( Glenda Brownlow in “Crossroads” ) trying to recreate her  “King’s Oak” glory days via the medium of  dolls and dolls houses with her ultimate intention being to replace her own doll’s plastic with tofu ! Surreal genius.

7. Emmy The Great – “Virtue” –

If ‘First Love’ proved that Emmy ‘s rough demo’s and EP’s scrubbed up rather well, then ‘Virtue’ sees her music in full make up wearing killer heels and stepping out onto the red carpet. Review and interview HERE

8. Black Lips – “Arabia Mountain”

The  frenetic, sometimes ramshackle sound really hits the mark on this album, as they are reined in by none other than producer Mark Ronson. Having not been what you’d call  a fan of Ronson’s rather ostentatious production style in the past  this is something of  a revelation! Ronson  subtly puts a bit a spit and shine on the bands sound whilst still retaining the bands garagey Stones meets the Ramones vibe and  in doing so helps Black Lips produce their  most consistent album to date.

9. Beirut – “The Rip Tide”

Zach Condon returns with possibly his most uplifting album to date. His talent as a songwriter is in full bloom and the timbre of his melodious voice possesses a huge emotional punch.  After some experimentation in the past “The Rip Tide” sounds like an artist really finding  his feet having gained the confidence to  finally  reveal the contents of  his heart. A thing of poignant graceful beauty.

10. The Bookhouse Boys – “Tales To Tell”

Darker than Nick Cave’s hair dye and more full-some than this magnificent ‘tache The Bookhouse Boys returned to  prove that their superb debut album was no fluke as they continue to produce sinister surf rock combined with goth mariachi which is epic, sexy, sleazy and sinister in equal measure.

The Rest.

11. Ladytron – “Gravity The Seducer”

12. Slow Club – “Paradise”

13. Love Inks – “ESP”

14. Wye Oak – Civilian

15. Lykee Li – “Wounded Rhymes”

16. Zola Jesus – “Conatus”

17. Sarah Nixey – ” Brave Tin Soldiers”

18. Howling Bells – “The Loudest Engine”

19. Help Stamp Out Loneliness – Help Stamp Out Loneliness

20. Prince Edward Island – “This Day Is A Good Enough Day”

21. Kate Bush – “50 Words For Snow”

22. The Indelicates – “David Koresh Superstar”

23. Laura Marling – “A Creature I Don’t Know”

24. Little Comets – “In Search Of The Elusive Little Comets”

25. PJ Harvey – “Let England Shake”

26. The Whip – X Marks The Destination.

27. Wild Flag – Wild Flag

28. Cults – Cults

29. Summer Camp – Welcome To Condale.

30. Austra – Feel It Break.

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Song Of The Year.

This year we decided to pick the song  which we had played most on Last FM,  because that would surely be our best loved song right ? Right ! It also proved to the doubters that we hadn’t secretly been listening to the execrable Cher Lloyd! The Good Natured were  far and away our most played artist in 2011 and  their dark electro pop masterpiece “Wolves” had more plays than Dawn French has chocolate bars.  And because they were our tip for greatness in 2011, we’ll conclude the year with an interview with Sarah and the chaps (coming soon)  and of course continue to keep our eyes and ears out for them in 2012 when their debut album is set to drop!

The VPME SONG OF THE YEAR 2011 The Good Natured - Wolves

Hamish, Sarah and George are delighted with their magnificent trophy!!

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Video Of The Year.

We don’t really like Lady Ga-Ga style big budget videos, we prefer ones which are filmed on a budget and use imagination rather than cold hard dollars so  Beirut’s “Santa Fe” ticked all the right boxes, a simple video with a few twists, dark humour  and a story-line that keeps you watching.

VPME VIDEO OF THE YEAR 2011 - Santa Fe By Beirut

Video Of The Year

1.Santa Fe By Beirut

2. Paper Forest By Emmy The Great.

Simple, yet strangely moving, even if we haven’t got a baldy what its about.

3. Mirage By Ladytron.

Because Helen looks great, there are stone circles, fires, sinister druidy types  and it’s all a bit Wicker Man meets Rosemary’s Baby. Which is good

4. Phantoms By Bird

Spooky!!  Les Diaboliques meets the Ring meets The Blair Witch Project meets  Little Red Riding Hood directed by David Lynch ( well no but it has that vibe)

5. United By Pete And The Pirates

Because we love cats and this fan provided footage left us feline fine. 😉

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REISSUE OF THE YEAR.

The Jesus And Mary Chain Re-issues

Need you ask ? The Smiths remasters were excellent but the re-issuse of all The Jesus & Mary Chain’s studio albums, replete with rarities, outtakes and DVD’s was quite wonderful. To add to our joy we were even mentioned on the sleeve notes for “Psychocandy” and “Darklands” , which being massive Mary Chain fans was even more thrilling than waking up to find a stocking clad Charlize Theron in our bed.

“Best Newcomers ( With Attitude)”

Pris.

Cat and Mary From Pris abuse their "Pipster"

They tottered about upsetting  the new breed of seemingly critic proof musical deities, having had pops at Jessie J, Everything Everything, Chris Martin, Noah and The Whale, Ellie Goulding, The Vaccines  and Spector to name but a few  and have put a bit of attitude back into a sometimes very bland conservative conformist pop scene. They also write pretty snappy new wave pop tunes too.( Interview HERE)

Most overrated Album of this year or indeed any …. 

Yup it’s The Horrors (again)

Cunts of the year?

“”The creatures outside looked from pig to man, and from man to pig, and from pig to man again; but already it was impossible to say which was which”

And that’s 2011, coming soon will be the artists we hope will do well in  2012.

See you on the other side and have a fucking EXCELLENT Christmas however you chose to celebrate it ( Jack Daniels , The Pogues and Phil Spector works for me ! )   … All the very best , AVP xx

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Danza De La Muerte! – Veronica Falls Interview and Album Review.

Veronica Falls The Von Pip Musical Express Interview

“Come On Over” By Veronica Falls.

“Bad Feeling” By Veronica Falls.

Before interviewing a band it’s always best to do a little research. For example asking Morrissey if he’s tried the succulent  new “Mc Donald’s 1955 burger” or U2’s diminuitive Messiah, Bongo if he can perhaps recommend a decent firm of  Dutch accountants may be considered  something of a faux pas. Similarly whilst researching some background info on up and coming Indie Poppers Veronica Falls one thing stood out like the proverbial sore thumb,  don’t mention C86!   [I mentioned it once, but I think I got away with it!]

So let’s get this one out-of-the-way, lest it becomes the lumbering musical elephant in the room, yes there is a certain smattering of C86 goodness imbued within Veronica Falls debut album, but I’d hardly say it defined their sound. There’s also a touch of shoegaze, a splash of scratchy punk guitars amongst  joyous melodies, spooky reverb and lyrics which at times make Edgar Allan Poe seem a bit, well, Enid Blyton perhaps? Imagine if Belle and Sebastian had been influenced by The Cramps or maybe Warpaint  had produced a concept album based on the works of M.R. James, these could provide some sort of reference for a new listener, but twee ? Nah, file that description away under ‘dickhead.’

Their eponymous debut album, called somewhat surprisingly, ‘Veronica Falls’ is  raw, edgy, melodious and mysterious. “Found Love In A Grave Yard” is, excuse the pun, a killer tune and has been rattling its ghostly chains about the internet for some time. It’s a perfect album opener, laying the ground work for some dark sparkling indie pop nuggets such as “Right Side Of My Brain”, “Misery” “Stephen” and “Come On Over” whilst “The Fountain” vocally conjures up  Lush’s Miki Berenyi [Hurrah!] Given some of  slightly macabre subject matter,  graveyards, loss,death and everybodys  favourite one way destination  “Beachy Head” you may think this could be an earnest, po-faced hipster ride through angst and existentialism. You would of course be very much mistaken. Veronica Falls’ sunny pop shimmer belies the dark lyrical thematics, which you sense are sung with a knowing wink and a sense of mischievous fun. It’s an album that certainly doffs it’s cap to a certain quintessentially British form of indie, giving it a timeless,  almost Peel Session type vibe but expertly demonstrates that misery hasn’t been this much fun since Kathy Bates hobbled James Caan with a massive fucking hammer!   A delightful melancholic indie gem.

8.5/10

And we spoke to Patrick from the band  whilst they were on tour in the U.S. ( no expense spared here at the VPME you see and wow what a flight!  😉 )

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VP:  Hello, congrats on your debut album, was it fun to record and when you heard it, played back for the first time and had the physical product in your hand  how did it feel ? 

 

PATRICK: When I first listened to the masters of the album I was really happy. It felt like we’d managed to successfully document the band up until this point, which I guess is exactly what an album is supposed to be.

VP: Beneath the seemingly upbeat melodies there’s a lot of darkness which verges on the macabre.  But dare I ask where do you get your ideas for the songs, are you dark troubled souls?

PATRICK: Roxanne writes the majority of the lyrics from the album, so you’d have to ask her really. But we’re not depressed or gloomy really – I think we just have a rather dark sense of humour. A lot of the lyrics are to be taken with a pinch of salt…

VP: Does it bother you that some critics keep bringing up the whole rose-tinted C86 thing when describing your music? I did get a slight hint of The Shop Assistants , but do you find comparisons can help people relate to your music, or do they became an irritant ?

PATRICK: Obviously people need to make comparisons as it’s an easy way for people to get an idea of what a band sounds like before they listen to the record, but I think the thing some people are missing is the fact that all those C86 bands were influenced by 60s girl groups and Phil Spector’s Wall of Sound productions. Which is probably an influence more closer to our hearts.

VP: You’re about to tour with Dum Dum Girls, which sounds like a match made in heaven, given your musical styles and influences. How does it work when bands tour together? Do they approach you; is it a management thing, what’s the score?

PATRICK: It differs, but we’ve played with Dum Dum Girls before and we get on well, so I guess when you’re going on tour with another band, it makes sense to go with a band that you already know you get on with. Those girls are really fun, I can’t wait to hang out.

VP: You’ve also toured with The Pastels, Teenage Fan Club and Belle and Sebastian, did touring with such well established bands give you any insights into how to things work or how to achieve longevity as a band ? 

PATRICK: It’s funny to see how bands function at that level. I can’t ever imagine having such as big a team as Belle and Sebastian have, but it’s nice that they have a real family feel about the people they work with. I think Teenage Fanclub have had the same tour manager for years and years, which is really cool.

VP: Is it true that you re-recorded the album in just a few days to get a rawer sound?  Was the first version not a true representation of the band’s sound? 

PATRICK: Yeah, the first version album didn’t really sit well with us. It was a way too clean and sterile sounding, which worked for a few of the songs – but the majority of the album we re-recorded again with all of us in one room for more of a garagey sound. I’m glad we recorded it again; we learned a lot about how best to record ourselves.

VP: What have been your best experiences as a band so far?

PATRICK: Travelling is the best. I hadn’t really travelled much, then this year I think I’ve been to more cities than I’ve been in my whole life. You also get to meet really amazing people along the way and feel welcome wherever you are in the world. I love it.

VP: If I came back in a years’ time and had a chat what do you think you would have liked to achieve?

PATRICK: Shoulder length hair and maybe a nice collection of cool stuff from around the world.

VP:  Imagine you were given a tour budget in which the only limit was your imagination , what would you add to the Veronica Falls live experience ?  Dancers? Flame throwers ? 🙂 

PATRICK: I’d like to do a show at each of the 7 wonders of the world. Is Mount Rushmore one of them? I’d definitely like to do a show there, anyway…

VP :Five words to sum up your debut album would be ……

PATRICK: Loud. Quiet. Catchy. Sometimes. Sad.

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Lush-Mad Love-Twenty Years On !

Lush -Mad Love 20 years On “Deluxe” by Lush

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Ever felt unappreciated, resigned to the fact that no matter what you do certain people will always be waiting to pour scorn upon your head?   This was certainly how lead singer Miki Berenyi  appeared to feel with regard to how the music press treated Lush.  Despite her often feisty displays during interviews you sensed that, as the bands days were heading towards a  tragic conclusion, this attitude was replaced  by a miasma of beleaguered acceptance.  Yet twenty years on since the bands seminal ‘Mad Love’ EP , Miki, whilst obviously not losing any sleep over it,  still finds the bands treatment somewhat  baffling.  Their many fans will tell you they are one of the greatest bands ever, as  fantastic live as they were on record,  yet they were without doubt, after an initial flirtation with the music press, never really given their due by many critics.   Maybe the  problem was the fact that they were actually too nice to be in such a shark infested business, too open and honest and not as intensely po-faced as some bands who emerged from Britain’s burgeoning  ‘Shoegaze’ scene .  Maybe they committed the cardinal sin of initially appearing to actually enjoy what they did? Often seen at other bands gigs,  members of Lush were deemed to be  major players in part of  a rather daft Melody Maker invention  known somewhat sniffily as ‘the scene that celebrates its self’. Lush’s bassist Phil King (who replaced Steve Rippon after ‘Mad Love’ was recorded)  put the media treatment  Lush received into perspective when he told us I think that maybe because we lived in London and would be seen at a lot of shows, the press kind of took us for granted. There was no mystery because we were so ubiquitous. Also because we were seen out I think they felt we never worked. I always found it funny in the US as the press there seemed fascinated by the English music press and would always quiz us on it.”

In our 2008 interview Miki also spoke about the capricious nature of the press thus “I remember the Melody Maker reviewing ‘Split’ and slagging us off because (apparently) all our songs were light, jangly things about fluffy clouds and fairies. Meanwhile, reviewing the same album, the NME complained that our lyrics were too depressing (covering child abuse and parental death) and didn’t fit the sparkly, light melodies. I guess what I’m saying is that we couldn’t do right for doing wrong.” Personally I’d always put this sort of fickle wankery down to the arsey hipster fellating  London based music press, who combined old school misogyny and indie elitism with  a good old fashioned  “build ‘em up then  knock em down” sensibility much loved by our  more unsavoury  tabloid newspapers.

I suppose the problem with journalists perpetuating unwarranted myths is that people start to believe in them, indeed myths that are believed tend to become accepted as truths. And whilst I don’t subscribe to Alan McGee’s view  that My Bloody Valentine were a joke band, or that he used them as a piece of  McLaren style situationalism to see just how far he could push hype, the fact remains that MBV’s legacy has been hugely overblown in much the same way that Lush’s musical contribution has been seriously underplayed. And that I’m afraid is down to the press.

It’s been 20 years since Lush released their Robin Guthrie produced  ‘Mad Love’ EP and so  maybe it’s time to re-evaluate Lush’s musical legacy. Let’s just hope any such re-appraisal  won’t be peppered with tiresome elitist blather about Brit-pop or accusations of ‘selling out’ , a charge often levelled at the bands final album,  ‘Lovelife’.  As Miki said when discussing the album  – “Is ‘Ladykillers’ more commercial than ‘Hypocrite?’ Is ‘Desire Lines’ more shadowy than ‘Last Night?’ Is ‘I’ve Been Here Before’ a throwaway exercise in jazz lite whereas ‘Lit Up’ is a trawl through the underbelly of discordance rivalling the darkest periods of Miles Davis?

The Quietus website  has recently  put forward a convincing case for Lush’s legacy to be given the credit it deserves and hopefully this  may signal that people are finally coming around to the view, that actually Lush were rather f**king  brilliant.  And so with 2010, being ‘Mad Love’s’ anniversary we spoke to Emma, Miki and Steve about their memories surrounding the recording of the EP and asked the question many Lush fans have been desperate to put to them. . . what about a reunion?

VP: What do you recall about the period of time when you recorded ‘Mad Love’, was it an exciting time, full of wide-eyed optimism ?

EMMA: It was really enjoyable and a very easy session. We recorded it in The Church which was Dave Stewart’s studio and it was mixed at September Sound which was The Cocteau Twins’ one. Unlike when we did ‘Spooky’ with Robin, we completed it all quite quickly and without too much tinkering and, yes, things did seem to be going very well at that time.

STEVE: It was fun being a proper musician, but I think I’d read enough about the music biz not to be starry-eyed about it. Recording sessions were fun to begin with, learning how a real studio worked etc. Doing our first European tour in Jan-Feb 1990 was great, travelling around Holland, France & Germany and meeting all these foreigners who’d actually heard of us was a hoot. It was the closest I’ve come to being on holiday for a living.

VP: Did you enjoy working with Robin ? … How did he come to be involved?

EMMA: I had actually met Robin prior to our involvement with 4AD. I had worked for Jeff Barrett (who now runs Heavenly) and he knew Robin and told me to send a demo to him, which I did. We met up (with a pregnant Liz) in a pub on the Kilburn High Road and he said he loved the songs. So we asked him to produce ‘Mad Love’. You might think it was obvious as he was on 4AD too then but at the time but the relationship was quite strained between The Cocteau Twins and the label so actually Ivo trod carefully! Working with him on ‘Mad Love’ was pretty straightforward and Robin is a lovely guy with a very dry sense of humour. Unfortunately working on ‘Spooky’ wasn’t so easy but that’s another story!

VP: How did you decide which songs would be on the EP ?

EMMA: I think they were just the newest ones we had plus we thought ‘Thoughtforms’ should get the Robin Guthrie treatment. We weren’t that prolific  but  we were very economic with our songs so whenever we had songs to record, we did.

VP: Miki, Mad Love contains your song “Leaves Me Cold”, what’s the song about, I’ve had my own interpretation for years which is probably all wrong 😉

MIKI: I think it’s a bit of a shame telling people exactly what a song is about because, if it’s a song they like, they’ve invariably come up with a much better interpretation that is probably relevant to their own lives and therefore makes the song much more meaningful and personal to them.

However, I will satisfy your curiosity. BASICALLY I had a really filthy dream about someone who I never ever thought of ‘in that way’ and it freaked me out a bit because I just couldn’t get the dream out of my head and so every time I saw them it would make me shudder at the very thought but it had also made me fall a bit in love (lust) with them because I just couldn’t shake how passionate the dream had been.

VP:  Do you feel “Mad Love” was the first time we heard what we might call the “Lush sound”

EMMA: No, I think ‘’Scar’ pretty much displayed that too but in a rawer state.

VP: Emma, you filmed two videos for “De-luxe” ….do bands find filming promo  videos a rather dreary affair, or was it fun being one of your first ?

EMMA: Those 2 were OK – yes the first one in the tree was the first video we had ever done so it was quite exciting. It’s a very indie video but OK all the same. The second one was done for the USA and we really liked making it and the finished result was pretty good. It all depends on the director really and their ideas. The worst video we ever did was the US version of ‘500’ – bad day and BAD video.

VP:  Steve, Miki told  me that during the video shoot for Deluxe you’d had enough of precariously dangling on tree branches and disappeared ….! What are your recollections?

STEVE: I don’t remember that at all but it sounds like something I’d do, I was always prone to wandering off by myself and coming back to find people fretting about where I’d been. Usually looking for second-hand record shops, actually, and if I found one I’d be even later getting back. I do remember it was freezing cold doing that video out in the middle of nowhere in Kent in January, but I also remember someone told us it was where the Beatles did their Strawberry Fields Forever promo, so that was exciting for a lifelong Beatle fan like me.

VP: Steve, What are your abiding memories of being in Lush, any regrets about leaving when you did ?

STEVE: It was great fun, I loved it all really, and I only left because I’d have preferred to be doing my own songs, only nobody was interested in them, and I could see all the things we’d done that were exciting the first time round (making records, videos, radio sessions, touring Europe, Japan & the States etc) were going to get progressively less fun the more often we did them. Especially the amount of times they ended up touring America. So no, I think I left at the right time, although I do think I was probably a bit jealous of them still being in the band around 1995 when I’d started working in a computer firm in Dublin and they seemed to be living it up at the dawn of Britpop. But even if they’d asked me to re-join then I don’t think I would have, as it would’ve involved moving back to London, which I never wanted to do. But I have loads of great memories from that time, and I still think of Miki & Emma as my alternative sisters, even though I haven’t seen them for years (although I’m hoping to next month).

VP: You must get tired of answering this but Emma & Miki, you’ve  mentioned previously that a Lush reunion was mooted but due to the “c**ntish flakiness” of some parties things didn’t really take off . Although you all have jobs and Emma’s a new mum now, do you think you’d ever consider it again if somebody genuinely made an offer.

EMMA: Erm – that was Miki’s quote and not the whole reason we didn’t reform (she was referring to one promoter). The money and offers just weren’t there that year and we couldn’t take the risk of the outlay without making that back and then some.  At the time we were thinking about it I had a very stressful full-time job and would have had to do all the rehearsing and playing in my 4-week holiday allowance which I think would have left me as a nervous wreck! If the money was right then, yes, we would do it but I think promoters would have to come to us so we would be in the driving seat. Who knows what may happen in the future but, yes, for the time being a reformation looks unlikely.

MIKI: Yes,  I’m afraid that the honest answer is not unless we were offered an awful lot of money. I have enough trouble finding the time to answer these questions let alone relearn the entire Lush back catalogue, rehearse with a new drummer and actually schedule time to play the gigs. So if we did it, I would have to stop work, and if I stop work, then how do I pay the bills?

To be fair to the c*nty flake, he wasn’t the only one who pissed us about (although he was the only one who deserves to have a resilient object booted up his backside). One agent after another (well, three) promised the world and then had to admit rather shamefacedly that it wasn’t really happening. They scratched their heads, they didn’t understand, but the promoters just weren’t that keen.

In the words of Les McQueen, “It’s a sh*t business”.

Links

Light From A Dead Star Site

Miki Berenyi Fan Site

Lush Live Site

Myspace

Miki Interview 2008

Emma Anderson Interview 2008

Phil King interview 2009

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“De-luxe” (original) By Lush

“De-luxe” (version 2) By Lush

“Leaves Me Cold” By Lush (Live France 1990)

“Thoughtforms” By Lush (live at Roskilde Festival 1991)

Mad Love by Lush- Signed

Signed EP

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Seinking Ships Featuring Miki Berenyi

When the news surfaced that Lush’s Miki Berenyi was guesting on Eric Matthews and Christopher Seinks project, “Seinking Ships”, there was much rejoicing in the VPME office. Since Lush split Miki’s appearances have been few and far between, partly due to her disillusionment with the record industry ( Miki: “I’m like Les McQueen in The League of Gentlemen – always handing out my old records and warning my workmates about the pitfalls of the music industry – “It’s a shit business” – that’s my catchphrase”) and also due to the demands of work and family.

So what drew Miki to this project ?  “ Eric just asked me, I really liked his stuff in a funny way it reminded me of Emma’s songs. I know they’re completely different really, but there’s something in the weird harmonies and the slight jazziness—and they’re really bloody hard to sing!”

The album “Museum Quality Capture” has been  recorded and is “in the lab” and will hopefully be released in 2009, in the meantime Eric Matthews has  allowed us to post an exclusive  album track  featuring Miki and also shares his ideas behind the song.

“We Will Drink Wine” By Seinking Ships (Ft. Miki Berenyi)

ERIC MATTHEWS : This is a beautiful song that I wrote with Christopher for Miki to sing.   I wrote a little story about lovers who live in separate places and are making plans be together for the first time-  that thing about the anticipatory fantasy that can build up in a mind (or minds) of would-be lovers before touching for the first time.   For me it was a strangely creative romantic moment where I really tried to put myself in that situation. I thought it was something that Miki could connect with and I think she did.   And sure enough, we talked about it and she sang it like a beautiful broken bird, just what was needed!  When I was writing the vocal parts, and the lyrics, I realized that something was happening where it actually began to feel like I was writing a love letter from me to Miki.  Not because I have some deep romantic feelings for her, no.  She and I have never met.   Instead, it was this act of creating something so special, that I was going to hand to a wonderful girl like her, a song that I felt so very close to, and moved by.   That starts to sound creepy but really, those notes, and those words created a real mood where I would like to believe that the more sensitive listeners would hear this song and really begin to feel the yearning of the singer, if not also the writer.

and MIKI says :

“I remember the first time Moose and I were sat listening to Eric’s demo of the song with a lyric sheet and Moose raised an eyebrow at me and laughed, “ Does this bloke think he’s going to get his leg over?” And I plucked another grey hair from my fringe, grabbed two handfuls of belly gut and croaked through the fag hanging off my lip, “well, he’s in for a bloody shock if that’s what he’s after!”

Yeah, it is a nice song. High. I remember there were some very high bits.

Please note: I am totally rubbish at talking about music unless I put my English Lit BA head on and I’m currently in the middle of filling out my tax return so that’s not going to happen.”

Wallpaper

Links

Seinking Ships ( with more tracks featuring Miki)

Interview with Eric Miki and Chris

Eric Matthews

We Miss Miki

Lush

Light From A Dead Star

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Looney Tubes! Warner Brothers Vs YouTube


Corpy Pig By Mister Lion

Many Youtube users may have noticed that their uploaded videos featuring their favourite bands music have been mysteriously disappearing from the popular on-line video sharing site. It appears that this is due to negotiations between YouTube and Warner Brothers breaking down over the thorny issue of music licensing,copyright infringement and of course money.  In a nutshell it transpires that Warners are seeking increased  renumeration for having its music hosted on YouTube, who also have deals with Universal Music, Sony and EMI Music. Experts suggest that Warner’s action may prompt other music companies to demand more money, at present under the current YouTube terms they earn either a minimum fee of less than a penny every time a music video is viewed on the site or a split of advertising revenue, whichever revenue is bigger.

Such demands could leave YouTube in a difficult position as it tries to balance the need to pay a reasonable fee to content partners, including TV and movie companies, and also generate a decent return on the substantial investment needed to keep streaming millions of videos around the world.  At present thousands of videos from artists such as Madonna and The Red Hot Chilli Peppers  are now being taken down at Warner’s request (every cloud has a silver lining though  James Blunt and Kid Rocks’ videos are also being removed- Huzzah! )Warner complain that the monies they receive from youtube are ‘staggeringly’ low, and go  on to say “We simply cannot accept terms that fail to appropriately and fairly compensate recording artists, songwriters, labels and publishers for the value they provide,”

So what do the very people Warners claim to represent, the musicians make of it all ? Dresden Dolls singer Amanda Palmer said recently “Roadrunner is a subsidiary of Warner and I’m stuck in hell with Madonna and the other poor bastards, because Warner wants more money. Even worse, Warner has almost no bargaining power… They’re not even in the top ten of labels who have huge artists with material streaming on YouTube. They’re just starving for cash right now and they’re doing anything they can think of to come up with cash. It’s ABSURD. They are looking for money in a totally backwards way. Money that, I should point out, I would NEVER see as an artist. If they got their way and YouTube decided to give them a larger revenue share of the videos, it’s very unlikely it would ever make it’s way into the artists’ bank accounts”

A number of Lush videos have also been removed from YouTube, although there is an issue centred around  if Warners still actually own any copyright. It would  appear that  Reprise Records (owned by WB) licence for Lush’s music  expired in 2004 !  But when an organisation as powerful as Warners shout, people don’t question them.  Lush singer Miki Berenyi has had enough of it “I’m somewhat amazed that Warners can simply SAY that they own the rights to a video and the entire world craps itself without even asking them for any kind of proof. What’s more, given that they have no plans whatsoever to release any Lush videos (they would have to at least tell us they were going to, even if they did own the rights!), it’s not even as if having the Lush content out there is sabotaging any future income for them. I am, as I write, still trying to get to the bottom of this but have so far only come up against a faceless and impenetrable wall of bureaucracy. I’ll keep you posted!”

Its not just Warner’s that adopt a rather draconian approach to user generated content on YouTube, other big labels are trying to find ways of eeking out a few extra pounds from having content they claim they own on the site.  On one hand the big labels  seem to  have free YouTube accounts, and happily upload their content, designed, one assumes to publicise their acts, with a view to  maximising their audience etc. At the same time they seem to want the guy who owns the bill board to pay up for advertising their “product”.  The whole debate has thrown up many contradictions, for example big labels will send out a press release on their latest “hot property” and within the spin you may well find statements such as “30,000 hits on you tube alone” and “ YouTubes most popular video” etc etc, yet they also disable the ability to embed these “official videos” elsewhere, shutting the door on more exposure for their artists. Fair enough you may think, they don’t want their artists videos appearing on every Tom, Dick and Harry’s site,  its all about the  artistic integrity of their product isn’t it ? Erm actually no !  It’s  simply due to the fact that YouTube will only pay a share of revenue for content played directly from their site, not for content embedded elsewhere.

Another  recent development,  is the recent  policy of “muting”  user generated videos, (example HERE).  YouTube users often create an original video using their favorite song’s as the audio, but it looks like this could be a thing of the past  as You Tube have started  muting videos that use unauthorized copyrighted music. The implications for Youtube as we know it are huge;  it could potentially  lead to  thousands and  thousands of fan made videos, spoofs, remixes and cover versions being removed from the site.

The  whole farrago opens up the digital debate once more and would indicate that maybe the big players in the music industry are still struggling to understand and deal with the “net effect”. To some it may appear that the corporate giants that once dominated the industry are  behaving like some kind of embarrassing  uncle crashing a teen disco and saying “Come on kids, this is how we did it back in our day” … What they don’t seem to grasp is the fact that they are alienating music fans. Most fans don’t want to rip off or hurt the bands they love, but have little time for corporate bully boys, as is testified by the many messages being left on YouTube by disgruntled fans.

Chuck D  summed up the situation quite succinctly  “ Technology giveth and it taketh away, and the industry knows this, The horseshoe makers probably got upset at the train manufacturers because (the new industry) took away their transport dominance, just as the train manufacturers probably got mad at the airline industry.” And when the Industry gets mad it would appear threats and bullying seem to be the natural way of responding as the corporate mantra “our legal team will be in touch” is invoked.  Yet punitive actions, such as threats, putting pressure on ISP’s to reveal files sharers names and suing individual fans doesn’t exactly endear the big labels to your average music fan, or indeed engender much sympathy.   As Billy Bragg said “You know who the pirates are? The pirates are our fans, when you sue our fans, you drive our fans away.” Bragg believes the entire music industry requires root and branch change, and that the first focus in this should be a fair income for artists, large and small.

So have Warners cut off their nose to spite their face? It remains to be seen if the demand for more cash  will benefit the musicians as it  means one less marketing medium for video content, it will of course add  additional costs for  Warner Music in terms of  “policing” the site for infringing material and  as mentioned such action will possibly alienate their target audience. So for Warner Brothers and their artists it would  appear that at present in terms of YouTube content it really is  a case of “That’s All Folks” .

UPDATE : As this post was being published I have received  notification that Warners have removed their copyright claim to Lush videos.  This is due to  in the main  to Miki and Emma’s admirable  sense of injustice, so a big thanks to them for challenging “the MAN”.  It  shows that it might be  worth looking into these alleged claims on copyright. As Emma Anderson said ” Legally they (Warners) didn’t own them (Lush videos) anyway so they didn’t have a leg to stand on! The thing is they only LICENSED the videos from 4AD anyway, but they  just went ahead and undertook  blanket action  contacting  anyone who’d ever had  videos  that once related  to Warners “.

Copyright Explained


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Merry Christmas

Illustration  Mister Lion

Thanks for your support in 2008.  Too many to mention but Mark the tall man, Paul T and Ad, Laura, Ollie, Neal, Chris, Elz, Fran , Nicole, Julia, Simon, Rob Dobbs, Neil at Planting Seeds, Jim And Julie Reid, Saint Rachael, John Moore, Dave (pronounced Siadwell ), Emma, Miki, Emma, Phil, Kerry,  Marcella, Dave Cromwell, Dogwood, Bethan Elfyn, Spencer, Czoe, Philippe, Linda, Ben, Nick, Sorcha, William, Dandelion Radio, Matt and Jason, Alistair, JK, Becki, Richard the Goth,Paisley & Charlie, Probe Records, Sally Shoegaze, the Holmlands Estate  and all the good guys out there, you know who you are…And of course all the great f**king bands out there who keep doing it, despite the setbacks, the sh*t and the corporate bollocks that sometimes goes on , we salute you !…. Have a lovely Christmas folks…see you soon.

“Don’t Murder Hallelujah” By Mitch Benn

Xmas Greetings From the Von Pips  and “Stay Another Day” – Glasvegas

THE VPME CHRISTMAS VIDEO

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Ace Of Bass …Phil King Interview

“Undertow” By Lush.

We conclude our Lush trilogy with an interview with Phil King, former bassist with Lush and  member of the Jesus and Mary Chain.  Phil  replaced original Lush  bassist Steve Rippon, who left the band in 1992 after developing a phobia of sitting in inordinately  large  trees playing “air bass” for video shoots.    We asked Phil about his time in Lush, life with the Mary Chain, and found to our surprise that Ricky Gervais may well  have based elements of “Extras” on Phil’s own life 😉

VP : Looking back what were your personal highlights of your time in Lush ?

PHIL: For me I guess it would have been the Spooky world tour in 1992: Over 120 shows in a year. Ireland, the UK, the USA, the Continent, Japan, Israel and Australia. In the past I´d played around the UK with various bands  – The Servants, Felt, Biff BangPow!, See See Rider – and even been to the Continent on various Creation package tours, albeit crammed in a minibus and occasionally sharing beds; but this was on a whole different level..

Touring America that year was the most amazing thing for me. We had a tour bus, great audiences, and drove the length and breadth of the country. I could see why Lush had built up such a good following in such a short time as we worked hard doing any press,TV, radio or in-stores that came our way and always made a point of being friendly to the fans.

VP:  The Story goes that your interview/meeting to join Lush was held in a pub. What were your first impressions of the band, and did an ability to drink copious amonts of alcohol play an factor in you joining ? 😉

PHIL: Miki called me up at work. I was a picture researcher at the NME at the time. I remember having read in the paper the story that Steve was leaving. The band had been recommended me by a mutual friend, Polly. I vaguely knew Emma as she used to come into the NME office delivering records when she was a press officer for Jeff Barrett and I had seen Lush play a few times. The first was quite early on at The Sausage Factory at The White Horse, West Hampstead. I just remember a darkened basement and lots of giggling in between songs. I then saw them again supporting Felt and The House Of Love and headline in Ladbroke Grove – when they played shows in North, South, West & East London – not long before I joined. We arranged to meet up in the not-that-famous-at-the-time pre-Britpop “The Good Mixer” in Camden Town. I lived just round the corner.  At that time it was frequented by 50s rockers and their beehived girlfriends – who all hung around the pool table – and had a well stocked jukebox. I remember Miki and Chris being there – not sure where Emma was.- and a friend of theirs called, Johnny. He´d played in the first line-up of the band and had a memorable Link Wray tattoo on his arm. They were both very friendly and had no airs and graces about being in a pretty successful band. We of course all got very drunk ….and I was in the band. It was a bit of an eyebrow raiser – but also a bit of a relief really – that they didn´t even want me to do an audition. In retrospect it made sense, as the most important thing when you´re stuck together with someone 16 hours a day is that you get on pretty well.

VP:  What was the first Lush song you played?

PHIL: The first song I ever played – well mimed – was for the video for “For Love. “It was so soon after I joined I didn´t even know where my fingers should go. Not that it mattered at that stage of course. I´ve checked with Emma about what was the first song I actually played in our first rehearsal and she seem to think it was “Tiny Smiles.” Prior to it I´d tried to work out some of the basslines. Miki´s weren’t so difficult, but I found that apart from “Sweetness & Light” and “Nothing Natural,” that Emma´s songs weren´t as easy as I´d first thought. She had a habit of not using root notes to make things a little more interesting. For example in “Monochrome” the guitar chords are the same for every verse, whereas the bass notes change each time round. She told me that when they recorded it in the studio, Robin Guthrie had asked how anybody was expected to be able to learn it. I had to have it all written down on a couple of sheets of paper, which I would have next to my set list onstage. We would play it for the encore. I remember at one show on the “Spooky” UK tour we came back onstage and somebody has stolen them and we had to ask for them back, which was pretty embarrassing. Luckily, after a few months of playing it every night I managed to memorise it.

VP: What are  your favourite Lush songs?

PHIL: Sweetness & Light/Thoughtforms/Nothing Natural/For Love/Monochrome/Light From A Dead Star/Kiss Chase/Undertow/Lit Up/500/Ciao!

Cover versions:

I’d Like to Walk Around In Your Mind/I Have The Moon/Love At First Sight

Remixes:

Undertow

VP: What was your view of the music press’s treatment of Lush . I know Miki got a bit pissed off with them and said “We couldn’t do right for doing wrong”

PHIL: I think that maybe because we lived in London and would be seen at a lot of shows, the press kind of took us for granted. There was no mystery because we were so ubiquitous. Also because we were seen out I think they felt we never worked. I always found it funny in the US as the press there seemed fascinated by the English music press and would always quiz us on it.

VP:  Did the final U.S. tour really take it out of you as a band. Emmas been quoted as saying she was fed up feeling like a “product”

PHIL: Yes, it did. After the initial thrill of the 1992 tour of the first album – not counting Gala of course – we then hit the difficult 2nd album syndrome with Split.and didn´t recover till our success in England with Single Girl, Hypocrite and 500 in 1996. By this time we had new management, who couldn´t believe the amount of goodwill we had in the US and decided that we needed to break into a new market there by supporting unsuitable acts like The Gin Blossoms and The Goo Goo Dolls. Unfortunately The Gin Blossoms had just released their difficult 2nd album and whereas their first had sold millions, the newest was a comparative flop in most markets in the US. We ended up either playing in large venues to audiences more interested in their popcorn and soft drinks than us, or the very same venues that we´d played a few months before, but now as a support act.. Also, because of the success of Lollapalooza a lot of the radio stations now hosted their own festivals. Part of the deal was that you played their festival and they would play your record – or else they might not. We would end up on unsuitable bills playing to audiences in the middle of nowhere. We also did radio sponsored shows on our own. We played one in Raleigh, Carolina to almost nobody and the next day while waiting for our plane, met some Lush fans who asked us what we were doing in Raleigh and when we told them, said they knew nothing about the show as it hadn´t been advertised.

The most frustrating thing was that we were having success in the UK – and thing were looking very positive – but had only played a warm-up tour of small clubs earlier on in the year. We also missed out on nearly all the UK festivals as we were in the US on inappropriate tours. There was a homecoming tour of the UK booked in the autumn, but that was not to be. Blur & Pulp had complained about the US being an alien place. For us in the past this had not being the case, but on our last tour there it certainly was.

VP:  There are rumours you filmed a lot of behind the scenes video during the Lush years . Will it ever see the light of day ?

PHIL: Yes, it´s in the pipeline. I took my Super 8 camera on the 1994 Split tour and filmed a couple of hours of footage. Nearly all black and white – and all silent. The Split recording sessions; the UK, the Continent and the USA tours. I would have filmed our trip to Japan, but unfortunately my camera was broken in transit on a trip to Israel, although I did manage to film the 1992 trip there. On the 1996 tour I tried out a Russian clockwork camera, but the results were patchy, although I did manage to capture Chris´30th at The Fillmore when we hired a male and a female Elvis impersonator to both serenade him before the encore.

VP: When the decision was made for Lush to call it day, did you have plans in terms of what you wanted to do next ?

PHIL: I don´t think any of us had any plans as Chris´death took the wind out of all our sails. After six month – when the money ran out – I signed on, which as you can imagine was pretty demoralising. I did do a bit of office work here and there –  Q, Vox, NME –  and was even a film extra for a short period of time. The stand in for a singer in Sliding Doors, an IRA man in Titanic Town, a Paparazzi photographer in What Rat´s Won´t Do (bit nervous about that one as it was filmed at Heathrow Airport the Monday morning after Princess Di had died). I turned down more than I was offered. Hung, drawn and quartered for Elizabeth (They wanted to shave my head too) One of many jesters in Shakespeare In Love (don´t look good in tights). There was even talk of a part in Stanley Kubrick´s ´Eyes Wide Open, but he of course cancelled. ´The final straw was standing around in 70s man made fibres in the freezing cold at Pinewood Studios, waiting to do a scene as a photographer (getting typecast now too) for the British Spinal Tap film Still Crazy. I took refuge from the cold on the Albert R Brocolli soundstage and watched them film a scene where a storm hits a festival the band Bad Fruit are playing at and all their equipment gets blown over. I just remember a couple of poor extras standing behind a mountain of Marshall stacks trying to keep them from toppling over as two giant industrial sized fans created typhoon wind conditions. Another extra told me that he´d filmed a battle scene for Merlin on the soundstage a couple of weeks before and that it´d been horrible. Covered in mud, brandishing plastic swords, wet, bruised and frozen to the bone – all for £60 a day .When I got a call later on in the day from the NME saying did I want to come into their nice warm offices and work on the gig guide I jumped at the chance. It was while I was there that The Jesus & Mary Chain´s management rang asking if I wanted to play bass for them. I turned it down the first time, so disillusioned was I with the music industry; but then thought, “Don´t be stupid, it´s the Jesus & Mary Chain!” and called back.

VP:  Have the Mary Chain’s famously feuding Reid brothers mellowed over the years. I hear they spent much of 1992’s Lollapalooza  locked in a room arguing and fighting  !

PHIL: Yes, but who could blame them. They had the worst spot on the bill – after Pearl Jam, who´d just sold a few million copies of their album – and played in the middle of the day. The audience came, went crazy for Pearl Jam and then dispersed to the sideshows. By comparison, being the opening act, we had an eager crowd ready and waiting.

Nowadays, with The Jesus & Mary Chain we fly in,do the show and then leave. No beer is spilt or tempers frayed. Jim & William are both now parents, don´t drink, or do drugs and also no longer have to endure weeks stuck on a tourbus together. Therefore it is all a lot more relaxed. It´s a lot of fun to be playing all the Mary Chain favourites.

VP :  What sort of music do you listen to yourself, these days ?

PHIL: At the moment I´m into French space synth music from the 1970´s – Droids, Milkways, Space – and releases on Mike Always´s El reissues label – such as Hungarian jazz guitarist Gabor Szabo – and Johnny Trunk´s library and soundtrack label. I also like that Vampire Weekend album.

VP:  Finally as somebody who has played in some of the finest bands from thelast 20 years such as Felt, See-See Rider Lush, Loop(?), Biff Bang Pow and The Servants (which featured Luke Haines) have you any “Spinal Tap moments to share?

PHIL: I saw that Loop mention in Wikepedia. Never did play with them, although I did work with the bass player from the band Neil in a sandwich bar in London Bridge in the late ‘80s and their drummer was in The Servants.

Here are a couple of  Spinal Tap´moments.

Lush:

We did only ever did one Radio One Roadshow, in Hunstanton in Norfolk. A rainy seaside town that Emma used to go to with her parents for her holidays. We were on the bill with Dodgy, Baby Bird, Ultra Nate and some long forgotten boy band, whose name escapes me It was in a local park down near the seafront and we played to an audience that seemed to be predominately mothers, with their babies positioned in front of them in pushchairs. I remember looking round and seeing DJ Simon Mayo on Emma´s side of the stage dancing to Single Girl – in a fat suit. Miki may have told him to fuck off. To add insult to injury we had to drive back the same day to London and sit waiting in a BBC dressing room for five hours for as Emma puts, it “30 seconds of humiliation” on All Rise For Julian Clary. He played a judge in a mock-courtroom setting doling out pithy putdowns. We had to come out holding a stack of music papers for a young Lush fan whose mother had thrown them away. Julian made some remark about Miki´s roots and we were ushered offstage again. No wonder everyone was so vague about what we would be doing. Ah, the magical world of light entertainment.

On the 1996 tour, on one of the before mentioned radio sponsored festival shows, we played on the same bill as Kiss. It was at Irvine Meadows in California and was the 4th Annual KROQ Weenie Roast. Each band – apart from the headliners – were only allowed to play four songs. We were on after The Fugees. For some reason they were 40 minutes late getting to the stage and when they did, launched into a jam which they didn´t seem to count as being a song per se. So when they launched into what they thought was their last song –which was at that time No. 1 in the US charts, ´Killing Me Softly With Your Song´– the stagehands looked at their watches and decided to rotate the revolving stage with us on the back of it. As The Fugees disappeared from view we appeared to a barrage of booing with Miki shouting “Give us a fuckin´chance!”. They didn´t.

Links

Light From A Dead Star

The Jesus And Mary Chain

Miki Fan Site

Emma Anderson Interview 2008

Miki Berenyi Interview 2008

See-See Rider On Myspace

Video

“Undertow (Spooky Remix)” By Lush

“Between Planets” By The Jesus And Mary Chain   Live 2007

Wallpaper

Free Image Hosting at www.ImageShack.us

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