Day 2 of our tour we headed north out to Whitby. First we doubled back on ourselves to Waltham, just out of Cleethorpes, to visit a car boot sale and see one of the coolest places we've encountered so far! It had a windmill, museum and railway carriage cafe all in one!
At Waltham - I thoroughly recommend bossin' it through here!
We stopped off in Beverly for a refuel and a chill...
Naked Phonebox
Found this typewriter really interesting 'cause the hammers come down from the side...
Parked in the Yorkshire moors
Grace eats soup
We arrive in Witby - we climb the 199 steps and check out where Dracula attacked his first prey in the UK - we then visited the ruined Abbey and bummed about a bit.
Poser...
I drinka your blad!
Camerashy Grace
This piano playing puppet was the highlight of Whitby for me!
Later on, I wandered round the pubs trying to get some contacts. Eventually I ended up at the Pier Inn, and jammed out some mega tunes with some lovely people who I'd really love to meet again! again folks supported us buy buying the CD!
This is the first post accounting the first proper Sam Harrison Music tour! We've set off in our van Molly, myself and Grace my lovely girlfriend, to play some set dates and search out some new venues off the beaten track.
Our first stop is the Trawl in Grimsby - but before we get there we make sure to have some adventures!
Important Shoe Prep
Crisp Curtain
We're now at Cleethorpes having seaside fun!
In Cleethorpes on a wall doing seaside stuff
Foolin' about in the van
Tour map - silver stars are places played, red dots are places visited in Molly
Plannin' the tour
Grace looking' pretty
Best use of a keyboard stand in cookery
After plenty of fun, we rolled up at the Trawl in Grimsby. The venue was packed, the crowd were really great and it was an awesome night - I well overplayed my set time and loved every minute of it! Two lovely people bought my C.D. and that paid a big chunk of our petrol!
I have big news. The new record 'The Wish' is finally available through iTunes and Bandcamp. It's recorded on a 1960's tape machine and sounds really special!
If you buy on iTunes, please don't forget to give us a rating, be kind! :-)
This album has taken us nearly a year to complete. This is because I played every instrument myself, and finding studio time to record in this way is very tricky! Also, recording onto a 1964 Scully tape machine that'd not been running in at least 30 years threw up quite a few problems. Anyhow, I think in the case of each song I've gotten a good representation of the sound I heard in my head.
The wild card in this respect is Ketamine Kim. I never meant to record this song in this way, at Rob, my producer's request I threw down a demo of the song, which suited the sound of the record so well it had to become part of it. It sounds kind of haunting and incomplete, but very different and I hope it will be refreshing and unexpected.
OK, I'm gonna give a little bit of a breakdown of whats on the album, without giving too much away. If you don't want spoilers, don't look!
1: Intro - You'll just have to listen and see for this bit!
2: Let's Pretend - an ambient love song about meeting and falling for someone with the backdrop (in my mind) of uphill Lincoln. 'Let's meander for a while/On the broken bones and cobblestones of this deserted town'.
3. Ketamine Kim - This is a song about a young girl whose drug addiction renders her homeless and deals with her relationships and lifestyle 'As long as her pulse is beating/As long as she's still eating/Kim's a homespun hero'
4. Lying On Your Bed - A song about being in love for the first time. 'As we shiver and we quiver here together, I must admit I feel a bit naive'
5. Rockstar - Just for fun, this song is a bit of self satire after a drunken episode I'd rather forget. 'I pass out on the floor/what the heck did you bring me back here for?'
Anyhow, thanks so much for reading, supporting and (maybe) buying the new record - you guys rock, independent music needs peeps like yourself!
please have a lovely time with it and I hope it gives you as much pleasure listening to it, as I love the songs, even after hearing them sooooo many times.
I'm currently sat in the Long Haired Music studio in Spilsby with Ciaran having spent a long 12 hours mixing the Breakfast Club's third album.
It is sounding amazing - so much more professional than anything the BC has ever done! Rob Harrison has outdone himself with this mix session.
We're behind, and its looking like we're going to have to book more studio time out to mix the final three songs.
Oh, great news - I'm now lead guitarist in Red Light Return, which means Ciaran & I are in three different bands together! We've also been learning songs today for my next solo album - which is sounding boss. We have bass parts learnt to 'Sing Baby Sing', 'Sex Games' and 'Deamons'.
OK, so here's our essentials for mixing sessions:
Bring work - I've bee soldering, Ciaran's been designing our album cover on photoshop.
Bring biscuits - Snackage is essential, especially with only the over-priced co-op next door. I brought biscuits and instant noodles with me and I've still spend over a fiver in extranious food supplies.
Happy Shopper orangeade - by far the cheapest and highest quality luxury soft drink on the market. Only 49p and sugar free!
Bring a book - although I hardly read mine, I did enjoy half a chapter of 'Sex Life' by Pamela Stephenson-Connelly. Thank-you bargain bookshop! BTW, very interesting how our attitudes to sex are shaped by early experiences. A good read so far.
Bring your laptop - We now have wi-fi again!
Bring a bubble wand - OK, that one's none essential, but it did make me smile blowing giant bubbles in the studio while mixing 'Pushing Up The Daisies'.
You needn't bring:
Too much money - You'll spend it.
A map of Spilsby. It's tiny.
Condoms - Get real. This is Spilsby.
OK, bit of a boring post, but I'm keeping you updated! ;-)
For some mad reason I decided it was a good idea to blow a whole load of money on playing an unpaid gig at the other side of the country, in the upstairs room of a pub at 8.30 in the evening. That reason was because the pub was the Hawley Arms of Camden, the famous stomping ground of Amy Winehouse, Pete Doherty, Razorlight, Russell Brand, Noel Fielding and many others. I'm sorry for dropping all those names, but they were awfully heavy.
I caught the train down early, and spent most of my day lugging a guitar, a box of CDs and a bag of food around, damp but excited. I now know every inch of Camden market, and ate a giant portion of Bang Bang chicken, the single greatest foodstuff ever created by man and exclusive to Camden. If anyone's ever down there, check out Cyberdog. Even if rave isn't your thing, Cyberdog is the most exciting shop I've ever been in, with clothes in colours I didn't ever know existed, sculptures, burlesque dancers and even a neon-clad sex shop in the basement. It will make you re-evaluate your eyesight. Thanks to Hazel Marie for showing me round this amazing city last time I was down, otherwise I wouldn't know about this stuff!
Playing to MTV - Who quite rightfully, were more interested in partying :-)
Anyway, the gig was packed. I wondered upstairs to find Glass City Vice, a brilliant young indie band from Brighton, setting up their gear. They would later play a blinding set, check out their stuff on youtube, they kick ass. I introduced myself and set about exploring the pub. The highlight for me was the graffiti on the overground bridge, which should be on YouTube soon, with some great gig footage. 'We miss you Amy', 'RIP Amy' it was beautiful to see the idol immortalised by the love of her fans. Soon after I met Katie Coleman and her band, who were unbelievable. I've not seen a singer with so much presence and control in a long long while. Katie was a great laugh too, and kept me company when my nerves kicked in, which were about ten times as harsh as I was playing an ALL ORIGINAL SET!!! AAAAARRRGGGH!!!!
The other artist who performed that night's name was Liam, but shamefully I've forgotten his sirname. I'll try and find out so I can link him here at a later date. He was also fantastic, with a brilliant guitar technique and a some really creative tunes.
Soundcheck - sounds good! Less treble on the guitar - my mantra...
Eventually I met Adam, the promoter, who was a sound chap and gave me some really helpful feedback on the performance. I'm name checking him here for the sake of a hyperlink to Mada Music who look to be doing some great stuff, as well as managing Katie. One to keep an eye on for sure - I'm yet to check out their in house label :-)
So the GIG! The first crazy thing was that we were sharing the pub with a party from MTV! A member of their production staff was leaving, and had booked out the room above ours. I wouldn't say I bossed the set, but it wasn't crap and everyone was receptive. I gave away about fourteen CDs, if anyone from the gig wanted one and didn't get one, email me and I'll send you a zip of the files. I had some great feedback from the crowd, all positive. At least after screaming 'Sex Games' out nobody could fail to notice I was there :-p
The whole show was filmed by the real hero of the night, Aden Asquith, who's gone well out of his was to get some great quality, great sounding videos of the set. Also, thanks to Helen & Tim for coming down and being awesome support and great company! Aden also took the pictures I'm about to insert into this post.
Cheeeeeese! Cringe ;-)
After the gig I caught the ten to midnight tube to Shepard's Bush Market, where I shivered my way to the front door of the second hero of tonight, Tori Longdon, choral singer, conductress and all around good egg. Oh, and the couch of whom I was to kip.
Tori was the perfect host as always, and I found I was actually sleeping in the same house as the bassist from Stornoway - well, its a small world! Sadly, it was too late for us to meet though. Roxy Hughes should check these out, at they're pretty darn cool!
Next day I visited the British Museum on the advice of Grace, who received bountiful cheap souvenirs for her superb advice. I spent most of my time there filming the faces of Greek sculptures, which I've decided are by far the most beautiful I've ever seen. I felt very arty and pretentious, which I now feely guilty for (thank-you Grace). My fave was definately Lely's Venus, which is designed to look beautiful from every angle, but never reveal her modesty.
After that I went to the Old China Hand in Farringdon with Tori for catch up time, and tasted one of the nicest ciders I've ever had. I also met some of her lovely collegues, who made me feel very welcome and ravaged some pineapple chunks. A train journey in the charming company of Lisbeth Sallander, the Girl With the Dragon Tattoo (its second reading now) culminated in a satisfactory snooze. This is surplus info and probably very boring.
The next day I had the most fun gig I've had in many months - the wonderful Victoria Pub up near the castle had one of the best crowds, so good I played for four hours and barely felt it. Thanks to all there who made me feel so welcome and got so stuck in!
Thanks also to Ciaran Grant, who went above and beyond to cover my open mic at the Golden Eagle. Thanks to Tracy and Pete also for being so supportive in the crazy but thoroughly worthwhile trip.
One last thing, check out Glass City Vice - if you like indie, you'll love GCV! I'm lookin at you Ciaran...
OK, you would not believe the night I've had tonight. The kind of legendary night that you look back on and go 'god damn' in your old age I imagine.
Nevertheless, all kinds of respectable people can read this blog, so I'm not going to shared the exciting events with you. What I will do is tell you a secret that someone should have told you a long time ago.
The secret is John Marytn. Everyone's addicted to it, its all the rage, from people in high places to the lowest junkies in the street there's a secret club of people all massively dependant on the music of John Martyn.
If you've not heard of this gentleman, crack out spotify, or iTunes or whatever, and get yourself a copy of 'Solid Air' to listen to. Beware though, John Martyn is not gateway music, you can't give him up. Once you become dependant your stuck.
When I first heard this record, I thought it had been newly recorded by a modern artist, which is why it was so obscure. The first thing I thought was 'that has to have been recorded to tape - it sounds so GOOD!'. Of course it turned out it was, in 1973 there wasn't another option. Still, talk about pristine perfect production, brilliant musicianship and stunning atmosphere.
The album's title track 'Solid Air' is dedicated to Nick Drake, the folk songwriter, famous as the Van Gough of 60's music (suicidal before his post-humous success). OK, thats a bit unfair, while your at it check out Nick Drake's Pink Moon, and work out why Jeff Buckly and Damien Rice and all those pretenders can't write for shit. Anyway, Solid Air would be a track worthy of massive decontruction if it wasn't the comparatively lamest track on an album of ridiculously awesome music. This isn't ahead of its time, it just hasn't been matched yet. Its too bloody perfect. It messes with your head.
Anyway, track two, mandolin folk, would be boring would it not be for the inexplicably catchy seemingly perfect composition. It may even seem normal first time round, but stick with it.
Track three is when it starts to get MASSIVELY interesting. Rather be the Devil. This dirty Skip James blues number is raw sexuallity, dereft of morals and incredibly exciting - ending with some strange jazz improv section which a jazzer would interpret better than myself. All I can say is listen, you'll get what I mean.
Track four is when the brilliant sex music starts. I don't know if this is why I connect with Mr Martyn, but the raw sensitivity and gentle sexuality of his music I can really relate to. Is this track about oral sex? I'm not really sure what 'Go Down Easy' meant in 1973, but I know what it means today and its sexy as hell.
track five, Dreams by the Sea. After rather be the the devil, John's hinted he can rock it up. Here he does. Wurlitzer piano, my favourite,with sex wah wah and some incredible drums and bass. Eat your heart out Jim Morrison, here is the even realer deal.
May You Never. Well, well, well/. Covered and destroyed by Eric Clapton, this original is the ultimate love song. Strong, delicate, clever, but so so loving. I'm sick of trying to play an even half good cover of this song. Again guitar playing so good it makes you feel slightly sick inside. In a good way.
The man in the station - I felt this kind of cold, having my lovely wool coat pinched tonight. yes, it was cold, luckily we got a taxi home. Anyway, listen you'll relate.
The Easy Blues is dedicated to Jelly Roll Morton the incredible blues pianist. If Del Davison, as he tells me, can't find an accurate tab to this song, I wonder if anyone apart from John knows how to play this tune. It's like an instruction manual for good guitar.
My copy ends with a live version of 'Rather Be The Devil' which I think packs more clout than the studio version. I would have loved to see him in his prime.
I've always kinds of thought there's a degree of idolatry for Eric Clapton and even Jimi Hendrix that is a tiny bit just hero worship, and nothing to do with music. There's no bull with John, nobody's gonna tell you he's the greatest guitarist of all time, but listen and - yeh, I'm wondering too....
I'm gonna keep reviewing these releases as they come out, not because I think anyone values my opinion, but because I don't want them to disappear into the ether, especially not this one.
When Rob first started the Long Haired Music label, I went to the lengths of calling Rob in the street and putting him on the phone to Jace saying 'These are the guys you NEED to record'. Months later, the record came out, literally days after the band broke up. Pretty bad timing, but it was a brilliant swan song.
If you don't know the band get them up on iTunes preview now. You need to hear this.
The E.P. opens up with the rock solid drums groove of 'You Said'. Straight in with massive guitar riff and a chorus of three part harmonies. Classic MH, though it isn't really until the second track however that you really see what the band are about.
'Home' is quite simply brilliant. Lyrically, tonally, emotionally, this is the record that justifies the whole existence of the band. Even if we're not going to see one of those spectacular live shows again, at least we can play this track and remember everything that the band was about. The song grows, evolves and develops taking us through about seven different themes and sections and embodies the hopelessness and disparity of a collapsing band. Perhaps.
Straight from that into fast guitar licks and razor sharp lyrics for 'Fall on the Floor'. It goes back to the tasty outlaw appeal of their previous release, but with the production quality to make it very crank-able. I'm glad this song's on the release because it heralds back to a point where the band were more motivated and less nihilistic. Or maybe that's just my psyche re-writing history.
'So Far' feels like Home's little sister. Fear of age and lack of destination seem to run through both songs. The lyrics speak for themselves - witty, intelligent, cutting. The first rate musicianship is a theme running through the record.
The final track, 'Spanish Eyes', tonally is incredibly strong. It returns back to the ballsy outlandish stick-it-to-the-man-ism that gives the band their appeal. I think it will disappoint some fans to hear the band slowed down and deflated slightly in this respect for the deeper, but far stronger numbers on this release, but they're brought back up with this finale. Lovely touches like the three part 'Fucking Around' harmony, and the 'trap of nickels and dimes' which is something I can relate to a hell of a lot.
The only thing that makes this E.P. massively disappointing is that it ends so soon. I know the band has more songs, and their first E.P. had equally brilliant tunes on it,.and allegedly you can mix the two up to make a great album.
I think a lot of people seriously mourn the loss of this band. Jesus, I do. I'm told by Jace that they're working on a new project that sounds too different to be Midnight High, and I hope this to be true. Still, I feel like they killed something beautiful. It was like witnessing a meltdown when they bailed on their tour commitments and became impossible to contact.
Maybe MH have grown up. Maybe being the outlaws that said 'fuck you' to everyone just got tiring and alienating. I get the impression that maybe they said 'fuck you' to the people trying to help them. I think though in the world we live in we need someone to carry the flag of 'fuck you' and say the things we don't have the balls to say. To find the roads to explain the emptiness we feel with our five figure salaries and loving partners (lol - like I have a five figure salary!), to go out and get high and drink and screw and travel on our behalf, so that we know that in this flat-pack Ikea safety-goggled world there's still some adventure to be had. Well, these guys have done their turn. If you want the party to go on, you're going to have to get up off your computer, find guitar, some whiskey & a dealer and start fucking your own shit up. Take up the mantle, we'll be waiting.
'I'm a free spirit, you're never gonna trap me'
Midnight High
2010 - 2013
