really do with some help.....
STONE AGE MAN
(Dead Dead Good, GOOD35 CD, 1996)
2.Brand New Stone-Age Man
(Dead Dead Good,CDS,(1996),GOOD38CD)
1.Andrex Puppy Love
Written by Bassett
Produced by Cope
except 2 written by Bassett/Copestake
1. The Stripper
2. Plush Abattoir
3. Dreaming Of A Friend
Written by Bassett
Produced by Cope
1. Delectable (Bassett)
2. Step It Up (R.Birch/N.Hallam)
3. Me Against The World (Bassett)
4. Step It Up (remix) (R.Birch/N.Hallam)
1 & 3 produced by Cope
2 & 4 produced by Cope/Trevski
4 mixed by Trevski
3.Swimming Pool Culture
(Dead Dead Good, CD, 1996, GOODCD10)
1. Uncle Charles (Friend Of The Stars) - 6:23
2. 21st Century - 3:51
3. Jupiter's Eye - 5:57
4. The Love Slug - 4:41
5. Not Giving Up On You - 6:02
6. Jelly Shoes And Liquid Ether - 5:31
7. Whole Sioux Nation - 4:56
8. Lexys' Disappearing Act - 3:06
9. (Mr Helium) - 0:43
10. Brand New Stone Age Man - 3:51
11. Stevies Kid Brother - 7:05
12. (Tape Wind) - 0:24
13. Andrex Puppy Love - 3:53
Written by Bassett
except 1, 4, 8 written by Bassett/Copestake
Produced by Cope
Need A Copy
1. The Stripper
2. Love 45
3. Soft Control
4. Turkey Breast
6. There Goes My Summer
8. Pure Grunt
11. Hot Lung
12. Atomic Junkie
13. Anti-Gravity Blues
None of these
records have comments or reviews and I doubt this is complete!
Email me on the link at the top!
This is from
Orange Deluxe recorded one of the best albums of 1996. Vodka, Doughnuts & Dole is an album bursting with stomping rock'n'roll tunes, soulful ballads and kick-ass Motown grooves. With an album like that they should have been on top of the world by the start of 1997, even though they're signed to a small independent label. But it was not to be. Soon after they completed recording, their whole world suddenly caved in.
The album was recorded back in July 1995 after the end of a gruelling tour to support their debut album Necking. The London-based four-piece - Paul Bassett (formerly of early-Nineties major label hopefuls Five Thirty) on guitar and vocals, Cope on guitar and backup vocals, Paul's brother Rob on bass and Keith McCubbin on drums - went to nearby Falconer Studios in Camden for four weeks. By the end of August '95 the recording was complete and the final mixing was done in September. Then tragedy struck.
"I've never put dreams of a swimming pool before writing a good song, mate. Never."
Rob, a former semi-pro footballer who played for Reading FC, had an accident while playing soccer and found himself in hospital for six weeks with a broken back. He underwent spinal fusion surgery and - a year later - is finally approaching full fitness. Meanwhile, Necking had sold 10,000 copies and the band were left with an album of new songs, not knowing what to do next.
Eventually, of course, they decided to go on. Keith's friend Adam (who runs the Funkin' Pussy club in London) stood in bass for the first leg of the '96 tour (to coincide with the release of the single 'Jupiter's Eye') after which they spent a month breaking in new boy Mark on bass.
"In a strange way, Rob's accident has given us a new lease of life," says Paul. "Because right now there's only one thing that matters to us and that's keeping this band alive and kicking so that he has something to come back to.
Did you miss touring during your nine months away?
Paul: "I hear loads of other bands really moaning and moaning and moaning about it, but I get bored at home. I have my best times when we're out on the road. I miss it. I look forward to it. I missed it like nothing else."
Cope: "It is a real escape from boredom to get in the van, fuck off somewhere, do a gig, have a fucking laugh."
Paul: "The first month back on the road was quite weird because Adam wasn't a good enough bass player, I didn't think, and I didn't think we were doing the band justice on the 'Jupiter's Eye' tour. It was going down alright, but at the end of the day it's not about getting away with it, it's about being the best that you possibly can be."
Cope: "He didn't really fit in with us, either, he found it a bit hard going."
Will it take Rob long to get back into the band?
Paul: "He's back into it already."
Keith: "He plays all day long. There's just trouble with him travelling, that's his main problem. He can't do a tour, but he can get up and do a gig or a few days of rehearsal. He's getting well."
Cope: "We didn't want to bring him back to early and do a three or four hundred mile journey and put him out of action for two weeks by putting too much pressure on his spine. We want him to be as fit as he's gonna get, 'cos he had a relapse back in January by just pushing himself too hard. We can't afford to do that again, for his sake, no matter how much he wants to come back."
Why an independent
Paul: "It's quite a strong thing to champion at the moment. Most of British music's strength from punk onwards was built on true independent labels. That doesn't really exist in this country anymore. Everyone hides behind the cloak of indie-dom and the word 'indie' has come to sum up a sound - but it's short for the word 'independent'. There's nine Oasis songs in the Top 20 indie charts and they can stand up and talk about corporate pigs as much as they like, but they signed to Sony Records. No matter what it says on their record labels, they signed the biggest corporate company in the world. They didn't mind taking their money. When people like them stand up and say it, it adds to the myth that that is what independent means, but it's not. Dead Dead Good are one of the only independent labels in the country and occasionally, when I'm losing sleep, I think that's something worth believing in."
The Devil's Advocate
would say that maybe you couldn't get a major label contract if you tried...
Cope: "If we had the weight of Melody Maker and NME behind us, the music would be in the charts regardless of who we were signed to."
Paul: "I think that if we were making pig noises and sampling gates opening I'd say yeah, maybe we couldn't get a major label deal, but I don't think our music is that removed from the mainstream. The fundamental question is: If the edges of the music scene went away, the mainstream would have nothing to feed off. That's the way it's always been. The independent scene has to have its own little life. I just see so many songwriters who are lazy with dollar signs in their eyes before they've even put a band together. I've never put dreams of a swimming pool before writing a good song, mate. Never."
Wouldn't it be great
to be Number One?
Paul: "Yeah, but a Number One to me would mean great acceptance of our song, like vindication. If Number One means units and swimming pools, I've never felt like that. Never ever. I never will."
You seem to think
the weekly music papers are against you. Why?
Paul: "To be specific, what we have is a block at editorial level. The people in the papers who are the editors, they have a problem with us. But times change and they might not be there in a year. Plenty of the lower-level journalists really like us. That's what's so frustrating. There are enough journalists who like us that we'll just stick at it."
When will it ever
change? Do you have to do something about it?
Cope: "We've already started work on songs for the third album. We're moving on all the time."
Paul: "Not every band makes it with their first few singles. There's plenty who don't. We've learned a lot of lessons and the next album will be even better; and who knows, the wheel might turn and there you are in the right place at the right time. We won't succeed by sitting down and trying to write a three-and-a-half minute pop song with the intention of having a big hit, because people would get to like us for the wrong reasons."
Could you sit down
and do that, do you think?
Paul: "I actually think we've written a couple of songs which I can't understand why they haven't kicked off. I thought 'Love 45' was a real, smashing, three-minute single, although I didn't write it with that in mind."
How different to Oasis
do you think you are?
Cope: "We're obviously going to think that we're equally good songwriters or musicians."
Paul: "I don't think we write the same sort of perfect pop. Noel's got a real gift for writing and fucking good luck to him, I like the geezer, but we're different."
You both play guitar-heavy
rock music which is heavily anchored in different styles from the past...
Paul: "The difference is that they probably grew up listening to the Beatles, with a more British outlook, and I listened to Motown, Stax and Atlantic when I was a teenager. I didn't even get into the Beatles until I was 20 or 21. That's still in our music. That's our problem, if anything, we can be too R&B for people at the moment. We were once called 'retro' when retro was a dirty word and meant that you sounded a bit like the Yardbirds, and now with Ocean Colour Scene and bands like that, retro is a good word again. Listening to the radio at the moment is like time travelling. It's fucking bizarre. So now we're not retro anymore because retro is a cool word. Now we're 'old-fashioned'. But you can't spend too long thinking about it, it'd drive you mad."
Do you have an image?
Paul: "We seem to be perceived as ultra-lads. Scruffy bastards, shit haircuts, shit clothes, lads."
That's not especially
Paul: "It is if you're the ODs."
Cope: "It is if you're unfashionable."
Do you think you'd
be more popular in America?
Paul: "That's my ambition. I just want the records to come out in America."
Cope: "We definitely want to go. We're definitely gonna go. It's a lot less blinkered about rock music than this country."
Paul: "It's not run by two national weekly papers! You can go to one town and the local reviewer might say you're completely shite, but then you can go up the road 50 miles and be Number One on the local radio station."
I'd like to see you
do better. You've worked hard and you deserve more success.
Cope: "You sound more down about it than we are."
Paul: "We do get this from a lot of people who are into the band. But when we started we realised that this was gonna be quite a long road. We knew we weren't gonna walk straight into the charts, but it meant more to us than just that. Maybe we do deserve more but if we went on about it all the time we'd be the bitterest people. It's important to maintain a positive outlook."
by Jon Ewing.
Orange Deluxe were interviewed on August 14th 1996.