Label: Creation Records, Sky
Catalogue: CRECD110, SKYCLAD 5080
Date: 1991 (Creation Records) 1992 (Sky)
Recorded: April/May 1991, Raven, Norfolk and Submarine Sound, Northampton
Engineered: Tim Burrell, Howard Turner, Andy Elliot, Pat Fish
Photography: Lionel Cullman
Sleeve: Pascal Legras
Note: The Sky release has sides A&B switched
Paul Mulreany (Drums)
Joe Allen (Bass Guitar)
Alex Lee (Lead Guitar, Rhythm & Backwards Guitar,
Motorcycle & Fuel Air Explosions, Lynch-Mob)
Richard Formby (Lead Guitar, Tremelo & 12 String Guitar, Infinite
Guitar and Feedback)
Alex Green (Tenor and Alto Saxophones, String Arrangements)
Pat Fish (Lead Guitar, Rhythm & 12 String Guitar,
Keyboards, Percussion, Vocals)
Sumishta Brahm (Singing)
Peter Crouch (Rhythm Guitar, Bird Guitar on Girls Say Yes)
Owen Jones (Organ solo on Our Friends The Filth), Percussion, Singing)
Laurence O'Keefe (Lead Guitar on Harlan, Singing)
Peter Astor (Lead Guitar on Honey,
Aquamarine Guitar on Harlan, Harmonica, Singing)
Tim Burrell (Piano on Girls Say Yes)
Alastair Indge (Vocals)
James Rogers (Vocals)
Howard Turner (Vocals)
Colin Harris (Samples)
Thanks to the beurocratic idiocy on the part of the Butcher and his associates the contributions of Alex Lee & Sumishta Brahm to the previous JBCLP Cult Of The Basement have gone uncredited. The Butcher would have you know that they both played leading guitar stuff on that record, as well as on this one.
Respect and thanks are extended to the groups who let their musicians out to play on this waxing, specifically: The Blue Aeroplanes Levitation, 13 Frightened Girls and Spectrum. Thanks also to Ensign, Ultimate and Silvertone.
Rage Magazine (UK), September 1991
Select (UK), December 1991
Details For Men (USA), June 1992
Compact Disc Connection
Option (UK) May/June 1992
DooDah Reviews (web) 1992
Four desperate men, all too desperate to notice how desperate the others are, gather in a farmhouse with a queue of lead guitarists stretching round the block. For all the pain and crap from which this record was made, the actual sessions were a gigantic and wonderful party.
The songs are all long because we (Paul, Joe, Lix & I) just enjoyed the playing on the "to-be-faded" bits so much that it seemed a shame not to let everyone hear them. This was warmly received by The Outside World, less popular among those who counted themselves JBC afficionados. Well, I couldn't have written it any other way, and I love that everyone plays on it, so I'm not in much of a position to know why you don't care for it. All I can say is that I'm still well pleased with it as a recording, and as a piece of writing about a tough subject. I mean, I hate "divorce rock" too. It wuz a tough assignment.
Go on, give the fucker another listen. The songs may not make you laugh, but the playing ought to give you a few thrills. And, after all, I'm not in a band to make money, or be a "professional entertainer" - I'm in a band because I like to play very loud electric guitar. This IS the sound of me having fun, and getting me to do that in those dark days of mid-1991 was no small job. (Can anyone tell me how I *knew* that the French were going to like "Girls Say Yes"?)
tracy.kaply[at]-remove-gmail.com - Tracy Seattle
22Apr2011 5:56 PM (5 years 313 days ago)
Was thinking of how much I loved this cd and how I played it over and over until some greedy bastard stole it, and now I just downloaded it from iTunes and am happily singing along.
Such a great cd.
Condition Blue sequencing
dubrowg[at]-remove-gmail.com - greg, san francisco
26Nov2010 3:34 PM (6 years 95 days ago)
I feel like I should apologize on behalf of the label. I worked for Sky at this time, in Philadelphia (the label was based in Georgia)...drove you around town for a couple of radio things the day you were in town to play JC Dobbs. Our label manager made the sequencing decision. Had I known what he was doing I'd have tried to keep your original sequence. Regardless, I love the record and it was a pleasure to help it get attention in the US. I was a fan well before we put out the record and have remained a fan since.
doc6502[at]-remove-yahoo.com - Doc
29Jul2010 12:23 PM (6 years 215 days ago)
My goodness, how can it be that this record is nearly 20 years on and it's still a powerful brew? It's still one of my go-to records and it's saved my melon on one or more than one occasion. You played at the Lounge Ax in Chicago. Terrible venue, but you lit up the place. Scissor-walking while playing "Take The Skinheads Bowling". Why is everything memory?
butchiebaby[at]-remove-wilsondub.com - the butcher
9Dec2008 4:56 PM (8 years 82 days ago)
Gary, you heard right. Basically I sequenced the album and the UK and European versions duly came out the right way. The American company, without consulting me, decided to start the album with She's A Yoyo, as this was their preferred choice for radio play. To achieve this, they simply swapped the two sides of the record, which, frankly, left it making no sense whatsoever as an album.
correct sequencing is: girls say yes/filth/harlan/still n all/monkeyface/yoy/honey/shirley/racheland.
So now you know.
volume11[at]-remove-gmail.com - Gary, Ohio USA
9Dec2008 8:06 AM (8 years 83 days ago)
Just now noticing that the A and B side sequences shown here are different than the CD... the CD starting with Yo-Yo and ending with Monkeyface. Any significance to this?
Guess I'll make a playlist in this sequence and give it a listen and all will be revealed.