Label: Creation Records, Sky
Catalogue: CRECD110, SKYCLAD 5080
Date: 1991 (Creation Records) 1992 (Sky)
Recorded: April/May 1991, Raven, Norfolk and Submarine Sound, Northampton
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 - vocals
Peter Crouch - Rhythm Guitar - Bird Guitar on Girls Say Yes
Owen Jones - Organ solo on Our Friends The Filth
Laurence O'Keefe - vocals - Lead Guitar on Harlan
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
Tim Burrell - engineer
Howard Turner - engineer
Andy Elliot - engineer
Pat Fish - engineer
Lionel Cullman - photography
Pascal Legras - sleeve
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 Magazine (UK), December, 1991
DooDah Reviews 1992
Option (USA), May, 1992
The Washington Post Charming Chiming of Jazz Butcher (Washington, DC, USA), 1st of May, 1992 (Friday)
The Record Store Up Front And Center Issue #5 Treading the line between dumb and stupid (Waterloo, Canada), 8th of May, 1992 (Friday)
Details For Men (USA), June, 1992
Creem Magazine (USA), July, 1992
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 (6 years 98 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 245 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 (7 years 21 hours 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 232 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 233 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.