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TRACK LISTING
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One afternoon, after listening to copious amounts of the Scissor Sisters, I got in the shower and suddenly decided I wanted to write a disco hit that would make everybody feel happy inside. I am terrible for writing songs in the shower, I end up in there for like an hour singing away to myself and annoying my parents by taking up all the hot water. But anyway, I got the chorus stuck in my head and the rest as they say, was history. I am one of those geeks who walks around town with their Ipod on mouthing all the words to whatever I'm listening to... I love music so much, I listen to it all the time and I believe music has the power to speak to you and make you feel like you're not alone. That's what this song is about really... It's not gonna judge you baby, it's always been there to save me.
So a few months ago I got into a slightly embarrassing situation... You know, a friend of a friend gets a bit carried away with themselves, American contacts over-exaggerate the facts.... and yeah, next thing you know I'm telling everyone I'm on the verge of selling an old song to Ashlee Simpson. WELL I THOUGHT I WAS OK, I REALLY THOUGHT SHE WANTED IT. Surprise, surprise nothing came of this whole fiasco... or did it? Because even though no one actually wanted my song it made me come to a sudden realisation. The prospect of actually selling a song I had written to a pop star, well it was exciting! I had dabbled with the idea of songwriting for others but I always thought that I could never bear to part with a song I had written. But the thing is, writing in mind for other people... it's completely different. There are songs which are mine that I could never part with, but then there are songs which don't tell my story, they're sat waiting for the right person to find them.
I decided because that cow Ashlee wasn't really interested in my song I would write something new that she would love, you know.. just in case the chance ever came up again to sell it to her.
Well that chance hasn't come up yet, but I do have a pretty nifty song out of it which happens to be called Addicted. And in fact me and Ash liked it so much we chose it out of a much longer list completely last minute to be one of the final 8. It turned out to be one of the best tracks on there so I'm really glad we picked it!! But still it's there waiting for someone else if they want it, just got to hope the right person hears it!
As for the subject of the song, well it's about a bad girl!! This guy is drawn to her but keeps trying to pull away because he knows she's no good... but it's no use because he's ADDICTED!!! *cue robot voice* Oh yeah!!
Up until quite recently I have been a total loser in love... I was the girl at school who never had a boyfriend, then as I got older I fell for a whole number of guys who just didn't feel the same way about me as I did about them. I really thought I was going to be alone forever and turn into one of those crazy cat ladies or something. But then a year and a half ago I met my boyfriend Mat and everything changed. He actually WOOED me (sorry I know this is the 21st century), I wasn't so lonely anymore and I finally had a relationship where the one I loved actually loved me back. I figured I had enough songs about feeling miserable and heartbroken, it was time to write a song about the joys of having someone special in my life :)
It seems like such a cliche now, especially as he has SO many songs written about him, but yes this was inspired by Pete Doherty. I don't even like The Libertines all that much but we were studying him at college and I just found his whole tragic story.... I don't know, fascinating. This was before the days of Amy Winehouse being shoved down everyones throats, but really it could be about her as well. These people are just walking cautionary tales. And they need help, not to be hounded by the press and made into some kind of hero-figure. They aren't the heroes of the world, they are just people caught up in a blur of drugs and too many late nights. Getting caught up in that world isn't cool and it's no way to create music, it just destroys everything. People who are clean-cut are always mocked and seen as uncool, but hey they are the ones who will be alive to actually carry on their music careers. Look at Cliff Richard, he's about 1000 now.
This was inspired by 2 people at the time who I was majorly crushing on.... Now I am pretty sure they both knew I liked them, I mean you just KNOW when people like you don't you? If someone likes me but I don't like them, I take it as a sincere compliment and I am nice to them and try not to hurt their feelings. But do you know what these guys did? Everytime a hot girl came into the room they were like "OH SHE'S SO HOOOTTT, I SO WOUULLLD" or started going on about snogging random girls, and bringing up things like that which were so obviously intended to make me feel jealous and thus stroke their pathetic egos.
There is the perfect line by my hero Tori Amos in the song "Precious Things" that says "So you can make me cum, that doesn't make you Jesus" I guess these are the sentiments I wanted to convey, only in a slightly more, you know, family friendly way.
So taking inspiration from The Pipettes and their 60's style, plus a hint of Lily Allen who was big at the time... Selfish Boy was written. GET OVER YOURSELF YOU STUPID BOYS.
I have to admit, this song is my favourite on the album and the one I wanted to get absolutely perfect. I think me and Ash succeeded :)
Last year I was let down really badly by someone - I think you guys all known the story by now, but I had a lot of faith and trust in someone who I considered to be something of a mentor to me. He was my teacher and I admired him, I thought we had a real connection through music and I was so excited to be working with him and getting an album together. He promised me the whole world, but at the end of the day it was all talk and lies. He abandoned me and our project and left me to pick up all the pieces. I had put all my eggs in one basket and I felt completely lost - all my friends around me were getting on with their lives, going to Uni and making their paths while I just felt stuck at square one with nowhere to go. And it wasn't just that our project had failed, it was the fact we hadn't even tried. The fact that I had been royally stabbed in the back by someone I looked up to. I got really depressed and basically locked myself in my room all week where I wrote this song.
Now I can look at things with a very different perspective. Local legend Nick Courtney snapped me out of things with a long chat over hot chocolate, and was the one who got me and Ash working together. Now look at how much I have achieved in only a few short months, I am at a completely different place now to where I was then. I think everything happens for a reason, and things were meant to happen this way. I have gotten further in 4 months than I ever got in TWO YEARS waiting for something to happen with Martin. And this is just the beginning, I never needed him at all. I can only hope he wakes up and realises what he's been missing out on.
It's really weird, sometimes I feel like I'm stuck in a double life. It's like I'll do a gig in the evening and have people cheering and coming up and telling me they love my music and I will feel really proud of myself... then the next morning it'll be back to Blockbuster, being treated like crap by customers and everything. It's not like I think "DON'T YOU KNOW WHO I AM!!" because I'm hardly Madonna haha! But I do think, hey I'm an interesting person and there is more to me than just this shitty job. I sometimes feel like work is my life and defines who I am, people don't really see beyond that sometimes. Ultimately, this song is about wanting to break free and proving to all the people who doubt you that you can do it. And maybe by the time they realise it then it will be too late, you'll have flown.
This is my big Damien Rice-esque sweeping song to end the album, and it was one I really wanted to get recorded as I might never get the chance to do it again. People have said it's quite a miserable song... but I don't see it that way, I think it's sort of uplifting to listen to these songs because you know that you're not the only one in the world who has felt sad about things. There is a big storm in this song.... but storms pass.
I wrote it when I was really down at college a few years ago... I was commuting to and from Brighton 3 times a week and would spend loads of time out in the cold rain all alone. I felt lonely, I wasn't fitting in well with my classmates, my love life was appalling to say the least, I missed all my friends who had just moved away for Uni and my music was going nowhere at the time. I just felt like nothing was going right and that the fates were conspiring against me. I wrote this song about the complete hopelessness of it all... and weirdly enough, a little while after I wrote it things started to change. I met Mat, I bonded with my classmates, I started getting more confidence and people became more interested in my songs. I feel like there was a guardian angel watching over me who heard it and decided to help me out.
So there we have it... I hope you've got a bit more idea of the songs now and how they came about, and most of all I hope you'll like them!!
What's that? 9 tracks? I don't know what you're talking about. There's no hidden track on there about something as stupid as a bad haircut. Honestly.
Becky Jerams x
BECKY JERAMS - ONE MORE STEP CD - £6
Sleeve is in Excellent Condition apart from a 4"seam split at top edge
Vinyl in Excellent condition and plays great throughout. 1960 Stereo LP ERA Records ES-700
Bob Dylan has called DORSEY BURNETTE one of the best songwriters ever.And, with great compositions like "Tall Oak Tree,"
and "Hey Little One," both of which became major hits for Dorsey in 1960, it's easy to understand why. Dorsey Burnette is
best remembered today as the brother of Johnny Burnette and a member of the Johnny Burnette Trio, He had a solo career of
his own, however, during the early 1960s, and also wrote over 350 songs covered by the likes of Rick Nelson, Jerry Lee Lewis,
Waylon Jennings, Glen Campbell, and Stevie Wonder, among many others.
TRACK LISTING
Big Rock Candy Mountains
Hey Little One
Hard Working Man
Lucky Old Sun
Suddenly There's A Villey
Lazy Bones
Red Roses
Noah's Ark
Swing Low
Wayward Wind
I Got The Sun In The Morning
Tall Oak Tree
DORSEY BURNETTE - TALL OAK TREE LP - £150 - Reduced in Sale to £120
Sleeve is in Excellent Condition - Vinyl in Excellent condition.
UK Hard Rock private pressing on the Goodwood Music custom label. Twin guitar, great vocals, self penned songs.
Very rare and sought after LP. Not to be missed. GM 12326 1980 UK Pressing. Part of the New Wave Of British Heavy Metal.
BAND
Clive Murray (vocals)
Dave Cooper (guitar)
Steve Birley (guitar)
Gary Pinning (bass)
Sev Lewkowicz keyboards)
Paul Humfreys (drums)
TRACKS
Troublemaker
Can't you see
Broken Heart
Little Lady
Isn't life lonely
Hide away
Give me your love
Mystery girl
Not you Can't stop crying
Through for you
WARRIOR - TROUBLE MAKER LP - £150 - Reduced in Sale to £120
Sleeve is in Excellent Condition - Vinyl in Excellent condition.
LABEL: Windmill WMD 118 UK 1972
Clem Alford was born in Glasgow, Scotland, where he studied the Scottish national instrument, the bagpipes.
He was introduced to the sound of the sitar in the mid sixties. He travelled to India and studied under Pandit
Sachindranath Saha, principal of the Midnapore Music College in West Bengal. He secured the diploma of Sangeet
Sudhakar for expertise in sitar from Surer Maya Sangit Samaj of Calcutta in 1970.
Clem's first major recital was in Bombay in November 1970, an event which the Times of India flashed in its
headlines as "American's astounding skill, ease in sitar" (a slight case of mistaken nationality!). It was this
sitar recital at the celebrated Kal-ke Kalakar Sammelan of Bombay which won Clem the rich accolade of 'Sur Mani'
(a jewel of notes). Since then Clem has performed not only in the West but also in India, Japan and other Asian
countries. He has been hailed by many experts and the press as the best western sitar player of today.
An example of this recognition was his participation in the concert held in 1975 in the Royal Albert Hall,
in which he was presented along with the leading Indian vocalist Laxmi Shankar.
In 1970 he formed a group named Sargam with two other musicians - Jim Moyes (guitar) and Keshav Sathe (tabla) - and
this innovative trio (see picture above) recorded an album inappropriately released as Pop Explosion Sitar Style!
under the band name Sagram, misspelt by the Windmill recording company, which issued the recording without the band's
consent or knowledge. This LP has since become highly collectable and is offered for sale here today.
SAGRAM - POP EXPLOSION SITAR STYLE LP - £50 - Reduced in Sale to £40.00
Gatefold Sleeve is in Excellent Condition and so is the 16 page book which is still attached.
Side 1 has a few light surface marks, nothing serious (VG), sides 2, 3 and 4 are in Excellent condition throughout.
Nonesuch Records HC-73018 - Distributed in Great Britain by Transatlantic Records Ltd
For better or worse, Paul Beaver and Bernie Krause probably had more to do with introducing the synthesizer into
rock music than anyone else. Beaver was a veteran of the Hollywood studio system, known as a sound effects man but,
in fact, something of an innovator in electronic music. Krause, a dozen years younger, had moved from Detroit to
Cambridge to L.A. to San Francisco, working as a guitar player, folk singer, and session man, and was becoming
interested in electronic music.
They met through Elektra Records president Jac Holzman, who was looking for someone to add electronic effects to
a record Mort Garson was arranging: The Zodiac: Cosmic Signs. Remembering Beaver from a recording session, Krause
contacted him and the pair agreed to collaborate. They also realized that there was a potential to land other
recording deals if they had the equipment to produce weird sounds to order. Beaver contacted the synthesizer pioneer
Robert Moog, enticing him with an offer to act as Moog's sales rep on the West Coast. Moog flew out, and after
convincing the pair of the road-worthiness of his synthesizer by shoving it off a table and then playing it again,
they decided to sink their life savings into buying a Series III, Moog's most expensive model.
The partners spent fruitless months trying to get someone in Hollywood interested in using it. They decided to set
up a booth at the Monterey Pop Festival in 1967, and on the airplane ride back, Holzman decided to release an album
demonstrating the possibilities of the Moog on his label, Nonesuch, which was already one of the more interesting labels
around, with a very diverse catalogue. The Nonesuch Guide to Electronic Music ended up as the label's top-selling album
for several years after its release in late 1967. We were unable to locate another UK pressing of this LP for sale anywhere worldwide
BEAVER & KRAUSE - THE NONSUCH GUIDE TO ELECTRONIC MUSIC LP - £100 - Reduced in Sale to £80.00
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