Categories
Post Punk Punk Song of the Day

Song of the Day (The Chain): The Slits – Earthbeat

Day 34. Bit of an obvious choice today. Yesterday we had Neneh Cherry & today we have The Slits, a band Neneh Cherry sang with. I almost didn’t go with this choice, as it seemed too obvious, but it was too good an excuse to play The Slits.

Earthbeat is taken from The Slits second album, 1981’s Return Of The Giant Slits. Earthbeat is percussion led Post-Punk excellence. Neneh Cherry sings backing vocals on this & appears in the video.

Earthbeat it pauses in space
Trippin’ trippin’ trippin’ through a holy sky
Trippin’ trippin’ trippin’ trippin’ through a holy sky

Even the air is dizzy earthbeat
Even the leaves are wheezing earthbeat
Even the clouds are coughing earthbeat
Sun beats furiously
Creatures basking around

Future yobs
Future you’re to leave is small
Yobs yobs
Future you’re to leave is small

Even the earth is dizzy earthbeat
Even the leaves are wheezing
Even the clouds are coughing
Earthbeat earthbeat
Burning energy illicitly
Lightbulbs flickering

Bhanya lei
It’ll strech steeply
Bhanya lei
It’ll strech steeply

Even the earth is dizzy
Even the clouds are coughing
Even the leaves are wheezing

Even the earth is dizzy earthbeat
Even the leaves are wheezing
Even the clouds are coughing

Earthbeats earthbeats earthbeats earthbeats
Earthbeats earthbeats earthbeats earthbeats

Even the earth is dizzy
Even the leaves are wheezing
Even the clouds are coughing

Earthbeats earthbeats earthbeats earthbeats…

Keep up to date with the Song of the Day (The Chain) Spotify playlist.

Buy Tom a coffee?

Tom loves coffee. If you’ve enjoyed any of the content he’s created then please consider donating a few quid to buy him a cup.

£3.00

Categories
Post Punk Punk Song of the Day

Song of the Day (The Chain): The Stranglers – Golden Brown

Day 21. As discussed in yesterdays post, Massive Attack’s Angel was featured memorably in the soundtrack for the Guy Ritchie move Snatch. While looking at what else is on the soundtrack for todays entry, I couldn’t choose anything other than Golden Brown by The Stranglers. Mainly in tribute to keyboardist Dave Greenfield who sadly passed away back in May.

Golden Brown is an unusual song with a strangely baroque feel. The composition is centred around a looping harpsichord riff, eccentric time signature (3/4 but every fourth bar is in 4/4) & lyrics dealing with addiction, desperation & dependency. An unusual radio & chart hit, it appeared on Top Of The Pops & reaching number 2 in the UK Pop charts.

Golden Brown texture like sun
Lays me down with my mind she runs
Throughout the night
No need to fight
Never a frown with Golden Brown

Every time just like the last
On her ship tied to the mast
To distant lands
Takes both my hands
Never a frown with Golden Brown

Golden Brown, finer temptress
Through the ages she’s heading west
From far away
Stays for a day
Never a frown with Golden Brown

(La la la la la la la la leeeah)

Never a frown
With Golden Brown
Never a frown
With Golden Brown

Keep up to date with the Song of the Day (The Chain) Spotify playlist.

Buy Tom a coffee?

Tom loves coffee. If you’ve enjoyed any of the content he’s created then please consider donating a few quid to buy him a cup.

£3.00

Categories
Indie Rock No Wave Post Punk Punk

Desolation Centre – Underground Music Festivals Documentary

Desolation Center, a new documentary charting the underground, DIY, experimental music & art festivals which were put on in the California desert in the mid-’80’s, is coming to streaming services on the 23rd June.

Produced by Stuart Swezey, Desolation Center is a mix of archive footage (including live performances) & interviews chronicling the chaotic & loud phenomena which would go on to inspire larger, more official desert festivals like Burning Man.

Among the bands which performed at Desolation Center events (& appear in the film) wer Sonic Youth, Minutemen, Meat Puppets, Perry Farrell, Redd Kross, Einstürzende Neubauten, Survival Research Laboratories, and Savage Republic.

Ahead of the release, a couple of excellent film clips have been released. The first show’s us fantastic footage of a psychedelic Meat Puppets performance where they asked for the lights to be switched off so they could play by moonlight. The second features Perry Farrel (Janes Addiction) & George Hurley (Minutemen) talking about playing a show on a boat in the LA harbour.

If that’s got you interested, check out the theatrical trailer from last August.

Categories
Funk Metal Politics Punk

Song of the Day (BLM): Rage Against The Machine – Down Rodeo

Day 9. Rage Against The Machine, particularly guitarist Tom Morello have been in the news quite a bit this week. As a revolutionary socialist band who have been burning Stars & Stripes & wearing Hammer & Sickles since the early ’90’s it is quite surprising that RATM have any right-wing fans at all. Somehow they do. And these right-wing fans have been getting very upset about Tom Morello expressing his opinions about the current revolutionary actions of the Black Lives Matter movement. This is one of them.

Needless to say, Morello’s response was both witty & humorous. A true Twitter professional.

Check out this equally brutal Twitter putdown from a couple of years ago. Just glorious. Textbook.

Down Rodeo is a scathing blast of metallic funk. It’s lyrics deal with systematic racism, the shameful legacy of slavery & forward looking revolutionary ideas. A personal highlight for me.

Yeah I’m rollin’ down Rodeo wit a shotgun
These people ain’t seen a brown skin man
Since their grandparents bought one

So now I’m rollin’ down Rodeo wit a shotgun
These people ain’t seen a brown skin man
Since their grandparents bought one

So now I’m rollin’ down Rodeo wit a shotgun

Bangin’ this bolo tight on this solo flight can’t fight alone
Funk tha track my verbs fly like tha family stone
Tha pen devils set that stage for tha war at home
Locked wit out a wage ya standin’ in tha drop zone
The clockers born starin’ at an empty plate
Momma’s torn hands cover her sunken face
We hungry but them belly full
The structure is set ya neva change it with a ballot pull
In tha ruins there’s a network for tha toxic rock
School yard ta precinct, suburb ta project block
Bosses broke south for new flesh and a factory floor
The remains left chained to the powder war

Can’t waste a day when the night brings a hearse
So make a move and plead the fifth ’cause ya can’t plead the first
Can’t waste a day when the night brings a hearse
So now I’m rollin’ down Rodeo wit a shotgun
These people ain’t seen a brown skin man
Since their grandparents bought one

Yes I’m rollin’ down Rodeo wit a shotgun
These people ain’t seen a brown skin man
Since their grandparents bought one

So now I’m rollin’ down Rodeo wit a shotgun

Bare witness to tha sickest shot while suckas get romantic
They ain’t gonna send us campin’ like they did my man Fred Hampton
Still we lampin’ still clockin’ dirt for our sweat
A ballots dead so a bullet’s what I get
A thousand years they had tha tools
We should be takin’ ’em
Fuck tha G-ride I want the machines that are makin’ em
Our target straight wit a room full of armed pawn to
Off tha kings out tha west side at dawn

Can’t waste a day when the night brings a hearse
Make a move and plead the fifth ’cause ya can’t plead the first
Can’t waste a day when the night brings a hearse
So now I’m rollin’ down Rodeo wit a shotgun
These people ain’t seen a brown skin man
Since their grandparents bought one

Yeah I’m rollin’ down Rodeo wit a shotgun
These people ain’t seen a brown skin man
Since their grandparents bought one

Yeah I’m rollin’ down Rodeo wit a shotgun

The rungs torn from the ladder can’t reach the tumour
One god, one market, one truth, one consumer

Just a quiet peaceful dance!
Just a quiet peaceful dance!
Just a quiet peaceful dance!
Just a quiet peaceful dance!
Just a quiet peaceful dance for the things we’ll never have
Just a quiet peaceful dance for the things we don’t have

While looking for the YouTube video for Down Rodeo, I came across this excellent video of a man reacting to it for the first time. His enthusiasm is so infectious that I just had to share this with you as well. I was especially interested that the line he picked out as a stand out was one of the most revolutionary, “Fuck tha G-ride I want the machines that are makin’ em.” We don’t want the shitty scraps from the capitalists tables, we want the means of production.

Looking for some great music to listen to? Why not check out the Song of the Day (BLM) Spotify playlist.

Buy Tom a coffee?

Tom loves coffee. If you’ve enjoyed any of the content he’s created then please consider donating a few quid to buy him a cup.

£3.00

Categories
History Punk Rock

Proto Punk at The Rowing Club, MC5 in York, 1972

MC5, 1969

During the research for my series of articles about the near-mythical Pink Floyd gig at New Earswick Folk Hall, it came to my attention that Michigan Proto Punk legends, the MC5, performed at a venue in York which I had preciously not heard of.

As a fan of Punk, music & its various offshoots, I am a fan of the MC5. They are held as a foundation of the genre. A semi-militant, anti-Vietnam, furious live band, their debut album was recorded live at Detroit’s Grande Ballroom on October 30th & 31st 1968. You’ve probably heard Kick Out The Jams & it’s incendiary, profane intro, if nothing else. That perfect moment of rebellious Rock and Roll energy is seared into the history of Rock music.

So, my first inkling about this gig was a letter printed in the York Press, dated 24th July 2006, by Roy Hughes. You may remember he was the DJ & compere at the Tinned Chicken Club, the club night at the Folk Hall in New Earswick, which hosted ’60’s Psyche bands like Pink Floyd & Procol Harum. In the letter, which is titled Definitive Record, Roy confirms that MC5 did perform at The Rowing Club in 1972. He has some other interesting information in this letter:

The following day they appeared at Wembley Stadium with Little Richard, Jerry Lee Lewis and Chuck Berry.

The bass player was a member of York band Gideon’s Few, who joined MC5 in Germany and remained on tour with them throughout Europe and USA for nearly a year. He is, incidentally, my brother Derek!

So Roy’s brother was Derek Hughes, who replaced original bass player Michael Davis, who was practically forced out of the band for Heroin abuse. Derek Hughes played with them for the majority of 1972.

a poster for Syd Barrett’s band, Stars.

In other Pink Floyd related news, around this time MC5 played a gig in Cambridge with Syd Barrett’s band, Stars. Barrett had left Pink Floyd in 1968.

After reaching out to the same York Past & Present Facebook group that provided me with so much information about the Pink Floyd gig, I have received account from group member Mike Stewart.

He recalls that the gig was “Loud!” & that it was “quite a coup for the venue.” He thinks that the band added the York date at last minute to fill in a spare night while travelling up and down the country. The Rowing Club apparently held “progressive/heavy rock discos every Saturday night.” He remarked how “not many bands performed with such high-octane energy in those days.”

Edgar Broughton Band 

Mike also remembers seeing Psychedelic Rockers, the Edgar Broughton Band at The Rowing Club. I hadn’t heard of Edgar Broughton Band before, but I am listening to them now & their sound is a heavy, psyched up Blues Rock. Shades of Black Sabbath. I’m interested in listening further so expect a review in the near future.

The York gig is not listed in this fan managed gig guide on the Concerts Wiki, but it looks like the gig probably took place in the June of 1972. Other gigs in the local vicinity, Leeds & Scarborough, seem to bear this out.

Listed June gigs from 1972, Concerts Wiki

Another York Past & Present member, Brian Walker, recalls how he could not believe the MC5 gig was happening at the time. There was no advertising, as such, and the news of it was spread by word of mouth. He believes it may have been a warmup gig before they played a few other dates, so perhaps it could have taken place at the end of May, before the Leeds City Hall gig on June 1st.

As for the venue, I assume it was the same building as houses the York City Rowing Club today (pictured above). Though I am not sure. York Past & Present user says he took over DJ responsibilities in 1976 from predecessor, Paul Blitz. So the Saturday rock nights must have gone on for quite a while. I’d be interested to hear from anyone who has more information about the venue, so don’t hesitate to get in touch if you remember it.

For now, that is all I have been able to find out. If anything else significant comes up about either the gig or the venue, there may be a follow up to this blogpost.

Buy Tom a coffee?

Tom loves coffee. If you’ve enjoyed any of the content he’s created then please consider donating a few quid to buy him a cup.

£3.00

Categories
Punk Reggae Song of the Day

Song of the Day (BLM): Bad Brains – Banned In DC

Day 6. I personally have always believed that the fury & DIY rebellion of Punk & Reggae were as much influences on the attitude of Hip Hop as Soul & Funk were on it’s sonic attributes.

Bad Brains are a Rastafarian Hardcore Punk & Reggae band from Washington DC. They were one of the first, & fastest, bands to play that particular genre of Punk Rock & were huge influences on everyone from Minor Threat & Black Flag to Nirvana & The Beastie Boys.

Banned In DC is a furious blast of hardcore energy which set the sonic blueprint for Hardcore Punk & cemented Bad Brains place as key players in Punk Rock.

Banned in D.C. with a thousand more places to go.
Gonna swim the Atlantic, cause that’s the only place I can go.

You, you can’t hurt me, why?! I’m banned in D.C. D.C.

We, we got ourselves, gonna sing it, gonna love it, gonna work it out to any length.
No worry, don’t worry, about what people say.
We got ourselves, we gonna make it anyway.

You, you can’t hurt me, why I’m banned in D.C. D.C. D.C.

And if you ban us from your clubs, it’s the right time, with the right mind.
And if you think we really care, then you won’t find in my mind.
Noooo! You can’t afford, to close your doors, so soon no more.

My oh my i lay you down upon the ground so soon no more.
Nooo you can’t afford to close your doors so soon no more.

My oh my i let you down upon the grounddddddd

Looking for some excellent music to listen to? Check out the Song of the Day (BLM) Spotify playlist.

Buy Tom a coffee?

Tom loves coffee. If you’ve enjoyed any of the content he’s created then please consider donating a few quid to buy him a cup.

£3.00

Categories
Indie Rock Music Post Punk Punk Song of the Day

Song of the Day (A-Z): Fugazi – Waiting Room

Day 23 (W) & here we are, Post-Hardcore perfection. Waiting Room by Fugazi is a spiky slice of furious & bouncy Punk Perfection. It’s an ode to the DIY work ethic which Fugazi are famous for. I’m including two videos because the live one has terrible sound, but demonstrates Waiting Room’s power to electrify an audience like few other songs can. Don’t you just want to be there?

A better audio quality on this version:

I am a patient boy
I wait, I wait, I wait, I wait
My time is like water down a drain

Everybody’s moving,
Everybody’s moving,
Everybody’s moving, moving, moving, moving
Please don’t leave me to remain

I’m in the waiting room, I don’t want the news
I cannot use it
I don’t want the news
I won’t live by it
Sitting outside of town
Everybody’s always down
Tell me why?
Because, they can’t get up
Ah, come on and get up
Come on and get up

But I don’t sit idly by
I’m planning a big surprise
I’m gonna fight for what I wanna be
And I won’t make the same mistakes (’cause I know)
Because I know how much time that wastes (and function)
Function is the key

I’m in the waiting room, I don’t want the news
I cannot use it
I don’t want the news
I won’t live by it
Sitting outside of town
Everybody’s always down
Tell me why?
Because, they can’t get up
Ah, come on and get up
I’m from the waiting room

Sitting in the waiting room
Sitting in the waiting room
Sitting in the waiting room
Sitting in the waiting room (tell me why)
Because, they can’t get up

Stuck for something to listen to? Why not wrap your ears around this playlist of my Song of the Day (A-Z) series.

Buy Tom a coffee?

Tom loves coffee. If you’ve enjoyed any of the content he’s created then please consider donating a few quid to buy him a cup.

£3.00

Categories
Indie Rock Overlooked Classics Punk

Overlooked Classics: Comets On Fire – Blue Cathedral

Image by Gary Smith

During my blogpost about Sub Pop’s Patient Zero sampler a few days ago, I discovered that I really enjoyed the track Antlers Of The Midnight Sun by Comets On Fire more than any of the other tracks. Strangely I had little memory of this track from when I used to listen to this compilation regularly in 2004/5-ish. As a result of my love of that track, I have since been checking out their catalogue. Blue Cathedral is the album which Antlers Of The Midnight Sun is taken from, so I thought that would be a good place to begin.

Blue Cathedral runs the gamut from psychedelic ’60’s Garage Rock to punishing Sludge Punk & takes in all manner of other genres in between. Think The Stooges or the MC5 temporally displaced into the mid-’80’s US Indie Underground.

Comets On Fire are well known for their use of the Echoplex tape delay. All of the tracks use it fairly liberally on singer, Ethan Miller’s vocals, which helps to turn his Iggy Pop-esque primal screams into thrilling & surprisingly deep sonic structures. Opening track, The Bee And The Cracking Egg has dub-siren-like delayed synth tones embedded deep in it’s psychedelic noise jams. A feature which resurfaces several times throughout the album, & which is as fun as it is chaotic.

Echoplex, image from wikipedia

Whiskey River & the short instrumental jam, Organs have that ’60’s Garage feel encoded deep in their DNA, the latter due to the heavily delayed Hammond Organ patterns. The former employs what sounds like (and I’m sure actually is) dial-up modem tones, distorted & mangled through their trademark Echoplex. Strangely enough, this ’90’s & early ’00’s specific sound doesn’t sound out of place among the screeching guitars & pounding rhythms of the otherwise retro sounds.

Antlers Of The Midnight Sun is the oddball Indie thrash-a-long I wrote about in the Patient Zero article &, if anything, sounds bigger & more exciting in the context of an album of similarly sonically structured songs. The heavily distorted lead guitars sound almost as if they are threading in and out of the crunchy rhythm guitar patterns.

Brotherhood Of The Harvest takes off with an extended noise jam of screeching guitar noise, clattering drums & early-Pink Floyd style organ drones which break down into a downtempo, Organ centred Psyche Rock jam. Definite Pink Floyd or Procol Harum vibes to the lead guitar parts & chord structures too.

Wild Whiskey features acoustic guitars & unusual percussion embedded in a wash of feedback-drenched guitar drones. It has an upbeat, spaghetti-western feel to it that I kind of wish they’d utilised a bit more on the album. It’s similarly off kilter to the Floydian previous track.

Epic 10minute closer, Blue Tomb begins with sludgy guitar drones which give way into downbeat Garage Rock drumming. There’s an improvisational looseness to the guitar playing which fits the lethargic rhythms beautifully. As well as the perceived looseness there is an almost hypnotic feel to the repetitive (in a good way) rhythms which propel the song forward through it’s noisy psychedelia & Echoplex-soaked vocals. Towards the end the Echoplex is truly put through it’s paces with some incredible delayed siren sounds which scream out dub.

On a tangentially related note, I had the opportunity to use a similar machine to the Echoplex while in the studio with my band, Nauseous Skies, & I can confirm that it is incredibly fun to use. It is also addictive & I can understand the temptation to record almost every instrument & sound effect through it.

Tape Delay used in my band’s recording sessions, photo by me

Buy Tom a coffee?

Tom loves coffee. If you’ve enjoyed any of the content he’s created then please consider donating a few quid to buy him a cup.

£3.00

Categories
Indie Rock Music Punk

Tolerance To Lo-Fi (Part 1)

Part 1: The Velvet Underground & Nico, Raw Power & Spiral Scratch

It began, like most modern pop phenomena, with Punk. I’m tempted to go back further, maybe to Elvis. But pre-Punk music which bears a stylistic resemblance to what we now think of as Lo-Fi is generally a product of its time & the technology used at that time. Higher fidelity wasn’t an option when Robert Johnson recorded his music. The Velvet Underground & Elvis recorded in the fidelity they could financially afford to. The fidelity wasn’t used as an artistic choice. Nobody celebrated or enthused about the fuzzy, low quality recordings the Lomax’s made for the American Library of Congress. They just accepted the imperfections, which we celebrate & actively pursue in Lo-Fi music, as limitations in the medium.

The evolution of Lo-Fi music as a genre isn’t far removed from the evolution of the Indie Record Label as an entity. The first record to discuss is the legendary Spiral Scratch by Manchester Punk band, the Buzzcocks. Spiral Scratch is a four track EP recorded in 1997 by legendary producer Martin Hannett (credited as Martin Zero. Because Punk). It was recorded on 16-track tape. According to Buzzcocks singer Howard Devoto (who would leave the band after Spiral Scratch), “It took three hours [to record the tracks], with another two for mixing.” The recording is very rough. The term Lo-Fi hadn’t yet been coined. Perhaps rougher than necessary for a 16-track recording in a professional studio. This could be put down to the time spent mixing it or the fidelity required to squeeze four songs onto one 7” vinyl. Self-financed & released, Spiral Scratch is widely considered as ‘year zero’ of Indie music.

I personally believe that the low fidelity of Spiral Scratch was a production choice, possibly made by Hannett, possibly by the Buzzcocks. Many in the Punk scene were fans of records which already had a lower fidelity sound than the commercial Glam Rock flooding the radio in the mid ‘70’s. Both Hannett & the band would have been familiar with The Velvet Underground’s debut or The Stooges Bowie-produces Raw Power. These records, while sonically very different, both exhibit common features of Lo-Fi music.

The Velvet Underground & Nico was produced by Andy Warhol (not best known as a music producer). “The bulk of the songs that would become The Velvet Underground & Nico were recorded in mid-April 1966, during a four-day stint at Scepter Studios, a decrepit recording studio in Manhattan.” (wikipedia). The songs have a raw, overdriven feel & seem to revel in the hiss of the tape & distortion caused by audio clipping. This may partly be because of the decrepitude of the recording studio, but it would be unfair to not consider the possibility that either Lou Reed and/or John Cale asked for this sound. They were both visionary & forward-looking artists. Pre-Velvet Underground, John Cale already possessed avant-garde pedigree & was interested in noise & atmosphere. Later in his career, Lou Reed took guitar noise & clipping distortion to a whole new realm with his divisive but influential noise album, Metal Machine Music.

A few years later in 1973, Bowie’s production of The Stooges Raw Power was less about tape-hiss & clipping viola parts & more about drenching guitars & vocals in distortion to create abrasive & thrilling Rock and Roll. By modern standards, the distortion on Raw Power sounds wild & out of control. It sounds like a force of nature rather than the pedestrian effect used by pretty much every single guitarist today. It’s interesting to note that, despite a few exceptions like Hendrix & The Kinks, this level of distortion was very rare at the time. Guitar tones were either clean or slightly overdriven. Like The Velvet Underground & Nico, Raw Power went on to be a huge influence on the nascent Punk scene & early artists like Buzzcocks would have desired similar sonic effects to achieve similar atmosphere’s.

I think the key takeaway from Spiral Scratch, regarding what would later be known as Lo-Fi, is the DIY ethic. Inspired by seeing a Sex Pistols show in 1976, & with zero interest from any record labels, Buzzcocks reached out to their friends & families, cobbled a bit of cash together & booked some studio time. The Buzzcocks were obviously very ambitious & serious about starting their careers & willing to put the work in to make it happen. Spiral Scratch influenced many other bands, up and down the UK, to record their own music or set up their own small, independent record labels. Indie Music as we know it today, grew from this small, weird, noisy release by a nobody Punk band from the industrial North of England.

16-track tape recorder, similar to the one Spiral Scratch was recorded with

Throughout the Punk & Post-Punk era, there were a great number of bands who released records which they’d recorded themselves, financed themselves & distributed themselves. There was still a perception that music had to be recorded in a studio though. It wasn’t truly DIY as long as the artists were relying on engineers & producers to do the recording & production work for them. Luckily, the low fidelity of much of the Punk era would persuade artists to make music with whatever they had laying around. You could just set up your instruments, press Record on your tape deck & play the song through. This was an exciting time for Lo-Fi music & the newly formed Indie label industry was at the forefront of getting this music out to the public.

Buy Tom a coffee?

Tom loves coffee. If you’ve enjoyed any of the content he’s created then please consider donating a few quid to buy him a cup.

£3.00

Categories
Music Post Punk Punk Song of the Day

Song of the Day (A-Z): Wire – Outdoor Miner

Wow, we’re already at day 15 (O). This is one of my favourite songs of all time & quite possibly one of the songs that started the whole Indie Rock ball rolling, Outdoor Miner by Post-Punk pioneers, Wire. Taken from their second LP, 1978’s Chairs Missing, Outdoor Miner bears striking similarities to much of the Indie Rock which came along in it’s wake.

Always eager to find new & interesting things to write about, the experimental lyrics to this song are based on bassist Graham Lewis’ fascination with the Serpentine leaf miner, a fly larva, & details it’s life cycle. The song is even mentioned on it’s wikipedia page.

No blind spots in the leopard’s eyes
Can only help to jeopardize
The lives of lambs, the shepherd cries 

An outdoor life for a silverfish
Eternal dust less ticklish
Than the clean room, a houseguest’s wish

He lies on his side, is he trying to hide?
In fact it’s the earth, which he’s known since birth

He lies on his side, is he trying to hide?
In fact it’s the earth, which he’s known since birth

Face worker, a serpentine miner
A roof falls, an under-liner
Of leaf structure, the egg timer

He lies on his side, is he trying to hide?
In fact it’s the earth, which he’s known since birth

He lies on his side, is he trying to hide? 
In fact it’s the earth, which he’s known since birth

He lies on his side, is he trying to hide? (he lies on his side)
In fact it’s the earth, which he’s known since birth (is he trying to hide?)

He lies on his side, is he trying to hide? (he lies on his side)
In fact it’s the earth, which he’s known since birth (is he trying to hide?)

He lies on his side, is he trying to hide? (he lies on his side)
In fact it’s the earth, which he’s known since birth (is he trying to hide?)

Outdoor Miner has been covered by many different Indie bands over the years. A personal favourite of mine is the version by Flying Saucer Attack, below.

Buy Tom a coffee?

Tom loves coffee. If you’ve enjoyed any of the content he’s created then please consider donating a few quid to buy him a cup.

£3.00