Seventy Minutes From GL11

Back in February Todmorden's Gold Lion pub celebrated its 11th birthday with a weekend of entertainment with Hot Chip's Joe Goddard on the Friday night and on Saturday Deeply Armed playing live upstairs and David Holmes downstairs. The afternoon also had us playing, The Flightpath Estate, from 2pm through until the evening. We had plans to recreate our entire set but for various reasons that hasn't happened but I'd pulled my parts of the set together and it occurred to me that rather than them sitting unused I may as well sequence them together as one piece and share them here. So this is a twelve song selection of what I played at The Golden Lion- Dan, Martin, Baz and Mark's tunes are all missing I'm afraid- keeping track of  what I played is hard enough- and maybe one day we'll sort the full setlist out and post it.

Adam's Flightpath Estate Set From GL11

• Arrival Ft. Kevin McCormick: Common Place (Thought Leadership Remix)
• Cluster: Zum Wohl
• Captain Beefheart and His Magic  Band: Observatory Crest
• Cowboy Junkies: Sweet Jane (Mojo Filter Junkie Re- Love)
• A Mountain Of One: Innocent Reprise
• Thurston Moore: Asperitas
• Warpaint: Disco// Very (Richard Norris Remix)
• X- Press 2: Witchi Tai To (Two Lone Swordsmen remix)
• Doves: Kingdom Of Rust (Prins Thomas Remix)
• Pandit Pam Pam: Tarantula
• Secret Soul Society: See You Dance Again
• Mark Lanegan: Ode To Sad Disco

Arrival's 12" single came out at the start of January, the year's first essential release for me, two tracks from the Stockport duo with the wonderful guitar playing of Kevin McCormick at their core. Thought Leadership, also a guitarist and also from Stockport, remixed Common Place pulling many different threads into one piece of music. 

Cluster's Zum Wohl is from their 1976 album Sowiesoso, a favourite of mine, an album where Cluster and Conny Plank regrouped in rural West Germany and made pastoral ambient electronic/ synth cosmische. 

Captain Beefheart's Observatory Crest made a late jump into my digital record box for the Lion's 11th birthday. I fond myself humming it in the week leading up to the event and it fell into the afternoon vibe I was aiming for. It came out in 1974 on his Bluejeans And Moonbeams album, an uncharacteristically accessible and mainstream sounding record for the good Captain. 

Cowboy Junkies' cover of Sweet Jane came out in 1988 on their majestic Trinity Sessions album. It gained Lou Reed's approval, the song done the way it should have been back when The Velvet Underground made Loaded. Cowboy Junkies have spent the last two week's touring the UK and they played Manchester last Sunday. I was really tempted to go but also tickets were £53 plus fees and it felt like a lot of money. Mojo Filter's Balearic edit is from 2015 and he doesn't do too much to it, just add a subtle electronic undercarriage and a bit of a sunset sheen. 

Innocent Reprise is from A Mountain Of One's EP2, originally out in 2007 and then compiled with EP1 as Collected Works. Lovely sunbaked Balearic folk. 

Asperitas is from an album Thurston Moore put out in early February this year, six long guitar instrumentals inspired by skyscapes of the British Isles, an album called Guitar Explorations Of Cloud Formations. Asperitas is several guitar parts, some controlled feedback and a primitive drum machine. It's a really good album ranging from chilled and krauty to noisy and if by any remote chance he's reading this, vinyl please Thurston. 

We played in rotation at GL11, three tracks each and then handing over to the next Flightpather. Richard Norris' remix of Warpaint came later on in the afternoon, the pub filling up a bit and I can't remember who went before me or what they played but it must have inspired me to turn the bpms up a little and go into dancier territory. Back in 2014 Warpaint were very much a going concern, their California post- punk/ dub sounds getting lots of attention. Richard's remix is one of his best- an indie rock gone Balearic monster.

Two Lone Swordsmen's remix of X- Press 2 is from 2006, Andrew Weatherall and Keith Tenniswood heading into the garage rock/ rockabilly sounds that would come to fruition on 2007's Wrong Meeting. Witchi Tai To is a Native American chant that Jim Pepper turned into a hit single in 1971. Recorded in 1969, peyote jazz fusion. 

Doves Kingdom Of Rust was from the 2006 album of the same name. The Prins Thomas remix of the song is a beauty, the guitars and bass circling round each other, Jimi's windswept vocal nailing a certain type of Mancunian melancholy with references to black birds and cooling towers and then the strings swoop in...

Pandit Pam Pam is from Sao Paulo. His cover of Colourbox's Tarantula came out in February this year. The wandering trumpet line and bubbling bass dance around each other.

Secret Soul Society's edit of Neil Young's 1992 song Harvest Moon dropped into my inbox a few weeks before GL11, the line 'I wanna see you dance again' going round and round, a dub/ disco version of 90s Neil Young.

Mark Lanegan's Ode To Sad Disco always works. New Order- esque dance/ rock from 2012's Blues Funeral, a throbbing sequencer bassline, synths and guitars and packed with very visual lyrical imagery- one of those songs that always hits the spot for me. 

The Flightpath Estate At The Social

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This was last Saturday night at The Social where Acid House Chancers hosted a tribute to Andrew Weatherall on what would have been his 63rd birthday with a line up spread across the venue's two floors. 

The Flightpath Estate had been asked to play a few months ago and the prospect of playing The Social was pretty exciting. The Social is on Little Portland Street, just north of Oxford Street and a stone's throw from Soho. Dan and Martin couldn't make it and Mark was also playing as Rude Audio, so me and Baz travelled south to represent on the decks. We were on downstairs, a club space with a dancefloor, DJ booth and bar area. When I arrived there were already a good number of people downstairs, Stuart D. Alexander at the decks and Jenny Leamon taking over from 5.15 pm. Jenny had a crowd up and dancing before 6 pm, something that caused me some pre- gig nerves with visions of clearing the floor, playing the wrong tunes and various technical mistakes all running through my mind. 

I shouldn't have worried. I got the obligatory minor technical fuck up out of the way early on and then we were off and in a groove. As the room filled up the energy levels kept rising, more people arrived to dance with some familiar faces from gigs at The Golden Lion, and it was a total blast- one of those times when you're completely caught in the moment and wish you could revisit, soak up and enjoy. It just flew by. 

                                             

This was the scene looking out from the booth- red lights, dry ice, a blur of dancers... the most mayhem we've ever caused on a dancefloor. Alex Knight, formerly of Sabresonic and Fat Cat records and the Sabres Of Paradise tour DJ, took over from us, playing a seamless set with some Weatherall and Sabres inspired mid- 90s techno. 

Our set wasn't recorded but I've recreated it since and it's available to download below or you can find it at The Flightpath Estate's Mixcloud is you prefer to stream. What a night we had. 

The Flightpath Estate At The Social

• The Light Brigade: Shuffle The Deck
• SOP: Ysaebud (From The Vaults)
• Bim Sherman: World Dub
• The Clash: Ghetto Defendant
• Coyote ft Daniel Gidlund: Butterflies
• Paul Weller: Kosmos (Lynch Mob Bonus Beats)
• New Order: Your Silent Face
• Doves: Kingdom Of Rust (Prins Thomas Diskomiks)
• Mark Lanegan: Ode To Sad Disco
• Le Carousel: We're All Gonna Hurt
• Unloved: Turn Of The Screw
• Fontaines DC: A Hero's Death (Soulwax Remix)
• Bedford Falls Players: Fool's Gold- en
• The Pogues: A Rainy Night In Soho

The Light Brigade is David Holmes and guests/ collaborators. On Shuffle The Deck it's former Swordsman Keith Tenniswood and a floor shaking, civil rights leader sampling tune, opening with a rousing speech- 'It's time for a new course, a new coalition, a new leadership... somebody gotta rise above race, rise about sex... Don't cry 'bout what you don't have, use what ya got... Our time has come!', and after several minutes of bass- led oompty boompty finishing with Andrew's musings on acid house as gnostic ceremony, music, coloured lights and smoke.

SOP was Sabres Of Paradise, a one off, one sided 7" single from 1996 with a righteous vocal sample from Count Ossie and Mystic Revelation Of Rastafari- 'Ever since I was a youth/ I've always been searching for the truth'. 

Bim Sherman and Adrian Sherwood's Ghetto Dub album came out in 1988 and due to all kinds of legal complications over the late Bim Sherman's back catalogue has remained out of print. A German label have unlocked some of the problems and re- pressing of Ghetto Dub is out shortly on Week- End Records. 

Ghetto Defendant is from Combat Rock, The Clash and Allen Ginsburg rocking out in dub reggae style, Strummer lamenting the drug addiction and heroin pity that prevents civil resistance'. Paul Simonon's bassline and Topper's drum keep the song grounded in reggae/ dub groove. A late Clash classic. 

Coyote's Butterflies is a moment of Balearic calm, from a forthcoming 12" with vocals by Daniel Gidlund. Last Saturday night it slowed things down a little and gave the dancers a breather.  

Playing at The Social was a big deal. In the 90s I'd read about the first Heavenly Social nights at The Albany pub, accounts in the music press of exhilarating music and wanton debauchery, Weatherall, The Chemical Brothers, Tim Burgess, the Heavenly and Creation crews, a cast of thousands. One of those accounts was of people flipping out to Andrew playing Brendan Lynch's version of Paul Weller's Kosmos, a dub/ trip hop/ jazz noise fest that scrambled minds as it squawked and ricocheted on a Sunday evening. I'd been to The Social on Little Portland Street before but only as a punter so to actually take to the decks was a big moment. Playing Kosmos was a nod to all of that. 

New Order's Your Silent Face is one of the great New Order songs and therefore one of the great songs. It provoked a few moments of emotion on Saturday night, Hooky's bass, those one finger keyboard notes and everyone waiting for Bernard's kiss off last line 'So why don't you piss off'. It was released in 1983 on Power, Corruption And Lies and is one of those New Order songs that really should have been a single, had New Order in the 80s operated along the lines other less obtuse bands at more conventional record companies did. 

Doves' Kingdom Of Rust remixed by Scandi- disco legend Prins Thomas is one of those tunes that always gets people asking what it is (or Shazaming it on their phones). A hypnotic, locked in groove, bass and drums circling, guitars picking out little melody lines and then sweeping strings joining in with Jimi's vocals- glorious Mancunian melancholy. 

Mark Lanegan's Ode To Sad Disco is a New Order- esque song from man usually more associated with grunge and gnarly blues rock. The synths and guitars are heavenly and Mark's imagery is memorable- subterranean eyes, the factory line, a mountain of nails, a white horse that drowned on parade, an Arcadian twist and a hollow headed morning all stand out. The 'mountain of nails' mentioned in the second verse links rather nicely to the 'kingdom of rust' and 'ocean of trust' in the Doves song too I've just noticed. 

Le Carousel's The Humans Will Destroy Us is already one of 2026's best and most prescient albums and We're All Gonna Hurt is its emotional centre and heartbeat, a Giorgio Morodor via Belfast acid house banger, dance music that is up and happy but sad and broken. 'Sooner or later/ We're all gonna hurt'.

Unloved's Turn Of The Screw came out on 2022's The Pink Album, David Holmes' beat group joined by Raven Violet for a 1960s in the 2020s song with a philosophy and attitude to admire. 

A Hero's Death was from Fontaines DC's second album and was remixed by Soulwax in 2021, the clanging guitars replaced by stripped back Balearic dance- cowbell and bass- with Grian Chatten's Dublin street poetry riding on top. 

Fools Gold- en is by Berkshire's Bedford Falls Players, a crowd pleasing mashing together of The Stone Roses and Rockers Revenge that hits all the spots and really gathers pace in its last few minutes, the bass and drums tumbling and thumping, a looped Reni and Mani doubling and powering on. 

Finishing our set with A Rainy Night In Soho, just a few hundred yards north of Soho, felt right. A Rainy Night In Soho is from the 1986 Poguetry In Motion EP, one of Shane MacGowan's most loved songs that ends with one of his best verses- 'Now the song is nearly over/ We may never find out what it means/ Still there's a light I hold before me/ You're the measure of my dreams/ The measure of my dreams'. 

Armed And Eleven

Last weekend was The Golden Lion's 11th birthday, a weekend of musical events to celebrate the 11 years since Gig and Waka took the Todmorden pub and turned it into something much more than a pub- 'ceci n'est pas une pub' is painted onto the side of the building. On Friday night Joe Goddard from Hot Chip played and on Saturday there was a Belfast themed takeover with David Holmes headlining downstairs and the band Deeply Armed playing upstairs. Around these two we got to play again, the Flightpath Estate DJs from 2pm downstairs and then either side of the band upstairs.

We played a bagful of tunes and maybe at some point we'll recreate at least part of the several hours long set and share it here. There was a section in the middle where I played Richard Norris' remix of Warpaint (Disco// Very), the Two Lone Swordsmen remix of X- Press 2's Witchi Tai To and then this...

Kingdom Of Rust (Prins Thomas Diskomiks)

... which had a few people reaching for the Shazam app on their phone. It's a wonderful Prins Thomas version, the drums and bass winding their way round and round and a guitar picking out single notes, building over several minutes, the guitars and strings gradually joining, the sound becoming richer and fuller but all the while following the groove. Those trademark, world weary Doves vocals arrive halfway through. A glorious eight minutes of music. 

Deeply Armed flew over from Belfast, a band with a one single behind them, some serious remix action (Keith Tenniswood, Richard Fearless) and an album recorded and ready to go. They took to the stage at 9.30 playing to a full room, singer Michael brandishing a tambourine and giving the Ian Brown stare into the middle distance of the room. Around him the band kick up a motorik groove, synths and guitar/ bass conjuring a blissed, psychedelic sound- repetition, garage band chord changes, Spacemen 3 tempo, and the street menace of early Happy Mondays evident too on some of the first half of the nine song set. On last year's single The Healing it all comes together into one krauty/ Velvets drone...

Downstairs fellow Belfast native David Holmes is kicking up a storm. We miss the first part of his set due to playing before and after the band but after the Deeply Armed have finished and everyone has moved downstairs- Holmes v The Flightpath Estate, it's no contest- I make my way down and into the maelstrom of a packed Golden Lion, dancers everywhere, the red lights bouncing off the mirrorball and a Holmes set that takes in Crooked Man, the Leftside Wobble edit of Tomorrow Never Knows, All Seeing I and much more. 

The Little Ones

It's funny how things can get missed and then turn up years later. I had no idea this existed and only became aware of it via a social media group where no one else had any idea it existed either. Back in 2008 one song on an album by a psychedelic indie band from Los Angeles called The Little Ones was mixed by Andrew Weatherall. They were on Heavenly at the time. Weatherall had a long running relationship with the label built upon his friendship with label boss Jeff Barratt dating back to the late 80s, a link which led to Loaded and then everything else. The very first record Heavenly ever released was a Weatherall remix (Sly And Lovechild's The World According To... Weatherall, posted previously several times). Farm Song is slow paced, day glo, 60s inspired psychedelic pop, all harmonies and tambourines, guitar solos and swirling sound. It's available at Bandcamp on the album Morning Tide. 

From the same time frame, 2009 in fact, and also on Heavenly but sounding very different, Wilmslow's kings of widescreen melancholia Doves were remixed by Andrew, a chunky, loud affair, heavy bass line in the foreground, plenty of dub space and FX and an early sighting of the chuggy ALFOS sound.

Compulsion (Andrew Weatherall Remix)

Carousel

Doves returned in June after a lengthy absence and gave us a new song, Carousel, the latest instalment of their rainswept northern melancholia. Driven by some intricate drums and decorated with some lovelorn guitar sounds Carousel sounds like a band fired up again after a rest. There's a lot more going on here than first meets the ear and it rewards repeated plays.



Tickets for the gig at the Apollo sold out before I got one. I dithered. Part of me is still not convinced indoor gigs next March will be either going ahead or a good idea. I've been into work this week for the first time since March, the building largely empty except for some builders and various staff trying to make the school 'Covid secure' for the return of 1300 young people in two weeks time. Having spent the last five months shielding and living a pretty reclusive life it's really weird suddenly being indoors with other people, who have varying degrees of ideas about what constitutes social distance and also how every surface, everything I touch, I look at differently. Going from shielding to being in a classroom with thirty teenagers is going to be a sudden and massive jump and as far as I can see, whatever the government would like us to believe about eating out and helping out, the pandemic is still very much with us.

I heard this on the radio recently, those little guitar lines, thump of the bass drum, the vocals. It sounded exactly right and very apt for 2020. When Doves get it right, they really get it right.

There Goes The Fear

Grow The Revolution

This graffiti appeared on a footbridge that crosses the M61 a little while ago. The photograph was taken by someone I follow on Twitter, Paul Wright. I drive underneath it every day on the way to and from work but haven't been able to photograph it due to my hands being needed to drive and it being dangerous and all that, so I'm glad Paul got a shot of it (and I hope he doesn't mind me using it here). On the other side of the bridge, heading away from Manchester, there is another piece of graffiti by the same writer that reads 'burn fuel don't care we all breathe the same air', something I think about often as my car goes underneath it.

Wilmslow's favourite sons Doves are back and are playing some festivals this summer. They're playing Heaton Park in June but going to see them there would mean shelling out for a Noel Gallagher gig, something which I'm reluctant to do. After that they're in Glasgow and at Bearded Theory Festival, Tramlines in Sheffield, Kendal Calling and Somerset House in London (all during term time). A smaller gig somewhere in Manchester would be nice (I'd settle for Castlefield Bowl if need be).

Doves have been well served by remixes in the past.  The original version of Black And White Town from 2005 is an uptempo northern soul inspired stomper. David Holmes slows it right down, puts the descending bassline at the centre with some organ, with the vocals in the distance occasionally, echoing in.

Black And White Town (David Holmes Remix)

Their last album was Kingdom Of Rust in 2009 with various remixes surrounding it across various single releases including this monster from Andrew Weatherall, a bass heavy version, kicking off with shouts and reverb, and then a crunchy drumbeat, a remix that crackles with electricity and ideas. This remix was a sign that Weatherall was finding his groove again, the start of a purple patch that has lasted a decade now.

Compulsion (Andrew Weatherall Remix)

There was also this eight minute gem, a Diskomiks of the title track by Prins Thomas, a 12" promo of which I found in a local charity shop yesterday for £1.99 and which sounded really good in the early April sunshine.

I Tried To Sleep Alone

Somehow this beautiful, surprisingly noisy piece of northern rock is eighteen years old. I played it yesterday and was struck by how it manages to be both melancholic and uplifting. I have it on 10" but curiously it didn't find its way into the recent 10 x 10 thing on Twitter. The waves of sound it rides in on and the slow paced bang of the drums are built for cities in the summer, especially this one, even before the tears-in-your-beer howl of the chorus.

The Cedar Room

You Learned A Hard Lesson

Some more rivers coming your way over the next few days I think. Yesterday's river was the Afon Llugwy in Betws-Y-Coed, North Wales, photographed when I was there a few weeks ago. Today's river picture shows the Irwell, historic boundary between Manchester (right) and Salford (left). The pub down by the river on the Salford side, the Mark Addy, was ruined by floods in 2015.

In 2002 Doves found themselves caught by the river. I think it's the same river that R.E.M. were looking for yesterday, a mystical river rather than a geographically specific river. Rivers often symbolise time, power, nature obviously, loss of control, and futility (the futility of trying to hold a river back). Also the river, in song and in life, always joins the sea and then disappears into it. The narrator in this song seems to be talking to his son, who's made a mistake, been caught and now has to learn the lesson.

Caught By The River

Doves were a good band. Currently on hiatus, Andy and Jez re-appeared as Black Rivers in 2015. I've posted it before but this Richard Norris remix of their song The Forest is well worth hearing again, a kind of autumnal Balearica.

I Can't Stand By, See You Destroyed

What happened here on Monday night and what we woke up to yesterday morning defies belief in so many ways and it's difficult to know what to say, especially in a music blog. Equally, it's hard not to take something like this personally when it happens so close to home. My family and my workplace knew several people at the Ariana Grande show at the MEN on Monday night.

Manchester is one of the most culturally diverse, multi-cultural and inclusive cities in the country. As Dave Haslam said on Twitter yesterday 'You've got the wrong city if you think that hate will tear us apart'. We don't do small mindedness, racism and intolerance. One deluded, indoctrinated, murderous little fucker does not prove anything about the people we know as our neighbours. Anger and hatred and rage are understandable reactions to the deaths of twenty two people, including children, on a night out to see a gig, but the minute we give in to hate we have lost. We stand together, we feel anger but we love life, we love love and we hate hate.

This song by Doves came to mind and the opening line which gives this post its title. And also this part...

'We don't mind
If this don't last forever
See the light
But it won't last forever
Seize the time
Cause it's now or never baby'

Pounding

At times like this football seems like a very small thing in terms of importance but it's also a massive part of this city's history and traditions. With any luck tonight United will bring home a European trophy, with a multiracial, multicultural team of young black British Mancunians, Frenchmen, Spaniards, Equadorians, Dutchmen, Italians, Belgians, Armenians and more besides. United we stand.

This Time I'm Not Wrong

I've posted this before but thought it might be worth looking at again. Bernard Sumner's got a very distinctive voice, not a great voice maybe, but it's very recognisable. He's popped up on guest vocals in various places, with 808 State and The Chemical Brothers most famously. In 1997 he sang on a song with Sub Sub, not long before they mutated into Doves. The song- This Time I'm Not Wrong- came out on 12", the last release ever on Rob's Records (Rob Gretton's label, New Order manager). It sounds much more like Doves than Sub Sub and when their studio/rehearsal room burned down the Williams bros and Jimi Goodwin took it as a sign to move on. Listening to this, it's pretty clearly where early Doves song Catch The Sun came from.

This Time I'm Not Wrong

The 12" also has an early version of Firesuite.

Firesuite

Black Rivers

This is good. Black Rivers are the new band of Andy and Jez from Doves. Have Doves split up? Jimi Goodwin had a solo album out last year which I haven't got round to listening to yet. Or are they 'on hiatus'? Dunno. Anyway, Black Rivers are releasing an album soon and as a taster for it there's a remix by Richard Norris, full of electronic soundscapes, pulsebeat rhythm, a bit of phased cowbell, a disco bassline, an 'into the forest' vocal refrain, some ascending 80s keyboards at the end- it all goes by in a warm haze for seven and a half minutes.

Here Comes Some Action

I got  a new bike for my birthday- yes, that does make me sound like I'm ten years old. It's a road bike, giving me an entire world of cycling jerseys and other bits of kit opening up. Mainly jerseys though and some of them are lovely. In a fit of velo fever I decided that as we were going to Sheffield for a few days I should cycle there while Mrs Swiss and the kids went in the car. South Manchester is pretty flat and the Snake Pass between Glossop and Sheffield is anything but flat and I fancied a go at a hill. The hill rising out of Glossop goes up to 565 metres (or 1680 feet in Imperial). And it's a fucker to ride up let me tell you. But the ride down is something else. I got a lift to the end of the motorway and then left the BP garage in Mottram on the bike riding through to Hunter's Bar in two hours and five minutes. My cycling app told me that I recorded my fastest speed so far (down that hill) and also my slowest (up that pigging hill). I would have ridden back yesterday but it was sheeting down.

While in Sheffield I heard this in a shop-Black And White Town by Doves, from 2005, and it sounded really, really good.

Sub Sub 'Space Face'

Before they were Doves they were Sub Sub, and released this superb piece of dance music- Space Face.

In other bird related news, the kids found an injured young bird outside our house yesterday, several cats were prowling around, and an older bird was squawking from the rooftop. The kids wanted to try to save it. A neighbour said the RSPCA etc wouldn't be interested and that saving it from being mauled by cats might be the best we could do. Mrs Swiss asked me 'How do you pick up a bird?'. 'Buy it a couple of drinks and try to make it laugh?' I suggested.

We got it in a cardboard box and put it in our shed, with some water and bread. Then we noticed the mother bird with worms and grubs in it's beak, trying to get in the shed. All very upsetting. We opened the shed door, to let the mother bird feed it's baby with it's broken wing. ET, 7 years old, was by now very concerned. I checked on it later last night and things didn't look good- Giggsy (as it was now known) couldn't feed itself and mother had vanished. We got up this morning and went to the shed, and alas Giggsy had died. We've also found Giggsy's brother or sister, dead, in the alleyway behind the house. I guess leaving the nest is a bit do or die. Everyone's bearing up pretty well though.

SubSub-SpaceFace.mp3

Sub Sub Ft. Bernard Sumner 'This Time I'm Not Wrong'

A Joy Division/New Order rarity/oddity for you, following the earlier Jah Division piece. In 1997 Bernard co-wrote and sang (and presumably played guitar) with Sub Sub, who would shortly afterwards go on to become Doves. Sub Sub hit the charts with the rather ace Ain't No Love (Ain't No Use) and also had the ravey Space Face, which as Doves they still encore with from time to time. This song is more Doves than Sub Sub, being full of guitars and drums, and featuring a typical Bernard vocal and lyric. The end came for Sub Sub when their Cheetham Hill studio burnt down on the Williams twins' birthday, but judging by this 12" they were heading in a different direction anyway. The B-side features an early version of Fire Suite which also cropped up on the first Doves lp. Bernard Sumner in 1997 was on extended leave from New Order and in between Electronic activities. I got this in Oxfam in Altrincham for a fiver some time ago, a bargain judging by some online prices I've seen. This was the last single to come out on Rob Gretton's Rob's records label, also home to Manchester legends A Certain Ratio and Mr. Scruff amongst others.

01 This Time I'm Not Wrong.mp3