What Do I Get Out Of This?

Wythenshawe Park, 70 acres of green, open space in South Manchester with a 16th century half- timbered hall and statue of Oliver Cromwell at its centre, played host to a 30, 000 capacity gig headlined by New Order on Saturday. Nadine Shah who kicked things off in fine style, her band playing repetitive, crunching post- punk/ indie rock with Nadine's theatrical, huge voice the c point.  Greatest Dancer from this year's Filthy Underneath was a highlight, booming out in the late afternoon sunshine. Having spoken passionately about the humanitarian crisis in Gaza, she spends the last few minutes of the final song screaming the word 'ceasefire' into the mic as the band kicked up a glorious racket, before leaving the stage to squeals of feedback. 

Roisin Murphy is on shortly after, a singer with connections to Manchester- she lived here during the late 80s and early 90s. Her set is a well honed and highly entertaining forty minutes of dance music and costume changes, Roisin the queen of Wythenshawe Park. 

One outfit has her wearing a massive oversized, square biker jacket, another a black top hat and robes with a life size model of a baby on a necklace which she ignores until the instrumental break at which point she stands centre stage cuddling it. Later on she is bedecked in a giant, head- to - toe red frill. Her songs sound equally impressive, Moloko's The Time Is Now getting a rework and Incapable from 2020's Machine both stand out, the latter a long extended disco- house groove. Sing It Back is fused with Murphy's Law and she closes her set by sauntering through Can't Replicate and then having a huge amount of fun with an onstage camera that is feeding directly onto the big screen behind her, finishing with an extreme close up of the inside of her mouth.

Incapable

Local lad Johnny Marr takes the stage at 7.30, the venue filling up. Johnny grew up round here- 'Wythenshawe Park, Saturday night', he says between songs with a rueful grin. Johnny and his band are on it from the start, electrifying and plugged in to the crowd, playing eleven songs that span his career, from The Smiths to Electronic to his solo albums. Second song in he plays the clanging riff that intros Panic and we're putty in his hands. Generate is sparky post- punk pop. This Charming Man sends the crowd into a spin, dancing and singing the words from a song he wrote with a man from Stretford forty years ago back at him. 

In the middle of the set he switches to acoustic guitar and plays Please, Please, Please, Let Me Get What I Want, a long finger picking introduction before singing it very sweetly. I have a bit of a moment during this song, tears and everything, something that has been happening to me a gigs since Isaac died. He follows Please, Please, Please... by introducing another Wythenshawe lad, 'the king of the Wythenshawe guitarists' according to Johnny, Billy Duffy to the stage and they drive into How Soon Is Now, Billy finding space for a Cult- like guitar solo as Johnny and the band shimmer and surge through the song.

The final pair of songs are equally crowd pleasing- first Electronic's 1989 single, the sublime pop of Getting Away With It (Bernard doesn't appear to sing this with him alas) and then the mass singalong of There Is A Light That Never Goes Out, a song that despite the doom- laden lyrics with death arriving by being crushed by ten ton trucks and double decker busses, is a song of optimism and survival, an anthem for the young and not- so- young everywhere. 

Getting Away With It

There Is A Light That Never Goes Out

Prior to New Order's appearance DJ Tin Tin raises the temperature with a set of songs, played from a table and decks set up at the front of the stage with A Certain Ratio's It All Comes Down To This sounding great as the sun went down. Then, five minutes of dry ice, films of gymnasts and divers and orchestral music pave the way for New Order. It's dark by now, the lights on, the stage dramatic and dark, as Bernard walks to the centre and straps on his guitar. The venue is rammed by now. We have a spot down the front to the right. They open with Academic from 2015's Music: Complete and then go into Crystal (the highlight of 2001's Get Ready, a post- reformation song that showed they still had what it takes). The crowd have come from near and far. Half of Manchester seems to be here, teenagers and sixty- somethings. The two young men next to us have flown in from Cologne specifically to see New Order who according to our new German friends 'never come to Germany'.

From there, the next run of songs is close to perfect. All the idiosyncrasies, fragilities and temperamental equipment of 1980s New Order are long gone- this is a fully fleshed out, massive sounding hits machine with backing projections, smoke and lasers. Regret. Age Of Consent. Ceremony with Gillian switching from keys to guitar. Isolation, a Joy Division song containing one of Ian Curtis' darkest lyrics set to urgent, pummeling electronic post- punk. Then, slowing things down slightly, Your Silent Face. They play a couple of recent songs (Be A Rebel, the song with the most un- New Order song title ever) and then a superb, sky- scraping Sub- culture, 1985's Lowlife song/ single, the instant hit of the keyboard line, Stephen's drums and Bernard's words about 'walking in the park when it gets late at night' and having to submit filling Wythenshawe's space completely. 

Sub- culture

Bizarre Love Triangle (possibly their greatest single) seguing into Vanishing Point (possibly their greatest album track) and True Faith (again, possibly their greatest single). Blue Monday. Temptation (possibly... oh you know). It's all about the songs and the feelings they provoke. 

The encore is a Joy Division mini- set, Ian's face projected onto the screen behind them, the presence that is always hovering somewhere around the band. Atmosphere. Transmission. Love Will Tear Us Apart. 

Transmission (Live at Les Bains Douche, December 1979)

They've come a very long way since crawling out of the wreckage of Joy Division, from their faltering debut as New Order at The Beach Club in Withy Grove to this massive gig at Wythenshawe Park. They've made groundbreaking records, done it their own way, survived record company collapses, bankruptcy, the demolition of nightclubs, deaths, break ups and fall outs. Tony Wilson once said that Joy Division/ New Order were 'the last true story in rock 'n' roll'. It felt that way on Saturday night in a way, more than just a big gig, a band and an audience who have grown up together, whose songs mean so much to each other and who had come home. 

Moments

This song came my way again at the weekend, on Sunday night as I was getting my head around work the day after I think, a very welcome postcard from 1989 courtesy of J.T. And The Big Family. It led to a train of music in my head, one song leading to another, all links in a late 80s/ early 90s musical chain.

J.T. And The Big Family's Moments In Soul was created and mixed at Strawberry Studios in Stockport, one of many records passing through that studio in the 1980s, the state of the art desk and facilities paid for by 10cc's hit singles and desire to have a good studio to record in close to home and not have to go to London to make records. J.T. And The Big Family were Italian and created Moments In Soul largely from samples- the two you'll pick up on straight away are the synth stabs from The Art Of Noise's ambient classic Moments In Love and the summer  of '89/ '90 shuffle of Soul II Soul's Keep On Movin', plus the very familiar, 'ah yeah' vocal sample, and vocals by an uncredited Susy del Gesso. 

Moments In Soul 

Here's the two main source samples, Art Of Noise and their 1986 masterpiece, a song that in 12" form is one the 1980s best moments.

Moments In Love

Keep On Movin' was a March 1989 single for Soul II Soul, the second single from Club Classics Vol. One, with Caron Wheeler's vocal and Nellee Hooper and Jazzie B's production. One of those songs from a year when great singles seemed to be released on a weekly basis. 

Keep On Movin'

Moments In Soul was a top ten hit and a summer of '89 classic, a slowed down chugger giving dancers a few minutes of respite from the higher bpm tracks. The provenance of all those samples and their sources takes in a list of artists including Biz Markie, Toots And The Maytals, The O'Jays, Bobby Byrd, Foxy Brown and Grand Central Station (whose The Jam provided Soul II Soul with their drum break). 

Moments In Soul fits perfectly with many other dance records from the period not least this one, another chart smash. Tom's Diner was a 1990 hit for DNA and Suzanne Vega, with a Soul II Soul drum break, this time from Back To Life, with an a capella vocal from 1981 laid over the top. It was done originally without Suzanne's knowledge or permission, Tom and Neal from DNA chopping the vocal up into little bits, sampling it and then re- assembling it with drums, bass, some string stabs and piano. 

Tom's Diner

In 1991 Electronic, Bernard Sumner and Johnny Marr's band that was something of a bid to break out of the shadows of their two bigger bands, released Feel Every Beat, a single from their debut, self- titled album. DNA remixed it for the CD single- there are lots of guitars courtesy of Mr Marr, some big piano house chords, another shuffling DNA drum beat and Bernard's rather sweetly sung vocals, 'we don't need to argue/ we just need each other'. Bernard also raps (and gets away with I think), a vaguely coded response to the criminalisation of rave culture and free parties.   

Feel Every Beat (DNA Mix)

I Don't Know Where To Begin

As you probably know Johnny Marr's autobiography, Set The Boy Free, came out recently. I was in a shop and had just picked it up when my phone rang. Mrs Swiss said her Mother had just phoned saying she'd found a Christmas present for me and she was really excited because I'm 'difficult to buy for'.

'So whatever you do, don't buy the Johnny Marr book'.

I put it back, sighing slightly as I'd have to wait until the end of December to read it.

Electronic was a bolt hole for both Marr and Bernard Sumner and the original intention was to put out club inspired music with a variety of guests. First single Getting Away With It was a big hit in December 1989 so the idea of releasing things quietly and anonymously was shot to pieces there and then. Follow up Get the Message in 1991 was a brilliant piece of pop. It was followed by a remix 12" where the song structure was stretched into a dancier groove.

Get the Message (DNA Groove Remix)

Haze

I'd forgotten about this one and found it while wasting time on Youtube recently. 1999's Electronic album Twisted Tenderness didn't exactly set the world alight and Sumner and Marr moved onto different and separate things afterwards. Track 2 is a little gem though, a highlight in either man's back catalogue outside their main bands. Johnny Marr had got back into playing distorted guitar and the whole thing has menace and convincing swagger.

Haze

This live version done for Jo Whiley's Channel 4 music show is even heavier.

Cities In The Park

Just over twenty five years ago Factory Records put on a two day festival in Heaton Park, Manchester, in memory of Martin Hannett who had died earlier that year. Day One, Saturday August 3rd, included Buzzcocks, Paris Angels, Ruthless Rap Assassins, The Railway Children, OMD and The Wonderstuff. Day Two, Sunday, was almost entirely Factory acts- Happy Mondays, Electronic, ACR, Revenge, Durutti Column, The Wendys and Cath Carroll plus De La Soul, 808 State and New Fast Automatic Daffodils. There were two day camping tickets. But who would want to camp in Heaton Park?

We went on the Sunday. It was hot. I met my brother there, who came in when some of the crowd outside pushed the fence down. He had a ticket but just fancied coming in through the fence. From memory Durutti were good but a bit lost in a giant field, Revenge were a bit iffy (Hooky playing bass, singing and whacking the syndrums repeatedly, probably trying to overcompensate for the bad blood between him and Bernard Sumner, New Order's split and their relative positions on the bill), ACR were good, 808 State really moved the crowd, De La Soul were shouty. Electronic were imperious, especially when the Pet Shop Boys turned up on stage and you scanned left to right and saw key members of New Order, The Smiths and PSBs all together for one song. It's shame they played live so rarely.

The whole event was filmed and a video released which I bought but no longer have. Here's a scene setter...



And here an enthusiastic Tony Wilson interviews Johnny Marr, Rowetta, Shaun Ryder and Bez...



This Youtube uploader has labelled this as Electronic live in London  but it's definitely Heaton Park.



Happy Mondays were by 1991 a stunningly effective if very unlikely stadium band. Kinky Afro rocks. No, it doesn't, it grooves.

Getting Away With It

I've been off work this week, half term holiday. Not done very much, pottered about, visited an exhibition at The Lowry, popped into town and went to a record shop or two, took the kids out, attended a protest meeting where I met Johnny Marr... that sort of thing.

Trafford Council, the Tory run council where we live, have recently announced that as they have no legal obligation to provide transport for disabled and special needs young people over the age of sixteen that they would be withdrawing the service. Most disabled youngsters from the borough attend Brentwood Special School in Timperley and come from all over Trafford. Transport with an escort is essential for these kids. They cannot travel independently. Trafford Council is in favour of 'independence' but most of these young people will never be independent as the rest of us know it. Travelling on a public service bus is simply impossible. Not to mention dangerous. The policy is due to be enforced for all of them from September. This will affect our son Isaac. He cannot travel independently, it is out of the question. Under this policy the choice we will have is to either  pay Trafford's proposed parental contribution (£400 per month) or to take him to school ourselves. The school is several miles away. As I have to leave for work at 7.30 this obviously affects Mrs Bagging Area's ability and freedom to work if she has to make an hour's round trip at 8am and then again at 3pm.

More outrageously they cut the transport instantly for eleven young people last September without warning. This has adversely affected the children and the families- some autistic children have been completely disrupted by the loss of transport. Some have needed new medication as a result. At least one parent has lost their job and others have had to give up work or renegotiate with their employers. Some children have been unable to attend 16-19 education. The transport axe fell without warning and in some cases the council asked parents to provide evidence that their child was still disabled, including a girl with Downs Syndrome- as if she had grown out of it when she turned 16. The total cost of the savings for this year is £70, 000, which is a drop in the ocean in the finances of the wealthiest borough in Greater Manchester. Central government have cut local government funding and asked them to make further cuts. Trafford's Tory ruling group have bent over backwards to accommodate them.

Trafford Council's motto, displayed proudly on their recently refurbished town hall (multi-million pound refurbishment I might add), is Hold Fast That Which Is Good. Enabling disabled young people to attend school might fit into the category of 'that which is good'. The education provision in Trafford is rated as Outstanding. Cutting services for the one of most vulnerable groups in society is not. Many other councils in the north-west have decided that although they are not legally bound to provide such transport for disabled and special needs youngsters, they are morally bound to do so. Conservative Party morality is clearly something else entirely.

On Wednesday night we attended a protest at Trafford Town Hall before full council met. Several Labour and Lib Dem councillors have spoken on our behalf. An online petition has over 2000 signatures. The council have delayed a final decision so far. As we stood in the dark outside the town hall with our banners and placards a familiar figure came into view. Johnny's niece attends Brentwood Special School so he has a personal involvement. And that is how I ended up on the steps of Trafford Town Hall standing next to Johnny Marr- a man whose poster was on my wall as a seventeen year old, whose records I have bought religiously over the last three decades- as he shouted the words of a chant I made up for the benefit of the council and cameras. Was I freaked out? Just a little. The Manchester Evening News report is here with our son Isaac to the left of Johnny in the first picture. Maybe best to ignore some of the mealy mouthed comments at the bottom. The protest was on ITV Granada's 10.30pm news too. Let's hope the press attention counts for something as the Tory ruling group meet to consider their final decision.  So while the protest and the campaign are the most important aspect of this, and persuading Trafford Council to accept their responsibilities is the number one priority I have to say I was a tad giddy about meeting Johnny Marr and before leaving we had time for a brief chat and photo opportunity. Top man Mr Marr.

Electronic Factory

When Electronic released their first two masterful singles (1989's Getting Away With It and 1991's Get The Message) they seemed to have the future in their palms. They talked of collaborating with a variety of people all based around the core of the pair. Bernard wanted a break from New Order. Johnny had left The Smiths. Both wanted to do new things and break new ground. I always imagined this would lead to something a little different than just the song-based tracks that made up the first album (which I love by the way and many of the songs on it are first rate). The other stuff ended up on B-sides but I always thought they should have pursued this and made an instrumental, dance music album as well as the dance influenced pop. Lucky Bag was on the flipside of Get The Message, Hacienda house with Italo piano. Lean To The Inside was a classy, more chilled piece which came out on the Feel Every Beat 12". A whole album of this kind of thing could have worked really well.

Lucky Bag (Miami Edit)

Lean To The Inside

Disorder

New Order split up, sort of, for the first time in the late 80s, splintering into several bands who all sounded a bit like New Order. After ten years together they needed some space from each other. Depending on who you believe a) Bernard had had enough of Hooky's habits and wanted to make music without having to have his bass on everything b) Hooky thought Bernard was a big-headed, lead singer who was trying to take over the band to make dance records. And so began the intermittent sniping at each other which, despite a massively successful reformation in the mid-90s and again in the early 2000s, has led to New Order touring and making records without Peter Hook. And whatever he's done and however he behaves, it doesn't really seem like New Order without Hooky on bass.

Bernard and Johnny Marr recorded a handful of great singles- Getting Away With It and Get The Message- and their first album was a good 'un from start to finish. Having abandoned The Smiths Bernard had to coax the best guitarist of his generation into playing the guitar at all on the debut. The rough and funky guitar break on Feel Every Beat, last song on the album, make 'em wait, is signature Marr. The song also has Barney rapping and getting away it. Just about.

Feel Every Beat (12" mix)

Hooky formed Revenge/took Revenge. He claimed Johnny Marr had promised to work with him first and then left him in the lurch. Now, now children, play nicely. Revenge's debut single was also good, full of sparkling guitars and NO-esque keys and singing. I don't have it on the hard drive at the moment and can't be arsed ripping it so it's video only. The album had a few moments too but nothing as fresh as 7 Reasons. 7 Reasons had an opening line as arch as anything Barney could come up with... 'It's good to be young and gifted again, to see if it all happens twice'.



He went on to find more chart success with Monaco (with David Potts). I was less fussed about Monaco and don't own anything by them- they sounded like a photocopy of New Order. A photocopy of a photocopy of New Order. But I don't begrudge Hooky that. I saw Revenge playing at Cities In The Park, in Heaton Park, in 1991. They played in the middle of the afternoon and sounded like a dance Sisters Of Mercy. Electronic played later, with both Pet Shop Boys turning up. They were much, much better.

Stephen and Gillian shrugged, tutted and then got on with making music as The Other Two. Their debut was also a little slice of joy. Sounds a little dated now I think. Kylie should have covered this. It is in lots of ways a long way from Transmission.



Factory lost New Order and gained three sub-bands, none of whom (Electronic excepted occasionally) could match New Order's record sales. Then Factory went bust, waiting and hoping for the band to put an lp out in time to save the label but it didn't happen. Electronic, Revenge and the Other Two had all put out their records on Factory. By the time they kissed and made up, Factory was gone.

Still

Johnny Marr looks the business in this photo- the black barnet, drainpipes, denim jacket and white shirt buttoned all the way up (from The Smith's appearance on the Oxford Road Show). As does his songwriting partner next to him, but Marr's look was always a bit more streetwise.

Johnny's been promoting his new solo album with his band, playing the 6 Music red button thing this week. I haven't got Playland yet so can't comment. But the version of Still Ill was first rate.

Still Ill (6 Music session)

Still Ill is a reminder of what an inventive guitarist he is (and he wrote it aged about 18) and also of how stunning Morrissey's early lyrics were. This song has more great lines than some people manage in an entire career- 'I decree today that life is simply taking and not giving, England is mine and it owes me a living' for starters. And whatever your opinion of Morrissey it is sad and unpleasant that he has been having treatment for cancer.

Getting Away With It was Electronic's masterclass of a first single. Marr and his band played it live at Maida Vale. Opinion seems to be split on this live version but I think it's alright. Watch it quick, these red button sessions have a habit of being taken down.

I've Always Thought Of You As My Brick Wall

Mrs Swiss and I are off to see Johnny Marr at the Ritz this coming Friday- according to reviews of the gigs so far he's playing several Smiths songs (including Bigmouth, Stop Me, How Soon Is Now? and London) and a handful of Electronic ones- Forbidden City, Getting Away With It and the always ace Get The Message.

Here's Johnny, Bernard and four blokes from the Gay Traitor doing Get The Message on Top Of The Pops in April 1991 (if you pause it just before the end of the clip you'll avoid Nicky Campbell).




Here's the DNA remix version for some TV show...

Electronic Shack Up

In the mid 90s A Certain Ratio got various people to remix and retool their back catalogue for an album called Looking For A Certain Ratio, which ended up coming out on Creation Records. The remixers included 808 State's Graham Massey, Jon Dasilva and John McCready, Sub Sub, Way Out West, The Other Two and Electronic. Johnny Jay turned in a remix of Mickey Way called the Manchester City Mix, which definitely won't be posted here. Nearly twenty years on there's an element of 'why bother' about some of these remixes, as they stripped away the period punk-funk and added mid 90s dance software. Electronic tackled Shack Up. You can probably guess what it sounds like- worth a listen though, Johnny Marr and Bernard Sumner (I'm guessing it was mainly Sumner but don't know for sure) providing a version of Shack Up that sounds very much like music sounded in Manchester's bars at the time.

Shack Up Radio edit (Electronic Mix)

I'd Rather Watch Drying Paint

Yesterday's duo (Pet Shop Boys) meet another duo (Electronic) and record a stand out track from the first Electronic album, Patience Of A Saint. Neil Tennant had already worked with Bernard Sumner and Johnny Marr on the debut Electronic single, 1989's gorgeous Getting Away With It, and on this song Chris Lowe joined in on keys as well. Seeing as Marr had more or less refused to play the guitar on the album there must have been a lot of people standing around prodding drum machines, synths and samplers during the recording of this song. It's a fantastic track nonetheless, with Neil Tennant in withering sarcasm mode (the line that gave this post it's title for example and 'If I drove a faster car, I'd drive it bloody well').

The picture shows the foursome backstage at the Cities In The Park festival held in Heaton Park in the summer of 1991. Held in honour of Martin Hannett who'd died the previous April the Sunday was mainly Factory acts plus some other Manchester bands, and was a good line-up- New FADS, 808 State (very good), Durutti Column, A Certain Ratio, Revenge (they were pretty awful), De La Soul (lots of shouting. Live hip hop and festivals during daylight not mixing very well), Electronic and headlined by Happy Mondays. Security was fairly lax- fences going down left, right and centre followed by hordes pouring in, people working on the gates offering wristbands for a fiver- normal Factory/Hacienda sort of thing really. Electronic went on before the Mondays and at one point you stood looking at the stage with members of New Order, The Smiths and The Pet Shop Boys playing together and thought 'this is some kind of future we're looking at here'.

Factory was declared bankrupt just over a year later.

04 The Patience of a Saint.wma

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

Electronic 'Forbidden City'

When Bernard Sumner and Johnny Marr left their respective bands and announced they were forming, gulp, a supergroup we all expected a holy union of The Smiths and New Order. Which was probably highly unrealistic. Instead we got some perfect pop, some of-the-time but soon dated dance-y stuff and then some guitary stuff which was overworked and uninspired. But they definitely had their moments.

Moment Number 1. Getting Away With It. Perfect pop, with the additional vocals and songwriting of Neil Tennant. Sumptuous.

Moment Number 2. Get The Message. In the spring of 1991 Get The Message seemed to offer a bright new shiny pop music. It pointed a new way forward, with the production of dance music and the talent of two post-punks/indie-kings. It also had a very ravey but good fun B-side, called Free Will. There was a long feature in the NME when they supported Depeche Mode in a stadium in L.A. despite not having finished writing or rehearsing the songs or the set.

Moment Number 3. The first album. Several great songs- Tighten Up (performed by Bad Lieutenant on their recent gigs), Feel Every Beat, Patience Of A Saint, Reality, one or two others, with admittedly a couple of fillers.

Moment Number 4. Live show at Cities In The Park, Tony Wilson's short lived festival based in Heaton Park. During their last song, just before the Mondays came on, we looked at the stage to see members of New Order, The Smiths and Pet Shop Boys playing together.

Moment Number 5. Disappointed. Good actually.

Moment Number 6. Forbidden City. This song was the lead single for the second album, released in 1996, called Raise The Pressure (mmm, dull title). The album had Johnny playing guitar again, and was co-written by Karl Bartos of Kraftwerk, but this time it all added up to less than the sum of the parts. Too many later period New Order B-sides/album track type stuff, some jangle but little fizz.

This song though was a beauty and is still a joy- perfect guitar pop music, with a typical but outstanding Bernard lyric and vocal about being trapped and wanting to break away, cool-as production, and wonderful guitars. Check out the controlled feedback during the guitar solo. Absolute perfection. If only the rest of the album had matched it. After this there was a slow decline to a third album, appearences on TFI Friday and so on, but briefly and occasionally they burned very brightly.



01 Forbidden City.wma