GALTON RECORDS
1988
I had been living on the Galton Valley West Smethwick. For about a year now and at the end of that year I met Mr Blake.
a softly spoken guy with many strange interests. But He could play a Guitar...Played like a robot But this man knew how to Play Arpeggio’s that inspired.
He showed me Power Chords...and My world Lit up.
I had been living on the Galton Valley West Smethwick. For about a year now and at the end of that year I met Mr Blake.
a softly spoken guy with many strange interests. But He could play a Guitar...Played like a robot But this man knew how to Play Arpeggio’s that inspired.
He showed me Power Chords...and My world Lit up.
 |
 |
At the same time thru a Mutual Interest I also met a Good Freind to be...the Legend that is Cosmic Neil. So the Months went by and I had learnt how to record
using a MultiDub technique with Two normal portable cassette players with Built in Mics And they were the machines for a while. Then i upgraded to Cassette decks,
a basic line/mic Mixer, and Proper Microphones with a Stereo Digital reverb. Cosmic had a Flying V and a 70s W.E.M 2 channel Bass amp,
All the leads were Made by Me (not well) It was a use what you have moment...Mikes taped to Broom stales...anything.
I had a Satellite Fender copy It had been well and truly Butchered by Now But it sounded Alright...and so the Cosmic/ACEX affair began
Cosmic Also From the Hill..Had been Living in Dubai For about 4 year he was a Barret Bowie, Floyd, Morrison, Bauhaus Guy And one of the best snap improviser
I have ever worked with A lyrical Genius..who threw up line's like a spit.A true Poet He would play Strings Keyboard and Sing, we made a Lot of Noise together
From this guy I had learnt how to write & express Lyric. And it broke some of the Chains of Standards I seemed to be conforming to in Musical Terms
Cosmic had contributed many a song and Lyric Most of it as spoken word.I would rephrase the words as little as I Needed
Then i would then stick Music to them....Albert Rose & Cosmic Neil aka Mad Fools on Acid.
There was a Band that was Formed originally in Late 88...It was called Work Of Mercy... This consisted of Albert Rose on Vocals n Bass...Cosmic Neil on Vocals,
& Mr Blake on Lead Guitar...Always The Drummer in 88 Was a Guy called Josh Spike...but was Replaced by Mr Phil... Phil a Rush Fan and a Damn Fine Drummer.
Features on the Album...Rich Bitch - Work of Mercy never made it out of Rehearsals...and was a Faded memory by 1990
 Cosmic Neil |
 Albert Rose |
I was Just as Obsessed at Mastering this Recording Process i was Learning...Patience was Never a Strength of Mine
Josh Spike was Living with Me at this Time. He had an Healthy attitude to Music not really a Born Musician
But Liked a Good Melody and Liked to Sing...and knew a Good tune when he heard one, So we began to Work Together
This became Known as Shenmen ...Josh & Me spent many hours Practising Songs From the 50s & 60s
My Obsession with Vocal Harmonies became very evident...we Would Learn Tunes from the Likes Of Paul Anka, Buddy Holly
all the Big Time ballads of that Generation..Swoony Doo Wop was the Order..After endless Recording Sessions at the Flat and a Couple of Gigs as a Duet
Josh had Grown tired Of the Musical Slave he had become...it was not really about Perfecting the Songs or the Act
It was a Technical Warm up to homing Skills. Which would lead to a Whole new Era
The 50/60s style Music has always Influenced me
It's all in the Listening…Vocal Harmonies
Simple Beats n Simple Melody
The Trick was How to Express the Beauty of it
It's all in the Listening…Vocal Harmonies
Simple Beats n Simple Melody
The Trick was How to Express the Beauty of it
 The Valve Wonder |
 Josh Spike Shenmen |
1990
was the Year Malthouse was Born. My First working Studio Through out this Year Machines were Gained.A Yamaha DD 10 Drum machine
Delay and a Digital Chorus effect pedals...Japanese Copy Guitars I paid 30 quid for a Working short scale Bass Guitar got a Decent pair of Cassette Decks...
was given an Old Elizabethan Reel 2 Reel which had a decent 100 watt Valve Amp built into it.great to Make Noise thru…And Record with
I was still using the overdub technique. But now i could go further and the Recordings were getting Cleaner
Most of all Songs were written In this Year…I could Not Stop…and Now the Madness became Evident
Obsessive was the Nature As long as there was Progress it would never end…and I would never Give up Until the Product was in the Can…
And then I would do it all over again…Just to better it or Perfect it..At Times it seemed that every Run was a Dummy Run…and on Occasions
I would be Happy and Shout it to the world…anyone who came to visit Got to Hear the Latest Noise…and the Many pre evolutions to that Point
And in them days the Recordings would be a 6 minute Standard...Cosmic was on the Scene Contributing on Jams and Spewing He's endless Lyric
A guy Called Raggy use to Jam with us Another speed solo Fan Shame really cos he was Good… If only he could see past Metallica & iron maiden
It seemed I was surrounded by this Mentality Most were decent Guitarists But with no sense of Melody or Song Creation.
it was all about the Spotlight Falling on them how fast they could play the latest solo they’d learnt out of a Book.
Trying to Playing so fast that Most of the Notes were Just a Muted Mess
In my eye’s that’s all about image the..."ooh touch me look at me"...There was no music...What they really wanted was Girlfriends…
This was their personal pea-COCK moment….there was no pride in their attempts…Just mastering the technique….Not the SONG….at times it Numbed me
But i guess we were all a Bit Wet behind the Ears in them days
For the Next 3 years the Music would Pour from the Mad Fools on Acid, with the Occasional solo offering of Shenmen..
Both studio Projects Reverberating from the Studio's of Malthouse on the Galton Valley
was the Year Malthouse was Born. My First working Studio Through out this Year Machines were Gained.A Yamaha DD 10 Drum machine
Delay and a Digital Chorus effect pedals...Japanese Copy Guitars I paid 30 quid for a Working short scale Bass Guitar got a Decent pair of Cassette Decks...
was given an Old Elizabethan Reel 2 Reel which had a decent 100 watt Valve Amp built into it.great to Make Noise thru…And Record with
I was still using the overdub technique. But now i could go further and the Recordings were getting Cleaner
Most of all Songs were written In this Year…I could Not Stop…and Now the Madness became Evident
Obsessive was the Nature As long as there was Progress it would never end…and I would never Give up Until the Product was in the Can…
And then I would do it all over again…Just to better it or Perfect it..At Times it seemed that every Run was a Dummy Run…and on Occasions
I would be Happy and Shout it to the world…anyone who came to visit Got to Hear the Latest Noise…and the Many pre evolutions to that Point
And in them days the Recordings would be a 6 minute Standard...Cosmic was on the Scene Contributing on Jams and Spewing He's endless Lyric
A guy Called Raggy use to Jam with us Another speed solo Fan Shame really cos he was Good… If only he could see past Metallica & iron maiden
It seemed I was surrounded by this Mentality Most were decent Guitarists But with no sense of Melody or Song Creation.
it was all about the Spotlight Falling on them how fast they could play the latest solo they’d learnt out of a Book.
Trying to Playing so fast that Most of the Notes were Just a Muted Mess
In my eye’s that’s all about image the..."ooh touch me look at me"...There was no music...What they really wanted was Girlfriends…
This was their personal pea-COCK moment….there was no pride in their attempts…Just mastering the technique….Not the SONG….at times it Numbed me
But i guess we were all a Bit Wet behind the Ears in them days
For the Next 3 years the Music would Pour from the Mad Fools on Acid, with the Occasional solo offering of Shenmen..
Both studio Projects Reverberating from the Studio's of Malthouse on the Galton Valley
There was one Guy who I met who was Pretty damn Fine at this speed solo lark, amongst many other things
Because this Guy was also recording music…n more importantly He knew what he was Doing
At the time he was Producing four track material from stony Lane in Smethwick under DangerFreaks International
Ned Hayfield a Smethwick Born man who is a College Trained sound tech/musician, Not an easy Fella to get on with for Most at First
Liked the Medication and the Drink (as we all did)...But were both on the same Planet has Far as Production and Song creation
and this Guy was a Genius in My eye’s had an ear for a Good Song and an Eye for Conviction, I think i had a Calming Influence on Ned
There were Many Contributors to the DFI Scene, JK a Guitarist and a Prog rock fan.. And Mr D Stanley (RIP) A damn Fine Bassist who never knew it…
Cosmic was around as well.....This was the House of Frank Zappa, death metal,....and the Double Dip Penguin
And then I came along with my 3 chords songs...which were sounding more like the Everly. Walker Brothers
Eventually Ned & I Got to know each Other and Work..Ned Producing a Handful of Tracks I had Written
Basically he set the Standard for In house production...The whole DFi experience was a Good Sounding Board...Opportunities arose and Bands Began
Because this Guy was also recording music…n more importantly He knew what he was Doing
At the time he was Producing four track material from stony Lane in Smethwick under DangerFreaks International
Ned Hayfield a Smethwick Born man who is a College Trained sound tech/musician, Not an easy Fella to get on with for Most at First
Liked the Medication and the Drink (as we all did)...But were both on the same Planet has Far as Production and Song creation
and this Guy was a Genius in My eye’s had an ear for a Good Song and an Eye for Conviction, I think i had a Calming Influence on Ned
There were Many Contributors to the DFI Scene, JK a Guitarist and a Prog rock fan.. And Mr D Stanley (RIP) A damn Fine Bassist who never knew it…
Cosmic was around as well.....This was the House of Frank Zappa, death metal,....and the Double Dip Penguin
And then I came along with my 3 chords songs...which were sounding more like the Everly. Walker Brothers
Eventually Ned & I Got to know each Other and Work..Ned Producing a Handful of Tracks I had Written
Basically he set the Standard for In house production...The whole DFi experience was a Good Sounding Board...Opportunities arose and Bands Began
 Malthouse Studio |
 Noise Making Machines |
 DangerFreaks Int
Stoney Lane |
 Ned Hayfield |
1994
Jen was the lady in my life,..always a Good source for new material & Inspiration,
Stony Lane was no More but Ned & myself Were Working and Box of Flux was Formed..this was a Rage Against the Machine,Pantera, type of Band with
Adam on Rhythm guitar, Ned on Lead Guitar Occasionally swapping Role, John (aka Jeff) on Skins and Albert on Bass
Rehearsals Presumed and a Gig Followed 6 months of Hardcore prevailed and then it ended ...That experience Nearly Fucked up My Chord Hand..
Down to the Fact i was Playing a Fender Precision Bass with a Full Floating Trem...and Basically wasn’t Holding it right
The Band was a Real workout for a Chord Hand that was Not use to playing Bass...I had to wear a Strapped Brace on my Wrist for 2 Months. (Yep that bad)
Well it was for someone who thought that He was Going Places...And that the Damage Might wreck it all...But!...All under the belt right.
There was a Real Buzz around Malthouse at this Time People coming and going, wanting to be involved but not committing the time
Love was in the Air, Hair was Getting Longer...New faces New Sounds. Lots of Drinking and Smoking and way too much Acid
Jen was the lady in my life,..always a Good source for new material & Inspiration,
Stony Lane was no More but Ned & myself Were Working and Box of Flux was Formed..this was a Rage Against the Machine,Pantera, type of Band with
Adam on Rhythm guitar, Ned on Lead Guitar Occasionally swapping Role, John (aka Jeff) on Skins and Albert on Bass
Rehearsals Presumed and a Gig Followed 6 months of Hardcore prevailed and then it ended ...That experience Nearly Fucked up My Chord Hand..
Down to the Fact i was Playing a Fender Precision Bass with a Full Floating Trem...and Basically wasn’t Holding it right
The Band was a Real workout for a Chord Hand that was Not use to playing Bass...I had to wear a Strapped Brace on my Wrist for 2 Months. (Yep that bad)
Well it was for someone who thought that He was Going Places...And that the Damage Might wreck it all...But!...All under the belt right.
There was a Real Buzz around Malthouse at this Time People coming and going, wanting to be involved but not committing the time
Love was in the Air, Hair was Getting Longer...New faces New Sounds. Lots of Drinking and Smoking and way too much Acid
Between These Years 1994 & 1996 are Very fragmented
In the summer 7th of August 1994 My Dear Brother had Passed away He was only 35 it was Quite Traumatic..Because it was Sudden & unexpected.
Ned moved to Bristol and Sold me the Fostex 160 Multitracker and the DR 550...And thru all that Happened I managed to produce my first Four Track Album
All the Heroes are Dead (except Elvis)...written and Performed under a One Man project Called...Small Man Syndrome
A collection of old & new songs from the Last 5 Years…My Deepest Regret was Chris Didn't get a Chance to Hear this Progress
When I dream (of heaven)....Track 14 is a Tribute to Him... The Album is dedicated to My Brother
In the summer 7th of August 1994 My Dear Brother had Passed away He was only 35 it was Quite Traumatic..Because it was Sudden & unexpected.
Ned moved to Bristol and Sold me the Fostex 160 Multitracker and the DR 550...And thru all that Happened I managed to produce my first Four Track Album
All the Heroes are Dead (except Elvis)...written and Performed under a One Man project Called...Small Man Syndrome
A collection of old & new songs from the Last 5 Years…My Deepest Regret was Chris Didn't get a Chance to Hear this Progress
When I dream (of heaven)....Track 14 is a Tribute to Him... The Album is dedicated to My Brother
 Alexander Christopher - (RiP) |
 Small Man Syndrome Front Cover |
Performing a Song is a Two Headed Beast
Tame one to be Instinctive.
Allowing the Other to Express Freely
And with Madness & Conviction
One day it’ll make you and others Smile
1996
The early summer…I had Crossed paths with Mr Green once again and his Partner in crime, Eileen Ali.
Living in Bearwood, He had heard a Copy of Small man Syndrome...They were Both Moving back to Smethwick, to the Dibble
at the Same time Jen & I were one of about 9 Tenants Left in Malthouse it was Going to be Blown up
And on the 24th Dec 1996 we had arrived at the…Cellar of South
Mr Green & my self had already put music to Tape in the later half of that summer..this was the time Delta Nine was being experimented with
Delta nine was Shelved has it Became evident that English folk Acoustic Influence would Prevail
so at the Start of 1997...Happy Dog was born....Ming and I with the Gals involved in tolerating this Explosion of Creativity…
Between South & Dibble…Many a Session and Lyric Began...Most recordings were done at the Dibble.
Ming had Accelerated My Guitar Skills by Pushing me to play certain Bar Chords,...which I had avoided so far
And Eileen had Encouraged me to Find and have Faith in my ability she Became My Confidence Queen
They both Brought me my own Acoustic Guitar….Ming had already Got his Yamaha Acoustic Which was Quite a Bassy Sound
Compared to the Janglyness of my Washburn. They complimented each Other well Some 4o tunes at Least was Poured out the Pot.
Including some rehash of Some old Tunes….We had enough...So we Just Got on with Learning the Tunes..
It was a Midas touch….two Voices two Acoustics….It very much worked…
I put this Down to the Fact Ming & I was Both Mods and Both Soulsters Loved to Dance to the Grooves…
It was Telepathic….If an idea could be communicated thru an Example of a Mod Recording
All any other Record we liked…It was done and understood...It saved time….
Ming became Arranger and Ultimate Last Word….This was good cos I never have been able to finish a Song…
I was mainly a Melody & Lyric man….although Ming had chipped in on Lyric
There are mainly Co writs thru out the Collection….We had this Rule…..who ever did the Part Best. Got to do it…
No ego’s here as Far as the Songmaking Process was concerned.
This whole experience from the late summer of 1996 Till new years eve 1999….
was to be known as Dibble…..Happy Dog the Name came from other Dear Friends of ours…
Mark an Artist & He’s Partner Theory. a Designer…they were a Great Inspiration
The Christmas of 1997 I was doing mixdowns at the South…For the First Album Happy Dog Called C’mon Lets Wag It
A mixture influenced by Stanley Road, David Bowie, Radiohead. Simon & Garfunkel, and of cause the Beatles…
With the exception of a Few Tracks, quite a Demo based Collection of Songs.
But this is more about Melody & lyric…as opposed to Big Production.
Keeping it loose & simple….recorded at the Orange Cellar at the South.
This became my Studio replacing finally the beloved MaltHouse
 Mr Green aka Ming |
 Eileen Ali & Albert Rose aka Jelly |
 John O' Bass & Jelly |
 Ming & Jelly @ The Dibble |
There were so many Characters swarming the Dibble it was unreal..Meetings of Great Minds…and a three year non stop Party..
Great Indie Brit pop. Chilled Vibes of the Bristol Trip Hop…Nightmares on Wax…Atomic Jam Space hopper Hog…Above all there was always love
at the Dibble….Down to Good Vibe & Good medicine Good company… It Done wonders For Creation Confidence and Connection.
This essentially became the Collective…Me and Ming were still Jamming and doing Impromptu Shows for a few gathered…
I Had Brought My self the New Mini Disc player/recorder, purely because I was aware of the Looping Possibilities and the Fact I could Master Digitally.
With the onslaught of all the Raving and the Techno rise, Dance Music and Culture was a Turning Point, I can see the Musicality in it Now…
From a Production Point of view it became a Diamond to me From that early listen to
Cypress Hill, the Fugee’s in 95 to..Roni Size’s Reprazent…And all things Dub were the Listen
So Delta Nine came off the Shelf….there were already a handful of Tunes on the Tapes….And with Loops…New ones were Born
In Delta Nine I had Moved to Bass and Electric Guitar….Ming who played Lead and Sang on Occasion….If I wasn’t on Bass then That would be the ever Lovable John O’ Bass…A Guy who once Said…”there is a difference between some who can play Bass and a Bassplayer”
He features on Watch my Tailsmoke & delta 9…there were a few more Contributors….Astle, basically Jams over Loops. Live or Layered…
The Big O was a 25 minute piece I had recorded at the Cellar. I was jamming Bass over a Stereo Loop I was Monitoring thru Head phones
and for about 12 Minutes I was on another planet….when I eventually came back to earth…the MD player was Reading just over 20 mins had elapsed
I mention this Because that was a First for me whilst Playing an Instrument…This was the Power of Music & Mud with a Side salad of Healthy Green
I remember watching a House party Full of Dancers Dancing to that tune when it was Thrown into a Mix by the DJ No one knew that was us
Now that was a Buzz, The song got Cut to 10 minutes and is Featured on the Album by Delta Nine
No reservations….was done on two takes and is the longest duration we have ever done…
It was the First example of the Concept we were trying To achieve of Playing to tech Loops with Conventional Instruments.
With a Live approach to recording…It was interesting..The Fostex Had Lost the Function of two Tracks Essentially Demoting it self to a Fancy Mixer
It would not be abused and used anymore, Remixed Several Times Astle by Delta Nine...Was completed roughly at the end of 98
Great Indie Brit pop. Chilled Vibes of the Bristol Trip Hop…Nightmares on Wax…Atomic Jam Space hopper Hog…Above all there was always love
at the Dibble….Down to Good Vibe & Good medicine Good company… It Done wonders For Creation Confidence and Connection.
This essentially became the Collective…Me and Ming were still Jamming and doing Impromptu Shows for a few gathered…
I Had Brought My self the New Mini Disc player/recorder, purely because I was aware of the Looping Possibilities and the Fact I could Master Digitally.
With the onslaught of all the Raving and the Techno rise, Dance Music and Culture was a Turning Point, I can see the Musicality in it Now…
From a Production Point of view it became a Diamond to me From that early listen to
Cypress Hill, the Fugee’s in 95 to..Roni Size’s Reprazent…And all things Dub were the Listen
So Delta Nine came off the Shelf….there were already a handful of Tunes on the Tapes….And with Loops…New ones were Born
In Delta Nine I had Moved to Bass and Electric Guitar….Ming who played Lead and Sang on Occasion….If I wasn’t on Bass then That would be the ever Lovable John O’ Bass…A Guy who once Said…”there is a difference between some who can play Bass and a Bassplayer”
He features on Watch my Tailsmoke & delta 9…there were a few more Contributors….Astle, basically Jams over Loops. Live or Layered…
The Big O was a 25 minute piece I had recorded at the Cellar. I was jamming Bass over a Stereo Loop I was Monitoring thru Head phones
and for about 12 Minutes I was on another planet….when I eventually came back to earth…the MD player was Reading just over 20 mins had elapsed
I mention this Because that was a First for me whilst Playing an Instrument…This was the Power of Music & Mud with a Side salad of Healthy Green
I remember watching a House party Full of Dancers Dancing to that tune when it was Thrown into a Mix by the DJ No one knew that was us
Now that was a Buzz, The song got Cut to 10 minutes and is Featured on the Album by Delta Nine
No reservations….was done on two takes and is the longest duration we have ever done…
It was the First example of the Concept we were trying To achieve of Playing to tech Loops with Conventional Instruments.
With a Live approach to recording…It was interesting..The Fostex Had Lost the Function of two Tracks Essentially Demoting it self to a Fancy Mixer
It would not be abused and used anymore, Remixed Several Times Astle by Delta Nine...Was completed roughly at the end of 98
1999
This was a Fast Paced year…New Faces in Old ones Wave Goodbye A Smethwick/Bearwood/Shropshire/Birmingham Mashup
The Decks became the Instruments….And Dance/Indie was the Listen Jenny had Gone…and a New Band was in the Making….
Lots of Party n Clubs Squat Bashes Weekenders in the country And of cause there would still be Small Gatherings at the Dibble
The band Consisted of Ming, Fudge Kes Dave Tim and Myself…A Mixture of Like minded experience that was to be
Called Colour Climax A Ska Dub Punk aspiration…Many a Rehearsal was Booked…I know I use to Turn up completely off my Head…No Focus or Direction….
I remember Insisting that I do Not want to Play Bass…and That John O’Bass should Be called in…Cut a Long Story short I was wasn’t really there
And Promptly Got the Sack..I remember Saying to fudge that If the Band keeps Going for a Good Stint
Then I would be Happy…Cos I always accepted the reason.
Colour Climax eventually became the ...Cracked Actors...I see my self as the Pete Best in that Revelation….
By the Millennium it was all a Different happening…There were bands to support, Sound Systems to carry
It was a Tear up round the Venues of Digbeth and Bearwood…and a Far
2002
By this Time there was a Buzz on the Punk scene Tim Drum & Ming (formerly cracked actors) With Myself Formed Punk Trio…Billy Bud
Supporting the line up with the likes of....Cracked Actors, Dub Rockaz,Drongos,Pain...even Roddy Radiation & the Ska Billy Rebels
There was a Great scene around Brum at this Time....Punks Supporting Punks....How it Should be
Billy Bud was thrown Together in Weeks....we Had a 3 song Set...And use to rehearse at Franks..A Dublin Man who Had he's own Sound System
He was Renting a Big Warehouse Space in Hockley Brum.....He had a Complete Stage ready set n Wired for Live...We use to Turn up and Plug in
Live @ Franks was Recorded here..the only Release By Billy Bud on Galton Records..we mad an Impact when we Played 15 Minutes of Driving Power Punk
Songs like Car Crash, Flyin Antz, and Ganstaz a Punk rendition of the Specials 2tone Hit...which we got to play in front of a Former Special
It was Great Fun but the Cracked Actors were Gathering Momentum....Glastonbury was already in the Bag...This was Great to witness....
Billy Bud was to Fade away within a year...It was exciting and Active...I learnt How to play My Bass and Sing....A new Skill Acquired
This was a Fast Paced year…New Faces in Old ones Wave Goodbye A Smethwick/Bearwood/Shropshire/Birmingham Mashup
The Decks became the Instruments….And Dance/Indie was the Listen Jenny had Gone…and a New Band was in the Making….
Lots of Party n Clubs Squat Bashes Weekenders in the country And of cause there would still be Small Gatherings at the Dibble
The band Consisted of Ming, Fudge Kes Dave Tim and Myself…A Mixture of Like minded experience that was to be
Called Colour Climax A Ska Dub Punk aspiration…Many a Rehearsal was Booked…I know I use to Turn up completely off my Head…No Focus or Direction….
I remember Insisting that I do Not want to Play Bass…and That John O’Bass should Be called in…Cut a Long Story short I was wasn’t really there
And Promptly Got the Sack..I remember Saying to fudge that If the Band keeps Going for a Good Stint
Then I would be Happy…Cos I always accepted the reason.
Colour Climax eventually became the ...Cracked Actors...I see my self as the Pete Best in that Revelation….
By the Millennium it was all a Different happening…There were bands to support, Sound Systems to carry
It was a Tear up round the Venues of Digbeth and Bearwood…and a Far
2002
By this Time there was a Buzz on the Punk scene Tim Drum & Ming (formerly cracked actors) With Myself Formed Punk Trio…Billy Bud
Supporting the line up with the likes of....Cracked Actors, Dub Rockaz,Drongos,Pain...even Roddy Radiation & the Ska Billy Rebels
There was a Great scene around Brum at this Time....Punks Supporting Punks....How it Should be
Billy Bud was thrown Together in Weeks....we Had a 3 song Set...And use to rehearse at Franks..A Dublin Man who Had he's own Sound System
He was Renting a Big Warehouse Space in Hockley Brum.....He had a Complete Stage ready set n Wired for Live...We use to Turn up and Plug in
Live @ Franks was Recorded here..the only Release By Billy Bud on Galton Records..we mad an Impact when we Played 15 Minutes of Driving Power Punk
Songs like Car Crash, Flyin Antz, and Ganstaz a Punk rendition of the Specials 2tone Hit...which we got to play in front of a Former Special
It was Great Fun but the Cracked Actors were Gathering Momentum....Glastonbury was already in the Bag...This was Great to witness....
Billy Bud was to Fade away within a year...It was exciting and Active...I learnt How to play My Bass and Sing....A new Skill Acquired
 Ming & Jelly |
 Tim Drum |
 Jelly |
 Billy Bud |
2004
Saw another Band Form Called….Big Lucky Consisted of Eileen Ali on Vocals…Claire on Horns & Vocals
Dev (formerly Drongo’s) a Punk Veteran on Guitar And Myself on Bass we had a Drummer never Knew his Name
This was a Good Song Project of a Punk Jazz Rock Blues Creation
We Did an Handful of Gigs all over Brum Playing upstairs at the Bear
Is a Personal Favourite of Mine….Again it all Faded away within the Year
Now this is when It all Go’s Quiet For awhile
2005
Well this is where New Technology Comes into the Fray And essentially I have spent the Next 5 Years Learning a New Trade
I always avoided Computers Simply Because of Expense But with the Kindness of Others I managed to get one…
And my insatiable Curiosity I made them Work for me Clever Little things aint they…I was still recording the odd Song
Working with Software like Absynth, Fruity loops. Reason..Remastering with the ever Genius that is Sound Forge
I eventually stumbled across Magix Music Maker 8 This technically works more like any analogue Multi tracker
Since 2005…Ruck of Stones was the New Project Title… By 2008..I had Done my First Video Release
And with that Erm Media was created…A Production body Representing all Material crafted By the Hand & Mind
2010
Eventually joining the internet highway in early 2010 It is the intention of Erm Media and all who have sailed in her
To share every Itch and Scratch of the last 23 years with the world
2010 also saw the Digital Release of Church Elektronika the Debut album by Ruck of Stones…
an instrumental Collection of recordings done thru out the last 5 years
Smevik Dub was Sequenced on Music 2000...using original Samples
Grim bastad & Step Prince…are the First Digital Multitracks Done on PC
I had that Moment of realisation.When I looked at the PC monitor
It was all there…Lyrics on a Notepad Virtual VUs Monitoring My input
Not a bit of Sticky tape in Sight No Contorting my self Just to read a Note
No snake pit of Dodgy Leads No stretching to release a Pause Button
One guitar into the left Channel, one Microphone into the Right
All I had to do was Press the Spacebar on the Keyboard…
Saw another Band Form Called….Big Lucky Consisted of Eileen Ali on Vocals…Claire on Horns & Vocals
Dev (formerly Drongo’s) a Punk Veteran on Guitar And Myself on Bass we had a Drummer never Knew his Name
This was a Good Song Project of a Punk Jazz Rock Blues Creation
We Did an Handful of Gigs all over Brum Playing upstairs at the Bear
Is a Personal Favourite of Mine….Again it all Faded away within the Year
Now this is when It all Go’s Quiet For awhile
2005
Well this is where New Technology Comes into the Fray And essentially I have spent the Next 5 Years Learning a New Trade
I always avoided Computers Simply Because of Expense But with the Kindness of Others I managed to get one…
And my insatiable Curiosity I made them Work for me Clever Little things aint they…I was still recording the odd Song
Working with Software like Absynth, Fruity loops. Reason..Remastering with the ever Genius that is Sound Forge
I eventually stumbled across Magix Music Maker 8 This technically works more like any analogue Multi tracker
Since 2005…Ruck of Stones was the New Project Title… By 2008..I had Done my First Video Release
And with that Erm Media was created…A Production body Representing all Material crafted By the Hand & Mind
2010
Eventually joining the internet highway in early 2010 It is the intention of Erm Media and all who have sailed in her
To share every Itch and Scratch of the last 23 years with the world
2010 also saw the Digital Release of Church Elektronika the Debut album by Ruck of Stones…
an instrumental Collection of recordings done thru out the last 5 years
Smevik Dub was Sequenced on Music 2000...using original Samples
Grim bastad & Step Prince…are the First Digital Multitracks Done on PC
I had that Moment of realisation.When I looked at the PC monitor
It was all there…Lyrics on a Notepad Virtual VUs Monitoring My input
Not a bit of Sticky tape in Sight No Contorting my self Just to read a Note
No snake pit of Dodgy Leads No stretching to release a Pause Button
One guitar into the left Channel, one Microphone into the Right
All I had to do was Press the Spacebar on the Keyboard…
Never as it been so easy for the Passionate
to express & Share so Freely
Generations before would have had to Sell there Souls
for this Much Exposure
to express & Share so Freely
Generations before would have had to Sell there Souls
for this Much Exposure
Its not really about the Fame or the Money...Its the "can i do that" Attitude.
Frequent Persistence makes Good Practise Eventually You'll suss it out
Dont let the Standards Stifle the Creation within And without the Confines of Curriculum.you really can Move Forward
Its about Communicating and that should be as Primal has it meant to be
If your Lyric Stirs a Teardrop, If your Melody can Draw attention from, and Silence your audience
Then your Doing it Right, So Just Get on with it
Curiosity with Perfection is a Good Nature And Good enough may be your best..
get your head round that and Productive progress will be your Reward...too much thinking. not enough playing
A self taught Musician & Sound Tech with over 20 years of self penned/composed material..
Galton Records is a Self designed Label producing song material since 1988
from the days of analogue reel2reel dubbing. Multitrackers, phono patches and dodgy leads,
learning a craft to create sounds out of desire and passion for the love of music.
There have been several studio projects that have passed thru the wire along with a few Live projects
After years of faffing and blowing things up we arrive in the digital age..
where life for any aspiring musician becomes a little easier
Frequent Persistence makes Good Practise Eventually You'll suss it out
Dont let the Standards Stifle the Creation within And without the Confines of Curriculum.you really can Move Forward
Its about Communicating and that should be as Primal has it meant to be
If your Lyric Stirs a Teardrop, If your Melody can Draw attention from, and Silence your audience
Then your Doing it Right, So Just Get on with it
Curiosity with Perfection is a Good Nature And Good enough may be your best..
get your head round that and Productive progress will be your Reward...too much thinking. not enough playing
A self taught Musician & Sound Tech with over 20 years of self penned/composed material..
Galton Records is a Self designed Label producing song material since 1988
from the days of analogue reel2reel dubbing. Multitrackers, phono patches and dodgy leads,
learning a craft to create sounds out of desire and passion for the love of music.
There have been several studio projects that have passed thru the wire along with a few Live projects
After years of faffing and blowing things up we arrive in the digital age..
where life for any aspiring musician becomes a little easier
