Sunday, 28 October 2012

Livin' End Single - liner notes

Livin' End - Single artwork.
Livin' End
 As soon as we recorded this I knew  it should be the pre- album single, it sort of sets the tone. I wrote it while driving home from a gig and I sang it into a tape recorder when I got in. I could hear Roy Orbison singing it in my mind.  The final song isn’t that far removed from that first guitar-free draft. Incredibly, the initial rough tape-recorder demo, sans guitar, was even in the right key, E minor. That’s a rock ‘n’ roll key. And I just love Mike's rockabilly beat!
Recorded  on  my tatty old  red re-finished Epiphone Sheraton semi acoustic.

Long Leggy Woman (Blues Version)  (B side only - not on album)
Messing around busking on my guitar, as is my wont, I was absent-mindedly playing this song, and I found myself doing it E, which is a lower key to the original, and with a much different feel too. I hadn’t actually noticed at first it was one of my own songs. I felt the funky groove gave the song a completely new lease of life, and so we have a 2012 version.

See separate posts for lyrics ( Labels: LYRICS)

Tanglewood acoustic Earth 200LH.

It's quite amazing how well guitars are built these days. This guitar cost me very little, and we used it on virtually every  track on the album, on both singles, and  on the new ep too. I think it sounds just fine, with a  nice full tone. I have had it set up - almost every guitar I own I have set up, so that's the norm. 

It's been to a few countries with me, and its been knocked about, but that's ok.

Livin' End (Single) - Lyrics

Livin' End

Words and Music copyright Dave Peters on Everyday Records

 Hold me baby hold me close and tight   gimme your lovin' all through the night
Now you're near it's gonna be alright  I wanna love you honey with all my might

And your love you bring, you're like a bird you sing
You're like a diamond ring, and you're the livin' end

I hear you say you'll never let me go, well I feel so good that you just got to know
I'll say I now and then you'll understand oh on my word I'll always be your man

And your love you bring, you're like a diamond ring
It's a natural thing, and you're the livin' end

Everybody, knows the score,what it is, and what it's for,
I've been waitin' oh so long, for your love, to come on strong

Tell me that you're always gonna feel the same,
Let me know it honey come on call my name
now you're near we'll set the world alight,
I wanna love you baby wanna hold you tight


Tell me that you're always gonna feel the same.
Let me know it come on baby call my name
It's lookin' like we got a love to last and we
Live so easy and we live it so fast

It's a natural thing, and you're the livin' end
Take it baby shake it you're the livin' end
Honey can't you see that you're the livin' end
Livin' livin, livin end, Livin, livin, livin end
You're the livin' end  (repeat seven times)

Thursday, 11 October 2012

Antoria Acoustic Mandolin.

Antoria acoustic  / Andy Farrell electric mandolins 

Antoria Acoustic Mandolin converted to left hand.
 My little, budget Antoria is the
only acoustic mandolin we used on the recordings, so if  if it sounds like an acoustic, it'll be the Antoria (and if it sounds like an electric, it's the Andy Farrell, also pictured, above). I've had it since about 1990 I guess, and new, I think it was about £100 UK. At the time I didn't seem to be able to get hold of a left hander so  I bought it and  had it converted.  I think it records well. The volume pot is redundant, a remnant  from my dismal attempt to electrify it.

Tuesday, 2 October 2012

That Girl's No Good For Me (single) - liner notes

That Girl's No Good For Me  - Single Artwork

 That Girl's No Good For Me

I wrote this really quickly, once I'd got the guitar groove it more or less just tumbled out. Thinking Del Shannon in the middle eight harmonies, but they didn’t come out that way.
Starts with a Buzzcocks’ C sharp minor chord.

Stay in My Heart  (B side only-not on album)

Completely written way back, maybe 2002 - ish. I think a rough demo of this may be the very first thing I ever put down at Wilderswood Studios.    I always thought this would be a good song for a girl singer, and I still do. I think it could be played in a lot of different styles. This is how it comes out when I do it. Helen tells me she aimed for an atmospheric Walker Brothers  sound with the vocals, quite different for one of my records.