First T in the Park Festival

The first full Festival I ever attended was T in the Park in July 1999 with John Dewhurst and Uncle George. I recall John attended the first couple of festivals in 1994 and 1995 when were held in Strathclyde Park, Hamilton with easy access from Glasgow before the festival moved to the larger site at the disused Balado airfield in 1997. Problems were subsequently encountered at the 2016 festival resulting in that being the last event.

We decided to grab a B&B in Edinburgh with the obligatory dolls dotted everywhere in our triple room and commuted into the site from there which turned out to be a bit of a trawl as it was over an hour each way on the shuttle bus, but you had the consolation of crossing the Forth Road bridge. After a couple of bevies in town on the Saturday we caught the bus about 3pm.  The weather gods smiled on us that weekend.

It was a huge site with several stages, and it possessed a natural amphitheatre for the main stage location. It was a cracking roster that year.

First up on the main stage was in retrospect a touching set as it transpired to be one of Joe Strummer’s final gigs prior to his untimely death, he was backed up by the Mescaleros. Following them was the New York faux gangsters Fun Lovin Criminals with their inimitable lead singer Huey Morgan, who is now a Radio 6 DJ. He was dishing out priceless advice by encouraging us ‘to go out and grab some ass’!  Their ‘Scooby Snacks’ track naturally went down a storm. We also caught a portion of the Stereophonics set.

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Joe Strummer on stage. Image Credit Las Vegas Weekly

We caught a segment of a very young Travis in a packed Stage 2 tent playing a rousing rendition of ‘All I Wanna Do is Rock’ and in the Slam Tent we saw Basement Jaxx.

In the King Tuts Wah Wah tent I encountered Death in Vegas for the first time and they were startingly good, opening with an astonishing 10-minute version of ‘Dirge’ with the added bonus of the guest vocalist Dot Allison actually on stage as she was also playing the festival as a solo act and we caught her set the following day.

The headline act was Mogwai and only the second time I had seen them at that stage, and George’s first and they were in fine fettle. Upon realising they were clashing with main stage headliners Blur, who they understandably had no time for the cheeky young scamps devised some T-shirts. Mogwai had been previously quoted that they thought Blur were one of the weakest bands on the planet thus the message emblazoned across the front was their interpretation of the dictionary definition of the band, namely ‘Blur: Are S#*#e’. I regretfully never purchased one of the T-shirts.   

  

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Infamous T-Shirt. Image Credit WordPress.com

 

Upon arriving back into the city, we foolishly stayed out until about 3am, however the dolls were still waiting for us when we arrived back. Thankfully John had some remaining dexterity to navigate a troublesome lock, whilst me and George giggled inanely behind him!

What greeted me the following morning was one of my all-time crippling hangovers and the thought of another full festival day was put it mildly particularly undesirable at that point in time. The only potential cure was the Hair of the Dog method though I was contending with the size of a Saint Bernard resulting in the extreme step of supping a brandy at lunchtime to set me right.

A few pints followed in a bar on Rose Street and I recall the British Grand Prix being on and chatting to an engaging American chap called Hank who became known thereafter as ‘Hank the Yank’. I felt infinitely better leaving than when entering the pub though I did flag later in the day.

In the newcomer’s tent, we saw Astrid and a very young Biffy Clyro.  On other stages we witnessed Placebo, Massive Attack, Gay Dad, Lanterns and Deus.

However, the best three acts of the day were the main performances in King Tuts tent. A soothing set from the Delgados was followed by a rousing one from Idlewild. The headliners were Mercury Rev who produced a terrific swirling performance to bookend the festival.

On the packed bus on the return journey some punter dropped his cube of recreational drugs. He went into panic mode as he wasn’t the owner resulting in the surreal sight of the entire top deck crouching down searching for the missing artefact before it was eventually located.

We landed back just shy of midnight and we were ravenous. We tasked a local taxi driver to find us an open Chinese takeaway and he met the challenge. A midnight feast followed before having a nightmare about those damn dolls!

I awoke feeling like a new man in the morning and we headed home via an ice cream stop in Moffat.

Five Lost Albums

I thought I would mix it up this week and look at some treasured records that in my personal view, and for whatever reason, did not receive the acclaim they deserved. I have listed these in chronological order: –

Squirrel Bait – Skag Heaven 1986

Hailing from Louisville, Kentucky they were quantified in the emo/mathcore genre (1983-1988).  Influenced by peers Black Flag and more distinctly Husker Du who they supported. I discovered  them via a Bob Mould quote in the NME singles review ‘as the finest thing he’d ever heard’

This second and final album contains 10 songs but is only 25.45 in length. Standout track is ‘Kid Dynamite’ with bracing intro and alarming refrain ‘I don’t need no pig stomping on my buzz’ and has muttered unintelligible incantations. Others to note are ‘Choose Your Poison’ with Black Sabbath War Pigs intro and ‘Slake Train Coming’ which thunders along.    

The record is scuzzy and full of youthful vigour and dark lyrics. It sounded utterly vibrant as an 18-year old and still holds up to scrutiny now.

Former members played with the Breeders and Lemonheads and original member Britt Walford subsequently formed semi legendary Slint.  

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Squirrel Bait -‘Skag Heaven’ album cover. Image Credit reddit.

Dumptruck – For the Country – 1987

Formed in 1983 in Boston Massachusetts. This was their third album and they decamped to Rockfield Studio in Wales for some solitude to record it. It is country rock in the finest tradition evoking comparisons to Neil Young, Green on Red and Buffalo Tom.

It has a yearning timeless quality and it is a ‘go to’ album for me. Standout tracks are ‘Friends’ ‘Brush me Back’ ‘Hung Out on the Line’ and ‘Dead Weight’.

Through no fault of their own the band got sucked into a record label contract dispute meaning no new material could be recorded and subsequently disbanded in 1991. Half of the band reformed and recorded new material as recent as 2018, but with diminishing returns.

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Dumptruck – ‘for the country’ album cover. Image Credit you tube – Tony Fivek

Joy Zipper – American Whip – 2002

Dream pop duo from New York, Tabitha Tindale and Vincent Cafiso, who are also a married couple.

Album recorded initially in Glasgow and then co-produced and mixed by Kevin Shields of My Bloody Valentine. It has a wonky sugar-coated beauty with a 60’s vibe and razor-sharp lyrics. Gorgeous sultry vocals complement each other perfectly and it is lovingly recorded. I hear snippets of Mercury Rev, Raveonettes and Velvets in there.  

‘Christmas Song’ could just possibly be the most shimmering gem of a Xmas song ever written. I also like ‘Baby you should know’, ‘33x’ and the fine outro ‘Valley Stream’ book ends the record.

Their last known recorded material was a contribution to a Smith covers album in 2011.

Former Cellmates – Who’s Dead and What’s to Pay 2008

Formed in Sunderland by ex-Leatherface bassist. Leatherface received Husker Du comparisons but I never really saw that link and much prefer this album.

The record could arguably be vaguely derivative at times and I can imagine not to everyone’s tastes but for me it is imbued with a lot of soul and passion and chugs along mercilessly and has a shambolic charm. There is a bit of Buffalo Tom and Springsteen in there and it has a country rock tinge.

Stand out tracks are ‘Always’, ‘Here’s to the Pretty Girls’ and ‘Why would you Pray for Me?’. They recorded 4 albums between 2005 and 2014 and I am not sure whether they are still operational.

Sennen – Where the Light Gets In (2008)

Based in Norwich in 2002 before decamping to London. They are named after a Ride track, and they are the only one of the five listed I have seen live.

I bloody love this band, who have produced five fine albums between 2005 and 2016 and I could have picked any of them but have selected the second album. Strictly in the post-rock shoegazing genre, displaying a hypnotic lush yearning sound, coruscating guitar and whispered harmonies resembling Loop and MBV.

Standouts are ‘Your Hand in Mine’ and ‘A Lifetime Passed’ which are gentler lovely tracks, that recall Teenage Fanclub ‘Grand Prix’ era. Also ‘Just Wanted to Know’ which morphs into a long thunderous outro.

My overall favourite track of theirs is ‘Falling Down’ off third album Age of Denial which builds layer by layer to a tumultuous conclusion, resembling ‘Ithica 27/9’ by Mogwai and ‘Dirge’ by Death in Vegas.

In my humble opinion, they remain the most criminally underrated band I have encountered.

Now, I would be fascinated to know what would be contained on your lost album list, even if you can only think of one.