Recorded through late 2005 and all of 2006 at Early Bird Studios in Harwich.
Produced by Stevie James.
Engineered by Peter Barrenger.
Guest musician on 'Stronger Now' Tom Robinson on Bass guitar.
All songs written by Veg except 'Stranger in the House' by Veg and Stevie James.
Copyright Control 2006.
Musician credits as follows.
This album was based on a series of demo recording sessions at Early Bird Studios during the autumn of 2005. Around 20 tracks were laid down in acoustic demo form. These were then refined to around 12. Some new ones were added and some from the original list were dropped and lo and behold here we are.
Click on the CD icon next to the track to listen to a streamed MP3 taster of around 1 minute of the track. The album will be released around mid to late April.
|Nothing At All
The only track on the album with piano on it. Interesting track, the lyrics were actually only finished during the final vocal recording session. This was going to be much further down the running order until we had the finished mix in our hands. At which point we figured it was too good to go anywhere else other than at the front of the album
This also means that by right it is also the first single too. Watch out for the video coming really soon.
|Bring it all to me.
An oldie but a goodie. This one has been kicking around for a few years now but finally I think the track has come home. It's taken 3 bands and 9 musicians but I am now finished with this track. It's angry and it rocks. Can't ask for much more really.
Ahhh, my beloved Mr Jack. This one is for all you JD drinkers. I wrote the lyrics with a good half bottle of the sweet nectar running through my veins. It prompted a few reactions in it's early rehearsal days. Both of the best come from Dan.
When I first played the opening line he fell about laughing at what he went on to describe one of the most rock and roll opening lines he had heard. On a par with "I was born in a crossfire hurricane". Now I'm not sure it is that good but I think it works. The other thing that was pointed out was that without Stevie's beautiful guitar riff that it would just be an arpeggio and a drum beat. Tis true. If you get a chance to ask Dan, get him to play you the wrong beat that he does from time to time to throw me. IT is so odd, I have no idea how he plays it!!
For Deb. After I had recovered from my brush with death due to pneumonia and then subsequently failed to get back in to the flow of music again, I refound myself a bit and realised some of the things that I had been taking for granted and therefore some of the people I had hurt and nearly lost. Anyway, this is me putting up my hands, admitting I was wrong and starting to build a new dream "Between the lakes and the evergreens".
During the recording of the vocals I was actully crying in the third verse. Very emotional for me. It's probably not very rock and roll to admit that. But hey, this is my soapbox!
Charlton Heston you are a cock! My personal opinion based on that scene from the Michael Moore film 'Bowling for Columbine'.
It's easier to link to it than explain it. But watch the clip then listen to the track. I think it says enough.
The first of 2 tracks written immediately after I put myself in the position of being without a band again. If time apart only serves to prove that there's nothing left to lose then you must be moving on. So, I did. This was one of the earliest recorded tracks for this album.
Probably not the most outstanding track on here, certainly one of the simplest, but I love it. This was all the anger and the hurt coming out. I felt much better after I wrote this. However I'll forever remember it as the track that has my hero playing bass on it.
I was so chuffed when Tom Robinson agreed to play on a couple of tracks for me. Unfortunately one of them was an older song that has since been dropped from the recording schedule but this one survives. His bass is quite vicious really. Just how I wanted it to be. Coooooool.
|Free rock radio
Well, what can I say that has not probably been said about this track already. It's been with me for a while now. I'll probably be known forever as the bloke that wrote this track. And I'm proud of that. It's been on the TV, Radio and had mentions in the press as well as hundreds of comments in after show chats. However, this is the grown up version of my baby. Very laid back. The vocals and Stevie's guitar are the original takes from the drum sessions. We didn't think we were going to get a better feel for it and so left them just as they were. It sounds very alive because of it too. I swear I can hear my brain whirring as I'm trying to keep up vocally with where the song is going.
Dunno what to say about this really. It's actually not really tongue in cheek as the lyrics are quite heavy. However it's played to a skiffle beat and we even have an earthenware jug in the mix too. I had to do that in 2 takes as after two minutes I was hyperventilating and nearly passing out. Very funny session. Brains is on drums on this. He plays for Chelmsford band Coping with Crisis and played drums for us on the very earliest pre production sessions when we first started to put the tracks together and before Dan became involved. A few of the tracks are the way they are because of his influence.
|Hi and Lo
I thought we had killed this one. We had a very acoustic and open demo for this. Very sparse but it didn't work in a band format. So, I set Dan and Pete loose on it and said just go wherever you want to. And here we are. It's still the same song in essence but bloody hell it has a killer groove now I love it.
|Stranger in the house
Co written by Stevie and myself. In fact would be fairer to say written by Stevie based on a set of chorus lyrics.
Really long story time. I was just about to leave work on the last day of my shift. Was chatting to my bud, Dave, and said I'm gonna go home and drink loads of JD, eat a huge pizza, make love to my wife and sleep in my bed, I drive a truck in the real world and don't get home much during the week. Anyway, he said that he really liked the sound of all that. My reply was basically what became the chorus. I'd share my whisky, I'd share my bread. But keep your hands off of my woman and keep your arse out of my bed.
As soon as I'd said it I knew it was a lyric. However, I couldn't write the rest of it. Each time I tried it was too serious. So, I gave what I had to Stevie and asked him to run with it. And what he came back with is this absolute corker of a song.
A special moment for me cos although Stevie and I have played together for I guess over 5 years now we had never written anything together. This is the first. There are more.
All you really need to know is that it's an epic. It's Dan's fault he said that we could make an epic out of it and so we did. Lyrically it's my view on my depression. Hey I'm a creative soul, we all have to be a bit tortured from time to time. It's bad luck to call it by it's name (A bit like that famous scottish play) and so is known in hushed whispers as "J"