People ask questions;
What do you play?
Do you do any Whitesnake?
Can you play ‘Mustang Sally’?
Let Hugh take you through some of the thinking behind the songs we played in our set …
MONEY TALKS
Guitarist Andy J. brought this one to the band. AC/DC are not really my cup of tea and theirs wasn’t the ‘sound’ I envisaged for the band; however, the chorus was catchy and the lyric – though admittedly, a bit ‘un-pc’, you know, women just want money – felt like something I could deliver, so we tackled it as though it were a Stones number, a bit ‘Honky Tonk Women’, and it felt more like us.
BEAT IT
When Andy suggested this – via the Alien Ant Farm version – I wondered if I could do it justice because I thought of it as a young man’s song. However, when I looked closer at the lyric, I realised it could be an older guy who has seen hard times giving advice to a young ‘buck’ trying to make his mark on the world. And that’s how the song works for us.
FIND MY WAY BACK HOME
I first heard this song in 1969 on the Blind Faith album. Steve Winwood’s vocal is glorious and I love the song, but could never sing it before because I found the lyric so relentlessly bleak. Through his love of all things ‘Clapton’, guitarist Will knew the song too and we had tried to play it in the past but never quite got there. I became acquainted with the version by Neal Morse(Transatlantic, Spock’s Beard) in which he turned the lyric around to a more positive bent, reflecting his own outlook on life; now I felt I could sing it, so we take our version from his rather than from the original.
(THOUGHT; I am coming to realise that being vocalist in a band is not just about singing your favourite songs, but can also be about finding your way into songs you had not thought were right for you)
MAKE YOU FEEL BETTER
Like REM, I find RHCP songs fun to sing but often haven’t a clue what they are about; their lyrics can be wilfully obscure. Still, I love the sentiment of the chorus – wanting to make someone feel better – and hope that’s what our music does! Thanks, Andy, for suggesting this one!
STORMY MONDAY BLUES
Will and I first performed this acoustic-duo piece at an open-mic night in Banham, the same night that we first met to firm up our plans to be in a band together. I had previously sung this one in one of my guest spots with the Lee Vasey Band; Will knew it primarily from the Allman Brothers version on the ‘Fillmore’ album. Now this vintage blues classic belongs to all the members of the band, and I feel it takes it to a whole other level. I instructed the band not to play it like a blues band would – whatever that means – and this is the result!
LEARN TO FLY
I enjoy Foo Fighters songs, having sung a couple in my previous band. Andy brought this one to us; some clever lyrics and a powerful chorus make this both a challenge and a pleasure to sing.
MESSIN’ WITH THE KID
A lot of these ‘blues’ guys love talking about themselves in third person and sounding in control; clearly our Narrator here is having a hard time – short of money, a girlfriend who talks behind his back and steals his car – and he’s crazy about her, too!
A great fun song, immortalised by Blues Brothers, although our version derives from the Rory Gallagher ‘live’ version – thanks to my good friend Dave Gray for directing us to this one!
SUPERSTITION
Stevie Wonder wrote this song for his good friend Jeff Beck, at that time in a heavy-rock three-piece called Beck, Bogert and Appice. JB was none-too-pleased, it is said, that Stevie reclaimed it for himself. It feels like I have played this song in every band I’ve been in for the last 10 years, but it was actually our drummer Matt who pushed to do it in ‘Shoes’ – and it didn’t take too much persuasion. I love Andy’s ‘funky chicken’ chord work and Matt’s drum work on this one.
I JUST WANNA MAKE LOVE TO YOU
I first heard this song on the Rolling Stones eponymous debut album and loved it then. I am always surprised how well-liked this song is, and I notice people singing along too.
FEELING GOOD
A song from a hit Broadway musical of the 60s, this song was first introduced to me on the third Traffic album, ‘Last Exit’. Will, however, brought me the Joe Bonamassa version, we worked on our own arrangement and – presto! – one of our favourites in the set. (Check out Nina Simone’s version, too!)
COCAINE
J.J.Cale was a cult figure in American music, brought to many people’s notice when his song ‘After Midnight’ was released as a single by Eric Clapton in the early 70s. When he recorded ‘Cocaine’, Clapton was himself on the road to recovery from serious drug addiction. One can see why he wanted to document his experience by singing Cale’s chilling, almost matter-of-fact, account of how the drug may initially give you want you want, but will eventually get its claws into you and destroy you. A misunderstood song, perhaps because it leaves the listener to muse on the arguments, it is performed by us, sung by me, as a warning – and if that’s un-cool and not very rock’n’roll, tough! On a musical note, dig Andy and Will’s twin improvisations on the coda – Whooo!
WHILE MY GUITAR GENTLY WEEPS
A Harrison song from the Beatles’ ‘White’ album, this was notable for containing a rare guest appearance by a ‘big’ name on a Beatle record, namely Eric Clapton on guitar. Following Harrison’s death a lot of artists began to feature this song on their set; our version is based on the Todd Rundgren ‘live’ version.
SWEET HOME CHICAGO
Another slice of Blues Brothers fun and games. The childlike lyrics – one and one is two,etc – give a real sense of playfulness to the song.
WHITE ROOM
Cream were a very experimental band, something often forgotten about them. The ‘Wheels of Fire’ studio album showcased the songwriting team of Jack Bruce and Pete Brown as never before and this killer opening track has been a favourite since its release 45 years ago.
THE THRILL IS GONE
Will’s Dad’s favourite song, I am told, this B.B.King song about surviving a bad romance is given a more chilling feel with its minor key and non-standard blues changes.
SHARP DRESSED MAN
ZZ Top has a clutch of catchy hits back in the day and this one, an ode to sartorial elegance, has a great ‘chugging’ rhythm and one can’t help but dance!
GUILTY
Before he became best known for Pixar movie songs, Randy Newman was one of those songwriters who set the gold standard for music and lyrics. This very soulful song, from his ‘Good Old Boys’ album, was brought to prominence by Joe Cocker and its reputation cemented by its inclusion in the ‘Blues Brothers’ set.
ALWAYS THE LAST TO KNOW
In late 80s/early 90s, Del Amitri released some fine songs which have lasted; I heard a London busker singing ‘Nothing Ever Happens’ as I passed through Liverpool Street Station recently. Dave G suggested this one for us and we enjoy playing it; Andy’s solo is particularly fine on this one.
TEENAGERS
One of the first songs suggested for the band – by the Furness clan – acquires a particular frisson when delivered by a schoolteacher who has found some teenagers pretty scary on occasions. This is for anyone who has crossed the road to avoid a group of ‘kids in black’ assembled on a street. Hugh sings My Chemical Romance – who’d-a thunk it?
HOLIDAY
This politically charged Green Day song was suggested by Andy and is great fun to perform owing to its theatricality and a smart lyric. You can see why they recently created a stage musical of the ‘American Idiot’ album!
TAKE ME TO THE RIVER
Al Green – the Reverend Al Green, that is – gives us songs that intersect the sacred with the sensual and this song is a great example with its depiction of a man infatuated with a much younger girl who is making a ‘sinner’ of him so he needs to ‘get washed’, a baptism of sorts. Our version originated by my listening to the ‘live’ Eva Cassidy version as well as the Talking Heads interpretation, then we made it ours. Andy plunged into this one with little previous knowledge of it and plays a storm; Will’s suggestion to do the rhythm on acoustic guitar was the finishing touch.
LIKE A ROLLING STONE
One of the few songs in musical history to have a whole book written about it, Bob Dylan’s song got to me when it was played constantly on pirate ship station Radio Caroline in the Summer of ’66 and I was experiencing the delight of owning my first transistor radio! I was determined to learn the words and what a lyric it is! As soon as we played it together for the first time, we knew this was going to be one of ‘those’ numbers for us – a constant joy.
THE LAST TIME
Our good friend Lee Vasey always says that you have to get the Stones in there somewhere and this version of the old classic from the 60s is spiced up by Andy’s driving rhythm and Will’s deconstruction of the lead guitar riff, bringing a fresh 21st century approach to the song.
WALKING THE DOG
A piece of soul-lite from Mr Rufus Thomas, this was covered by the Stones on their first album. The nursery rhyme lyrics are fun to sing; we have imposed on it the riff from the Doors’ ‘Changeling’ from the ‘LA Woman’ album.
I HEARD IT THROUGH THE GRAPEVINE
Strangely enough, several Motown acts recorded this song before Marvin Gaye immortalised it with his take on it. The brilliant idea on that version of having the drumming suggest Native American drumtalk is hinted at in Matt’s drum part. Will loves the Creedence version – very long guitar solo! – and we may yet turn this song into a ‘face-off’ between our two fantastic young axe-men!
VALERIE
The Winehouse arrangement, with its echoes of The Supremes’ ‘You Can’t Hurry Love’, is our starting point rather than the Zutons’ original. This is one of those songs that has a very wide fan-base.
I BET THAT YOU LOOK GOOD ON THE DANCEFLOOR
An ode to all those ‘robot’ dancers in the 80s who moved jerkily to tracks like ‘The Model’ by Kraftwerk, it is ferociously energetic and great fun to sing. Matt attacks the kit like a mid-teen John Bonham and gives more of a ‘rock’ feel to the whole thing.
GIMME SOME LOVIN’
Another classic from one of Will’s heroes, Steve Winwood. We approach it in a ‘no-frills’ manner and we hope you like the energy of it.
SMOKESCREEN
This song was written for a musical play entitled ‘Open Secret’, my lyrics, Dave Gray’s music. The show, which had productions in Maidstone and Old Buckenham, dealt with the exploitative nature of television, as a seemingly innocent school closure led to a news story which exposed political and industrial conspiracies. This song was, in the musical, sung by Kit, the cynical host of the show that breaks the story, who has no illusions that TV is not about revealing but hiding – a ‘smokescreen’, in fact. Kit was a ‘cool’ guy so we gave him a rock/blues setting for his condemnation of TV and we felt the band could make the number work outside the show. We hope we have done, but we’ll let you decide!
Listen to Smokescreen:
ALL SHOOK UP
When asked to play an Elvis song for a birthday celebration, I recalled this version of the classic rocker as performed by Paul McCartney on his album RUN DEVIL RUN. We had so much fun with it we kept it in the set! Our guitarists love playing the unison riff. I have also fallen in love with the album again!
STUCK IN THE MIDDLE WITH YOU
Re-discovered when Mr Tarantino used it as accompaniment to a torture scene in his 1990 film RESERVOIR DOGS, the wry lyric and the snaky bass line make it great fun to perform. No one’s ear will be cut off during our playing of it!
LIGHTNING BOLT
A bit of young Mr Dylan about this song – it’s as if Bob came back, but his first album was BRINGING IT ALL BACK HOME. Young Jake Bugg has a voice beyond his years and a way with quickfire words. The guys like to do this very fast to keep me on my toes!
FAR FAR AWAY
Never got on with Slade back in the day, feeling they were ‘kids music’ and not worthy of my attention, being more taken with loftier bands like Mahavishnu Orchestra and Yes! Again, the proof of the song is in the singing and, as anthems go, this one has its lyrical charms.
KILLING ME SOFTLY WITH HIS SONG
Not, as is often believed, written after an epiphany at a Don MacLean concert, but originating from an aborted musical theatre song, it reached a huge audience through the cover version by Roberta Flack recorded after she heard a demo of Fox and Gimbel’s thoughtful song. Different from what we usually do, but a lyric with a lot of feeling is always good to sing.
DOCK O’ THE BAY
The first song Otis Redding wrote on the guitar after session player Steve Cropper taught him how to play with an open E tuning so he didn’t have to finger chords, it has become a modern classic of pop music and is heard at many a karaoke night! This is our attempt to deliver it in Shoes style, and I apologise for not being able to whistle at the end!
STAND BY ME
This Ben E King standard earned a new lease of life, like many an old song, when it was used in a hit movie. Rob Reiner’s 1984 film of the same name was a stunning piece of storytelling, one of the best movies from a Stephen King story ever, and the video of the song, which featured the cast of the film, secured its success. Seems to be known by listeners of all ages wherever I sing it.
PINK
Aerosmith, until they went all soppy and serious with that ghastly song for the film ‘Armageddon’, had a way with wry humour and self-mockery, This song has a very funny lyric, a snaky rhythm and some unusual chord changes.
WALK ON THE WILD SIDE
Lou Reed wrote songs about topics that would not shock in a book, play or film, but that he dared to bring such ‘taboo’ topics as drug addiction, gender-bending and sexual deviation to rock’n’roll is an indication of what a fearless original he was. He described this song as a set of short stories, all featuring real characters who hung around The Factory, artist Andy Warhol’s famous New York studio, in the late ’60s. Warhol, apparently, liked the ‘coloured girls’ chorus best!
FOREVER MAN
A deceptively tricky song; when we felt we nailed it, there was a genuine frisson in the rehearsal. This is destined to become a band ‘staple’ with its catchy guitar riff and Matt’s drumming – he plays a storm on this one.
I SAW HER STANDING THERE
Back in ’63, when I first heard this as track 1 of the Beatles’ first album, it hit like a thunderbolt – nothing like it had been heard, certainly on a British record, before. Today, it is still a stormer of a number to play, great to sing and to dance to. Like we all knew what Macca meant when he told us ‘she was just 17’, didn’t we…?
BROWN EYED GIRL
Van has never, despite a prolific output, written a song which connects so readily with people. Probably all those ‘sha-la-la’ choruses convey such joy at being alive!
HERE COMES MY BABY
This Cat Stevens’ song was a big hit for ’60s band The Tremeloes, but it is the more recent cover by The Mavericks that has given it a whole new lease of life. Never has a broken heart sounded so bouncy!
MONKEY MAN
Toots and the Maytals classic reggae was grabbed by the scruff of the neck by Miss Amy Winehouse who put it on her ‘Back To Black’ album. Daft lyrics, but great rhythm make this a dance-floor filler par excellence!
DANCE THE NIGHT AWAY
The Mavericks’ two-chord delight makes you wanna move, whether you’re in the Albert Hall or your local pub! I’m not quite sure that the guy in the song is as happy as he claims to be, but what a great chorus to raise the roof with!
THINGS MY FATHER SAID
Andy suggested that a Black Stone Cherry number might suit the band, and I recalled liking this one which features on their last but one album. Very emotional, reminding me of my own Dad – a pleasure to sing.
LET HER GO
Bordering on the twee and more ‘Cat Stevens’ influence than you can shake a stick at, this is still a poignant song to sing and something a bit different for us, which is no bad thing. Note Gen’s big bass note at the end – he is very proud of that!
BOHEMIAN LIKE YOU
A witty little song by the Dandy Warhols which wears its influences on its sleeve – Brown Sugar, anyone? – but is carried along by a couple of great riffs and a kind of teenage charm. Pickup lines never sounded so innocent!