SWS005 - The Reynolds 'Don't You Worry Baby The Best Is Yet To Come' the fifth release on the new Super Weird Substance label - release date August 14th 2015. 

Vinyl & Digital available here: http://bit.ly/SWS-005
Compilation CD available here: http://bit.ly/SWS-CD001

This is the full length Greg Wilson & Peza club mix, you can hear the radio version on YouTube:
https://www.youtube.com/watch?v=BHZUVedVtXw

The resplendent vocal versatility of The Reynolds has been indispensable to Greg Wilson's Super Weird Substance label over the first four releases and, as such, they have duly been awarded their debut solo release, mixed by Greg and Peza. Although only young, The Seacombe-based twins perform like veterans and in this case they have masterfully taken on Bessie Banks' 'Don't You Worry Baby The Best Is Yet To Come' - a cult Blackpool Mecca classic from the mid-70s. 

By playing contemporary disco alongside 60's soul rarities the Mecca was at the centre of the famous Northern Soul schism which put the venue at odds with the music policy of Wigan Casino. Whilst the Casino is remembered as the more famous venue, it's arguable that - via its most influential DJ's Ian Levine and Colin Curtis - more classic tracks were unveiled in Blackpool than anywhere else. 

The Mecca operated during normal club hours, closing at 2am, whereas the Casino was an all-nighter from 2am-8am - subsequently a number of people would leave the Mecca around 1am to get to the Casino for opening. This led to the final hour at the Mecca becoming more experimental and compilation albums have been made focusing purely on records that became popular there during this timeframe - 'Don't You Worry Baby The Best Is Yet To Come' being one, a Colin Curtis special.

It's such an obscure track that - unless you were there in Blackpool in '76 - it's unlikely you'll have ever have heard of it, having never been issued in the UK. The original vocalist Bessie Banks is best-known for her early 60's hit 'Go Now!' - later covered by the Moody Blues, gifting them their breakthrough hit.

Written by Clyde Otis and Banks' husband of the time, Herman Kelly - legendary in hip hop circles for 'Let's Dance To The Drummer's Beat' - 'Don't You Worry Baby The Best Is Yet To Come' was released in 1976, two years before Kelly's heavily sampled break.

Lending his hand to the recording and mixing once again, Peza cements an ever-fruitful association with producer Greg Wilson, as the Wolverhampton-based DJ and musician takes on a international focus, working with Chen Shi-Zheng in Shanghai on a project opening in New York - on the back of a mutual association with Damon Albarn.

The Reynolds are currently recording further tracks with the intention of a debut album release in 2016. The diversity of sound and nuanced vocal ability of the twins first surfaced on last year's 'Blind Arcade Meets Super Weird Substance In The Morphogenetic Field' mixtape and has become a hallmark of the label since.

Check out our Super Weird sounds at: https://superweirdsubstance.bandcamp.com
Stay up to date with the latest at: http://www.superweirdsubstance.com

The Reynolds  'Don't You Worry Baby The Best Is Yet To Come' - Greg Wilson & Peza Club Mix

Ah to be a child forever...... Thanks to Johnny Bivouac for his excellent reggae take on this song....

Neverneverland

I won a songwriting competition with this.  I sang it somewhere in West London on a big stage but can't remember where it was c 1990 recorded with John Ravenhall at Yard Studios

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Live recording of Greg Wilson on Credit To Edit night at Oval Space in London 12.08.17.

CREDIT TO THE EDIT @ OVAL SPACE LONDON 12.08.17 (greg wilson live mix)

In 1969 i was expelled from school and my parents,  in despair of trying to cope with a child who had 

a problem with authority, sent me to live with family in America.  I was 15 and it was the year of 

Woodstock.   I went to school there and joined the chorale class ..i had to sing 'home on the range' 

to audition...then singing 'Oh Happy Day' with the choir complete with Hammond Organ and Electric 

bass.   Coming from a British school with choir repertoire of 'Nymphs and Shepherds' this was a true 

revelation to me singing in a gospel choir and being part of the post-Woodstock feeling that love can 

make anything possible..  I have always thought looking back that the world missed a real 

opportunity to embrace peace at that time...but things didn't quite work out as hoped for,...as we 

now know..  Luckily in my uncles wardrobe gathering dust was a classical guitar along with  a 'play in 

a day' book..and it was true.  In a day i was playing 'Blowing In the Wind...soon followed by House of 

the Rising Sun...i was back in UK  6 months later gathering more tunes to play from Joni Mitchell, S & 

G Leonard Cohen and others.  There was not shortage of excellent tunes to play and sing back then.  

I was left handed and played a right handed guitar...out of sheer ignorance that i could have done it 

differently.  But my right hand played well in counterpoint rhythmic picking and certain styles of  

strumming so that's what i made do with .. Soon I  found i had a talent in recognising chord patterns 

from music  and could strum along with music playing  on the radio....  Maybe it's because there 

were already so many good songs i wanted to sing that i already loved, but i was never drawn to 

writing songs then, it never occurred to me to even try.   Back then a 'box' was almost a fashion 

accessory.   To be able to play the right songs got you into parties.   My first guitar was a Suzuki 

Classical..and then a Yamaha jumbo acoustic.   I carried on playing until i was 20.  

The 'day the music died' was the day i got married.  Nine years later and in a very dark place i came 

across a guitar for sale.  It was a white US Fender Strat...cheap because the paintwork got  gouged 

on the way to the shop.  Produced later but the same design as the guitar Jimi Hendrix played at 

Woodstock -(1968.. last sold for $2 million).    It was like i woke up from a dream.  Where had i been 

all these years that i had completely lost my music?  Never mind that this beautiful instrument was 

totally wasted on someone who played like me.  I WANTED IT.  I got the scratched paintwork 

stripped off..and  I bought  a twin reverb amp. to go with it.  Nothing less would have done.  And so 

began a secret life.  
  When i came home from my night nursey work and my husband had left for his job i wouldn't go to 

bed, i was picking around with this wonderful instrument and wrapped myself up which was a joy to 

play despite being handled like a folk guitar.   I was suffering from mega stress at the time and this 

was the light in my dark.  I found myself for hours picking rhythms in an almost meditative state.  

Then, one day i found myself writing a song...a flow of lyrics and melody just came into my head.  In 

fact holding the tune in my head, quickly writing down the lyrics and then picking the guitar back up 

and singing the song...this became the way i would always write songs.    My only conscious part of 

the process was to tidy up the lyrics afterwards and writing chord symbols over the top so i'd 

remember the tune... soon i got my first 4 tracker to keep them on.  There was never any agenda of 

getting a band, gigging , being famous..i had no confidence to even think stuff like that.  I did some 

solo  gigs because other people expected me to do it.  But i was never comfortable singing my own 

tunes in public.  It felt like the songs were always 'channelled' from somewhere else..that i was a 

fraud and it wasn't me writing them.  But there wasn't anybody else in the room.  
Always the  common factor was the combination of rhythm and words, spontaneous pattterns  

created by a chaotic brain trying to create order  - is a theory it has taken me many years to figure 

out. - . and of course all the lovely songs i played when i was young were still inside somewhere as a 

subliminal influence..   

1983 the year i left my husband, the world was full of electronic pop.  'People' would say 'we love you 

but we don't know where to put you'.  But i never wanted to be 'put ' anywhere.   People just 

presumed if you played them a track that  it was your dream.  Sure i would want people to get 

something out of my art.  To know they have resonated with others is a wonderful thing.  But to sing 

in public i have much preferred being a backing singer.  I just like to be a part of an excellent sound. 

 Is all.  These songs spouted forth on many occasions over the following 10 years.  Altho i sang with 

some great bands, i just never could see these songs beyond their creative process.   A few got to 8 

track stage.  A few got to 24 track stage.  But the more production the more input from others, the 

less i connected  with them.  I had no 'apprenticeship' stage, in fact the older songs are far more 

complicated than the later ones.  When i managed a nursing home, 1986/91 ..i lived in 'the potting 

shed' and being bored with strumming i decided to have a creative partner..a crappy Yamaha PSS 

basic model with 'in-built sounds'....i would just find a rhythm that fitted and play the chords... i only 

ask that on those tunes you just keep your ear to the voice and words.. it worked for me at the 

time:-)   The last piece I produced in 1993 was an instrumental piece.  I was tuned into open E and 

the little tune i called 'Dreamtime Journey' appeared.  I played it for the first time like i always knew 

it...even tho i had hardly ever played in open tuning...and somehow i knew as it came out that it 

would be the last. 
To everything a season..and mine was 1983- 1993.  'Legend in my own lunchtime' springs to mind...I 

hope you enjoy some of my little tunes.   Since 1993 altho i have never produced another song, i 

have still been spouting words in rhythm  and rhyme...but they now come as funny poems.   To 

those who have so far only known my spontaneous poetic combustions, you will all be mighty 

surprised at these songs.  To all those who knew me back then and haven't seen/heard the 

poems...boy are YOU  in for a surprise.    

When i first came across Anthony Peakes work 'The Daemon'  i felt he had supplied me with a logical 

answer to the question as to who was in my head doing all the composition.  I have always felt i have 

a secret self with it's own agenda what i do with my life,  a life full of wonderful creative surprises that 

i'm never expecting    I  do hope you enjoy my song sketches.  Please leave comments..my songs 

haven't left home before in such a fashion.  Peace, love  music and laughter...always...XXX  nb please contact me if you want copies of anything not downloadeable...

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Phillipa's Daemon

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