To be featured on a playlist like this just sign up to www.AtomCollectorRecords.com and add at least 1 SoundCloud track, Spotify track or YouTube video to your account. Then listen and watch other people's music to earn credits.

It's free to join and was developed by musicians who were fed up with all the sites wanting to charge them money to get their tracks heard.

All you do is listen to other people's music to earn credits that you can then use to get your own tracks played and the more you listen the more chance you have to appear in our playlists.

AtomCollectorRecords.com #RockMusic #Chart 25 June 2017

Here are our Top 10 tracks for June 2017 on SoundCloud.
Only you can influence next month's chart, so if you hear something you like, keep playing it!
Lots more great music: soundcloud.com/wud-records/albums | soundcloud.com/wud-records/sets
Visit our website: http://www.wudrecords.co.uk/
Support us with a download: https://wudrecords.bandcamp.com/ :)
Follow us on Twitter: https://twitter.com/WudRecords
Thanks for visiting Wud Records! \,,/(>.<)\,,/

Downloads

June 2017 Top Ten Tracks

Here are our Top 10 tracks for November 2017 on SoundCloud.
Only you can influence next month's chart, so if you hear something you like, keep playing it!
Lots more great music: soundcloud.com/wud-records/albums | soundcloud.com/wud-records/sets
Visit our website: http://www.wudrecords.co.uk/
Support us with a download: https://wudrecords.bandcamp.com/ :)
Follow us on Twitter: https://twitter.com/WudRecords
Thanks for visiting Wud Records! \,,/(^_^)\,,/

November 2017 Top Ten Tracks

Here are our Top 10 tracks for December 2017 on SoundCloud.
Only you can influence next month's chart, so if you hear something you like, keep playing it!
Lots more great music: soundcloud.com/wud-records/albums | soundcloud.com/wud-records/sets
Visit our website: http://www.wudrecords.co.uk/
Support us with a download: https://wudrecords.bandcamp.com/ :)
Follow us on Twitter: https://twitter.com/WudRecords
Thanks for visiting Wud Records! \,,/(^_^)\,,/

December 2017 Top Ten Tracks

Here are our Top 10 tracks for January 2018 on SoundCloud.
Only you can influence next month's chart, so if you hear something you like, keep playing it!
Lots more great music: soundcloud.com/wud-records/albums | soundcloud.com/wud-records/sets
Visit our website: http://www.wudrecords.co.uk/
Support us with a download: https://wudrecords.bandcamp.com/ :)
Follow us on Twitter: https://twitter.com/WudRecords
Thanks for visiting Wud Records! \,,/(^_^)\,,/

January 2018 Top Ten Tracks

Here are our Top 10 tracks for February 2018 on SoundCloud.
Only you can influence next month's chart, so if you hear something you like, keep playing it!
Lots more great music: soundcloud.com/wud-records/albums | soundcloud.com/wud-records/sets
Visit our website: http://www.wudrecords.co.uk/
Support us with a download: https://wudrecords.bandcamp.com/ :)
Follow us on Twitter: https://twitter.com/WudRecords
Thanks for visiting Wud Records! \,,/(^_^)\,,/

February 2018 Top Ten Tracks

Here are our Top 10 tracks for July 2018 on SoundCloud.
Only you can influence next month's chart, so if you hear something you like, keep playing it!
Lots more great music: soundcloud.com/wud-records/albums | soundcloud.com/wud-records/sets
Visit our website: www.wudrecords.co.uk/
Support us with a download: wudrecords.bandcamp.com/ :)
Follow us on Twitter: twitter.com/WudRecords
Thanks for visiting Wud Records! \,,/(^_^)\,,/

July 2018 Top Ten Tracks

Here are our Top 10 tracks for October 2015 on SoundCloud and Bandcamp.
Only you can influence next month's chart, so if you hear something you like, keep playing it!
Lots more great music: https://soundcloud.com/wud-records/albums  | https://soundcloud.com/wud-records/sets
Visit our website: http://www.wudrecords.co.uk/
Support us with a download: https://wudrecords.bandcamp.com/ :)
Follow us on Twitter: https://twitter.com/WudRecords
Thanks for visiting Wud Records! \,,/(>.<)\,,/

October 2015 Top Ten Tracks

These are the Top 20 Most Played Tracks from Wud Records at SoundCloud in 2018.

We hope there are some you like! Thanks very much for your support. \,,/(^_^)\,,/

http://www.wudrecords.co.uk/
https://wudrecords.bandcamp.com/
https://twitter.com/WudRecords
http://www.explicitmusic.co.uk/
http://www.wudrecords.co.uk/news/wud-records-20-played-tracks-2018/

20 Most Played Tracks of 2018

Party Man by Now.

Music and lyrics by Mark Drower.

Copyright © 1982 Wud Records.
Copyright ℗ 1982 MGD Music/Explicit Music.

Musicians:
Mark Drower – vocals, acoustic guitar
Jon Kneebone – drums, percussion
George Davies – lead guitar

Also present but not plugged in:
Pok
Pete Rippin

PARTY MAN
I’m a Party Man
I live in squares
I move by threes and fours
Well I can say and do almost anything
Big Brother’s word is law

Believe me I’m a Party Man
Through and through
They own me to the core
Well I can read your thoughts, believe you me
Big Brother’s word is law

Believe me I’m a Party Man
Or so you’ll find
Plus good and the best
Well we’ll kill you and all your kind
Remove you like the rest

As it was in the beginning, is now, and ever shall be
B.B. without end
As it was in the beginning, is now, and ever shall be
B. B. – Amen

I’m a Party Man
I live in squares
I move by threes and fours
Well I can say and do almost anything
Big Brother’s word is law

Believe me I’m a Party Man
Through and through
They own me to the core
Well I can read your thoughts, believe you me
Big Brother’s word is law

Believe me we’re all Party Men
Or so you’ll find
Plus good and the best
Well we’ll kill you and all your kind
Remove you like the rest

As it was in the beginning, is now, and ever shall be
B.B. without end
As it was in the beginning, is now, and ever shall be
B. B. – Amen
As it was in the beginning, is now, and ever shall be
B.B. without it
As it was in the beginning, is now, and ever shall be
B. B. – Amen

We’re all Party Men
We live in squares
We move by threes and fours
Well we can say and do almost anything
Big Brother’s word is law

As it was in the beginning, is now, and ever shall be
B.B. without end
As it was in the beginning, is now, and ever shall be
B. B. – Amen
As it was in the beginning, is now, and ever shall be
B.B. without end
Without end

See also:
http://www.wudrecords.co.uk/artists/now/inauguration
http://www.explicitmusic.co.uk/lyrics-information/now/inauguration/party-man
https://twitter.com/WudRecords

Inauguration

03/10/1982

Now: Party Man

Don't Even Try by Clonk!

Lyrics by E. Williams.
Music by E. Williams/G. Davies.
This arrangement by E. Williams/G. Davies/J. Ings/A. McGill.

Recorded, engineered and produced by Joe Ings and Amy McGill.

Copyright © 2003 Wud Records.
Copyright ℗ 2003 E & G Music/Explicit Music.

Performers:
Emma Williams - voices
George Davies - guitars, bass
Joe Ings - slide guitar, synths, drum programming
Any McGill - synths, drum programming

DON’T EVEN TRY
A lifestyle change in a shooting range
A tightened vein tastes like cheap champagne
It’s hard to find such a troubled mind
So don’t even try

A screaming ear hears it’s oh so near
A comforting hand in another land
Will no doubt betray and it’s so far away
So don’t even try, don’t even try

Oh so likely it’s just another phase
You had to so much you just forget to read through
Small print that always follows satisfaction
Confession erection obsession
Take your mind off all you thought before
Take one step outside your closet door
You know most things aren’t worth waiting for
So don’t try, don’t try
Don’t even try

You’re stuck in a rut and you make a cut
A slice of a knife isn’t much of a life
So don’t even try, don’t even try
Don’t even try

Fun Facts:
This song is in the key of Dm and the guitar part is played using a drop-D tuning.
Don’t Even Try was performed as a live acoustic number on many occasions by George and Emma at various open mic events.

See also:
http://www.wudrecords.co.uk/artists/clonk
http://www.explicitmusic.co.uk/lyrics-information/clonk/clonk-lyrics/dont-even-try
https://twitter.com/WudRecords

Demo

Don't Even Try

Clonk!: Don't Even Try

The Paranoia Song by Clonk!

Lyrics by E. Williams.
Music by E. Williams/G. Davies.
This arrangement by E. Williams/G. Davies/J. Ings/A. McGill.

Recorded, engineered and produced by Joe Ings and Amy McGill.

Copyright © 2003 Wud Records.
Copyright ℗ 2003 E & G Music/Explicit Music.

Performers:
Emma Williams - voices
George Davies - guitars, bass
Joe Ings - synths, drum programming
Amy McGill - synths, drum programming

THE PARANOIA SONG
Maybe there’s a little paranoia creeping in
Hard to extract from the ratrace you’re living in
Consequences change but you’re sure
Once or twice you’ve played the game you realise you can’t win
Considerations falter when you’re
Hanging with gamblers with an open hand
Caressing the table
That creche is too sad
Scrambling down on all fours
Chasing the spade that ain’t yours
What about the times that we set
The safety net to knock down regret
Regulations that we met
Turbulent debt is not over yet

Some kind of wonderful’s about to fall
Can’t seem to reach out enough when you call
Feeling the knife slash through my skin
Following a fucked-up set of rules
What is this pain that I live in
Walking through gangsters with a loaded gun
Cursing the shit that I’ve left undone
Following a crowd without sense
Holding on to some innocence
What about the times that we set
The safety net to knock down regret
Regulations that we met
Turbulent debt is not over yet

Maybe there’s a little paranoia creeping in
Hard to extract from the ratrace you’re living in
Consequences change but you’re sure
Once or twice you’ve played the game you realise you can’t win
Considerations falter when you’re
Hanging with gamblers with an open hand
Caressing the table
That creche is too sad
Scrambling down on all fours
Chasing the spade that ain’t yours
What about the times that we set
The safety net to knock down regret
Regulations that we met
Turbulent debt is not over yet

Hanging with gamblers with an open hand
Caressing the table
That creche is too sad
Scrambling down on all fours
Chasing the spade that ain’t yours
What about the times that we set
The safety net to knock down regret
Regulations that we met
Turbulent debt is not over yet

Fun Facts:
This song is in the key of A.
The electric band of Clonk! with four members attempted to learn The Paranoia Song.
It was never performed live as an unplugged acoustic open mic song.

See also:
http://www.wudrecords.co.uk/artists/clonk
http://www.explicitmusic.co.uk/lyrics-information/clonk/clonk-lyrics/the-paranoia-song
https://twitter.com/WudRecords

The Paranoia Song

Clonk!: The Paranoia Song

Seeing, We Should by Dark Company.

Lyrics by P. Greatorex.
Music by G. Davies/P. Greatorex.

Copyright © 2000 Wud Records.
Copyright ℗ 2000 Explicit Music.

Recorded and engineered at Wud Records Studio Four.

Performers:
Vocals, keys - PJ Speed
Percussion - Sven Stiglund
Arrangement - Dark Company

SEEING, WE SHOULD
Night winds touch every part of me
Breathing black I start to see
The medallion of my mind’s delight
I pull it in, tied up tight
Fishing rod forearm down in the pool
Refraction bending this school of fools
I pick up the looking glass hideaway
Listening to the ad-men having their say
This chunk of glass in a telescope tube
Magnifies the insults of bitter food
I see I can really walk right past
I don’t wanna be first, I don’t wanna be last
Everybody seems to be pale and too thin
Skeleton manners come walking right in
This shop, that shop, they sell you your life
Minute after minute until you die

And I, and I, and I, and I
Find anarchy in other eyes
I, and I, and I, and I
Find anarchy in other eyes
And I, and I, and I, and I
Find anarchy in other eyes
I, and I, and I, and I
Find anarchy in other eyes

Fun Facts:
This song is completely arhythmic and was created using an assortment of synth samples and odd sounds, such as keys being rattled.
Once all of the various parts had been created, including the recording of the vocals, they were arranged by the band.
Despite various attempts to remake this using modern recording equipment, it was not possible to reproduce the strange and sinister atmosphere of the original.
Synths used included an old Korg monosynth and the original keyboard used by Alien Heat.

See also:
http://www.wudrecords.co.uk/artists/dark-company/benign-inquisition
http://www.explicitmusic.co.uk/lyrics-information/dark-company/benign-inquisition/seeing-we-should
twitter.com/Dark_Company
https://twitter.com/WudRecords

Benign Inquisition

Seeing, We Should

Dark Company: Seeing, We Should (original)

Colt 44 by Dark Company, from the album Benign Inquisition.

*** demo/work-in-progress ***

Lyrics by P. Greatorex.
Music by G. Davies/P. Greatorex.

Copyright © 2015 Wud Records.
Copyright ℗ 2000 Explicit Music.

Recorded and engineered at Wud Records Studio One.

Performers:
Vocals - PJ Speed
Guitars - Zak Black
Keys - Josh Reynes
Bass - Maxx Damage
Drums - Sven Stiglund

COLT 44
Desdemona was a loner
Trouble was no-one had told her
What would be right
What would see right
What would come up and tap her on the shoulder

I see Lily kinda silly
Her icy stare was oh so chilly
Does she know it
Will she blow it
Does she see she’s got to show it

Ladies with long barrelled guns
Ladies with long barrelled guns
Ladies with long barrelled guns
Ladies with long barrelled guns, ah ah ah

Yeah Rebecca gotta connect her
Move the levers that will select her
Is she lying
Is she sighing
Is she saying you must protect her

Ladies with long barrelled guns
Ladies with long barrelled guns
Ladies with long barrelled guns
Ladies with long barrelled guns, ah ah ah

Esmerelda what was it held her
Does she think one day they'd sell her
Can she stay there
Just like lay there
Is she waiting for you to tell her

Ladies with long barrelled guns
Ladies with long barrelled guns
Ladies with long barrelled guns
Ladies with long barrelled guns, ah ah ah
Ladies with long barrelled guns
Ladies with long barrelled guns
Ladies with long barrelled guns
Ladies with long barrelled guns, ah ah ah

Fun Facts:
This song is in the key of Cm and is 136BPM.
The Plank was tuned down to Bb-Eb-Ab-Db to make things sound super-low.
Despite the cold icy bleak beauty of this song, we can reassure the listener that this particular tale had a happy ending a few years later.

See also:
http://www.wudrecords.co.uk/artists/dark-company/benign-inquisition
http://www.explicitmusic.co.uk/lyrics-information/dark-company/benign-inquisition/colt-44
twitter.com/#!/Dark_Company
https://twitter.com/WudRecords

Colt 44

Dark Company: Colt 44 (alpha mix)

Ship to Shore by Dark Company, from the album Alien Heat.

Lyrics by P. Greatorex.
Music by G. Davies/P. Greatorex/J. Willmot/R. Holloway/M. Greatorex/G. Barbe.

Copyright © 2021 Wud Records.
Copyright ℗ 1989 Explicit Music/Pig Pen Music.

Sequenced at Silent Running Studios, Exeter, by G. Davies and J. Willmot 1992.

Performers:
Vocals - PJ Speed
Guitars - Zak Black
Bass - Maxx Damage

SHIP TO SHORE
Into the setting sun they sailed
As brave as brave can be
And across the world they went
In boats upon the sea
And with distant eyes they looked
But they never did see me
On this we all agree
On this we all agree

With a night light flashing by the sea
Sailors went there by twos and by threes
I am a captain and I can’t drown
Living neatly on white wave sound
On this we all agree

With a bright light arcing across the dark
Sailors went there steering by the stars
I’ll be a bad man but I won’t steal
No more than I can take away with me
On this we all agree

In the sunset water turning to sky
Sailors went there leaving by and by
I am a black knight but I am so good
Put all the pieces back wherever I should
On this we all agree

On the reef rock shellfish gather and die
Sailors went there telescopes to eyes
I am a wizard but I’m misunderstood
I’d like to be a pilot, oh really I would
On this we all agree

On the ocean sleeping in the wind
Sailors went there to forget their sins
I am a soul man and I can keep
The sounds of Heaven where the waters meet
On this we all agree

Fun Facts:
Ship to Shore was originally written and performed by Alien Heat.
Richard programmed the original keyboard sounds himself on a Yamaha DX7 and these are approximated on the studio synths.
We tend to feel that they did a reasonable job.
This song is in the key of Em and the tempo is mostly 125BPM.
The bassline is a mixture of Marc's original Alien Heat part and what Jeff played in Dark Company's second incarnation.
Ship to Shore contains a moment of 'definitive cowbell' before the final vocal section.
Ship to Shore was a favourite of Alien Heat and their fans.
All the guitar parts are played on the Ice Maiden.
The intro is mostly Em9 and Bm11.
The verses are Em and Bm, and at the end they go to G, F#m11 and Bm11.
The keyboard solo is based around a G, F#m, Bm riff.
Before the keyboard solo and at the end of the song there is a section that goes G, F#, F, Em7, Cm7, Em7, Cm7.
In Alien Heat, the song usually began with the cry: “Cue The Noise!” as Richard started the number with a huge sound that he created himself on the DX7.
There were many great moments of inspiration from all five band members of Alien Heat that led to this song being the way it was.
Jeff added his considerable talent to the arrangement of the Dark Company version.

See also:
http://www.wudrecords.co.uk/artists/dark-company/alien-heat-2
http://www.explicitmusic.co.uk/lyrics-information/dark-company/alien-heat/ship-to-shore
http://www.wudrecords.co.uk/artists/alien-heat
https://wudrecords.bandcamp.com/track/ship-to-shore
https://wudrecords.bandcamp.com/track/ship-to-shore-2
https://twitter.com/Dark_Company
https://twitter.com/WudRecords
http://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

Extra Sound Samples - thanks very much:
Globophonia 547011 Sea Waves Wind
https://freesound.org/people/Globofonia/sounds/547011/
Straget 412308 Big Waves Hit Land
https://freesound.org/people/straget/sounds/412308/
Metzik 371246 By The Sea
https://freesound.org/people/Metzik/sounds/371246/
Digifish 276568 Foghorn Near
https://freesound.org/people/digifishmusic/sounds/276568/

Alien Heat

Ship to Shore

Dark Company: Ship to Shore (beta mix)

Abnormal by Dark Company, from the album Alien Heat.

Lyrics by P. Greatorex.
Music by G. Davies/P. Greatorex/J. Willmot/R. Holloway/M. Greatorex/G. Barbe/P. Jones.

Copyright © 2015 Wud Records.
Copyright ℗ 1989 Explicit Music/Pig Pen Music.

Sequenced at Silent Running Studios, Exeter, by G. Davies and J. Willmot 1992.

Performers:
Vocals - PJ Speed
Guitars - Zak Black
Bass - Maxx Damage

ABNORMAL
Have you got a compass
Do you know where you are
Starless and Bible Black
But you hear guitars
Light years away but they’re there
And I can tell you where
Where, where, where

Have you got a problem
With finding the sun
Heart stopped and blinded
Hearing melodies run
Light years away but they’re there
And I can show you where
Where, where, where

Abnormal, unforgivingly
Already warmed up
We’ve come to set you free
But there is a payment for reality
Unless you wanna wait
For Hell to freeze

Will you want a pilot
Will you want a fast plane
Ground-bound and lonely
Chained to a refrain
Light years away but it’s there
And I can tell you where
Where, where, where

Will you sign agreement
Will you pay for your soul
Godless and friendless
Down on Echo Road
Light years away but I’m there
And I can show you where
Where, where, where

Abnormal, unforgivingly
Already warmed up
We’ve come to set you free
But there is a payment for reality
Unless you wanna wait
For Hell to freeze

Fun Facts:
Abnormal was originally written and performed by Alien Heat.
It was the very first song that the whole Alien Heat band created together.
Abnormal was composed by five blokes squeezed into a small bedroom in Topsham Road, Exeter on a particularly rainy November afternoon in 1989.
George studied Graham’s original drum parts and programmed them into the sequencer.
Jeff then added the extra percussion parts.
The bassline in this recording is an amalgamation of Marc’s original bassline and Jeff’s subsequent bassline, both of which we loved.
Richard programmed the original keyboard sounds himself and these are approximated on the studio synths, which we tend to feel did a reasonably good job.
The guitar solo at the end before the swoops, howls and feedback had contributions from Jeff and from Phil the Fiddle.
Phil’s contributions were from when this song was performed in Prague by Doctor Watson.
Pete would always try to stick his head as far as it would possibly go into the speakers of George's cab when the feedback and howling started.
This song is in the key of F#m, the other chord being Em.
The tempo is 124 BPM.
The original version of the song suddenly and inexplicably broke into some different chords at the end.
The updated ending retains the bi-chordal simplicity of the rest of the song.

See also:
http://www.wudrecords.co.uk/artists/dark-company/alien-heat-2
http://www.explicitmusic.co.uk/lyrics-information/dark-company/alien-heat/abnormal
http://www.wudrecords.co.uk/artists/alien-heat
https://wudrecords.bandcamp.com/track/abnormal
https://wudrecords.bandcamp.com/track/abnormal-2
https://twitter.com/Dark_Company
https://twitter.com/WudRecords
http://wudrecords.bandcamp.com/

Email: darkcompany@wudrecords.co.uk

Abnormal

Dark Company: Abnormal (beta mix)

Phase Out by Dark Company, from the album Can of Worms.

Lyrics by P. Greatorex.
Music by G. Davies/P. Greatorex/J. Willmot/R. Parsons/D. Wills/B. Ballard/S. Malpas.

Copyright © 2015 Wud Records.
Copyright ℗ 1991 Explicit Music/D & G Music.

Sequenced at Silent Running Studios, Exeter, by G. Davies 1993.

Performers:
Vocals - PJ Speed
Guitars - Zak Black

PHASE OUT
Sitting in the shadow of a charity car
Learn to be a learner mustn’t jump too far
A golden age of solitude studded with regrets
Brittle-boned birdcage from a skeleton set
Jack Horner was a junkie with only one eye
Hubbard was a priest another motherless guy

Keep a candle burning on a slow-blow fuse
Learn to be a learner in the art of excuse
Plastic people buying zone littered with waste
Shock-block summerhouse with a garden centre taste
Cock Robin was a lover with a red feather heart
And Mary’s lamb was French-fried in a shower of sparks

It’s a storm warning
Black cones for Blind Pugh’s fate
Do the Treasure Island shuffle
While dancing Armageddon waits
Sell your rip-off repay shelter
The bomb’s gonna be too late

Standing in the queue for a quiz show prize
Learn to be a learner don’t come on too wise
Time child clock face with sand in a jar
Holiday apartments win a mythical car
Boy Blue’s a sex king with a string of cinemas
And God sells apples from Nell Gwynne’s cart

It’s a storm warning
Black cones for Blind Pugh’s fate
Do the Treasure Island shuffle
While dancing Armageddon waits
Sell your rip-off repay shelter
The bomb’s gonna be too late

It’s a storm warning
Black cones for Blind Pugh’s fate
Do the Treasure Island shuffle
While dancing Armageddon waits
Sell your rip-off repay shelter
The bomb’s gonna be too late
The bomb’s gonna be too late
The bomb’s gonna be too late
The bomb’s gonna be too late
The bomb’s gonna be too late
The bomb’s gonna be too late
The bomb’s gonna be too late
The bomb’s gonna be too late

Fun Facts:
This song is in the key of Dm.
Its original title was Stormwarning Skank.
The chorus has an extra beat or two which caused several tricky moments as the whole thing was sequenced at half tempo.
One of those tricky moments involved an assortment of count tracks that we made to try out various permutations of beats in the bar.
The combined result of all these spoken numbers was pure audio bonkerness.
This was one of the earliest Dark Company songs and was played a few times by Dark Company's first incarnation with Rowena on sax, Simon on trumpet, Craig on keys, Jeff on bass and Ben on drums.
As yet we have not found a good recorded version in our archives, although we shall keep looking.

See also:
http://www.wudrecords.co.uk/artists/dark-company/can-of-worms
http://www.explicitmusic.co.uk/lyrics-information/dark-company/can-of-worms/phase-out
https://wudrecords.bandcamp.com/
https://twitter.com/Dark_Company
https://twitter.com/WudRecords

Email: darkcompany@wudrecords.co.uk

Can of Worms

Phase Out

Dark Company: Phase Out (beta mix)

Beasts & Angels by Dark Company, from the album Mind Dance.

Lyrics by P. Greatorex.
Music by G. Davies/P. Greatorex/S. Lock.

Copyright © 2015 Wud Records.
Copyright ℗ 1999 Explicit Music/Dangerous Ditties.

Performers:
PJ Speed - vocals
Zak Black - guitars
Josh Reynes - keys
Maxx Damage - bass
Sven Stiglund - drums

BEASTS & ANGELS
Ah ah - where the beasts and angels live
Oh oh - where the beasts and angels live
Ah ah - where the beasts and angels live
Oh oh - where the beasts and angels live

Far out in leftfield we deal
With problems beyond imagination
All that’s on TV that you can see
To us bears no relation
Inside the museum humanity sits
Exhibiting its present intention
What you don’t know and what they don’t say
Is that it’s all their own invention

Oh Mama!
It’s dark in here
And I’m afraid of the crowd
And all the people trying to get in
Make the turnstiles click real loud
The only light is madness
From a thousand monitor screens
Making us burn our fingers
On red hot terminal dreams

There’s a smell of ozone
From electric bones and flesh
Uniforms are issued now
For the regiments of stress

I stand and call your name out
Friends, you must run
The real me can’t stand up
Crashing out through all the fun
They’ve closed the doors and windows
Shut out all fantasy
Barred the emergency exits
That lead to sweet entropy

There’s a smell of ozone
From electric bones and flesh
Uniforms are issued now
For the regiments of stress

Where the beasts and angels live
Where the beasts and angels live
Where the beasts and angels live
Where the beasts and angels live
Ah ah - where the beasts and angels live
Oh oh - where the beasts and angels live
Ah ah - where the beasts and angels live
Oh oh - where the beasts and angels live

Fun Facts:
Beasts & Angels is one of Dark Company's multi-genre songs.
It has elements of metal, motown, alternative rock and classic rock.
Dark Company are perhaps the most multi-genre band we have ever heard.
When Pete and Sammi were singing the chorus together, their voices sounded like a beast and an angel singing together.
As Pete was a Hell's Angel for some time, it's hard to say who was which.
The title of this song comes from a Kaballistic parable, in which a new pleasure is discovered.
A devil and an angel rush to the home of the person indulging in the new pleasure.
The devil and the angel begin to fight each other for ownership of the new pleasure, one proclaiming "It is a virtue!" and the other "It is a vice!"
Beasts & Angels seems to begin in the key of Bb, although really the key of the whole song is Dm.

See also:
http://www.wudrecords.co.uk/artists/dark-company/mind-dance
http://www.explicitmusic.co.uk/lyrics-information/dark-company/mind-dance/beasts-angels
https://soundcloud.com/wud-records/beasts-angels?in=wud-records/sets/dark-company-mind-dance-demos
http://wudrecords.bandcamp.com/
https://twitter.com/Dark_Company
https://twitter.com/WudRecords

Email: darkcompany@wudrecords.co.uk

Mind Dance

Beasts & Angels

Dark Company: Beasts & Angels (alpha mix)

Tomorrow by Flicker.
Album: At Least 1000 Words

Music by G. Davies/D. Danielli.   

Performers:
George: guitars
Dave: bass, drums

Project directed by George Davies.

Drums recorded at The Old Mill Studios, Thorverton.
Recording engineer: Greg Daniels
Strings recorded at Chiseldon House, Exeter.

Engineered, mixed, produced and mastered by Dave Danielli.
Remastered at Wud Records Studios (uk) 2012.
Remastered again at Wud Records Studios (EU) August 2023.

Originally released 31st July 2002.
First re-release 12th May 2012.
Second re-release 1st September 2023.

Copyright © 2023 Wud Records.
Copyright ℗ 2000 Explicit Music.

Fun Facts:
* Tomorrow was almost called Tomorrow Will Be Better, as it’s good to have something to look forward to when one is feeling glum.
* When things are bad, there is cause for optimism.
* If one has a bad day, the law of averages would suggest the next day will probably be better.
* The “…will be better” part is therefore implied in the title.
* This is a tune of hope.
* Smile in the teeth of adversity!
* Tweak the nose of terror!
* It is another tune where some brass would have been desirable, but none was forthcoming.
* Three different guitars – Nicodemus, the Ice Maiden and the Stratocaster – all have their parts to play here.
* Tomorrow starts with the Stratocaster, which plays the main theme in E.
* Nicodemus plays the long chords, including some really unlikely inversion of D major.
* The Ice Maiden does the swoopy noisy harmonic parts.
* Dave plays the bass on his Fender.
* The key change to A at the end was something Flicker did in a jam in Tomorrow‘s formative stages.
* It was outstandingly good on the first time and Flicker never felt they quite recaptured the magic of that groove.
* Despite searching high and low and numerous different takes and versions, this was the closest they could manage.
* The tempo is 116 BPM.
* Full details here: https://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words/tomorrow

See also:
https://www.wudrecords.co.uk/artists/flicker/
https://www.wudrecords.co.uk/artists/flicker/at-least-1000-words/
https://wudrecords.bandcamp.com/track/tomorrow
https://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words
https://www.discogs.com/release/17114565-Flicker-At-Least-1000-Words
https://www.redbubble.com/people/flickermusic/shop
https://twitter.com/flickermusic
https://www.instagram.com/wudrecords/
https://www.facebook.com/flickermusic
https://twitter.com/WudRecords
https://linktr.ee/flickermusic

At Least 1000 Words

Tomorrow

Download

Flicker: Tomorrow

Welcome to the Family by Flicker.
Album: At Least 1000 Words

Music by G. Davies/D. Danielli/F. Zoboki/A. Celestine. 

Performers:
George: guitars
Dave: bass, drums, keys, synths

Project directed by George Davies.

Drums recorded at Clark’s Cottage, West Putford, North Devon.
Strings and synths recorded at Chiseldon House, Exeter.

Engineered, mixed, produced and mastered by Dave Danielli.
Remastered at Wud Records Studios (uk) 2012.
Remastered again at Wud Records Studios (EU) August 2023.

Originally released 31st July 2002.
First re-release 12th May 2012.
Second re-release 1st September 2023.

Copyright © 2023 Wud Records.
Copyright ℗ 1999 Explicit Music. 

Fun Facts:
* George had made friends with a Hungarian man called Floyd who showed him a new chord from a Portuguese sea shanty.
* The mystery chord is Bm11b5.
* It is played by holding the A and G strings on the second fret with the first and second fingers, and the D and B strings on the third fret using the third and fourth fingers, with the hi-E open and the lo-E muted.
* The other two chords in the song were A minor and E.
* When George was headhunted by the MD of the company Floyd worked for, Floyd gave him a copy of Mario Puzzo’s book The Godfather, and wrote ‘Welcome to the family!’ inside the front cover.
* Obviously this piece could have no other name.
* Welcome to the Family is in the key of A minor.
* The tempo for this tune is 98.0035 BPM.
* Emma recorded an extra part on the keys that was not used in the end.
* The Stratocaster enters to play rhythm on the second verse.
* The Ice Maiden takes the twin lead parts at the end.
* Some trombone was also planned, but there were no players around at the time, so the final mix remains without it.
* Full details here: https://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words/welcome-to-the-family

See also:
https://www.wudrecords.co.uk/artists/flicker/
https://www.wudrecords.co.uk/artists/flicker/at-least-1000-words/
https://wudrecords.bandcamp.com/track/welcome-to-the-family
https://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words
https://www.discogs.com/release/17114565-Flicker-At-Least-1000-Words
https://www.redbubble.com/people/flickermusic/shop
https://twitter.com/flickermusic
https://www.instagram.com/wudrecords/
https://www.facebook.com/flickermusic
https://twitter.com/WudRecords
https://linktr.ee/flickermusic

Welcome to the Family

Flicker: Welcome to the Family

Beautiful Wings by Flicker.
Album: At Least 1000 Words

Music by G. Davies/D. Danielli/L. Welsman/E. Williams.

Performers:
George: guitar, synths, samples
Dave: Plank, drums
Lucy: cello, keys
Emma: flute

Samples:
hollywoodedge.com, The Double Locks Hotel Exeter, the nature and wildlife of Sidmouth.

Project directed by George Davies.

Drums recorded at Clark’s Cottage, West Putford, North Devon.
Strings, synths and flute recorded at Chiseldon House, Exeter.

Engineered, mixed, produced and mastered by Dave Danielli.
Remastered at Wud Records Studios (uk) 2012.
Remastered again at Wud Records Studios (EU) August 2023.

Originally released 31st July 2002.
First re-release 12th May 2012.
Second re-release 1st September 2023.

Copyright © 2023 Wud Records.
Copyright ℗ 1999 Explicit Music.

Fun Facts:
* Black Sabbath once told us that fairies wear boots.
* Flicker can confirm that this is absolutely true.
* There was once a Very Naughty Fairy who had the most beautiful wings.
* One day George played her this tune.
* She didn’t like it, so she flew away, leaving a sparkly trail behind her.
* George’s girlfriend at the time often wore fairy wings.
* If she walked past something and brushed her wings against it, she would cry “Ow!”, hold the wing, grimace, and complain of having a terrible wing-ache.
* On the occasion of the Solar Eclipse in south west England in 1999, a member of the public asked the Very Naughty Fairy how she got her beautiful wings.
* A: Where did you get your beautiful wings?
* B: Well… when I was a very small fairy I had these two funny little stumps on my shoulder blades, and then suddenly one day, I woke up and these two beautiful wings had grown.
* A: Huh. Come on, where did you get them, really?
* B: (stamping booted foot in indignation) I told you already!
* A: …!?!
* Beautiful Wings was composed on acoustic guitar using DADFCE tuning.
* It starts in D minor and ends in F major.
* There was a guitar harmonic that had to be recorded separately as it just wasn’t coming across loudly enough.
* Emma’s flute was the first or second take.
* She had never heard the tune before.
* Lucy’s cello avoids cliches and the obvious and plays things one might not expect.
* The evil laughter is the mischieviousness of the naughty fairies.
* The baby sounds represent the innocence and wonder of fairydom.
* There is a sampled bell from the food bar inside the Double Locks Hotel near Exeter.
* The seagulls represent the sounds of Sidmouth, where Flicker often went.
* Full details here: https://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words/beautiful-wings

See also:
https://www.wudrecords.co.uk/artists/flicker/
https://www.wudrecords.co.uk/artists/flicker/at-least-1000-words/
https://wudrecords.bandcamp.com/track/beautiful-wings
http://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words
https://www.discogs.com/release/17114565-Flicker-At-Least-1000-Words
https://www.redbubble.com/people/flickermusic/shop
https://twitter.com/flickermusic
https://www.instagram.com/wudrecords/
https://www.facebook.com/flickermusic
https://twitter.com/WudRecords
https://linktr.ee/flickermusic

Video of George playing the acoustic guitar part, with out-takes:
https://www.youtube.com/watch?v=3P1MKkQCTOo

Beautiful Wings

Flicker: Beautiful Wings

Farsight by Flicker.
Album: At Least 1000 Words

Music by G. Davies/D. Danielli/G. Barbe/N. Board.

Performers:
George: guitars, synths, keys, samples
Dave: bass, drums, samples 

Samples:
Maharaj Ji, Jonathan Agnew, stinsv.com

Project directed by George Davies.

Drums recorded at Clark’s Cottage, West Putford, North Devon.
Strings recorded at Chiseldon House, Exeter.

Engineered, mixed, produced and mastered by Dave Danielli.
Remastered at Wud Records Studios (uk) 2012.
Remastered again at Wud Records Studios (EU) August 2023.

Originally released 31st July 2002.
First re-release 12th May 2012.
Second re-release 1st September 2023.

Copyright © 2023 Wud Records.
Copyright ℗ 1995 Explicit Music.

Fun Facts:
* Farsight is the oldest piece on the album At Least 1000 Words.
* It is a piece that George wrote around March 1995, during the days of The Ug Brothers.
* Any recordings of the original have been lost to the vortices of time and the land of refugee cassettes – the Tape Void, as the Ug drummer Graham used to call it.
* Originally there were words for it too.
* These lyrics described the kingdoms of the mind, those inner spaces, places and temples; the mythology of the self that begins in early childhood, a mysterious and magical place that is a sanctuary where only you can go, a place that is reachable in the blink of an eye yet can be so far, far away in space, time and reality.
* This place never really allows any other individual, however close a relationship and understanding they may have with you, ‘access all areas’ – perhaps for the best, as we all need our own castle to retreat to occasionally.
* Farsight is dedicated to that very world that exists within all of us, our private fantasy space, where we go in our dreamtime, and the place from where art comes or is filtered through to us from the farside perhaps, and the zone you are in when you are ‘in the zone’.
* Dave then wrote some other more Ug-like words.
* The only two that can be recalled are “wondering why”.
* The Ug Brothers disbanded before the song was ever performed live.
* This was a great shame as Farsight was one of the band’s collective favourites and one of the last new pieces they worked upon.
* We have been unable to dig up any Ug Brothers recordings of Farsight.
* Natalie, the Ug singer, came up with a vocal melody for the lost lyrics penned by Dave.
* A small fragment of that melody remains, in the very beginning of the lead guitar part, the rest again vanished forever to the realms of nilspace.
* This instrumental version of Farsight seemed to be a convenient resolution.
* In as many ways as possible it is largely true to the original Ug Brothers version.
* The piece begins in G minor but ends in C major and runs at 120 bpm.
* That was exactly the speed of the rhythm of the bridge on the USS Enterprise in the first Star Trek series, a sound which we used from the website www.stinsv.com, and just seemed perfect by its synchronicity.
* As the piece begins you can hear a Klingon door opening, from the same site – to let you in.
* Flicker tried to get the sound of a motor race into the soundscape, but it didn’t work so was left out.
* The percussion is probably not so different from the original played by Graham, again lost to the mists of time.
* Dave certainly delayed coming in with the full drumkit to the exact same point as The Ug Brothers.
* Dave’s beautifully expressive and critically acclaimed bassline, played on the Fender, was what drove and made the piece distinct.
* All the guitar parts are played on the Ice Maiden apart from the lead line, which was recorded using Nicodemus.
* Full details here: https://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words/farsight

See also:
https://www.wudrecords.co.uk/artists/flicker/
https://www.discogs.com/release/17114565-Flicker-At-Least-1000-Words
https://www.redbubble.com/people/flickermusic/shop
https://twitter.com/WudRecords
https://linktr.ee/flickermusic

Farsight

Flicker: Farsight

Moonpath by Flicker.
Album: At Least 1000 Words

Music by G. Davies/D. Danielli.    

Performers:
George: guitars, Plank, synths, percussion
Dave: drums, djembe

Project directed by George Davies.

Drums recorded at The Old Mill Studios, Thorverton.
Recording engineer: Greg Daniels
Strings, synths and percussion recorded at Chiseldon House, Exeter.

Engineered, mixed, produced and mastered by Dave Danielli.
Remastered at Wud Records Studios (uk) 2012.
Remastered again at Wud Records Studios (EU) August 2023.

Originally released 31st July 2002.
First re-release 12th May 2012.
Second re-release 1st September 2023.

Copyright © 2023 Wud Records.
Copyright ℗ 2000 Explicit Music.

Fun Facts:
* After dark, when the moon is low in the sky, it makes a beautiful shiny road to itself all the way along the top of the sea.
* The moon always looks so beautiful on the sea at Sidmouth, where Flicker and their friends used to go.
* Sidmouth is bang in the centre of Lyme Bay, and the sea looks so big.
* The moonpath there was even better before all the breakwaters were built.
* The guitar parts for Moonpath were all played using the Ice Maiden, which is double tracked left and right.
* The rhythm guitar was the origin of the track and carries the melody as well.
* The tempo is 138 BPM and the key is C# minor.
* There are many hybrid chords involving fretted notes and harmoonics.
* Moonpath ends up on a B.
* Full details here: https://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words/moonpath

See also:
https://www.wudrecords.co.uk/artists/flicker/
https://www.wudrecords.co.uk/artists/flicker/at-least-1000-words/
https://wudrecords.bandcamp.com/track/moonpath
https://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words
https://www.discogs.com/release/17114565-Flicker-At-Least-1000-Words
https://www.redbubble.com/people/flickermusic/shop
https://twitter.com/flickermusic
https://www.instagram.com/wudrecords/
https://www.facebook.com/flickermusic
https://twitter.com/WudRecords
https://linktr.ee/flickermusic

Moonpath

Flicker: Moonpath

Flashback by Wud

Words by Simon Miller and George Davies.
Music by George Davies, Simon Miller and Ken Staple.
Recorded and produced by Ian Dent at Daylight Recording Studios, Honiton.
Remastered at Wud Records Studio One.

Copyright © 1985 Wud Records.
Copyright ℗ 1982 Explicit Music/Pok Songs.

Performers:
Ken Staple – voices
George Davies – guitars

FLASHBACK
Hey Mandy won’t you come out and touch me
Hey babe, won’t you ride on high
It’s getting harder to see the sunshine
You make love right through my eyes

It’s not the same without you
We can’t make the same heat without you
It’s just a fading memory
You stay away from our kind

Waking up in a wasted body
The slightest fear had ‘sturbed my fears
I feel low and I need a good friend
To help me laden through these years

It’s not the same without you
We can’t make the same heat without you
It’s just a fading memory
You stay away from our kind

Hey Mandy won’t you come out and touch me
Hey babe, won’t you ride on high
It’s getting harder to see the sunshine
You make love right through my eyes

It’s not the same without you
We can’t make the same heat without you
It’s just a fading memory
You stay away from our kind

Fun Facts:
This song is in fact Flashback Part 1.
Flashback Part 2 is a song called Hard Times that was also played by Wud.
Flashback Part 3 is the original lyrics to Flashback Part 1 with new music, a song that never made it to a band format.
The words written by Simon were initially “Hey Judas won’t you come out and touch me”.
George at that time felt uncomfortable with the religious connotations and changed “Judas” to “Mandy” and a couple of small things.
An older, wiser George regrets doing that.
These lyrics were a perfect fit for the original melody of the vocal line.
The form and structure of the solo were Simon’s, and came from a few moments of inspiration during a Fooog Dinboffin and the Release jam session.
As luck would have, we still have that recording of Fooog Dinboffin and the release and will be sharing it online at some time in the future.
Ken’s contribution to the writing of this song was the harmony vocal in the final chorus - a small, but splendid contribution.
The various tempo changes caused Ian the engineer some extra work, but he managed to press all the right buttons at the right time, so credit is due for a great job on his part.
Ken’s performance is again admirably restrained.
Guitars used on this song were the same Westone Paduak as used in That’s No Way to Pay a Bodyguard and Ken’s Flambeau acoustic, of which he was very proud indeed and never inclined to hold back when it came to bragging about it.
The distortion comes from Simon’s ancient MXR Distortion pedal, which was borrowed for the day.
It was mustard yellow and had just two knobs.
As dirt pedals go it was the business, although it sounds slightly odd plugged straight into the desk via a pre-amp.
This song subsequently evolved and gathered extra writers and performers.
It became part of the sets of Laughing Sun, The Addled Eggs, The Subterraineans and Rough Terrain.

See also:
www.wudrecords.co.uk/artists/wudtheband
www.explicitmusic.co.uk/lyrics-information/wud/daylight-demo/flashback 
https://wudrecords.bandcamp.com/album/daylight-demo
https://twitter.com/WudRecords

Daylight Demo

Flashback

Wud: Flashback (DD)

That's No Way to Pay a Bodyguard by Wud

Words and music by George Davies.
Recorded and produced by Ian Dent at Daylight Recording Studios, Honiton.
Remastered at Wud Records Studio One.

Copyright © 1985 Wud Records.
Copyright ℗ 1983 Explicit Music.

Performers:
Ken Staple – voices
George Davies – guitars

THAT’S NO WAY TO PAY A BODYGUARD
Well there’s whisky on the shelf
What are you running from?
Do you know if you’re coming or going?
Well I have got an idea
You’ll need someone to look after you
Just like I know that I can do

And you know that’s not what I want from you
And you know it’s over when the day is through

Well that’s no way to pay a bodyguard
I don’t want to be tied down
And I am so afraid of you
Because I know just what you can do

And you know that’s not what I want from you
And you know it’s over when the day is through

Fun Facts:
This song in the key of Am was written a few days after George spent a day in the Stokeinteignhead music studio of a friend of his father’s.
Said friend of father played the two chords that begin the song as he tested that the necessary things were all on.
Having never seen the second chord before, George thought “Aha!”, although he spent most of the day fiddling with the rather magnificent organ and all its sounds and buttons and levers.
The instrumental section that goes C-Bb-F-G-Am-Em-Bm-Dm originally had some lyrics that made a chorus that spoke of such things as sheep, fields, grass and the relative merits of the colours thereof.
These were soon dropped due to being too silly.
Fairly near the start of this version George almost makes a right mess of the lead guitar - again - but just about manages to get away with it.
It’s take 3407, or thereabouts.
The guitar used for this song was a Westone Paduak, which has subsequently seen a fair amount of action over the years and now lives at Cliff’s house.
The sound of the guitar was never really quite right on this recording.
It sounded much better when played through an Electric Mistress and a proper amplifier.
This version also misses the drums and bass guitar.
Ken is extremely restrained in the performance.
The title of this song was too long for the eventual cassette that was produced, and was truncated to simply Bodyguard.
This song was something a campfire favourite amongst the Wud posse.

See also:
www.wudrecords.co.uk/artists/wudtheband
www.explicitmusic.co.uk/lyrics-information/wud/daylight-demo/thats-no-way-to-pay-a-bodyguard
https://wudrecords.bandcamp.com/album/daylight-demo
https://twitter.com/WudRecords

That's No Way to Pay a Bodyguard

Wud: That's No Way to Pay a Bodyguard (DD)

Lyrics by P. Greatorex.
Music by G. Davies/P. Greatorex/J. Willmot.
Recorded, engineered and mixed at Silent Running Studios Exeter 1992-3.
Remastered at Wud Records Studio One.

Copyright © 1993 Wud Records.
Copyright ℗ 1992 D & G Music/Explicit Music.

Performers:
Peter Greatorex – vocals
George Davies – guitars, sequencing
Jeff Willmot – bass, sequencing

MEDICINES
I can see that dark-set face
Hands crawl by fingering fate
Parsely, sage, rosary of time
Herbs to heal the modern mind
A wounded lover with a clockspring heart
Hears not the Heavens only metal stars
Drinks the liquor of certain flowers
Is released from lust to count the hours
There inside a secret garden
There inside a secret garden

Night’s sweet hush is for us all
No creeping thing is too small
Wings and webs a mottled map
Dawn will take the empties back
A solo soldier with a gunmetal head
Hears only the music of the marching dead
Drinks the liquor of certain flowers
Is released from lust to count the hours
There inside a secret garden
There inside a secret garden

Writhing vines climb the hill
Where we stand so very still
Columbine perfumed dark
The whitest flowers an eternal spark
A parish priest with a Bibled mouth
Speaks unnoticed of God and Doubt
Drinks the liquor of certain flowers
Is released from lust to count the hours
There inside a secret garden
There inside a secret garden 

Fun facts:
This song is in the key of A#.
George plays the guitar parts on the Ice Maiden.
Jeff played his bassline into the S900.
When Pete sang the melody to George for the first time it took him ages to decide which of the multitude of different possibilities to go with.
There are two simultaneous guitar solos at the start of the song, both of which were recorded on the first take.
Pete was initially sceptical about the whispered vocal.
Various acoustic versions of this later appeared with the song transposed down to A.
It was performed by The Bastard Sons of Dennis and Dr Watson and used as a teaching resource by George in his TEFL classes.
Some of the bassdrum and snare parts were recorded by randomly bashing keys and then quantising.
It produced some remarkably pleasing results.

See also:
http://www.wudrecords.co.uk/artists/dark-company
http://www.wudrecords.co.uk/artists/dark-company/rage-in-heaven
http://www.explicitmusic.co.uk/lyrics-information/dark-company/rage-in-heaven/medicines
https://twitter.com/Dark_Company
https://www.facebook.com/Dark-Company-154909774522910/
https://twitter.com/WudRecords

Rage in Heaven

Medicines

Dark Company: Medicines

Future Sadness Past by Dark Company.
Album: Signmaker

FUTURE SADNESS PAST
Slow light, runway from the sun
So right, time and times are done
We must pay the price for fun
Until we have Night Man on the run

Slow light, MacBeth witches’ brew
Best seen from some distant view
We know, do what you have to do
It’s an icy night we must all live through

Now we rage against the cold sky
Now we hate tomorrow
Now we say we will try
To kill the birds of sorrow
To kill the birds of sorrow

★

Lyrics by P. Greatorex.
Music by G. Davies/P. Greatorex/J. Willmot.

Performers:
Peter Greatorex – vocals, cigarette lighter, fast fret tin
George Davies – guitar
Jeff Willmot – bass

Recorded live at Silent Running Studios, Exeter, Autumn 1991.
Audio lifted from a cassette bootleg and cleaned.
Remastered at Wud Records Studios 2010.

Originally released 19th December 1991.
First re-release March 1992.
Second re-release June 2000.
Third re-release 16th December 2010.

Cover Art:
Mushroom Baby by Peter Greatorex

Copyright ℗ 1991 D & G Music.
Copyright © 2010 Wud Records.

Fun Facts:
* This song was composed using just a bass, a guitar, their volume knobs and a shiny new set of lyrics from the prolific pen of Pete.
* An Alesis Quadraverb Plus and a few pipes of some extraordinarily good gear also deserve accreditation.
* Several subsequent attempts were made to record Future Sadness Past using the reel-to-reel machine.
* This live version was by far everybody’s favourite.
* It is lifted straight off the rehearsal cassette from the day when it was originally created.
* George plays Nicodemus for the beautiful icy ringing of the strings when played beyond the bridge and the nut.
* Jeff was rather fond of using his Mighty Mite bass to make whale noises and would often break into them during quieter moments.
* He would also play a solo version of Misty by Johnny Mathis on the bass, which was completely wonderful.
* An acoustic version of Future Sadness Past song emerged a few years after the original.
* It is based around an Em9 chord, exactly the same chord as the start of Ship to Shore.
* Future Sadness Past is completely atemporal and relies on the performers’ interactions.
* There are no beats at all until Pete starts flicking his unusual Zippo gas lighter by the mic and then tapping George’s Fast Fret tin with it.
* We felt these added sounds were very atmospheric, reminiscent of the clicking of dry bones echoing from inside a fog over the darkened River Styx.

See also:
http://www.wudrecords.co.uk/artists/dark-company
http://www.explicitmusic.co.uk/lyrics-information/dark-company/signmaker/future-sadness-past
https://twitter.com/Dark_Company
https://www.facebook.com/Dark-Company-154909774522910/
https://www.instagram.com/wudrecords/
https://twitter.com/WudRecords

Signmaker

Future Sadness Past

Dark Company: Future Sadness Past

Lifetime by The Ug Brothers

Words: D. Danielli
Music: D. Danielli/G. Davies/G. Barbe/N. Board

Recorded, engineered, mixed and produced by George Davies at Wud Records Studio Three, Fore Street, Exeter in Spring 1995.

Album art by Barb Design/Wud Records.

Copyright © 1995 Wud Records.
Copyright ℗ 1995 Ug Music/Explicit Music.

Performers:
Natalie Board – vocals
George Davies – guitar, vocals
Dave Danielli – bass
Graham Barbe – drums

LIFETIME
Words can tell me some things but there’s much more to say
You can’t catch your freedom but you can give it away
Here’s a moment’s creation
Here’s a billion people
Here’s a child in my arms
Here’s another day
Once in every lifetime for every experience
For everything

You and me we’re a paradox
We could be total strangers
And the grey ones among us are strangers to us all
You and me as people
We’re all one big heartbeat
Between the good and the evil
We’re all the same wall
Social inter-harmony
Racial co-existence
Reflections of each other make up all our ways

Words can tell us some things but there’s much more can be said
It’s all a case of freedom
Never throw it away
Here’s a new emotion
Here’s a reason to stay
Here’s my heart’s resolution
Here’s the way
Once in every lifetime for every experience
You can do what you want
But do you really want what you do?

Fun Facts:
This song in A started life before the Ug Brothers reformed in the summer of 1994.
It began as a bassline that Dave had composed and some guitar licks that George had put together.
These parts had been composed independently and were put together during a serendipitous moment of jamming.
Dave’s bassline became the verses and George’s guitar licks become the instrumental section.
Dave wrote the lyrics during the massive drive for lyrics that the band embarked upon one afternoon.
He also composed the vocal melody.
George created and sang the vocal harmony.
This is one of those rare songs where everything starts all at once.

See also:
http://www.wudrecords.co.uk/artists/the-ug-brothers/cute-but-weird
http://www.explicitmusic.co.uk/lyrics-information/the-ug-brothers/cute-but-weird/lifetime
https://wudrecords.bandcamp.com/album/cute-but-weird
https://wudrecords.bandcamp.com/
https://twitter.com/WudRecords

Cute But Weird

Lifetime

The Ug Brothers: Lifetime

Treasure by Mark Drower and the Everyones.
EP: The Blaze Tape

TREASURE
Operator, fornicator
Grabbing and duping your friends
Wheeling and dealing
Tricking and stealing
Double-crossing, double-dealing
Renting and selling
Buying, shopping, lying, leasing
Lending and swapping
Bullion bonds and real estate

Sorry fella, it’s too late
Don’t slobber, I don’t wait

Cheating for a million
Cheating for a dime
Cheating is cheating boy, every time

You two-bit swindler millionaire
Well now it’s over, I don’t care

Sorry fella, it’s too late
Don’t slobber, I don’t wait
You will never
Never, never see the sun again
You’ll never
Never see the sun again
You’ll never
Never see the sun again

★

Music and lyrics by Mark Drower.

Performers:
Mark Drower – acoustic guitar, lead vocal
Simon Miller – lead guitar
Lisa Williams – talkover
The Everyones – backing vocals

Who were The Everyones?
> https://www.wudrecords.co.uk/artists/mark-drower-and-the-everyones/

Recorded 2nd September 1982.
Engineered. mixed and produced at Blaze Recording Studios, Torquay.
Remastered at Wud Records Studios.

Copyright © 1982 Wud Records.
Copyright ℗ 1982 MGD Music/Explicit Music.

Fun Facts:
* The acoustic guitar is tuned DADGBE for Treasure.
* It is possible that the first verse of this song was taken directly from the Everyone play itself, so may need to be credited to Frederick Franck, the play's author.
* This song was played when Everyone was left unfulfilled by his material possessions and his money.
* It was always called Treasure, its working title, and was never given another name.
* On the occasion of the Blaze expedition, after lunch and a few ales, another version of this song was recorded.
* It was arguably not quite entirely triumphant.
* The post-lunch version, along with The Cabbage Blues, is available only to people who were present on the day, and only by request.
* Treasure evolved into a Now song called Obsession, which was a truly ghastly and prolonged outburst of drunken nonsensical rantings.
* Treasure was also subsequently performed by Fooog Dinboffin and the Release, Now, Lemming Meringue and Wud.

See also:
https://www.wudrecords.co.uk/artists/mark-drower-and-the-everyones
https://www.wudrecords.co.uk/artists/mark-drower-and-the-everyones/the-blaze-tape/
https://www.wudrecords.co.uk/artists/mark-drower-and-the-everyones/everyone-gallery/
https://www.wudrecords.co.uk/artists/mark-drower-and-the-everyones/poks-memories/
https://www.wudrecords.co.uk/artists/mark-drower-and-the-everyones/emmas-memories/
https://www.wudrecords.co.uk/artists/mark-drower-and-the-everyones/georges-memories/
https://wudrecords.bandcamp.com/album/the-blaze-tape
https://wudrecords.bandcamp.com/track/treasure
https://www.explicitmusic.co.uk/lyrics-information/mark-drower-and-the-everyones/the-blaze-tape/treasure
https://twitter.com/WudRecords

The Blaze Tape

Treasure

Mark Drower and the Everyones: Treasure

Won't You Come Around My Way by Rough Terrain

Lyrics by G. Davies.
Music by G. Davies/D. Bouget/J. Peirce/A. Richardson.

Engineered, mixed and produced by Paul Bateman.
Recorded at Daylight Recording Studios, Honiton, summer 1988.
Remastered at Wud Records Studios 2010. 

Copyright © 1988 Wud Records.
Copyright ℗ 1986 Explicit Music.

Performers:
Andy Richardson - vocals
George Davies – guitars, vocals
Jerry Peirce - fretless bass, vocals
Danny Bouget - drums, percussion, vocals

WON'T YOU COME AROUND MY WAY
Well I’ve come around here and I ain’t doing much
Just paying a visit to keep in touch
After a while I try the upstairs flat
There’s nothing to say when we’ve run out of chat

Well I knock on the door of this guy I hardly know
And he greets me
I stay for a while then I’m wanting to go
But this other guy’s got something on his knee
What could that be…?!

Won’t you come around my way
Won’t you come around my way
Won’t you come around my way
Won’t you come around my way

There’s four of us here, we’re not saying a word
One’s looking out of the window
We’re sitting around and we can hear the sounds
Of music on the stereo
And rustling…

Won’t you come around my way
Won’t you come around my way
Won’t you come around my way
Won’t you come around my way

Won’t you come around my way
Won’t you come around my way
Won’t you come around my way
Won’t you come around my way
Won’t you come around my way
Won’t you come around my way
Won’t you come around my way
Won’t you come around my way

I hear a click and I see a spark so I turn around
In the centre of a cloud of smoke
I see a man with a big grin on his face
And who can blame him

Won’t you come around my way
Won’t you come around my way
Won’t you come around my way
Won’t you come around my way

Fun Facts:
Originally this song started with just the whole tone scale ascending and diminished scale descending, then went into the main riff of the song.
The bluesy jam was invented mostly by Danny just for fun and Rough Terrain kept it.
Jerry’s fretless bass was known as the Stretched Cat.
The whole band contributed to the vocals of this song, with Andy and Danny singing the harmonies.
This version sounds somewhat unlike the live version of the song that Rough Terrain performed as there was no acoustic guitar or extra percussion parts involved on stage and the sound was more raucous.
The acoustic guitar belonged to Daylight Studios and was a Fender with seriously heavy strings.
The ‘Oh Lord’ parts were entirely Andy’s doing on the day and never part of the original plan for the song.
These days those parts make him cringe.
This song can claim the gratuitous usage of a 13th chord - B13 in fact.

See also:
http://www.wudrecords.co.uk/artists/rough-terrain
http://www.explicitmusic.co.uk/lyrics-information/rough-terrain/daylight-demo/wont-you-come-around-my-way
https://wudrecords.bandcamp.com/track/wont-you-come-around-my-way
https://twitter.com/WudRecords

Won't You Come Around My Way

Rough Terrain: Won't You Come Around My Way

River Of Mirrors

Travelling With The Stars

Born by Alchemeon, from Alchemeon Live In Session Winter 2008-09.

* Born is in the key of E minor.
* It was first performed by Laughing Sun in 1985.
* There are many changes of tempo throughout, some subtle, some not.
* One of the changes that Jim introduced was replacing two of the B minors with G majors during the main ascending theme.
* The main ascending theme is ten bars long, four measures of 2.5 bars.
* This version has slightly mangled audio to start on the right hand side but it sorts itself out before long when the beats kick in.
* Pok plays Marsha, a pale gold 1985 Ibanez Roadstar II.

BORN
Can she see?
Will she be?
Saintly lady by the water
Faintly fiery fisher’s daughter

And you see nothing is as it is
Nothing is as it ought to be
And you see it’s back to where we began
Back so far you’re out in front again…

It’s time.

Born – you were meant to be
Born – into the family
Born – we were meant to be
Born – into the family

Words and music by Simon Miller.
This arrangement by S. Miller/G. Davies/J. Peters/Iggy.

Performers:
Pok the Bard – guitar and voice
Jim Iz – keys and voice
Iggy – drums and percussion
George – bass and technicals

This version recorded live at Depot X, Exeter, 12th December 2008.
Cassette salvage and remastering at Wud Records Studio One, 2018.

Cover illustration by Pok the Bard.
Graphic design by Sam James.

Released August 23, 2018
Original release date: 15th January 2009

Copyright © 2018 Wud Records.
Copyright ℗ 1985 Pok Songs/Explicit Music.

See also:
https://www.wudrecords.co.uk/artists/alchemeon/
https://www.explicitmusic.co.uk/lyrics-information/alchemeon/alchemeon-lyrics/born
https://wudrecords.bandcamp.com/album/live-in-session-spring-2009
https://wudrecords.bandcamp.com/album/live-in-session-winter-2008-09
https://twitter.com/WudRecords

Live In Session Winter 2008-09

Born

Alchemeon: Born

Contact: info@wudrecords.co.uk
SC don't do support so we're leaving, slowly. UK/EU rock label since 1984. Demos, oddities, archives, WIP. Releases on Bandcamp etc. AI-free zone. All reposts shared to BlueSky and 'X'.
Wud! You have just been wudded. ;-)

We're very sorry but we're still unable to reply to SC messages. We can read them but cannot reply. Please email info@wudrecords.co.uk instead. We answer most emails within a week.

ACTIVE ARTISTS:
Flicker, Dark Company, Pok the Bard, The Bastard Sons of Dennis

LEGACY ARTISTS:
Alchemeon, Clonk!, Dr Watson, The Ug Brothers, Alien Heat, Rough Terrain, The Subterraineans, The Addled Eggs, The Masters of Drone, Laughing Sun, Wud, Lemming Meringue, Sirius Rising, Now, Fooog Dinboffin and the Release, Mark Drower and the Everyones

ARCHIVE ARTISTS:
Andromeda, Critical Error, Dayglow, Demon Groove Lizards, Ember, Fruit Bats, Goodstaff, Guarana, Murdock, Prism, Pyg, Recluse, Search Party, Spacegoats, Stephen Yates, The Chillun, Watershed

* For DIY musicians:

Looking to grow your fanbase? Here's a proven strategy for success. It's a bit time-consuming at first because you need to work at it often. However, the awesome results will make it worth your while:

http://www.wudrecords.co.uk/miscellaneous/be-discovered-on-social-media

That article was published in March 2017. While some of the links may no longer work, the theory absolutely will. Try it for yourself!

* Unfortunately...

Due to brexshit, broken britain, rip-off britain, corruption, lies and bias in the media, bigotry, racism, intolerance, polarisation, the fact that some of our family members would not be allowed to remain post-brexit, state-sponsored child trafficking (yes, that's right, we said it - it's pretty shocking, start reading from here if you don't believe it: https://forced-adoption.com/), an increasing sense of frustration and exasperation, and general total weariness of being treated with nothing but derision, ignorance and contempt by the entire shebang since the early 80s, we decided enough was enough and moved our entire operation from brexeter in the uk to begin our grand brexodus in 2017. We are now brefugees, living in brexile very near the border of the Czech Republic, Austria and Germany. If you live in (the crumbling remains of) the uk, do yourself a favour and leave. The upgrade in life quality will blow your mind.

* What do we stand for as a label?

We support all independent musicians who are doing something we find interesting. Our team members all have formal music education qualifications.

We are against corporate brainwash muzak, their puppet friends in the mass media, and many other corporate activities. We will fight their desecration of music until either it stops or we die. 

We believe in helping others in the face of corrupt laws and a broken system. We are pro democracy, green energy and free speech.

We're politically liberal. We cannot support the republicans, maga or gun violence in the usa. We don't see there's any real difference, other than in name, between the christian far right in the USA and the taliban in Afghanistan.

In the uk we are broadly pro LibDem/Green/Labour/SNP. We are VERY anti-tory, bnp, ukip, and any of their friends and associates. We have no trust at all in the uk right wing press monopoly and the bbc. Beware the bbc and its claims of neutrality. It is the propaganda mouthpiece of the tory party. It even charges a propaganda tax called the licence fee. But we like Test Match Special and Radio 6, so does that make us hypocrites...? Hmm.

We support independence for Scotland, Wales, Northern Ireland and Cornwall. We support the individual and the underdog. We are anti-putin and his war, and pro-Ukraine.

Please notice the careful use of capitals. Capital letters imply respect!

We're only interested in the colour of your soul. Not your skin, hair or socks.

We like cricket! Most of us support Somerset County Cricket Club.