Here are our Top 10 tracks for December 2021 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: https://wudrecords.bandcamp.com/ :)
Follow us on Twitter: twitter.com/WudRecords
Thanks for visiting Wud Records! \,,/(^_^)\,,/

Downloads

December 2021 Top Ten Tracks

Here are our Top 10 tracks for January 2022 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: https://wudrecords.bandcamp.com/ :)
Follow us on Twitter: twitter.com/WudRecords
Thanks for visiting Wud Records! \,,/(^_^)\,,/

January 2022 Top Ten Tracks

Here are our Top 10 tracks for February 2022 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: https://wudrecords.bandcamp.com/ :)
Follow us on Twitter: twitter.com/WudRecords
Thanks for visiting Wud Records! \,,/(^_^)\,,/

February 2022 Top Ten Tracks

Here are our Top 10 tracks for March 2022 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: https://wudrecords.bandcamp.com/ :)
Follow us on Twitter: twitter.com/WudRecords
Thanks for visiting Wud Records! \,,/(^_^)\,,/

March 2022 Top Ten Tracks

Here are our Top 10 tracks for April 2022 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: https://wudrecords.bandcamp.com/ :)
Follow us on Twitter: twitter.com/WudRecords
Thanks for visiting Wud Records! \,,/(^_^)\,,/

April 2022 Top Ten Tracks

Here are our Top 10 tracks for May 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: www.wudrecords.co.uk/
Support us with a download: https://wudrecords.bandcamp.com/ :)
Follow us on Twitter: twitter.com/WudRecords
Thanks for visiting Wud Records! \,,/(&gt;.&lt;)\,,/

May 2017 Top Ten Tracks

To be featured on a playlist like this just sign up to www.AtomCollectorRecords.com and add at least 1 SoundCloud track to your account.

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.

1200 Members @ AtomCollectorRecords.com - Join 4 FREE!

Here are our Top 10 tracks for July 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! \,,/(^_^)\,,/

July 2017 Top Ten Tracks

These are the Top 20 Most Played Tracks from Wud Records at SoundCloud in 2017.

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-2017/

20 Most Played Tracks of 2017

Romantic and passion filled song about being re-united with a past love.

Children Of The Matrix

Buy for $0.50

The Night Before The Great Victory

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

Alien Heat

Abnormal

Dark Company: Abnormal (beta mix)

Spiritual Remission by Dark Company, from the album Can of Worms.

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

Copyright © 2022 Wud Records.
Copyright ℗ 1991 Explicit Music/D & G Music.

Performers:
PJ Speed - vocals
Zak Black - guitars
Olly Joseph - melodica
Maxx Damage - bass
Sven Stiglund - drums, drum programming

Many thanks to the amazing Olly Joseph for his wonderful contribution on melodica.
You can hear more of Olly's awesome music here: https://soundcloud.com/user-553257277

SPIRITUAL REMISSION
Spiritual remission
Reprieve for the God-good heart
Spiritual remission
Clean at the bleak day’s start
Swallows making summers
Red sea waves that part

Spiritual remission
Shames the Judas-lie words
Spiritual remission
Truth’s some beady-eyed bird
Fortune tellers failing
To tell what they had heard

Spiritual remission
Compassion still-born inside
Spiritual remission
Lifesaver’s got a rough ride
People making a big noise
As their size they try to hide

Spiritual remission
Political plague of prayers
Spiritual remission
Stock market sinners shared
Rooms within mansions
Dreamcoats we all wear

Fun Facts:
This song is in the key of Bm and the tempo is 128 BPM.
From what we can remember, which is mostly a blurry haze, the music and arrangement for this song may have been created after a few pipes of particularly good gear.
We all fell in love with Jeff’s bassline at once.
George’s guitar part was rather vague to start, possibly due to the affects of aforementioned pipery.
This arrangement of the song was put together from a number of attempted takes we found lurking on a cassette.
Listening back some years later, it would seem that during rehearsal and writing, Dark Company produced a variety of progressively pipe-affected but better known and understood versions, some of which were very different to each other.

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/spiritual-remission
https://wudrecords.bandcamp.com/
https://twitter.com/Dark_Company
https://twitter.com/WudRecords

Email: darkcompany@wudrecords.co.uk

Can of Worms

Spiritual Remission

Dark Company: Spiritual Remission (beta mix)

Horizontal Hold by Dark Company, from the album Can of Worms.

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

Copyright © 2015 Wud Records.
Copyright ℗ 1992 Explicit Music/D & G Music.

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

Performers:
Vocals - PJ Speed
Drums - Sven Stiglund

HORIZONTAL HOLD
Tired are the shadows that cross my bed
Tired are the shadows as I nod my head
My smile’s about a mile from whatever I said
Tired are the shadows that cross my bed

Lazy are the eyes with a low-glow life
Peering from a darkness you can cut with a knife
Crazy are the schemes of insurance men
They must see the madness of the premium friends
I want a fast car to take me from here
I’m tired of this back street that nothing is near
Money can’t buy the things I need
Gold cuts love and makes it bleed

Tired are the shadows that cross my bed
Tired are the shadows as I nod my head
My smile’s about a mile from whatever I said
Tired are the shadows that cross my bed

Talent is a trouble that angels fear
But I rush in ’cos I’m a fool that is near
Why should the laugh be always on me
I’m really no worse as far as I can see
Little people’s sticky feet, they make me stop
I stand and wonder: “Do they like what they’ve got?”
Jesus said he’d come around again
But I figure that he’ll come just to say: “The End!”

Tired are the shadows that cross my bed
Tired are the shadows as I nod my head
My smile’s about a mile from whatever I said
Tired are the shadows that cross my bed

Party time is near put your glad rags on
You gotta raise a laugh or they’ll say that you’re wrong
My face wears a grin that I don’t feel
I still buy what everybody steals
Television, radio, hoovers my brain
Sends my ideas straight down the drain
I do my best to keep my eyes upon
Noah’s rainbow from a long time gone

Tired are the shadows that cross my bed
Tired are the shadows as I nod my head
My smile’s about a mile from whatever I said
Tired are the shadows that cross my bed

Tired are the shadows that cross my bed
Tired are the shadows as I nod my head
My smile’s about a mile from whatever I said
Tired are the shadows that cross my bed

Fun Facts:
The original title for this song was Looking Good, but as Dark Company also had a song called Lookin' Bad on the Rage in Heaven album, the title of this was changed.
Horizontal Hold refers to a control knob on old televisions and the TV series The Twilight Zone, where the narrator tells the viewers not to adjust their sets.
Dark Company never did much with this track but we liked the sequencer part and the way it worked with the vocals so added some live drums from Sven and went with it.
A later amended version of this song called Broken Tubes appears on the Mind Dance album.
The updated Broken Tubes version is guitar-based and comes from the version George adapted for guitar when he played in Dr Watson in Prague.
The words in the chorus describe the lowered awareness levels of uber-tiredness during a speed comedown and the verses are the deranged yet coherent ramblings and insights of the wired mind in between disturbances whilst on said comedown.
This is one of our favourite sets of lyrics from the mighty pen of Pete.

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/horizontal-hold
https://soundcloud.com/wud-records/dark-company-broken-tubes?in=wud-records/sets/dark-company-mind-dance
https://wudrecords.bandcamp.com/track/lookin-bad
http://www.wudrecords.co.uk/artists/dr-watson
https://wudrecords.bandcamp.com/
https://twitter.com/Dark_Company
https://twitter.com/WudRecords

Email: darkcompany@wudrecords.co.uk

Horizontal Hold

Dark Company: Horizontal Hold (beta mix)

Slave of Days 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/Rotgut Records.

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

SLAVE OF DAYS
So low you really can’t be seen
So low drifting in a dream
So low locked in your mind
Hiding from the people that you left behind

Geometry is measuring buildings of force
Crescents and circles through twilight they walk
Cameo cutbacks of everyday life
Cutting out the pictures with my sharp little knife

So low you really can’t be seen
So low drifting in a dream
So low locked in your mind
Hiding from the people that you left behind

I can’t taste the people they are melting away
In brushed out rush hours twice a day
And suicide surgeons inside their heads
Slice up reality both living and dead

So low you really can’t be seen
So low drifting in a dream
So low locked in your mind
Hiding from the people that you've left behind
Hiding from the people that you've left behind
Hiding from the people that you've left behind
Hiding from the people

Fun Facts:
Slave of Days is a song in the key of B.
It only has three chords - A, B and F#.
If you don't like playing bar chords, you can transpose it down to A and play just G, A and E, or to D and play just C, D and A.
We always loved the raw punky energy of this song.
‘So low’ refers to keeping your head down and remaining out of sight, rather than suffering from depression.
The references to geometry and shapes come from visualisation exercises to practice when studying the Kaballah.
This is a song about the happy and bewildered misfit, looking in from society’s ragged edge.

See also:
http://www.wudrecords.co.uk/artists/dark-company/mind-dance
http://www.explicitmusic.co.uk/lyrics-information/dark-company/mind-dance/slave-of-days
https://soundcloud.com/wud-records/slave-of-days?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

Slave of Days

Dark Company: Slave of Days (alpha mix)

Another Star in the Sky by Flicker.
Album: At Least 1000 Words

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

Performers:
George: guitars, keys, synths, percussion
Dave: Plank, drums
Lucy: cello

Project directed by George Davies.

Drums recorded at Clark’s Cottage, West Putford, North Devon.
Strings, synths and percussion recorded at Chiseldon House, Exeter.
Stratocaster solos recorded by Dan Davies.

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:
* Another Star in the Sky is dedicated to George’s father, who passed away around the time of its creation.
* He never heard it.
* In the evening of the day when Mr Davies senior died, the sky was cloudy and only one star could be seen.
* Another Star in the Sky was almost named Another Scar in the Sty due to an outburst of mispronunciation.
* This would have been appropriate in some ways, because George (bass) and Dave (drums) were playing in a kick-ass folk band called Pyg at the same time.
* Pyg’s live performances could be a bit hit-or-miss, due to some of the dynamics within the band.
= Some of Pyg’s songs can be heard in the Archives section of the Wud Records website.
* Another Star in the Sky is based around the acoustic guitar part.
* It is in 6/8 time at a sedate 75 BPM.
* The key is G# minor, and it ends on a B major.
* Lucy’s cello copies the acoustic’s melody.
* George’s son Dan helped with the recording of the Stratocaster solos.
* Dan took up playing guitar that day and has now become a fabulous and accomplised player.
* No real horn players could be found at the time, so those parts were played using MIDI.
* The horn parts are actually quite amusing and rather scrappy.
* One of the guitar parts was made by setting the old Marshall to the most horrible sound possible, with maximum overdrive, presence and treble, and no mid or bass.
* The idea for this came from a track by Tindersticks, called Vertrauen II, from their second album.
* Dave was wincing as if to say “This just isn’t gonna work!”
* The part was dropped back in the mix and treated to a little reverb and it was “just right”.
* The idea for the simple yet distinct piano came from a piece George used to play on piano as a boy of about nine.
* It was from Forest Fantasies by Walter Carroll.
* Full details here: https://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words/another-star-in-the-sky

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/another-star-in-the-sky
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://www.wudrecords.co.uk/archives/pyg-2/
https://twitter.com/WudRecords
https://linktr.ee/flickermusic

At Least 1000 Words

Another Star in the Sky

Flicker: Another Star in the Sky

The Percolator by Flicker.
Album: At Least 1000 Words

Music by D. Danielli/G. Davies.    

Performers:
George: guitars
Dave: bass, percussion
Emma: flute

Project directed by George Davies.

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:
* The Percolator was initally composed by Dave and modified into a Flicker tune by George.
* Dave took George’s Stratocaster home to give it some TLC, and when he brought it back, this crazy tune had sprung forth from it into his hands.
* It seems to be about the vague imaginings one might have that manifest into more coherent thought after musing has occured.
* This may be nonsense though – Dave composed it initially and maybe it was just some tune.
* The time signature is very variable, so Flicker set the metronome to record in 1/8 at 150 BPM.
* This meant it had an insane amount of bars on the sequencer.
* This resulted in comments like “Let’s go back to bar 2340 and try from there” – quite impressive for the shortest piece on the album!
* It can be thought of as being largely in a slow eleven time, with the odd bar of six after the Em9.
* It’s easiest to count ||: 1-2-1-2-3-1-2-3-1-2-3- :||
* Emma’s flute towards the end represents the steam when boiling takes place.
* The brutality of the djembe doing the bass drum is important.
* George said that the melody seemed quite obvious once he’d understood the chords properly.
* George composed and scored the flute part for Emma after his guitar melody materialised.
* Scoring the part for Emma using pencil and paper was the first time George had had to use music score in a real-life situation for years.
* This piece is in D minor, although the C minor adds a cunning twist.
* One of the keys to unlocking the rhythm of the piece is to follow the cowbell.
* It plays on every other beat, so sometimes it is on the beat and sometimes off.
* More cowbell!
* Full details here: https://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words/the-percolator

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/the-percolator
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

Video of George playing the acoustic guitar part, with out-takes:
https://www.youtube.com/watch?v=4EzCjSTSyG8
"And now...!"

The Percolator

Download

Flicker: The Percolator

Oily Road Hideaway by Flicker.
Album: At Least 1000 Words

Music by G. Davies/D. Danielli.   

Performers:
George: guitars, Plank, string fish, synths
Dave: bass, percussion, keys, programming

Project directed by George Davies.

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:
* Oily Road Hideaway is in the key of G minor and the tempo is 85 BPM.
* It was composed at around eleven o’clock on a Friday morning in October 2000.
* Instead of being at home composing a tune, George should have been in Luxembourg to celebrate Floyd and Kat’s wedding.
* Unfortunately, Joe’s old Ford Sierra wasn’t up to the task of completing the journey.
* At around 3am, the old Ford emptied the contents of its sump all over the A303, about two miles from Stonehenge.
* The stricken Sierra was towed right back to Exeter and its sleepy occupants returned to their homes, disappointed.
* Within 15 minutes of returning home, George had composed this piece on a Hokada classical guitar.
* Nearly all the other pieces on the album At Least 1000 Words had their drums recorded at Tim’s house in North Devon, in a room about the size of a toilet.
* The mics were all pretty horrid too, and the whole system looked like it had been built by Captain Hook at a Heath Robinson school for elementary electronics.
* Oily Road Hideaway is the only track on the album that uses programmed drums.
* The rhythm breakdown in the middle of the piece was somewhat longer originally, and cut down quite drastically to save precious space on the CD.
* The Hokada classical guitar, on which the piece was written, plays two parts panned to the left.
* One is the main rhythm part, and the other a melodic motif, which only uses the two top strings.
* The nature of the part means that if one should find oneself at a party where there is a wreck of a two-string guitar, it is still possible to play Oily Road Hideaway!
* The other lead guitar part is played on the Yamaha steel string, which is panned to the right and plays unison with the bass to begin.
* Oily Road Hideaway features a delicate, wistful ostinato played on the string fish, an extraordinary instrument built by Martin from Pyg.
* It starts at 2:05 and continues to the drum break, then reappears at 2:54 and plays until the end.
* A string fish is a like a pair of dulcimers or zithers, joined together at an acute angle.
* The strings are vertical and to play a scale, the player must alternate between the left and right side, like a kalimba.
* Dave and George both play a unison bassline, on the Fender and the Plank respectively.
* George and the Plank are panned right, Dave and the Fender panned left.
* Just after the drum break, at 2:48, George plays two notes that Dave doesn’t play.
* Other than that, their parts are beautifully in sync.
* Flicker would have liked very much to have found a brass section for Oily Road Hideaway, but none was available.
* Full details here: https://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words/oily-road-hideaway

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/oily-road-hideaway
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

Oily Road Hideaway

Flicker: Oily Road Hideaway

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

Week Five by Flicker.
Album: At Least 1000 Words

Music by G. Davies/D. Danielli.

Performers:
George: guitars, samples
Dave: bass, dums, djembe, clave, EDP Wasp 

Samples:
The Prague Metro 1997

Project directed by George Davies.

Drums recorded at Clark’s Cottage, West Putford, North Devon.
Strings, percussion 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 ℗ 1996 Explicit Music. 

Fun Facts:
* Week Five is a tune that George wrote around the time of his TESOL course in the spring of 1996.
* It was a four week course, so Week Five is all the stuff that happens to you as a teacher after completing that initial course of training.
* The sound of the train was recorded on the cassette recorder George hauled around Prague for teaching.
* He left it running on a journey from his room at the Hotel Opatov to the office of his school, English House, in Albertov, in order to capture some ambient sounds of the city.
* Week Five is essentially a two-chord tune – F# minor and E.
* The tempo is 135 BPM.
* There are five ‘verses’ to Week Five, one for each week.
* As the piece progresses, each ‘verse’ becomes a little more intense than the previous one.
* The fourth and fifth verses are slightly longer than the first three.
* The fourth week involved a great deal of work, so that deserved an extra few bars.
* The fifth week represents the rest of one’s life after the course is finished, which hopefully is longer than four weeks.
* Week Five is dedicated to the guinea-pig students at Sidmouth International School in Spring 1996 – Sandi, Tammi, Keiko, Myrtle and Dilek, and tutor Vincent, as well as the other trainees, tutors and students.
* A little credit must go to Adi Celestine for defining the ending.
* In a perfect world this tune would have been 5:05 minutes in length.
* 505 was the number of the night bus, or the “magic bus”, that would take George back to Opatov after a night of revelry in Prague.
* The acoustic guitar rhythm gives the tune a train-ish vibe.
* The percussion and latin feel were intended to make the piece appear more cosmopolitan.
* Due to lack of space on the CD, the soundscape at the beginning was drastically curtailed.
* This was a shame as it took ages to make the panning and editing just right.
* Pražského Povstání was chosen because that metro station was very close to where George lived to begin with, before moving out to Opatov.
* Full details here: https://www.explicitmusic.co.uk/lyrics-information/flicker/at-least-1000-words/week-five

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/week-five
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

Week Five

Flicker: Week Five

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

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

Daylight Demo

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 ℗ 1991 D & G Music/Explicit Music.

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

LAST TRAIN TO HEAVEN
It’s the last train to Heaven
And this is midnite calling
Sleep slipped out the window
To where the stars are falling
And the sandman points a finger
And the shadows begin their crawling
This is the last train to Heaven
And this is midnite calling

How many miles to Babalon?
Three score mile and ten…
Will I get there by candlelight?
Yes, and back again…
And the joker shuts his eyes
And the dream begins to end
This is the last train to Heaven
And it won’t call again

Well, it’s the last train to Heaven
And this is midnite calling
Moonlight minds the night time
Rides while day is walking
Lights the way to paradise
And dawn lets in the morning
It’s the last train to Heaven
And this is midnite calling

How many miles to Babalon?
Three score mile and ten…
Will I get there by candlelight?
Yes, and back again…
And the joker shuts his eyes
And the dream begins to end
This is the last train to Heaven
And it won’t call again 

Fun facts:
This song is in the key of G.
Pete plays the harmonica parts on a full-scale harp which simply would not do concert pitch no matter how many hammers we bashed it with.
It was a popular acoustic number when performed by Dr Watson and in George’s TEFL classes.
Most of the sequencing is played on the Yamaha TG33.
The clicky guitar that we wish was considerably quieter is a sample.

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/last-train-to-heaven
https://twitter.com/Dark_Company
https://www.facebook.com/Dark-Company-154909774522910/
https://twitter.com/WudRecords

Rage in Heaven

Last Train to Heaven

Dark Company: Last Train to Heaven

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

Medicines

Dark Company: Medicines

Crash by Dark Company.
Album: Signmaker

CRASH
No more candid picture shows
Just soap bubble opera’s shallow glows
They tell me it’s a story about my life
To just ignore what I don’t like
It’s so real I must live like that
Script in my pocket and a ticket in my hat

We gotta stop
We’re gonna crash
Life is money you can’t pay back
Life is money you can’t pay back

No more cracks in the temple walls
Next week’s episode will save us all
Your mirror becomes a TV tube
What was reflection now is a view
The face you see is not your own
It spends its time in someone else’s home

We gotta stop
We’re gonna crash
Life is money you can’t pay back
Life is money you can’t pay back

No more thoughts in a lazy way
They scream from the glass: “We’ll make your day!”
I believe it’s true because it’s on the screen
But you can only see what they have seen
We’re all plugged in to one beating heart
Life don’t begin until the programme starts

We gotta stop
We’re gonna crash
Life is money you can’t pay back
Life is money you can’t pay back 

★

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

Performers:
Peter Greatorex – vocals
George Davies – guitars, Boss DR220A drum machine, organ, EDP Wasp
Jeff Willmot – bass 

Recorded, mixed and produced by George Davies at Silent Running Studios Exeter, Autumn 1991.
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:
Crash by Peter Greatorex

Copyright ℗ 1990 Pig Pen Music.
Copyright © 2010 Wud Records.

Fun Facts:
* Crash was Alien Heat’s set opener.
* Sadly no recordings of the Alien Heat version still exist, as far as we know.
* The key for Crash is B minor.
* When George went to entertain the folks of Plymouth in the subways with his acoustic guitar, he used to play this sliced together with another Dark Company song called Ulysses.
* Ulysses later became an Ug Brothers song called Paperchase.
* Crash was the first song that Jeff played bass on for Dark Company.
* Jeff was very keen to impress and played some amazing things, including attempting the guitar riff in unison.
* George showed Jeff how to hold the G string of his bass on the 4th fret with his right hand so he could hammer on and pull off with his left.
* This technique fascinated Jeff and he played it over and over in the van whilst Pete gave him a lift home.
* All the guitar dirt is natural Marshall overdrive.
* There are no pedals at all, just guitar into amp and a mic on the cab.
* George had just had his antique Marshall revalved and spent around 45 minutes playing with feedback at high volume, until Pete appeared and asked him politely to stop as the neighbours were having palpitations.
* The guitar parts were recorded shortly after that.
* Pete's vocal parts were double-tracked.
* George and Richard wrote the organ part in George’s Haldon Road bedsit one day in the early spring of 1990 when Richard came to visit with his keyboards.
* Whatever contributions Marc and Graham made to the writing of this song are now lost in the mists of time, although they receive a small credit here nevertheless.

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

Over the years, Crash has drawn a lot of comment as its mix of styles is very appealing. Van Halen, ZZ Top, Talking Heads, The Who and AC/DC seem to be the most frequent comparisons. This was a favourite comment on Twitter one day: "Crash sounds like the Who, Talking Heads and Yes all jamming together." - https://twitter.com/prosperousmu

Signmaker

Crash

Dark Company: Crash

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

Future Sadness Past

Dark Company: Future Sadness Past

Animal House by Dark Company.
Album: Signmaker

ANIMAL HOUSE
I don’t truck no garden stones
Ain’t got a lawn full of little old gnomes
Don’t grow roses round my gate
No alarm clock rings cos I sleep real late
Savings and loan sharks aren’t for me
Ain’t got a boat floating on the sea
All I wanna do is just be me

I ain’t got a number two car
Ain’t even bought the first so far
Watching TV I don’t get to do
Ain’t got a tube in my room with a view
Don’t whack balls with a little bitty stick
Only drink brandy when I’m sick
You can call me slow but don’t call me thick

Habitat furniture ain’t got in my home
Telephone table’s no good with no phone
Suits and ties from the charity store
I help the aged more and more
First class travel means you’re keeping dry
My hotel roof is a piece of sky
And it ain’t no good to ask me why
And it ain’t no good to ask me why
And it ain’t no good to ask me why
And it ain’t no good to ask me why

★

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

Performers:
Peter Greatorex – vocals, harmonica
George Davies – guitars, bass, Boss DR220A drum machine

Recorded, mixed and produced by George Davies at Silent Running Studios, Exeter, Autumn 1991.
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:
Anteaters and Hedgehogs by Peter Greatorex

Copyright ℗ 1989 D & G Music.
Copyright © 2010 Wud Records.

Fun Facts:
* This song is in the key of E major.
* It received highly positive acclaim from the Guild of International Songwriters and Composers.
* In order to produce the ‘banjo’ effect, George tied a soft cloth around the strings of Nicodemus and pushed the cloth right up to the bridge to kill all the sustain.
* Don Wills played a track of slide guitar that was not used in the final mix.
* The slide guitar track that was used was recorded on Marcus’s Arbiter guitar which had a particularly high action and a very thin body.
* This instrument was tuned to an open D major chord.
* All the guitars were plugged straight into the desk.
* Due to unfamiliarity with the gear, the DBX on the TSR-8 was switched off for the recording, causing a most horrendous amount of hiss.
* The red LED meant the DBX was 'off', not 'on'.
* This was later fixed with cunning use of gates and aural exciters.
* Originally Animal House was going to be an Alien Heat song but the band never managed to get around to it.
* The main riff in the intro is stolen from a song that George wrote about a girlfriend who caused him disgruntlement.
* In order to squeeze all the drum beats that were needed into this song, the drum machine had to be run at 214BPM
* The true tempo is probably nearer 107BPM.
* When Astrologer was released as the second single from Signmaker, it was backed with & co's Astrologer (Kiddies' TV from Hell RMX) and Animal House.
* This song has a certain autobiographical quality about the nutty lyrics.
* It was played at Pete's graveside during his funeral in 2016.

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

Animal House

Dark Company: Animal House

Killer by Dark Company.
Album: Signmaker

KILLER
Learning is a clock with only one hand
Dreaming is a beach with speaking sands
Knowledge is a vice that grips a man
And Cain was a killer that didn’t understand

Wisdom is a yo-yo with a broken string
Time is a bird that cannot sing
And you can’t stop the rain with anything
Except love

Wanting is a boat that doesn’t know the sea
Needing is a pain that hurts to be free
Waiting is a lock that doesn’t have no key
And Cain was a killer that could have been me

Wisdom is a yo-yo with a broken string
Time is a bird that cannot sing
And you can’t stop the rain with anything
Except love

War is a sore that won’t go away
Night is a bruise on the skin of day
Children are the reason that you say you’ll stay
And Cain was a killer who got clean away

Wisdom is a yo-yo with a broken string
Time is a bird that cannot sing
And you can’t stop the rain with anything
Except love

Teachers are people who shoot at sparks
Lessons are knives that shine in the dark
Sins are boats on the lake in the park
And Cain was a killer right there at the start

Wisdom is a yo-yo with a broken string
Time is a bird that cannot sing
And you can’t stop the rain with anything
Except love

★

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

Performers:
Peter Greatorex – vocals
George Davies – guitars, bass, Boss DR220A drum machine
Rowena Parsons – tenor saxophone

Recorded, mixed and produced by George Davies at Silent Running Studios, Exeter, Autumn 1991.
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:
Red Splat 1 by Peter Greatorex

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

Fun Facts:
* This song is in the key of A minor.
* During the recording of the sax part, Row played a fabulous blort which caused much giggling and can be heard as a bonus track and on the ‘out-takes and blorts’ page at Wud Records.
* Unfortunately much of the giggling cannot be heard.
* This was the very first Dark Company song that was completed.
* It received highly positive critical acclaim from the Guild of International Songwriters and Composers.
* Due to unfamiliarity with the gear, the DBX on the TSR-8 was switched off for the recording, causing a most horrendous amount of hiss.
* The red LED meant the DBX was 'off', not 'on'.
* This was later fixed with cunning use of gates and aural exciters.
* Killer was written in August 1991 and is 110 BPM.
* The guitars were recorded straight into the desk rather than using an amplifier.
* Killer was the first single released by Dark Company from the Signmaker album.
* It was backed with Second Sight and the digital remix of Killer.
* If you listen carefully to Second Sight, you can hear a little ploppy guitar line running through the song here and there, similar to the ones in Killer. 

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

Killer

Dark Company: Killer

Spin Gone Crazy by The Ug Brothers

Words: D. Danielli
Music: G. Davies/D. Danielli/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
Dave Danielli – bass
Graham Barbe – drums

SPIN GONE CRAZY
Always on the outside I’m working on the inside
Always on the outside I’m focused and free
A taste for freedom will beat the system
I’m focused and free

A force for freedom feeling good in my veins
I’m cutting loose from the city
I’m cutting my chains

Always on the outside I’m working on the inside
Always on the outside I’m focused and free
Lives keep on changing it’s synchronicity
It’s something so natural
Life and love are free

Spinning of the wheel getting faster and faster
Get out onto the road and ride into the future

A force for freedom feeling good in my veins
I’m cutting out the conflict
I’m cutting my chains

Always on the outside I’m working on the inside
Always on the outside I’m focused and free
Going through the changes
Watching you watching me
It’s something so natural
Life and love are free

I feel the wheels turning round and round and round
I hear the engine howling
I feel the wind on my face
Shiny metal in the hot summer sun
Flashing lights through the trees
Watching people wondering why
Burning rubber in the haze
Spin gone crazy

Fun Facts:
This song began life as a guitar riff in Dm, which appears right at the start.
This riff seemed to be an endless loop that didn’t go anywhere else for several years and then one day, during an Ug Brothers jam, it developed into this.
Dave wrote the words to describe his feelings about motorcycling.
This was something of a favourite when played live with its pounding bass and musical harmonies.

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/spin-gone-crazy
https://wudrecords.bandcamp.com/album/cute-but-weird
https://wudrecords.bandcamp.com/
https://twitter.com/WudRecords

Cute But Weird

Spin Gone Crazy

The Ug Brothers: Spin Gone Crazy

Feel my pain and I'll feel yours.

This one is pure emotion - lyrics are pretty simple.

-------------------------------------------------------------------------------
Cut me once - shame on you
Cut me twice - shame on me
See me bleed

I am bleeding
I am bleeding
I am bleeding again

Cut me once - shame on you
Cut me twice - shame on me
See me bleed
See me bleed
See me bleed




Bleeding

Freezer Burn

I'm waiting, sippin back when we should drinking you all down
the wait has been so long now.
you seem distant tonight, somewhere lost in  space
but I wont pressure you, i wont pressure you

Your symptoms seem desperate and poor
needs something more, we’re tired and bored
I wont let you in
its the same as the other one,  
it's the same as the other one who came before
this outside layer getting thin

I swear buried it
somehow found you found it 
underneath my master plan

I hoped you be right with it
if i just removed it
i guess you'll never  understand


I took a wrong turn 
I thought you'd keep hanging on
Its all part of my masterplan

The Master Plan

Short and Sweet by The Subterraineans.
EP: Demo

SHORT AND SWEET
Somehow it just doesn’t suit me
Oh I try but it just won’t fit
Some way a promise of another day
Means nothing, nothing to me

Hold on – I’ve been here before
Waiting here – looking for an open door
Go to sleep – it’s just another empty day
Go around – and do it again
Time – time on my shoulder
Death – awaits round the corner

Life, life, give me life

Oh dear Lord there’s got to be another way
I’ve done no wrong yet somehow I pay
The truth – it doesn’t seem to play no part
I can’t moan though nothing is right

Fight – running up another hill
It’s tight – a little more than before
Expense – is all there ever seems to be
Push and shove – just for a little bit more
Time – time on my shoulder
Death – awaits round the corner

Life, life, give me life
Because life is short and sweet
It’s short and sweet

★

Music and lyrics by Dean Trotter.
This arrangement by The Subterraineans.

Performers:
Dean Trotter – vocals, electric guitar, 12-string acoustic guitar
George Davies – electric lead guitar, acoustic guitar, vocals, EDP Wasp
Jerry Peirce – bass
Graham Barbe – drums

Recorded, mixed and produced by George Davies at 31 Cowick Lane, Exeter, 1986.
This EP was first released on 7th January 1987.

Cassette salvage performed 2008.
Audio remastered at Wud Records Studios 2023.

Cover painting by Unknown.
Graphics by Sam James and Blueprint Studios.

Copyright ℗ 1986 Explicit Music.
Copyright © 1987 Wud Records.

Fun Facts:
* Short and Sweet is in the key of A minor.
* We believe it was composed in the first few months of 1986.
* It was part of the set of The Addled Eggs before that band morphed into The Subterraineans.
* The acoustic rhythm guitar was played on Senga’s Yamaha steel string.
* The 12-string was an Ibanez acoustic with a cutaway.
* Dean’s rhythm guitar was performed on a black Squier Stratocaster plugged into a Sound City head and an unknown cabinet.
* George’s lead guitar was played on an Ibanez Roadstar plugged in to a five-channel HH P.A. head with a pair of dual concentric HH P.A. cabs.
* Effects used include a Boss HM2 distortion, a Boss GE7 graphic and a Guyatone Analog Delay.
* George added the Wasp to fatten out the bottom end a little.
* It was one of the first Subterraineans songs that Jerry learned to play on the bass.
* Dean would say “It’s got to go in… and out… in, and out.”
* Fortunately George knew what he meant and was able to translate this to Jerry.
* Short and Sweet was recorded using a Tascam 244 portastudio.
* A pair of Aria mics were used to record everything – an AM 60D and an AM 20D.
* For more info about these two mics, click here: http://www.muzines.co.uk/articles/aria-professional-microphones/5925
* The song was mixed to cassette on a Realistic SCT-60 twin cassette recorder.
* The serial number for the cassette machine is 05200319.
* Due to many years of cassette deterioration, the quality of this recording is not great.
* We have managed to improve a little on what remained.
* After this song was uploaded to SoundCloud, it was discovered by a band called The Eldar.
* They honoured The Subterraineans with a beautiful cover version of this song.
* Here is a link: https://soundcloud.com/theeldarstar
* Short and Sweet is an incredible and epic song that had the power to profoundly affect people who heard it live.

Sadly Dean took his own life by suicide at the Clifton suspension bridge, Bristol, in 1994. He was just 29 years old.

In Short and Sweet, Dean sings “Give me life” – we hope by keeping his songs in the public domain we are able to do that, just a little.

Rest in peace, Dean.

See also:
https://www.wudrecords.co.uk/artists/the-subterraineans/
https://www.wudrecords.co.uk/artists/the-subterraineans/demo/
https://wudrecords.bandcamp.com/track/short-and-sweet
https://www.explicitmusic.co.uk/lyrics-information/the-subterraineans/the-subterraineans-lyrics/short-and-sweet
https://linktr.ee/wudrecords

Demo

Short and Sweet

The Subterraineans: Short and Sweet (demo)

Good Times by The Bastard Sons of Dennis, from their album Cherry Smoke Empire.

Good Times was one of the earliest Bastard Sons of Dennis songs, first coming to light in their sand dune sessions on Exmouth beach in the summer of 1994. Sometimes was first performed live by the duo at The Cavern in Exeter that same summer. It also featured in their spontaneous one-off reunion in 1998.

Mr Lijkkes composed this song shortly after hitch hiking and being given a lift by a rather odd man who told him a very strange tale about his life.

Good Times is in the key of G and has some rather interesting temporal anomalies buried within. They sound very natural so you may not hear them immediately.

With its fun acoustic funk jam to start off, this track was sometimes used as a set opener in the duo's longer performances.

GOOD TIMES
This has gotta be the good times
No more bad
No more in between for a while
I wanna get down to it
Don't wanna be the spoke in your wheel if I can help it

Well excuse while I tell you what I saw the other day
I met a man with a life to hide and bridges burnt behind him
He had a fleeting glimpse, a breath of freshness passed him
Like he didn't have a chance to catch it when it settled upon his lip
I don't suppose so

This has gotta be the good times
No more bad
No more in between for a while
I wanna get down on it
Don't wanna be a spoke in your wheel if I can help it

Well I came across your garden when your flower was unfurling
May I relieve you of the burden of your innocence
Your aura's tantalising, your scent is mesmerising
When I'm near you I have to slip into a realm of fantasy

This has gotta be the good times
No more bad
No more in between for a while
I wanna get down to it
I don't wanna be the spoke in your wheel if I can help it

Well excuse me while I ask you what's your name and where you've been
Cos you look so damn familiar like a painting, a rocket
A reflection of my sin

(Take it down)

I see a hint of roses smiling on your face
I don't mean to make you catch your breath
I couldn't make you if I tried

I see a hint of roses smiling on your face
I don't mean to make you catch your breath
I couldn't make you if I tried

And I came across your garden where the walls were gently fading
And the blossom was exhiilerating as it spoke to me
My universe expanded and my questions became answers
As I laid upon the earth and it accepted me

And this has gotta be the good times
No more bad
No more in between for a while
I wanna get down on it
Don't wanna be the spoke in your wheel if I can help it

This has gotta be the good times
No more bad
No more in between for a while
I wanna get down on it
Don't wanna be a smoke in your wheel if I can help it

This has gotta be the good times
No more bad
No more in between for a while
I wanna get down to it
Don't wanna be the spoke in your wheel if I can help it

This has gotta be the good times
No more bad
No more in between for a while
I wanna get down on ya
I'd like to be the seat upon your bike if you would let me

Music and lyrics by A. Richardson.
This arrangement by The Bastard Sons of Dennis. 

Performers:
Acoustic guitar, lead vocal: Q. Wim Lijkkes 
Acoustic guitar, backing vocal: Yuri Nation 

Recorded, engineered, mixed and mastered at Wud Records Studio One 2017. 

Copyright © Wud Records 2017. 
Copyright ℗ Explicit Music 1993.

Cherry Smoke Empire

Good Times

The Bastard Sons of Dennis: Good Times

The Freaks (Shall Inherit The Earth) by Alchemeon, from Alchemeon Live In Session Spring 2009.

The Freaks (Shall Inherit the Earth) is a glorious rock n roll anthem and call to action in the key of G major. It was performed by the Spacegoats before Alchemeon started playing it. The Freaks (Shall Inherit the Earth) would have been the final song in an Alchemeon set, with Orb and Finale as encores.

During this rendition one of Jim's keyboards started to misbehave. It was either too quiet or too loud and harsh despite his numerous and ongoing fiddlings and twiddlings. At 3:29 he becomes a bit frustrated and gives it a good bash.

THE FREAKS (SHALL INHERIT THE EARTH)
How many jacks are kept in their boxes?
How many dreams are trodden underfoot?
Could it be in you or it could be in me
The fate of all nations or a colour TV

Look down any road see a million faces
Scream back their pain from a sheer concrete wall
There’s a million products made just to fill that hole
But you never never, can never fill it at all

It’s a cry from the depths of a pin-stripe suit
And whose voice dares not to conform
Why is it just those who can see through the see through?
They’re the misfits who break out from the norm

The Freaks! The Freaks!
The Freaks shall inherit the Earth
The Freaks! The Geeks!
Who speak shall inherit the Earth

Should we obey what the government say?
Is it wrong not to tag along?
The question is no question at all
But what we do with our backs to the wall

What is a freak? I think we’ll see
When what is established gets washed away
Those who cling to it will not survive if
Destiny’s child awakes a new day

Just look around you see those bulldozers working
Ripping up the land for fool’s gold again
It’s getting worse, can’t go on forever
And who’s gonna be here when these dinosaurs fall?

Ok. What’s it going to be if it is as we’ve hear?
Who’s gonna emerge with these worlds have submerged?
When the profit is made from the damage is done
You wanna cling to the wreckage or go with the change?

CHANGE!!!!!

Now there’s some pretty megaton forces
Stirring up hate and making a war
Who can get poison and spit out the bullet?
Who are these freaks, do you think that one’s you?

The Freaks! The Freaks!
The Freaks shall inherit the Earth
The Freaks! The Geeks!
Who speak shall inherit the Earth

The Freaks! The Freaks!
The Freaks shall inherit the Earth
The Freaks! The Geeks!
Who speak shall inherit the ….. Earth!!!!

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 Sound Gallery, Exeter, 23rd February 2009.
Cassette salvage and remastering at Wud Records Studio One, 2020.

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

Released worldwide September 14, 2020.
Original release date: 10th April 2009.

Copyright © 2020 Wud Records.
Copyright ℗ 1992 Pok Songs/Explicit Music.

See also:
https://www.wudrecords.co.uk/artists/alchemeon/
https://www.explicitmusic.co.uk/lyrics-information/alchemeon/the-freaks-shall-inherit-the-earth
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 Spring 2009

The Freaks (Shall Inherit the Earth)

Alchemeon: The Freaks (Shall Inherit the Earth)

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.