4.52am Issue: 049 31st August 2017 The BRONSONS Issue

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Welcome
Welcome to Issue 049
This week we lead with The Bronsons as to
be totally honest, sometimes it is cool to
find a band that has been around the block
and then come back. Freshness isn’t a
problem though as their new single ‘Girl
From Outer Space’ proves all too well.
Speaking of comebacks, I couldn’t help
notice that the rather wonderful Manton
Guitars had something new fresh from the
workbench, which I thought I would share
with the group, as well as the beautiful
‘Baby Jane’ travel guitar from Furch.
From there we have an array of finery,
with some awesome new music from the
longterm home of the genius that is Dean
Garcia, SPC ECO, something cool from Fox
Foods Records in the shape of Captain’s
new E.P and then Chris Farlowe, Hazel
O’Connor, David Bowie, the Levellers,
McAlmont & Butler and…Harry Styles from
the fevered mind of La Contessa. Who
knew?
Until next week…have a fine one
All at 4.52am

Contents
THE BRONSONS
MANTON GUITARS ‘Paradigm Bass’
FURCH GUITARS ‘LITTLE JANE’
LEARN TO PLAY: OASIS ‘CIGARETTES & ALCOHOL’
TAPED: CAPTAIN ‘In Bloom Again’
SPC ECO ‘CALM’
LA CONTESSA PRESENTS…
- CHRIS FARLOWE
- DAVID BOWIE
- HAZEL O’CONNOR
- LEVELLERS
- MCALMONT & BUTLER
- HARRY STYLES

FEATURES

THE BRONSONS
Don’t Look Back
Sometimes you just come across fantastic
music out of the blue, as it were, and this
week was exactly that – with The
Bronsons’ new single, ‘Girl From Outer
Space’ completely decking us.
From there it was time to kick Jim
Morrison to the kerb, and luckily for us we
managed to catch-up with lead singer,
harmonicarist and main songwriter,
Stefan Ball for a wee chat about it all.
And it is well worth reading as it isn’t your
average tale of middle class indie boys
getting their shiny new Gibsons on
Daddy’s plastic, and for those of us chaps
who think their gigging days are gone,
there is even a sprinkle of hope.
Here is how it went anyway,
Tell us how The Bronsons first got
together.
“First time around was in the early 1980s.
Three of us - Tone (guitar), John (our
original harmonica player) and me - were
following a bunch of rhythm and blues
bands that were playing around London
at the time, people like Lew Lewis, The
Inmates, Q-Tips, Red Beans and Rice,
Nine Below Zero, The Blues Band - and
we wanted to start a band to play that
kind of music. Tone and I had been in a
band a few years before with Phil on
drums, so we got him involved, and a
mate's brother, Mike, was invited in on
bass. Apart from Mike, the original lineup
were all schoolmates. We played
around London for a few years, including
Le Beat Route, The Embassy Club and
the squatters' nightclub in Bonnington
Square, but split up in about 1985.”
How did you come to reform this
time around?
“Mike and I were both season ticket
holders at Fulham and over a postmatch
pint cooked up the idea of a
jam/party in a rehearsal studio, just as
a one-off. But the party never really
happened and instead we started
rehearsing and relearning the old
material.”
Who was in the reformed band?
“At first it was everyone from the
original band except the original harp
player John. He didn't fancy it this time
round. He was always a reluctant
performer - he used to sit out of sight
at the back behind the guitar amps
when he wasn't actually playing! So it
was me on vocals, Tone on guitar, my
mate Bob on second guitar, Phil on
drums, Mike on bass, and Mike's mate
Cam on harmonica.
Cam and Bob dipped out early on so I
started for about the third time in my
life to try to learn the harmonica. It was
way easier this time, thanks to
YouTube.
Our original backing singers The
Bronsonettes didn't rejoin. We'd lost
touch with one (Sarah) and the other
(Sandy) is in very poor health. Zara

joined us by the end of 2013 and then
Giselle in 2014.
After a year Mike quit so we advertised
online for a bassist and that's how we
found Jorge. He's a sound engineer as
well as a fantastic bassist, and that's
been very useful to us along the way,
not least because he has a great ear for
details in songs and can often spot the
one note or beat that's not quite where
it should be.”
In Terms of influences, how does
that feed into the band’s sound?
“Back in the eighties, and before we
even rehearsed together, John put
together a mix tape on cassette of a
bunch of songs we could cover. We
learned them at home and came into the
first rehearsal and played them, straight
off. From memory I think there were
songs on there by the Yardbirds, Lew
Lewis, Count Bishops, The Standells...
That tape, and a live compilation album
recorded at the Hope and Anchor called,
The London R'n'B Sessions, are probably
the root of everything we do. When we
started writing our own songs they
followed that tradition.
What we add I guess is our personal
influences. The biggest influence on me
- the reason I wanted to be a front man
- is Iggy Pop, and especially the Iggy Pop
of The Stooges. I like punk, rockabilly,
energy. Phil comes from a more bluesfocused
musical world - his dad in his
younger years was a professional jazz
pianist. Add in Tone's showmanship on
guitar and love of Link Wray, and Jorge's
ear for detail, and Zara and Giselle's
dance moves and Andrews Sisters
harmonies, and it ends up being a mix of
approaches that doesn't really sound like
anyone else. Even the covers we do -
because we still have songs in our
repertoire from that original mixtape! -
have changed over the years so they feel
100% ours now.”
So how would you describe your
sound?
“We call it garage rock rhythm and blues.
Everything is blues-based, so it's pretty
much always built around I, IV and V and
related chords. But we hardly ever play it
straight, so if we have a 12-bar song it's
a rarity - it's more likely to be 13-bar or
14 or monkeyed with in some other way.
And we're too fast and loud and
aggressive and too rock and roll to be a
"proper" blues band. We have guitar
solos but they're mostly short and even
the longer ones are based more on riffs
and echoes of other songs than on classic
blues phrasing. As much as anything, the
harmonica keeps us in the rhythm and
blues bracket. That and the backing
vocals give us more potential colour to
call on than some bands.
Basically, the aim of the band is to be fun
- we love to see people dancing at shows
- but at the same time to have an edge
that stops us from being cosy. I heard

someone at a festival say that we were
"slightly scary" and that's probably about
where we want to be in image and
sound.”
Can you describe your fans?
“We have some fans who would say they
are blues fans first - a few blues guys
even came over from Germany
especially to see us, which we took as a
huge compliment. We also go down well
with punks, and shows we've done with
punk bands have always got a good
reaction. Our music is a form of pub rock
in the end, and that's where punk
started too, so there's an affinity.
Most of our regular fans though aren't
really identifiable in that way - they're
just people who enjoy a boogie down the
front. And we love them for it!”
When did you start gigging - what
was your first gig like?
“The first Bronsons gig would have been
in the King's Head in Fulham - it's not
there now. We did a co-headline show
with a band I managed at the time called
Career in Commerce. The pub was pretty
much falling down, there were beer
crates propping up the PA, and we had
about 25 people in, all of them friends of
the bands.”
How about big gigs?
“We played The Ealing Blues Festival in
2015 - that was fun. Got a great turnout
and response and it was our first biggish
festival as well. But probably our
favourite nights have been in smaller
music venues where you are right up
close to the crowd and can get in
amongst them and there's sweat dripping
off the ceiling. So we loved supporting
The Vibrators at the Dublin Castle, and
our headline show at The Half Moon in
Putney was brilliant too. Playing the Hope
and Anchor was terrific as well - we filled
the venue out when we played it in 2016
- and for us it was a bit like coming home
because the London R'n'B album I
mentioned had been a big part of our
coming together in the first place.”
Since you have reformed, what has
been the biggest change you have
noticed?
“In terms of live shows, it's the make-up
of the audience. Back in the 80s most
audience members were in their
twenties. Now I'd say they're mostly in
their fifties now. Under-18s are
effectively barred from most music
venues and by the time they get to their
twenties they seem to be more into DJs
and producers and dance music than live
rock and roll.”
The first thing you’d recorded? -
How old were you, when was it,
where did you do the recording, how
long did it take?
“The Bronsons didn't record first time
around, so our first studio recording was
in 2013. It was the first time Zara sang
with the band, in fact. We did a demo of
three songs including a recording of Just
for Fun that actually got us quite a bit of

adio play, even though the recording
quality isn’t really great.
The first studio recording for release was
in 2015 - that was an EP called Out Too
Early.”
Was it what you expected/what
would you change now?
“For Out Too Early we used the standard
"record the instruments and vocals
separately" approach and it didn't
translate too well to a sound that we
were happy with. A touch too clinical,
not enough voom. We are pretty much a
live band that plays in pubs and bars, so
it would have made more sense to
record the whole rhythm section live in
the studio at the same time.”
How has recording the new single
compared?
“We learned from 2015 and went for a
live approach. All the instruments were
recorded live and in one take. We
basically played the song over and over
until we were happy with it, and there
were no instrument overdubs, which is
why the song opens out in the guitar
solo - there isn't a second guitar filling
the gaps.
Once we were happy with a take, we redid
the lead and backing vocals to gain
on clarity while still preserving the
rougher "live" feel. I think for bands like
us that's essential if you are going to get
the energy across properly. There's a
real danger that too much separation and
so on can sanitise the music.”
How did you find working with the
producer?
“The producer I guess was mostly Jorge
- although we all chipped in. And we were
fantastic to work with!
It helps of course to start with top class
recordings, and Adie Hardy at Unit 2 did
a brilliant job for us. Jorge took the stems
and mixed them and the rest of us fed
back and commented on the mixes until
we had something we were all happy
with. Working like that was great as it
meant we could live with the recording
over a few weeks so that niggles that
were barely noticeable had time to be
noticed and corrected. The extra time
spent on the mix really paid off. Then it
went off for mastering.”
What was the recording set-up?
“Tone played a John 5 Telecaster through
his Hughes and Kettner 18 watt, 12"
speaker combo, and that was mic'ed up.
Jorge played his Fender Mustang through
Unit 2's Ampeg SVT valve head paired
with a vintage Ampeg 8x10 cab, and Phil
played his Gretsch kit.”
What is next for the band - can we
expect an album?
“Next will be another single, probably out
around the end of this year. As a band we
haven't really made a final decision, but
my feeling these days is that albums are

a bit of a waste of time. I mean, they
wouldn't be if you were making a long
record that had to hold together in a
particular order - a themed set of songs,
say, or a prog concept album - but most
people now listen to playlists, not albums.
So three-minute songs like ours I think
have more legs and more visibility if they
come out by themselves.
My preference would be to put out a
bunch of singles then maybe collect them
into a CD for sale at gigs to fans.”
Thinking about your approach to
songwriting, what comes first -
words or music?
“Mostly, riffs - occasionally, a line of lyric.
I usually start with two hours of random
noodling on a guitar then one of those
noodles turns into a riff that makes me sit
up straight, and that's the start point. I
can usually tell in about five minutes if it's
going to work as a song - a lot of good
riffs don't really go anywhere.
When it starts with a lyric, it's usually one
line, or sometimes a title. "Slip in Your
Skin" - which will be the next single -
started with the line "I want to slip in your
skin". I wasn't sure what the song was
about, but it was sexy and dirty and
interesting right away so I knew it would
work.”
How did you learn to write a song?
“Even before I could play a chord on a
guitar I was writing songs. I loved The
Beatles, especially the early stuff, so I
started off trying to write songs that
sounded similar to Can't Buy Me Love and
She Loves You. Just words and a vocal
melody. Later when I had a guitar I went
through a period of deliberately trying to
write in one style then another, as a kind
of exercise. "Today I'll write a Black
Sabbath song" - that kind of thing.
I think if you are a fairly limited
guitarist, as I am, it's quite natural to
write your own songs because playing
other people's is really quite hard!”
Amen to that!
Which song are you proudest of?
“I'm proud of Slip in Your Skin because
it takes a very simple rockabilly/Cramps
style structure and plays with it so that
each repetition does something
different and unexpected. But I'm
proudest I think of individual lyrics,
especially where they make sly
references to pop culture. So in
Dragging on Side, "I combed my hair
like Russell Harty" makes me smile, and
in Pussycat, "her rings were sharp, her
eyes were crazy, her dialogue came
from Iris Easy" is a nod to the film Taxi
Driver.”
These days you can record a song
at home and have it distributed
and heard around the world in no
time at all - what do you think are
the good and bad parts of the
ways things have changed?
“The good side to it is that anyone can
make music. So the process is
democratised and no longer in the gift
of record company executives. The
punk in me says that has to be a good
thing.
But part of that has been the
digitisation of music, and there I think
we have lost something. When a vinyl
record cost money you chose what to
buy with care and then you damn-well
listened to the thing several times
because you'd blown your budget on it.
Songs that weren't immediately

accessible had a chance to grow on you
because you'd give them time - you had
money invested. Nowadays even if
you're paying for a streaming service,
you're not paying for this particular
song. So there's no investment in a new
piece of music and if you don't like it in
the first five seconds - skip. And people
listening on YouTube or the free
streaming services aren't paying a
penny.
And of course the finances of the thing
mean that bands end up being paid very
little, even if they're critically successful
and great live acts. Music has become a
bit like poetry now in that there are loads
of people writing and publishing it, but
hardly anyone actually buys it.”
How do you feel about doing
collaborations?
“We haven't. We'd like to. Lew Lewis
would be our number one pick I think -
would be terrific to have him in on
harmonica either recording or on stage.
Wilko Johnson is welcome to jam with us
anytime. And I'd like to get either Minki
from 50ft Woman or Puss Johnson from
Pussycat and the Dirty Johnsons to sing
a song with us some time.”
In terms of your guitar gear, can
you talk us through it?
“Okay, bass first, and I got this info from
Jorge -
Until very recently - and on this
recording - Jorge used a short-scale
Fender Mustang Japanese reissue in
Olympic White. The pickups have been
upgraded to Nordstrand NM-4 by the
Bass Gallery in London, who also shielded
and grounded the whole internal cavity -
apparently none of that had been done at
the factory. The upgrade in pickup
improved the sound to a 99.5% clone of
a vintage Precision with plenty more low
end and a lot of mid agression. Jorge also
sanded the back of the neck to leave it
with a matte finish. He uses Thomastik-
Infeld Jazz flatwound strings.
Then very recently - he gigged it last
Friday for the first time - he's started
using a long-scale second-hand
Frankenstein thing he got through eBay.
It's a Squier Special Precision Bass body
with a PJ pickup configuration and a
Squier Jazz Bass 70s Vintage reissue neck
in maple. It has an upgraded Wilkinson
bridge, a white pearloid pickguard and
already modded electronics, with a
series-parallel push-pull volume pot
control instead of the stock configuration.
He's sanded the lacquer off the fretboard
and the back of the neck, shielded and
grounded the whole of the electronics
cavity and the pickguard, cleaned and
adjusted the volume and tone pots and
changed the pickups to a Tonerider TRJ1
Jazz Plus and TRP1 Precision Plus pickup.
The strings are Rotosound Black
Tapewound.
He doesn't actually use a bass rig very
often and no effects. His go-to is a
SansAmp Bass Driver DI straight into the
PA. A lot of venue engineers are

delighted! - cuts on setup time and
makes it nice and easy for them because
it's a piece of kit everyone knows. Other
venues he might use a house bass cab
depending on what's available. The
benefit of being a sound engineer is he
knows the EQ and drive settings that he
needs to get his own sound right
whatever the amp.
As for Tone, his favourite guitar right
now is this Fender John 5 Custom Shop
with Bigsby. It's a beauty once you get
past the individual headstock design,
and a dream to play. Every time he
leaves the room during rehearsal I grab
it and have a go!
He plays it through his Hughes and
Kettner combo, going through the dirty
channnel and using the amp boost
switch for solos. He doesn't use any
other effects apart from a little amp
reverb. Early on he did used to bring a
pedal board to gigs - he uses it in
another band he plays with - but stopped
when by mistake he stepped on an
octaver pedal in the middle of a rhythm
and blues song. It didn't really fit our
sound...
Tone is the guitar collector in the band.
Other guitars he has used with us
include a Gibson Firebird and SG, a Les
Paul, several different Gretsches ranging
from Electromatics (upgraded with TV
Jones pickups) to a Country Gentleman,
a metal-fronted Zemaitis, and a couple
of Duesenbergs. He once brought a
pointy Ibanez along, but as with the
octave pedal, it wasn't a good fit. Pretty
much all Tone's guitars, except his SG
and his Firebird, are black.
For songwriting I mainly use a one pickup
maple-neck Gordon Smith GS1
overpainted in TV yellow. It's beautifully
simple. I also use a Steinberger Spirit GP
- that's the one with the small V shape,
not the cricket bat version. I've owned a
couple of Steinbergers and the trem
systems and tuning stability are brilliant.
The pickups let them down - I'm not a fan
of active pickups and the cheaper passive
stock pickups are just weak. The GP has
a pair of IronGear P90s in now.”
Any dream guitars you would like?
“Personally I've always fancied a vintage
white Gibson SG deluxe. I asked the band
and Jorge says he'd be up for a vintage
Precision Bass with a nicely worn out
maple neck. Or he'd settle for Sting's
Fender 57 Precision sans pickguard. I
think Tone has his dream guitar already
with the John 5.”
The Bronsons are a proper band making
the kind of music that gets inside your
head and then tears the place up. So if
you like people like Dr Feelgood, The
Sharks, The Cramps, or for our younger
viewers, Muse and Franz Ferdinand, you
really owe it to yourself to check them out
in their natural habitat – a pub or club
somewhere near you.
Find out more,
Website Facebook Twitter Bandcamp
Soundcloud YouTube

MANTON GUITARS
Paradigm Bass Blackburst
I must admit I’m starting to feel like a bit
of a stalker when it comes to Manton
Guitars – far too much time checking out
Robin’s Twitter and Facebook feeds and
generally pottering around the web site.
Needless to say then, that I got
discombobulated the other day when his
latest creation – the beautiful blackburst
Paradigm Bass – popped up, and I felt the
need to share.
From the top it is based on a Precision
Bass, but then tweaked to make it better
balanced and less of a plank. As per, all
the materials are top notch and the
beautiful finish along with a set of Fralin
pickups means that it will look as good as
it sounds as good as it looks.
Needless to say, it has already been sold,
but as Robin makes his guitars to your
spec. that really isn’t an issue.
Features Overview
32" Scale
20 Fret
AAA grade Rosewood Fingerboard
Tusq Nut
3 pc Maple/Walnut Neck
1 Piece Alder Body
Gotoh 203 Bridge
Gotoh Tuners
Custom Control Plate
Dunlop Straplocks
Passive with CTS pots
Lindy Fralin (S.W) Pickup
Blackburst Satin Finish
Colour Matched Headstock
Light Neck Tint
If you haven’t checked Manton out
before, now is definitely the time – and
HERE is the place to do it.

FURCH GUITARS
Little Jane Travel Guitar
A while ago we took a look at a new
approach to neck design on one of Furch
Guitars’ acoustics, which not only made
everything more stable and stronger, but
looked rather cool too. So when we
began thinking about travel guitars, I
must admit I was interested to see what
the company’s approach would be.
Needless to say it is innovative in the
extreme.
We have all tried travel guitars and
generally they are pretty dire. Cut down,
low quality, with the best excuse for that
being that you won’t get too upset if you
lose them or they get damaged. But what
if we want to play something nice, or god
forbid are a working musician? Where can
we get a top quality guitar that is safe as
your carry-on luggage?
Furch then have started exactly there.
With no reduction in the quality of the
instrument, they have re-imagined
exactly what a travel guitar can be and
then created it perfectly.
So, we have a solid cedar top,
mahogany sides and even tortie
binding.
For the neck we have a mahogany neck
with an ebony fretboard – ebony, not
plastic-o-lite – and most important of
all a 45mm nut spacing and a full scale
neck.
Hardware is equally good, with an LR
Baggs active pickup, and it even comes
with a top quality backpack/gigbag.
But it is the way the guitar can be
(de)constructed quickly, over and over
without fear of parts wearing that is the
most impressive. Check out the photos
and see what you think.
This really is a work of art, and yes the
price may be higher than some, but if
you are in the market for the real deal,
this may just be the perfect travel
guitar for you, one that you will never
need to replace.
Find out more about Little Jane HERE

LEARN TO PLAY
Oasis ‘Cigarettes & Alcohol’
Some might say that Oasis never really
bettered the raw genius of their debut
album, and in ‘Cigarettes & Alcohol’
everything that made them special came
together perfectly.
So when I was thinking about the
perfect Oasis song to include this week,
it wasn’t a hard decision, not least
because you get a bit of T-Rex thrown
in for free.
Can’t say fairer than that.

TAPED
Captain ‘In Bloom Again’
You may have already guessed that I am
a little bit in love with all that I hear from
the ever-cool Fox Food Records, and
having recently received a lovely cassette
of this E.P from Captain, nothing has
really changed about that.
I won’t bore you about the presentation
again – needless to say it is inspiring and
faultless – but Captain, who I hadn’t
heard before are something equally
special.
Understated and acoustic, this
definitely puts the dream into
dreampop and the singer’s voice is
magical, powerful but somehow slight
and fragile. There is something
genuinely moving about the songs and
I have had the tape auto-reversing for
two hours as I type this and even
though there are only six tracks, I still
can’t quite get them straight in my
head.
What I do know is that they are
magical, and I really need to find out
more about the band/artist, so
hopefully more to follow soon.
Do check them out at Fox Food HERE

SPC ECO
Calm
Being a slightly rabid Curve fan back in
the day, and realising that not only is it
25 years since Curve were strutting their
stuff, but worse it is 10 years since Dean
Garcia formed SPC ECO with his daughter
Rose Berlin and set about creating some
of the most consistently brilliant music
around, I was probably setting the bar
quite high when I sat down to listen to
their new album ‘Calm’. A high bar and
feeling quite old.
I’ve never been invited to Damien Reece
and Liz Fraser’s gaff in Bristol, but I would
imagine that if I was that they would be
playing an SPC ECO album ‘with the arm
off’ so that it constantly repeated whilst
crying over what might have been. And
‘Calm’ is very much a ‘Bristol sound’
album that hints at ‘Mezzanine’ era
Massive Attack, whilst, musically, being
unmistakably Garcia’s.
And there is definitely a sonic signature
that you can trace through all of his work
over the years that is utterly unique, and
right back when Curve were perhaps not
getting the credit they deserved,
overshadowed by lesser lights such as
Lush and Slowdive (I know, I’m a
heretic) it was always the case that
Garcia, like Robin Guthrie, just had so
much more of a view of what was going
on than the floppy fringed brigade.
No surprise then that production
beckoned as well as everything else.
But I get distracted by history and
haven’t mentioned the fantastic,
beautiful, quite gorgeous vocals of Ms.
Berlin who simply put has been one of
the finest vocalists of her generation,
without (see a theme?) ever gaining
the recognition she deserves. In ‘Calm’
we have a masterclass from the lady
that people should be studying, a
joyously rich set of vocals woven into
imaginary gaps in the ‘throbbing
soundscapes’ Garcia creates.
Talking about the album, Garcia says,
“When we started this record in early
January 2017, we knew we wanted to
take our time with it, no need to rush it
out and go with the first ten songs we
recorded, I think we made almost 3
albums worth of songs with this one so

there are some cool outtakes to add or
use as the album gets underway. We
also knew that we wanted to explore the
layered guitar side of things that we've
been side-lining since the ‘Sirens’ album.
This record has shades of our first
release ‘3D’, which was recorded about
10 years ago, as well as the current
more Bristol-flavoured feels that we love
so much. It has a bit of everything we
like to hear and record, plus it's a calm
way to celebrate our ten years of doing
this. Rose has come into her own, she's
actually quite good at this shit now, and
she even drops a mean bass on this
record.”
“Calm is nostalgic in the way it feels like
there are vibes from all our previous
albums,” says vocalist Rose Berlin. “We
didn't limit the songs to one genre
instead we had fun and did whatever we
wanted. It's loud and trip hop,
psychedelic lullabies and It's us. It's
calm.”
‘Calm’ is the definitive dreampop, ’gaze,
whateverwecallitthisweek album, and if
you have any kind of soul left, you need
to listen to it now.
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LA CONTESSA PRESENTS…
If You Turn Back Time
Well, I can honestly say that I think this
is the best selection yet from the febrile
mind of La Contessa, and if the final
choice came as a shock to my indieminded-misplaced-superiority,
well,
Harry Styles turning in his ‘Angels’ whilst
sounding like the bastard son of Shed
Seven and the Stereophonics is
something surprisingly quite brilliant.
You really never know, do you?
This week’s winning Cillas are,
1960s: CHRIS FARLOWE
1970s: DAVID BOWIE
1980s: HAZEL O’CONNOR
1990s: LEVELLERS
2000s: MCALMONT & BUTLER
2010s: HARRY STYLES