Spectrum - How You Satisfy Me (Silvertone - 1991)

During my teen years, I was the biggest Spacemen 3 fan going, I purchased every record the band released and followed the band members' efforts post-Spacemen 3, I was even fortunate to become friends with a couple of the members over the years.

Spectrum was formed by Pete 'Sonic Boom' Kember during the demise of Spacemen 3 in around 1990, after releasing a solo album as 'Sonic Boom', the Spectrum project began as a means for Pete Kember to continue his 'drone' minimalism and take music to new and spaced out heights and highs.

After a handful of one-off releases plus his debut solo effort, the first official release for Pete Kember's new band Spectrum was a great introduction to a band if there ever was one and was the first offering from the bands debut album 'Soul Kiss (Glide Divine) released the proceeding year in 1992. 'How You Satisfy Me' is in my mind possibly the best single of the 90s, it is one of the only songs I know which fuses many different genres of music into one song, there is German Krautrock a'la Neu! influence, 60s Garage influence, Punk influence, Psychedelic influence not to mention the main organ riff was nicely ripped off from an Evie Sands track called 'I Can't Let Go' (originally by The Hollies).

Spectrum 7" and LP packaging was always pretty cool, the 'How You Satisfy Me' single came in clear vinyl with a really hip clear plastic op-art sleeve featuring a cool image of the band, I think this sort of packaging is pretty cool and more bands today should put more imagination into their record sleeves... If I ever do another 45 myself, I am gonna look into doing a sleeve like the one above (top pic).

Below are sound clips of the 7" - I have included the vocal version of 'Don't Go (Please Stay)' originally on the US version of the bands  'True Love Will Find You In The End' single as the versions featured on the 'How You Satisfy Me' single were two instrumental takes of the song.

Dig the single...

How You Satisfy Me

Neo-Psychedelic drone fest with Krautrock leanings, you can't get any cooler than this during the 90s, seriously!!!

My Life Spins Round Your Every Smile

A truly wonderful piece of experimental soundscape mind tripping music, this piece of music is a great interlude between songs, Sonic Boom is a genius when it comes to making soundscapes such as the one above. What I love about this is the way it ebbs and flows not too mention I love the title of the song, it evokes a wealth of thoughts when listening to the music.

Don't Go (Please Stay) - vocal version

A hypnotic and chilled out track with a great vocal line (even though it was taken from The Cryin' Shames' Please Stay)... how great is the lyric "Be Different, Please Stay, Don't Go).... What I have always loved about this is the use of the words "Be Different"... I will likely do a post about the Joe Meek produced 'Please Stay' by The Cryin Shames at another date.

Enjoy

Paul 

The Springfields - Sunflower (Sarah Records - 1988)

During the 80s there was a huge and thriving melting pot of  musical styles and flavours consisting of many types of bands who played music influenced from the past yet interpreting it in their own way to make a truly (for the times) modern sound and statement, as was the case similarly during the 70s Punk explosion a decade before, the 80s underground music scene was full to the brim with a whole host of ecclectic bands who had one-off 7" singles released on small record labels, many of these bands are  virtually unknown beyond a small fan-base around the particular genre or scene and remain to a lesser or greater degree 'hidden gems'.

The Springfields were an American jangle-pop group with obvious influences from the 'Paisley Underground' scene which came five or six years before, their  7" single of which I am going to review and share - 'Sunflower' was released in the summer of 1988 on cult British 'Indie' label 'Sarah Records' and is one such musical 'hidden gem', I feel this is one of the most beautiful releases during the late-80s.

Packaged in a alluring hand-folded sleeve with dazzling and wonderfully designed labels, the record not only sounds the part, it also looks the part too.

The Springfields were -

Rik Menck - 12 String Guitar, Tambourine, Drums & Vocals

Wes Lachot - Bass

Paulie Chastain - Bass, Acoustic & Electric Guitar, Backing Vocals

Eric Petersen - Acoustic & Electric Guitars

The Springfields mainly revolved around the talents of the band's leader Rik Menck.

Below I have added two songs from the 7", the A-side 'Sunflower' which is a wonderfully rich sounding recording with Byrds-like jangle and textured harmonies, it's a really great song and I feel a really interesting piece of song writing especially for the late 80s.

The second track is one of the two B-sides, the song of which I am including on this post is a cover version of The Hollies track 'Clown', The Springfields version sounds very much like it could have been a B-side on a 60s garage band 45.

Sunflower

Clown

Cheers

Paul

Meat Whiplash - Don't Slip Up b/w Here It Comes (Creation - 1985)

East Kilbride a dreary post-modernist industrial wasteland located south-east of Glasgow in Scotland, mostly known for being the home of  noise purveyors 'The Jesus and Mary Chain' also sprung from it's womb and spewed out into the world another bunch of leather clad feedback drenched hipsters who went by the name of 'Meat Whiplash'.

'Meat Whiplash' took their name from the b-side on post-punk band's The Fire Engines  1981 released Candy Skin 7" single (I will write about this at a later date).

Following on from the success that 'The Jesus and Mary Chain' displayed with their iconic debut single 'Upside Down', Creation Records owner Alan McGhee signed this bunch of misfits and released their lone release; the genius two-sided single Don't Slip Up b/w Here It Comes.

It was released 6 days before my birth and thank god it was released cos it was a well needed shot into the arm of a totally Squaresville Conservative-raped United Kingdom, records like this gave hope that things were going to get much better, much cooler and much more noisier.

The 7" single came in a cool picture sleeve featuring the image of actor Robert Vaughn and was printed by Bobby Gillespie of Primal Scream.

The Band were - 

Paul McDermott - Vocals

Stephen McLean - Guitar

Edward Connelly  - Bass

Michael Kerr - Drums

Although Meat Whiplash's career as a band was short-lived their legacy continues, not only cos they released a killer single of high indie esteem, but also because they were responsible for inciting a riot at one of the most infamous gigs of the last 30 years.

On March 15th 1985 at North London Polytechnic, The Jesus and Mary Chain plus Meat Whiplash and The Jasmine Minks were meant to play music to a bunch of students and what in turn happened was World War 3 - a legend was created. According to historical account just before Meat Whiplash's set was meant to begin one of the band members slung a wine bottle into the audience creating a mad rage amongst the totally un-hip losers in the audience and whilst the band started to play their set, idiots from the crowd flocked upon the stage and physically beat the band up as they tried playing their music, by the time the group finished and got off stage it was time for the 'Mary Chain' to play, which of course they couldn't because by this point the squares in the crowd were in full-metal riot mode and unleashing all hell and fury on everything around them, including the members of the bands themselves and their equiptmen; This gig has gone down in Rock 'n' Roll history as being a legendary gig.

In 1987 Shop Assistants singer Alex Taylor joined the band and they changed their name to 'The Motorcycle Boy'.

And so we must end this post with the music from Meat Whiplash's sole release.... Enjoy

Don't Slip Up

Here It Comes

My Bloody Valentine - Ecstasy & Wine (1987/1989)

The British musical landscape during the mid to late 80s was somewhat a sparse desolate mass of decay and bile, it was terrible, the so-called 'popular music' of the time was at best mediocre, the only real music which saved the small minority of the UK's music lovers at this time was the very anoraked world of Indie music (this was during a time when Indie music was still in essence D.I.Y and still held true to some Punk ethic and credentials, unlike today where the term 'Indie' is somewhat thought of as mainstream and something cool to be associated with).

From around 1983 through to 1989 following on and rising forth out of  Punk and New Wave, many bands all throughout the UK formed and recorded music which was often put-out on tiny independent record labels, some of these groups even self-funded and released records themselves. 

The crux of it however was that not a great deal of money was made during these times for either band or label alike, however a tremendous wealth of stunning 7" singles, EP's and albums were released under the 'Indie' moniker.

One such band who were of great importance during this malaise in UK music from between 85-91 were  Dublin's My Bloody Valentine.

My Bloody Valentine were - 

Kevin Shields - Guitar, Vocals

Colm O Coisiog - Drums

Belinda Butcher - Guitar and Vocals (Joined in 1987)

Debbie Googe - Bass

Dave Conway - vocals up until 1987 (To give Conway credit he did record on MBV's classic Sunny Sundae Smile EP)

My Bloody Valentine put in the leg-work having toured as a band since forming in 1983 and had a handful of releases on small labels, unfortunately the band never really took off in their early days, by 1987 shortly after the departure of singer Dave Conway, the band really came into their own and began to get noticed by a wider audience.

During 1987 My Bloody Valentine released their dreamy noise-pop in the form of two releases on Lazy Records, these were the mini album 'Ecstasy' and EP 'Strawberry Wine', these two records were compiled into one and released in 1989 as 'Ecstasy Wine'.

This period of MBV see's the beginning of what would make the group the cult band that they became.

What I enjoy about these 'earlier' recordings before the band went into interstellar overdrive and headed spacewards in developing their signature shoegaze noise experimentalism, was that the birth of that sound was in its embryonic stages on these two 1987 releases and also on these records were a great pop song structure and I feel the songs on these releases are fantastic pieces of dream laden pop music.

During my school years, from the ages of 12 till 15 I was obsessed with 80s indie music and still love to revisit it from time to time. The bands that did it for me were Spacemen 3, Jesus and Mary Chain and My Bloody Valentine, I even tried to mimic these groups with a dodgy pudding bowl hair style, I grew my hair to such a state and managed to pull-off a bowl-cut for about a week until the natural curl in my hair took over, regardless I looked mentally ill.

The thing with a great deal of the 'indie' bands of the 80s UK music scene were that these bands are what got me into the rarer 60s music and elements of that 60s groups sound and mentality can be heard in a lot of the records these types of bands produced.

Being a kid listening to this sorta thing particularly in the area I grew up, instantly made me an outcast, my peers were all listening to the horrible sounds from dodgy dance based music which came under the aforementioned headings 'House and Garage' and 'Two-Step' and here I was in my own dreamy oblivion searching out the most obscure 60s, punk, old blues, krautrock and indie music I could find and get my hands on. I wanted to be different and found music which aligned perfectly with this train of thought and what a pleasure it is and has been. I'd say I was pretty fortunate when I was younger in having this love of music , cos although I got a huge amount of stick for being me at least I wasn't one of "them" y'know??

I aim to write more about this 'lost' decade of cool music, in order to spread the word a little, because there are many pieces of absolute genius which were released during this time that not a great deal of people (even those who dig this stuff know about) and for that reason I feel these deserve to be known, heard and talked about.

Below are a few songs from Ecstasy and Wine which I really dig and I hope you do too.

Strawberry Wine 

Never Say Goodbye

She Loves You No Less

Clair

(Please) Lose Yourself In Me

If you enjoyed the sounds above, please search out the record or cd and buy it, the original 7" EP and Mini-LP of the tracks on this LP are pretty hard to come by these days and often cost a pretty penny, likewise the Ecstasy and Wine LP itself can go for up to £50. My own copy cost me around the £20 mark... so you just have to search and you'll find it affordably, it's worth having because it's the birth of a band which later on changed the rules in music and become a pretty important group.

Enjoy

Paul

Robyn Hitchcock - I Often Dream Of Trains (1984)

Yesterday I went to London with a friend and we were wandering around Soho, I went to a record shop and was looking at the records through the window when all of a sudden Robyn Hitchcock comes up beside me to also have a look at the records in the shop window, I was a little surprised and caught off guard, but I did stop and say "hi" and tell him I was a fan of his music. 

The reason I was a little shocked was, during this week, I've been listening constantly to Robyn Hitchcock's seminal solo album 'I Often Dream Of Trains' from 1984.

'I Often Dream of Train's' is a pretty important album to me, it was one of the LP's which I listened to a great deal during my formative years. I particularly listened to this album when I was briefly doing a college course in Guildford way back in 2003. I spent a number of moments wandering around the Guildford area (still do to this day) trying to go into the past via my imagination. It is great and was a fab time doing all of that in my mid-teens however all I can remember of that time in 2003 was how it was bitterly cold all the time and how it was constantly raining and grey.

I also remember I used to listen to a bunch of albums over and over back then, such albums include Love's  'Forever Changes', The Kaleidoscope's 'Tangerine Dream' and this album, 'I Often Dream Of Trains' by Robyn Hitchcock.

As someone who has been a huge fan of Syd Barrett, British History and the British Sense of Humour, not too mention being a slightly Melancholic, Eccentric and Strange kinda guy myself, 'I Often Dream Of Trains' was sure to make some sense to me as a slightly psychedelic 16 year old suburbanite.

As mentioned during the time I was heavily influenced by this LP, I was based in Guildford and spending a great deal of time there, alone and socially, this album seems to make even more sense as there is reference to nearby things including a 'Cathedral', which in Guildford overshadows the town and is constantly there as a kind of weird pain-in-the-arse, it's both beautiful and ugly. Also on the title track of the album there is reference to catching a train to Basingstoke or Reading, Guildford being in between these two towns.... It kinda all seemed very apt to me and my life at that moment in time.

The Album is a great continuous piece and is honest and brilliant, the album has a strange trippy melancholic feel throughout and this is extenuated by Hitchcock's tender vocal and a lovely array of acoustic guitars, electric guitar and piano, it's a minimal album but is genius because of the song writing.

Please dig my 3 favourite tracks from the album below...

Cathedral - As mentioned above, whilst I was in Guildford, the prominance of the town's Cathedral leaves you with a static feeling that it's always there and consuming your energy, I actually feel it's a bit of an albatross around the town's neck. For people who live in Guildford, it's part of the furniture so to speak, but for me it's a great energetic and mental annoyance. So I used to always listen to this song whilst walking up the Town's Cobbled Street and think to myself "I can barely understand myself, what the hell is the meaning of this world and why is it such a messy place??? and when I got to the top of 'The Cobbled Street', I would look out over the valley and there it was, the bloody Cathedral making a mockery of me and my head space... "Cathedral Of The Mind'... I think Robyn Hitchcock kinda got what I was feeling.

Trams Of Old London - I just love this song because it is a wonderful song and I love the song writing.  I am also a history nerd and am interested in historical things especially things in London and the Tram system of Victorian -1920s London does interest me. Such a song is a good example of the true essence of 'Folk-Music' and I dig that about Robyn Hitchcock's song writing.

I Often Dream Of Trains - This track is simply sublime, it's a great piece of lyrical and song writing genius, I have always loved this song, it resonates highly with me and my mindset. It's totally psychedelic and I guess I have a trippy head space, I love the ironic sense of humour in this song and the weirdly melancholic feel of the song. Once again this song reminds me a great deal of Guildford and my time spent there.

Go and buy some Robyn Hitchcock albums or even go and check out his band prior to becoming a solo recording artist, 'The Soft Boys' (who pretty much invented the neo-Psychedelic Paisley Underground scene here in the UK)

Enjoy folks.

Paul 

Television Personalities - And Don't The Kids Just Love It (1981)

One of the my favourite albums ever released is the one above, The Television Personalities seminal debut album 'And Don't The Kid's Just Love It' released in 1981. The Television Personalities is the brain child of one of the punk generations most important voices; Dan Treacy.  

Dan Treacy started the Television Personalities in 1978 and they self-released and produced a couple of classic punk singles until their debut long-player was released in 1981. In terms of Indie Music, Dan Treacy and The Television Personalities could be now pretty much seen to have founded the genre we all now know as 'Indie' or 'Britpop, however back then it was just considered punk rock and it probably didn't even really get noticed by a lot of people other than those in the know or those who listened to John Peel.

Fusing elements of 60s psychedelia, Jangle Pop, Mod and Punk attitude not to mention the DIY belief and determination many of the youngsters in bands had back in the late 70s, the Television Personalities have gone down in history as being a cult band and In my mind are also one of the more interesting groups to have been around during the late 70s till now in the present day.

The band are still together and playing shows today, the line-up is changeable however Dan Treacy is still writing songs and being the legend that he is.

I had the good fortune of meeting Dan Treacy last year at a Spacemen 3 related event in London, It was kinda cool to say hello and have met a guy who's song I am influenced by and whose music I have been listening to since I was a teenager.

Some folks have said that my own music reminds them of Dan Treacy a little, I personally can't hear the similarities, but I am influenced by his style of songwriting and I do love how personal and honest some of his songs are to him and I guess that is an influence to me as I try and be honest and true too, I guess I also relate to him in that in both our songs there is themes of sadness, being an outcast and also kind of hating the world around us.

                                     Television Personalities circa 1980 (from Left to Right -  Joe Foster, Empire & Dan Treacy)

The line-up as mentioned for the TVP's was interchangeable with only Treacy being the permanent feature, the members who recorded 'And Don't The Kids Just Love it' were Dan Treacy alongside Ed Ball and Mark Sheppard. The album is a cult classic and set the template for the emerging Indie music scene that was happening in the UK during the 80s.

The album is really important to me and I do consider it to be in my top 10 albums ever list, purely because every time I listen to it, it reminds me of my youth. I purchased 'And Don't the Kids....' and 'The Painted Word' LP's when I was around 15 or 16 years old and they both really played an important soundtrack to my life growing up in West London Suburbia, In fact I'd say both these albums are the best albums to express the anger, the boredom and isolation a person suffers in such a place like suburbia. I related to these albums and they made sense to me, that's why I love them I guess?

Later on we moved to Sussex and at the age of 19 I got a job working for The Electricity Board and around the age of 22 I was working on my own in a van all day for almost a year, I liked working on my own because it meant I could listen to my own music. During one very hot summer, I remember taking 'And Don't The Kids Just Love It' out in the van with me, I must have played that album everyday purely because I was working in South London, I was working in area's like Merton, Norwood, Croydon,Mitcham, Thornton Heath, Tooting etc I think I got as far north as Battersea during that Summer. The album was a perfect accompaniment to working in that area, the post-war council estates, the lonely parks, the concrete jungle, the sad forelorn faces from the past to the present, many different creeds and colours... The music and lyrics of Dan Treacy made all this make a great deal of sense to me, the music is totally London through and through.

                                                                              (Above) Dan Treacy

The album is a psychedelic-pop punk masterpiece and a real delight and I feel anyone who seriously loves music, should seriously love this album.... I can't sing it's praises high enough.

Please find below a few of my favourite songs from the album, however I do feel that the whole album is good.

This Angry Silence -  I totally love this song, it reminds me of my youth getting the N207 night bus from Shepherd's Bush back home to Uxbridge after spending the day and night roaming around London, the bus usually was full of gangs, drunks and heroin addicts. Not to mention the suburbia which I called home, had the same fate as included in the song's lyrics... I had alot of 'Angry Silence' inside of me and I guess I still do..... I like the lyric "I spend the days on my own, writing silly poetry, writing poems for the girl I love, but she doesn't love me".... total teenage genius!

The Glittering Prizes -  The Lyrics of this song, I used to tell myself the same things back when I was a kid.... I still am telling myself the same things... I guess if you have a brain and come from a shit and rough area you do ask yourself these things?

 

Diary of a Young Man -  I think this song is my favourite on the album, purely because I have had many moments in my own life which unintentionally mirrored the song.... I think I am currently going through a phase similar to the song.

Geoffrey Ingram -  I guess I love this because it is whimsical English humour in music form, it reminds me of when I was a kid and me and a mate always used to hang around London, we'd go and hang around Hammersmith Broadway a great deal and I guess, I must of in my head felt I was Geoffrey Ingram.

La Grande Illusion -  I totally love this song, it's a fabulous psychedelic moment from the 80s, I think it's a great song, simple as that a great piece of psychedelic pop.

Enjoy Folks

Paul 

The Optic Nerve - Like It Was Before (1985)

My friend Marty turned me onto The Optic Nerve last year, I had just gotten out of the bath, I was preparing to record a session myself that day, I think it may have been my own 'Time Will Tell' session and Marty goes "Hey Paul, you'll dig this, it sounds kind of like you and I feel you'll love it"... the album in question that day was the album pictured above, The Optic Nerve and their brilliant  long-player 'Lotta Nerve'.

I will do a blog post on the history of 'The Optic Nerve' and their albums at another time later on.... Right now I however just wish to make a post about one of their songs and write about it, purely because I feel the song is totally genius and one of their best songs, it's my favourite song from the tracks I have so far heard of theirs.

'Like It Was Before' is an amazing track, it's not on either of the bands two albums and is only available on Youtube, it is a live recording of the group from an infamous New York music venue called 'The Dive' way back in 1985 (the year of my birth).

Basically I dream of one day writing a song like this and admit that this song has influenced me greatly with my own music, it's perfect folk-rock styled garage punk, the mood and vibe is totally heart felt and meaningful, it's a personal song and I guess relates heavily to my own frustrations and mood at the moment, this song has been my 'song' of 2011, purely because the vibe of it reflects so much to me and my life, heartache ain't too fun, but you have to just deal with it I suppose?? thankfully there are others who get it and write hip songs like this.

I really dig the lyrics in this song.. "I think about you all of the time, both day and night you're on my mind, I wonder if you feel the same? but lately you don't even know my know!"

The desperation and urgency in the deliverance of this song, is true, raw and heartfelt.... I really dig it!!!

Bobby Belfiore is a genius songwriter and The Optic Nerve are amazing players, I guess as a group of musicians, I wish I can have a group the same as these guys one day.

Enjoy the track and please be sure to check out more of The Optic Nerve, they really are one of the most underrated bands of the 80s, if not ever!!! 

Paul Messis

Beat Happening - Jamboree (1988)

The musical landscape of America in the 80s was not a very pleasant one, the 80s musical world in the states lacked any real substance, aside from a few hardcore punk bands that came out of Los Angeles and San Francisco during the early 80s, a few post-punk style groups such as Devo and Pere Ubu (who had funnily enough begun in the 70s) and black America expressing itself in the music of Hip-Hop and Rap, the musical airwaves were mainly consumed by god awful hair-metal styled rock bands such as Metallica, Guns N Roses and Van Halen, also the charts were full of self-indulgent crap which consumed the billboard, stuff like Tiffany and Milli Vanilli etc etc.

It wasn't until the advent of 'college radio' that some of the more obscure groups begun to get recognised. The UK had a wealth of "underground" groups which were an influence to listeners of these American college radio stations, however there was a distinct lack of American groups, you had to search beyond the radar to find cool bands amongst the wealth of shit which was the 80s American  music scene.

The band and album I am going to write about were one such instance when the music was spot on, fresh, new and raw, it had the spirit of the current times yet also had the spirit of the past making for great songs and a fantastic album.

The Band were, The Beat Happening.

The Beat Happening formed as early as 1982 in Olympia WA its members include Calvin Johnson, Heather Lewis & Bret Lunsford.

Calvin Johnson was one of the founders of cult indie label 'K records', the label re-established a DIY punk ethic and released a shed load of stuff from a bunch of bands including The Beat Happening's own records.

The Beat Happening had 4 studio albums before they silently stopped recording and playing live, however it was their second LP, 1988's Jamboree that saw them make waves on the Indie scene and the album in question influenced a load of musician who would later cover the Beat Happening's songs and state their influence onto their own recordings, one such person was Nirvana's Kurt Cobain who claimed that 'Jamboree' was one of his all time favourite albums.

The Beat Happening's influence can be heard all throughout American Alternative music now and I guess if anything that alone is their sole legacy.

What I really dig about the band is they remained totally true to themselves, they never sold out to convention, despite the many times it was offered their way, they remained in Olympia WA and recorded primitively in their own studio and own style, they released albums and singles on their own independent record label and totally didn't care for the corporate side of things, they made a success out of humble origins and although they didn't make money, they at least influenced people in a way that taught them "HEY you can do this TOO" and I feel this idealism is what was important in the beginning stages of the 'Grunge' genre before the corporate strangle-hold tore that scene to shreds and Kurt blew his brains out.

Jamboree is a cult classic, it's a great album and I feel if you like what you hear below you should indeed purchase the album.

The album has a wealth of material which stands out and makes a great impression.

Below are my favourite tracks on the album...

Indian Summer - This song is as Dean Wareham from Galaxie 500 stated "....Indian Summer is like the 'Knockin' on heavens door' of the indie world, everyone's done it...".It's true, a wealth of bands have covered Indian Summer, I myself have recorded a demo of it at home. The song is beyond Velvet Underground in its style, the monotone of the drums, the two chord simplicity and the twee lyrics about a perfect summer time adventure around Olympia WA.... what more do you need from a song?

In Between - 'In Between' is my favourite song on the album, it's a perfect track, raw, to-the-point and more expressive than most bands' whole albums... I love the vocal style and the way the guitar sounds so discordant, I love the lyrics.... "I asked you about the past, you didn't wanna talk about it, you didn't want to trouble, it's just all history" & "Try so hard to make you forget, see yourself in the TV set".... Brilliant!!!

Bewitched - The fuzzed out garage punk guitar riff running through this is genius, the Mo Tucker styled drumming is far-out and the simple lyrics... "I Gotta Crush On You, I Gotta Crush On You, What am I Gonna Do? I Gotta Crush On You!!!"... Amazing and straight to the point, what is great to me is, shit bands like Bon Jovi and Brian Adams spent years trying to write perfect love songs, but then you hear this and its right there up in your face attacking you and making you confront your feelings and internal emotions, to me 'Bewitched' is a perfect modern day love song!!

Enjoy 

Paul Messis