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One not so keen reviewer described this track as being "inexplicably titled Pickle and Baby Bear". Well, Michael, allow me to elucidate: The track features dialogue between two characters. One of them is named Pickle and the other... let me just check... yes, the other is named Baby Bear. Anyway, if you`re a film buff you may note the influence of `Pumpkin and Honey Bunny` from Pulp Fiction. It`s just supposed to be a little bit of fun, and in this day and age of iPods people can always leave it off if they only want the music. The script was written by my brother, Sam Francis and I think it`s bloody funny.
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A cool, fun, melodic, bluesy track. Feel-good rock n` roll was the plan here.
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Maybe if Danger Danger wrote instrumental rock it might sound a little bit like this. Kind of commercial melodic hard rock, featuring a reverse-reverbed tom hit break-down à la `Nothin` But a Good Time` by Poison... you`re welcome.
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Funky hard, hard funky, funky hard rock. I had a lot of fun with this track and it`s lifted by some great horn parts giving it the kind of effect heard in a lot of Aerosmith or Extreme, or I`m thinking of 90`s British blues hard rock like The Little Angels. I was absolutely honoured to have possibly my all-time favourite guitarist Blues Saraceno guest on this one with his always outrageous tone and phrasing. `Light It Up` gets pretty rowdy.
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This is a very melodic, soulful and emotive ballad that takes the listener on quite a journey whilst essentially resting on a simple, fragile, naked melody.
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A major-key, Van Halen influenced, windows down, driving hard rock tune. It features my Ten band-mate Steve McKenna on bass.
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This is about as dark as my music gets, but it has rays of light that pierce through in places; It`s a ballad but very unlike `Used-To-Be` and it features a lot of free, expressive, bluesy, emotive lead playing that I`m very proud of.
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A boogie really, that is made all the more playful by the live brass section, arranged by Rich Barnard; It`s a good-time snappy number. I also had a lot of fun creating the percussion loop for the intro, which was built up from sounds made by me flicking my cheek and sweeping a brush on the floor among other things.
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Something completely different; This one is kind of like 80`s soul, which I don`t really listen to so I don`t know exactly how this came through my creative unconscious, but it did. Anyway, it became an opportunity to cop a smooth old tone and throw some wrong notes into my melodic phrasing. My good friend Jon Perry plays a killer guest solo after the first chorus too. It`s ultimately a pop track - I don`t think that it`s jazz of any kind.
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How has it taken this long for someone to write a metal tune called `Death Bitch`?! This one`s a short, sharp comic-book heavy metal track, with horror movie overtones. Again the idea is fun. There`s a bit of actual shredding in this one too. Also I lost a bid for a Theremin on EBay so I thought "bollocks, I`ll try to get that sound on guitar". I used a Fernandes Sustainer system and whammy bar to get the effect I was after.
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This is again dialogue and is the sequel to `Pickle And Baby Bear`.
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The only song on the album that I didn`t write. It`s just a master class in pop song-writing, and also I just thought it was funny for a guy known for playing in a heavy metal band to record a Madonna hit.
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Gratuitous and reprehensible! I thought I`d put all of the mindless guitar jamming in one place so I could keep an eye on it and make sure it behaved itself. The outro guitar duel between Blues Saraceno and me from `Light-It-Up` was `comped` down from a full seven odd minutes of trading licks - THIS IS THAT WHOLE JAM. One for the guitar-heads out there.
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CD Information
