The Mary Chain, My Bloody Valentine, Dinosaur Jr & Blur – ‘Rollercoaster’ 1992

The Rollercoaster tour was conceived as a lower key, British answer to Lollapalooza back in the early ’90s when the American franchise had just begun and was still a touring show featuring cutting-edge bands.

Curated by The Jesus & Mary Chain’s Jim Reid, the Rollercoaster tour featured The Mary Chain, My Bloody Valentine, Blur and Dinosaur Jr sharing headlining duties as they played a series of concerts at several large venues across the UK in the Spring of 1992.

Reid explained, “Everyone was talking about Lollapalooza, which to us was pretty crap. We did it, playing at 2pm after Pearl Jam, and it was fairly disastrous. So we thought, Why not do a good version of it? We were just trying to shake things up, to make it not like a bunch of boring blokes standing around with pints of beer. We were sick to death of plodding up and down the UK on our own, playing the same shitholes. It felt more like being a rock star  – more a Bowie/Bolan thing.”

Image result for the jesus and mary chain rollercoaster

Looking at the line-up for Rollercoaster tour nowtwo and a half decades later – it’s worth trying to give it some context. The Jesus & Mary Chain were of course long-established by this point and had just released their well-received fourth album, Honey’s Dead. At that point it had been seven years since Psychocandy, the album that defined them and, though they were still a big deal, in terms of popularity and cool, you could have said that they were past their peak. Or maybe it just seemed that way because we were just teenagers while the Reid brothers were past 30 by then.

mbv-1992

My Bloody Valentine were absolutely at their peak, though nobody knew it at the time. Their hugely powerful cacophony and uniquely beautiful melodies had made them massively popular and inspired a whole raft of bands to try to emulate them. No one could get close. The previous year they’d released the majestic Loveless album. It seemed like they would only get bigger and bigger. As it turned out they wouldn’t release the follow up to Loveless until 2013. This was as big as they’d get.

dinosaur jr

Dinosaur Jr brought some US glamour to the show – not in a KISS/New York Dolls sort of way, obviously – I mean look at them. It was kudos and variety that they provided, as well as grunge credentials. At that time, when American alternative rock had just crossed over into the mainstream, Dinosaur Jr’s ’80s output had been namechecked constantly as an influence by bands from the scene. They’d also released their successful major label debut Green Mind in 1991 and were shaping up to follow that up with Where You Been in ’93. So they were on good form and very much in vogue; having them on the tour and a lot of sense .

Image result for blur 1992

Blur’s inclusion made less sense. Graham Coxon has admitted “I was shocked we were asked, but absolutely over the moon. It provoked quite a lot of passion in people – like “What the fuck were Blur doing on there?”.

Their signature tune had been There’s No Other Way, an irritatingly catchy, baggy, pop number that had jauntily made it into the UK Top Ten in early 1991. By the time of Rollercoaster, the baggy scene was over and Blur were beginning to look like indie also-rans who’d fluked a one-off, big-selling single – like Candy Flip or something. What actually happened of course is that they became leading lights of the Britpop scene that dominated the middle of the decade. I wouldn’t have predicted that. At the time they seemed like the poor relations on the tour, but they turned out to be the only band on the bill to have their most successful years ahead of them.

Me and Millhouse went to the Birmingham NEC leg of the Rollercoaster tour along with Jason, the drummer in our (shit) band, his girlfriend Bianca and her best friend Claire. Bianca was a self-consciously cool indie girl – all flowery dresses and superior attitude. She was in my year at school and we got on fine, but she liked to behave in a mature manner at all times, whilst I was – and still am – fond of getting silly. That’s why she went out with Jason who was a year older than us and was the proud owner of a rusted Austin Metro. Claire was similar, but not as pretty, although Millhouse fancied her desperately anyway. Claire’s made her lack of interest in Millhouse very obvious. My girlfriend at the time wasn’t invited on the trip because there was only room for five in the Metro and I was a crap boyfriend.

Millhouse organised the trip, because that was his role and because he wanted to spend time trying and failing to work his way into Claire’s affection. Jason’s job was to drive. My role was to write it all up 25 years later.

Rollercoaster Tour NEC Birmingham ticket 04/04/1992

Of course being 25 years later a lot of the details are forgotten.  I know it was great and that it started early so everyone could play a full set; not like a festival show where most are abbreviated. I remember J Mascis’s ear-splitting solos and the hooks on Freak Scene and The Wagon; songs that I  didn’t know that well at that time. The Jesus & Mary Chain were impressive too; the muscular beats and crisp guitar sound of Honey’s Dead translating perfectly to the vast arena of the NEC. Even Blur were good, maybe conscious of their status as poor relations and keen to prove their worth to an indifferent crowd. Their set was memorable for the film they showed at one point – a reverse chronology of a cow’s life, from kid eating burger, back to abattoir and finally standing, chewing the cud in a field. It was strangely touching.

My Bloody Valentine were the main attraction for us. While the other groups raised their game for the bigger venue and the huge, diverse crowd, you felt like MBV could have played to ten times as many people and kept them enraptured. They could have done it with the same sound system too – this was during their ‘holocaust’ days and shit, they were loud. You could physically feel the swirling, squally feedback take your breath away. It was mesmerising. The cotton wool in Millhouse’s little ears had never worked so hard. I don’t want to take the piss out of people for taking care of their hearing – I know tinnitus is a horrible, horrible condition – but Millhouse was 16 at the time. It wasn’t natural for him to be thinking like that. Besides, he was wrong, my hearing is still fine now.

My Bloody Valentine’s performance of the glorious Soon stays with me to this day. As does the sense of bewilderment that me, Millhouse and Jason shared at their sheer musical competence. As members of a (shit) band ourselves, we were awestruck by their ability to all remember in unison how many times to play the descending riff after the chorus of Feed Me With Your Kiss.

Strangely my clearest memory of the Rollercoaster tour comes from before we even got into the venue.

As well as being a golden era for music, 1992 was a fantastic time to be a smoker. It was still fairly cheap, the packets featured only small written warnings of the hazards inherent in your habit, rather than large, graphic horror photos of your likely future and you could smoke pretty much anywhere. And yet we got the idea from the back of the ticket that cigarettes weren’t allowed in the NEC Arena. Look at the T&Cs below – the second to last line implies it.

Rollercoaster NEC 1992 ticket reverse

At least three of us smoked at that time and we debated the situation all the way there. It was going to be a long gig and we didn’t want to wait until after the concert for a cigarette. But we didn’t want Security to take our smokes off us either. Then, Bianca spoke up. She had an idea. Her vintage suede coat had a small rip in the lining. She would squeeze a packet of B&H into the lining through the rip and retrieve them inside the venue. It was a brilliant idea. Well, no, it was a shit idea, but Bianca was saying it, and she was just so sensible and mature. If she thought it would work, we were willing to accept that.

We parked up and walked the long walk to the venue, joining long queues of German army shirts, cardigans, plaid, combat shorts, flowery dresses, Doc Martens, band t-shirts and tie-dye. Banks of security guards checked tickets by the doors. Bianca remained cool.

We got closer to the front and could see that everyone was being patted down before they got through the doors. Seeing this, Bianca took off her suede coat and draped it over her arm casually. She remained unfazed and we believed in her. Me, Jason and Carl joined the male queue, with male security staff, Claire and Bianca joined the ladies’ queue. Bianca, retained an air of total confidence in her smuggling abilities. She got to the front of the queue before we did and was patted down by a sturdy lady in a black bomber jacket. Bianca remained impassive throughout, even when the bomber jacket woman gestured for her coat.

By this time me, Millhouse and Jason were at the front of the queue and being searched. We stood there with our arms outstretched looking over as Security Lady squeezed the coat and found something suspicious. She stopped smiling. Bianca’s face began to get red. Security lady turned the coat inside out and began talking to Bianca sternly. Bianca got redder. Security Lady found the hole in the lining, reached in and pulled out the golden box of contraband. From five metres away, I could feel the searing heat coming from Bianca’s face. Security lady summoned her colleagues as she opened up the cigarette packet and tipped out the contents into a tray, all the while talking sternly to Jason’s glowing girlfriend. Within a couple seconds Bianca was surrounded by big fellas in black bomber jackets, pointing accusing fingers at her and questioning her angrily about her subterfuge, demanding to know what else she’d hidden and why. We looked on helplessly, wondering if this was the end of our night, as well as our cigarettes.

After a couple of tense minutes the crowd of bomber jackets began to disperse until it was just Bianca with Security Lady admonishing her as she slid the cigarettes back into the tattered packet with trembling fingers. Eventually, Bianca, and the cigarettes were allowed through to join us.

She traipsed over to us, with her sweaty, red face turned to the floor to avoid the sniggering gaze of the many hundreds of people who had witnessed her humiliation. It turned out that while trying to sneak stuff past the security team was frowned upon, you could smoke in the NEC after all – just not in the seats. So that was good.

Although, thinking about it, I don’t think Bianca actually smoked.


A few years later Mrs NoiseCrumbs was working at the NEC and could get us reduced price tickets for shows. Being a massive venue, not that much worth seeing came up, but among the bands we did see were The Beastie Boys, Black Sabbath and AC/DC. We had tickets for The White Stripes too, but tragically they split up before they did the tour. Another band we saw there was Blur – the poor relations of Rollercoaster filling the Arena on their own on their ‘Greatest Hits’ tour. I still wasn’t really a fan, but it’s funny how things turn out.

NEC

‘Just Like Heaven’ by The Cure covered by Dinosaur Jr – Magnificent Cover Version No. 10

Millhouse – Indie Music Mentor

 

‘Head On’ by The Jesus & Mary Chain covered by Pixies – Magnificent Cover Version No.16

The Pixies’ cover of the Jesus & Mary Chain’s Head On was released as a single in May 1991 – less than a year and a half after the original came out. As with Dinosaur Jr’s cover of The Cure’s Just Like Heaven the turning of the decade influences the musical style of each recording – the late-80s original features a drum machine and synthetic bass, while the guitars are heavier and more prominent on the grunge-era cover. But other than that, there’s not much to distinguish the two records apart from the vocal styles of the singers – Jim Reid’s drawl versus Black Francis’s holler.

Thanks to the compilation album Product 2378, Head On was The Jesus & Mary Chain song that I was most familiar for a long time. In the video, the Reid brothers looks like they might kill or cry at any moment, bringing to mind their manager Alan McGee’s famous comment about William, “He always seemed really annoyed we were imposing on his life of being a hermit in East Kilbride”.

I always liked the Mary Chain’s hedonistic original but the Pixies’ reworking tops it for me, precisely because of the stylistic changes and Charles’s holler. It was still an odd choice of second single to be released from Trompe Le Monde though; as was the first taster from that album, Letter To Memphis. But the Pixies were famous for sabotaging their own success, as can be seen by the big, MTV-averse ‘fuck yous’ their videos for Velouria and Here Comes Your Man were.

music_trompelemonde

The Pixies were always more of an album band anyway. Trompe Le Monde is one of their least lauded LPs, suffering as a result of the rising tensions within the band. Third album Bossanova is similarly seen as a poor relation by fans, but I have a soft spot for it because it was the first vinyl album I ever bought when I got my first record player in 1990 and consequently it got A LOT of plays and secured a special place in my heart.

The following year, I bought Trompe as soon as it came out too, but never really warmed to it in the same way. Maybe with Bossanova, the novelty of having a brand new Pixies album made Kim Deal’s diminished role less noticeable, whereas on the follow-up there was no escaping the absence of her vocals. It’s got some great songs on it though, other than Head On – Planet Of Sound, Bird Dream Of The Olympus Mons, Motorway To Roswell – and if you listen to it in the context of the band’s last two albums, rather than their first two, it’s actually pretty great.

That said, everyone loves the Pixies no matter what and Head Carrier is pretty great too. I have tickets for their UK tour next month and I’m willing to bet that Head On gets a play.

Edit: they DID play it and it sounded incredible – Charles’s scream in person is still phenomenally powerful!

pixies-classic-line-up

Product 2378 – The soundtrack to my paper round

Product 2378 was a 1990 indie compilation on the abysmal (and now defunct) Telstar label – home of Black Lace, Engelbert Humperdinck and Des O’Connor. All the songs on it were from the previous decade and its cover image is a photograph of a kettle. Altogether it’s an unpromising looking little package, but this cassette was one of my first indie music purchases and it meant a lot to me. And just take a look at the track listing;

Side One

  1. The Wonder Stuff – Who Wants To Be The Disco King?
  2. New Order – Vanishing Point
  3. The Jesus & Mary Chain – Head On
  4. The Wedding Present – Kennedy
  5. Pop Will Eat Itself – Can U Dig It?
  6. Happy Mondays – Mad Cyril
  7. New Model Army – Brave New World
  8. The Weather Prophets – Almost Prayed

Side Two

  1. Morrissey – The Last Of The Famous International Playboys
  2. Siouxsie & The Banshees – Peek-A-Boo
  3. Pixies – Monkey Gone To Heaven
  4. Inspiral Carpets – Joe
  5. Crazyhead – Baby Turpentine
  6. Throwing Muses – Dizzy
  7. All About Eve – December
  8. The Mission – Tower Of Strength

That’s a strong collection of songs, roughly covering a variety of contemporary UK scenes;

  • C86 – The Wedding Present and The Weather Prophets
  • Goth – Siouxsie & The Banshees, All About Eve, The Mission
  • Post-Punk – The Jesus & Mary Chain, New Model Army, Crazyhead
  • Manchester – Inspiral Carpets, Happy Mondays, New Order
  • Stourbridge – The Wonder Stuff, Pop Will Eat Itself

It also featured a couple of excellent American contributions (Pixies, Throwing Muses) and one from Morrissey, who was really beyond any sort of scene by then.

Looking back now, it’s a pretty good summary of the state of indie music at that time. If you dropped two or three of the lesser lights from the line-up (no need to embarrass them by naming them, we all know who they are) and added a My Bloody Valentine track and something off Sub Pop, it would be perfect.

For me Product 2378 will forever be associated with the paper round I had between the ages of 13 and 16. It wasn’t a hard core, get-up-before-dawn-every-single-day paper round, it was an evening one, delivering a free newspaper once a week. This sounds pathetically easy, but it meant delivering to every single house on an estate near mine – about 200 papers in all.

Every Tuesday the papers would be dropped off at to my house in two bundles by a nervous looking middle-aged bloke with a moustache. It wasn’t possible to carry all 200 papers at once, so I’d put one bundle in my canvas bag and trudge off into the night. 100 papers are heavy – the strap seams would cut me like a knife. Once these were safely delivered an hour or so later I’d go home, fetch the rest and trudge back out.

Sometimes, as I hauled my heavy burden around, I would think about the kid in the arcade game Paperboy, gliding down Easy Street on his bike, lobbing papers into or near post-boxes and I’d laugh to myself bitterly. Even if I could have balanced on a bike with a bag that weighed nearly as much as me, I had to deliver to an estate full of semi-detached houses, so there was nowhere to make use of one. And my customers expected their papers to go in their letterboxes, not on their doorstep.

It was hard work. The main thing that kept me going – apart from the prospect of earning up to £5, plus an extra quid if there was an advertising leaflet to be delivered as well – was wearing my Walkman.

In the early days De La Soul’s 3 Feet High and Rising was a favourite tape for the ordeal (that album’s also indelibly linked with my paper round), later it was mix tapes either made by mates or by me from listening to John Peel. You know how that would go – let the man introduce the track, hit record and decide 20 seconds in whether it was wonderful or unlistenable. Either that or find out it was played at the wrong speed. But Product 2378 got more plays on that round than anything else.

Each song on the tape is associated with a section of the route, from The Wonder Stuff – helpfully upbeat for the opening few houses when the bag was at its heaviest – to The Mission for the walk home after a job well done.

I was listening to Mad Cyril when I saw a woman in a pink, quilted dressing gown let my best mate’s dad into her house, lead him upstairs, put the bedroom light on and shut the curtains. Obviously I told my mate about this the second I saw him at school the next day. The explanation he got from his dad was that he went round to play snooker with the woman’s husband in their spare bedroom. Yeah, right! “But best not mention it to your mum, she hates me playing snooker”.

I was listening to Joe by Inspiral Carpets when some fat old bastard threatened to kick my juvenile arse for walking across his grass. Each week I’d have a little wrestle with the Jack Russell that would snatch the paper from the other side of the letterbox to the sound of Can U Dig It? by Pop Will Eat Itself.

In three years of doing that round I received one, solitary tip – 50p from a friend of my mum’s one Christmas. Possibly satisfied customers were constantly calling me post-delivery waving fivers and I just couldn’t hear because I was singing along to Monkey Gone To Heaven. Probably not.

The nervous looking bloke who dropped the papers off at my house was understandably crushed when I quit my round at the age of 16. He asked me if I knew anyone who wanted to take it over. When I told him I didn’t his moustache trembled fearfully. Maybe whichever media baron ultimately owned that shitty periodical oversaw a regime in which undelivered papers were punished with broken limbs. It wouldn’t surprise me.

I was moving on to take up a Saturday job which was less badly paid, less physically demanding and more likely to allow my spine to develop as God intended. It would also allow me to save up for a record player, and once I had it, almost all my money from this job went on vinyl. The only trouble was it was paid monthly, like I was a regular employee. So I’d always spend every penny in one joyous record shopping trip every four weeks and be skint for the rest of the month. It was great though.

So as my career blossomed, so did my listening choices and Product 2378 got fewer and fewer plays. But to this day, whenever I hear the ‘yeah, yeah, yeahs’ fading out at the end of Head On I still expect to hear the 100mph opening bars of Kennedy immediately after, and Peek-A-Boo after The Last Of The Famous International Playboys and so on – it’s one of those albums. I know all the words to every song on it. And I actually like the cover image too. Kudos, Telstar. You have a lot to be ashamed of but Product 2378 was pretty cool.

‘Head On’ by The Jesus & Mary Chain covered by Pixies – Magnificent Cover Version No.16

‘Make Me Smile (Come Up And See Me)’ by Steve Harley & Cockney Rebel, covered by The Wedding Present – Magnificent Cover Version No.4

‘When Tomorrow Hits’ by Mudhoney, covered by Spacemen 3 – Magnificent Cover Version No.22

The Mary Chain, My Bloody Valentine, Dinosaur Jr & Blur – ‘Rollercoaster’ 1992