Great memories as it was our first single and the one people tend to remember. I always wanted the snare to be "massive" but John, Hal and Jerry realised it had become a monster and went back and re-mixed it!
Peel was a bit pissed off that Jensen got it first, but eventually relented and played it. His response to "Take the profit out of war, we don't need it anymore" was simply, "Well, that's difficult to argue with."
I remember doing this on Whistle Test. They had a decibel meter type thing which cut out the power if you played above acoustic level!
Within Four Walls
Red Guitars do psychedelic! I loved this, and it was a great opportunity for Hallam to play some real Hallam stuff! "Don't ever live in colour, save it for your dreams." What a fantastic line!
A tricky one for me as the first half of the track involved playing with a brush in one hand and a stick in the other. Come the upbeat bit, I often threw the brush anywhere and tried to grab a stick instead. Live, this meant plenty of cock-up potential.
Rough and raw, and the "Sweet Jane" steal. Reminded me of "Back in the USSR" with the plane noise.
"Starlight" - not the real title, but I always think of it as this. I remember the four of us doing the backing vocals at Fairview and making an almighty mess of it. Still love the lyric, with lines such as "and electric-fingered light dislocates the night."
Cloak and Dagger
I think John and Jerry always saw this as a filler, but Lou, Hal and I loved it, especially live. The backing vocals became a pure piss-take in the end.
We worked ages on getting the right beat for this and then it just clicked. When we first used to play it, it was a rock and roll thrash, but ended up as a ballad! "End of another fresh start." Poignant or what?
Shaken Not Stirred
I can remember recording this first at Ken Giles' place in Bridlington. My abiding memory of playing live is at Hull Trades and Labour Club with Roy back stage watching me play it. It felt like he was checking I got it right after all that time in the studio.
Sting in the Tale
I reckon this was John's favourite track on the album. Mean, moody and bloody difficult to play from my point of view. No snare, all toms.
We had a go at recording this at Matrix in London with John Porter but it didn't work. It was far too fast and had some dodgy sax stuff on it. Time to get back to Hull and Roy Neave!
Slow to Fade
Christ this was difficult to record! We ended up with three tempos and took hours working it through. I was dead chuffed, though, because when we came to getting the drum track down, I did it in one take!