Saturday, December 16

Print Your Own CD Sleeve - Enjoy!

And a Happy - if somewhat early - Christmas!

Last year I made up a sleeve for one of my own mixes of Lush music. It turned out none too shabby if I do say so myself ;) I want to share this piece as a printable CD sleeve for your own mixes (only asking that it is never to be used for commercial purposes).

Friday, December 8

LUSHous Fan Site and "Shout It Out Soft"

LUSHous Fan Site -
A simply Lushous place to hang out

A little fansite at Yahoo groups which is no longer active.... such a shame :/

There's a few photos held there, for those who care to have a look.

I especially like this mag scan of Miki at the Lollapalooza music festival holding the now-famous KISS-ified Lush album art done by a devoted fan - "Shout It Out Soft" - and Miki striking a Gene Simmons pose... well, her tongue does anyway ;P

Tuesday, November 28

A Web Home Away From Home: "Purple Veins Scenic Greens"

Purple Veins Scenic Greens

Back in the latter 1990's when I first began my online life, I found a wonderful little message board hosted on AOL run by Lush fans. It remember the feeling of how awesome it was to finally connect with others just like myself!

The band was still in the news in those days, and that message board was kept busy daily. Not that there was much to be seen there, due to the limitations of web services in those early days. It was all fan talk.

We'd type in our short praises to Lush, relating back and forth when we first heard the music, what shows we saw (if we were SO lucky!), our shock and saddeness concerning Chris, the relating any rumours of a possible reformation, and the inevitable announcement that the surviving band members would perform together no more.

Fast forward several years and we now have something we could only have dreamed of before. A web-home away from home for the Lush fan which was light years beyond that old message board.

The Purple Veins Scenic Greens Yahoo Group, or PVSG for short, has been around for a while so it has quite a bit to offer the new member, tons of fan-collected photos, hard to find recordings, links to other sites and a much bigger community of fans. Founded in December 2004 by group owner Jen (a.k.a. mladka2000), she is a knowledgable Lush fan who is devoted to making the group the best it possibly can be. Because of that, there is always something new to be found there. In fact PVSG has been so successful that the moderator has been forced to create a PVSG-2 just to store the overflow of files.

As a follower who wants to keep up-to-date with all-things Lush, I have much to be thankful for, especially for a devoted fan like the group's owner.

Job well done, Jen!

Sunday, November 26

Stratosphere Fanzine Yahoo Group

Stratosphere Fanzine

This one site covers a goodly swathe of my pre-millenial listening habits from those long gone care-free days of yore. It's another Yahoo group I enjoy browsing through for unexpected goodies, which focuses soley on a broad spectrum of alternative music. Interests are mostly of the 90's variety, or if you prefer to hang labels: alternative, indie, rock, pop, shoegazer, guitar, dreampop, new wave, goth, electronic, punk, metal, alt folk, twee... the industrial tag was ommitted, but I'm sure that was just an oversight ;P

Seriously, Jen the group's moderator writes for the DELUSIONS OF ADEQUACY music site. She is also a mega-huge Lush fan. There is a ton of exclusive material found here and here alone.

Friday, November 17

Lush 500 (live) at T in the Park

Lush "Ladykillers" (live) at T in the Park

Performing for T in the Park, 13 July 1996. The Tennents Brewery-sponsored music festival known as T in the Park took place in Strathclyde Park, near Hamilton, Scotland.

Following after the The Prodigy, Lush came on in the small King Tut's Tent, a small venue in Glasgow. The venue was fairly full for the show of indie fans compared to the earlier bands. Lush played a very tight set, including crowd pleasers like "Sweetness and Light", "Ladykillers", "Single Girl" finally closing the set with a hard-driven version of "Ladykillers."

Thursday, November 16

Miki in Green Wallpaper

Here's the old background I used on one of my earlier Lush websites six years back- feel free to use it as a desktop wallpaper on your computer.

Wednesday, November 15

"Lush: Sweetness and Light" (live) Vancouver, 1996

Lush: Sweetness and Light
Live at the Commodore Ballroom. Vancouver, Canada, April 11, 1996

Unofficial live recording. Offered as an audio CDr. I'm not sure when this was first released, but I found my copy a couple years back. There's audience noise and all but it's not too distracting. The recording quality is okay to good, but the band's performance is excellent. I rate this as one of my favorites. Miki belts out a jagged-edge and Emma, Phil and Chris piledrive away a powerful version of 'De-Luxe' which continues to build to "Hypocrite." Yes, there's sweetness and light... along with a lot of raw rock.

1 Heavenly Nobodies
2 The Childcatcher
3 Lovelife
4 500
5 Single Girl
6 Kiss Chase
7 De-Luxe
8 Light from a Dead Star
9 Undertow
10 Hypocrite
11 Runaway
12 Sweetness and Light
13 Ladykillers
14 Last Night
15 Demystification

Lush Interview

No date provided :/

Sunday, November 12

De-luxe v.2 Video


How do you descibe this with words?? You must watch to truely appreciate the great visual artistry that matches in every way a great piece of music. The most beautiful music video ever made in my opinion, and my all-time favorite. Everything in my world faded away whenever this was shown late Sunday nights on MTV's 120 Minutes, a showcase for indie music which unfortunately in later years choked itself by catering more and more to promoting the media darlings big record labels. But that's an entirely different subject ;)

Fortunately I recorded the Lush videos from the show on to VHS so that I could enjoy them again and again whenever. Now then, when, oh WHEN will the record companies be brave enough, and with the band members' blessing, to offer a professionally recorded collection of all the Lush videos? Should this art be lost to us forever?

We continue to wait . . .

- - - - update - - - -

The audio has been disabled on this video due to the fact that WMG has not authorized this posting... booooo! As I stated earlier, if WMG is so worried about losing a buck by bringing up the copyright issue on a low quality youtube video, than they need to cough up what Lush fans clearly want.

Friday, November 10

My Tribute

a tribute
a memorial
a shrine

All may be applied to a blog that pales in the brilliance of the subjects to which it respectfully, enthusiatically and humbly pays hommage to.

Together they were called LUSH: Chris, Phil, Emma and Miki.

But then, you obviously already know that ;)

And myself? I'm just another humble fan.

I can't pinpoint the exact moment when Lush found me, here in the heart of America (was it by the local college radio, or through my fave indie/import record shop?). I can only say I was very fortunate, because they found me early on, soon after Gala came out.

How to describe that moment? The dreamy melodies struck me down like an ethereal sledge hammer. I quickly sought out the
'90 Gala album, was transcended by the overwhelmingly deep magic created by it's artists. Then there was the '91 Black Spring ep that soon followed. I obsessed over each consecutive release one after the other. And later, when I saw for the first time those videos, For Love, then De•Luxe ...absolutely Brilliant! There were never any doubts, only positive affirmations. I've been a jealously loyal follower since those early days.

This blog is the newest reincarnation of a humble (and dreadful!) page I created back in 1997 which languished through several forgettable variations over the years. Oh well, perhaps this time I can get it right ;P

I'm having a go as a blogger. My hope is to keep a somewhat current, up-to-the-minute site rather than strictly focusing on the past. The Lush story is not over yet, not for me or any one of the thousands of Lushfans.

So, using the same image of the band that graced my old site, I begin anew. I don't know if it'll work out any better. That's my intent anyway. We'll see where it goes from there...

Wednesday, November 1

Lush - Undertow (Spooky Remix) / Footage taken from the 1994 'Split' tour

I absolutely love this video. It's strictly in black & white, yet it's nothing but fitting for Undertow, far removed from the colorful eyecandy were used to. A perfect video interpretation of the multi-layered musical mood set by "Undertow" remix.

The footage was taken from the band's 1994 tour in America promoting 'Split.' It was all filmed by bassist Phil King, who is also a bit of a shutterbug – Thanks Phil!

Tuesday, October 17

Thursday, September 7

"Complete Lush" Video - September 1996

Today would be Chris's 40th birthday.

Let's remember back ten years ago... Thanks to a certan bootleg, we can do just that.

The "Complete Lush" video is an unofficial recording shot at San Francisco, California, September 7, 1996 (Chris's 30th birthday).

The video is shot from the audience, using a tripod held recorder. There is no editing, and is shot straight through as it happened from start to finish. The highlight from this is the surprise appearence by Elvis and a female Elvis counterpart in honor of Chris's birthday, complete with a rendition of "Viva Las Vegas." Chris good-naturedly accepts the unexpected limelight. Miki makes a few remarks to the crowd: Chris "can do whatever he likes, it's his ***ing birthday!" and when spectators begin crowd surfing/stage diving.

After the show we get a brief glimpse of the band, mainly Miki, being escorted under the cover of darkness to a waiting car.

The remainder of this video consists of a sampling (but not all) of Lush's music videos and a couple interviews taped from various MTV broadcasts (120 Minutes, Alternative Nation, etc.).

Video quality is as to be expected. As far as I know this was only made available in VHS format when I got my copy a year or so ago.

"Complete Lush" - September 1996
1 Heavenly Nobodies
2 The Child Catcher
3 Lit-Up
4 500 (Shake Baby Shake)
5 Single Girl
6 Downer
7 Kiss Chase
8 De-Luxe
9 Light from a Dead Star
10 Last Night
11 Hypocrite
12 Runaway
13 For Love
14 Ladykillers
15 (Elvis sings Happy Birthday)
16 Ciao
17 Sweetness and Light

1 Interview Lollapalooza
2 De-Luxe (first version)
3 De-Luxe (second version)
4 For Love
5 Nothing Natural
6 Superblast!
7 Hypocrite
8 Ladykillers
9 Interview MTV/120 Minutes (Miki and Emma)
10 Ladykillers (live)
11 Sweetness and Light (live)

Thursday, July 13

Sunday, March 19

Ciao! Best of Lush

Five years have passed since Ciao! Best of Lush was released.

Of course, Ciao! Best of Lush is a collection of Lush singles, nothing "new" here. But the recognition is more than deserved and should turn on some recent listeners who were not as fortunate to be in on their entire catalog as it unfolded in the 1990's.

Ciao! Best of Lush
released: 19 Mar 2001 UK, 05 Jun 2001 US
Format: CD, Compilation, Remastered

  1. Ladykillers 3:13
  2. Single Girl 2:35
  3. Ciao! 3:31
  4. 500 (Shake Baby Shake) (Single Remix) 3:21
  5. Light From A Dead Star 3:16
  6. Love At First Sight 5:12
  7. Hypocrite 2:53
  8. Desire Lines 7:39
  9. Lovelife 3:56
  10. When I Die 4:18
  11. Nothing Natural 5:54
  12. Untogether 3:34
  13. For Love 3:29
  14. Monochrome 5:06
  15. De-Luxe 3:27
  16. Sweetness And Light 5:17
  17. Thoughtforms 2:43
  18. Etheriel 3:24

Artwork By [Art Direction] - Vaughan Oliver
Artwork By [Design] - Chris Bigg
Mastered By [Remastered] - John Dent
Remastered at Loud Mastering
Mixed By - Alan Moulder (tracks: 5 to 10) , John Fryer (tracks: 17, 18) , Paul Q. Kolderie (tracks: 1 to 4) , Robin Guthrie (tracks: 11 to 15) , Sean Slade (tracks: 1 to 4) , Tim Friese-Greene (tracks: 16)
Photography - Dominic Davies
Photography [Original] - Ichiro Kono , Jim Friedman , Richard Caldicott
Photography [Portrait Page 12] - Suzie Gibbons
Photography [Portrait Page 3] - Mike Diver
Photography [Portrait Page 6] - Michael Lavine
Photography [Portrait Page 9-19] - Sheila Rock
Producer - John Fryer (tracks: 17, 18) , Lush (tracks: 1 to 10, 17, 18) , Mike Hedges (tracks: 5 to 10) , Pete Bartlett (tracks: 1 to 4) , Robin Guthrie (tracks: 11 to 15) , Tim Friese-Greene (tracks: 16)
Written-By - E. Anderson* (tracks: 2, 4, 8 to 11, 14 to 18) , M. Berenyi* (tracks: 1, 3, 5, 7, 12, 13, 18)

The inner booklet contains this full bio by Dominic Wills for 4AD, which is also presented on 4AD's artists page for Lush.

In a sense, the beginning of Lush was as inevitable as its ending was not. One of the Nineties' most unusual, fascinating and confounding independent bands, they sprang from a friendship formed, at 14, by Londoners Miki Berenyi and Emma Anderson. In their own words "music was it" - closer involvement was imperative. They ran a fanzine, attended a catholic variety of gigs nightly at the likes of Fulham Greyhound and Hammersmith Clarendon (all rough, all gone). It'd be ABC one day, then Xmal Deutschland, then Gang Of Four. And they were learning the ropes in other people's bands - Berenyi in The Bugs, Anderson in The Rover Girls - working to make "our band" a reality. Eventually, along with the absurdly good-humoured Lancastrian punk drummer Chris Acland, and bassist Steve Rippon, they went out on their own.

For music, the late Eighties were a vibrant and volatile time. There was acid house, US art-core, death metal, fledgling industrial and European sampledelia, a rising Madchester and the shimmering punk pop of The Primitives, plus the delicate oceanics of The Sundays. Having much in common with these last two and, attitude-wise, at least three of the others, Lush were quickly hot property. One review in Melody Maker brought 12 major labels to see them play at London's ULU. None called again, but 4AD's Ivo Watts-Russell was interested, soon putting the band in Blackwing Studios with John Fryer.

"We were kind of punk rock in one way", says Anderson. "We did think 'Well, if they can do it, why the fuck can't we?' Basically, our idea was to have extremely loud guitars with much weaker vocals. And, really the vocals were weaker due to nervousness - we'd always be going 'Turn them down! Turn them down!'."

"We weren't good enough musicians to just jam," continues Berenyi, "so the songs had to come first. We had to go for good melodies, so I guess we drew on any music we heard in our youth, anything from The Beatles to Carly Simon, any pop music. The great swathes of sound, the effects came after the song, and were probably born of our incompetence and lack of confidence. We just didn't think we were good enough to do anything more complicated."

"It made us more open-minded when working with producers," she adds. "There wasn't this 'Well, we do it this way' attitude. We were willing to learn. And that's what happened when we did Scar. That was supposed to be demos because Ivo still wasn't sure about us. He was completely taken aback by what came out of that session."

"We started by writing crappy riot grrl anthems," says Berenyi, "which was probably charming in a juvenile way. But there was a very rapid shift from the minute we started to write for records. The music, the lyrics became much more thoughtful and expressive, more important, really. I remember that change beginning when Emma wrote Thoughtforms, it certainly made me think I needed to get my act together."

They all got their acts together quickly, so much so that Robin Guthrie of the Cocteau Twins, producer of Lush's Mad Love EP and their debut LP, Spooky, was in some quarters credited with transforming them, even with writing their material. "Ivo was against us working with Robin," says Anderson. "People said at the time, 'Don't you think that being produced by Robin that you're being swamped by the 4AD collective, that you're not Lush anymore?' But I never saw it like that. I knew Robin before I knew Ivo and I knew he liked what we did, and we all loved the Cocteaus anyway. And we had an enormous amount of freedom, and more loyalty and attention from the label than most other bands ever got."

"As for Robin writing the songs," says Berenyi, "they were already written, every part, every tambourine hit, everything was arranged. Then we went into the studio and experimented with different sounds. We did learn a lot from Robin, about sound, about how to sound bigger. Before him we had, like, two pedals. Then the next tour we had banks of equipment to reproduce that sound."

By the time Spooky was released in 1992, Rippon had amicably departed, to be replaced by Phil King (ex of altie legends Felt and Biff Bang Pow!). The LP went Top 10 in the UK and was an indie chart-topper. It sold upwards of 120,000 in the US too, in part due to one of the most glorious chapters in the Lush story: Lollapalooza II.

"We were bottom of a very heavy bill," explains Berenyi "and, though we knew Perry Farrell was a fan, we felt like we had nothing to lose - we were just grateful not to get bottled off. As a result we had zero attitude, simply tried to be pals with everyone. Bear in mind that this was only the second Lolla and cynicism and star pecking-order hadn't yet come into it. Everyone shared the same backstage area, nobody was treated like royalty. "I guess we 'bonded' mostly with The Mary Chain (fellow Britishers) and Ministry. There was a lot of stage invading and leakage from one band to another. On selected occasions, Lush had Soundgarden's drummer, Pearl Jam's guitarist (in a dress), Ministry's drummer (again in a dress) and a naked invasion by two Ministry roadies (BIG guys) and Mr Lifto from Jim Rose's performers. We in turn joined Soundgarden (Emma and Chris on drums during Cop Killer), Pearl Jam (me on guitar for Keep On Rockin' In The Free World - yes yes, I know...), The Mary Chain on backing vocals. Ice Cube was jumping around to Lord knows what. Probably the Chili Peppers too, but I'd be too drunk to remember. The other major event was my spectacular, tequila-fuelled stage dive off a 15-foot stage in Dallas to Ministry which ended up with a blood soaked dress and 14 stitches in my head. All in all, an absolutely grand time. I loved it."

Having proven beyond all argument their hellraising credentials, Lush repaired to Rockfield Studios in Wales with the renowned Mike Hedges. The recording of Split, their second LP proper (a collection of their early EPs, entitled Gala, had been released in the US only) was exceptionally testing. Expectations of an American breakthrough were high and the pressure was on. Beyond this, Berenyi and Anderson, writing separately as usual, were digging deep. A writing pattern seemed to be emerging. With the likes of "Hypocrite", Berenyi appeared to be more punky with a melodic pop edge, her lyrics like confrontational diary extracts, while Anderson was more impressionistic, brooding, even progressive, enjoying the sound of words as much as their meaning, as evinced by her "Desire Lines". It was not a theory that held up for long.

"Everything was great," says Anderson about the build-up and reaction to Split. "We got everything we wanted. Our own tour? We got it. Europe? We got it. America? Yes. In fact, everything was going well until Split, when the momentum dropped. We were immensely pleased with it, even though it had taken so much out of us. We thought it was the best work we'd done. So we were disappointed with the reaction - it sold half as much as Spooky. But, having got through that bad time, when the carpet really felt like it was being pulled out from under us, we really did get stronger. Strangely, it really boosted our confidence."

Despite its musical bravado and violent lyrical honesty - "We both seemed to move between massive self-hatred and violent accusation of other people," says Anderson - Split was seen as a disaster, and changed the band's approach.

"With me it was a case of once bitten," explains Berenyi. "I felt I'd written extremely personally on Split and had that dismissed incredibly glibly. I felt I had to back off because I couldn't really take that reaction, to my stuff or to Emma's. I mean, "When I Die" was all about her father dying, it was really poignant and that was ignored - not so much in Europe or the US, but certainly in the UK."

As is often the case, failure proved liberating. While the pressure came off, new enthusiasm was injected by the arrival of new manager Peter Felstead. The band threw themselves into recording what would be their final LP, Lovelife. Exploding the myth of their individual writing styles, the "brooding and progressive" Anderson wrote the shimmering pop hit "Single Girl", and "500" (about a little Fiat), while Berenyi maintained her confrontational rep with the bruising, brilliant "Ladykillers", then undermined it utterly with the mournful, pastoral "Papasan".

"I remember the first track I wrote for the LP was "Ladykillers"," says Berenyi "and it took me nearly three weeks to write it because I'd had such a bruising to my self-confidence as a songwriter with Split. I decided to fill the song full of every bloody corny gimmick I could think of - simpler harmonies, handclaps, sudden stops, etc, a kind of 'give 'em what they want' thing. Of course, my idea of commercialism is still a long, long way from other people's. "Ciao!" may be a lilting duet with Jarvis Cocker but it's still basically two people telling each other to f*ck off."

The combination of this freedom with a growing experience and expertise obviously took Lush onto a new creative plane. So obviously, in fact, that the pressure was immediately back on to break America. Now the touring became back-breaking and repetitive. During yet another US tour - this time with the perhaps inappropriate Gin Blossoms and Goo Goo Dolls - even the fans began to ask why the band were playing so often. The frustration and bad feeling within the band grew inexorably. Acland, ordered to rest by his doctor, returned to his parents' home in the Lake District. Anderson, dissatisfied with her current position, called a meeting and announced her departure. "It was total overkill," says Anderson "I felt like a product being shoved down people's throats. It felt soulless."

"Everyone was sick of touring," says Berenyi "and Emma said she didn't want to go through anything like the Lovelife experience ever again. She thought we should continue without her ('Well, look at Suede') but I said no way. Things were left at that with no definite decision. Being the eternal optimist, I believe it was rocky but it would have continued, gone in a totally different direction. Then two days later we heard about Chris."

Up in the Lakes - horribly, terribly - Acland had hanged himself. "For me," says Berenyi "That was the end. There was no way on earth I could have gone on with Lush without him, because I always firmly believed that without his benign influence Emma and I would have torn each other apart years ago. Not to mention the obvious fact that he was one of my closest friends ever and there was very little else I wanted to do without him, for that matter. So I guess to Emma the end was aready in sight. For me personally, it was Chris's death, and Chris's death only that finished Lush. I enjoyed being in the band immensely, I'm glad I did it. But that really was a full stop, his personality was such a major part of the band."

It should have come as no surprise that Acland's death finished Lush. Privately and professionally, in their joyful celebrations and their painful (and far more frequent) self-examinations, they were in the business of living life, really living it. Such a tragedy, the loss of their life and soul, could only serve to drain the fun from their adventures. The fun, of course, is vital to the Lush story. It was a raison d'etre and, incredibly, held them back as the UK was gripped first by grunge melancholia and then by po-faced, swaggering Britpop.

Their talent and their exuberance though had already made a difference. Particularly in the States, where their music was deeply respected and their lyrics - often moving, rigorous and earthy appraisals of themselves and their relationships, their nature and nurturing - were a motivating force for female songwriters. As well as being accidental icons (the best kind), Lush also made exceptional music: classic pop, fiery punk, soaring ambient and a modern, lilting folk. It can be harrowing - fun or fraught, these are recognisably real life experiences. But it's all worthwhile, all of it. And few bands could truthfully say that.

- Dominic Wills

At the booklet's end there is a dedication:
to the memory of Christopher Acland. Forever loved, eternally missed and always remembered with a smile.

Tuesday, February 14

"Sing-Sing and I" is Out!

Sing-Sing and I
Emma Anderson
Lisa O'Neill
release: February 14, 2006
on: Reincarnate Music

A Modern Girl and Going Out Tonight


1 Lover 2:28
2 Come, Sing Me A Song 3:38
3 Mister Kadali 3:59
4 A Modern Girl 3:49
5 Ruby 3:25
6 I Do 3:32
7 Going Out Tonight 3:35
8 Unseen 4:34
9 The Time Has Come 3:46
10 When I Was Made 4:03
11 A Kind Of Love 4:13
12 Lover 2:47

Vocals, Backing Vocals, Harmonica: Lisa O'Neill
Backing Vocals: Mark Van Hoen (tracks: 9)
Bass: Mark Van Hoen (tracks: 2 to 3) , Michael Scrivens (tracks: 5)
Guitar, Bass: Emma Anderson
Voice [Talking]: Jamie Kane (tracks: 8) , Olayinka Dada (tracks: 3)
Written By: Emma Anderson (tracks: 1, 4, 7, 8 to 10) , Lisa O'Neill (tracks: 2, 3, 5 to 7, 11)

Mastered By: Denis Blackham
Mixed By: Alan Moulder (tracks: 1, 4, 5) , Ray O'Neill (tracks: 2, 3, 6 to 11)
Producer: El Drezidente (tracks: 3, 6, 10) , Mark Van Hoen (tracks: 1 to 5, 7 to 11)
Producer [Additional Instrumentation]: El Drezidente (tracks: 10)
Programmed By, Keyboards: Mark Van Hoen