“We cared about dirty guitar sounds and pit closures, not jelly babies and girls..."
OK. The Rosehips. Check it out right now.
The Rosehips were... well, kind of like the Shop Assistants, except from Stoke and faster and punkier and perhaps actually not that much like the Shop Assistants at all except they had a girl singer and buzzing guitars and were on Subway so for most people's purposes it was a fair enough comparison to make. Except the Rosehips didn't do those really slow songs like the Shop Assistants ones where Alex's voice was so honeyed up it kind of dripped on to the glockenspiels and purring guitars below. Instead, they looked to the Ramones and generally speaking did their best to make sure the songs tired themselves out after eighty seconds or so. They were - to start with - Yoland (Yo) on vocals, Glenn on guitars, Ant on bass and Mark (Mark 1) on drums. They first struck gold with "Room in your heart", which we always thought wasat least three choruses, plus some great stop / start stopping and starting. And that came, at least on 12", with five other tunes of almost the same calibre. Before we knew it, John Peel was playing us their second single, "I Shouldn't Have To Say", and it was their most Ramones-like, the boys joining in the chorus, and still over pretty much before it began. Again it was accompanied by some brilliant songs - "Loophole" was always a favourite, with its manic 'celebration' of "staying the same forever" then mutating into a two-note slowed down outro in which the two notes always reminded us of our doorbell, and "Sad as Sunday" which flopped through 3 1/2 fantastic minutes, largely with the same repeated refrain which sounded something like "Won't be alone / 'Til it all goes wrong" which if so is such a great line and seems the more so as time passes.
Anyway what happened after this was that the Rosehips slipped beneath the waves as far as the indie media was concerned and by the time they returned they had actually changed (Mark 1 departed, eventually to be replaced on the drum stool by, er, Mark 2, while extra guitarist Pete and ex-Flatmate Rocker on keyboards also got on board) but so had the world and all of a sudden everyone was down on the scene that they'd been celebrating so soon before. So no-one cared when this reconstituted Rosehips came back with an ep "Sympathy for the Rosehips" (which we always took to be a reference to them getting their cards from Subway - at least the answers below put us right on all that) which not only retained their energy, bounce, flair and excitement but managed to combine it with some more ambitious guitar parts - what with the second guitar, the new dimension of, er, Rocker's organ and Mark 2's drumming all handling the new variations in pace, fleshed out arrangements and some marvellous, acerbic and often very humorous lyrics. From nowhere a band who had been dismissed (wrongly we might add) in their previous incarnation as shamblers just singing about falling in and out of relationships were singing about the fur trade, vivisection and the politics of greed, and referencing everyone from U2 to Billy Bragg to Bobby Gillespie. To be honest, by this stage the Rosehips were utterly on fire, but apart from the 4 tracks on "Sympathy" and a few more corralled together on their '98 self-titled retrospective on Secret Records, nothing more was heard from them. This is an injustice we feel honour bound to attempt to correct, and by sheer luck it turned out that Trilemma's Pete used to be a Rosehip. We got badgering, and Pete managed to persuade all seven ex-Rosehips to join us for a virtual cup of tea, hence the formidable length of this feature. And we're dead proud that this is the last ever interview on in love with these times, in spite of these times. When you've read it, their own website (which our pictures are stolen from, with kind permission) is now fully-fledged and available to sate your nostalgia!!
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What was the motivation behind getting together originally - just friendship and drinking, or a desire to be the next U2 ?
Glenn: Just the age-old impulse of young men (and women, of course, but usually young men) to be in a rock'n'roll band, I imagine. In my case, I wasn't interested in much except football and music and I was slightly less bad at music than at football.
Mark 1: I was 16 at the time and just got into playing the drums although I was originally a bass player. I used to watch Ant & Glenn's old band practice & thought I could do a better job on the kit than their drummer, so I conned him into swapping my bass and amp for his drum kit. I taught myself a few basic beats & when their old band split up Ant rang me & asked if I wanted to do something with them.
Ant: I don't remember a lot of thought going into the whole thing just 3 chords and a good tune. I think at 17 you think your band is the best in the world! But U2? Me thinks not!!
Rocker: At the time U2 stood for all we were against!
Yo: The "U2 CD plays in my XR3" line [from the third EP's "Designer greed"] was about what we hated. Today's equivalent would be "Radiohead in-car- DVD plays in my Rav 4". Blair's anti-socialists are just as sickening as Thatcher's yuppies were. My reality is "Manics tape plays very loud to compete with the old diesel engine in my Maestro Van".
Mark 2: They promised me I would see the world and girls would want to sleep with me. I was grossly misled about both but have no regrets. Mainly I just wanted to play the drums for a band I was actually a fan of - and knock about with mates at the same time.
Rocker: I was lucky enough to be offered the drum seat in one of my favourite bands! (Having just been kicked out of one of my others).
Who were the bands you were listening to at the time? The Ronettes? The Ramones? Contemporary bands?
Glenn: Certainly the Ramones (you mean you can tell?) but I always liked the Shangri-Las more than the Ronettes. I was listening to a lot of reggae, and obvious stuff like the VU, Iggy and Beefheart. My major musical love has always been The Fall and I was also well into The Membranes / 3 Johns / Nightingales etc fanzine scene, Sonic Youth and The Birthday Party / Nick Cave and general Peelie stuff, like everyone else I suppose.
Rocker: Wedding Present, June Brides, Undertones, Shangri-Las, Shop Assistants, A Witness, Pastels, New Order / Joy Division, Roy Orbison, Ivor Cutler, Mekons, Fall, Pauline Murray, Mega City 4, Inspiral Carpets, Buzzcocks, Slade...
Pete: Shop Assistants, Jesus and Mary Chain, The Clash, Primitives, Sex Pistols, Talulah Gosh, The Jam, The Clouds, Undertones, Groove Farm, Primal Scream...
Yo: Ramones, My Bloody Valentine, Husker Du, Pixies, Beasties, Hard Ons, Pastels, Blyth Power, Bogshed...
Rocker: Velvet Underground, Television, Blondie, Husker Du, Butthole Surfers, TV Personalities, Housemartins, Nico, Jazz Butcher, Viv Stanshall, Blue Aeroplanes, Doors, Dooleys, Hawkwind, Stiff Little Fingers, Talulah Gosh, Pixies, T.Rex, Felt...
Pete: Buzzcocks, Meat Whiplash, The Loft, Ramones, early Soup Dragons, MC4, Flatmates, Age of Chance, Elvis Costello and the Attractions, Pastels, early MBV, Close Lobsters.....
Rocker: The Cure, Soup Dragons, Jesse Garon & The Desperadoes, Spacemen 3, Velvet Crush, Pink Floyd, House Of Love, Groove Farm, Specials, Pop Will Eat Itself, We've Got A Fuzzbox..., Extreme Noise Terror [yaaay!!!]...
Yo: Half Man Half Biscuit, Stones, Hendrix, Groove Farm, the Seers, Mega City Four, Sonic Youth, Membranes, the Smiths, Cocteau Twins....
Mark 1: Personally I used to listen to stuff like Spear of Destiny, Sisters of Mercy, The Cult, The Jam, The Fall, The Pogues etc. I will listen to anything really, I can find something good out of most types and styles of music.
Ant: All of the above! It was an ace time for me discovering music really. It seemed that me and Glenn were finding a new band every week! You really haven't lived until a new Membranes single is the high point in your week!!!
Mark 2: At the time we were all listening to the same stuff and the others have covered pretty much everything. I can remember that Glenn was always appalled by my refusal to acknowledge the Ramones as the greatest punk band of all time (and because I hated Elvis). But apart from that, and assuming Mark 1 is only kidding about Spear of Destiny, I like all of the above.
How did the band end up on Subway originally ?
Glenn: We sent a (dreadful) tape to about five labels and Subway were the ones who got in touch. I think.
Yo: I think it was cos the Soup Dragons left.
Ant: Martin rang me and asked if we wanted to be on the first Subway compilation album. To cut a long story short me and Yo went to London for the cut and I think I asked Martin if I could buy a Flatmates badge from him and he said "you get them free when you're on the label". Our fifth gig was in Bristol with the Flatmates and after the show he signed us.
We read an interview with Martin Whitehead once [in Tim Alborn's excellent fanzine "Incite!" outta Cambridge, MA] where he said something along the lines, "it's a shame the Rosehips are off the label, but they wanted more money to record and they didn't sell enough records". Is that true?
Glenn: First I've heard of it. I mean, it was a long time ago. As far as I knew, Martin was happy enough with our sales. Obviously they weren't great in any case. We never demanded any particular amount of expenditure, as far as I can remember. He might have got that impression, but then I think any amount of money would have been a problem at that stage because it was very much hand-to-mouth. The contract ran out and that was it as far as I know. No hard feelings this end.
Yo: We certainly didn't want to put out any more demo standard records. The "more money to record" was £25 an hour studios not £16, it was hardly greedy. Martin got a round in at the bar once, that was the closest we ever got to an advance. (Shame, cos I was hoping to blow ten grand on short-arse boys, scrumpy and vegetable vindaloo, at the time)
Ant: We signed for 2 singles, did 2 singles and I don't remember big arguments about money.
Mark 1: I was certainly never in it for the money. I couldn't tell you how many records we sold either, I wasn't really interested.
Rocker: We certainly didn't sell many records at the time! The band didn't want "more" money than usual (i.e. to pay for the recordings, and the usual royalties from the record releases). At that time Martin was finding out how difficult it was to earn a living from selling 7" records, I know he loved The Rosehips, but they were just a luxury he could no longer afford!
Ant: It was all a laugh really. Subway was always a great idea but a bad business decision!
Then came the reshuffle and expansion of the line-up. How did that come about ?
Glenn: Mainly because the first Mark decided to leave.
Yo: Mark 1 was an ace hard-core drummer, we got faster and faster and faster.... he could play and read a paper at the same time, so he got bored and left.
Mark 1: I left because the music was never really my cup of tea so I joined a punk band (Flame On!). It helped me become technically a better drummer and was more the kind of stuff I was into.
Mark 2: I always thought Mark 1 sounded really good with the Rosehips - although he was better (and different) with Flame On.
Ant: It was a sad day for me when Mark 1 left, but I felt we had more left in us.
Glenn: We didn't want to pack in so we looked around for people to help.
Yo: We had wanted extra guitar for ages, so it was a perfect opportunity to ask Pete to get out of the audience and onto the stage.
Glenn: We were already well acquainted with Pete and Mark 2 from various Stoke bands and gigs, and Rocker from the Flatmates. It all seemed very natural.
Yo: We had Rocker on drums for a few gigs until we found a permanent drummer.
Ant: Rocker was shite on drums really, so that changed very quickly.
Mark 2: Rocker had a very individual style. No one else sounded like Rocker on the drums. It was like an entire Boys Brigade band falling down a flight of stairs - but in a fairly co-ordinated way that used to sound really good. I think, in the end, Rocker's organ proved irresistible and I was drafted in to fill the gap.
Rocker: When they realized what a crap drummer I was, I changed to organ - I already played organ for a Bristol band called "The Family".
Yo: Mark 2 was brilliant, luckily, and his Dad used to drum for Sandie Shaw - that swung it really. It's a crime he doesn't use that talent now.
Mark 2: I had no part in any of the decision making. They asked me. I said yes.
Yo: .... And so we were six.
Ant: Pete was always first choice on extra guitar and Mark 2 is the best drummer to walk the planet!! Job done!
Obviously when you came back with the 3rd ep a lot of things changed - not just the music being tighter, and more variety, but in particular the lyrics were suddenly biting, often very funny and sometimes quite brilliant. Was that a conscious thing, or just the way bands get the confidence to start writing about more than "just" boys and girls?
Rocker: I think we just got better at doing it!
Pete: The songs are Glenn's territory really as he wrote them and we fleshed them out, arranged them, added bits and pieces here and there.
Rocker: The basis of the song was usually from Glenn, I think Yo wrote most of the lyrics, but we worked on the songs a lot in rehearsal rooms (as opposed to bedrooms) i.e. at full volume. Ant was also playing guitar with other (pre Venus Beads) bands, and his input was always crucial.
Ant: Glenn always had an ace ear for a good melody and when we started, the words seemed to fit with what we were doing, most of the time. At the beginning we were just happy to get to the end of the song!!! We grew out of the "twee" stuff almost as soon as we were put in with it so the change seemed quite natural to me. It was only towards the end that Glenn's lyrics came into their own.
Mark 2: Don’t think I can really take the credit for any improvement. The organ and the extra guitar gave the band more dimensions and possibilities and Glenn just got better as he went on writing.
Glenn: Well thanks for the compliments about the lyrics anyway! I suppose the boy-girl thing was trite enough to begin with and you certainly can't flog it to death forever, unless you're musical geniuses. I actually cringe a little bit when I hear most of the lyrics. The boy-girl stuff was obviously just a brainless way to prop up the chords, and while some of the later stuff is OK, a lot of it is ludicrously naïve semi-political guff in which the need for rhyming tended to eclipse meaning! Glad you liked it though - I think there are a few nifty little phrases in there and Yo certainly got better at delivering them with those little snarls and things.
Pete: With "That Was Your Life" I remember we were trying to get a track to compete with "Big Black Plastic Explosion" by the Groove Farm in terms of song length!
Yo: The Buzzcocks made us think we could be a band and we got better with practice and experimented more, as you do. (Although our first record has a kitchen sink on it and the next, a can being opened, which Martin didn't like, it soaked the mic and he had to pay for it. You just can't live life like a Health and Safety Officer, never mind make music). We wanted to shout about what we talked about in the pub, rather than what fanzine writers thought we talked about. We cared about dirty guitar sounds and pit closures not jelly babies and girls.
Mark 1: Are you trying to say that my drumming wasn't tight? You cheeky bugger!!
Was there a conscious decision to "beef up" the sound at the same time ?
Mark: Well Ant was getting fatter...
Ant: ...But still the best looking member of the band by far!
Pete: I don't think it was particularly conscious, just that with the line up expansion the sound naturally got fuller.
Glenn: I think it just came naturally from the number of people and the more confident playing. We all listened to far more than C86 stuff (in fact, that was pretty low down the list) so we incorporated bits from post-punk, 50s and 60s rock'n'roll, US hardcore etc.
Rocker: We just found out how to get the stuff to sound more like we wanted it to!
Yo: Most of the band had followed me into vegetarianism by then. We just wanted to sound different.
Mark 2: I just hit the drums as hard as I could and everyone else had to keep turning up to be heard. I think the change was fairly natural. It was not a conscious effort to change but any changes did represent the sorts of stuff we were all into.
And was Chaotic Brilliance your own (aptly titled) label ?
Glenn: Funnily enough, fact fans, the name was taken from a blurb on the back of a Membranes album. The Gift of Life, I think. Ant and I in particular loved the Membranes and it was Ant who organized the label with, I seem to remember, one of those enterprise grants or whatever they're called.
Rocker: They paid you a pittance to set up your own small business, as it kept you off the dole figures.
Yo: It was Ant's way of avoiding a real job.
Ant: Yep kids - me avoiding a job really, loved doing it though!
Which did you enjoy most - making records or playing live? (we're "too young" to remember, but the impression is that playing live was a major part of the Rosehips' whirl...)
Glenn: Making records was much less hassle but of course we didn't get to do it very often! The gigs and accompanying journeys were almost always great fun, although the novelty did begin to wear off after a while. A day on the motorway for the sake of an hour or so on stage can be a drag. I'm glad I did it but I wouldn't wanna 'make a career out of it' as Mark Smith heckled back to that bloke on "Totale's Turns". [forget "Live in Leeds", "Totale's Turns" is the definitive live album].
Rocker: Enjoyed both - especially playing live when the audience were into it!
Pete: Playing live was the biggest fun part for me. My memory of the recordings is that it all seemed a bit stressful - being put on the spot and trying to get a part right. It was just a relief when it was done.
Yo: Gigs were the best thing. Studios are always brown and boring and I was never happy with the majority of our recordings.Mark 1: I loved both really, gigs were always a laugh, cos you didn't know how they were going to go. Most of the gigs we really looked forward to doing were ok and some of the less glamorous (for want of a better phrase) really rocked. As you say, I can't really remember a lot from way back then.
Mark 2: When we played live it all happened so fast - and the sound on stage was so loud, that you could not help get into it. When we were in the studio it was always a bit of a shock finding out how hard it was to play for 3 minutes without making a cock-up once. Fortunately, as the drummer I had to go first so my bits were done in the morning and then I could sit back and watch the others suffer for the remainder of the day. On balance I would say I liked the gigs better than the recordings.
Ant: The studio became more and more interesting each time we went in, but also more frustrating. It seemed really difficult to describe sounds to someone and not get the results I wanted. I think this is why I went into studio work. The live thing was pure chaos most of the time, far too much beer and a blur of ripped up paper!
...And who were the best and friendliest bands you played with ? Any that you were happy not to see again?
Glenn: We always got on very well with Mega City 4, despite having fuck all in common in most respects. Thrilled Skinny were one of my favourite bands anyway, so gigging with them was always a joy. Ditto The Capitols. The Darling Buds were very nice. The Flatmates became good friends of course. As in life, most people were great and you soon forget or learn to ignore the arseholes.
Rocker: Wedding Present, Thrilled Skinny, Inspiral Carpets, Chesterfields, Mega City 4, Bubblegum Splash. Can't remember any total wankers (perhaps that's a benefit of hindsight!)
Pete: The Groove Farm were always great live as were the Mega City Four. Darling Buds were terrific too - ditto the Seers. Everyone in those bands was very friendly to us.
Yo: There were some really good venues - TJ's - Newport, the Bunker - Bristol, Boardwalk - Manchester, Square Club - Cardiff and we played with some nice people - Groovies, MC4, Seers, MBV, Wedding Preseent. Didn't have any issues with anybody except a local band's jealous roadie.
Mark 1: I would say most bands we played with were fine with us, I never came across any arrogant twats or people with their heads up their own arses back then. I've met a lot since though.
Mark 2: Wedding Present, Thrilled Skinny, Groove Farm and Mega City 4 stick out in my mind as being particularly friendly. I can’t really remember meeting any real knobheads.
Ant: I'm with the others on this one. I cant remember any twats at all.
Much later we came across the Secret compilation cd, completely by chance. The mind boggled at the time as to what fairy godmother was responsible for a Rosehips retrospective, especially on what we think was a US label - how did that come about?
Mark 1: Totally out of the blue, and for reasons I still quite can't understand. Ant rang me to ask if I would mind some label putting out the old stuff. I didn't see a reason as to why not.
Rocker: They e-mailed us and asked us if we were interested in releasing a compilation - we were!
Ant: I must admit I thought it was a wind-up, or somebody had won the lottery, decided to put a record out, taken a big bag of drugs, stuck a pin in the a to z of all the bands that ever existed ever and landed on us! Nice though.
Rocker: And also we had the extra tracks sitting around and had no plans for any other releases.
Looking back, should there have been more "sympathy" for the Rosehips?
Pete: No not at all - the recordings are still there for whoever to discover. I thought it a bit odd that the later stuff didn't get much attention as there was a some good material. But the music scene was changing - the 90s and all that were just around the corner, so I suppose it was not surprising.
Mark 2: It is difficult to feel too much sympathy for the Rosehips, in either incarnation. We did what we wanted to do, all had a good time doing it and never really wanted to be big stars or make money anyway. We all came out of it the other end relatively unscathed and we all still like each other.
Yo: It was all a very long time ago, I'm surprised anyone remembers let alone cares, but I'd prefer to be associated with venom than with cuteness, it's truer.
Glenn: I'm glad that whoever liked it liked it. I honestly don't think we were good enough to stick around much longer. It's a shame perhaps that we didn't get to stick out some of those later songs a bit earlier because I agree with you that some of them are the best stuff we did.
Rocker: I think the band was tarnished with a "twee" label that was inaccurate!
But does it bug you that your later songs, especially, slipped under the radar?
Mark 1: No the earlier stuff was always better, especially the drumming!
Mark 2: Poor Mark, he’s clearly mad and his delusional psychosis clearly merits all our “sympathies”.
Ant: I have a massive confession Marks 1 and 2. I played drums on all Rosehips tracks! When you boys were in the pub or chasing women I overdubbed all drum tracks!!
Did you formally split up ? Or did Rosehips mk II just slowly disappear ?
Glenn: Well I decided to finish and I remember telling Ant (and Yo, I think) at some local punk gig in the Sutherland Arms. Just that I was finishing - that didn't necessarily mean the end of the band, although I think Ant and Mark 2 had The Venus Beads going by then anyway, so they obviously decided to concentrate on that.
Rocker: Glenn was frustrated that the band weren't doing better, and we all knew we couldn't carry on without Glenn.
Pete: Without Glenn it wouldn't have been the same.
Ant: I'm with Glenn on this one. I thought it had run its course at the same time as Glenn, its just that he was the first to say. I had started Venus Beads with Mark and all my attentions had become focused on that. Having said that I know that I wouldn't be doing what I am today if me and Glenn hadn't formed the Rosehips!
Mark 2: Me and Ant were on the dole and doing the Venus Beads - but were still into doing the Rosehips as well. I always thought it ended quite well. Everyone was still enjoying it and we had not descended into some kind of collective depression about the way things were going. Everything has to end somewhere and it would have been unthinkable to have gone on without Glenn.
Yo: We all wanted different stuff by then anyway. Ant and Mark 2 had formed the Venus Beads and we were busy working. Our last gig was difficult to do, we said goodbye with our best and biggest bang.
Pete: We had gigs booked so when we played at Busby's in Bristol we'd all known for weeks in advance that it would be the last one.
Some of the tracks that never saw the light of day - at least until the Heaven and Secret reissues - were the best things you ever did - "Bloodstained fur", "I fell in love with a fashion victim", "A slow painful death to vivisectionists everywhere..." ( we were so taken with the vocal version of that - again, the vitriol, particularly in that last verse, fair takes your head off...) um, yes, the question... was it intended to release them earlier ? Is there anyone we can blame for that not happening at the time ?
Glenn: Well nobody offered us a record deal (although, to be fair, I don't remember actually trying very hard to get one) and we'd probably run out of money by then. Just one of the great tragedies in the history of art I guess...
Pete: Yeah I think those tracks are pretty strong. We were just beginning to get our own individual band sound when Glenn decided to finish. Rocker was going to put out a single or something but didn't have the cash or we'd split by that stage.Rocker: I had been planning to put out "Bloodstained Fur" myself, but the band split before it happened.
Yo: You can blame me for "Fashion Victim" I really disliked it, couldn't sing it, or much else for that matter. "A slow painful death to vivisectionists everywhere" with words was recorded for the Animal Liberation Front. It made me realise why Southerners think I'm Scouse when I'm angry. The instrumental version is my favourite Rosehips recording, it twanged like it was born to surf!
Ant: I loved all of those tracks but I think for me, we had run out of steam.
Mark 2: Yeah - I like all those songs the most and no one is to blame for them not ever having been released at the time. The main thing is they were released eventually I suppose (to be discovered and revered by future generations no doubt!)
And what are you all up to now?
Yo: We all do stuff we are interested in I think. I'm still doing (and just about hanging on to my own) Mental Health - very topical, poor old Bruno, the Sun should be litigated into oblivion, etc, etc. Best not to get myself started unless you really want to know about the Recovery Model and the appalling lack of Dual Diagnosis provision...
Mark 1: I'm still writing music all the time, I was in a band called StuntRyder that sort of fizzled away but still sit down with a guitar and drum machine and write stuff (all kinds really). I opened a recording / rehearsal studio in Stoke which I later sold on to Ant, believe it or not...
Glenn: I've just finished a history PhD and begun lecturing part-time in Irish history at Staffs University.
Pete: I make music with Trilemma, run the Blue Minnow label with Rob from Trilemma and work in adult education.
Rocker: I still live in Bristol - haven't been up to Stoke for a couple of years now - I play keyboards for "McDowell" - currently (and slowly) working on our second LP. I also DJ as "B_Man" and play progressive house music.
Mark 2: I never drum to the relief of my neighbours and girlfriend. I still listen to music all the time but am ashamed to admit I can’t really be that arsed with actively seeking out new talent - local or otherwise.
Ant: For my sins I am still in the music business. I did indeed buy Mark's rehearsal studio, then opened a recording studio. I'm currently the co-owner of the Sugarmill, a 400 capacity club/live music venue in Stoke. I manage Agent Blue, who are signed to Island Records having done their first single on Fierce Panda.
No chance of a "sell-out" comeback tour like every other band "from the 80s"?
Pete: The Rosehips had their time and it's to best leave it at that, so no - we won't play together again! No one would really be interested anyway - especially us!
Mark 1: I wouldn't do a comeback tour, I think some things are best left alone.
Ant: Best leave the past in the past.
OK... so what bands should we be listening to, especially from Stoke at the moment ? Are we remiss in only being aware of Trilemma?
Glenn: The Mittens are great. Pete MUST have told you about the Mittens!
Pete: The Mittens are fantastic but I would say that having done some recording with them, helping them out and what-not!
Mark 2: I have seen the Mittens I can confirm they are fantastic. The VC’s - formerly Albino - formally Reverse - are still going from strength to strength. I am sure this is not an exhaustive list of local talent - it’s just the ones I can remember.
Glenn: Agent Blue are also jolly good but they're on some Billy-big-bollocks label now!
Ant: As for Stoke talent, obviously Agent Blue who have just finished their debut album, also VC's, Trilemma, Alfa 9, Shiro etc.
Pete: Agent Blue have bucked the trend of guitar bands from here by signing a major deal. Sculptress are haunting and atmospheric, Japhy Ryder and His Band are working on a lo-fi summery pop gem of a record - not that I've a personal interest in that. Oh no!! Ha!
Mark 1: I've not heard any bands from Stoke that make the hairs on the back of my neck stand up for a long time.
Yo: The world should be listening to Texas Radio Band, Man....or Astroman? and Cerys Matthews and should be feeding the birds, remembering the miners and discovering Oatcakes.
Rocker: Bristol bands to watch for: Radon Daughters and Hazel Winter.
Pete: Other stuff, the Hidden Cameras lp is fantastic, all the Low records are amazing, the Kills, Yeah Yeah Yeahs, the Raveonettes.....
And the quickfire buzzer round to finish...
Favourite Rosehips song ?
Glenn: Well as a result of this website business, I've listened to the stuff again for the first time in years (because people asked me for tapes etc) and I must say, a lot of it is better than I thought. Overall, probably Bloodstained Fur - but they all have fond associations for me.
Rocker: Bloodstained Fur.
Mark 2: Bloodstained Fur or A Slow Painful Death.
Yo: A Slow Painful Death... or That was your life.
Mark 1: The Last Light , 'cos it got us going. ["The Last Light" appeared on the "take the subway to your suburb" label comp - the first ever Rosehips release]
Ant: Dangerous Transmitter and The Last Light.
Pete: Difficult one but I'd probably go for So Naîve or Fashion Victim.
Rosehip tea or earl grey ? [Staffordshire caff proprietors, start taking notes here]
Glenn: Ooh God, neither.
Rocker: Tesco own brand, white no sugar please.
Pete: Earl Brutus for me!
Yo: Hard tap water that's come via old lead pipes.
Mark 1: Coffee white 1/2 a sugar.
Mark 2: Just normal tea.
Ant: PG, dead strong, leave the bag in for about 10 mins, tiny bit of milk and a 1/16th of a sugar... not that I'm fussy or anything.
Hardcore or R&B?
Glenn: Hardcore punk or techno? I'm not mad on techno I must admit, but I love good R&B (in its 1960s and 21st century incarnations) and of course I will always love the Kennedys, the Flag, MDC [oh yes - back of the net] and all those doods.
Pete: Definitely NOT R&B!
Rocker: Which hardcore is that? I have a particular hatred of "The Streets"
Yo: Surf-punk.
Mark 1: Definitely hardcore.... (we are on about porn aren't we??) [again, yes. good spot]
Mark 2: Hardcore every time.
Vale or Stoke City?
Yo: Vale - obviously.
Mark 1: Red and white all the way.
Ant, Mark 2: Stoke City.
Glenn: I'm a City boy, for my sins. Season ticket holder for donkeys' years and currently praying for a miracle.
Pete: I'm a lapsed Stoke City fan. I used to have a season ticket when they had a good team in the top division but lost interest when they started playing rubbish football! [we make this about 1985, fact fans.] Always had a soft spot for the Vale though.
Rocker: Bristol is unique in having two crap teams...
John Peel - god or god ? (sorry for leading question, but he united us with your music, for a start...)
Mark 2: Isn't he that bloke who does Home Truths ?
Glenn: Er, God.
Yo: Pope John Peel...
Rocker: Peel is still god.
Pete: Irreplaceable.
Mark 1: Not trying to be controversial but he plays far, far too much shite for me, he has done for years and I don't know anyone who listens to him on a regular basis any more. Best before end of 1990. Good when he played us though.
Ant: One of the proudest moments of my life was when he started his show with a Rosehips track!... that reminds me I really should try and get out more...
Yo: Radio Times is very dull without his column, yes we are that old, ooh, time for Gardener's World, must go...
* * * * *
and with that, they were indeed gone. thank you to all the rosehips, basically for being so fabulous, but especially to pete for co-ordinating the whole exercise so patiently. er, and sorry to all of them for not flagging more clearly that we were being ironic with the u2 reference (although unlike the rosehips, we are - unironically - lovers of xr3s...) anyway, enough of us. did we mention there is a rosehips website ? thought so - you should go there. now. ILWTTISOTT
