Song, by Toad

Posts tagged sparrow and the workshop


Farewell, Bastard Mountain

SbTR-A-030 Outer Sleeve EX

On 12th May we will be releasing the gorgeous Farewell, Bastard Mountain on 12″ vinyl and download. You can pre-order your copy here, if you’re feeling nice and helpful (this is always a big help for us in terms of cash-flow, in case you’re swithering).

Bastard Mountain are: Pete Harvey & Neil Pennycook from Meursault, Jill O’Sullivan from Sparrow & the Workshop, Rob St. John from eagleowl & Meursault, Rory Sutherland from Broken Records & Reuben Taylor formerly of James Yorkston & the Athletes.

Farewell, Bastard Mountain was recorded in October 2012. Jill, Neil and Rob each brought three songs, one to sing themselves, and one each for the other two vocalists to sing. Over the course of a week the group wrote and recorded music to go with these new versions, the result of which is Farewell, Bastard Mountain.

It’s a record full of drones and textures, but not as dark and oppressive as that might lead you to imagine. Instead, the semi-improvised nature, live recording and playfulness of the album gives the record a real lightness and sense of unity, to the extent that the vinyl has been pressed without any track breaks at all, as it all just fits seamlessly together as a single piece of work.

This approach to collaborative music was inspired by the Cold Seeds album we did several years ago with Animal Magic Tricks, King Creosote and Meursault. That album was more ad-hoc, there was no real plan for how it was going to happen, the music was almost entirely improvised and it all sort of fell together by happy accident.

This time around we wanted to reproduce that level of experimentation and excitement, but once the musicians got together it turned into something more like a conventional band. They may not have had much time, but they still rehearsed everything a little and then recorded the bulk of each song live, playing off each other to mitigate the uncertainty of trying to record a song they’d only learned a couple of hours ago.

The results are absolutely beautiful, with new takes on older songs as well as new and previously unheard tunes by all three main songwriters, as well as a first ever officially released song by Rory Sutherland which we all liked so much we’re pushing him to write a solo record as soon as possible.

Tracks written by:
Meadow Ghosts & Palisade: Rob St. John, Drone Armatrading: Rory Sutherland, The Mill, New Boy & Pissing on Bonfires: Neil Pennycook, Swam Like Sharks, Old Habits & My Crime: Jill O’Sullivan, Something On Your Mind: Dino Valenti.

Album launch shows:
London – Shhh! Festival, Sat. 24th May. Tickets here.
Edinburgh – Queen’s Hall, Thu. 29th May. Tickets here.


Song, by Toad Records Sampler 2014

a1625803646_2 Yep, it’s that time of year again – the time when I try and parlay your loyalty and support into something altogether more cynical and tawdry: email addresses for our mailing list.

Well, that’s not entirely fair. Actually, you do get plenty in return for either your email address or modest donation: ten fantastic songs from our upcoming releases in 2014.

This includes an exclusive new track from Sparrow and the Workshop, a sneak peak at our next Split 12″ and a song from a fantastic collaborative album between David Thomas Broughton and the Juice vocal ensemble, due out in September.

So happy, erm, I don’t know, is it Easter soon? Or Chinese New Year? Well happy them, then, and don’t say we never give you anything.

Song, by Toad Records Sampler on Bandcamp.

2. Ilona, You Should Still be My Vampire Attendant by Virgin of the Birds (4.39) 
A slick pop classic from Abandoned Love, part of our Five Years/Five Records anniversary box set. We’re also releasing the next album by the band, who are from Seattle: Winter Seeds, out on 7th April.

3. Photosynth (Split 12” version) by Jonnie Common (4.58) 
This is an off-cut from our third Split 12” album, which we recorded up at the Insider Festival in June last year. The others on the split are David Thomas Broughton, Sparrow and the Workshop and Siobhan Wilson.,

4. Sex Acts by Animal Magic Tricks (3.10) 
Another from our Five Years/ Five Records box set, this is from Brighton-based Animal Magic Tricks debut album Sex Acts. Frances’ last appearance on one of our releases was with Meursault and King Creosote on the Cold Seeds album from 2009.

6. Yorkshire Fog by David Thomas Broughton & Juice (3.54) 
Vocal ensemble Juice and experimental pop maverick David Thomas Broughton will be releasing a collaborative album with us in September 2014.

7. Ghosts by Plastic Animals (4.47) 
After their brilliant contribution to our second Split 12”, released last year alongside the Beer vs. Records project, we are currently working on Plastic Animals’ debut album. This song will be on there, but this version is an old one.

8. Dear God by Siobhan Wilson (5.08) 
Another gorgeous song from the Glasgow-based singer-songwriter, this is also from the third Split 12” recorded up at the Insider Festival.

10. Dirt & the Roots (2014 version) by Meursault (3.24) 
Another tune from the Five Years/ Five Records box set, this is from Kissing on Bonfires by Meursault which is a complete, start-to-finish re-record of their classic 2008 debut album.

11. In Heaven by Naked (4.29) 
The b-side to the Edinburgh band’s debut single Lie Follows Lie, which we released last year, with their follow-up effort Tell Me What is Not Yet Said due for release in May.

12. Switches by The Leg (3.27) 
From The Leg’s gloriously abrasive 2008(ish) album What Happened to the Shrunken Tina Turner, this is as gentle a song as there probably is on the album. Another from our box set.

14. One Brush by Sparrow & the Workshop (2.22)
And finally, we finished with an exclusive new tune by Sparrow and the Workshop. This was an off-cut from their brilliant album Murderopolis, which we released last year. The band are also on the Insider Split 12”, out in June.


Toadcast #288 – Song, by Toad Records 2014

Sampler 2014 SleeveWelcome to our sneak preview of Song, by Toad Records’ plans for 2014. For the most part this is the exact track listing in the exact order of the free sampler we’ll be putting up for download soon, although there are a couple of little tweaks.

I’ve even snuck in a special wee preview of Bastard Mountain – a tune which won’t be on the sampler – primarily because that spot will be taken by The Leg, but I’ve played quite enough from Shrunken Tina Turner in the last few months, so I thought I would give you an exclusive treat, seeing as you’re one of the 4-500 people who download this thing religiously every week.

Actually, I suppose far fewer actually download it every single week – maybe you’re one of the 8-900 people who download the podcasts ‘when they think about it’, which results in that regular listenership of about 500. Who knows how many ‘kinda’ fans you have to have to regularly get 500 listeners in the first week, but I bet it’s a fuck of a lot more than 500. Anyway, however many of you there are, it’s a wee treat for you. You’re welcome!

Toadcast #288 – Song, by Toad Records 2014 by Song, By Toad on Mixcloud

Direct download: Toadcast #287 – The Hibercast

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01. Virgin of the Birds – Ilona, You Should Still Be My Vampire Attendant (00.22)
02. Jonnie Common – Photosynth (Split 12″ version) (09.00)
03. Animal Magic Tricks – Sex Acts (16.30)
04. David Thomas Broughton & Juice – Yorkshire Fog (19.45)
05. Plastic Animals – Ghosts (26.42)
06. Siobhan Wilson – Dear God (33.00)
07. Meursault – Dirt & the Roots (2014 version) (39.47)
08. NAKED – In Heaven (43.27)
09. Bastard Mountain – Something on Your Mind (53.27)
10. Sparrow and the Workshop – One Brush (59.16)


So, What’s Happening This Year at Song, by Toad Records

friends019 I am sorry to do this to you, because I am well aware that posts about the label have been completely overwhelming the posts which are just about new music recently but, well, it’s the New Year, and that’s what I find myself mulling over at this time of year, sorry.

So, what do we have to look forward to from Scotland’s most cantankerous label in 2014? Well, maybe I’ll start by contrasting it with last year instead, because I think there will be a slight shift in emphasis, but it probably won’t look all that different from the outside.

To a large extent this is down to the releases we have in the schedule for this year, which are pretty notably different to last. Last year we were facing up to substantial investment in the Sparrow and the Workshop album, as well as putting a lot of money in Beer vs. Records, and also doing our first release with Adam Stafford. None of this is exactly huge on a global scale, but we knew we were working with artists who were a lot more established than usual, had a few albums under their belt, and had a pre-existing audience, particularly here in Scotland.

This doesn’t mean we felt we had to aim for the stars particularly, but when a band comes to you having achieved a certain level already, then at the very least you have to live up to that, and then try your damnedest to exceed it. So we pushed quite hard for quite a few things last year, investing more and seeing if we could nudge perception of the label to a new level.

Generally that went really well, but this year our projects aren’t really suitable for that kind of approach, so I think we’ll end up working a little differently.

Firstly, we have a couple of debut albums, one (which isn’t strictly a debut album in fact, but is as far as a UK audience is concerned) by Virgin of the Birds, and then later in the year, one by Edinburgh’s Plastic Animals. Debut albums are very, very hard to predict, honestly. Sometimes we’ve had a great reception and sometimes we’ve faced blanket indifference, but the fact that people have generally not heard of the band in question means you’re often fighting a bit of a battle to get writers to take an interest, although once they do, the results can be brilliant.

You have to run a fairly measured campaign though, because it’s pretty impossible to tell what level of investment is commercially justified, simply because you can’t really tell what people’s reactions to the band are likely to be. That’s largely why people tend to release a couple of singles in advance – just to test the waters – but we don’t release a lot of bands who really suit singles, so I tend not to approach things that way.

As well as these two we have a bunch of weird projects, all of which are hugely exciting, but none of which scream ‘runaway commercial success’ at me.

We have the next Split 12″, for example, recorded up at the Insider Festival last June with David Thomas Broughton, Sparrow and the Workshop, Siobhan Wilson and Jonnie Common. The Split 12″s are great (see v1 and v2 here), and I am immensely proud of them, but they are never going to crack the Top 40, because they are basically just compilations. They are short runs of extremely beautiful vinyl, but they are made more for our own and our more devoted fans’ enjoyment as the opportunity to explore new things, rather than being aimed at shifting thousands of units.

We’ve also got a record which we made by deciding to have a go at reproducing the collaborative and experimental spirit of the Cold Seeds album. We invited Jill from Sparrow and the Workshop, Neil and Pete from Meursault, and Rory from Broken Records as well as Reuben Taylor and Rob St. John to come round to our house and record a mixture of one another’s songs, and the results are absolutely stunning. It has ended up being a long way from Cold Seeds, so we’re calling it Farewell, Bastard Mountain, but I am seriously excited to get it out there and see what people make of it.

Again, because of not having a specific band to hang the record from, I am not sure how much traction we’ll get, but fuck it. I don’t want to compromise too much with the PR for this one. I don’t really want to start hunting for catchy singles for radio play or worry about what reviewers will think of the first twenty seconds of what they hear. It’s brilliant as it is, and people can either embrace it or fuck off.

I can’t tell you too much about what’s actually on the record, because I don’t want to spoil the surprise, but there will be a version of this tune, and a rather gorgeous one at that:

Before any of that, we have our first release of 2014: the new single by NAKED, who played an absolute blinder at our New Year’s House Gig recently. It will be another wonderfully designed package, and another couple of wonderfully catchy tunes, and I am really looking forward to it.

And finally, a couple of more enigmatic things to mention.  Firstly, we will be working with David Thomas Broughton later on in the year. I don’t want to say too much because we are still working on the actual release, so can’t really announce too much just yet, but both things we’re discussing are absolutely fantastic, and David is a musician I’ve hugely admired ever since seeing him for the first time at the End of the Road Festival back in ummm… 2008 I think it was.

So a lot of these projects are more suited, I think, to shorter runs of nice records and a marketing campaign which is more specific than it is broad.  I think it will give us more of a feeling of being a niche label doing interesting things, rather than doing larger scale releases by established bands and ticking all the boxes that that kind of thing requires. This is a good thing, because I like that balance of populism and obscurity, and I think we have to get a bit better at telling which of our releases are which and approaching them accordingly.

Oh yes, and secondly, Meursault’s fourth album is now finished too. No idea what’s happening with it just yet, but it is finished.

And with that, GIN O’CLOCK!


Toadcast #286 – The Fivecast

tag Yup, as you know, Song, by Toad Records is five years old so I thought a brief spin through the history of the label would be in order because, well, why the fuck not. There’s quite a lot of stuff in the vaults here which has long since vanished into the mists of time, and it’s interesting to look back at how we started, in two senses.

Firstly, the roster was very obviously unrecognisable, primarily because it didn’t really exist yet. We had a couple of pals who were willing to let us try and help promote their self-recorded bits and bobs, and some folk we thought were talented and knew were unsigned, but had no idea what they would make of us suggesting we try putting out their music for them.

And secondly, there is the ambition. We started out expecting to do little more than assisting people with a self-release. We assumed we’d be working with scrappy little demos and bits of home-recorded EPs and things like that – just trying to get the bands a little bit of extra publicity which they didn’t necessarily have the time to try and achieve for themselves.

It think it’s safe to say that, looking back five years later, I absolutely never in a million years dreamed we’d end up where we are now. Nor did I have the slightest understanding of how much we’d have to achieve, just to only get this far! But Rome wasn’t built in a day, as they say. Apparently it took ages.

Toadcast #286 – The Fivecast by Song, By Toad on Mixcloud

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01. Meursault – The Furnace (00.20)
02. Uhersky Brod – Seeing Ben Lomond (07.37)
03. Nightjar – Lady of the Calico (14.47)
04. The Savings and Loan – Swallows (18.07)
05. Jesus H. Foxx – I’m Half the Man You Were (25.57)
06. Loch Lomond – Elephants and Little Girls (33.06)
07. Cold Seeds – The Perfume of Mexican Birds (41.19)
08. Trips and Falls – And in Real Life He Wears Corduroy Pants (50.53)
09. Yusuf Azak – The Key Underground (55.15)
10. Rob St. John – Domino (1.03.30)
11. Waiters – So-S0 (1.12.31)
12. Sparrow and the Workshop – Autumn to Winter (1.19.40)
13. The Leg – A Rat’s Health (1.26.00)


Toadcast #285 – Sparrow and the Workshop Toad Session (v2)

Video – Vimeo – YouTube
Photos – Flickr
Session tracks - Soundcloudzip download (right click – save as)
Interview podcast – mp3 – iTunes – Mixcloud (playlist at bottom of page)

Wait a second, haven’t we already done a Sparrow and the Workshop Toad Session? Why yes we have, and it is here. But if you follow that link you may well understand why we’ve recorded another one.

Basically, back then I didn’t really have any idea how to record and mix things, I had no idea how to export video properly, and YouTube was in a 640×480 format, meaning that everything looks like it should have been embedded on a Geocities site, not a swish, modern music blog. So we sat down with Broken Records, Meursault and first Sparrow and the Workshop and did whole new Toad Sessions with them because, well because they live locally and we’re all friends and fuck it, we can.

So this is the second Sparrow and the Workshop Toad Session. The photos were by Nic Rue, as is becoming increasingly traditional, and her fella and fellow long-time Session veteran Rory helped record and also film, along with Ian Greenhill. Gavin White, who also filmed the session, was kind enough to edit it for us. His stuff is on Vimeo under the name of Full Fridge Video.

Full interview podcast:

Session tracks:

Session track videos

Podcast playlist:

01. Sparrow and the Workshop – The Gun (Toad Session) (00.07)
02. The Rosy Crucifixion – Don’t Water Dead Flowers (15.06)
03. Thee Oh Sees – Nightcrawler (18.37)
04. Sparrow and the Workshop – Medal Round Your Neck (Toad Session) (23.13)
05. Lal Waterson – Midnight Feast (34.42)
06. Richard Dawson – Poor Old Horse (38.23)
07. Sparrow and the Workshop – Shock Shock (Toad Session) (54.45)
08. The Roches – Hammond Song (58.48)
09. Country Teasers – Golden Apples (1.04.18)
10. Sparrow and the Workshop – Flower Bombs (Toad Session) (1.14.55)


Mixing is Hard. And Fun. But Also Hard!

mix [The Soundcloud embeds on this page are preliminary Toad Session mixes. They are a work in progress, not the finished article, and won't be left up for long, but the real thing will be published soon enough at]

Apart from going to the Borders to fetch an ultra-sexy new 16V 2.3 Red Block turbo engine for Bette (which is going to be AWESOME by the way!), the reason you haven’t heard much from me this week is because I have been mixing Toad Sessions. Exciting, exciting Toad Sessions!

This is going to be a difficult post to write, actually, because I doubt regular music fans will give a shit about compression and panning, and I am sufficiently new to mixing songs that anyone who actually knows what they are doing will probably find this laughably ignorant. But hey, it’s what I’ve been doing with my time, I am an inveterate internet chatterer, and so this is what you get.

I only started recording and mixing stuff when we started the Toad Sessions in 2008. At the beginning I was sufficiently insecure that I tended to rely on other people to engineer them for me, but after a couple of times when I couldn’t find anyone to help, I took the plunge and started doing it myself.

At its root, it’s not that hard: point the microphones at things which make a noise, press record, and let the musicians do their thing. You don’t get the very greatest results doing that with no real idea what you’re doing, but honestly, you can get pretty good ones without much expertise.

Mixing is a bit more complicated – or at least professional mixing is. But if you just want something to sound decent, then it’s not too hard either. Panning makes things come out of the left or right speaker, reverb is just a bit of echo to take the edge off things, and compression smooshes the loud bits and the quiet bits of a recording closer together so that the quiet parts don’t get lost and the loud bits don’t hurt your ears. There’s more to it than that, of course – you can’t sum up an entire profession in one flippant sentence – but you can do a lot with just a very basic command of those three things.

But again, we’re talking about a Toad Session here, recorded live in one room with the cats wandering around, Mrs. Toad rattling about in the kitchen, musicians shifting about on our creaky chairs and all sorts of other noises. These aren’t supposed to be perfect recordings, they’re supposed to be decent ones with some, er, ‘local colour’.

Despite assuming that mixing music was some sort of magic which I would never understand, three or four years ago I just started playing around with my mixing software’s standard settings, applying a ‘male lead vocal’ preset to the vocal track, and trying all the ‘acoustic guitar’ presets until one sounded nice. Then just turned the volume of the respective channels up and down until it sounded about right, and I was amazed, honestly. It sounded like real, actual music!

And since then, that’s all I’ve done. I moved away from the standard presets as soon as I felt confident, but they did allow me to ease my way into what I was doing without much initial knowledge.  I am sure the results would cause all sorts of eye-rolling from a real pro, but as my little brother says (and he is an actual pro): “Don’t be silly, you’re a music fan, you listen to music all the time, if it sounds right then it is right.”

Since then I’ve mixed all of our Toad Sessions myself, as well as two records we’ve released on the label. I know I’m not great – to be honest I don’t have the patience to become really good at anything, even if I did have the skill, so I tend to aim for ‘perfectly reasonable’ instead – but I do now have the confidence to believe my brother’s advice. Some stuff has been harder to do than others, of course, some for technical reasons and some for personal ones.

Technically, because we record everything live, it’s not at all unusual for there to be a shitload of snare drum and cymbal noise in the vocal mic. Those sounds are loud and piercing and they get everywhere, and there have been a few issues with that – most notably our unpublished session with Joanne Gruesome and the backing vocals for the Kid Canaveral session. In general, though, I am consistently surprised by how clean a recording we can make even with a full band – all the individual channels sound really clean, despite the fact that all you can really hear in the room is the battering of drums and an incoherent flood of noise from guitar amps.

At the opposite end of the spectrum, minimal recordings can be oddly difficult as well. It’s actually quite hard to remind yourself to leave things alone, and that generally if it’s a minimal recording you need pretty minimal mixing.  Guitarists tend to spend a lot of time tweaking the actual sound that they generate, so just leaving it alone is often the best thing you can do, although sometimes it can be hard to have the confidence to do so little to something. I remember this from my design career as well, actually, people’s neuroses make it surprisingly hard to persuade them that it’s actually okay to just leave shit alone.

It can work that way with the more complicated recordings too – reminding yourself that if you record them properly, things actually tend to sound pretty good raw. Over-compressing, adding shitloads of effects and all that really can squish the life out of a song, especially something like a Toad Session which is supposed to be live.

Other than that, there are personal issues too. It’s not too bad when you’re recording a tiny band you just happen to have real enthusiasm for, but when you’re recording someone like Eef Barzelay or Josh T. Pearson, someone a bit more established and widely revered, it can be a rather more intimidating. You don’t want to get one of your heroes in for a session and then make a tits of it, do you.

Oddly enough, though, it’s harder with your pals. Not because they intimidate you, but because you can end up intimidating yourself. We recently recorded sessions with Sparrow and the Workshop, Adam Stafford and Broken Records, all of whom are  good friends of ours, and consequently I really, really want them to be happy with their sessions. Partly this is for them, because I want to give them something worthwhile in exchange for the effort they have made, and partly it’s for me, in that I really don’t want my friends to think I’m incompetent.

So yes, that’s what I’ve been mostly up to this week: mixing Toad Sessions as well as the tracks for the next Song, by Toad Split 12″ (which are remarkably similar to the Toad Sessions). Having so much to do at once is fun, but it’s also really helpful. Sometimes tricks from one recording can help you mix another, because they were all recorded in the same space. But also, having something else to go onto when you are a bit stuck on something is a really good way of clearing out your ears and making sure you don’t get mix paralysis.

And I haven’t even started Brown Brogues and Eef Barzelay yet!


Upcoming Toad Session Bonanza!


See the improved paintjob? And the name on the nose? And the skull and crossbones? And the scorpions above the windscreen? That takes WORK, man!

I hate to promise things like actual dates or anything, but the end of this year is going to be an absolute treat for fans of the Toad Sessions.

I mentioned a few weeks back that we were currently in the process of re-recording some of the very early Toad Sessions we did, to make up for the advances in technology and in particular streaming internet video we have seen since. So between now and the end of the year I am hoping to publish new sessions with Sparrow and the Workshop, Broken Records and Meursault, as well as a new one with Adam Stafford. But you knew that already, right?

What I didn’t mention is that as well as those we have no less than five more sessions to publish – not all recorded yet, but all in the pipeline and hopefully to start trickling through in the next few weeks. In fact, I spent large parts of my holiday last week finishing all the audio mixing and podcast editing for no less than four different sessions, some of the re-records and some new ones, so we are well underway with the work to be done.

[The rest of the holiday was spent tidying up Bette's paintjob, deciding that we should start spelling her name only as Bette from now on as she is named after Bette Davis, adding some new stickers and drinking absolutely horrifying quantities of red wine - see pic above, apart from the wine.]

The ‘other’ five sessions will include one we recorded (shamefully) ages ago with The Yawns, as well as new ones with Old Earth (just recorded a couple of weeks ago), Brown Brogues, Eef Barzelay and Sallie Ford and the Sound Outside (all of whom are playing in Edinburgh in the next month to six weeks).

I am not sure, honestly, what the work required to actually edit and publish a Toad Session will do to the blog, so be warned in advance. I do think it’s important to do more things like this though, as whilst they are still part of the blog, they do seem to better reflect what I am actually doing in music these days, and act as something of a bridge between the blog and the label. Whereas initially I basically just listened to music and then expressed my opinion about it, now I am so much more involved in actually making music, or even just enabling it to happen, that the Sessions seem like a more accurate reflection of what I do.

Having said that, I can’t possibly handle this mountain of work by myself so, as I mentioned earlier, Gavin from Full Fridge Video will be editing the re-records for us. Also, you may know him more as the violin player in Broken Records, but Rory Sutherland has helped me record and film the Split 12″ releases on Song, by Toad Records as well as many Toad Sessions, and he will also be editing the video for a couple of the new Sessions. So they may look slightly different to the ones I do myself, but I am pretty sure that in essence they will remain pretty much the same.

I think a band get more out of a session, and a more accurate reflection of themselves, than me just reviewing their music. I really enjoy the chance to talk to bands as well, rather than just blindly guessing what they were trying to achieve with their albums and how they want to go about their business.

Not that I want to stop writing reviews, of course. I still love harping on about my favourite music, and I still have the odd rant in me here and there, so don’t think for a second that the blog will be abandoned, just that with all these sessions to deal with the emphasis is very much going to be on them for the next few months. Should be interesting!


Toadcast #276 – The Autumncast


Yep, a couple of days into September and Scotland really has decided that it’s Autumn now, all of a sudden it’s fucking Autumn. Cold, crappy rain, wind, all the usual fun and games. Season OVER! We are into shitty territory now, just you accept it!

Anyhow, I have never figured out whether good (more likely to leave the house) or bad weather (more likely to want to be inside in a venue) weather is more likely to lead to good gig attendances, but I suppose it’s always nice to have the excuse either way if no-one turns up to your gig.

One nice thing about the weather turning shitty, of course, is that the fucking builders who repaired our roof – Traditional Roofing and Building – whilst excellent in every other respect, managed to paint my office windows shut and are ignoring my requests to come out and fix them. So at least if it’s cold I won’t just be sat up here fucking sweltering all day. Enjoy the tunes!

Toadcast #276 – The Autumncast by Song, By Toad on Mixcloud

Direct download: Toadcast #276 – The Autumncast

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01. Temple Songs – Passed Caring (00.16)
02. John Murry – Southern Sky (07.45)
03. Sparrow and the Workshop – Odessa (remixed by White Label) (15.47)
04. Samantha Crain – For the Miner (23.57)
05. Vandaveer – Poor Edward (29.27)
06. Stefan Noons – Signals (35.26)
07. Playlounge – Grandma Death (40.01)
08. The Hundredth Anniversary – Last Drive (43.02)
09. Monster Rally – Orchids (48.44)
10. Califone – Move Music Kills a Kiss (54.23)


Toadcast #275 – The Admincast


August is traditionally the month where my slender grasp of Song, by Toad Records admin is finally broken and everything collapses into a massive pile of shit. And that is just what has happened this year: I am behind on the accounts, haven’t opened a single envelope which has been delivered to the house for about two months, and my inbox is a sprawling, out-of-control mess. Boo fucking hoo.

Nevertheless it all has to be smartened up by September. I have a new accountant, having been kicked to the kerb by the previous one for being too disorganised to be worth the hassle, so I can’t fuck this one up or I really am in trouble! So August gets to be messy, and then I have to get my shit together for real and get this whole nasty mess under control again.

There are plenty of old favourites on this podcast – blog-era favourites, not real oldies, but nevertheless, some artists I haven’t played for ages. There’s also a wee taster from the new batch of Toad Sessions we’re working on, to give you a taste of the new stuff. They are going to be a lot of work, but still tremendous fun to do, and I think the results are likely to be awesome.

Toadcast #275 – The Admincast by Song, By Toad on Mixcloud

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01. Frog – Ichabod Crane (00.16)
02. Sparrow and the Workshop – The Gun (Toad Sessions) (08.06)
03. Alela Diane – Desire (Piano Demo) (11.55)
04. Sam Amidon – He’s Taken My Feet (18.47)
05. Nick Cave and the Bad Seeds – We Real Cool (25.37)
06. Waylon Thornton and the Heavy Hands – Garbage Pail Kids (33.33)
07. Alela Diane – About Farewell (36.26)
08. The Black Tambourines – Bodies (44.54)
09. Yoofs – For Her (48.12)
10. Emmylou Harris and Liela Moss – So You’ll Aim Towards the Sky (56.27)

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