Holyground Records ||| Tears On The Console track by track

TEARS ON THE CONSOLE
track by track

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	the songs, musicians, the times and memories

	other CDs in "Holyground the Works" series

this page is to accompany HOLYGROUND : THE WORKS CD VOLUME 9
the contents of this page includes opinion, memories and recollections which may not be completely accurate
the opinions expressed are not necessarily those of Holyground

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THE MUSIC
THE SESSIONS TEARS was recorded one lovely summer month in mid 1975, the last Holyground recording until 1990. Mike was joining another studio: this CD was to be Holyground’s swan song. Before the first day of recording Steve hadn’t even met the band, Lazy Days. The songs were originally acoustic; new rock arrangements were worked out in the studio. The tracks are in the order they were recorded, except NO POINT AT ALL. Unfinished in 1975, this had Steve’s vocals, lead guitar & Chris Coombs’ organ added later. Tears was recorded on 4 track and remixed in 2005. THE MUSICIANS All the tracks on the original album had nearly the same line up, see below. Where there were any changes they are noted under the name of the songs following. Steve Channing vocals, acoustic guitar Dave Wilson guitar, lead guitar, backing vocals Alan Robinson bass, guitar, backing vocals Mick Spurr Hammond organ John Shepard drums with Chris Coombs backing vocals
THE STEALERS (Steve Channing)	haven’t got the time said the spider to the fly but I’ll let you dance on my web man if you just bring your sister by haven’t got the time said the reader to his page so you turn over your new leaf & I can start to act my age like ice cream sundaes on a winter’s night you need my wrongs, I feel you’re right haven’t got the time the wolf said to his sheep so let’s just lay it down natural & I’ll swear I’ll go to sleep cannot spare the cash said the monkey to the tree but I’ll let you swing on my naked boughs if you’ll bend a bit for me	This track, and the next were recorded on the first day - the same day that Steve and Lazy Days actually MET; the same day Lazy Days learned the song; the same day all the equipment (including a Hammond Organ) were lugged up the two twisty staircases to the studio; the same day the gear was set up; the same day Mike Levon set up the mikes for recording!

CORNFLOWER BLUES (Mike Levon) Mick Spurr Moog synthesizer	you can see me standing down by Carter’s Lane you can see me standing close by Croxton Main if you see me turning, call me, I’ll come back again just like a boomerang in summer sliding through the air like a boomerang in summer momma slicing through the air take care of the clouds maybe that threaten me with rain take care of the clouds maybe baby that threaten me with rain if you see me falling, hold on, I’ll come up again upright in the heatwave, laid back into the gale upright in the heatwave, lay back into the gale cover me in cornflowers if I should look too pale got a fine brown woman living close to me got a fine brown woman living close to me tied down to the 'Ground so tight wish I could break free	Mike says: "For a while I had felt stuck - either I stopped recording and moved to a house we could have children in, or I just carried on . . . When the offer to join a studio project in Doncaster was made I jumped at it - this song is about the earlier feelings of being trapped. Croxton is a reference to a village near where I grew up - Croxton Kerrial, and Carter's garage was on the road to it. The line "Tied down to the 'Ground so tight, wish I could break free" was heartfelt. The band did the song proud!"

TEARS ON THE CONSOLE (Mike Levon and Steve Channing)	pictures of pyramids gracing the walls of your home session musicians on tap at the end of your phone the drummer’s playing for love, the bass player’s nine miles above and the man at the desk sings tears on the console, sweat on the strings amplifier’s steaming, manager’s leaving and it’s seeming like all’s nearly lost the agent is frantic, this last great romantic is working out how much it costs the fiddler has scraped his last jig, the synth player’s losing his wig and the man at the desk sings tears on the console, sweat on the strings 84th track, roadie’s on the mat with the engineer’s wife upstairs some keyboard fella, fortune teller is down to his underwear the producer has drowned in pink gin the guitarist is blank, he just grins and the man at the desk sings tears on the console, sweat on the strings held up on the fold-back, fell back on the du-lap struck by the build-up, something must crack van’s broken down the milkman has come with the sun 48 hours and it seems like nothing’s been done the drummer’s still playing for love, the bass player’s 9 miles above and the man at the desk sings tears on the console, sweat on the strings	Mike Levon recording 'Tears On The Console' 1975

PEACH OF A LOVE (Steve Channing) Steve vocal harmonies	Jackie and Jenny were lovers, they were pretty in an ordinary way and they met at school, part of the teenage pool ecstatic on their wedding day & it was alright while it lasted but it finally turned out sad so they split themselves and she took down the shelves when their peach of a love went bad Jackie and Jenny were lovers, but they couldn’t get along on his pay so the stage it was set and her mother won the bet yes she usually had her say he had a job at the steel mill, she got a rise from her boss walking out neath the stars, Jackie found her in his car and he knew that his treasure was lost she knew he was living on a tight-rope, the original balancing man so she wrote him a letter to make him feel better she’s as sensitive as Desperate Dan his doctor’s face was most understanding when the lawyers met to settle the estate but all the tiny tablets to cure nervous habits came twenty-four hours too late all in all doesn’t it make you burn to see so many standing still when there’s so much reason to turn

BRAND NEW DAY (Steve Channing) Mick Spurr jammed a matchstick into the organ keys to play the high Hammond note right through the song. Mick Spurr	yes you seem to have it made, you’re a princess you’re a rich man’s jade and yet you have to hide away behind a ballerina’s smile they say you eat off plates of gold that your eyes are like fire but your body’s cold that you poison your blood so you won’t get old cos love’s been so elusive your car turned over on an alpine pass and death caught up with you at last you shouldn’t have tried to live so fast you should have lived more slowly with me but did you have to be so mean to always occupy my dreams and by your soft embracing schemes you steal my heart away at the start of a brand new day	This song has no drums - this was not a planned omission though. Leeds United football club were playing a match that evening, and although he was there, nothing could tear John. the drummer, away from the television!

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LIVING IN THE CITY (Steve Channing) Steve Channing mandolin (only actually heard fully in the intro!)	you see that young girl over there, she’s the one I wrote you about I’d like to leave to seek and achieve but I know they’d kick me out isn’t that a shame, isn’t that a pity that’s what happens to a lonely girl, living in the city she doesn’t need those fancy clothes or that marzipan spray in her hair and if you put your arms around her she wouldn’t notice you were there she’d like to ride on the morning tide but the subways are her shores she wonders is it wise to advertise when the men come to her door her hardest sell must hurt like hell but you’ll never be with her on the sands she cooks the best, throws back the rest ignoring your open hands in an earlier age we could’ve turned the page of the bible beside her bed but she’s too advanced to leave to chance the thoughts inside her head	this track features Mick Spurr's brilliant Hammond organ At the end of the sessions Mick decided he wasn't going to try getting the organ back down the stairs; he'd 'split' it - a common process. Mick arranged for an expert to come and split the wiring. When the body was marked up, Mick couln't bring himself to cut the organ in two. Mike Levon readily volunteered - and cut the polished wood right away!

NUMBER FIVE ALONG FROM REDS (Mike Levon and Steve Channing)	pictures of pyramids gracing the walls of your home session musicians on tap at the end of your phone, hang ‘em up, hang ‘em up the drummer’s playing for love, bass player’s 9 miles above and the man at the desk sings tears on the console, sweat on the strings eighty fourth track, roadie’s on the mat with the engineer’s wife upstairs some keyboard fella, fortune teller is down to his underwear the producer has drowned in pink gin the guitarist is blank, he just grins and the man at the desk just sings tears on the console, sweat on the strings	This track was a warm up blues at the second session. There is an original vocal overdub of Steve noodling with 'Dust My Broom' - see the additional track "Dust Blues" below, and this version of Steve singing the LP's title track over the jam at Mike's suggestion. The cryptic title was Mike's.

GET DOWN TO IT (Steve Channing)	I don’t feel like loving on a Friday night, been working a year overtime you’ve been dancing nightly by candle light with that back-stabbing friend of mine you get down, turn around get down to the rhythm and the sound get down, turn around, get down to the rhythm turn on the TV or the radio, it’s like listening to a history of the blues you know which notes are coming and how many get the breaks so what’ve you got to lose? gave up my learning for a life of crime then society showed me the way five years prison and five years straight punched my papers at the end of the day sky turns darker when I turn off the light water stops dropping when I’m dry if I look at your lover I might lose my sight how can I separate the truth from your lies? she’s a pearl diver, can’t satisfy her she set a trap and I fell in how she flowers in the shades while I shower is anyone’s guess or someone’s sin just a girl with her lovers, cheap affairs under covers diving beneath those seas of care could have wrecked her, might have checked her wish I could wish she was not there I don’t feel like loving on a Friday night been working a year overtime you’ve been dancing nightly by candle light with that back-stabbing friend of mine	Alan Robinson Dave Wilson

CALL THE SHOTS (Steve Channing)	in the gin house she deals the cards and in the morning I work her hard and when the night-time comes around she gets ‘em out, we set ‘em up, I knock ‘em down 1 lost, 2 bad, 4 sure, she’s sad we 8 our fill, she’s 16, I’m 32, I love her still if I get jealous she walks the streets if I stood up I’d lose my seat and if you’re dicing with her heart I’ll see you finished long before you get to start she feeds me fishes, she feeds me loaves she keeps her coffee boiling on the stove sometimes we’re right, sometimes we’re wrong sometimes we fight but come the night we get along and when we’re cruising in the automobile she says she could, I say I would and it’s for real we find a nice quiet spot and settle down and leave the honky tonking folks in town	John Shepard, drummer Although he can play really tough or flambuoyant drums, John was really pleased with this track - in which he plays a straight part throughout - no fills, just the same bar by bar!

PLAY LIKE A BAND (Mike Levon and Steve Channing)	listen to a song with every ear, play a tune with every hand dance round on every leg, play like a band rock and roll has many spies, smooth faced men tell many lies have you watched their fingers glide in this sand, this salty sand? satisfied man he hangs on still, traps golden fingers in the circuit till says he can’t stay but you know he will is this just out of hand, is it out of hand? listen to the boy with big ideas, play his tape of simple tunes file away for future plans, this contraband, your contraband can’t seem to see the right road out don’t seem to laugh and joke no more cockney fags in plastic bags can you ignore it, can you ignore? saving shillings, saving pence, buried in a bag by the back-yard fence is this really making sense or is it out of hand, out of hand? this life’s a human sacrifice, no home to call my own no offence to this audience but honey this show’s been shown what he knows about this grind has been enough to split his mind I could say more but that would be unkind you’ll understand, you little man	Ginner, the lead guitarist in Thundermother provided the spark for this song. He asked the piano player to "Play it like me" - "How's that" the pianist asked. " Ginner's reply? - "Like a band . . . "

ADDITIONAL TRACKS
NO POINT AT ALL (Channing) This was an unfinished out-take from the Tears sessions. With Chris Coombs on additional vocals and Multiman organ, Steve completed it a few years later.

DUST BLUES (Levon - Channing) This is the original warm up jam which, with different vocals, appeared on the album as "Number 5 Along From Reds". These busked vocals were found on a spare track of the original 4 track tape.
THE FOLLOWING THREE TRACKS WERE RECORDED WITH ONE MIKE STRAIGHT TO A REVOX TAPE MACHINE AT SOME POINT AFTER 1975 - NEITHER STEVE NOR MIKE CAN PUT A DATE TO THEM THE BULLY (Channing) LIKE DECENT FOLKS DO (Channing) WHITE KNIGHT (Channing) The strings on White Knight, one of Mike's favourites (and one of his daughter Rose's favourites too!) were composed and played by Chris Coombs, (with a bit of a nudge by Mike to add to the ending - to cover some tape bleed! Mike loves the result, as do others, Steve included, (phew)!
HEART OF THE STORM (Steve Channing) Steve vocals, guitar, bass, mandolin Liam Robinson melodeons Andy Wells Wurlitzer piano Chris Coombs brass	Steve Channing in the studio, 2005	a recording of a new Steve Channing song, recorded in 2004/5, specially remixed for this CD. not previously released

echoes of Holyground (by Mike Levon from the original recording by Kevin Slater and others)	and still I live in hopes to see the Holyground once more . . .	echoes of holyground (traditional)

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HOLYGROUND 'THE WORKS' SERIES In association with Kissing Spell Records, Holyground has released all the recordings from the '60s and '70's, except for Skybird's Summer Of 73, and Bill Nelson's Northern Dream. Several of the albums have only ever been released in small vinyl runs : volumes 1, 5, 9, 10 and 11. All have a considerable number of additional tracks. The average running time of each CD is over 60 minutes and often more than 70 minutes. Mike has scoured his archive and made several surprising finds, especially the songs "hidden" on the bottom track or other side of the tape - tracks even he didn't know he'd got! Each CD in the series has: from 60 to 74 minutes of music full colour eight page booklets and inlays renovated and previously unseen photographs and original artwork words to all original songs additional tracks, out-takes, and contemporary tracks (covering just about everything Holyground recorded!) several previously unreleased recordings, and some remixes a special silver label and logo, in a rainbow of colours! background and recording information a special webpage with more information, recollections, photographs and news info, and anecdotes . . . the works! ASTRAL NAVIGATIONS and A TO AUSTR are the most well known albums on the label during its early days from 1966 to 1975. These and nine others make up the "Works" released through KISSING SPELL:
album	series volume	release date	details
LAST THING ON MY MIND	1	2001	LAST THING ON MY MIND has never been released since the original 99 vinyl copies made by Mike Levon when he recorded it in 1966. It is an album of folk and early folk rock - the roots from which Holyground grew. There are standout performances from Chris Coombs and others. It's an album of great beauty: if you close your eyes you can see the candles, and feel the dark . . . There are also several out-takes and contemporary recordings never previously released at all!
NUMBER NINE BREAD STREET	2	2006	The first LP to carry the 'Holyground' label. The name comes from an Irish folk song, and was used by Mike to name his flat in Cyprus Street - doesn't everyone name their homes? Recorded partly in Bretton Hall, partly in Jacobswell Lane - Mike's later flat, shared by Norfolk Jim, Brian Wilson and Derby Dick, most of the tracks were made in Moodies Bar. Moodies was a real old-fashioned pub in 1966 - 67. Women had only just been allowed in! - although they were still excluded from the small back room where the recordings were made. In fact, Shirley Levon may have been one of the first women to drink in there during the recording sessions! A mixture of traditional folk and new acoustic songs, with a nod towards early folk-rock, Bread Street sold 243 out of 250 copies made, and still made a loss!
A TO AUSTR	3	2006	In 1967 Mike Levon moved into his own flat in Cass Yard half-way down Kirkgate. There were two large bedrooms, and one quickly became a studio, allowing Mike to start recording drums and electric guitars. His first electric recording was of Bill Nelson's group 'Global Village' - a good omen for the future! From late 1967, through 1968 and 1969 Mike recorded a variety of people including several commercial records of clubland artistes such as Winston Smith, Joanna Starr, The Method, and even an LP of mood music for a local bingo chain. During this time he started working closely with Chris Coombs, and with existing musicians such as Brian Wilson, augmented by other new people like Al Green, George Mabon, Brian Calvert and Ted Hepworth. The results was the album A to Austr. This dealt with many current themes: from drugs to sex, wisdom to wonder, and resulted in a very varied album of what has become know as psych-rock. It was Holyground's best work to date, and set the scene for the 1970-71 period: a busy, creative time which saw the making of albums like Jumble Lane, Bill Nelson's Northern Dream, Gagalactyca, and above all the seminal 'Astral Navigations'. Austr itself was viewed by some as their favourite album from England: 'they do it all,' said American dealer Greg Breth who was l;ucky enough to find one copy from the 99 made.
ASTRAL NAVIGATIONS	4	2003	Described by one collector as a “deeply evocative and enchanting album which really touches me”, ASTRAL is seminal Holyground. The album has two complementary sides: side one features songs by Mike Levon and Brian Calvert, and by Chris Coombs: acoustic rock with Holyground’s psych edge. The three Chris Coombs tracks also feature Bill Nelson on lead guitar. Side 2 showcases Thundermother, searing guitars in a progressive, acid-rock band featuring David John who had earlier recorded with Joe Meek as David John and the Mood.
GAGALACTYCA	5	2001	GAGALACTYCA has only been released on vinyl. It is a sister album to Astral Navigations. There are two "sets" of music : Chris Coombs and others (Lightyears Away), and Thundermother. Chris and Mike Levon wrote songs for the Light Years Away "side" of the album. Standout tracks are the short though beautiful "That Is What We Need", and "Cold Tired and Hungry" a storming track featuring Bill Nelson on guitar. Thundermother come up with five brilliant tracks, four of them their own songs. Standout tracks are a version of "Woman" by the group, an acid guitar epic in "Come On Home", and the beautiful "Woman In My Life".
JUMBLE LANE	6	2003	Described accurately by one reviewer as “going through so many unexpected and bizarre changes as to be completely un-categorisable”, JUMBLE LANE was recorded by friends and local students in the summer of 1971. From the delicacy of “The Gallery” and “Blues for Joanne” to the rock of “Frustration: Ends Away” it’s psych rock of the highest calibre. Bonus tracks include songs by Steve Channing who made his debut on JUMBLE LANE.
ODE by BLUE EPITAPH	7	2003	JUMBLE LANE’s success meant new students at the nearby college would turn to Holyground to record their own albums. Pete Howells and Jim Gordon, as BLUE EPITAPH, made the acoustic, psychedelic whimsy that is ODE - another highly collectable Holyground album. The third group to do this, in 1974, recorded the album “JUNCTION 32”. As an album it was not a success, but there were some fine tracks, and these are included as bonus tracks on this CD. Bonus tracks are the best of the 1974 album “JUNCTION 32” : Third Take / Whiskey In The Jar / Bill Bailey / Prickety Bush / Bold Princess Royal / Ropegate Rag.
THE LEGEND OF THE KINGFISHER	8	2003	During 1972 and 1973 local band GYGAFO recorded a variety of tracks at Holyground. Rock with a psych edge, recorded in true Holyground tradition, the band featured Charlie Speed on lead guitar. Charlie’s lead, with Eddie’s keyboards, makes the album glow. Standout tracks are “Solid Man Song”, and the long, pastoral title track. One bonus track is by a contemporary of the band, Ark; another guitar led band stretching out over a long song.
TEARS ON THE CONSOLE	9	2006	In 1975 Mike closed down Holyground (temporarily as it turned out) to start a new studio venture in Doncaster. In the last few midsummer weeks he suggested to Steve Channing that some of his songs, plus some Mike and Steve would write later on, should be recorded. Mike asked the members of 'Lazy Days' to join in giving (as he thought before the recording sessions) a line up of Steve on vocal / acoustic guitar; Dave Wilson on electric guitar; Alan Robinson on bass; and John Shepard on drums. None of the band had met Steve on the first day of recording, and to Mike's surprise Lazy Days turned up with a Hammond organ player, Mick Spurr, who also added an early Moog synth to the line-up. The results, even on the first day, were magic - a lively set of songs driven by Steve's vocals and skills on guitar, and backed by a tight and fluid group. The songs, often blued based, were lovely. The atmosphere was electric, and pushed along by the knowledge that Holyground was ending. Steve and Lazy Days had been regulars since the 70's - Steve appearing first on Jumble Lane and Lazy Days had recorded there on several occasions and in different line-ups. This CD captures the end of an era.
LOOSE ROUTES volume one	10	2002	The original Loose Routes double vinyl LP with a large format booklet consisted of many tracks which have been included with other "The Works" reissues, and in the case of Bill Nelson, on "Electrotype". This two CD release is largely unissued material and, with the other "Works" CDs, completes the Holyground recordings. Volume one covers the start of Holyground and the period upto the making of Astral Navigations in 1970/1971.
LOOSE ROUTES volume two	11	2002	Volume two starts with Thundermother and carries Holyground through to the (temporary) end in 1975. The final track is from new Holyground recordings from 1990.
ELECTROTYPE	12	2001	All the Holyground recordings made by Bill Nelson from 1968 to 1972, (excepting Northern Dream - separately available, and Teenage Archangel). The CD has 21 tracks, and covers the period from the start of Global Village up to the early Be Bop De Luxe. 68 minutes from Bill's first ever recording to the days just before signing to EMI to make Axe Victim - all the Global Village and Be Bop De Luxe recordings still in existence.

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