ORANGE DELUXE
ORANGE
DELUXE
Could
really do with some help.....
DISCOGRAPHY
BRAND NEW
STONE AGE MAN
(Dead Dead Good, GOOD35 CD, 1996)
1.Jupiter's Eye
2.Brand New Stone-Age Man
3.Swoon
ANDREX PUPPY
LOVE
(Dead Dead Good,CDS,(1996),GOOD38CD)
Need Copy
1.Andrex Puppy Love
2.Love Slug
3.Special K'ing
4.Loveless Man
Written by Bassett
Produced by Cope
except 2 written by Bassett/Copestake
THE STRIPPER
(?)(1994)GOOD27CD
Need Copy
1. The Stripper
2. Plush Abattoir
3. Dreaming Of A Friend
Written by Bassett
Produced by Cope
DELECTABLE
Orange 7"/CDS(Good31cd)(1995)
Need Copy
1. Delectable (Bassett)
2. Step It Up (R.Birch/N.Hallam)
3. Me Against The World (Bassett)
4. Step It Up (remix) (R.Birch/N.Hallam)
1 & 3 produced by Cope
2 & 4 produced by Cope/Trevski
4 mixed by Trevski
LOVE 45
(Good29Cd)(1995)
Need Copy
1.Love 45
2.Ghost Dance
3.Swimming Pool Culture
Vodka Doughnuts
& Dole
(Dead Dead Good, CD, 1996, GOODCD10)
Need Copy
1. Uncle Charles (Friend Of The Stars) - 6:23
2. 21st Century - 3:51
3. Jupiter's Eye - 5:57
4. The Love Slug - 4:41
5. Not Giving Up On You - 6:02
6. Jelly Shoes And Liquid Ether - 5:31
7. Whole Sioux Nation - 4:56
8. Lexys' Disappearing Act - 3:06
9. (Mr Helium) - 0:43
10. Brand New Stone Age Man - 3:51
11. Stevies Kid Brother - 7:05
12. (Tape Wind) - 0:24
13. Andrex Puppy Love - 3:53
Written by Bassett
except 1, 4, 8 written by Bassett/Copestake
Produced by Cope
Necking
(1995) GOODLP4
Need A Copy
1. The Stripper
2. Love 45
3. Soft Control
4. Turkey Breast
5. Bewitched
6. There Goes My Summer
7. Angelique
8. Pure Grunt
9. Memoirs
10. Delectable
11. Hot Lung
12. Atomic Junkie
13. Anti-Gravity Blues
None of these
records have comments or reviews and I doubt this is complete!
Email me on the link at the top!
Thanks,
Edmund
This is from
http://www.vigilante.co.uk/ep/features/orange.htm
Orange Deluxe recorded one of the best albums of 1996. Vodka, Doughnuts &
Dole is an album bursting with stomping rock'n'roll tunes, soulful ballads and
kick-ass Motown grooves. With an album like that they should have been on top
of the world by the start of 1997, even though they're signed to a small independent
label. But it was not to be. Soon after they completed recording, their whole
world suddenly caved in.
The album was recorded back in July 1995 after the end of a gruelling tour to
support their debut album Necking. The London-based four-piece - Paul Bassett
(formerly of early-Nineties major label hopefuls Five Thirty) on guitar and
vocals, Cope on guitar and backup vocals, Paul's brother Rob on bass and Keith
McCubbin on drums - went to nearby Falconer Studios in Camden for four weeks.
By the end of August '95 the recording was complete and the final mixing was
done in September. Then tragedy struck.
"I've never put dreams of a swimming pool before writing a good song, mate.
Never."
Rob, a former semi-pro footballer who played for Reading FC, had an accident
while playing soccer and found himself in hospital for six weeks with a broken
back. He underwent spinal fusion surgery and - a year later - is finally approaching
full fitness. Meanwhile, Necking had sold 10,000 copies and the band were left
with an album of new songs, not knowing what to do next.
Eventually, of course, they decided to go on. Keith's friend Adam (who runs the Funkin' Pussy club in London) stood in bass for the first leg of the '96 tour (to coincide with the release of the single 'Jupiter's Eye') after which they spent a month breaking in new boy Mark on bass.
"In a strange way, Rob's accident has given us a new lease of life," says Paul. "Because right now there's only one thing that matters to us and that's keeping this band alive and kicking so that he has something to come back to.
--------------------------------------------------------------------------------
Did you miss touring during your nine months away?
Paul: "I hear loads of other bands really moaning and moaning and moaning
about it, but I get bored at home. I have my best times when we're out on the
road. I miss it. I look forward to it. I missed it like nothing else."
Cope: "It is a real escape from boredom to get in the van, fuck off somewhere,
do a gig, have a fucking laugh."
Paul: "The first month back on the road was quite weird because Adam wasn't
a good enough bass player, I didn't think, and I didn't think we were doing
the band justice on the 'Jupiter's Eye' tour. It was going down alright, but
at the end of the day it's not about getting away with it, it's about being
the best that you possibly can be."
Cope: "He didn't really fit in with us, either, he found it a bit hard
going."
Will it take Rob long to get back into the band?
Paul: "He's back into it already."
Keith: "He plays all day long. There's just trouble with him travelling,
that's his main problem. He can't do a tour, but he can get up and do a gig
or a few days of rehearsal. He's getting well."
Cope: "We didn't want to bring him back to early and do a three or four
hundred mile journey and put him out of action for two weeks by putting too
much pressure on his spine. We want him to be as fit as he's gonna get, 'cos
he had a relapse back in January by just pushing himself too hard. We can't
afford to do that again, for his sake, no matter how much he wants to come back."
Why an independent
label?
Paul: "It's quite a strong thing to champion at the moment. Most of British
music's strength from punk onwards was built on true independent labels. That
doesn't really exist in this country anymore. Everyone hides behind the cloak
of indie-dom and the word 'indie' has come to sum up a sound - but it's short
for the word 'independent'. There's nine Oasis songs in the Top 20 indie charts
and they can stand up and talk about corporate pigs as much as they like, but
they signed to Sony Records. No matter what it says on their record labels,
they signed the biggest corporate company in the world. They didn't mind taking
their money. When people like them stand up and say it, it adds to the myth
that that is what independent means, but it's not. Dead Dead Good are one of
the only independent labels in the country and occasionally, when I'm losing
sleep, I think that's something worth believing in."
The Devil's Advocate
would say that maybe you couldn't get a major label contract if you tried...
Cope: "If we had the weight of Melody Maker and NME behind us, the music
would be in the charts regardless of who we were signed to."
Paul: "I think that if we were making pig noises and sampling gates opening
I'd say yeah, maybe we couldn't get a major label deal, but I don't think our
music is that removed from the mainstream. The fundamental question is: If the
edges of the music scene went away, the mainstream would have nothing to feed
off. That's the way it's always been. The independent scene has to have its
own little life. I just see so many songwriters who are lazy with dollar signs
in their eyes before they've even put a band together. I've never put dreams
of a swimming pool before writing a good song, mate. Never."
Wouldn't it be great
to be Number One?
Paul: "Yeah, but a Number One to me would mean great acceptance of our
song, like vindication. If Number One means units and swimming pools, I've never
felt like that. Never ever. I never will."
You seem to think
the weekly music papers are against you. Why?
Paul: "To be specific, what we have is a block at editorial level. The
people in the papers who are the editors, they have a problem with us. But times
change and they might not be there in a year. Plenty of the lower-level journalists
really like us. That's what's so frustrating. There are enough journalists who
like us that we'll just stick at it."
When will it ever
change? Do you have to do something about it?
Cope: "We've already started work on songs for the third album. We're moving
on all the time."
Paul: "Not every band makes it with their first few singles. There's plenty
who don't. We've learned a lot of lessons and the next album will be even better;
and who knows, the wheel might turn and there you are in the right place at
the right time. We won't succeed by sitting down and trying to write a three-and-a-half
minute pop song with the intention of having a big hit, because people would
get to like us for the wrong reasons."
Could you sit down
and do that, do you think?
Paul: "I actually think we've written a couple of songs which I can't understand
why they haven't kicked off. I thought 'Love 45' was a real, smashing, three-minute
single, although I didn't write it with that in mind."
How different to Oasis
do you think you are?
Cope: "We're obviously going to think that we're equally good songwriters
or musicians."
Paul: "I don't think we write the same sort of perfect pop. Noel's got
a real gift for writing and fucking good luck to him, I like the geezer, but
we're different."
You both play guitar-heavy
rock music which is heavily anchored in different styles from the past...
Paul: "The difference is that they probably grew up listening to the Beatles,
with a more British outlook, and I listened to Motown, Stax and Atlantic when
I was a teenager. I didn't even get into the Beatles until I was 20 or 21. That's
still in our music. That's our problem, if anything, we can be too R&B for
people at the moment. We were once called 'retro' when retro was a dirty word
and meant that you sounded a bit like the Yardbirds, and now with Ocean Colour
Scene and bands like that, retro is a good word again. Listening to the radio
at the moment is like time travelling. It's fucking bizarre. So now we're not
retro anymore because retro is a cool word. Now we're 'old-fashioned'. But you
can't spend too long thinking about it, it'd drive you mad."
Do you have an image?
Paul: "We seem to be perceived as ultra-lads. Scruffy bastards, shit haircuts,
shit clothes, lads."
That's not especially
unfashionable...
Paul: "It is if you're the ODs."
Cope: "It is if you're unfashionable."
Do you think you'd
be more popular in America?
Paul: "That's my ambition. I just want the records to come out in America."
Cope: "We definitely want to go. We're definitely gonna go. It's a lot
less blinkered about rock music than this country."
Paul: "It's not run by two national weekly papers! You can go to one town
and the local reviewer might say you're completely shite, but then you can go
up the road 50 miles and be Number One on the local radio station."
I'd like to see you
do better. You've worked hard and you deserve more success.
Cope: "You sound more down about it than we are."
Paul: "We do get this from a lot of people who are into the band. But when
we started we realised that this was gonna be quite a long road. We knew we
weren't gonna walk straight into the charts, but it meant more to us than just
that. Maybe we do deserve more but if we went on about it all the time we'd
be the bitterest people. It's important to maintain a positive outlook."
by Jon Ewing.
Orange Deluxe were interviewed on August 14th 1996.
