This song was my contribution to a band I was briefly in at school. It went down well with the others, especially when the guitar riff in the chorus was added (a shared idea with the other guitarist). However, for a long time the song had no words or melody. I started recording in 1997, although I gave up as recording such a guitar based song was impossible with only one audio track. Some months later when I got new software, I revived the midi tracks, and rerecorded the audio.

I donated this song to the drummer of my band for his GCSE music composition. I'm not sure what mark it got, but the rest of the band had no problem with playing the song. I was sure I had ripped off an Oasis song - but I'm yet to find which one. I actually finished recording this before Alright, OK, as I could fit it all in one track (notice you never hear guitar and vocal at the same time!).

For a long time this song was knocking around, unused. It never worked in my band, as people got bored with the intro. I had always played the guitar parts separately, and so had no idea if they would work together until I finally recorded it. The guitar solo sounds a lot better than it actually was - flukey!

This was another song that went a long time unrecorded. Poor singing, and too much tacky organ, turned what could have been rock 'n roll, into more of a joke.

After a musically barren spell, Stars! started a renaissance in song writing for me. It was most influenced by the theme to the musical "Fame" - on TV a lot, and performed at school at the time. Written at the keyboard, the chord sequence came first, followed by the trumpet duet (featured in the last 12 bars), from which I derived the melody. It took a long time to decide whether to have the chorus liek "Fame", and have the word "stars" sung on the off-beat, or on the first beat of each bar. While practising I would randomly switch between the two versions. I chose the latter out of safety, and got my sister, Miriam, to sing the top vocal line. This is the song I spent most time recording, soon after writing it. There were a few sleepless nights with the repetative chorus, bouncing around in my head. When I finished it was the best I had done so far. The final version was varispeeded up a semi-tone, to F#, increasing the tempo.

As soon as Stars! was finished, I went back to the keyboard. My aim was to write a chord sequence where the bass note was not the tonic of the scale. Recorded quickly and simply, the innuendo lyrics have no deeper meaning.

While bashing away on my unplugged guitar, as usual Miriam started whining complaints about the noise (she never appreciated my music). As a response, I strummed an open E chord and started busking, "My-my-my-my-my Miriloo" and dropped to D. I continued to improvise words to aggrevate my sister futher. I found the chords and melody quite stirring, motivating me to finish the song properly. With only a week before starting university, I began recording, solidly, for a few days. The harmonioes were all spontaneous, as were the lyrics, based on private jokes and quotes. This was the only song produced that summer. Although I was playing around with what later became Two Years, I didn't have the enthusiasm to develop it further. The great think about Miriloo was, it required no effort to make. The slide guitar, orchestra break, and ending climax, are still my favourite bit of arraging.

With time on my hands, a few songs came out of my first year at university. This song was inspired by a Midlands regional weekend in March. I had a great time, and everyone got on really well. Although not summer, the weather was great. I wrote the chorus in my head while away, and worked out the rest on my guiitar when I got back. It was recorded in April, at home, with my brother and sister providing the hand claps. This was the first song to use all eight audio tracks.

Although I started thinking of the music back in the summer of '99, I could never be bothered to take it further. That was until I had some meaningful words to fit the song. The young immature boy (guess who), not being noticed by the older girl. This song was a message to the girl persuading her that two years age gap is nothing long-term. It was recorded when I got home for the summer. Although tempted to embelish with orchestra, I left it just two guitars, bass, drums and a small piano line.

Written at uni, probably about the same girl. I tried to revive the blandness of this track with a harmonica line. Bit of a rush job recording - I wanted to finish the album that summer, with better songs yet to record.

The tune is based on Yedid Nefesh (a Jewish hymn). I thought it could become a poweful vehicle for my lyrics if put to music, slowed down, and built up.

Finally, with 12 tracks, I put a lid on this album. My aim was to end with a bang, and what was desinged as a reprise, became a decent song in its own right. Double track lead vocals, distorted guitars, and the screeching 5ths on "ever", add to the songs urgency and impact.