Simply Thrilled: The Preposterous Story of Postcard Records

By Simon Goddard

How one little upstart Scottish checklist label replaced the face of British music
 
They had quite a few hundred kilos, one band lacking a drummer, a sock drawer for an workplace, extra goals than feel, and never a clue among them the right way to run a list corporation. but if Alan Horne and Edwyn Collins determined to begin their very own label from a shabby Glasgow flat in 1979, not anyone used to be going to face of their method. Postcard documents was once the mad, makeshift, and really preposterous end result. Launching the careers of Orange Juice, Aztec digital camera, and cult heroes Josef ok, the self-styled "Sound of younger Scotland" caught it to the London track biz and, really unintentionally, kickstarted the Eighties indie song revolution. Simon Goddard has interviewed every body all in favour of the making of the Postcard legend to inform this exciting rock’n’roll tale of punk audacity, knickerbocker glories, damaged windscreens, raccoon-fur hats, comedy, violence, and growing anything attractive from not anything, opposed to all of the odds.

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It’s quite amaaazing to be right here tonight,’ twinkled Edwyn. ‘I wish you’re all going to bounce or pogo or no matter what you do. ’ Which rarely an individual did, too transfixed to shake a limb whereas they watched and questioned which pigeonhole they can stuff this indescribable newness of gentrified state and western disco. Orange Juice’s effect was once the entire extra inscrutable with the addition of visitor saxophone participant Gordon ‘Gordy’ McEwan, on personal loan from Edinburgh band The Cubs, squawking jazzy site visitors jams throughout the dizzying ‘Upwards And Onwards’. None watched prouder than Paul Naughty, now visitor of honour at an impromptu prison-release celebration courtesy of Postcard files, which a part of him proudly was hoping had benefited indirectly from his stolen spoils of yore. either gigs ensured hopes have been excessive after they eventually went in to checklist the 3 singles within the final week of April at fort Sound, a lately switched over Victorian fundamental tuition in Pencaitland, a village east of Edinburgh. Believing just a mad Scotsman will be mad sufficient to come back to Scotland and bring bands nearly not anyone had heard of, Alan had succeeded in luring ex-pat Glaswegian loon Alex Fergusson, former guitarist with replacement television, whom he’d sweet-talked in the course of his and Steven’s contemporary journey to London, monitoring Fergusson to his YMCA accommodations. The Go-Betweens have been first in to list Robert’s new London track, ‘I desire Heads’ – its music betraying a susceptibility to ‘doomeh’ shadows of pleasure department in its ho-humming bass, if no longer in its frisky handclaps and weird lyrics approximately financial institution books and baby detectives – and one other they’d been sitting on considering the fact that ahead of they left Brisbane referred to as ‘Stop earlier than you assert It’. The morning of the second one day at fortress Sound was once dedicated to Edwyn’s ‘Little women’ (as he also known as Orange Juice),fn2 with Josef okay cramming in what time beyond regulation they can that afternoon. Alan and Edwyn had pinned their hopes on ‘Blue Boy’, the outdated Nu-Sonics favorite devoted to Pete Shelley which, after years of kneading and proving, had misplaced its clumsy stutter, maturing right into a portcullis-buckling pop-punk fizzbomb. Fergusson captured its unsophisticated bliss, a good romance among Burns guitar and Fender Champ amp, Edwyn whipping its ‘curse’ and ‘bless’ from a Dylan Thomas poem, James hovering off on a psycho-country guitar solo with additional booster rockets from the ‘Telstar’ drones of a Vox organ borrowed from a wee ginger child from East Kilbride. For the B-side they selected the bullish crimson rag to ‘Poofs! ’-hecklers far and wide, ‘Lovesick’, its biscuit-tin Motown wallop added with equally breathless vivacity. With the few hours closing, Josef ok basically had time to list one part. After the merrymaking of ‘Blue Boy’, their ‘Radio Drill Time’ felt just like the harsh, sobering hangover, the sound of stainless steel surfaces being swept within the aftermath of an business coincidence which took its lyrical cues from the sleeve notes of Lou Reed’s sense-shredding noise scan, steel laptop tune.

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