Songs: The Other Rush Hournotes / gigs / releases
According to the writers of the TV Guide
Published by Wipe Out Music Publishing
This song took months to finish, and was hanging around in my mind for ages before then. The basic idea came on one of the many occasions when I've stayed overnight at Tom's in Leicester and had to leave at a ridiculous time of day the next morning to get the train back to London. I'd always see loads of people setting off for work at a time that I considered to only just be in the morning at all and it'd remind me of when I used to have to be up at that time of day too, when I'd had jobs in factories and the like as a student. I'd see people like the "likely lad swinging his sandwiches in a carrier bag" striding in, and remember knowing people like them back then. I'd be acutely aware of newsagents along the way too. They were the only places open at that time of the morning and so you could see them in the distance as lonely beacons of light in the early gloom.
I always talked about this time of day as "The Other Rush Hour" and soon aspects of it were popping into my mind. The bits about the "women of the smokers laugh" and the street lamps being unable to work out the time of day came first followed by lots of other ideas and phrases that were too lumpy to fit together properly.
I had two verses and some choruses worked out, and they sat on a piece of paper in my bedroom for ages, looking at me accusingly. Occasionally I'd sit and sing a bit of it and wait for ideas, but nothing much happened until I decided to brutally chop sections of it out and make the verses twice as long - this gave me a bit of breathing space between choruses and for the next several weeks it very gradually eased itself into being, taking a lot of turns along the way. I'd also been trying to write a song about waiting for parcels to turn up and that idea elbowed its way into this one, knocking out lots of stuff about being in Leicester and going to catch a train. At one point there was a newspaper editor looking out of a window at people who "buy his words but hardly read them, he knows they need him less than he needs them" but that was taking things off in a hugely different direction, as was a lengthy rant about magazines like Front and Loaded, the remains of which appear briefly about halfway through the finished version. Instead of all that I ended up concentrating on me, as usual. That bit about me being sternly told off for acting like I was better than other people is, I'm afraid, very true indeed.
I'm really chuffed with bits of this song, it's like a State Of The Nation type of thing which I don't often do. One advantage of taking ages to write a song like this is that it does get pretty compressed, with every line being thought about perhaps more than it should be, so every line tends to have a lot of stuff in it. The bit about the PTA chairman, for instance, took half a day on its own!
The tune changed around quite a lot too, and then when it got to The Validators we never quite got it how we wanted it. I'd had a really good think about it, and written some quite detailed notes about how the song should ebb and flow (which translated during practices as "faster, then louder, then quieter"), and there was lengthy discussion about how the breaks at the end of each verse should work, but it wasn't until we actually got to Cornwall for the recording sessions that it started to gel. Before heading off there Tim had regaled us with tales of what it'd be like in a residential studio, and how we'd all be rocking through the night, having late night sessions fuelled by Vodka and Caffeine, emerging at dawn with rock history made.
In actual fact we were nearly always all in bed by eleven o'clock and only once played our instruments after tea-time. We reconvened at about nine o'clock one night to try and work this song out. Unfortunately we'd all been playing since 10 o'clock in the morning and were knackered, so it was left until the next day to try and get it right in the recording.
You can imagine our surprise then when it actually turned out pretty good, especially when we got home and Frankie supplied us with his proper mix of the tune. We'd always thought of it as the one song which might end up not getting used, but what we actually recorded sounds great to me. It might be because we were worried about it but not worried enough to do much overdubs, that it came out sounding a bit more spare and a bit more urgent than our usual stuff.
It still didn't seem to fit in with the other songs though - perhaps it's because there's certain themes in it that are covered elsewhere, or more likely it's because it gets all excited and speeds up as it goes along, but when we came to decide which songs should be on the album and which go out as b-sides it didn't take very long for this one to be chosen. As I say though, I like it very much indeed, and if only I could learn the words we'd play it live a lot more often!
An Artists Against Success Presentation
Maintained by MJ Hibbett & The Validators