Trying to keep this thing up to date is difficult at times, considering the only time I really have for it is on my lunch break in the office, and this place isn’t exactly the best environment for creative output, or reviewing my activities – mainly as this place sucks you dry of anything other than the effort to get through till five thirty (and also because i’m actually working a lot of the time – imagine). I get these creative urges whilst sat here but I never have the opportunity or skill to actually create anything. I tend to do a lot of my stuff – songs, ditties, ideas, writing and that – on the fly, and the best stuff comes out spontaneous like, just out there. Like this stuff. I think if I think about it too much I more often than not over analyse it and then don’t have the guts to throw it out there, whereas if I just get it done quick and I don’t have the opportunity to veto myself. Like “I Wouldn’t Move to London for You” was a random jam on a single chord sequence that I would never have done anything with, cos I never thought it was anything much, but I wrote it one afternoon cos I had an acoustic show that night and I only had like 3 or 4 songs to play, so I threw it together and now it’s like a crowd favourite or something. It’s just the same as it was that cold afternoon in finchampstead (except simon’s kicked the shit out of it when we recorded it – those drums are bigger than I ever could have imagined and it’s become like this raucous beast that I can’t tame – but essentially the same song, one chord sequence and a silly little harmonica hook). It’s gonna be one of the last tunes we play at this bluetones gig that we’ve been asked to play at – supporting the bluetones, man – that’s crazy. I caught their first album when it came out – I was, what, like 14 or some shit, and they really pricked my ears – you know they’re all beatles-y and chimey on that first album, but also really fucking heavy too- the end of Things Change when Eds is going spack on them skins and there’s like 9 or 10 guitars all layered up, crazy. But then you’ve got The Fountainhead, which is all complicated rhythms and tight acoustics, and bittersweet lyrics (more bitter – why I like it I guess) that bring a tear to your eye. I met them once – we met them, the cheap days – after a gig we saw them play in Aldershot, hung out for a beer with them and got on their bus, they were top guys, proper good company, although I felt a bit like a fawning uberfan at times, but they made us feel comfortable – but now we’re playing with them, propping them up like some sort of unworthy footrest. I can’t undersell how amazing this makes me feel. Balls to the ‘career progression’; or whatever (I doubt there’ll be much of that), but just to be on the same stage as Mark Morriss is such an honour. Hopefully I’ll get to buy him a drink