Bad seeds paradiso - top gallery


SAS: As we put together the 2,000 copies of the Marbles 10″ – each one folded, stamped, numbered, assembled – we were feeling pretty good: The first time we had made something that we felt people were actually waiting for! And it was an exciting record.

Its small success focused all our minds on making the album, it was really going to happen – we started to look at potential studios. Townhouse 3, formerly Ramport, was a studio built by The Who to make Tommy. It was in the dark end of Battersea, we loved the place from the moment we entered.

At the time Rough Trade (the label) were not in great shape but Geoff offered to loan us the £15k to make the album. Although, ironically, we decided to sign with the newly formed This way up label because we liked Dave Bedford (though being funded by Polygram this was going to have far-reaching effects on our lives, but we were blind to this at the time).

We also needed a new house. I had found a ‘mansion’ behind Kilburn tube station in Loot. With 5 of us moving in we could afford the rent. Space for everyone and a big room for the studio.

By the end of the Spring we had moved in, our baby born and our first album – all 21 songs of it – recorded, mixed and finished. It was an uncompromising record. Ian Caple did a great job for us, taking on the demo ideas and pushing them to another level. The final night of the mixing, the album was edited into its order on the half inch tape. As we listened through there was a sense of awe and disbelief in the room. We had made this. All the success we needed existed right there in that moment.

I was sent to see Tim Young at the Hit Factory on Whitworth Street in Fitzrovia to master the album. I could tell he was impressed that the album was already compiled on half inch tape, though he did his best to conceal it. He listened once, then cut an acetate of the complete double album and sent me home to listen. It was satisfyingly heavy.

By the time of the albums release in October we had somehow been offered the support slot for the Bad Seeds’ European tour. Heady times. The album reviews came in but we didn’t need anyone to tell us how great our album was, we already knew.


DB: I remember the morning we set off for the Bad Seeds tour vividly. Dickon had arrived back from Mexico the day before. We’d hired a big van with airplane seats – Luxury after the sitting on amplifiers in the back of transit vans we were used to.
We loaded it with guitars and our suitcases, boxes of veggie spread – We’d heard rumours of the meat fest most truck stops we’d be eating at dished up.
We drove away from the new house, waving goodbye to Suzanne and Sidonie. The six of us and James. Even something as simple as a ferry crossing holds a magic moment in my memory those first couple of years. Piling into the restaurant: Beans and chips, a stroll around the deck before hitting the bar. Duty free and then back in the van.
Because of the special occasion, we treated ourselves from the petty cash. A carton of cigarettes each for the smokers and a bottle of Jameson’s for Dickon (The only non smoker).
By the time we reached Germany we’d drank the Jameson’s and probably smoked him like a kipper with our endless cigarettes.
I remember sitting in the front with James as we crossed over the Czech border. Keeping him awake, changing the cassettes.
The first show was amazing to us: the beautiful but decaying Lucena. 3000 people packed in (a little different to the Camden Falcon).

We had a day off the next day. Exploring Praha hungover and tired from the journey. I’d never seen anything like it. Caught between it’s repressed past and free present. Those who knew how to make a buck already taking over.

There were some long drives. Chasing the Bad Seeds overnight tour bus. I even tried climbing aboard after one show. Early starts and late nights. We flew in Dave ‘the boy racer’ Bedford for a really tight drive. His foot to the floor all the way. Throwing us around like he was in his VW Golf.

The last night of the tour, sitting in a conference style room, saying our goodbyes to the Bad Seeds. It had been great, we were treated so well. To watch them play every night and to be invited to play our songs to their audiences. It was such a wonderful experience.
It also had it’s side effects – We got stuck in their stage set up for a couple of years. Every lazy journalist made the connection. And it took a while for us to shake off the goths.

The first tindersticks album

Released 11th October 1993

first tindersticks album

Recorded at Townhouse 3 by Ian Caple (DATES)

Mixed at Townhouse 3 by Ian Caple (DATES)

Mastered by ???


David Boulter – Piano, Hammond organ, vibrophone, Fender Rhodes piano, glockenspiel, percussion, voice
Mark Colwill – Burns Bison bass guitar
Neil Fraser – Nylon string acoustic guitar, Fender Telecaster
Dickon Hinchliffe – Electric violin, Fender Telecaster, voice
Al Macaulay – Drums
Stuart A. Staples – Voice, Guild Starfire 2 electric guitar, nylon string acoustic guitar

Terry Edwards – trumpet and Saxophone

Sleeve notes:

SAS: This picture hung on the wall of a Chinese takeaway on Golborne Road. We were all probably swaying around, waiting for curry sauce and chips after a night in the pub. It spoke somehow of this album we were making – beautiful, vibrant but definitely low art!

We organised Phil to go round and photograph it. He also came to our new house where we were setting up the studio and photographed the portrait Suzanne had painted of the band in its position on the mantelpiece above the mixing desk.

We were sent by the record company to ‘Youngs design limited’ in Borough to put it together – A company that did a lot of work for Polygram. That day I met Ian Youngs who has been involved in every tindersticks sleeve since.

Track listing:

1. Nectar, Fruitless*, Tyed, Sweet sweet man pt 1, Whiskey & water, Blood

2. City sickness, Patchwork, Marbles, The walt blues, Milky teeth, Pt two

3. Jism, Piano song, Tie-dye, Raindrops, Pt three

4. Her, Tea stain, Drunk tank, Paco de renaldos dream, The not knowing

Released on This Way Up as a double album in a Unipak sleeve.
LP: 518 306-1
CD: 518 306-2
Cassette: 518 306-4

*’Fruitless’ is exclusive to the vinyl version.

Initial copies with set of four postcards in stamped brown envelope.

Recording notes:

SAS: So much time spent building and demoing these songs in our home studio. We had bought a mixing desk that had once belonged to Rick Wakeman (apparently) and a very finicky 16 track tape recorder. Somehow we got it all to work. Gradually these songs found themselves and were mixed down on to our equally finicky Revox. The real work for the album was made in our kitchen and dining room at Tennyson Road.

I was holding down a job at Rough Trade, luckily there is always dreaming time working in a record shop, always new ideas to be confronted by, and most importantly being around people with great taste to offer criticism. I was writing songs in my head sitting on the Jubilee line in the morning, rushing home after work to make a start on the recording. Blood and Whiskey and water came into existence this way. We were rehearsing one night a week, still under the arches in Brixton, everything fed into each other. We fed into each other. A great guitar line from Dickon made me record Al’s drums in the rehearsal room on a shitty cassette player, making the tape loop, Marbles started like this. A great bass line from David became Tyed. Al spent his time playing drums in the rehearsal room then coming to the studio and programming his parts into an HR-16 drum machine (recording drums was beyond us).

All this and my personal life was a mess, I was struggling with leaving my old life in Nottingham. I decided to get a train to Cornwall to get some space to think. I spent 3 days writing City sickness without a guitar, but by the time i got back I knew the movement, the chords, I just had to pick up a guitar and record it. Jism was the same but more like a 15 minute bolt of lightning running through me.

There were older songs too that were finding themselves in this new feeling of freedom around our music: Raindrops, Nectar, The not knowing, Drunk tank, these all had former lives disrupted and rearranged.

By the time we entered Townhouse 3 the sound and the songs were in shape, we just had to play them great and have some fun exploring them. I wasn’t quite expecting what we were going to leave with.

There was a moment just before a Scala all-nighter in King’s Cross we spotted Terry Edwards in the street, we stopped him and asked him he is fancied coming down to the studio for a day. We were a little nervous – Gallon drunk were one of the few bands in London we had time for back then. The day he came to Townhouse 3 epitomises the approach to making the album for me: such fun, culminating in him recording the trumpet part for ‘Tyed’ without hearing the track and the mariachi trumpets on ‘Her’. A great day and the start of a great relationship.

DB: I remember going down to Battersea, to look at the studio. We’d been in so many. Professional and broken down. People’s cellars. Our own kitchen.

The Townhouse III was something else. First thing I remember was the pulpit. From where Julian Cope had delivered his vocals, we were told. The room at the back of the studio was full of instruments. A vibraphone. Marimbas, kettle drums. A Fender Rhodes piano and a beautiful Hammond organ. I couldn’t wait!

We were so well rehearsed. Knew the details. It actually allowed freedom. Time and confidence to relax and enjoy it. To experiment.
The coffee jug was always full. They had to order more as we’d depleted their usual stock. I remember the first interview after it was made. The journalist’s wonder at what we were on? Coffee and cigarettes we replied to his disbelief and disappointment.

First album outside sleeve
First album inside sleeve
First album label A
First album label B
First album label C
First album label D

First album recording, Town House 3 by Mel Cox

Town House 3 by Mel Cox #1
Town House 3 by Mel Cox #2
Town House 3 by Mel Cox #2b
Town House 3 by Mel Cox #3
Town House 3 by Mel Cox #4
Town House 3 by Mel Cox #5


Released March 1993

Marbles front insert

Track listing:

A1. Marbles
A2. Joe stumble
B1. For those…
B2. Benn

Released by Tippy Toe/Ché – 10″ single (TIPPY-CHE 2).
Limited edition of 2000, numbered and hand stamped.

Marbles 10" front insert
Marbles 10" front
Marbles 10" back
Marbles 10" inner
Marbles 10" label A
Marbles 10" label B

City Sickness

Released 13th September 1993

City sickness front

Track listing:

A. City sickness
B1. Untitled
B2. Bullring

Released by This Way Up. 7″ single – WAY 1811 & CD single – WAY 1833

City sickness 7" spread
City sickness label A
City sickness label B

City Sickness by
Jarvis Cocker & Martin Wallace

SAS: Steve and Jarvis introduced us to Martin Wallace a filmmaker friend who they had gone to St Martin’s with, they were going to make a film for City Sickness together (shot with Martins 16mm Bolex). I just had this feeling/idea about a park in the centre of the city, a place of solace with the city looming around it. They took this idea and started to plan. We had everything needed really: David (a natural film star), my dad’s old Ford Cortina and a beautiful baby girl with a new Silver Cross push chair.

DB: An early start on a beautiful summer day in Hyde Park. City Sickness was the single. And the film would feature me with Stuart and Suzanne’s three month old daughter, Sidonie, walking and driving around London. It was a great day. And still perhaps my favourite film we made. It had everything I loved at that moment. The band. London. Our blue Ford Cortina estate. My bright yellow elephant shirt. The street where we lived. And Sidonie of course. It even began to rain, just at the right moment. Giving the London night that extra sparkle.

I remember Jarvis, scrunched on the floor in front of the passenger seat of the Cortina (Sat in the wet patch where the rain leaked in). Keeping out of sight as he gave me directions from a walkie talkie. Steve and Martin were in a car behind us, filming. Telling me when to slow down so they could take over. Or to go left or right. We talked as we drove. Of our lives and dreams. Would this film be on Top of the Pops? We’d both fought in the (post) punk wars. It was always a question. Would you, wouldn’t you, perform on Top of the pops? I said I would. Knowing somehow I never would. It was obvious for Jarvis. Sat there with his wet arse. We knew it was his destiny.

Everyone made their appearance in the film. Each brief glimpse catching the essence of who we were. Except for Dickon, who was still in Mexico. Perhaps the last time we were truly ourselves. Unaffected by the world we were about to step into.

Café E17 by Phil Nicholls

Tennyson Road by Phil Nicholls

A Marriage Made In Heaven

Released March 1993

A marriage made in heaven front

Track listing:

A. A marriage made in heaven
B. Instrumental

Released by Rough Trade Singles Club
7″ single – 45rev16


Released 1st June 1993

Unwired front

Track listing:

A. Kooks
B1. Rotweilers & mace
B2. She

Released by Domino as a 7″ single – Rug 6
Limited edition 1,500 all hand-numbered with number stamp

Clawfist split 7"

Released October 1993

Clawfist front

Track listing:

A. We have all the time in the world
B. Known, not wanted (Gallon Drunk)

Released by Clawfist Singles Club #21 release, limited edition of 1400

Marbles US 7"

Released September 1993

Marbles US 7" front

Track listing:

A. Marbles
B. For those…

Released by No. 6 as a 7″ single – kar 028
Limited edition of 2000 – 1500 on black vinyl, 250 on green vinyl & 250 on red vinyl

HQ Club by Rose Smith

Amsterdam by Steve Gullick

Paradiso, Amsterdam 29/09/1993

Live concerts and sessions

London, United Kingdom
Supporting Moose

The Falcon
London, United Kingdom

The White Horse
London, United Kingdom
Launch gig for the Marbles 10″ single

Moles Club
Bath, United Kingdom

Princess Charlotte
Leicester, United Kingdom

The Powerhaus
London, UK

Bass Clef
London, UK

Bedford, United Kingdom

BBC Studios, Maida Vale, Studio 4
London, United Kingdom
First John Peel session

Prague, Czechia
Supporting Nick Cave & the Bad Seeds

Club Zelt
Vienna, Austria
Supporting Nick Cave & the Bad Seeds

Vox Club
Modena, Italy
Supporting Nick Cave & the Bad Seeds

Zurich, Austria
Supporting Nick Cave & the Bad Seeds

Terminal 1
Munich, Germany
Supporting Nick Cave & the Bad Seeds

Amsterdam, Netherlands
Supporting Nick Cave & the Bad Seeds

Brixton Academy
London, United Kingdom
Supporting Nick Cave & the Bad Seeds

The Forum
London, United Kingdom
Supporting Nick Cave & the Bad Seeds

Théâtre Sébastopol
Lille, France
Supporting Nick Cave & the Bad Seeds

Die Halle
Berlin, Germany
Supporting Nick Cave & the Bad Seeds

Düsseldorf, Germany
Supporting Nick Cave & the Bad Seeds

The Powerhaus
London, United Kingdom

BBC Studios
London, United Kingdom
First Mark & Lard session. This is the broadcast date

La Cigale
Paris, France

Arts Centre
Norwich, United Kingdom

Old Vic
Nottingham, United Kingdom

The Venue
Edinburgh, United Kingdom

King Tut’s
Glasgow, United Kingdom

Manchester University
Manchester, United Kingdom

Sheffield, United Kingdom

Princess Charlotte
Leicester, United Kingdom

Duchess of York
Leeds, United Kingdom

Fleece & Firkin
Bristol, United Kingdom

The Wedgewood Rooms
Portsmouth, United Kingdom

The Marquee
Birmingham, United Kingdom

The Garage
London, United Kingdom