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SAS: Was a full on year. The release of Trouble every day and Can our love.. We began with a residency at the Botanique in Brussels – 5 nights, 5 sets, guests, support bands, djs. Film shows, photo exhibitions.. We were tempted back to the US, our first time in Russia. The enthusiasm of a whole new group of people around us.

The concerts were growing across the year. We had an ambitious tour booked for the autumn – playing with a different local orchestra each day – Magical nights, The Royal Albert Hall, Le Grand Rex – came crashing down when Al unexpectedly quit and left us without a drummer for the second half of the tour – We made it, but only just. Looking back we were hanging on but we were not ready to give up on each other, not just yet.

DB: Such a big year on so many levels. From the tiny Subterrania club to the massive Albert Hall. Taking in Blackheath Concert Hall, The Botanique. Trouble Every day, Can Our Love – So much to be excited about.

I think the mood changed at the Albert Hall. I found out Veronika was pregnant with our first child – That and wearing hardhats for the soundcheck is all I remember of the show.
Al was spooked walking on stage I do know. Perhaps it was building up but I think he was fighting against himself from that point on. He asked if he could spend the night at mine the night of the Praha show but we didn’t have any space in our tiny flat. The next day I arrived in Berlin and he was gone. I often wonder if it would have changed anything. Probably not.
It was a shock – a sad, sad day. Our main concern was finding him, was he okay? But we couldn’t stop, we’d lose everything, not just Al. It did bring something out of us which ended being very special. Maybe the closest we’d felt to the music for a long time.

Can Our Love

Released 21st May 2001

Recorded by tindersticks & Ian Caple, assisted by Antti Uusimaki at Eastcote studios,  22nd November to 13th December 2000.

Mixed by SAS & Ian Caple, assisted by Antti Uusimaki, at Eastcote studios, 3rd-26th January 2001.

Sleeve photography by Phil Nicholls.
Hand-tinted by Suzanne Osborne.

Without whom…
Peter Walmsley, Dave Bedford, Ian, James, Philip & Antti at Eastcote, Craig & Greg at Confetti, Gerry & Susan & all at Beggars Banquet.

A special thank you to the Donkey Sanctuary, Sidmouth, Devon.

Sleeve notes:

Our trip with Phil to Devon at the end of the recording created some beautiful photographs – Some of Phil’s best work with us, I think. The band shots at Beer Head and the portraits from the Donkey Sanctuary with Bobtail were just breath taking – Especially when Suzanne hand tinted them.

A few years later we took the children back to the Sanctuary to find Bobtail, he had sadly passed the year earlier. I felt sorry the young woman who had to break the news to all our kids.

Track listing:

1. Dying Slowly, People Keep Comin’ Around, Tricklin’, Can Our Love…

2. Sweet Release, Don’t Ever Get Tired, No Man In The World, Chilitetime

Released by Beggars Banquet on LP – BBQLP 222 (Gatefold sleeve) & two CDs – BBQCD 222X (Gatefold sleeve) & BBQCD 222 (jewel case)

Recording notes:

Eastcote studios was now beginning to be our natural home in London and Philip Bagenal (it was definitely Philip’s place) was becoming a great ally and inspiration. For ‘Can our love..’ we needed to be comfy and relaxed and also to heal a little from the brutal nature of making ‘Simple Pleasure’. We just needed to let the ideas flow and not beat ourselves up about it too much. And some nice stuff too. A world away from that angst ridden ambition of ‘curtains’ a few years earlier. Eastcote is an intimate space, we all found our corners and for 3 weeks at the end of 2000 we played music together and Ian recorded. The process was uncomplicated, accepting in some ways even if the songs themselves were still restless and searching.


Al Macaulay – Drums & percussion
David Boulter – Organ, piano, Fender Rhodes piano, clavinet & percussion
Dickon Hinchliffe – Electric violin, wah-wah guitar, singing, Fender Rhodes piano, brass & string arrangements 
Mark Colwill – Bass guitar
Neil Fraser – Electric & acoustic guitars
Stuart A. Staples – Singing, electric & acoustic guitars, organ & percussion

Violins – Gavin Wright, Perry Montague-Mason, Chris Tombling, Patrick Kiernan, Boguslaw Kostecki, Jon Evans,-Jones, Jackie Shane, Julian Leaper, Mark Berrow, Peter Hanson

Cellos – Martin Loveday, David Daniels

Trumpet – Steve Sidwell
Trombone – Neil Sidwell
Bass clarinet & flute – Jamie Talbot

Mastered by Tim Young at Metropolis, London

Trouble Every Day O.S.T.

Directed by Claire Denis

Released 2001

Recorded at:
Angel studios, London, 20th & 26th July 2000, engineered by Steve Price, assisted by Tom Jenkins.
Eastcote studios, London, 27th-30th July 2000, engineered by Simon Sheridan, assisted by Antti uusimaki.

Mixed by Ian Caple at The Pierce Rooms, London, 10th-14th September 2000, assisted by Richard Wilkinson & Chris Settele.

Mixed by Tim Young at Metropolis, London.


David Boulter – Piano
Dickon Hinchliffe – String arrangements
Al Macaulay – Drums
Stuart A. Staples – Voice

Violins – Gavin Wright, Perry Montague-Mason, Dave Woodcock, Jonathan Strange, Chris Tombling, Patrick Kiernan, Vaughan Armon, Simon Fischer, Pete Hanson, Cathy Thompson, Ben Cruft & Emlyn Single ton.
Cellos – Melissa Phelps, Paul Kegg & Frank Schaefer.
Double bass – Malcolm Moore.
Trombone – Neil Sidwell.
Trumpets – Steve Sidwell & Paul Spong.
Harp – Fiona Hibbert.
Bongos – David Pattman.

Orchestral arrangements by Dickon Hinchliffe

Track listing:

1. Opening Titles, Dream, Houses, Maid Theme, Room 321, Computer, Notre Dame, Killing Theme

2. Taxi to Coré, Coré on Stairs/Love Theme, Maid Theme (End), Closing Titles, Killing Theme (Alternative version), Trouble Every Day

Released on Beggars Banquet as a standard album with a 16 page booklet

Recording notes:

SAS: Trouble every day is a tough film with some tough body horror scenes. It is also very beautifully made. It looks even more beautiful as each year passes.

From the beginning Claire talked about the film in such tender and romantic terms, this gave us a starting point. A half idea of a song began to take shape, a rhythm, a tempo – the words, David’s piano, Dickon’s violin lines started to emerge. It was a special song, when Claire heard it she reimagined the beginning of the film. It also gave us a strong spine for the score.

We were still working with VHS, spending time together in the new studio, defining the scenes. Dickon would then go and work on the arrangements. We had decided to record the whole score in one day, back to Angel Studios, this time the perfect place. A wonderful and exciting day, like a beautiful, slow firework igniting.

People keep comin' around / Can our love 12"

Released 2001

Track listing:

A. People Keep Comin’ Around
B. Can Our Love…

Released by Beggars Banquet as a 12″ white label (BBQ 353 TP). Limited to 2000

Can our love... by Martin Wallace

DB: Martin came over to Praha at the beginning of spring. We discussed a few places for the two lovers to meet. But we mainly just wandered the city. Praha was still a slightly decaying beauty then but rapidly being transformed into the chocolate box modern city it is now.

I really love the split screen idea. The two lovers apart, coming together for the songs climax. I think it was hard to separate us. Not really sticking to the idea. I love the shot in the paternoster. I’d never used one before. Quite scary the first time you take that step: its moving a lot faster than you think. The film feels like of a postcard of my life at that time. A lot of the city is still the same. Just the two lovers who have changed. But still in love.

Don't ever get tired by Martin Wallace

SAS: This was the local barbers in South East London. I was a little fascinated by it, and by Julie – It was her shop. Stanley was four years old and it was his haircut day. I love the textures of these films made by Martin on his 16mm Bolex.

Dying Slowly by Matt Palmer/Cosgrove Hall

tindersticks at the Botanique, Brussels

SAS: There was a new found optimism going round. A new album with a new label, a kind of 10 year anniversary and me and Suzanne also had a new baby boy. We decided to kick the album off, the year off with a residency at the Botanique in Brussels, a place we had grown to love, and still do. Five nights, five different sets, guests, support bands, djs, film shows, an installation of Martins new 2 screen film for Can our love.. and an exhibition of Phil Nicholls’

So many great memories from this time, not least David and Veronika dancing, really dancing, a hilarious late night drink with Andy Weatherall after his dj set, some great music and Philip was there to record it all.

DB: The Botanique had become a favourite of ours ever since we’d first played there to hushed silence. Maybe the very first time people had really listened to us. I think we played it as a ten year thing. But it was really about the new start. A chance to celebrate the past years, and hopefully leave them behind.
We’d enjoyed the I.C.A. and learnt a lot from it. It was a real thrill to take over the whole space at the Botanique.. We were always wary of repetition, constantly changing setlists, fighting our way out of the club circuit. This event was something we cared about and threw ourselves into. Having the films, the gallery space exhibiting Phil Nichols photographs. The DJ’s, special guests certainly made this an event to remember. It was also a good way to try and connect with people. Break down some of the mystique that might have built around us.

Veronika was there with me. Our dancing night ( to Andy Weatherall ) was followed by an extremely hungover day. The same evening I DJ’d, playing calming soundtrack music from the DJ booth up in the roof. A very hot cramped space. Sweating the alcohol out of my system.

Watching Martin’s film for Can our love.. as an installation with Veronika surrounded by nudging fans, a very close moment.

Live at the Botanique 9th-12th May 2001

Released 2001

Track listing:

Trouble every day, El diablo en el ojo, A night in, Buried bones,
Tiny tears (Wednesday 9th May 2001)
If she’s torn, Can our love (Saturday 11th May 2001), People keep coming ’round,
I know that loving, CFGF (Friday 10th May 2001)

Released by tindersticks as an ‘official bootleg’ CD only (Tippy 005)

The Botanique, Brussels 9th - 12th May

The Botanique by Phil Nicholls

Blackheath, London by Phil Nicholls

Olympia, Dublin 9th October

Live concerts and sessions

London, United Kingdom

Parque Da Cidade
Porto, Portugal

Barcelona, Spain

Le Botanique
Brussels, Belgium
Four day residency

Le Botanique
Brussels, Belgium
Four day residency

Le Botanique
Brussels, Belgium
Four day residency

Le Botanique
Brussels, Belgium
Four day residency

1 BE FM Studios
Brussels, Belgium
(date not 100% certain)

Braga, Portugal

Centre Pompidou
Paris, France
Espace Beaubourg

Blackheath Concert Hall
London, United Kingdom

Pinkpop Festival
Langraaf, Netherlands

University MDH
Manchester, United Kingdom

Liquid Room
Edinburgh, United Kingdom

Trinity Centre
Bristol, United Kingdom

Milos Open Air
Thessaloniki, Greece

Athens, Greece

Teatr Youngich Sriteley
St. Petersburg, Russia

Tochka Club
Moscow, Russia

H2000 Festival
Istanbul, Turkey
H20 Aqua Park

Jazzport Festival
Hamburg, Germany

Chicobum Festival
Borgaro, Turin, Italy
Parco Chico Mendes

For Noise Festival
Pully/Lausanne, Switzerland

Fiesta De L’Unita
Correggio, Italy
Cancelled – The concert stage was destroyed by a storm the night before

Bowery Ballroom
New York City, New York, USA

Guildford Festival
Guildford, United Kingdom

Witness Festival
County Meath, Ireland
Fairyhouse Racecourse

Dublin, Ireland
Two nights at the Olympia – performed with a 17 piece string section

Dublin, Ireland
Two nights at the Olympia – performed with a 17 piece string section

Le Grand Rex
Paris, France

Royal Albert Hall
London, United Kingdom

Cirque Royal – Koninklijk Circus
Brussels, Belgium

Concert House
Oslo, Norway

Stockholm, Sweden

Copenhagen, Denmark

Copenhagen, Denmark

Archa Theatre
Prague, Czech Republic

Estrel Convention Center
Berlin, Germany

Köln, Germany

Utrecht, Netherlands

Utrecht, Netherlands

Espace Julien
Marseilles, France

Palau De La Musica Catalana
Barcelona, Spain

Madrid, Spain

Coliseu Dos Recreios
Lisbon, Portugal

Coliseu Dos Recreios
Lisbon, Portugal