Invincible summer (written from 2002–2022)

FAR FROM THE MADDING CROWD: nothing much to do with the film/ book. Except the countryside location. Maybe I liked the cinematography by Nicolas Roeg. The guitar I like, because it seems to have the feel of windblown wheat fields, and I could really feel an energy in my fingers when I was recording the lead guitar. A fantasy girlfriend song.

FERRIS WHEEL: Inspired by Bobbie Gentry mainly, and maybe Mr Benn’s balloon race. About a friendship which lasts the years. The gap is the Ferris wheel stopping. It is a complex construction for me, bit like putting together the metal at a fairground. Tom Robinson liked it. Said it was, "A gem with a great atmosphere."

MAY MORNING: I put an ad on Gumtree for someone to play it with better quality equipment than I had. I can’t play the piano and had pencil marks on the keys. I like the way it seems to spread sunshine, and tweet like the dawn chorus, and canter like a horse. Maybe a Stevie Wonder influence. Where I grew up was East facing so there would be dramatic sunrises over the fields.

TRAVELLING: Circular, some of my best lyrics. I really do get stressed on a simple bus journey sometimes, but this can be tempered with feelings of the beauty of life. I like the lead guitar. Simple/ Effective. I used to meet my girlfriend, and this encapsulates an actual 90s journey in a satisfying way.

SOUTHERN NECROPOLIS: Wonderful alchemy, I had the poems, I had some chords, and they went together in a very improvised way. Unlike anything else I’ve done. Being bold paid off as it got played on 6 music, and I’ve been trying for years. But it’s a very unusual thing. Maybe part Willow’s song/ It’s a fine day by Jane and Barton. But subconscious. I was still a bit “enchanted” by the environment of the place I was sectioned, with the crows and the tower. I only started writing poetry in winter/ spring 2019. Not bad. The esteemed national treasure Tom Robinson of 6 Music said it was “part of a long and honourable tradition of offbeat Scottish poetry set to music." Neil March of Trust the Doc/ Fresh on the net said, “Southern Necropolis, despite its rather eerie title, is very minimalistic spoken word and acoustic guitar, describing a young woman in a fairly desolate sounding flat, somewhere between a black and white art movie with subtitles and an Edward Hopper portrait. It is, in a way, the epitome of DIY and could have been recorded on a single track on a portable digital recorder. But it works so well and offers a refreshing diversion from the more epic production and ambitious arrangements that are on show this week.” Andy Backhouse of Fresh on the net compared Southern Necropolis to Ivor Cutler.

SHANGHAI RAIN: Another fantasy girlfriend song, based on the fingering for Clouds. I like the way it sounds a bit like rain pit a pattering. And the middle 8 is good. Using a chord I used on Southern Necropolis. I think this and Persian Gulf (which also opens with that chord) were written before Southern Necropolis

STORM FEVER: Written during a dark period. Of which I've had many. I know The Enemy and Solange like using the away, away refrain. It’s a good one to repeat. I’d been trying it for years. The middle bit is from Clouds (Fresh Weather). Odd lyrics, but has a bit of power, which I then contrast with sad resignation. Not many songs do that. But if you listen to the music, there's a wee bit of hope in the notes. Make of that what you will. Also, I actually meant that the so called 7 sins can be good and healing. And I wrote it, so I have control over my interpretation. Lol.

NIGHT CAFE: Poetical and atmospheric. A little night scene setting with music. Rutherglen/ Toryglen area. Imaginary cafe.

HEAVEN: Again, based on the Clouds guitar intro. I got good mileage out of that. When I wrote this I’d neglected to think of my instrumentals and thought I was being influenced by Jessica Pratt, which I was, but her stuff from 2007 is after I was writing Clouds etc, so I was influencing myself as well. Has some great lyrics, and borrows a line from 808 state and James Dean Bradfield.

COWS GRAZING: Think I was going for Another Green World vibe. It’s a very soothing little number, almost Satie like. I do like the sad sweet melancholy of the cows grazing in the fields.

FILM 1930s: I wrote this about an ex girlfriend. I’ve since realised that a chemical connection can exist forever. And the spark in a person is there for good. But it’s a good song, the chords ebb and flow like the tides. I used to look out at the sea of youth enjoying themselves at the nightclub I worked at, and get very sad. But that was then.

SPANISH GIRL: Fun pop song, which actually uses bass guitar. And it has a chorus. If I could, I’d write a song like this every week, but this is it.

AYR BEACH: 3 chords, quite pleased with it. Written during lockdown, based on a little poem I’d written. Maybe I’ll be in Ayr with a mystery woman one day. Anything is possible.

SUMMER NIGHT SONG: A song for swinging lovers who feel regret, or alone. Again based on a poem. I like the guitar solo that noses like a bee on a flower, finding its way. Slow slow music, my shtick. Or trademark, along with Clouds. Lockdown song.

A QUIET TOWN: I thought this was throwaway, but I always come back to it. A pleasant throwaway, boomerang.

THE PIER: about me and my brother playing arcade games on holiday. Although we never went any place with a pier. Another one Tom Robinson liked, but thought was a bit sparse. Sparse is all I can do!

BIRD OF PREY: If it didn’t mention motorways it would sound as old as the hills. Like an Eastern European folk song, Donna donna or something. Poetic.

DRIFTWOOD: A song about walking that has a kind of walking rhythm. Think there’s a bit of Haircut 100 in there. Driftwood by A-ha was the first song that bewitched me as a child. So the title is a tribute to that.

CAPE TOWN STARS: Roddy Frame said in relation to the guitar, “You know, don’t be scared of it, one finger on, one finger off.” I used that to pleasant effect here. The lead guitar was an afterthought years later, and I changed the rhythm to be more like Nancy Sinatra’s Shadow of your smile, etc. I also like the way it’s a bit like Raindrops by Roy Orbison.

VOYAGE TO SOLARIS: Again, like Bird of Prey, it could have been written many years ago. I like the Russian feel. And I like the film Solaris. Based on a poem I wrote. I always knew the chords sounded E European, but never had the lyrics to go with the 3 chord trick. Lockdown song.

PERSIAN GULF: Not the best recording, but I like this. It’s like a cross between Walk out to winter and Gods will be Gods by the Bunnymen. Although not as good as either. Wonder what it would sound like with a band? Not bad probably. A love song, with a fantasy girlfriend who has yet to materialise. One day, one day :)

MEXICO: Good imagery. A little romantic scene. Influenced by Astrud Gilberto and What am I doing hanging round? by The Monkees. In that there is a language barrier in the latter. I enjoy the chorus.

WINTER: Guy who sold me the bass, “Let’s get you a box for this bad boy.” And this is the best song I wrote on it. Slightly mystical Indian feel maybe. There’s a bit I like where my nail hits the string, by accident. As Brian Eno said, “Honour thy error as a hidden intention.”

CAMPFIRE SONG: My first successful song. Lost the original version, but I prefer this slowed down one, like Burl Ives. Guitar was new (2021) and needed playing more to sound clean. My older brother likes the old campfire. So I was probably living vicariously, as I wasn't going out much at the time. Played by Jim Gellatly on Amazing Radio. Reviewed by John Earls on Teletext: “The Marine Girls revival starts here,” says Night Lantern, aka Glaswegian singer Garry. Quite right too, if this fragile little acoustic gem gets him any interest. In two minutes, he fits worlds of intensity into a quiet sigh and throws out sweet couplets many bands would base whole albums on…”

ST IVES (SEASIDE): Influenced by Donovan, songs like Poor Cow. Perky which I like. The guitar notes which seem to mimic the words remind me of A girl like you, by Edwyn Collins. One of my heroes. Although I can’t emulate let alone do covers. I’m glad I never realised I can’t play guitar till after I struggled to write all these songs!

GLASSFORD St: Tribute to a girl I liked, who during a visit to the west end spoke breathlessly of “A Winter picnic!” She was into Decourcy’s arcade and their witchcraft shop. The journey begins on Glassford Street, although maybe the street name will be changed in the future, to reflect a better aspect of history.

NAVEELA: Girl I liked when I was a young man, although there is more romancing in the song than went on in real life. She did send me an email that made me blush once. I enjoyed our chemistry.

DEAR SUSAN: Freshman guitar broke, got a new one. A fender acoustic, mahogany. Apparently the sound improves with age. Wrote this song on it, April 14th 2021. A beach song I feel happy with. And written in very demanding circumstances. But I go on. I like the imagery. Trying to be more Laura Nyro. God gets a mention. He's flying my kite :)

THIRD LANARK: True story. Visit to the remnants of an old top flight Scottish football team. Near Hampden Park. The rain, the playing card all happened. The rest is poetic. I don't believe the world will end for many many many many many many many many many years. It's only a song.

HARBOUR LIGHTS: Written early hours of April 15th. I started out writing complicated instrumentals; I end, maybe with a nice and simple ditty. Although I've paid my dues. As Ringo said about the blues, "You can even play them easy..."

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Tracks 32-42: Written March - May 2022

HEY GIRL (DON'T SLEEP): Adele/ Sonic Youth influenced, different context from usual.

ROLLER-COASTER: 2 chords, G Em, try it.

HEAVEN'S SCENT: Woman walking, I like repeating lyrics.

SUMMER'S TALE: Little scene, like a Rohmer film. One chord.

LOVE: Sensual, improvised in the recording.

KISS OF LIFE: Old song, needed better delivery.

SAILING: Conventional, for me. About people watching you. And not enjoying it.

SYCAMORE: About female infidelity etc

SUNSHINE HOLIDAY: Good chords

OLD SCHOOL: True story

FILM 1930s: Old song, needed better treatment.

NIGHT LANTERN: Improvised from poems written at night, quickly. Then I recorded 2 chord song using them. Think Cassie's Me and U was in the psychological mix at the time.

REFLECTIONS: Based on a poem, set to music

BLACK CROW: Same as above