You Cross My Path

You Cross My Path is the tenth studio album by British rock band the Charlatans, released on 3 March 2008 as a free download from the XFM website.[1] The album was then released, in the form of CD and 12" vinyl on 12 May 2008. It was produced by The Charlatans and James Spencer. All tracks were mixed by Alan Moulder except the tracks 5 and 9 mixed by James Spencer. The album's cover art is drawn by Faris Badwan of The Horrors.

You Cross My Path
Studio album by
the Charlatans
Released3 March 2008
Recorded
Genre
Length36:40
Label
Producer
The Charlatans chronology
Forever: The Singles
(2006)		 You Cross My Path
(2008)		 Who We Touch
(2010)
Singles from You Cross My Path
  1. "You Cross My Path"
    Released: 22 October 2007
  2. "Oh! Vanity"
    Released: 25 February 2008
  3. "The Misbegotten"
    Released: 5 May 2008
  4. "Mis-Takes"
    Released: 14 July 2008

Background and development

The Charlatans released their ninth studio album Simpatico in April 2006 through Creole and Sanctuary Records.[2] It peaked at number ten on the UK Albums Chart, while one of its singles – "Blackened Blue Eyes" – charted within the top 30 of the UK Singles Chart.[3] A month later, it was reported that the band left their long-serving manager Steve Harrison in favour of Stephen King and former Creation Records owner Alan McGee, both of Creation Management.[2] McGee's first suggestion as a manager was for the band to do a greatest hits tour.[4] Shortly afterwards, frontman Tim Burgess decided to give up drinking and doing drugs,[5] eventually going through a detox programme.[6] Following this, the band went on a tour of the United States to promote the album,[2] and then appeared at the Oxegen, T in the Park and V Festivals.[7] In October 2006, Burgess and McGee went on a DJ tour, which the former saw as a bonding event between the pair that would help them map out the band's future plans.[8]

During this time, Burgess realised that the Internet was gaining momentum as a self-promotional tool, with the pair having used Myspace to promote their tour. He was aware that Pete Doherty of the Libertines, which McGee used to manage, would post various live or demo recordings online for others to check out. Fans enjoyed this; Burgess commented that these were early indications that record labels were not required to release music into the wider world. He noted that listeners were "plundering the internet" to acquire music, via peer-to-peer file sharing websites. While on the tour, Burgess and McGee came up with the suggestion of giving away the Charlatans' new music to people.[8] The band considered several proposals, including working with Sanctuary again, signing to a different label or founding their own label.[9] After ultimately deciding on giving away music, they made some terms to stick to: "It had to be the best album we could make; we had to give it away to as many people as possible; and we had to go into it wholeheartedly".[10]

Writing and recording

In November 2006, their third compilation album Forever. The Singles was released,[11] promoted with a UK tour until the end of the year.[12] It included a remix of one of their earlier tracks, "You're So Pretty from their seventh album Wonderland (2001), done by Martin "Youth" Glover. Burgess said he altered the speed of it, which gave Burgess the idea that their next album should have a faster tempo.[4] When asked if they would follow the sound of Simpatico, Burgess responded that they would be following the compilation, as there was "too many dark thoughts around [the making of Simpatico] so we want get away from that". They planned to record with Youth or Wonderland producer Danny Saber; he said that McGee wanted them to release another new album by mid-2007, which Burgess thought was not an ideal deadline.[13]

In January 2007, guitarist Mark Collins went to meet Burgess in Los Angeles, California; keyboardist Tony Rogers also visited a week,[13] staying at a flat with Collins on Sunset and Vine Street.[14] The band then held jamming sessions throughout February 2007.[13] Surrounding supporting shows for the Who,[15] the Charlatans played a one-off headlining show at Delamere Forest in Cheshire, Greater Manchester in June 2007.[16] Recording sessions were done in Hollywood, California, Blessington, Ireland and at Big Mushroom Studios in Cheshire; the album's booklet gives Rogers a separate producer credit independent of the band.[17] Discussing the varied locations they worked in, he explained that they had a computer and recording gear and "wherever we went, we recorded the album there and then"[18] using the Logic Pro DAW software.[19] By October 2007, mixing was underway,[20] with Alan Moulder doing the majority of the recordings at Assault & Battery Studios in London, while James Spencer mixed "A Day for Letting Go" and "Bird" at Big Mushroom.[17]

Composition and lyrics
Several aspects of You Cross My Path were compared to the music of New Order (pictured), such as the overall sound, Blunt's basslines and Burgess' lyrics.

Musically, the sound of You Cross My Path has been described as electro[21] and pop,[22] taking influence from krautrock,[23] compared to the work of Kasabian,[22] New Order[23][24][25][26][27] and Simple Minds.[23] Burgess attributed the electronic textures to him listening to krautrock acts Kraftwerk and Neu!,[4] and admitted that it was heavily inspired by New Order.[28] After the diversion to reggae on Simpatico, Rogers' organ returned to the forefront for You Cross My Path.[26] AllMusic reviewer Stephen Thomas Erlewine said it continues the foundation set by their fifth album Tellin' Stories (1997), "bringing back that [record's] blend of contemporary and classic, perhaps even gently favoring the modern as this does emphasize sound over song".[29] The album's title was originally named The Gothic Wild West in vein of actor Sergio Leone.[30] Burgess' lyrics, which tackled break-up and being disaffected,[23] recalled that of New Order frontman Bernard Sumner.[23][31] In addition to this, Blunt's bass parts were also compared to those by New Order member Peter Hook.[31]

For the album's opening track, "Oh! Vanity", they had written the first verse before going to a poart hosted by the William Morris Agency[32] Three members of the band attended; two of lines refer to Burgess meeting Paris Hilton at said party.[33] It has a groove in the vein of Booker T. & the M.G.'s[29] and a wordless chorus section;[24] its two-chord progression recalled the work of Elbow,[22] while the keyboards were in the style of the Killers.[34] The Independent critic Andy Gill wrote that it had a "propulsive motorik groove wreathed in swirling con-trails of psych-rock synthesiser".[23] "Bad Days" is an up-tempo pop rock[35] and synth-pop track[21] that Gill said was full of "skittish disco hi-hats, striding bass and [an] electropop synth motif".[23] Blunt and Rogers wrote the first idea that would evolve into the final song in the latter's basement; Rogers would also start the lyrics that Burgess subsequently finished,[36] and would include a reference to the Cure.[37] "Mis-Takes" exemplifies the New Order comparison, come across as a mix of that act's songs "Blue Monday" (1983) and "World (The Price of Love)" (1993).[24] Burgess explained that it was a vitriolic track about a person that once threatened him while at a bus stop.[38] Erlewine wrote that it has an "icy synthesized vibe that uncannily sounds like a new wave relic without losing the Charlatans signature loose-limbed groove".[29]

"The Misbegotten" recalled the Charlatans' 1995 self-titled album,[35] and was influenced by Doris Norton; Burgess wrote it after a conversation at a hotel party.[39] "A Day for Letting Go" is a mid-tempo track focused on Rogers' organ,[23] which Burgess said was about having one's soul crushed.[40] He wrote the lyrics during New Year's Eve 2007 while in Texas;[41] Blunt referred to it as "The Doors meet The Ronettes with an acid twist".[42] Discussing "You Cross My Path", Burgess said there was a "few unsavoury characters" in the music industry and this track was a "handy shot across their bows",[43] influenced by his sobriety.[44] The Austin Chronicle writer Marc Savlov said it starts with an acid-like "barrage of electro before segueing into more familiar, Pacific Coast Highway rock-out territory".[35] Burgess acknowledged that it shared the same chord progression with Circus of Death" (1978) by the Human League and "Sunrise" (1985) by New Order,[44] and that the drum beat was a pre-set pattern on Logic Pro.[45] Blunt and Rogers intentionally wrote "Missing Beats (Of a Generation)" as a short song so that people would listen to it more.[46] The lyrics of included references to the Cure and DNA.[47]

"My Name Is Despair", which is done in the style of Depeche Mode,[26] had a title that Burgess felt was "like the name of a pulp novel or a vengeful western". Talking about the lyrics, he said he was "leaving an old life behind. I felt my previous experience was like a sea in which I was caught in the swell",[30] being influenced by Southern Gothic fiction.[40] Samar Grewal of Rolling Stone India said it was a "modal sonic exploration", complete with the "hum and drone of guitars, freely interweaving organ, low piano notes, even ululation, all tied together by nifty hi-hat and cymbal work", comparing it to "Trainspotting" (1997) by Primal Scream.[34] "Bird", which was written over the course of a week,[40] echoed the sound of the Charlatans shoegaze contemporaries in the early 1990s, namely Swervedriver.[26] With it, Burgess began pondering if his "best days were behind me"; he stylised the word in all-capital letters as a reference to David Lynch using uppercasing in his film Inland Empire (2006).[48] The lyrics in the album's closing track, "This Is the End", were reminiscent of the work of William Wordsworth, while the music was styled after the Verve.[49]

Release

Why would you volunteer to join the army for 10 years unless you had no choice? Record companies are kind of like the army – very regulated. We were really excited when Xfm got behind us and were as enthusiastic about the download as we are.[20]

– Manager Alan McGee in 2008 on his rationale behind releasing the album as a free download

Free download and initial promotion

In September 2007, Sanctuary Records shuttered operations after being bought by Universal Music Group.[50] Burgess mentioned that they had left Sanctuary was they were not happy with their contract.[51] On 1 October 2007, the Exclaim! reported that the band would be giving away their album as a free download in partnership with the radio station Xfm. McGee theorised that this could be a business model in the future, reasoning that the band would receive more money from gig attendees, people purchasing their merchandise and publishing fees regardless. As part of the promotion the station would be releasing interviews with Burgess and McGee.[20] Burgess said the band wished for the listeners to "own our music, and we wanted the artists – us – to own the copyright". He said that being without a label meant that they could release music as soon as they finished making it and not have to wait for other parties to be involved.[51]

Burgess claimed it was a music "industry first – we’re the first people to do this", highlighting the decline of CD sales.[51] That same day, Radiohead announced that they would be doing the same thing with their album In Rainbows (2007).[31] In an interview from early 2008, Burgess said they had planned to give it away before they had begun writing material for it,[52] while the idea for Radiohead to do it had been proposed since April 2007.[53] "You Cross My Path" was released as the album's lead single digitally on 22 October 2007.[54] In November 2007, the band embarked on a three-date tour of the UK,[55] which saw the debut of four songs from the forthcoming album.[56] On 3 January 2008, You Cross My Path was formerly announced for release as a free download in two months' time. Alongside this, the album's track listing was posted online.[57] "Oh! Vanity" was released as the second single digitally on 25 February 2008.[58] The free download of You Cross My Path was made available through Xfm's website on 3 March 2008;[52] four days later, it was reported that it had been downloaded over 60,000 times, which would have reached the number two position on the UK album chart had it been eligible.[59]

Burgess said it was estimated that peer-to-peer file sharing was 1:60, meaning that for each CD or digital download of an album sold, it would be shared illegally between 60 individuals.[8] He was appreciative of this reaction, while McGee remarked: "No longer does music have to work in the traditional major-label dominated way".[59] It was made available through the band's own website on 17 March 2008.[60]They promoted it with a one-off show at the London branch of the Hard Rock Cafe on 24 April 2008.[61] By May 2008, the downloads had reached over 90,000.[62] Gigwise's Jon Bye felt that the "limited offering of this very album as a free download [...] failed to have the same impact as the likes of Radiohead or Nine Inch Nails."[22] BBC Music writer Chris Jones,[63] musicOMH contributor Ben Hogwood[24] and Gill thought the band were copying Radiohead's strategy, as the latter remarked: "Radiohead's internet initiative is starting to be followed by other acts, with varying degrees of success".[23] Erlewine said the band felt compelled to released it this way as they needed a method to "announce that they were back, to grab the attention of onetime fans who had long ago stopped paying attention to the group".[29]

Subsequent promotion

"The Misbegotten" was released as the third single from You Cross My Path on 5 May 2008. "Blank Heart, Blank Mind" and "Set Me Free" were included on the CD version, while a remix of "The Misbegotten" featured on the seven-inch vinyl edition.[64] Initially scheduled for 12 May 2008,[65] You Cross My Path was released physically on CD and vinyl through Cooking Vinyl on 19 May 2008,[57] while the US release occurred on 10 June 2008.[62] Faris Badwan of the Horrors designed the artwork; Burgess mentioned that they wanted him to draw a cat for it. The artwork was not in their minds when deciding to make the album for free, prompting them to tell Badwan that he had to make it within a few days.[66] He drew five cats that were intended to represent each member of the band.[67] Throughout May 2008, the band embarked on a tour of the UK.[68] Coinciding with this, Burgess ran a two-week podcast about how the tour was progressing, talks with other members and general banter.[31] In June 2008, the band played a one-off show at the Cannock Chase Forest in Staffordshire.[60]

"Mis-Takes" was released as the fourth single from You Cross My Path on 14 July 2008; "Complete Control" and "It's What It Is, It's What It Was" were included on the iTunes Store version.[69] Over the next two months, they performed at the T in the Park[70] and V Festivals,[71] and headlined Ben & Jerry's festival.[72] In October 2008, the band went on another tour of the UK. Originally planned for release on 20 October 2008,[73] "Oh! Vanity" was reissued physically on 3 November 2008. "Complete Control" and live versions of "The Only One I Know" (1990) and "Oh! Vanity" were included on the CD edition; people that bought the single on CD, seven-inch vinyl and digital download were given a cover of "Murder" (1984) by New Order.[74] In May 2009, they performed at The Great Escape Festival.[75] The following month, the band headlined a stage, which they helped curate, at the Isle of Wight Festival.[76] Throughout July and August 2009, the band performed at a variety of festivals including GuilFest and Summer Sundae.[77] The band had planned to go on a tour of the US[78] and Canada, but this was cancelled as Brookes required shoulder surgery.[79]

Reception
Professional ratings
Aggregate scores
SourceRating
Metacritic69/100[80]
Review scores
SourceRating
AllMusic[29]
The Austin Chronicle[35]
Drowned in Sound5/10[49]
Gigwise[22]
The Independent[23]
musicOMH[24]
The Observer[25]
Pitchfork6/10[81]
PopMatters8/10[26]
Yahoo! Launch[21]

You Cross My Path was met with generally favourable reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream publications, the album received an average score of 69, based on 14 reviews.[80]

Many reviewers praised the songwriting, going as far as to call it the band's best release in several years. Erlewine said they "revs up the rhythms and takes risks in their production, all without abandoning the classicist structures they've relied upon" since their self-titled album. He felt that the tracks "aren't growers, they're immediate -- but what is compelling is the variety of sounds" as they are "taking risks again without losing their identity".[29] Michaela Annot of Drowned in Sound wrote that the album "chooses to resolutely endorse the same style of music that they’ve offering up for the past twenty years". Her sole issue being Burgess' "vocal delivery and maudlin lyrics", and while it was not an "invigorating brew," the mix of "swirling Hammond and ponderous bass and drums stays on the right side of tepid most of the time".[49] Gill called a "triumphant reaffirmation of the band's essential qualities", adding that "whatever betrayal or disappointment Burgess has suffered, it clearly hasn't dimmed either his spirit or the band's knack for engaging melodies".[23] John Bergstrom of PopMatters wrote that it was the band's "best album in a decade, not to mention one of the best albums of the year, is a bit of a surprise". He mentioned that "whether it’s sheer desperation, reinvigoration, or both, they sound more confident than they have since their heyday".[26] The Line of Best Fit writer Rich Thane, whose interest in the band waned over the years, was surprised by it, saying that they "reinvented themselves once more".[31] The Observer writer Jim Butler said that the band "have never been afraid of proclaiming their influences", showcasing here the influence from New Order, and "the result, [...] is a melodic and hard-fought triumph".[25]

Other critics were less enthusiastic about the songwriting. Savlov thought that the album "pulls double duty as its own tribute LP, layering the best bits" of Burgess' "emotionally disconnected couplets atop the band's trademark soaring keyboards and insistently hummable guitars".[35] Pitchfork contributor Ian Cohen thought it was "possibly their strongest work since Tellin' Stories", but was unsure if it was a "victim of the times or its own merits; it's the sort of thing that's so competent that it's more likely to be defined by its failures than its success".[81] Hogwood thought that "Oh! Vanity" and "Mis-Takes" were "easily the two most memorable tracks on the album, which isn't to say the rest are all filler - they're just not quite as memorable".[24] Bye wrote that it was "crushingly middle of the road" with a "degree of flabby excess around the edges". Despite this, he said that the band delivered a "really quite capturing release", which "more than proves that The Charlatans are still worth taking a note of".[22] Yahoo! Launch's Jason Draper said that there was "nothing wrong with paying respect to past loves, but it's not enough to be Manchester's indie survivors simply replicating 'Madchester' club sounds. [...] it's hard to see this crossing the path of anyone outside of the devoted".[21] Pras Rajagopalan of Exclaim! wrote that it was not worth purchasing physically as the band "miss the mark here in so many ways, be it the tepid songwriting, the production that makes the band's rhythm section sound like a limp-wristed afterthought" or their affirmation on revisiting the "same ground they did ten years ago".[82]

Legacy

In the following years, several authors commented on the Charlatans' decision to release You Cross My Path for free. In his book Last Shop Standing: Whatever Happened to Record Shops? (2009) about record stores, author Graham Jones lamented the declining sales of CDs in independent shops, writing that the situation "would be even worse" if acts followed Charlatans' directive. He noted that while the band was happy with receiving 30,000 fans to download it, the only individual that would not be was their "accountant who saw them get zero pounds in sales for an album that cost thousands to record. [...] Many artist can achieve 30,000 downloads if the music is free".[83] In The Entertainment Industry: An Introduction (2010), co-authors Stuart Moss and Stephen Henderson contrasted Radiohead's choice on In Rainbows with the Charlatans' You Cross My Path; writing, "these approaches support a viewpoint that some artists have decided that it is important to get the music in the hands of music fans as this should lead to packed concerts where profit can be made".[84] Matthew David expanded on this in Peer to Peer and the Music Industry: The Criminalization of Sharing (2010), as he said fans "demanded to pay for both" the album and their live shows. He referred to this as an "extreme example of reterritorialization," the emphasis on live gigs mixing with "relegitimation of the payment for recordings which come direct from the artists, and for which payment" is given to bands.[85]

Actor Joaquin Phoenix expressed admiration for the album,[86] and would eventually work with Burgess for two months on some songs a few years later.[87]

Track listing

All songs written by Martin Blunt, Jon Brookes, Tim Burgess, Mark Collins and Tony Rogers.[17]

  1. "Oh! Vanity" – 3:57
  2. "Bad Days" – 3:28
  3. "Mis-Takes" – 3:25
  4. "The Misbegotten" – 4:13
  5. "A Day for Letting Go" – 2:52
  6. "You Cross My Path" – 4:05
  7. "Missing Beats (Of a Generation)" – 3:38
  8. "My Name Is Despair" – 4:19
  9. "Bird" – 2:38
  10. "This Is the End" – 4:28

Personnel

Personnel per booklet.[17]

See also
  • Post Electric Blues – the 2009 album by Idlewild, which was initially self-released and later released through Cooking Vinyl
  • Bandcamp – a service that allows artists to sell music for free

References

Citations

  1. "The Charlatans Biography | The Charlatans Bio & History - Xfm". www.xfm.co.uk. Archived from the original on 13 May 2008.
  2. Sexton, Paul (2 May 2006). "Charlatans Team Up With McGee". Billboard. Archived from the original on 5 February 2023. Retrieved 11 February 2023.
  3. "Charlatans / full Official Chart History". Official Charts Company. Archived from the original on 21 April 2022. Retrieved 9 February 2023.
  4. "Charlatans' fresh start". Manchester Evening News. 16 April 2010. Retrieved 15 February 2023.
  5. Haddow, Joshua (1 June 2012). "Tim Burgess Blew Cocaine Up His Anus". Vice Media. Archived from the original on 11 February 2023. Retrieved 11 February 2023.
  6. Burgess 2013, p. 175
  7. "The Charlatans write song for Carl Barat". NME. 24 May 2006. Archived from the original on 3 July 2021. Retrieved 12 February 2023.
  8. Burgess 2013, p. 191
  9. Burgess 2013, pp. 191–2
  10. Burgess 2013, p. 192
  11. "The Charlatans unveil 'Best Of' details". NME. 24 August 2006. Retrieved 13 February 2023.
  12. "The Charlatans announce winter tour". NME. 22 August 2006. Retrieved 13 February 2023.
  13. McNeill, Jonjo (7 January 2007). "Charlatans - Interview". Pennyblackmusic. Archived from the original on 25 June 2022. Retrieved 11 February 2023.
  14. Burgess, Tim [@Tim_Burgess] (14 October 2020). "Oh Vanity – written in Los Angeles. Tony and Mark came to visit we rented a flat on Sunset & Vine. Was the best week of fun, this came together pretty quickly" (Tweet). Archived from the original on 14 October 2020. Retrieved 16 February 2023 – via Twitter.
  15. "The Charlatans to support The Who". NME. 20 April 2007. Retrieved 13 February 2023.
  16. "The Charlatans play special outdoor show". NME. 22 January 2007. Retrieved 13 February 2023.
  17. The Charlatans (2008). You Cross My Path (booklet). Cooking Vinyl. COOKCD462X.
  18. Martell, Nevin (7 May 2015). "The Charlatans UK: Just Lookin' Back". Flood Magazine. Retrieved 15 February 2023.
  19. Burgess, Tim [@Tim_Burgess] (14 October 2020). "Tony had all the files on his computer meant we could always work on it. Was our first album we made using logic. Tony was in charge of it. Alan Moulder mixed the album in London. Tony assisted" (Tweet). Archived from the original on 14 October 2020. Retrieved 16 February 2023 – via Twitter.
  20. Lindsay, Cam (1 October 2007). "The Charlatans To Give Away New Album For Free - No Strings Attached". Exclaim!. Retrieved 16 February 2023.
  21. Draper, Jason (12 May 2008). "The Charlatans - You Cross My Path". Yahoo! Launch. Archived from the original on 8 July 2008. Retrieved 6 February 2023.
  22. Bye, Jon (29 April 2008). "The Charlatans - 'You Cross My Path' (Cooking Vinyl) Released 12/05/08". Gigwise. Archived from the original on 4 April 2012. Retrieved 6 February 2023.
  23. Gill, Andy (7 March 2008). "Album: The Charlatans, You Cross My Path (XFM)". The Independent. Archived from the original on 1 April 2008. Retrieved 6 February 2023.
  24. Hogwood, Ben. "The Charlatans - You Cross My Path". musicOMH. Archived from the original on 10 May 2008. Retrieved 6 February 2023.
  25. Butler, Jim (16 March 2008). "Reviews: 11-25". The Observer. Archived from the original on 22 March 2008. Retrieved 6 February 2023.
  26. Bergstrom, John (7 August 2001). "The Charlatans You Cross My Path". PopMatters. Archived from the original on 9 August 2008. Retrieved 6 February 2023.
  27. Davies, Lucie. "Disc Review The Charlatans". Now. Archived from the original on 11 June 2008. Retrieved 15 February 2023.
  28. Gourlay, Dom (10 November 2014). "DiS meets Tim Burgess of The Charlatans: "It's easy to blame someone else... " / In Depth". Drowned in Sound. Archived from the original on 11 November 2014. Retrieved 15 February 2023.
  29. Erlewine, Stephen Thomas. "You Cross My Path – The Charlatans UK". AllMusic. Retrieved 6 February 2023.
  30. Burgess 2019, p. 165
  31. "The Charlatans 'You Cross My Path'". The Line of Best Fit. 7 March 2008. Retrieved 15 February 2023.
  32. Burgess, Tim [@Tim_Burgess] (14 October 2020). "We got the first verse and then went out to a party. It was the William Morris Agency annual party. We were invited, Prince was there as were the Wilson's Owen and Luke we met Steve Strange our future Agent but at that time was just a friend" (Tweet). Archived from the original on 14 October 2020. Retrieved 16 February 2023 – via Twitter.
  33. Burgess 2019, p. 155, 156
  34. Grewal, Samar (9 August 2008). "The Charlatans You Cross My Path". Rolling Stone India. Retrieved 15 February 2023.
  35. Savlov, Marc (5 September 2008). "Phases and Stages". The Austin Chronicle. Archived from the original on 5 June 2011. Retrieved 6 February 2023.
  36. The Charlatans [@thecharlatans] (14 October 2020). "Track 2 Bad Days - All about that bass. Myself and Tony came up with the idea for this in his basement studio. Tony still lived in the UK at the time. Tony came up with the first lyric and @Tim_Burgess completed them. Love it" (Tweet). Archived from the original on 14 October 2020. Retrieved 16 February 2023 – via Twitter.
  37. Burgess, Tim [@Tim_Burgess] (14 October 2020). "Bad Days – Killer Bass from Martin (currently tweeting from @thecharlatans) Live Favourite. Hefty lyrical input from Tony & Martin – Bit of a The Cure nod at the end (Oh We could be in Love, Younger Than Yesterday) not sure which song but it was a nod" (Tweet). Archived from the original on 14 October 2020. Retrieved 16 February 2023 – via Twitter.
  38. Burgess, Tim [@Tim_Burgess] (14 October 2020). "It's a hate song about someone who threatened me at a bus stop #natch" (Tweet). Archived from the original on 14 October 2020. Retrieved 16 February 2023 – via Twitter.
  39. Burgess, Tim [@Tim_Burgess] (14 October 2020). "The Misbegotten Was very very very inspired by Doris Norton I am a big fan of Doris. I have lots of her records signed. Lyrically inspired by a conversation I had at a party in a hotel and not wanting to go into too much detail but it was a debauched affair" (Tweet). Archived from the original on 14 October 2020. Retrieved 16 February 2023 – via Twitter.
  40. "The Charlatans on 'You Cross My Path'". Xfm. 7 March 2008. Archived from the original on 17 May 2009. Retrieved 15 February 2023.
  41. Burgess, Tim [@Tim_Burgess] (14 October 2020). "A Day For Letting Go. Wrote the lyrics in Texas on NYE 2007/2008 I think the drum beat was a logic preset" (Tweet). Archived from the original on 14 October 2020. Retrieved 16 February 2023 – via Twitter.
  42. The Charlatans [@thecharlatans] (14 October 2020). "Track 5 A Day for Letting Go - love the chord progression on this. Tim bought it to the table and the band did their thing. Little bit haunting which I like. The Doors meet The Ronettes with an acid twist" (Tweet). Archived from the original on 14 October 2020. Retrieved 16 February 2023 – via Twitter.
  43. Burgess 2019, p. 160
  44. Nissim, Mayer (20 January 2015). "A beginner's guide to The Charlatans with Tim Burgess". Digital Spy. Archived from the original on 28 June 2022. Retrieved 2 February 2023.
  45. Burgess, Tim [@Tim_Burgess] (14 October 2020). "You Cross My Path Def a logic preset for the drum beat on this. Circus of Death by Human League meets New Order – Sunrise meets Chrome Zombie Warfare" (Tweet). Archived from the original on 14 October 2020. Retrieved 16 February 2023 – via Twitter.
  46. The Charlatans [@thecharlatans] (14 October 2020). "Track 7 Missing Beats (Of a Generation) - Mostly a composition by Tony and I. We wanted it short so you'd go back and play it again. The BPMs creeping up a bit again here!" (Tweet). Archived from the original on 14 October 2020. Retrieved 16 February 2023 – via Twitter.
  47. Burgess, Tim [@Tim_Burgess] (14 October 2020). "Missing Beats (Of A Generation). Tony came up with this. I managed to provide some words. Martin realy liked the fact I squeezed in D.N.A and I managed to squeeze in another The Cure ref (on and on the more we know the less we grow)" (Tweet). Archived from the original on 14 October 2020. Retrieved 16 February 2023 – via Twitter.
  48. Burgess 2019, pp. 165, 166
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  53. McLean, Craig (9 December 2007). "Caught in the flash". The Observer. Retrieved 13 February 2023.
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Sources

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