Between 10th and 11th

Last updated

Between 10th and 11th
Between10th11thcover.jpg
Studio album by
the Charlatans
Released23 March 1992
Studio
Genre
Length43:41
Label Situation Two
Producer
The Charlatans chronology
Some Friendly
(1990)		Between 10th and 11th
(1992)		 Up to Our Hips
(1994)
Singles from Between 10th and 11th
  1. "Weirdo"
    Released: 24 February 1992
  2. "Tremelo Song"
    Released: 6 July 1992

Between 10th and 11th is the second studio album by British rock band The Charlatans; it was released on 23 March 1992 through Situation Two, a subsidiary of Beggars Banquet Records. The Charlatans started writing new material shortly after the release of their debut studio album Some Friendly (1990). After some writing sessions in Birmingham and a tour of the United Kingdom, guitarist John Baker left the band and was replaced with Mark Collins of English indie band Candlestick Park. Bassist Martin Blunt went through a series of personal issues that led to his hospitalization in September 1991. The Charlatans began recording their next album at Rockfield Studios in Rockfield, Monmouthshire, Wales.

Contents

Following two weeks of work, producer Flood was brought in to produce the sessions. Flood encouraged the band to focus on live performances instead of recording one instrument at a time. Between 10th and 11th is a Madchester album whose lyrics deal with introspection and self-doubt, and were influenced by the works of E. E. Cummings and Bob Dylan. The Charlatans' lead singer Tim Burgess attributed some of the album's electronic textures to time he spent in New York City; some of the more-sparse song arrangements recall the work of Talk Talk.

The album's lead single "Weirdo" was released in February 1992 and was promoted with two shows in Glasgow. In April that year, The Charlatans embarked on a tour of the United States with Catherine Wheel and The Wolfgang Press, and a tour of mainland Europe the next month. They then went on a two-month US tour, which was cut short due to the birth of Blunt's child. In the middle of the tour, in July 1992, the album's second single "Tremelo Song" was released, and was promoted with a performance at Reading Festival and a tour of Japan in September the same year.

Between 10th and 11th received unfavourable reviews from music critics, many of whom criticized the band, especially Burgess, for being lazy. Burgess' lyrics and the album's artwork also drew negative comments. Retrospective reviews of the album were more favourable, and some called it an underrated release. The album peaked at number 21 in the UK and number 173 on the US Billboard 200. "Weirdo" charted at number 19 in the UK, number 22 in Ireland and number 67 in the Netherlands, while "Tremelo Song" charted at number 44 in the UK.

Background and Baker's departure

The Charlatans released their debut studio album Some Friendly in October 1990, [1] and promoted it with a tour of the UK and mainland Europe with support from Intastella until the end of the year. [1] [2] During this tour, the band debuted a new song "Can't Even Be Bothered" [1] and between shows, they wrote new songs as a potential follow-up single. [3] While demoing material, Beggars Banquet Records asked them to write a song that resembled their hit single "The Only One I Know". [4] In February 1991, the band embarked on their first US tour, coinciding with the US release of "Sproston Green". [3] The band members were surprised when "Sproston Green" started gaining traction in the US, causing them to worry the tour would be extended and delay recording sessions. [5] While trying to gain popularity in the US, the Charlatans returned to the UK, marking the end of the band and the Madchester scene. [6]

Because Beggars Banquet wanted another single from the band for the UK market, the Extended Play (EP) Over Rising, which David M. Allen produced, was released on 25 February 1991. [7] [8] The EP's music showed the band partly moving from the baggy sound of their previous work into psychedelia. [7] A month after the end of their US tour, the band toured Australia and New Zealand, and played three shows in Japan. [9] [10] This brief tour was a culture shock for the band, who wanted to return to the UK as soon as possible. [10] The band had previously struggled to write new material while on tour, causing issues when they started writing shortly after the Japanese dates. [11] Writing sessions were held at Rich Bitch studios in Birmingham while the band were under pressure to deliver new material; they wanted their new album to be more electronic and experimental than their previous work. [12]

Guitarist John Baker felt insecure about the proceedings, realizing he was playing a reworking of the songs on Some Friendly. Baker found live performances joyless; between tours, he consumed alcohol and drugs. [11] In June 1991, the Charlatans toured the UK tour with support from Catherine Wheel, Johnny Male, Soul Family Sensation and New Fast Automatic Daffodils; during this tour, Baker considered leaving the band. [13] [14] Following their performance in London, the band met with producer Scott Litt, who is known for his work with R.E.M., aiming to have Litt produce their next album. [12] Unbeknown to Baker, keyboardist Rob Collins told the other members he felt Baker was holding them back. Collins and bassist Martin Blunt later told Baker they wanted him to leave, and Baker agreed. At the end of June, Baker performed his last shows with the band at Roskilde Festival in Denmark and Belfort Festival in France. [11]

Collins' arrival and writing

With Baker's departure, shows in the rest of mainland Europe were cancelled and plans to release a new album were postponed from September 1991 to early 1992. [15] [16] Harrison said the band wanted to find someone who would contribute more to the writing; Baker is credited with only five of the songs on Some Friendly. [17] Harrison contacted Alison Martin, the band's former press agent, who was now working for radio promotion company Red Alert, about the situation. [18] [19] Martin discussed this with Inspiral Carpets manager Anthony Bogianno, who suggested his band's roadie Noel Gallagher and their former van driver Mark Collins, who was now playing in his own band Candlestick Park. [20] Collins lurked near the offices of Red Alert in his spare time. Martin later put Collins in contact with The Charlatans, who he knew had been looking for another guitarist. [19] While this was occurring, The Charlatans had auditioned the guitarist from the Honey Turtles. [21] Blunt liked what he heard but upon leaving the room to smoke a cigarette, Rob Collins complained about the guitarist's height. Lead singer Tim Burgess had previously seen Mark Collins with his previous band The Waltones and decided to invite him to audition for the Charlatans. [22] Collins arrived at the rehearsal and was asked to join the band. [23]

Some associated told the Charlatans they should make a bigger departure from baggy and try not to alienate their existing fan base. Blunt felt Collins' initial writing contributions strayed from his vision of the band's future sound but coincided with what the other members' intentions. [24] By this point, the band had finished 18 songs for their next album, which had the potential of being a double album. [25] Manager Steve Harrison noted Blunt was undergoing personal issues, such as not easily accepting Baker's departure and loathing making the song "Me. In Time", wishing they had instead recorded "Weirdo". The other members were happy to consider Collins' writing ideas and outvoting Blunt on his objections. Blunt was aware of the critical backlash against Some Friendly, which their label was still asking the band to promote. [26] Alongside this, Blunt's relationship with his wife was deteriorating; as a result, Blunt developed paranoia and by September 1991, he had collapsed and was hospitalized. [27]

Blunt was diagnosed with clinical depression and told to rest for a fortnight. [28] During this time, the Madchester and baggy scenes had fallen out of popularity, and Nirvana had released Nevermind (1991), allowing for the success of grunge acts such as Alice in Chains, Pearl Jam and Soundgarden. [29] [30] The Charlatans' contemporaries also faced problems; The Stone Roses were involved in a legal battle with their label and Happy Mondays experienced negative attention from press outlets. [31] The Charlatans had a self-imposed policy about releasing no more than one single from an album, which meant they released additional songs on the EP Over Rising and the forthcoming single "Me. In Time". They had only four unrecorded pre-Collins songs; "Weirdo", "Tremelo Song", "Can't Even Be Bothered" and "(No One) Not Even the Rain". [32]

Recording

Rockfield Studios in Rockfield, Monmouthshire, Wales, where the Charlatans recorded Between 10th and 11th. Rockfield Studios, Monmouthshire.jpg
Rockfield Studios in Rockfield, Monmouthshire, Wales, where the Charlatans recorded Between 10th and 11th.

The Charlatans travelled to Rockfield, Monmouthshire, Wales, to record at Rockfield Studios. [33] Hugh Jones produced "Me. In Time", which was released as a non-album single in October 1991. [24] The song reached number 28 on the UK Singles Chart; the band deemed this a failure because a re-release of their debut single "Indian Rope" reached the top 60 without any promotion. [26] After working for two weeks at Rockfield, the band decided to bring in a producer; they were unsure who they wanted to work with, so Beggars Banquet sent them various CVs. The band found the Rich Bitch studio sessions to be fruitless so they wanted to work with someone who could encapsulate the band's spirit. [33] Chris Nagle, who had produced Some Friendly, was occupied with Inspiral Carpets and thus unavailable. [34] Someone at the band's music publisher Warner Chappell Music suggested Flood, who had worked with Nine Inch Nails and Pop Will Eat Itself. [35] Flood was eventually selected after Burgess showed the rest of the band Movement (1981) by New Order and This Is the Day...This Is the Hour...This Is This! (1989) by Pop Will Eat Itself. [33] [36]

Flood had remixed "Sproston Green" for the US market and the EP Over Rising. When the band contacted Flood, he had finished working on Achtung Baby (1991) by U2. [33] The members of The Charlatans were unaware he worked with U2; they were more familiar with his work with Depeche Mode and the Wolfgang Press. [34] Flood agreed to work with the band after learning that his girlfriend enjoyed Some Friendly. [37] After arriving at Rockfield, Flood scrapped all of the material The Charlatans had already recorded, leaving only six weeks to record and mix an album's worth of songs. [33] Paul Cobbold served as engineer; he and Flood were assisted by Daren Galer, Goetz Botenhart and Philip Ault. [38] Flood's method of working saw the band perform live together, break recording into portions, and construct songs with different rhythm parts and effects while keeping intact the melodies. [35] Nagle would have the band record to a click track, recording one instrument at a time over several weeks. [39] Flood preferred working intensely in short bursts of productivity; at one point, the band had completed eleven backing tracks in eight days. [33]

The band members were not used to this approach, feeling it took an intensive toil on them. Members would argue among themselves, requiring Flood to break stalemates and ensure work continued. [33] He helped the band learn how to use studio technology; while recording in "Weirdo", he showed the band how to use sequencers in a live setting. [35] Rob Collins had brought a sampler into the studio, which he used to compose parts and melody lines for "Tremelo Song", "The End of Everything" and "Weirdo". [40] Jones is credited as original recording producer on "Subtitle", which had previously been released as one of the B-sides to "Me. In Time"; Flood remixed the song for inclusion on the new album. [38] [26] [41] Because Burgess was late composing lyrics for "(No One) Not Even the Rain", he recorded his vocals for the track at Strongroom in London. [42] Burgess later said all of the band had an "ego problem", and that none of them wanted to be in the same room. [33] He said collaborating with someone like Flood "really didn't work. We didn't have the songs for it, and he didn't tell us when he was supposed to be the producer". Despite this, Blunt became close with Flood and asked if he would produce the band's subsequent work. [35]

Composition and lyrics

Bob-Dylan-arrived-at-Arlanda-surrounded-by-twenty-bodyguards-and-assistants-391770740297 (cropped).jpg
E. E. Cummings NYWTS.jpg
Bob Dylan (left) and E. E. Cummings (right) inspired the themes of introspection and self-doubt heard on Between 10th and 11th.

Themes and music

Discussing the album's lyrical theme, Burgess said it was "weird. It was like 'Please get me out of this place.'" [33] Topics such as introspection and self-doubt can be found throughout the songs, which are influenced by the works of E. E. Cummings and Bob Dylan. Author Dominic Wills in The Charlatans: The Authorised History (1999) said Burgess admired Cummings' "abrasive belligerence and the abandon of his uninhibited Bohemianism". [32] PopMatters ' John Bergstrom said drummer Jon Brookes toned down the "jaunty shuffle rhythm that permeated every track on the debut" in favour of a "more subtle yet evocative" playing style. [43] Burgess felt time he spent in New York City influenced the album's song titles and electronic textures; [40] he attributed the electronic elements to Flood's work on Achtung Baby and Depeche Mode's Violator (1990), the latter giving Between 10th and 11th a sense of darkness. [44] While making the album, Burgess listened to Dylan's music, and was enthralled with his albums Bringing It All Back Home (1965), Highway 61 Revisited (1965) and Blonde on Blonde (1966). Despite the influx of inspiration, during this time, Burgess found songwriting difficult; Blunt criticized Burgess' lyrics and Burgess later attributed this to the state of Blunt's mental health. [45]

The album's title Between 10th and 11th alludes to Marquis Theatre in New York City, where the band played their first show in the US. The title had earlier been given to a song they performed for a session for BBC Radio 1 presenter John Peel in early 1991 that was later scrapped. [32] Prefabs and Riches and Anticlockwise had been suggested as working titles, and the latter title was used on some promotional copies of the album. [32] [46] Burgess said Anticlockwise was considered "too negative"; he felt a reference to New York in the album's final title would be appropriate because he was spending his free time between East Village, Manhattan; Chiswick, London; and his parents' home in Moulton, Northamptonshire. [46]

The album's sound has been described as Madchester and experimental. [47] [48] Journalist John Robb in his biography of the band The Charlatans: We Are Rock (1998), said: "on one level there is a rasping rawness and a great drum sound, on the other some of the song arrangements sound a tad empty", bordering on the sound of Talk Talk. [49] Wills said Flood was "true to his word in retaining the band's ... melodic flourishes. But the beat was clearly at the front of his mind, and the industrial idiosyncrasies that had made his name" could be found, such as the sound of Collins dropping his guitar amplifier. [32] Robb said Collins' guitarwork throughout the album sounds like him "warming up. ... His guitar, when it cuts in, is razer-sharp like taut wire. A rasping and great sound, devilish licks lash across the tracks". [50] Though Baker claimed to have worked on three songs from the album, including "Weirdo" and "(No One) Not Even the Rain", he is not credited on any of the tracks. [38] [51] The other six tracks are credited to the new line-up; Blunt–Brookes–Burgess–Mark Collins–Rob Collins. [38] Two of these songs had been finished before Mark Collins' arrived; Mark Collins added only supplemental guitar parts but helped compose of the other four, having been in the band for only two months at that point. [52]

Tracks

"I Don't Want to See the Sights", the opening track of Between 10th and 11th, includes brushes interacting with piano strings. [32] This was overdubbed with strings that were being picked and altered by reverse reverb. [53] "Ignition" was originally called "Anticlockwise", referring to things that were out of the band's control going wrong. [32] "Page One" was originally named "Vulture" after its opening lyric; its rhythmic sound is reminiscent of the work of New Order. [32] [54] For "Page One", Collins layered acoustic and electric guitars, and used different tunings. [55] Burgess said the song talks about "spoiling someone’s fun" because he was "very [un]happy with how trapped I felt". [56] "Tremelo Song" mixes 1970s disco with 1990s dance, which are accompanied by a reoccurring piano part in the style of "We Love You" (1967) by The Rolling Stones. [57] The song features two different choruses; the band used both choruses because they could not decide which to use. [58] Rob Collins sings the first chorus and Burgess sings the second. The lyrics for the choruses refer to being an independent individual without being controlled by The Man. [59] "The End of Everything" is a war song Burgess based on the song "Love Vigilantes" (1985) by New Order; he said his friend feigned an illness so he could leave the army. [60] [61]

"Subtitle" is the result of Burgess attempting scratch vocals for an idea based on two phrases and writing a fully completed song instead. The guitars, which recall the work of the Who, are accompanied by new-age-style keyboard parts. [32] The guitarwork in "Can't Even Be Bothered", which is enhanced by a tremolo effect, recalls the guitarwork in "Flying" (1967) by the Beatles. [50] Blunt's bass part evokes "Under My Thumb" (1966) by the Rolling Stones. [62] The chorus sections have the most similarity to the songs on Some Friendly. [32] "Weirdo" is an introspective song; Burgess said the title phrase is used as a form of endearment, showing pride in one's status as an outsider. [63] He noted Nevermind is "quite direct" and thought if the Charlatans were just as direct, the song would be "quite suitable to the [musical] surroundings". [64] The song was originally planned to start with guitar, bass and drums but Flood added the Hammond outro section to the beginning. [65] Discussing the title of "Chewing Gum Weekend", Blunt said there are two reasons for gum-chewing: "you're trying to pack in smoking or you're trying to stop yourself grinding your own teeth to dust". [35] One of the lines in "(No One) Not Even the Rain" is directly taken from the final line of Cummings' poem Somewhere I Have Never Traveled. [32] The outro portion alludes to the material on Throbbing Gristle 's 1979 album 20 Jazz Funk Greats . [40]

Release

"Weirdo" single and album promotion

"Weirdo" was released as the lead single from Between 10th and 11th on 28 February 1992, with the instrumental "Theme From 'The Wish'", an alternative version of "Weirdo" and Flood's remix of "Sproston Green" as the B-sides. [35] [66] The song's music video, which was filmed in London, depicts the Charlatans, a Dalmatian dog and a dancer sitting on a couch. [67] [16] The band's US label RCA Records flew the band to Los Angeles, California, to consecutively record videos for "I Don't Want to See the Sights" and "Weirdo" with Samuel Bayer, who had directed the video for Nirvana's "Smells Like Teen Spirit" (1991). The video for "I Don't Want to See the Sights", which was recorded in a psychiatric hospital, features a man spinning in a wheelchair. The band played two shows in Glasgow at King Tut's Wah Wah Hut on 29 February and 1 March 1992 as a warm-up for Mark Collins and to test the new songs in a live setting. [67] [68]

Between 10th and 11th was released on 23 March 1992 through Beggars Banquet imprint Situation Two; its artwork features a photograph of bananas taken by Steve Majors. [38] [69] Little time had been afforded for the artworkl; the final image was chosen from a variety of other photographs. Burgess said the bananas looked Andy Warhol-esque, though Wills said it was not an intentional homage to The Velvet Underground & Nico (1967) by the Velvet Underground. [69] The band promoted the album with two shows in Greece before starting a tour of the UK with support from Milltown Brothers. [69] [70] During the tour, two Hammond organs belonging to Rob Collins malfunctioned and a fight broke out after one of the shows, resulting in Collins leaving the venue and threatening to quit the band. With the album's sales declining, Beggars Banquet wanted another single from the album, which annoyed the band. The label also asked the band to embrace formatting—the releasing of singles with multiple sleeves and different accompanying songs—an act the band considered a form of fan exploitation that countered their working-class principals. [69]

US tours, "Tremelo Song" single and later promotion

By this point, Some Friendly had sold 350,000 copies in the US and the Charlatans were deciding the best way to promote the new album there. They thought with the right amount of exposure, they could tour as a headlining act in that market, an idea Beggars Banquet resisted. [71] The president of RCA Records proposed the band could co-headline a six-week US tour with Peter Murphy, allowing them to play at 5,000-capacity venues instead of 2,000-capacity ones. [71] [72] Harrison called Peter Murphy a "goth and fucking crap", and the rest of the band were uncomfortable with the suggestion. This answer annoyed RCA Records, who unlike the band and Harrison, who preferred perseverance, wanted to plan everything in the advance. In the past, Beggars Banquet would help to smooth over situations like this but RCA stopped returning the band's calls and redirected them to different offices in the company. [71]

The Charlatans embarked on a US tour in April 1992, starting with an appearance at Edgefest in Dallas, Texas. [71] They were supported by Catherine Wheel and the Wolfgang Press. [73] While some of the shows were bigger than those on their earlier US tour, reception of the album seem muted. Upon returning to the UK, they noticed although album sales were falling, their live crowds were growing larger. [71] The following month, they embarked on a month-long tour of mainland Europe. [71] [16] From June that year, the band went on an expansive tour of the US [57] but following the birth of Blunt's child and a negative back-stage interaction with Madonna, the band chose to return early to the UK in August 1992. [74] Mark Collins said they had to choose between "another 20,000 sales or keeping your sanity. We chose sanity". [57]

At the same time, Beggars Banquet felt another single was essential and planned formatting options, angering the band who, due to constant touring, had little to offer their fans in terms of new B-sides. "Tremelo Song" was released as a single on 6 July 1992, and was accompanied by "Happen to Die", a demo titled "Normality Swing", and live versions of "Then" and "Chewing Gum Weekend" as B-sides. [57] [75] The music video for "Tremelo Song" has an arthouse aesthetic; it features actor Spencer Leigh walking into the sea and then entering a pub, where he finds the band drinking. [73] [76] Burgess said they tried to "make sure it was always something new, not just dodgy live versions". Harrison was more sympathetic to the label, saying: "Eventually, though, you do have to consider the record company's needs, and one of their main needs is to compete in the market-place". [77] Later in August 1992, the Charlatans sub-headlined Reading Festival and went on a short tour of Japan the following month. [73]

In 2008, Beggars Banquet Records wanted to issue expansive box sets of Some Friendly and Between 10th and 11th but plans stalled with the band's management. [78] In 2020, Between 10th and 11th was reissued as a two-CD set that was packaged with the live album Isolation 21.2.91 Live at Chicago Metro , which was originally released in 1991, but without any contemporaneous B-sides or alternative mixes. [79] [80] The Charlatans' Reading Festival appearance was released as Live at Reading Festival :: 1992 in 2022. [81]

In early 2023, the Charlatans toured the US with Ride and played the entirety of Between 10th and 11th. [82] The two acts had played shows together as early as 1993. Burgess said the Charlatans were asked to play either Some Friendly or Between 10th and 11th, choosing the latter for its connection with American audiences and because they had played little material from it, except "Weirdo", in the intervening years. [44]

"Weirdo" was included on the band's first, third and fifth compilation albums Melting Pot (1998), Forever: The Singles (2006) and A Head Full of Ideas (2021), respectively. [83] [84] [85] As part of the 2019 Record Store Day event, "Weirdo" and "Tremelo Song" were released as part of the seven-inch vinyl box set Everything Changed (2019). [86]

Reception

Original release
Review scores
SourceRating
Chicago Tribune Star full.svgStar full.svgStar half.svgStar empty.svg [87]
Entertainment Weekly A− [88]
NME 8/10 [89]
Pittsburgh Post-Gazette B+ [90]
Rolling Stone Star full.svgStar full.svgStar full.svgStar empty.svgStar empty.svg [91]
Select 2/5 [92]
Smash Hits 2/5 [93]

Contemporaneous reviews

Wills said music critics lambasted Between 10th and 11th upon its release but it received a reappraisal in later years. [35] Many reviewers said The Charlatans had employed Flood in the same manner U2 did: "to make themselves look like avant garde risk takers, and to disguise the fact that they had come up with no melodies". Flood avoided disdain while the band were criticized, especially Burgess, for being lazy. His lyrics and the album cover were also berated. [69]

Melody Maker writer Steve Sutherland said Between 10th and 11th is too "ill-focused and lacking in any sort of energy", and criticized Burgess' lyric-writing as "freely associative bilge". [89] Pittsburgh Post-Gazette writer Scott Mervis said the album shows the band could "stretch out" their sound but told listeners not to focus on the lyrics. [90] According to Select writer Adam Higginbotham, the album continues the problems of the band's earlier album, saying: "[Burgess] was making everything up as he went along, murmuring away over a groovy backdrop in the hope of stumbling across a vocal line". [92] Bill Wyman of Entertainment Weekly called the lyrics "blather" but complimented the band's "swirling rhythms and distinctive instrumentation". [94]

The Blade 's Doug Iverson noted the band offer "a bit more of a growl" on Between 10th and 11th, giving "more intriguing results" than the previous album. [95] The staff at NME said while it is not "stuffed with great singles", Between 10th and 11th shows a band "strech[ing] out and mak[ing] some great interesting music", which was something that should be praised "in the gaping post-baggy vacuum". [89] Mark Caro of Chicago Tribune noted Mark Collins' guitar parts were "pushed to the forefront and the density and urgency somewhat dissipated" as a result. [87] Rolling Stone reviewer Rob O'Connor said the album "works on a subtler level" because the "mix is more densely layered". [91] Higginbotham said "[d]espite a new sound" and Flood's production, the "fundamental problem lingers". [92]

Retrospective reviews

Retrospective reviews
Review scores
SourceRating
AllMusic Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [96]
Alternative Rock7/10 [97]
The Encyclopedia of Popular Music Star full.svgStar full.svgStar empty.svgStar empty.svgStar empty.svg [98]
The New Rolling Stone Album Guide Star full.svgStar full.svgStar full.svgStar empty.svgStar empty.svg [99]
Under the Radar Star full.svgStar full.svgStar full.svgStar full.svgStar full.svgStar full.svgStar full.svgStar full.svgStar half.svgStar empty.svg [100]
PopMatters 8/10 [80]

Critic John Harris regarded Between 10th and 11th as a "very underrated album" but criticized the "pretty crap" packaging and artwork choice, negatively comparing it to the works of Northside. [101] Wills called the album an "intriguing collection, disappointing in its lack of cheap thrills but impressive, especially rhythmically, in its struggle to rise above the norm". [32] According to Robb, The Charlatans were trying "too hard to break away from their pop roots and prove themselves as a band with 'depth'". [50] Punk Planet writer Julie Gerstein said the album was "by and large overlooked" upon its release due to the changing musical landscape. She referred to the fact The Charlatans made an album as "lush" as Between 10th and 11th "without the use of samplers is remarkable and makes them something of an anomaly of the period". [47] Author Dave Thompson, in his book Alternative Rock (2000), wrote the band "spin this album out of the subtlest of melodies, hanging on to the slightest of hooks", praising the interplay of the guitar and keyboard parts. [97] AllMusic reviewer Ned Raggett said the album is "much stronger than its reputation" that precedes it, and that Flood's production is "strengthening and creating excellent arrangements for everyone as a whole". [96]

Bergstrom found Between 10th and 11th to be a "surprisingly calm, introspective, almost mournful album", even though what the band were mourning seems to be vague. He called it a "quantum leap in musical maturity and sophistication" from their debut, and highlighted Flood's "crisp, clean sound". [43] The staff at The New Rolling Stone Album Guide said although the album lacks memorable moments and does not have a "hook in sight", it is far superior to Some Friendly. [99] Describing the album in 2021, Burgess said it was "pretty extreme for some people. We completely dismantled everything that we had, we changed a band member, and Rob felt that he’d done everything, really, on the first album." [102] According to Ian King of Under the Radar , Flood's production is a "significant part of what distinguishes this record in The Charlatans’ discography". [100] When reviewing the 2020 reissue, Bergstrom said the inclusion of the live show adds "no historical context" because it contains no songs from Between 10th and 11th. [80]

Commercial performance

Between 10th and 11th entered the midweek UK Albums Chart at number four, appearing at number 21 on the main album chart. [69] [103] According to Robb, the album's lack of commercial success was likely due to a "backlash amongst record buyers who were growing tired of what they perceived as the Manchester [and baggy] thing than the band not delivering" something of quality. [16] A week after the final date of their April 1992 US tour, the album peaked at number 173 on the US Billboard 200 chart, and in the Netherlands it reached number 73. [71] [104] By February 1994, the album had sold 92,000 copies in the US. [105] "Weirdo" charted at number 19 in the UK, number 22 in Ireland and number 67 in the Netherlands. [103] [106] [107] "Tremelo Song" charted at number 44 in the UK. [103]

Track listing

All songs written by Martin Blunt, Jon Brookes, Tim Burgess, Mark Collins and Rob Collins, except where noted. [38]

No.TitleWriter(s)Length
1."I Don't Want to See the Sights" 4:53
2."Ignition" 3:03
3."Page One" 4:12
4."Tremelo Song"
  • Blunt
  • Brookes
  • Burgess
  • R. Collins
4:38
5."The End of Everything" 5:49
6."Subtitle" 4:12
7."Can't Even Be Bothered"
  • Blunt
  • Brookes
  • Burgess
  • R. Collins
3:40
8."Weirdo"
  • Blunt
  • Brookes
  • Burgess
  • R. Collins
3:38
9."Chewing Gum Weekend" 5:05
10."(No One) Not Even the Rain"
  • Blunt
  • Brookes
  • Burgess
  • R. Collins
4:24

Personnel

Personnel per booklet. [38]

Charts

Chart performance for Between 10th and 11th
Chart (1992)Peak
position
Dutch Albums (Album Top 100) [104] 73
UK Albums (OCC) [108] 21
US Billboard 200 [109] 173

See also

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The Charlatans are an English rock band formed in the West Midlands, England in 1988. As of 2000, their line-up consists of lead vocalist Tim Burgess, guitarist Mark Collins, bassist Martin Blunt and keyboardist Tony Rogers.

<i>Up at the Lake</i> 2004 studio album by the Charlatans

Up at the Lake is the eighth album by the British alternative rock band The Charlatans, released on 17 May 2004 through Universal and Island Records Group. As promotion wrapped up for their seventh album, Wonderland (2001), Universal wanted them to follow it up with another one quickly. However, frontman Tim Burgess began working on his debut solo album in late 2002. At the end of the year, the band reconvened to write songs; by March 2003, they relocated to their own studio, Big Mushroom, in Cheshire, Greater Manchester, with them and James Spencer serving as producers. Recording halted in May 2003 to allow for Burgess to finish his album, I Believe (2003); sessions would resume by the end of the year and finish in February 2004. Up at the Lake is a pop rock album that pursues the country rock direction that they had first explored on their sixth album, Tellin' Stories (1997).

<span class="mw-page-title-main">Tim Burgess (musician)</span> Musical artist

Timothy Allan Burgess is an English musician, singer-songwriter and record label owner, best known as the lead singer of the alternative rock band the Charlatans.

<i>Us and Us Only</i> 1999 studio album by the Charlatans

Us and Us Only is the sixth album by British rock band the Charlatans, released by Universal on 18 October 1999. After touring for their fifth studio album, Tellin' Stories, wrapped up by the end of 1997, they played minimal shows throughout 1998 and planned its follow-up. They built their own recording studio, aiming to start recording by early 1999; sessions eventually took place in March and April 1999 with the band self-producing. Us and Us Only is a country rock, folk, and roots rock album that strayed from the band's British roots in lieu of American-focused music.

<i>Some Friendly</i> 1990 studio album by the Charlatans

Some Friendly is the debut studio album of British rock band the Charlatans that was released on 8 October 1990 through Beggars Banquet Records imprint Situation Two. After forming in 1988, the band went through line-up changes before settling on vocalist Tim Burgess, guitarist John Baker, bassist Martin Blunt, keyboardist Rob Collins and drummer Jon Brookes. The band wrote material at a prolific rate and released their debut single "Indian Rope" in early 1990. Soon afterwards, they signed to Beggars Banquet and began recording their debut album. Between March and August 1990, sessions took place with producer Chris Nagle at Strawberry Studios in Stockport and The Windings in Wrexham. Some Friendly is considered an acid-pop, baggy and dance-pop album that draws influence from The Beatles' psychedelic period.

<i>Tellin Stories</i> 1997 studio album by the Charlatans

Tellin' Stories is the fifth album by the British rock band the Charlatans, released on 21 April 1997 through Beggars Banquet Records. After wrapping up touring in support of their 1995 self-titled fourth album in early 1996, vocalist Tim Burgess and guitarist Mark Collins went to a cottage near Lake Windermere to write material. Shortly after this, they did a test recording session at Rockfield in Rockfield, Monmouthshire, before main sessions were underway from Easter 1996 at the nearby Monnow Valley Studio with the band, engineer Dave Charles, and engineer Ric Peet acting as producers. Partway through recording, keyboardist Rob Collins was involved in a fatal car crash. The band drafted in Martin Duffy of Primal Scream to help finish it, concluding in early 1997. Tellin' Stories is a Britpop, hip hop soul, and rock album that has been compared to the work of Patti Smith and Neil Young.

<i>The Charlatans</i> (1995 album) 1995 studio album by the Charlatans

The Charlatans is the fourth album by the British rock band the Charlatans, released on 28 August 1995 through Beggars Banquet Records. Following a holiday, vocalist Tim Burgess and guitarist Mark Collins wrote material for their next album at Burgess' place in Chalk Farm. The band then absconded to Monnow Valley Studio in Rockfield, Monmouthshire, Wales, with producer Steve Hillage. After preparing several mixes of the album, none of which they liked, Hillage was fired, and engineer Dave Charles was brought in. Further recording was then done at the nearby Rockfield Studios.

<i>Up to Our Hips</i> 1994 studio album by the Charlatans

Up to Our Hips is the third studio album by British rock band the Charlatans, released on 21 March 1994 through Beggars Banquet Records. They released their second studio album Between 10th and 11th in early 1992; by the year's end, they were working on material for its follow-up. Keyboardist Rob Collins was arrested for participating in an attempted armed robbery. After being bailed out, the band continued writing, splitting into pairs or working alone on songs.

<i>Wonderland</i> (The Charlatans album) 2001 studio album by the Charlatans

Wonderland is the seventh album by British rock band the Charlatans, released on 10 September 2001 through Universal. Following promotional efforts for their sixth studio album, Us and Us Only, vocalist Tim Burgess and guitarist Mark Collins wrote new material at the former's house in Los Angeles, California. Cocaine would have an impact on the writing and, later on, recording; sessions were held at producer Danny Saber's house studio, Krevorkian's Lab, also in Los Angeles. The band worked with him for seven weeks in October 2000, only completing five tracks, and later went to their own studio, Big Mushroom in Cheshire, Greater Manchester, in early 2001. Wonderland is a funk-soul and electronica record, evoking the work of John Mellencamp, Oasis, and Primal Scream. Burgess remarked that Los Angeles itself became a member of the band; critics referred to it as a drug-enhanced party album. He employed a falsetto in the vein of Curtis Mayfield and Kurt Wagner.

<i>Melting Pot</i> (The Charlatans album) 1998 greatest hits album by The Charlatans

Melting Pot is a greatest hits album by the British alternative rock band The Charlatans. Featuring tracks from their time on Beggars Banquet Records between 1990 and 1997, the album was released on 23 February 1998. The cover features a picture of The Weaverdale cafe in Northwich, the site of the group's first meeting after signing to Beggars in 1990. The song "Opportunity Three" is a remix by Flood of the song "Opportunity" from the Some Friendly album; the remix otherwise appeared only on the Over Rising EP.

<i>Simpatico</i> (The Charlatans album) 2006 studio album by the Charlatans

Simpatico is the ninth studio album by British rock band the Charlatans, released on 17 April 2006 through Creole and Sanctuary Records. After signing to the latter label in early 2005, frontman Tim Burgess and guitarist Mark Collins went to Palm Springs, California, to write new material. With Jim Lowe and the band producing, recording was held at Hook End Manor in Oxfordshire, with overdubs later being done at Townhouse Studios in London. Simpatico is a dub reggae and rock album that draws comparisons to the work of the Dead 60s, Hard-Fi, and UB40. Bassist Martin Blunt and Burgess attributed the sound shift to them listening to Ken Boothe, Gregory Isaacs, and Studio One.

Weirdo may refer to:

<i>You Cross My Path</i> 2008 studio album by the Charlatans

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 radio station Xfm's website. Following promotion for the band's ninth studio album Simpatico (2006), frontman Tim Burgess and manager Alan McGee devised an idea to give away their music for no charge. Guitarist Mark Collins and keyboardist Tony Rogers visited Burgess in Los Angeles, California, where they would write new material, and followed this up with jam sessions with the whole band in early 2007. Recording sessions were split across Hollywood, California, Blessington, Ireland and Cheshire, Greater Manchester, with Rogers given a separate producer credit independent of the band. You Cross My Path is an electro and pop album that evoked the work of Kasabian, New Order and Simple Minds. Following the reggae direction of Simpatico, Rogers' organ returned to the forefront of the band's sound on You Cross My Path.

<span class="mw-page-title-main">The Only One I Know</span> 1990 single by The Charlatans

"The Only One I Know" is the second single by English rock band the Charlatans. It was their first top-10 hit, reaching No. 9 on the UK Singles Chart. In the UK, it was the highest-charting single from the Some Friendly album. Its best showing in the United States was on the Modern Rock Chart, where it reached No. 5 in September 1990.

<span class="mw-page-title-main">One to Another</span> 1996 single by the Charlatans

"One to Another" is a song by British alternative rock band the Charlatans. It was the first single from their fifth album, Tellin' Stories (1997), and their first single following the death of the band's keyboardist, Rob Collins. The single remains their highest-charting song in the UK, reaching number three on the UK Singles Chart. "One to Another" features drum loops provided by Tom Rowlands of the Chemical Brothers. The song serves as the theme song to the UK channel E4 show My Mad Fat Diary.

<span class="mw-page-title-main">Weirdo (song)</span> 1992 single by the Charlatans

"Weirdo" is a song by English band the Charlatans. It was released as the first single from the band's second album, Between 10th and 11th, on 24 February 1992, reaching No. 19 on the UK Singles Chart. The single was the band's most successful in the United States, peaking at No. 1 on the Billboard Modern Rock Tracks chart in May 1992 and No. 10 on the Billboard Hot Dance Club Play Singles chart.

Me. In Time is a single by the English alternative rock band The Charlatans, released in November 1991. "Me. In Time" is the first Charlatans single to feature the contribution of Mark Collins, who replaced John Baker as the band's guitarist in mid-1991.

<i>Who We Touch</i> 2010 studio album by The Charlatans

Who We Touch is the eleventh album by British alternative rock band The Charlatans, released on 6 September 2010. It was released in a standard version and a two disc version. The second CD contained early demos, alternate mixes of tracks from the standard album, and some out-takes that didn't make it on to the album. The album charted at #21 in the UK album charts. The album was later released digitally.

<i>Modern Nature</i> 2015 studio album by the Charlatans

Modern Nature is the 12th studio album by British rock band the Charlatans. It was released through BMG on 26 January 2015. After the release of the band's 11th studio album Who We Touch (2010), drummer Jon Brookes was diagnosed with brain cancer, and subsequently died in mid-2013. In early 2014, the band met up at their studio Big Mushroom with Jim Spencer, and began working on a new album. The sessions lasted seven months, and featured recordings from the drummers of the Verve, New Order, and Factory Floor. Described as a pop album, Modern Nature featured contributions from the High Llamas frontman Sean O'Hagan, as well as gospel vocals from Melanie Marshall and Sandra Marvin.

<i>Telling Stories</i> (book) 2012 book by Tim Burgess

Telling Stories is a 2012 autobiography by Tim Burgess, about his time fronting British rock band the Charlatans. After a false start with a ghostwriter, Burgess began the book in earnest in late 2010, completing it in early 2012. Originally released as a hardcover edition, a paperback iteration with an extra chapter was printed in 2013. The book received mainly positive reviews from music publications, several of which commented on Burgess' writing style.

References

Citations

  1. 1 2 3 Wills; Sheehan 1999, p. 55
  2. ↑ Robb 1998, pp. 120, 126
  3. 1 2 Wills; Sheehan 1999, p. 56
  4. ↑ Wilson 1997, p. 15
  5. ↑ Wills; Sheehan 1999, pp. 56, 60
  6. ↑ Wills; Sheehan 1999, pp. 60, 61
  7. 1 2 Wills; Sheehan 1999, p. 61
  8. ↑ Robb 1998, p. 137
  9. ↑ Robb 1998, p. 139
  10. 1 2 Wills; Sheehan 1999, p. 62
  11. 1 2 3 Wills; Sheehan 1999, p. 65
  12. 1 2 Burgess 2013, p. 82
  13. ↑ Wills; Sheehan 1999, pp. 62, 65
  14. ↑ Robb 1998, p. 50
  15. ↑ Wills; Sheehan 1999, p. 66
  16. 1 2 3 4 Robb 1998, p. 168
  17. ↑ Robb 1998, pp. 153, 154
  18. ↑ Robb 1998, p. 154
  19. 1 2 Wills; Sheehan 1999, p. 68
  20. ↑ Robb 1998, pp. 154, 155, 156
  21. ↑ Burgess 2013, p. 84
  22. ↑ Burgess 2013, p. 85
  23. ↑ Robb 1998, p. 157
  24. 1 2 Wills; Sheehan 1999, p. 69
  25. ↑ Wills; Sheehan 1999, pp. 69–70
  26. 1 2 3 Wills; Sheehan 1999, p. 70
  27. ↑ Wills; Sheehan 1999, pp. 70, 72
  28. ↑ Wills; Sheehan 1999, p. 72
  29. ↑ Wills; Sheehan 1999, pp. 72–73
  30. ↑ Wilson 1997, p. 18
  31. ↑ Wills; Sheehan 1999, p. 73
  32. 1 2 3 4 5 6 7 8 9 10 11 12 Wills; Sheehan 1999, p. 78
  33. 1 2 3 4 5 6 7 8 9 Wills; Sheehan 1999, p. 76
  34. 1 2 Robb 1998, p. 169
  35. 1 2 3 4 5 6 7 Wills; Sheehan 1999, p. 80
  36. ↑ Burgess, Tim [@Tim_Burgess] (11 April 2020). "Flood produced the record I knew of him through other people's records in my collection I had to get all the other Charlatans to agree so played them New Order: Movement Pop Will Eat Itself: This Is The Day...This Is The Hour...This Is This! ...And Flood was signed up" (Tweet). Archived from the original on 11 April 2020. Retrieved 3 July 2022– via Twitter.
  37. ↑ Burgess, Tim [@Tim_Burgess] (11 April 2020). "Flood said yes because his girlfriend liked Some Friendly -but first he would remix our US single Sproston Green #timstwitterlisteningparty and a new version of Opportunity (we called it Opportunity 3). They still sound amazing" (Tweet). Archived from the original on 11 April 2020. Retrieved 4 July 2022– via Twitter.
  38. 1 2 3 4 5 6 7 The Charlatans (1992). Between 10th and 11th (booklet). Situation Two. 30978.
  39. ↑ Robb 1998, p. 170
  40. 1 2 3 Burgess 2013, p. 87
  41. ↑ Burgess, Tim [@Tim_Burgess] (11 April 2020). "Subtitle: We recorded a version of this with Hugh Jones for the http://Me.In Time EP Flood remixed it I always thought it sounded a bit like the @Bunnymen Maybe it's just the first line Lips like sugar?? That'd do it x" (Tweet). Archived from the original on 11 April 2020. Retrieved 4 July 2022– via Twitter.
  42. ↑ Burgess, Tim [@Tim_Burgess] (11 April 2020). "I had the title but lyrics came last, so I recorded the vocal at the strong room in East London. I was living in Chiswick. It was my favourite (still is – Phew! ) on the album" (Tweet). Archived from the original on 11 April 2020. Retrieved 4 July 2022– via Twitter.
  43. 1 2 Bergstrom, John (12 March 2012). "Can't Even Be Bothered: Two Great British Indie Rock Albums Turn 20". PopMatters . Archived from the original on 27 June 2022. Retrieved 28 June 2022.
  44. 1 2 Christopher, Michael (30 January 2023). "617 Q&A: Tim Burgess on The Charlatans hanging out 'Between 10th and 11th'". Vanyaland. Archived from the original on 31 January 2023. Retrieved 15 October 2023.
  45. ↑ Burgess 2013, p. 88
  46. 1 2 Burgess 2013, p. 86
  47. 1 2 Gerstein 2004, p. 123
  48. ↑ Luck 2002, p. 61
  49. ↑ Robb 1998, pp. 170–171
  50. 1 2 3 Robb 1998, p. 171
  51. ↑ Robb 1998, p. 153
  52. ↑ Robb 1998, p. 158
  53. ↑ Burgess, Tim [@Tim_Burgess] (11 April 2020). "I think of Brighton when I hear this song Nice guitar solo at the end Then piano strings being hit by a drum mallet (like for a gong) and then picked as an overdub with reverse reverb on top. Oh yeah!" (Tweet). Archived from the original on 11 April 2020. Retrieved 3 July 2022– via Twitter.
  54. ↑ Bernstein 1992, p. 48
  55. ↑ Burgess, Tim [@Tim_Burgess] (11 April 2020). "In this song it all comes from Mark amazing layering technique , different tunings, acoustic and electric" (Tweet). Archived from the original on 11 April 2020. Retrieved 4 July 2022– via Twitter.
  56. ↑ Burgess, Tim [@Tim_Burgess] (11 April 2020). "The lyrics are about spoiling someone's fun - I wasn't very happy with how trapped I felt" (Tweet). Archived from the original on 11 April 2020. Retrieved 4 July 2022– via Twitter.
  57. 1 2 3 4 Wills; Sheehan 1999, p. 88
  58. ↑ Burgess, Tim [@Tim_Burgess] (11 April 2020). "We worked hard on this song but we had two choruses. We couldn't decide which chorus to go with so went with both – not sure how we made it work but it sounds amazing" (Tweet). Archived from the original on 11 April 2020. Retrieved 4 July 2022– via Twitter.
  59. ↑ Burgess 2019, p. 45
  60. ↑ Burgess, Tim [@Tim_Burgess] (11 April 2020). "The End of Everything I wanted to do a war song Maybe a bit like @neworder's Love Vigilantes" (Tweet). Archived from the original on 11 April 2020. Retrieved 4 July 2022– via Twitter.
  61. ↑ Burgess, Tim [@Tim_Burgess] (11 April 2020). "My friend Jonah faked illness to get out of the army The training was fun apparently but once they had you signed up it was a nightmare 'The End of Everything, you're dead in me for ever' was what he said it felt like when he finally got out. It took him 18months" (Tweet). Archived from the original on 11 April 2020. Retrieved 4 July 2022– via Twitter.
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  69. 1 2 3 4 5 6 Wills; Sheehan 1999, p. 83
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  71. 1 2 3 4 5 6 7 Wills; Sheehan 1999, p. 84
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Sources

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