We are pleased to announce a New Single: ‘Disco’s Main Squeeze’ featuring Pinky Ann Rihal Produced by Tjinder Singh, Mastered at Third Man Mastering, Detroit Listen + Watch The Video Now
Release Date: April 20th, 2023 Label: Ample Play Records Cat No: AMP134DD
Tjinder & Benedict of Cornershop were innocently having a cup of tea, at Clissold House above the rose garden when they received a telegram sent to them in error by James Endeacott. Actually it was an email with an album attached. Now when you’re having a cup of tea and get an album sent to you out of the blue in such a manner, it demands you listen to it and despite it being nothing to do with them, Tjinder liked it so much as to ask the folks at Naya Beat Records, California to do a mix of one of the songs.
Things that don’t have anything to do with you can take you to strange places.
Three months later a disco curry was made…with Pinky Ann Rihal doing vocals along with the band of Cornershop, all square ties. L.A. meets London downtown. Why this song from the album? Tjinder thought its playful vocal delivery reminded him of his favourite far right Tea Party supporter Maureen Ann Tucker whom he and his wife had met in Washington Square Hotel, New York.
Video comes courtesy of the expensive daily rate of Delhi’s finest editor of talkies, Dilip Anand. The band in the video is the actual band Pinky Ann Rihal performing on 80’sChannel 4 programme Eastern Eye, it’s not just a gimmick. Special mention to ace and omni present presenter of Asian Magazine programmes Shyama Perera.
Further information please contact: Jamie Woolgar – jamiewoolgar@roughtraderecords.com / 0208 8755189 / 07970538609
“It’s a Trojan horse of a song. Images of wooden soldiers are playful and harmless but you are suddenly bombarded with real political issues, colonialism, parked elephants, and reclaiming looted uniforms. “Victory is in peace not war.” Tjinder Singh
With the video director Astrid Edwardstook a very punk view on the song because of its guitar lines & played with cut-ups and pre-existing photography and fast moving imagery to put the song back in 70s Britain, to bring out the Bolan boogie of the song.
Here is Astrid Edwards the Director of the ‘I’m A Wooden Soldier’ video to outline her thoughts behind it’s making:
“This particular film is a little homage to the elements and themes of punk fanzines…something close to mine and the band’s collective teenage experience. I’d lurched into teenagehood on a steady diet of hand-stapled Sniffin’ Glue, early ID fanzines and Spare Rib. With that and our current Government in mind, I applied my slightly angry DIY punk ethic creating original artwork, cutting it up into photomontages with good old-fashioned scissors, a scalpel, some glue and a lot of paper with the intermittent re-photographing or old school photocopy thrown in. I then hand animated it, shot, and appeared in it (no budget for a performer) and edited it together myself mostly frame by frame. With some of the more complex scenes I worked with the brilliant designer/animator Sim Tennant in afterfx. It was really free-ing to go back to punk basics, really painstaking but fun – and much like the song, it felt apt and relevant to be working in that way. This is my second collaboration with Cornershop. Both films are quite raw but very different – what’s great is that the band are always so trusting and supportive of my ideas – this one particularly, as it literally came together frame by frame by frame. Analog for the digital generation…” Astrid Edwards
CREDITS: ‘Wooden Soldier’ video – conceived, hand animated, directed, produced, edited by Astrid Edwards Rockmother FIlms
Insta: therockmother
Twitter: @rockmother Additional digital animation: Sim Tennant
We have neglected this medium for a while, and intend to put a stop to this by quickly writing something.
I thought I should write about the ‘Everywhere That Wog Army Roam’ video from the new album ‘England Is A Garden’. The song had been earmarked for release a few times, but was put back a few times because the fear of offending those that go weak at the sight of the Wog word. I mean they are offended by Wog, not the word word, that would be silly.
To take out the harshness we thought an animated video would help soften the hurt, and be a good way to move a lot of ground quite quickly. As a result, we got in touch with graphic artist Ian Viggars whom we have worked with quite a few times now, over the last few years. His previous video for us was ‘Double Denim’ where he created a whole musical group of characters to depict double-denim nights, people used to do these things not so long ago.
At a cafe meeting we talked about ‘Everywhere That Wog Army Roam’ which he heard prior, and within minutes many ideas came out. As we love reggae the idea of a cartooned reggae record cover such as was prevalent with Yellowman or Scientist cover art in the late 70’s early 80’s became the focus. Character types were decided, and Ian went away to create them. After a few weeks his ideas were very strong, and excitement began to built. His big scene was going to be fight between Police and Thieves, but we decided that might be too expected, so the Policemen, whom look very India military to me, join in rather than let all hell break loose, with music being the common denominator.
There are some many nuances in the characters that he brought to life with special effects and humour. The smoking cricketer is a favourite. Ironically, I used to have a deputy head that was an amazing cricketer, ex of Nottinghamshire County Cricket Team who smoked a lot of Embassy number1.
The audio I cut down to keep the video single edit sized, and Ian continued to work hard on putting it all together. The result was excellent, but we hit a lot of resistance as the Black Lives Matter movement, one which consider most splendid was hitting most streets across the world, and no establishments would really chance putting out the video, and certainly not gamble on talking about it too much. It seems timing to put out such a song was always going to upset someone’s applecart.
These 4 put Cornershop onto the map at the same time as the Riot Grrrl Scene, of which they were given honorary membership, changing the musical industry landscape forever, leaving stages trashed, posters burnt, and minds blown.
This T-shirt as designed by Nick Edwards the group’s long time graphics designer is made from quality organic cotton.
Cornershop was started up with 4 founders, and this Names T-shirt err names them. This is handy as everyone will ask you what your T-shirt means. The drummer was called David Chambers as you all know. He created our famous TOKEN HONKY T-shirts, and goes here by his stage/fanzine handle name David ‘Hellbastard’ C. Avtar is the brother of Tjinder, and Benedict and Tjinder studied together.
Available in menswear in EU Letter sizes (US sizes choose a size up), from XXS to XXXL.
A little while back Tjinder answered questions for Dave at Barmcake Magazine
The questions:
I saw Cornershop at the Wheatsheaf,
Stoke in 1993 or 94. It was a thrilling gig – punky, raw and a bit
unpredictable. What were your ambitions for the band at that point? Were you
hankering after making more complex songs then? Did you regard When I Was Born
For the 7th Time as a huge leap forward from your early stuff?
Ah Stoke Wheatsheaf, a regular stop off for groups touring the UK in the
90s.
At that stage we only thought about finishing one gig after another. As a touring unit the off stage part of touring was very upbeat yet unpredictable too. Everyday offers of interviews, tv, gigs and general support were coming through to our label Wiiija.
In terms of songs, there was no hurry to move away from what was
happening, but having said that all the songs we did were different, &
that’s why in the longer term our songs were augmented with other
instrumentation. The Women’s Gotta Have It LP was a stepping stone up
from Hold On It Hurts, & When I Was Born For The 7th time was a further
step up from that. It’s a story that reflects how the band moved
on, and a story that was very different to any other band, being DIY
independent, Anglo Bubbley & Asian, and political.
Elastica and Echobelly were
on in the same venue around that time. Did you feel you had anything in common
with some of the bands who were emerging at the time? Do you have a sense that
some indie music was about to go mainstream?
As we sporadically came to London, we mainly got on with the groups we knew prior to arriving. This was mainly the Riot Grrl Scene of which we were honorary members, members being the operative word. Then we generally we got on with everyone. I used to stay with Dan Treacy and Alison Wonderland for a while, and we all stayed in a house on the Camden Road with a lovely Asian girl called Inder.
USA bands were the mainstream indie music, but we only had the sense
that as a group we were slowly getting bigger ourselves and before you knew it
we were having tea with our traducers.
I’ve always loved your voice – it’s full of warmth and is instantly
recognisable. Did you ever sing at school or family gatherings when you were a
kid? When was the first time you sang in public? Apart from your brother Avtar,
were your family musical?
That’s really too kind of you about the voice but most welcome.
Never sang at school other than hymns at Assembly of mixed up
colour people. My family wasn’t too musical yet both my father and uncle
started doing music quite late in life. I never sang in public on my own
until we had our first live gig, & even then I think it was the Slalom beer
singing.
When you and Ben first met in Garstang
Road, Preston, did you bond over music? If so, what songs/bands were important
for both of you? How long have you known each and how would you describe each
other?
We were the first people each other of us met at the polytechnic on the
doorstep of a rather grand house we would be sharing with 12 other young chaps,
under the tutelage of a vicar and his family whom resided on the first foor.
However, we really got on in the first term of a second year when we left
that house for Eldon Street. Ben has stolen his mother’s guitar and I
bought a junior sized bass and Wem amp. I would describe Ben as a shy
chap that only warms to people after 2 cups of tea. But he is kind and
descent, if there is anyone who doesn’t like him you know off the Gunn &
Moore they are most probably a tosspot. As for what he thinks of me you will
never know for we are behind this articles deadline time…sorry bout that.
How do you make music now? Do you start
with a simple melody or one line of lyrics and build it up from there? Do you
complete the song in your studio and then ask Ben for input?
I have always started songs and then they are augmented by Ben or
other people. As we all see each other less, if an idea comes up I record
it, I have a studio downstairs and then if it sticks it will get finished.
Sometimes it’s less satisfying than having a band around everyday, but I hope
to get back to that way of working now we are all more settled. Songs can
start from a lyric or melody of a sample or a feeling or a mistake. There
is no end to how they start, just a start to how they end.
Are you working on a new LP now? If so,
when will it be out?
We are getting to the end of a very drawn out album. This is
because I was not too well a few years back, that’s why we concentrated on our
ample play label to help time and recovery take place but still be progressing.
As to when will it be our we are not sure as yet.
As co-founder of Ample Play Records,
what advice do you give other artistes?
I think it’s good to give as little advise as possible, but as much help
in areas you can see being of benefit. The main thing with the label has
been having total confidence in our artistes and however they have progressed
we still feel they deserve more, & hope they get it. Also the groups
we have chosen add to what we are about as a music group too. It’s all
part of our story.
You’ve used the word ‘wog’ in song
titles, interviews and on Twitter. It’s one of those words that makes me wince,
perhaps because it’s associated with the worst of 70s racism. Are you trying to
nullify its shock value by using it? How long was your suspension from Twitter
for using the word? Was there any kind of appeal process where you could
explain why you were using it?
Wog stands for Western Oriental Gentleman/Gentlewoman so it’s quite
dignified when not used in ? form.
I do think it’s a case of reclaiming the word, but importantly I think
it’s a case of not getting hung up on certain words. For instance Blacks or
Coloured or whatever it is, are just words and when we take the heat out of
them which can take enough time in itself, then they roll over like a pussy cat
and we can get on with the hoovering.
The suspension was for 3 weeks I think, I did not refute it, but I did
have a very clean carpet by the end of it.
I live in Huddersfield and for the
first time in years I heard on the street an old man tell a group of women to
speak English (one of the women told him in broad Yorkshire exactly what she
thought of him!). Do you think the Brexit vote has made racists more openly
hostile or is it to do with the pooh-poohing of political correctness and
aggressive language of the tabloids that has caused incidents like this?
Huddersfield, I knew it quite well. I think Brexit is all about
getting the nig nogs out and nothing but. Social and transmitted media
has helped make it more acceptable as they sort to get equal reactions from
both racist and non racists. Sadly, just because you are black it does
not stop you from learning from the oppression you have suffered and many
blacks are part of this racism. We could not have guessed that the melting
pot is a pot that boils down to forgetting. Brexit is Powelism, and I was
born in the Black Country which is why Cornershop songs have always rallied
against Enoch, for we never saw it go away.
Did you ever have any communication
with Morrissey about burning his posters? Did it seem a bold thing to
do at the time as he seemed virtually untouchable?
We never had any communication no. He did come to see us at the El
Ray Theatre in LA, and our bassist talked to him. It didn’t seem brave,
it seemed necessary or before you know it shit is on your ears and Brexit comes
along. Damn.
Do you not play gigs often because most
of the songs are too complex to reproduce live? Are you playing any gigs this
year?
No, we don’t actually think they are complex, we still try to keep to 2
or 3 chords all majors. We don’t play because when I did feel ill I
realised I didn’t want to play live again. We all have kids and time has
moved on.
What do you think Cornershop has that
no other band can offer? How do you feel about the body of work you have
produced? Do you have any favourite Cornershop/Clinton LPs? Any regrets over
your career? Any plans for re-releases or boxsets of your work?
I think we have a background different to most bands, we have never
yearned for a stage, but have always tried to record different songs and
reflect what is going on in the world. We are very proud of our releases
and think they have made for an interesting development which will
threaten to show itself for a long time.
As the years go by we are more pleased with the Clinton album, very
personally pleased to have done the Bubbley Kaur album which has never
gone out of fashion, but neither have our other albums, my favourites being
Handcream For A Generation and Judy Sucks A Lemon For Breakfast.
We did a compilation album on Burgers Records a while back, but
will no doubt do more.
Finally, can I just check – I always thought the band formed in 1991 but on your Twitter bio you say ‘Independent purveyors of quality music since 1993’ Is that because that was the date of your first release, the In The Days of Ford Cortina EP? Or is it correct to say you formed in 91?
Yes because of release date, as the EP was recorded in late 1992.
On Wikipedia, it mentions band members Nick Simms, Peter Bengry, Adam Blake, Pete Downing, James Milne. Are they full band members or are they only part of the band when you are recording an LP or playing a gig? Or is the band just you and Ben?
They are all full band members in and out of the studio.
Thanks Dave, if there is anything else then please contact us, Tjinder
We haven’t done any new merchandise for quite a while, so we thought a mug would be practical, as well as creating conversation, and of course doubling up to be quite a handy weapon.On the one side it has the Ample PlayLondon England telephone logo (Ample Play, our own label),and on the other is a Cornershop logo repeated to dizzying psychedelic heights. Both are designs by our long-time collaborator and friend Nick Edwards.
Here it is pictured in full black-and-white, representing the no-nonsense of the label and the group alike.Ourselves, we are heavy tea drinkers but it can be put to good use with any beverage.
The mug will be packed by some unsuspecting band member, as all of our postage is (mainly Tjinder), in environment friendly cardboard packaging.
Ollie got in touch with us to buy, and asked for additional material relating to the song/book/vinyl ‘What Did The Hippie Have In His Bag?’ to create a lesson for his children’s school. Ollie hailed from my old alma mater of Preston, so we were happily surprised that this lesson/workshop was for a French school. It sounds like it went tip-top, this is how he describes the situation in his own words:
“Being a massive Cornershop fan (and indeed owning our own Cornershop in Cornwall), whilst now living in Southern France, I was approached to donate some time and ideas for an EnglishDay at our children’s Bilingual school, the perfect opportunity to bring my passion for music and art presented itself.
‘What Did The Hippie have In His Bag?‘ immediately sprung to mind as lending itself perfectly to the occasion. It’s an undeniably funky toe tapper of a tune, very English and my kids love it (even Nancy who, just turned three recently, knows the words and will often insert them into everyday life, e.g. Double days and bubble gum, what did Max and Nancy eat for lunch?…….it’s unknown!) The idea to instill a bit of Cornershop wisdom and humour into the French kids learning- irresistible, perhaps a little left field, maybe too bonkersly British but a challenge worth undertaking.
The kids and I knocked up a Hippie’s bag and contents over a long French Bank Holiday weekend. A couple of additions were made to tailor the story for the English Hippie in a French environment (Marmite and Curly Wurleys) and we were good to go.
Being double rubbish at French didn’t make the workshop an easy prospect but undaunted and with a Hippie bag full of enthusiasm (and Curley Wurleys) and help from Tjinder and the brilliant head teachers we were off. “OK so you all going to join in?” Yeaaaah
We played ‘Hippie’ through before reading the book with the help of props and interpretation. The repetition of the title with the children backing is great for worming its way into your head and making it irresistible for singing along to. I tried to focus on words that are similar in French and English like boobley goom, marmalade, comprehend, espace, notre sac and hearing fifteen French voices pronouncing squelch (Mirandaesque – squelch, nice word squelch) is wonderful.
We finished by playing the video and the distribution of English confectionary. Six groups of kids ranging from eight to eleven passed through and hopefully left a little wiser to the world of pure imaginative, very British, eccentric, funky silliness. They certainly gamely played along and I’d like to think there’s a place in their hearts for the Hippie and his bag.
I’m already planning on doing it again soon with the addition of percussion and aimed at younger children too…….watch this space!
Now that we’ve climbed the mountain, the mountain will never seem the same again!”