The Edwardian Era

Independent label Cherry Red Records has just released a three-CD anthology of the work of Edward Ball.

The 61-track collection, which is called It’s Kinda Lonely Where I Am – Anthology 1977-2010, spans his entire career, from the teenage DIY punk and power pop of ‘O’Level and Teenage Filmstars through the indie-mod of The Times, to Ball’s Britpop years on Alan McGee’s Creation label, where he recorded with Ride’s Andy Bell, Nick Heyward (Haircut 100), Swedish female singer-songwriter, Idha, and members of The Boo Radleys.

Also included are tracks from his dance and world music-influenced project Love Corporation, whose tunes were remixed by Andy Weatherall, Danny Rampling and Monkey Mafia.

There are plenty of highlights, like The Times’ quirky and infectious 1981 debut single, Red With Purple Flashes – Ball says it was their attempt to write the “saddest, most melancholic, contemplative mod pop record ever” – the sad-eyed, European-flavoured, Tears On A Rainy Sunday, which sounds like The Style Council doing Kraftwerk, and their 1982 fan favourite, I Helped Patrick McGoohan Escape, inspired by cult TV series The Prisoner, and featuring some great, groovy ’60s-style organ and soul guitar.


Then there’s the irresistible and upbeat folky-pop of 1996 solo near-hit, The Mill Hill Self Hate Club, the pastoral Nick Drake-isms of the compilation’s title track, It’s Kinda Lonely Where I Am, the bold and brassy Trailblaze, the Motown-inspired gem, Controversial Girlfriend, and the introspective and rootsy ballad Docklands Blues, written with Tim Buckley’s The River as a starting point, according to Ball.

There’s also a previously unreleased track included, Song To The Lighthouse, which is an outtake from Ball’s soundtrack to the 2010 Carol Morley film The Edge, starring Maxine Peake. It’s short and sweet – a stripped-down, acoustic folk tune.

Moving away from the trad singer-songwriter material, there’s the epic full 10:35 version of Love Corporation’s Give Me Some Love, with production by Andy Weatherall from 1991.

Listening to many of these songs, you can’t help but think that they should’ve been massive hits, rather than simply condemned to obscurity. It’s great that Cherry Red has pulled all of these tracks together, and presented them in an attractive triple-CD package – here’s hoping a new audience will stumble across this eclectic, colourful and inventive collection of songs by an unsung indie hero.

Ball has approved the box set and contributed some insightful sleeve notes in collaboration with MOJO and Record Collector writer, Lois Wilson.

Here’s hoping a new audience will stumble across this eclectic, colourful and inventive collection of songs by an unsung indie hero’

To celebrate the release of the anthology, I revisited an interview I did with Ball back in the autumn of 1996, ahead of a gig supporting The Lightning Seeds at Portsmouth Guildhall. His new album, Catholic Guilt, was due out the following year, on Creation.

The original version of this article was published in South Coast listings magazine, Splash! in October 1996.

Edward Ball

“Don’t tell me you’re a Liverpool fan,” says Edward Ball. On the day that I’m interviewing the 36-year-old, bald tunesmith, he’s still reeling from his favourite football team Chelsea’s recent 5-1 defeat at the hands of Liverpool.

“It’s part of being a Chelsea fan,” he says. “There was I thinking that this was the season things were going to change because of our star cast and then we get whacked by Liverpool…”

Anyone who’s suffering from the blues, for whatever reason, should give Ball’s last two singles, The Mill Hill Self Hate Club and Trailblaze, a listen. Despite their self-loathing lyrics, they are both killer pop tunes, described by Ball as “broad and brassy”.

The former has a great, wailing harmonica riff and horns, while the latter is based around a big, bold brass arrangement. Sadly, both missed out on entering the Top 40 – The Mill Hill Self Hate Club stalled at number 57, while Trailblaze fared worse, managing a chart position of 98.

‘The Beatles are like your first girlfriend. Every time you put them on, they make you feel happy’

He may not have hit the big time yet, but Ball owes a debt to classic, quality songwriting by the likes of The Beatles and The Beach Boys. “The Beatles are like your first girlfriend,” he says. “Every time you put them on, they make you feel happy. They have great healing powers.”

Underneath Ball’s shiny pop veneer lurks a sad tale – a large amount of his songs have been inspired by one major breakup.

“They all stem from one particular relationship,” he says. “We all go through many different relationships, but I think we’re all answerable to one that grabs us by the throat. It was that one which I wrote nearly 50 songs about.”

So, does he have immense problems with relationships?

“I probably have no more problems than anyone else does. We’re all on the starting blocks and trying to make it to the other side with someone – it’s just that I look into relationships more. I don’t know what I expect from them,” he says.

‘We all go through many different relationships, but I think we’re all answerable to one that grabs us by the throat. It was that one which I wrote nearly 50 songs about’

Ball, who was born in 1959,  has been involved in music since 1977 and he’s recorded with ‘O’ Level, The Television Personalities, Teenage Filmstars, The Times and dance act Love Corporation.

Currently he’s settled into a singer-songwriter role, drawing on his own personal experiences. “It’s a lot easier now,” he says. “I spent so much time writing about stuff and getting into everything from food to drugs. You can do all this experimenting and messing about, but then you find the real self,  you write about it and everyone says, “Oh, I know what you mean.”

He composes a lot of his songs when he’s on the move. “Most of them are written in hotel rooms,” he says. “That’s where all the best songs come from – when you’re by yourself and in unfamiliar surroundings. It helps the cathartic side and brings out what needs to come out.”

Ball is scarily prolific – he never stops writing songs.

“I’m still writing one now,” he says. “I’ve got one in my head that I’m turning around and trying to make sense of. It’s called Controversial Girlfriend. I’ve got a guitar and an amp set up in my kitchen and I’ve been hammering away on it for the last couple of days.”

One of his recent inspirations was a train journey from Manchester to London. “I couldn’t believe it,” he says. “It was bloody early in the morning – about six o’clock. I set out from Manchester to London for an interview and when we came into Macclesfield the sun was coming up and it was utterly beautiful – a special moment. It was gorgeous. When you think of Macclesfield, you don’t expect that –  you expect smog.”

‘The need to make records ends up being the worst addiction of all. It’s the one you don’t expect. They’re always the worst, aren’t they?’

After all these years, is he frustrated that he still hasn’t had a hit record? “No,” he says. “I’d be more frustrated if I couldn’t actually make music at all. The need to make records ends up being the worst addiction of all. It’s the one you don’t expect. They’re always the worst, aren’t they?”

He adds: “I’m not looking for acceptance. There are only two of three people’s opinions I care about.”

Perhaps he’ll finally break through into the mainstream with his next single, which is highly likely to be a tune called Love Is Blue.

He shrugs it off as “just one of those songs,”, adding: “Maybe it will be the next one that does it. But if it gets into the Top 40, we still won’t have world peace, will we?”

Edward Ball’s It’s Kinda Lonely Where I AmAnthology 1977-2010 is out now on Cherry Red Records. You can order it here

Love Is Blue didn’t get into the Top 40 – it peaked at number 59.


‘We were Britpop before Britpop’

The Kynd
The Kynd

What did you do during lockdown? Well, if you were ‘90s indie band The Kynd you reformed, decided to put out your long-lost third single and rerelease your debut album, from 1999, in a deluxe version with a bunch of extra tracks.

Not only that, but they’re also heading back into the studio to record the second album they never had a chance to make.

“We’re wondering if we’re going to break a record for the longest time between a debut album and a follow-up,” says guitarist Danny Tipping. “Even The Stone Roses only took five years…”

Lockdown has given us more time to reflect on our lives. Some of us have used it to embark on a nostalgia trip, whether that’s reconnecting with old friends over Zoom, or digging back into our record collections – or searching streaming services – to listen to music from our youth.

I’ve been indulging in the back catalogue of anthemic indie-rockers Gene – my favourite band from the ‘90s – but, sadly, I no longer fit into that skinny T I bought after a gig at the London Astoria in 1996…

Twin brothers Danny and Tristan Tipping, and their friend, Paul King, from Buckinghamshire, have taken things to the extreme – they’ve used their downtime to resurrect their ‘90s indie band The Kynd.

Back in the day, DJ Gary Crowley described their sound as “a gorgeous slice of Bucks beat.”  The group played shows supporting the likes of Hurricane #1, My Life Story and The Bluetones. Ride guitarist and future member of Oasis, Andy Bell, produced their debut single, Egotripper, which came out in 1996.

This month sees the release of their long-lost third single, Get What You Deserve, and the reissue of their 1999 debut album Shakedown, in a deluxe, repackaged CD version, with seven extra tracks. Oh and they’ve also reformed to play some gigs later this year and record their unfinished second album.

And, as if that wasn’t enough, they’ve given Say It With Garage Flowers an interview to tell us why they’ve decided to get back together.  So, over a socially-distanced pint outside a bar in Chesham – not far from where the band grew up – I have a chat with guitarist Danny, who is, er, one of The Kynd.

“We’re excited,” he says. “It’s been really fun…”


I’ll be honest, even though I’m a veteran of the ‘90s indie scene, I hadn’t heard of The Kynd [Paul King – vocals, Danny Tipping – guitar, Tristan Tipping – bass, Bradley Hills – drums] until a few weeks ago. I’ve known you and Tristan for a few years, because of your Americana label, Clubhouse Records, but you’ve never mentioned the band before…

Danny Tipping: We didn’t talk about it for ages, because we did it so intensely during the mid-‘90s that when it all came to an end, we were all done with it.

How did the band come together?

DT: We were schoolmates – when we were 14, Paul went to the same senior school as Bradley and us at Chalfont St Peter.

We were all into music and our dads had all been in bands – like everyone does, we kept talking about being in one. In our last year of school, everybody else was forming either punk or metal bands. We decided not to do that – we played ‘50s rock ‘n’ roll, like Chuck Berry and Eddie Cochran, and we had turns-up and wore Converse. It felt quite rebellious. We were called Walk, Don’t Run after The Ventures song, which was one of the first things I learnt to play.

And then you became The Kynd and went indie…

DT: Once we stopped playing the rock ‘n’ roll stuff, we were done with covers and we started writing together. There was a lot of good guitar music around in the mid-‘90s – more and more guitar bands were getting into the charts and we were all listening to grebo, like The Wonderstuff, and we liked The Smiths and The House of Love, and a lot of the shoegazing stuff and the Thames Valley scene. We liked Blur and I loved Gene, and Bandwagonesque by Teenage Fanclub.

‘We played ‘50s rock ‘n’ roll, like Chuck Berry and Eddie Cochran, and we had turns-up and wore Converse. It felt rebellious’

The demos we did in ‘92/’93, before we recorded Shakedown and did the Egotripper single with Andy Bell of Ride, were – without being wanky about it – Britpop before Britpop, because we were into The Who, The Kinks, The Stones and The Small Faces.

We’ve always been into classic ‘60s pop and we got lumped into the Britpop thing – we were playing at mod nights, like Blow Up. A lot of the people there weren’t strictly mods, but they were into a mix of indie and ‘60s pop. You could play in packed student unions from one end of the country to another – and that’s what we did, for about four years.

We were headlining university gigs and we were the perennial support band on that circuit – we supported anybody you care to mention. We had a pretty decent following – we had singles come out and we got some radio play, but we only got a smattering of press. We got a good review in Kerrang! once and we were mentioned in the NME and Melody Maker.

Do you wish you’d been more successful?

DT: I was never bitter that we weren’t bigger – we did it for a living, but we never really took off. My one regret is that if we’d known what we were doing, we’d have got the second album out.

How did you hook up with Andy Bell of Ride, who produced your first single, which came out in 1996?

DT: We played at the Marquee with Corduroy for a Small Faces tribute gig, raising money for the Ronnie Lane Foundation. Andy was there and we met him – he’s a big Small Faces fan. Ride were just finishing their Tarantula album.

We did our first single, Egotripper, with him, for a London label called Go-Go Girl/MGR, and then we did a follow-up single [World’s Finest] and an album.

‘I was never bitter that we weren’t bigger. My one regret is that if we’d known what we were doing, we’d have got the second album out’

We were supposed to release a third single, Get What You Deserve, but it never came out. It was our anthem – it’s one of our best songs – and we were building up to it. There was meant to be a trio of singles.

And now Get What You Deserve has finally come out this month, as a digital single. It’s a great, anthemic pop tune, but with some very vicious lyrics – it’s a revenge song…

DT: Yes – it is. Paul wrote the words – he says it’s the nastiest song we ever wrote.

The title is quite Morrisseyesque…

DT: Paul’s a big fan of The Smiths.

It reminds me of the Longpigs…

DT: It’s funny you should say that – other people have said that too. Paul’s really into the Longpigs…

Your debut album, Shakedown, is being released on April 23, as a deluxe, repackaged CD version, with seven extra tracks…

DT: The album has been out of print – you can buy a copy from Japan for 45 quid! We reissued it digitally in 2015, but people wanted to get hold of it physically, and, because there’s a bit of a ‘90s nostalgia trip going on and people have started to get interested in the band again, during lockdown we thought we should do something for this year, as it’s the 25th anniversary of the first single coming out. We talked about doing a gig and then we decided to put out the third single, and do a proper CD release of the album, with extra tracks, so that people who do want it don’t have to buy an expensive copy off Discogs.

So, you’ve gone from lockdown to Shakedown

DT: Yes [laughs].

Did the first album do well when it was first released?

DT: It sat on the shelf and didn’t come out until 1999 – by that time, we’d already moved on and we were playing a set of different songs, as we’d kept on writing and writing. We’d demoed the second album before the first one had come out – we’d lost some momentum. Our last tour was 1999.

And then, before you’d had a chance to make the second album, you split up…

DT: Yes – and before we were supposed to tour Japan and the West Coast of the States… We’d just had enough – everything took so long. We’d been doing stuff together for 10 years.

So during lockdown last year, you started listening to your old stuff…

DT: We all went through our boxes of tapes, CDs and MiniDiscs and we started to relearn our live set. Paul found the demos we did for the second album and so we listened to them too – there’s some good stuff. It’s been really fun.

We’re also going to go into the studio, record our second album in July and put it out on vinyl before the end of the year – depending on how things pan out. We’re going to be true to how we would’ve done it in 1999.

With the release of Get What You Deserve and the reissue of Shakedown, we’re clearing the decks for what comes next. We’re wondering if we’re going to break a record for the longest time between a debut album and a follow-up. Even The Stone Roses only took five years…

Is there a third album planned? Three of The Kynd?

DT: That would be amazing – that’s what we should call the trilogy of singles.


The Kynd’s debut album, Shakedown, has been repackaged and reissued on CD for the first time in 20 years. It’s out on April 23.

The limited edition, individually numbered package features an eight-page lyric booklet and seven bonus tracks, including B-sides, demos and rarities.

You can order it here:

For more info:

The Kynd will be playing two headlining gigs later this year at The Water Rats, in King’s Cross, London (Friday June 11 and Saturday June 12) – both shows are sold out.

They will also be on the bill at the Speakeasy Volume One festival at Bucks Students’ Union, High Wycombe: Dec 11-12, alongside Space, Thousand Yard Stare, My Life Story and a DJ set from Louise Wener of Sleeper.

Tickets are available here.