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
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