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
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.
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
Cornershop‘s career is defined by defiantly unconventional moves, in its sound and approach to music making. Foremost is a determination stated by Tjinder Singh, “The only thing that all our records have in common is that each one tries to sound utterly different.”
It’s a resolve Cornershop has delivered on since its launch in 1993. They began as a raucous guitar-based agit-pop-group – with a difference. Amidst the thrilling din was Punjabi-sung tracks accompanied by sitar and dholki. Captured first on the EPs In the Days of Ford Cortina and Lock Stock and Double Barrel, Cornershop issued their debut LP, Hold On It Hurts in 1994. Though still rough and direct, the album’s tracks displayed textures exhibiting a broader musical vocabulary and intent.
Amongst Hold On It Hurts‘s admirers was David Byrne, who signed Cornershop in the U.S. to his Luaka Bop label, proclaiming, “We could see that they were headed in a direction that no one else dared travel. And we liked it.” The new transatlantic partnership boosted 1995‘s Woman’s Gotta Have It, one of the most startling and venturesome sophomore albums released by a band. The Asian/western mixes and sonic experiments bloomed and took center stage, notably in the U.K. and U.S. club success 6 A.M. Jullandar Shere.
Cornershop‘s breakthrough 1997 record,When I Was Born for the 7th Time, initiated unprecedented international acclaim. The record is a landmark of sonic invention and adventure, a cornucopia of compelling pan-cultural grooves. The album boasts Cornershop‘s signature track Brimful of Asha, possessing the most unlikely – yet inclusive – refrain in pop music history: “Everyone needs a bosom for a pillow.” It also included notable collaborations with Allen Ginsberg, The Automator, and a cover of The Beatles ‘Norwegian Wood‘ sung in Punjabi.
When I Was Born for the 7th Time was included in Rolling Stone‘s “Essential Recordings of the 90’s,” and Spin ranked it #34 in their “90 Greatest Albums of the ’90s” – after making it #1 in their “Top 20 Albums Of The Year” (besting, amongst others, Radiohead’s OK Computer). Similar rankings came from Q, NME, Melody Maker, and TheVillage Voice, amongst others.
Cornershop‘s recorded response to the attention was true to form and its self. Rather than building the Cornershop brand, they adopted the “Clinton” avatar for 1999‘s Disco and the Halfway to Discontent. The gratifying success of When I Was Bornseemed irrelevant to where Singh and Ayres (now the core of the group and remaining original members) wanted to go.
The destination was the dance floor. Disco is a laid back yet insistent collection of fizzy grooves containing the hallmark guest vocals, stylistic twists, and a toolbox of genres. It provided further proof (if needed) thatSingh‘s sonic imagination seemed limitless. This was especially evident when Cornershop quadruple-downs in 2002 on its next album – and masterpiece to date – Handcream for a Generation.
On the surface, the record follows its predecessor’s path: some band-performances, scratch and sample collages, genre exercises, and cross cultural fusions traversing reggae, funk, and soul. Tracks are longer and more fully realized, starring a diverse guest cast including legendary soul singer Otis Clay, Noel Gallagher and Guigsy of Oasis, and London reggae figures Jack Wilson and Kojak. Handcream achieves its singular status for being the band’s most extensively ambitious and fulfilling of the band’s aesthetic.
After touring in support of Handcream, Tjinder Singh announces a leave of absence to work on a film about the independent music industry. However, in a “creative splurge,” Cornershop releases a double A side single, Topknot/Natch on Rough Trade in 2004, its initial collaboration with the Bubbley Kaur. Where Handcreamwas expansive and complex, these tracks are stunningly intimate and simple, seamlessly fusing Kaur‘s haunting Punjabi vocals with funk-inspired rhythms.
Cornershop‘s maternity leave ends with the 2009 release of Judy Sucks a Lemon for Breakfast on its own Ample Play label. After a trio of assertively far-reaching records, Judy’s relativesimplicity is startling in its own right. Cornershop is here to rock – but in its own inimitable way. If traditional chorus-verse songs with great riffs and hooky melodies are the intent, Judyprovides them on every track. After Brimful of Asha, there should be no doubt in Singh ability to pen abiding tunes. Judy proves he can deliver an album’s worth.
Judyis a coup of a flexible and seasoned live-capable band. In its most direct and appealing album, Cornershop stays true to defying expectations and making the move appear radical.
Close after Judy comes the culmination of further collaboration with Bubbley Kaur, the 2010 album Cornershop and the Double O Groove of. At the heart of the record is Tjinder Singh‘s desire to “mix western music with Punjabi folk in a way that wasn’t crude.” “Western music” encompasses a multiplicity of stances and Singh doesn’t skimp, offering ten stylistically dissimilar tracks, unified in accomplishment in framing Bubbley Kaur‘s mellifluous melodies.
The recent post–Double ‘O’step was the May 2011 launch of Ample Play‘s The Singhles Club, a six-tracks-for a 6 pound subscription service. The project offers limited edition outtakes “reimagining the collectable single in a digital format with special added content; a digital popadom.” It’s a novel approach to distribution that like the music it offers, abounds in adventure and invention. With Cornershop, the only certainty is that something distinctly new is on the way.
Kenneth FitzGerald
Associate Professor of Art
Old Dominion University, Norfolk Virginia USA
Author, Volume: Writings on Graphic Design, Music, Art, and Culture (Princeton Architectural Press)
the Singhles Club & its printable artwork (AKA digital popadoms)
Tjinder Singh has produced unreleased tracks, which have been coming out as one-sided releases called The Singhles Club, and at the same time freeing up the hard disk of Mr. Singh’s headspace. For 6pounds Subscribers get 6 tracks in their inbox at the pace of one month.
With each track Subscribers get a collectable printable artbook. We are pleased to have developed relationships with film-makers, graphic designers and illustrators, who have created these artworks:
1. Non-Stop Radio character from video turned 3D to fold and play for any office with a sense of humour.
2. Colouring Sheet created by Rude, who have recently design a range of products for Tate Modern
3. Urban Turban Mask by our own Nick Edwards who has done many of our art sleeves over the years including the all the record covers in the Brimful of Asha video, & most of the Cornershop catalogue.
Solid Gold featuring Katie and will it feature in your head if given a couple of listens. In line with our past releases it is out of line with what other music is going down, and to help you swallow & celebrate that difference we have a 4. Judy Sucks A Lemon Cocktail Recipe as designed by Helen Rawlinson – www.helenrawlinson.com, with a recipe created by the forever tip top Dishoom
To join the Singhles Club at any time and get your back issues subscribe here
Release Date: 14 March 2011 Label: Ample Play Records
CD Cat: AMPLA CD 09 Download Cat: AMPLA DD 09
1 United Provinces Of India 3:26 Full fat funk melds with the cream of Punjabi folk, asking the question, why has such naturalness never been done before.
2 Topknot 3:39 ‘The band’s now-classic 2004 single Topknot,” Spin magazine. A massive track for urban stations, turban stations, clubs as well as Indian weddings. So big that M.I.A. asked to drop a rap on it.
3 The 911 Curry 3:33 The A-team meet up for an afternoon meal – a plan comes together, until Murdock has to flirt with the waitress.
4 Natch 2:34 The other part of the double ‘A’ sided Topknot single, and often even more loved by the DJ for its simplicity and French legion immediacy.
5 Double Decker Eyelashes 4:13 Already being used by select USA bass clubs to get the party started, keep the party going, and ending the party. Being laidback & having the space is leading dancefloorers to improvise, and they take great joy in having the ability and scope to do it once more.
6 The Biro Pen 4:28 A sharp pen in its day was prime currency, guaranteed to get you out of any tight spot. This lament lays it down heavy, even with its drum solo reprieve.
7 Supercomputed 3:44 Kraftwerk meet Irene Cara in a dune buggie.
8 Once There Was A Wintertime 3:14 Capturing the snow drenched wintry season with human warmth and northern brass.
9 Double Digit 3:38 Military again, until its slow build boils over with bass funk, as if the Brontë sisters came from an Indian cowshed. This is maybe why Tjinder thinks Punjabi Folk Music was the first form of hip-hop, and has written a White Paper report on it.
10 Don’t Shake It 5:42 Dont play this one too loud, it will stay in your head for a week, and then move in with you after another week. All is well that ends well. So well that it has extended beats, ending an album that intends to live forever fame.
To Pre-order please go via our PledgeMusic page here
or you could send us a Paypal payment direct to: info@cornershop.com £8
for a download, £12 for signed CD including postage
Please state if you would prefer them signed by at least one member
of the band.
Rodeo Massacre are a French Swedish band that have lost no time in building their world up, since residing in the Capital City of London. They even have their own London night club Clap or Die in Camden.
Cornershop have always promoted Rodeo Massacre, from the first time that Tjinder saw them at Lucky 7 Record Shop.
This was the first time he met Izzy, their lead singer, and since they live in the same quartier they have met regularly, and got to know each other more. Pop fact pickers Izzy has even babysat Mr Singh’s two children.
Well now, all this has culminated into “Zombies, The Year Of The Infection” a Cornershop mix of Rodeo Massacre’s “Zombies Of Life” from their forthcoming album on Smoky Carrot Records. People and Zombies are digging it – listen to the preview below, see what you think:
