Guitar - Dobba
Vocals - Norbert
Keyboard – Norbert
This song marked a radical new direction for the Fingolstones for two reasons. Firstly it was the first of their tracks to feature the keyboard skills of Norbert, often referred to as a poor mans Rick Wakeman. Secondly it was their first attempt to move away from the comedy stylings of their earlier numbers and move towards a more serious song writing approach.
Even so the song is still based on the lads experiences within the arsehole club but instead of a jokey upbeat sort of number this is one is dark and serious. It tells the story of Ian "Cratch" Cratchley and Sara Vaughan. Sara had already come to the attention of Norbert at the infamous 1986 Halloween party at Carmelina Tozzis house. At the end of the night only Norbert, Sara, Nick Flaxman and Angela Priest remained. Inevitably a game of spin the bottle ensued. Norbert had to snog Sara and the experience for the young inexperienced Norbert was both frightening and yet exhilarating. Sara had a unique kissing method which involved shoving her tongue as far down her partners throat as possible making it hard to breathe and impossible to move.
Some time later there began to develop a spark between Sara and the young Cratch who was extremely inexperienced in the ways of women. The Fingolstones wrote the song as a warning to him of what to expect. No names or pseudonyms were used in the song so that it could be played to the AHC without Sara becoming suspicious that the song was actually about her. The lads were far to scared of her for that to happen. The warning seems to have worked for the spark did not develop into anything more serious.
The song gave Norbert the chance to show off his musical talents and his mastery of the one fingered keyboard playing style on this track is all to evident. Looking back on the track now Norbert is somewhat disappointed with the end finale. The initial keyboard elements see the board set to electric guitar mode and produce a deep bassy sound that fits in well with the rest of the song. However as the finale is reached Norbert resets the mode to melotron and the result is an empty pooping sort of sound that doesn't gel at all well with the rest of the production. Unfortunately as the rest of the session had gone so well Norbert had no choice but to continue with it before switching back to electric guitar and then climaxing with the soaring sound of the church organ. Apart from the slight blip the song ranks as a favourite with Norbert as it marks the point where the Fingolstones really started to grow up both musically and personally.
A new direction!
The riff is so totally not stolen from this song, honestly.