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The Bluebells

Sisters Monorail Exclusive Edition with King Creosote flexi-disc and zine - LTD 300

Last Night From Glasgow

Released: 27th November 2020

LP + flexi-disc + booklet£21.99 Pre-Order Dispatched on or before Friday 27th November 2020


Monorail Exclusive Clear Vinyl Edition. Signed and Limited to 300.
Comes with King Creosote Flexidisc and Yesterday Is Another Day: The Bluebells, 10 Commandments and Glasgow 1980-82 - 20 page 3-colour risograph fanzine edition of 300. Edited by Stephen McRobbie and Robert Hodgens. Designed By Musheto Fernandez.

Monorail is extremely proud to present, in conjunction with The Bluebells and Last Night From Glasgow, an exclusive clear vinyl edition of their landmark “Sisters" album. The album is remastered, recut with an alternative, superior version of Everybody’s Somebody’s Fool and two tracks which did not make the original release - Aim In Life and Some Sweet Day.

"I bought “Sisters” on cassette then climbed aboard one of the first Stagecoach buses that ran from Perth to Inverness, grabbed the upstairs front window seat, pressed play on my Walkman. Every time I’ve driven the A9 since I still experience the sheer thrill I felt when hearing your songs as the soundtrack to those majestic views of the Cairngorms, so naturally I’m totally chuffed to be associated with the re-release!

Kenny Anderson / King Creosote

And in addition to that, Yesterday Is Another Day: The Bluebells, 10 Commandments and Glasgow 1980-82. 20 page 3-colour risograph fanzine edition of 300. Edited by Stephen McRobbie and Robert Hodgens, Deigned By Musheto Fernandez.

In time most things fall into a true place and take on a kind of original truth. Maybe we come to understand them as we once did. My first encounters with The Bluebells were totally happy ones. They were part of the Postcard gang, usually to be found at 185 West Princes Street where Alan Horne lived with our guitar player, Brian Taylor (and Krysia Klasicki, the artist). Robert Hodgens (Bobby Bluebell) in particular was usually there or thereabouts, a friendly, grinning presence. He helped us get our first single, Songs For Children, together, patiently playing bass with us for hours during an interminable pre-recording rehearsal.

1981 was a good time to be living in Glasgow, the urban renewal programme was underway, it was a time of sandblasted tenements, Bill Forsyth films, Orange Juice and Altered Images. The Spaghetti Factory seemed part of this new confidence with massive plates of spaghetti and lasagne and front of house waiter stars like Claire Grogan and Robert Sharp (Postcard’s dapper photographer). Orange Juice had played there previously but I’d sadly missed it. Where they went The Bluebells often went soon after and I was glad to be there for that. Up first was Aubrey, a charming one-man synth pop outfit with a trusty drum machine. He dedicated a song to Robert. The Bluebells looked like they were having the best time ever, it was almost like they could hardly sing their songs properly so happy was the occasion. I think they knew everyone in the room. They had a gawky gallusness especially when Ken joined in. At the time he was only half in although his wee brother, David, was already holding down the drummer spot with some aplomb.

Postcard announced a Bluebells single, Everybody’s Somebody’s Fool, but by then Alan Horne was already winding down the label and it never made the cut. Things were changing and this brief moment of independent adventure was temporarily coming to an end in Glasgow. The Bluebells signed to London Records joining Robert’s then partner, Siobhan Fahey, a member of Bananarama. As their previous archive release, Exile On Twee Street shows, The Bluebells already had a strong catalogue of songs and it’s not surprising that London Records wanted them. I’m sure they thought they were getting some hits and they were right. There’s a brilliant Old Grey Whistle Test appearance from this time where an adrenalised classic lineup Bluebells (Robert, Ken, David, Lawrence and Russell) almost seem to hurtle onto the screen as if they can’t wait to be the next Undertones - full to the brim with winning melodies and rough-hued charm.

It was a time of matching the group, the song and the producer, the high tide of A&R dramatic input. Elvis Costello was a supporter and The Bluebells successfully teamed up with him, and Robin Millar inevitably, and various others too. There was clearly a lot of money available and it was a bit odd to see all these different names on the singles. Now I think I understand it better, it’s the essence of pop music. It’s what Rough Trade at the time was becoming, it’s Vic Godard saying that his songs were for sale, it’s the crossover from the NME to Record Mirror, John Peel to Gary Crowley. The Bluebells were not only having the time of their lives but they were pursuing their artistic ambitions with as much sincerity as most of the people I knew on independent labels. Somehow Orange Juice didn’t take on that much collateral damage for being on Polydor, or even Strawberry Switchblade at Warners. In our small world The Bluebells were seen to be taking on a fair bit.

I expect that’s why I didn’t buy Sisters at the time, I didn’t feel they’d spectacularly lost it or anything, I just felt that it wasn’t quite me. I felt the same about so many other records that I probably knew were good - the first Aztec Camera, the second Dexys, the Fun Boy Three singles. There was always other music out there that I wanted more. Maybe it was a kind of snobbery that a lot of us felt without of course ever seeing ourselves as snobs. If you think Young At Heart is a poignant ballad played slightly too fast and let down by a ritzy arrangement then maybe you are too. Belatedly it became a massive hit of course, twice over, in a way vindicating everything that had happened ten years earlier - or maybe confirming the worst. By now The Bluebells trajectory had seemed to run its course but it was actually lovely to see them back together on Top Of The Pops and at every concert I’ve been to since.

For this release The Bluebells have taken the decision to present Sisters as they wanted it to be at the time, choosing a different, better cut of Everybody’s Somebody’s Fool (Robin Millar’s version) and adding back in two of their best songs, Aim In Life and Some Sweet Day, that for whatever reason, London decided to leave off. It has all been remastered, re-cut, gently and with care. Robert has modified his original cover and that looks much better too. In a way I’m glad that I’m going to have it in my life for the first time. I’m up for the original truth and I’m finally ready to have Sisters in my record collection."

Stephen McRobbie / The Pastels