Longstanding John Peel favourites, racking up a dozen sessions, The Wedding Present have continued to receive BBC support courtesy of Marc Riley, who in many ways stands as a successor to Peel in championing alternative bands on his show on 6Music (he’s done pretty well for a man Mark E Smith dismissed as a ‘floppy mong’ on his departure from The Fall – no hard feelings, eh?). ‘Volume 1’ features 3 sessions, recorded in 2007, 2008 and 2010. And what this album does is highlight the reasons The Wedding Present – hardly the most commercial band on the planet – have endured.
The first session features an unusual track-listing, comprising the then-unreleased ‘Don’t Take Me Home Until I’m Drunk’ alongside a brace of tracks from ‘George Best’ in the form of Hearing ‘Everyone Thinks He Looks Daft’ and ‘Something and Nothing’. Hearing the latter always brings a rush of nostalgia, but it’s also a welcome reminder of the band The Wedding Present are. However, much they evolve, they’re always distinctly and uniquely The Wedding Present, and they’re not a band to distance themselves from their roots.
The second session is more ‘El Rey’ orientated as a vehicle for promoting the new album. While they’re best known for their uptempo jangly thrashabouts with bruised lyrics, The Wedding Present are capable of producing heart-rending contemplative songs. ‘Palisades’ begins in this fashion, before rocking out majorly, all indignation and hurt. Gedge grumbling into his chest in the way that only he can.
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The third and final session is arguably the biggest standout, and again, features an unusual selection of songs: 2 from ‘Valentina’ almost 2 years before its release (which may explain why parts of ‘Mystery Date’ sound a bit tentative), one apiece from ‘Bizarro’ and ‘Seamonsters’ and the theme tune from ‘Cheers’. ‘Brassneck’ is played at a faster tempo than the official studio version, and a shade thin-sounding, but it’s played with the zeal of a concert and the confidence of a well-loved live favourite. Likewise on ‘Heather,’ the guitars are a tad muddy and clumsy sounding, but compensated by virtue of simply being a magnificent sad/bitter song.
‘Where Everybody Knows Your Name’ sounds exactly as you’d expect, namely The Wedding Present playing ‘Where Everybody Knows Your Name’, with Gedge’s characteristically gruff vocal struggling with some of the higher notes and not giving a hoot. This track alone encapsulates what is, for many, the appeal of the band. Unpretentious, genuine, but with an underlying sense of fun and a self-deprecating humour, they’re unswayed by trends, time or tides. The Wedding Present are the quintessential indie band, and long may they continue.
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