The High

1962 - Andy Couzens is born in Stockport.
Notes: From John Robb's book 'The Stone Roses - Reunion Edition': Andy Couzens was born in Stockport in 1962. It's not a town for which he retains a lot of affection: 'Stockport's like a village, it's weird. I couldn't wait to get out. I finished school and went as far away as I could, which was.. .Altrincham!' He had moved constantly through his youth. 'My parents moved every two years. Always within the Stockport area and then out to Macclestield... I was always moving school which didn't make life easy." His parents young being had onc hidden bonus. It meant that he was surrounded by pop music, pop music that was not that far removed from his own generation. It was a great music education. His father had a business to do with telephones in the days before privatisation and BT. His father had taken risks with the business and it wasn't till the early eighties that it had paid off.
Stephen Lea, who would later briefly become The Stone Roses' lawyer and was the Couzens' family lawyer, remembers Colin Couzens. His dad didn't have a pot to piss in when he was starting out. There was good and bad times. It wasn't as through Andy was driving around in flash cars all the time. His father wouldn't spoil him. Colin was quite young and quite switched on and believed in Andy and would do what he could to help him.'
Andy's parents' musical background was a key influence on him. 'My parents were into the Stones and hated The Beatles. They also liked loads of soul stuff like Wilson Pickett. My mum was 16 when she had me so she was almost like an elder sister.' As the sixties turned into the seventies the parental soundtrack remained hip. 'My old fella got into Zep and Floyd and when you're a kid you pick up on what's around.' It must have been frustrating — hip parents! But in the early seventies there was the first real generational shift in pop. As the sixties generation grew up into prog rock, the teenagers were busily finding their own sounds. While his father was getting into prog and hard rock, Andy was getting into glam. Glam rock has been snootily dismissed by 'musical experts' and 'pundits' for generation after generation but it was one of the classic British musical moments, homemade stars with a machine gun run of great seven-inch singles. Couzens loved Slade and the rest of the glam bands but the band that he really fell for at the tender age of I I was Bryan Ferry's Roxy Music. 'The first record I bought was 'Pyjamarama' by Roxy Music. I still love it now, it drags me straight back. It reminds me of kids hanging out doing fuck all... In '73/'74 1 really liked Roxy, yeah, I also love glam, I loved Slade — acc band. Marc Bolan was great. "Metal Guru" is still one of my all-time favourites... ' T- Rex are one of the greatest British pop bands that ever existed. Bolan was the inventor of glam and put out a fantastic series of pop singles and albums that have influenced a whole cross-section of popstars ever since.
Ian Brown, unbeknown to Andy, was also a big fan at the same time. 'He was a big Bolan fan...T-Rex was a great band, yeah! It's weird. I never got the sexuality side Of it at all... I was too young really to notice if stuff was sexual or not...l liked Alice Cooper as well...That period had some great records, great singles.
At school, being a new face as he moved from school to school, Andy was the target for bullying. The outsider just arriving in each school surrounded by kids who already knew each other inside out. It toughened him up. Fast. Kill or be killed. Andy had to fight back. 'When I was a lot younger I was quieter because I was moving often, so I was always the new face at school and you know what lads are like - wanna see how hard you are.. .so I learned to keep myself to myself.
Already toughened up by his school experience and armed with a vicious temper and a keenness to fight, Couzens was drifting towards the ultimate male bonding world of football violence. In the early seventies, football hooliganism was massive. It did a lot to define street culture; the decade was the high water mark of football violence with a whole subculture built around it. The skinheads were a reaction to the hippies and had begun transforming into football hooligans. Their hair was growing out into cuts. They retained the cherry-red Doc Martens and parallel trousers (often bottle green), hitched up to show off their neatly polished boots. Every match went off big style. It was common to sec hundreds of hooligans chasing each other all over the place on match day. appalling condition of most of the football stadiums and the way that the fans were herded round like sheep only added to the boiling pot of malevolence. For Couzens it was escapism and male bonding and community all rolled into one. At last he felt like he belonged somewhere. 'When I got into my mid-teens, I got badly into football violence. I'd go and sec Stockport County every Friday without fail. There was always a battle on every match. Always arranged at the tunnels at Stockport station.' He dressed in regulation thug gear. 'Doc boots — cherry-reds, paral- lels...sheepskin donkey jacket...the feather cut started disappearing, getting shorter and shorter like becoming a suedehead. "Illen I went to the bigger games in Manchester... United was always too clean cut and regulated so I went to Maine Road instead and that was serious, nasty stuff...We were with a group of lads who went into Moss Side and met up with a bunch of guys called the Cool Cats, a bunch of black guy hooli- gans...and a few White guys...' Andy Couzens was no shrinking violet when it went off. 'I've got a really bad temper, a really short fuse... The best thing about Maine Road was the Kippax, the police stood between the two massive high fences... and you could spit and throw things at them throughout the game. I got a right kick out of it. A bunch of us would go out on Friday night to Stockport and Saturday to City. The football was incidental, an excuse. I went to a lot of away games as well....

1979 - Andy fronts The Patrol
Notes: See The Stone Roses

1982 - Andy plays in The Fireside Chaps
Notes: See The Stone Roses

1983 - Chris Goodwin joins The Waterfront and they rehearse at Andy Couzens house.
Notes: See The Stone Roses

1983 - The Waterfront split
Notes: Chris Goodwin soon left the Waterfront line-up because of the long journeys to Macclesfield (he had work in a bakery in Manchester at 4am every morning after getting back around midnight).

1984 - Chris Goodwin joins The Mill
Notes: See Inspiral Carpets

1984 - Andy joins The Stone Roses
Notes: See The Stone Roses

1984 - Chris Goodwin Auditions for The Stone Roses
Notes: Chris (former The Waterfront drummer) came down to hear what the band was doing but he was not interested. The Mill was at the brink of splitting up and he was looking for another originals band, who he found in T’Challa grid and later Asia Fields. Chris was drumming in a covers band formerley called 'Weakstones Bridge', at the time known as 'Exit'. Chris and Andy would later re-unite for The High.
Chris said: “I did go back again but the songs were too heavy compared to what I was into. I was more into the Waterfront stuff, Orange Juice-y, Postcard Records type stuff. They went off to do more heavy stuff. Not goth but…..”
Andy Couzens said: ''I had got Chris Goodwin in on drums initially. He came down for one rehearsal and left his kit in the cellar. It was like he was just looking for somewhere to store it.''

1985 - Chris Goodwin joins Hungry Socks
Notes: They split in 1986. See Inspiral Carpets

198? - Chris Goodwin joins T’Challa grid
198? - Chris Goodwin joins Asia Fields.
1985 - Chris Goodwin joins Weakstones Bridge
Notes: Covers band

1986 - Andy leaves The Stone Roses
Notes: See The Stone Roses

1986 - Weakstones Bridge change their name to Exit
Notes: Chris Goodwin remembers memories from The Boardwalk circa 86': “There would be about 40 lads in there. It was a football-y type thing, but all into music. There’d be like Shaun, Bez, the rest of the Mondays, Noel, some of us, The Charlatans. It was way before they were all in bands. It was good as you could go and watch, say, Spacemen 3 on a Sunday night and you’d recognise people and this scene started. It was just before the main Hacienda thing.”

1987 - Andy, Simon, Steve Davies & Chris join/audition for Buzzcocks F.O.C.

1988 - Buzzcocks F.O.C. (Flag of Convenience) - Tomorrow's Sunset U.K. Release Date
12inch Vinyl - THIN003
Tomorrow's Sunset
Tomorrow's Sunset (Bat Mix)
Life With The Lions
Notes: Produced by Martin Hannett. Released on the same record label that funded The Stone Roses debut single. Features Andy & Chris on the recordings. The project led a quick demise in 1988.
Chris Goodwin also played on the Buzzcocks F.O.C. (Flag of Convenience) - Exiles E.P.
Tomorrow's Sunset & Life With The Lions plus the four tracks from Exiles E.P. all feature on 1994 - Flags Of Convenience: The Best Of Steve Diggle - The Secret Public Years 1981-1989 CDMGRAM74, also available as CDBRED74.

February / March 1989 - John Matthews audtions for Inspiral Carpets.
Notes: They declined.
From August 2011 - MOJO Magazine interview with Tom Hingley: ...Stephen had left, and they were auditioning for a new singer. Clint (Boon, organ) had a go, and so did (then-roadie) Noel Gallagher and John Matthews [later of The High). They weren't right....

1989 - Andy Couzens forms The High
Andy Couzens - Guitar
John Matthews - Vocals
Simon Davies - Bass Guitar
Chris Goodwin - Drums
Notes: John was a former member of Turning Blue. Chris was a former member of The Waterfront (pre-Stone Roses band) & Inspiral Carpets, Chris also auditioned for a few bands too. When Andy Couzens left The Stone Roses he came back to Manchester and went on to audition for Buzzcocks F.O.C.
Buzzcocks F.O.C. was formed by Steve Diggle. The Buzzcocks guitarist reformed the band without lead singer and former founding member Peter Shelley. Andy, Simon & Chris all played as the backing band together until it's demise in 1988.
The High formed when Chris Goodwin, Steve Davies, Andy Couzens had been the backing band for Steve Diggle of The Buzzcocks started their own band.
The band were based in Manchester. Former Stone Roses manager, Howard Jones, and producer, Martin Hannett, were hired for the band.

1989 - The High rehearsals
Up And Down /
Notes:
From 27 September 2013 - Andy Couzens interview: Was it true that you played some of the tunes you later released with The High to Ian and John and they turned them down ? I did play the riff for Up and Down to them and Reni. Reni liked it, but Ian and John did not.
Chris Goodwin said: “When Pete Garner left (The Stone Roses) and then Mani joined, and Andy left they did start to go onto a poppier thing. People used to say to The High were copying the Roses. Well we were playing the same poppier stuff with The Waterfront then the Roses went into a heavier thing. It used to wind me up a bit.”

October 1989 - Three Track Demo Tape
Up And Down / This Is My World / A Minor Turn
Notes: Probably the first Martin Hannett Session. I am not sure if this demo tape was recorded for Martin to hear the band, before agreeing to produce them but it looks more like Martin's first session with the band.
Bootleg: A Minor Turn (Hannet Mix) 3:37

November 1989 - Martin Hannett Session, Strawberry Studios, Stockport

Notes: Footage exsists from the recording sessions, filmed by Nigel Couzens.
Various tracks have been released over the years but for a remastered, near complete, set of recordings see 29 August 2020 Saturday - The Martin Hannett Sessions, Record Store Day 2020 U.K. Release
From 27 September 2013 - Andy Couzens interview: Were there any other tunes that were written around that period ? We (The High) worked with Martin on material right up to his death, and there are some sessions still unreleased. There is one track from the early sessions and probably six from the later. My favourite work with Martin though was P.W.A.
According to Chris Goodwin, Couzens and Hannett were especially close; right up until Hannet’s death. Couzens had worked with the producer on the Roses’ first single and Goodwin had worked with him when he was playing for Steve Diggle, too.
Chris Goodwin said “When we were recording with him he’d always have his head in a magazine. Obviously his ears were amazing but he was knew about everything. He could talk at length about anything. His son, who was about 10, could take a telly to bits and put it back together. He was brilliant with machines. A genius.”
Official: 08 October 1990 - Take Your Time 12inch - The Hannett Session “Live E.P.”. Limited Edition Numbered release. - Box Set Go (Demo aka Martin Hannet Session) / A Minor Turn (Demo aka Martin Hannet Session)
Official: 1991 - Box Set Go (Re-Release) - Box Set Go (Demo aka Martin Hannet Session) / Up & Down (Demo aka Martin Hannet Session)
Official: 29 August 2020 Saturday - The Martin Hannett Sessions. Limited Edition White Vinyl Only Release.
Bootleg: A Minor Turn - The Martin Hannett Sessions and more! () CD-R - A Minor Turn (November 1989 - Demo) (Take Your Time Vinyl B-Side vinyl) / Blue Peter (Demo with lyrics) 4:21 / Up & Down (October 1989 - Demo) (Box Set Go Re-Release B-Side) / This Is My World (October 1989 - Demo) (Box Set Go Re-Release B-Side) / Boxset Go (Original) (Box Set Go Single / Box Set Go Re-Release B-Side) / Blue Tourist (More...B-Side) / More… (Madness) (More...10inch Vinyl Single) / More... / Four Thirty (More...B-Side) / Mrs. Watson (demo)

1990
Andy Couzens
John Matthews
Chris Goodwin
Simon Davies

20 February 1990 Tuesday - The Ritz, Whitworth Street, Manchester * Doors Open: 20:00 * Ticket Price: £6.00 * Supporting: Inspiral Carpets.
Notes: Sold Out Show. The High's debut show.
They were approached at this show by several record company representitives. They later made an agreement, afer The Hacienda show, and signed to London Records.
Chris said: “We played first at The Ritz but I think we got signed after playing The Hacienda; It was about the second or third gig” “At the time when we were rehearsing in Manchester, we had Tony Wilson and all the Factory lads coming around to see us. They wanted to sign us but we didn’t want to get lumped in with all the Manchester thing so we signed to London Records."

1990 - The Hacienda
Notes: The band signed to London Records after the show.
Chris Goodwin said:
“We didn’t have jobs after that so were out in the club a lot after that,"

1990 - The High sign to London Records.
Notes: After just one show, the band are signed to London Records.

03 March 1990 - Tony Michaelides' Show Session, Piccadilly Radio Session, Manchester
Notes: Unconfirmed which tracks were played. Tony knew Andy from when Piccadilly aired The Stone Roses live in 1985, for their first ever radio broadcast.

1990 - Martin Hannett Session, Richard Branson's Manor Studio, Oxford
Official: 29 August 2020 Saturday - The Martin Hannett Sessions, Record Store Day 2020 - White Vinyl
Bootleg: A Minor Turn - The Martin Hannett Sessions and more! () CD-R - A Minor Turn (November 1989 - Demo) (Take Your Time Vinyl B-Side vinyl) / Blue Peter (Demo with lyrics) 4:21 / Up & Down (October 1989 - Demo) (Box Set Go Re-Release B-Side) / This Is My World (October 1989 - Demo) (Box Set Go Re-Release B-Side) / Boxset Go (Original) (Box Set Go Single / Box Set Go Re-Release B-Side) / Blue Tourist (More...B-Side) / More… (Madness) (More...10inch Vinyl Single) / More... / Four Thirty (More...B-Side) / Mrs. Watson (demo)

04 April 1990 - Mark Goodier Session, BBC Radio 1, Studios, London
Box Set Go / P.W.A. / Somewhere Soon
Notes:

13 June 1990 - "The New Sessions" Dry Bar, Manchester
Box Set Go / Electric Cello (Rather Be Marsanna) / Up & Down / P.W.A. / Somewhere Soon
Notes: Show was filmed for The New Sessions TV Show but was only broadcast on 11 September 19990 on Granada TV.
Broadcast: Granada, ITV
Bootleg: TV

14 June 1990 - La Locomotive, Paris, France
Intro (Four Thirty) / Take Your Time / This Is My World / Box Set Go / Up & Down / Rather Be Marsanne / So I Can See / PWA / Somewhere Soon
Bootleg: Cassette

18 June 1990- Box Set Go U.K Release Date
Produced By John Williams And Martin Hannet.
Label: London Records
Artwork: '' John Squire
Format: 7inch Vinyl. Catalog Number: LON261
Format: Cassette. Catalog Number: LONCS261
Box Set Go (Original) / P.W.A.
Format: 12inch Vinyl. Catalog Number: LONX261
Format: CD. Catalog Number: LONCD261
Box Set Go (Original) 3:54
P.W.A. 4:06
P.W.A. (Instrumental) 4:07
Notes: Box Set Go would be re-recorded without Martin Hannett and released as a single in 1991.

1990- Somwhere Soon Sessions, Richard Branson's Manor Studio, Oxford
Box Set Go (No Piano) /
Notes: London Records, afraid of Martin Hannett's "erratic" behavior called in John Williams to co-produce the debut album. Box Set Go was re-recorded and later released as a single. There is also a bootleg version available without the piano.
Bootleg: A Minor Turn - The Martin Hannett Sessions and more! () CD-R - A Minor Turn (November 1989 - Demo) (Take Your Time Vinyl B-Side vinyl) / Blue Peter (Demo with lyrics) 4:21 / Up & Down (October 1989 - Demo) (Box Set Go Re-Release B-Side) / This Is My World (October 1989 - Demo) (Box Set Go Re-Release B-Side) / Boxset Go (Original) (Box Set Go Single / Box Set Go Re-Release B-Side) / Blue Tourist (More...B-Side) / More… (Madness) (More...10inch Vinyl Single) / More... / Four Thirty (More...B-Side) / Mrs. Watson (demo)

17 July 1990 - 15-25 Festival, 'North West' Show / Celebration TV Show, Granada TV, Granada Studio 12, Manchester * Supporting: The Charlatans & New Fast Automatic Daffodils
Box Set Go / Take Your Time / P.W.A.
The Charlatans: Then / You're Not Very Well / The Only One I Know / Indian Rope / Everything Changed
Notes: Tony Wilson presents The Charlatans live in Granada Studios. New Fast Automatic Daffodils and The Hight also appeared as part of the festival.
The show was part of the 15-25 Festival, a week long arts festival set in and around Granada's TV's Quay Street Studios. Festival aimed at highlighting talented young people aged between 15 and 25 in the North West of England. It covered everything from fashion, design, comedy, street theatre, musical arts and all forms of music.
Broadcast: 18 July 1990 - 'North West' Show, Granada TV
The Charlatans & New Fast Automatic Daffodils Broadcast: 21 & 27 July 1990 - ITV / Granada TV
Video Bootleg: VHS

10 August 1990 - "A High Weekend With…" New Century Hall, Manchester * Support Act(s): DJ Andrew Weatherall *
Box Set Go / So I Can See / This Is My World / Take Your Time / Up & Down / Bombay Mix (Dreams of Dinesh) / PWA / Somewhere Soon / A Minor Turn
Notes: Bombay Mix would later become Dreams Of Dinesh. Stephen 'Cressa' Cresser appears at the show, apparently he joined The High on tour during this year.
From 2001 - I Am Without Shoes Exclusive Andy Couzens Interview: IAWS: What was Stephen Cresser's actual role in the band? As he was on the verges of the band from the early days road-ying etc but then appeared in band photos for a while around 89 and then when they signed to Geffen there was no mention of him - but he was still big mates with Ian Brown. It was rumoured around Manchester that he was on the pay roll during the five years of the making of The Second Coming? Any clues? AC: Steve was, and is, the entertainments manager and style guru. Never officially on the payroll but never short of money either. He did a couple of tours with The High in the same capacity.
Official: 08 October 1990 - Take Your Time CD - Bombay Mix Live (Full Length Version)
Official: 08 October 1990 - Take Your Time 7inch - Bombay Mix Live (Edit)
Official: Box Set Go Re-Release Date, 7inch Vinyl - Live E.P. - Box Set Go / So I Can See / This Is My World
Bootleg: Soundboard () Box Set Go / So I Can See / This Is My World / Take Your Time / Up & Down / Bombay Mix / PWA / Somewhere Soon / A Minor Turn

1990 - Manchester Free Trade Hall
This Is My World / So I Can See
Notes: Unconfirmed, could be New Century Hall?
Bootleg: 19 September 1990 - Marquee, London - Box Set Go / Take Your Time / Up & Down / P.W.A. - This Is My World (1990 - Manchester Free Trade Hall) / So I Can See (1990 - Manchester Free Trade Hall)

11 August 1990 - “A High Weekend With…” The Leadmill, Sheffield
Intro (Four Thirty) / Boxset Go / P.W.A. / This Is My World / Take Your Time / Up & Down / A Minor Turn / Say It Now / Somewhere Soon / Bombay Mix
Notes: Bombay Mix would later become Dreams Of Dinesh.
Bootleg: Soundboard () "Tuning Up" / Boxset Go / P.W.A. / This Is My World / Take Your Time / Up & Down / A Minor Turn / Say It Now / Somewhere Soon / Bombay Mix
Bootleg: Cassette - Intro (Four Thirty) / Boxset Go / So I Can See / This Is My World / Take Your Time / Up & Down / PWA / Somewhere Soon

16 August 1990 - The Borderline, London
Boxset Go / P.W.A. / This Is My World / Take Your Time / Up & Down / So I Can See / Somewhere Soon / Bombay Mix
Bootleg: Audience Recording ()

17 August 1990 - The Junction, Cambridge

13 August 1990 - Up & Down U.K Release Date
Produced By John Williams.
Label: London Records
Artwork: '' John Squire
Format: 7inch Vinyl. Catalog Number: LON272
Format: Cassette. Catalog Number: LONCS272
Up & Down (7inch) / Make It Happen
Format: 12inch Vinyl. Catalog Number: LONX272
Format: CD. Catalog Number: LONCD272
Up & Down (7inch) 4:13
Make It Happen 3:19
Bombay Mix 5:12
Notes: Bombay Mix would later become Dreams Of Dinesh.

19 September 1990 - Marquee, London
Box Set Go / Take Your Time / Up & Down / So I Can See / This Is My World / P.W.A.
Notes: Unconfirmed, could be 18 September and 19 September could be the broadcast date. Broadcast as part of the 'Radio 1 Band Explosion'.
Broadcast: BBC Radio 1
Bootleg: FM - Box Set Go / Take Your Time / Up & Down / So I Can See / This Is My World / P.W.A.
Bootleg: FM - Box Set Go / Take Your Time / Up & Down / P.W.A.
Bootleg: FM - THE HIGH HYPE! 2nd Album Demos (200?, Cat. No.: SEM94) - CD-R - Better Left Untold / The Healer /Sweet Liberty / This Is Your Life / Let Nothing Come Between Us / Goodbye Girl / Keep On Coming / Slowly Happens Here / Can I Be / Lost & Found - 19 September 1990 - Marquee, London - Box Set Go / Take Your Time / Up & Down / So I Can See / This Is My World / P.W.A.
Bootleg: Box Set Go / Take Your Time / Up & Down / P.W.A. - This Is My World (1990 - Manchester Free Trade Hall) / So I Can See (1990 - Manchester Free Trade Hall)

08 October 1990 - Take Your Time U.K Release Date
Produced By John Williams, except Box Set Go (Demo) & A Minor Turn (Demo) Produced by Martin Hannett.
Label: London Records
Artwork: '' John Squire
Format: 7inch Vinyl. Catalog Number: LON280
Format: Cassette. Catalog Number: LONCS280
Take Your Time (7inch) / Bombay Mix Live (Edit) (10 August 1990 - New Century Hall, Manchester)
Format: Cassette. 1990 London Records Advance Promo.
Format: 12inch. Catalog Number: LONX280
Format: CD. Catalog Number: LONCD280
Take Your Time (7inch) 3:31
Bombay Mix Live (Full Length Version) (10 August 1990 - New Century Hall, Manchester) 6:03
Format: 12inch Vinyl. The Hannett Session “Live E.P.”. Limited Edition Numbered release. Included a limited edition print of the original Somewhere Soon design. Catalog Number: LONXP280
Take Your Time (7inch) 3:32
Box Set Go (November 1989 - Demo) 4:01
A Minor Turn (November 1989 - Demo) 3:38
Notes: Release date noted as 15 October 1990. Bombay Mix would later become Dreams Of Dinesh.

1990 - Greg Mounfield works as The High's light technican
Notes: Greg is the brother of The Stone Roses' Mani.

1990 - Paris
Notes:
Broadcast: Radio France International

1990 - Somewhere Soon U.K Release Date
Produced By John Williams, except Box Set Go produced by John Williams & Martin Hannet.
Label: London Records
Artwork: ''
Format: Vinyl. Catalog Number:
Format: Vinyl, Gatefold sleeve with limited edition art print. Catalog Number:
Format: Cassette. Catalog Number:
Format: Cassette. London Records Advance Promo Tape.
Format: CD. Picture Disc.
Format: CD. Catalog Number: LC 7654 BA 900 - 828224.2 Made In Germany
CD Re-Released 21 January 1991
Box Set Go (LP version) 4:01
Take Your Time 3:56
This is My World 4:21
Rather Be Marsanne 6:17
So I Can See 4:30
A Minor Turn 1:53
Dreams of Dinesh 5:12
Up & Down 4:51
P.W.A 4:11
Somewhere Soon 6:33
Notes: The LP peaked at 59 in the charts. Recording Sessions took place at Richard Branson's Manor Studio, Oxford.
Dreams Of Dinesh was originally known as Bombay Mix, this version includes a slightly different arrangement.
Box Set Go would be re-recorded without Martin Hannett and released as a single in 1991.
Later Re-released as The Best Of with More... tagged on the end as a bonus track.
Jack Barron wrote a review for the NME 1990 : “In brief, ‘Somewhere Soon’ is a very effective record, expertly executed and completely Addictive. The dog’s bollocks. I hope they become massive (9/10)''.

12 October 1990 - ICA, London
P.W.A.
Notes:
Official: Box Set Go U.K Re-Release - 7inch Vinyl - Live E.P. - P.W.A (Live) (12 October 1990 - ICA, London)

22 October 1990 Monday - Polytechnic, Haigh Building, Maryland Street, Liverpool * Doors Open: 20:00-12:00 * Ticket Price: £4 (Advance) £4.50 (On The Door)
Bootleg: Audience Recording (46:35)

12 December 1990 - Polytechnic, Nottingham
Boxset Go
Bootleg: Soundboard - We’re Not James, We’re The High (30 September 1992 - The Boardwalk, Manchester) (** Encore bonus tracks could be from 12 December 1990 - Polytechnic, Nottingham) Lost & Found / The Healer / Up And Down / Take Your Time / Goodbye Girl / Let Nothing Come Between Us (Live Tamworth?) / Sweet Liberty (Live Tamworth?) / This Is Your Life / More… / “Justice, Don‘t Ever Saw We‘re Divided” (Better Left Untold) / **"Intro" (12 December 1990 - Polytechnic, Nottingham?) / **Boxset Go (12 December 1990 - Polytechnic, Nottingham ?)

13 December 1990 - The Junction, Cambridge
Box Set Go / P.W.A. / This Is My World / Take Your Time / Up & Down / Dreams Of Dinesh (Bombay Mix) / So I Can See
Bootleg: Audience Recording - Box Set Go / P.W.A. / This Is My World / Take Your Time / Up & Down / Dreams Of Dinesh (Bombay Mix)

05 January 1991 - Eggs 'n' Baker TV Show, BBC 1, TV Studios, London - Broadcast: 05 January 1991
Box Set Go
Notes: Mimed performance.

07 January 1991 - Box Set Go U.K Re-Release Date
Produced By John Williams, except Up & Down & This is My World, October 1989 - Produced By Martin Hannett.
Label: London Records
Artwork: '' John Squire
Format: 7inch Vinyl - Live E.P. with postcards and tracing paper outer sleeve. Catalog Number: LONP286
All tracks recorded live in mono during the September 1990 tour.
Box Set Go (Live) (10 August 1990 - New Century Hall, Manchester)
So I Can See (Live) (10 August 1990 - New Century Hall, Manchester)
This Is My World (Live) (10 August 1990 - New Century Hall, Manchester)
P.W.A (Live) (12 October 1990 - ICA, London)
Format: Cassette. Catalog Number: LONCS286
Format: 7inch Vinyl, Gatefold sleeve. Catalog Number: LON286
Box Set Go (Single Version) 4:01
Box Set Go (Original Version)
P.W.A. (Instrumental)
Format: 12inch Vinyl, Gatefold sleeve. Catalog Number: LONX286
Format: CD. Catalog Number: LONCD290
Box Set Go (Single Version) 4:01
Box Set Go (Original Version - Produced By John Williams & Martin Hannett) 3:52
Up & Down (October 1989 - Produced By Martin Hannett) 4:38
This is My World (October 1989 - Produced By Martin Hannett) 4:21
Notes: Reached number 28 in the UK Charts.
From 2001 - I Am Without Shoes Exclusive Andy Couzens Interview: IAWS: What happened with the whole chart rigging thing and did you think at the time that you had probably lost all credibility as a result?
AC: London Records had a choice; spend twenty-thousand pounds on an advertising campaign or spend ten-thousand on a buying team! (Normal industry practise I understand - see Lenny Kravitz same week) The first we heard was when we got the evening paper. Credibility - what credibility!! They had T-shirts made for their Christmas party that year with a picture of the fifty-thousand pound cheque they paid in fines!

M - 26 January 1991 - The High appear on the cover of Record Mirror Magazine, - Volume 38 - Number 4, 75p
Notes: Record Mirror was a British music newspaper published between 17 June 1954 and 06 April 1991. Launched two years after the NME, Record Mirror was founded by former Weekly Sporting Review editor Isidore Green.
During the 1980's Record Mirror was the only consumer music paper to carry the official UK singles and UK albums chart used by the BBC for Radio 1 and Top of the Pops, while also carrying the equivalent US Billboard charts.
Record Mirror closed on the same day, 02 April 1991, as the sister paper Sounds with the last issue, dated 06 April 1991. The owners, United Newspapers, sold off most of their consumer magazines in order to concentrate on their newspaper business. Eleanor Levy, the final editor, believed the decision to close the magazine was "taken by accountants rather than people who understand music. When I explained to one of the management team that our strength was dance music, he thought I meant Jive Bunny."

Rehearsal
Say It Now (See Your Own Way) / Genocide (No-One Else) / Genocide (Take 2) (The Ocean) / "I Found It" / Lost And Found / "Ride It Again" / “I Can't Escape” (Take 1) / “I Can't Escape” (Take 2) / “I Can't Escape” (Take 3) / “I Can't Escape” (Take 4) / “I Can't Escape” (Take 5)
Bootleg: R_LINE_640101-023419 - “See Your Own Way” aka Say It Now 4:48 / "Chat" 2:21 / “No-One Else” aka Genocide 5:24 / “The Ocean” “No-One Else” again 7:54 / “I Found It” 5:45 / “Lost And Found” 6:37 / “Ride It Again” 5:32 / “I Can't Escape” 2:54 / “I Can't Escape” 4:36 / “I Can't Escape” 2:17 / “I Can't Escape” 1:54 / “I Can't Escape” 3:20

1991 - More Sessions
More… / Blue Tourist / Four Thirty / More...Madness
Notes: This would be Martin Hannett's final recording session.

March 1991 - Strawberry Studios, Stockport
Better Left Untold (Could've Been Left Untold) / The Healer / Keep On Coming (Keep On Kummin!) / This Is Your Life
Notes:
Bootleg: Could've Been Left Untold 4:50 / The Healer (excerpt) 0:53 / Keep On Coming 4:04 / This Is Your Life (noted as Keep On Kummin!) 3:04

25 March 1991- More U.K Release Date
More..., Blue Tourist, Four Thirty & More...Madness. Produced By Martin Hannett. Recorded by John Pennington & mixed by Laurence Diana.
Make It Happen - Produced by John Williams & engineered by John Pennington
Label: London Records
Artwork: '' John Squire
Format: 7inch Vinyl, Gatefold sleeve. Catalog Number: LON297
Format: Cassette. Catalog Number: LONCS297
More… / Four Thirty / Make It Happen
Format: 12inch Vinyl. Catalog Number: LONX297
Format: CD. Catalog Number: LONCD297
More… 3:03
Blue Tourist 4:00
Four Thirty 3:36
Make It Happen 3:16
Format: 10inch Vinyl, in cloth sleeve. More…Madness. Catalog Number: LONP297
More…Madness 4:48
More…
Blue Tourist
Notes: Make It Happen is the same as the Up and Down B-Side. Our Price 12inch pressings included an exclusive fold out poster.

13 April 1991 - Eggs 'n' Baker TV Show, BBC 1, TV Studios, London - Broadcast: 13 April 1991
More...
Notes: Mimed performance.
From 2001 - I Am Without Shoes Exclusive Andy Couzens Interview:
IAWS: Did John Matthews (High Singer) really drink a pint that had been spiked with a sheet of acid and spend weeks out of it?
AC: He actually voluntarily ate a sheet of window panes! Was arrested and sectioned under the Mental Health Act and it was five years before he could hold a lucid conversation.

18 April 1991 - Martin Hannett dies.
Notes: James Martin Hannett dies. Born 31 May 1948, Martin died aged 42. He produced several High recordings, recorded The Stone Roses in 1985, recorded several Happy Mondays songs, including the 1988 Bummed LP. Martin also worked with U2, Joy Division, New Order, John Cooper Clarke, Slaughter And The Dogs, Jilted John, The Buzzcocks and more.
The High were one of the last bands to record with Martin before his death.

28 May 1991 - Hit The North Session, Mark Radcliffe Show, BBC Studios, Oxford Road, Manchester
Notes:
Broadcast: BBC Radio 5

1991 - The High appear on the various artists compilation - Martin
CD FACD325
Vinyl FACT325
More

01 June 1991 - Elland Road, Leeds United Football Club, Leeds * Doors Open: 12.00 Stage Times: 14:30 - The High, 15:45 - Stereo Mc's, 16:30 - The La's, 17:45 - Northside, 19:15 - The Farm & 20:45 - Happy Mondays * Ticket Price: £19.00 * Supporting: Happy Mondays, The Farm, The La's, Northside, Stereo Mc's, The High, DJ Paul Oakenfold, Jamm MC's, DJ Mike Pickering
Incomplete Set, included: Say It Now / More...
Notes: The High were the first band on. Happy Mondays headlined and organised the show. The Farm, Pete Wylie, Jamm MCs, members of The High and others join in on Happy Mondays set closer 'W.F.L.'.
An official 'Match Of The Day' programme went on sale too, featuring stage layout, stage times etc. At the time, the Elland Road gig featured the biggest P.A of its kind ever assembled. There was posters and notices at every entrance to ground regarding the confiscation of recording equipment. Ride were approached to play the show but declined due to other commitments.
The Happy Mondays set was recorded and released for Factory Records' 'Live'.
From 2001 - I Am Without Shoes Exclusive Andy Couzens Interview: IAWS: Which of the gigs you played (not just the Roses) was the best for you?
AC: Best Roses - Hacienda 85. Best High - Elland Road with the Mondays 91.
From 27 September 2013 - Andy Couzens interview: What were your favourite gigs with The High ? No favourite, although Elland Road (June 1991) was good. I have nearly all the gigs on DAT tape. I have the Hannett sessions (with The High).
Bootleg: Incomplete Soundboard - Say It Now / More...

04 June 1991 - Square One Studios, Demos
Genocide / Lost And Found / Say It Now
Notes: 'Say It Now' did not feature on the unreleased second album HYPE.
Bootleg: Genocide 5:16 / Lost And Found 4:55 / Say It Now 5:46

June 1991 - Square One Studios
Hickey Smoke / Lazy Days / Mrs Watson
Bootleg: Hickey Smoke 3:49 / Lazy Days 5:01 / Mrs Watson 5:00

08 June 1991 Saturday - Alexandra Palace, Wood Green, London, N22 4AY * Doors Open: 18:30 * Ticket Price: £12.00 * Supporting: Inspiral Carpets
Notes: The High join Inspiral Carpets on The Beast Inside Tour.

09 June 1991 Sunday - Leisure Centre, Aston Villa * Ticket Price: £8.00 * Supporting: Inspiral Carpets
Notes: Date taken from Inspiral Carpet fanclub moosletter seven. On the promo adverts though The High was listed as only playing 08 June, 14 June & 15 June.

10 June 1991 Monday - Assembley Rooms, Derby * Ticket Price: £8.00 * Supporting: Inspiral Carpets
Notes: Sold Out Show. Date taken from Inspiral Carpet fanclub moosletter seven. On the promo adverts though The High was listed as only playing 08 June, 14 June & 15 June.

12 June 1991 Wednesday - Arts Centre, Poole * Ticket Price: £8.00 * Supporting: Inspiral Carpets
Notes: Date taken from Inspiral Carpet fanclub moosletter seven. On the promo adverts though The High was listed as only playing 08 June, 14 June & 15 June.

14 June 1991 Friday - SECC, Glasgow * Ticket Price: £10.00 * Supporting: Inspiral Carpets
Notes:
15 June 1991 Saturday - The G-Mex Centre, Manchester * Doors Open: 20:00 * Ticket Price: £12.00 * Supporting: Inspiral Carpets, The Railway Children, DJ Gary Clail (Gary Clail's on U Sound System) *

06 July 1991 - Hopwood Hall, Middleton
Say It Now / More
Notes: Partially recorded for 'Celebration - Big Top' Special TV Show. Broadcast 12 August 1991.
Broadcast: Granada TV, ITV
Bootleg: TV Broadcast - Say It Now / More

Marcus Studio Tracks
Keep On Coming / Sweet Liberty
Bootleg: Keep On Coming 4:48 / Sweet Liberty 3:08

01 September 1992 - Better Left Untold U.K Release Date
Better Left Untold - Produced By Steve Brown
Hickory Smoke / Justabout - Produced By Owen Davies
Label: London Records
Artwork: '' John Squire
Format: 7inch Vinyl. Catalog Number: LON324
Format: Cassette. Catalog Number: LONCS324
Better Left Untold / Hickory Smoke
Format: 12inch Vinyl. Catalog Number: LONX324
Format: CD. Catalog Number: LONCD324
Better Left Untold
Hickory Smoke
Justabout

04 September 1992 - TWA Tams, Perth, Perthshire, Scotland
Notes: Unconfirmed.

30 September 1992 - The Boardwalk, Manchester
Lost & Found / The Healer / Up And Down / Take Your Time / Goodbye Girl / Let Nothing Come Between Us / Sweet Liberty / This Is Your Life / More… / Better Left Untold /
Notes:
Bootleg: Soundboard - We’re Not James, We’re The High (30 September 1992 - The Boardwalk, Manchester) (** Encore bonus tracks could be from 12 December 1990 - Polytechnic, Nottingham) Lost & Found / The Healer / Up And Down / Take Your Time / Goodbye Girl / Let Nothing Come Between Us (Live Tamworth?) / Sweet Liberty (Live Tamworth?) / This Is Your Life / More… / “Justice, Don‘t Ever Saw We‘re Divided” (Better Left Untold) / **"Intro" (12 December 1990 - Polytechnic, Nottingham?) / **Boxset Go (12 December 1990 - Polytechnic, Nottingham ?)

02 October 1992 - Guildhall Arts Centre, Gloucester
Lost & Found / Goodbye Girl / The Healer / Up And Down / Take Your Time (aborted) / Let Nothing Come Between Us / Sweet Liberty / This Is Your Life / More… / Better Left Untold
Notes: During Take Your Time the fire alarm is raised and the song is aborted early.
Bootleg: Soundboard - Better Left Untold

10 October 1992 - Esquires, Bedford? or Bradford?
Lost & Found / The Healer / Up And Down / Take Your Time / Goodbye Girl / Let Nothing Come Between Us / Sweet Liberty / This Is Your Life / More… / Better Left Untold /
Bootleg: Soundboard - The Last High - Live Bradford (R_LINE_640101-015144) - Lost & Found / The Healer / Up And Down / Take Your Time / Goodbye Girl / Let Nothing Come Between Us / Sweet Liberty / This Is Your Life / More… / “Justice, Don‘t Ever Saw We‘re Divided” “Can I Be” (Better Left Untold) 3:56 / “More” extracts - “The Places I Have Been To” “Lost & Found” 2:12 / “More” extract 0:06 / “Justice, Don‘t Ever Saw We‘re Divided” - Goodnight 4:06

16 November 1992 - Sweet Liberty U.K Release Date
Sweet Liberty - Produced By Steve Brown.
This Is Your Life (The Wonderknob Session) / Better Left Untold (The Wonderknob Session) - Produced By Chris Kimsey.
Label: London Records
Artwork: '' John Squire
Format: 12inch Vinyl. Catalog Number: LONX333
Format: CD. Catalog Number: LONCD333
Sweet Liberty
This Is Your Life (The Wonderknob Session)
Better Left Untold (The Wonderknob Session)

January 1993 - Hype (Unreleased LP)
Produced by Steve Brown, Except 'Slowly Happens Here' produced by Chris Kimsey.
1992 Test Pressing - Catalogue Number: 828 354
Promo Cassete - Catalogue Number: 828 354
Better Left Untold 3:42 * Same as Single.
The Healer 3:11
Sweet Liberty 3:09 * Same as Single.
This Is Your Life 3:09
Let Nothing Come Between Us 5:01
Goodbye Girl 3:22
Keep On Coming 4:36
Slowly Happens Here 3:59
Can I Be 3:05
Lost & Found 4:14
Notes: The second unreleased LP. The "Hype" sleeve was later revised and used for The Best Of.
Chris Goodwin said: “We did a second record that didn’t get released. The record company were trying to push us into a heavier sound, more Nirvana. Grunge was happening. It went a bit pear shaped....I think Andy was keen on that direction but I think that was the beginning of the end really. We are never going to be influenced by Nirvana. We’re not going to start growing our hair. I think Andy was swayed a bit but it wasn’t our cup of tea.” Regarding Hype “It’s on Ebay for about 100 quid or something. It’s called Hype. There were a few that came out. I’d rather it stay where it is. But, to be fair, there are some good songs on there.”
Official: DAT Tapes
Official: Test Pressing Vinyl
Bootleg: THE HIGH HYPE! 2nd Album Demos (200?, Cat. No.: SEM94) - CD-R - Better Left Untold / The Healer /Sweet Liberty / This Is Your Life / Let Nothing Come Between Us / Goodbye Girl / Keep On Coming / Slowly Happens Here / Can I Be / Lost & Found - Bonus: 19 September 1990 - Marquee, London - Box Set Go / Take Your Time / Up & Down / So I Can See / This Is My World / P.W.A.

1993 - The High split.
John Matthews and Chris Goodwin went on to form 'One Summer', with Manchester musicians Stephen Fitzpatrick (guitar) and Carl Wolstenholme (bass).
One Summer worked with Factory Records group A Certain Ratio and recorded a demo for the label (Rob's Records?) before it went into administration. Chris remembers "We did a few tours in 1994. Then we all got proper jobs,"
One Summer's 1995 recordings would later see the tracks released for the Official Record Store Day 2017. Released through Manchester label - Vinyl Revival.
Chris Goodwin's life focused on a family business he has in Southport. He’s made a return to the stage occasionally, note in 1999 he was asked by Johnny Marr to perform with him and Bernard Sumner for Top Of The Pops in their band Electronic.
Goodwin also played a One Summer anniversary show that was packed out in Manchester, but has largely stayed clear from playing live and releasing music in recent years.

One Summer - 22 April 2017 - Spirit U.K. Release Date
Vinyl Revival, VR010 - 12inch Vinyl
Spirit 6:11 / British Summertime 4:33 / Can't Stop Falling 3:31

1995 - Andy Couzens produces Jubilee- So Sad About Us E.P.

1997 - The Best Of
CD 828 961 - 2
Box Set Go (LP version) 4:01
Take Your Time 3:56
This is My World 4:21
Rather Be Marsanne 6:17
So I Can See 4:30
A Minor Turn 1:53
Dreams of Dinesh 5:12
Up & Down 4:51
P.W.A 4:11
Somewhere Soon 6:33
More.. 3:05
Notes: Somewhere Soon with an extra track. Includes a revised sleeve which features the unreleased second album 'Hype' design.

- The High appear on the various artists compilation - And Here Is The Young Man
CD 555 976 - 2
More (Madness)

July 2001 - I Am Without Shoes Exclusive Interview, Will Odell Interviews Andy Couzens.
Notes: I Am Without Shoes Exclusive Interview. Originally from The Stone Roses fan website: http://odell.connect-2.co.uk
2001 - Andy Couzens IAWS Will Odell Interview
IAWS: Do you still keep in contact with the boys, and how are they all?
AC: John, Ian and I have had regular contact through lawyers.
Mani and I are still on good terms and keep in contact when we can, he hasn't changed since we met 16/17 years ago. The artful dodger! The last time I saw Reni he was on top form. Enigmatic as ever. Pete Garner I've not seen for a while but last time I saw him he hadn't changed one bit - Mr Nice Guy!

IAWS: So do you think you still get on with Mani because you weren't in a band with him? If he was in the band at the time do you still think you would see each other?
AC: Mani has, as the expression goes, "No side", and likes an easy life. We were in bands together and we've always got on fine.

IAWS: Where do you think it went wrong with the High? Was it to do with spunking the Somewhere soon advance (if any) or the Heroin problems (if I'm not speaking out of turn) - or did the H problems come from others? I'm thinking that difficult second LP syndrome and musical differences...
Or do you think that in some circles you suffered from being on a major (London) or a subsidiary of one -- They want instant success (which is probably why we saw Box Set Go re-released as many times as Rain's Lemonstone desired and any of the Real People's singles)? When really, chart positions don't mean too much. Or is it a more general Indie/Baggy backlash? As there was some crap about at the time...
AC: Simple answer! I lost the plot. None of us ever did heroin and I won't tolerate being round people who do. There are no excuses for that kind of behaviour.
Majors/Indies - that old argument! In my view there are no differences - they are all in the shittiest business around and are basically banks from which to con money. Release and re-release. Unfortunately they have you by the balls - once you lay the tracks down in the studio they own them and do as they please. Outrageous!

IAWS: Do you think you suffered because you were in the Roses and not despite it? AC: It certainly felt like it!! The only Stone Rose not still in the gang, head on the block ready for the chop.

IAWS: Do you regret leaving when they were on the cusp of something, or was it going in a direction you didn't like, musically or personality-wise?
AC: No regrets, other than leaving the gang. For me the original spirit had gone and I thought it was only a matter of time / money (more money equates to more time) before there was no one left to argue with (Ian).

IAWS: What have you done since? Any solo plans?
AC: After The Roses and The High I did some bits of production, but I always felt that only the young have anything vital to contribute to music, so 30 was too old. Solo: no chance! Two million quid and two kids later I still feel the same.

IAWS: Why did you leave the Roses? AC: See two questions above!
IAWS: Why did Pete Garner leave the Roses? AC: Ditto!

IAWS: Does it annoy you that the band appears to have been manipulated to a degree by both Howard Jones and Gareth Evans, and is it this that caused you to quit? AC: The manipulator / the Svengali. Goes with the territory. But beware the divide and rule (John & Ian).

IAWS: Have you done alright from the odds and sods that have been released on TCSR and Garage Flower?
AC: Yeah, I do alright. Payment for a misspent youth!! But I had to fight for every penny.

IAWS: Somewhere Soon is my favourite chilled guitar album and I especially love Up and Down, did you get pissed off that a lot of your press made more of you being in the Roses and even that Greg Mounfield did your lights than appreciating what a great album it was?
AC: See 'Do you think you suffered because you were in the Roses and not despite it?'

IAWS: Did John Matthews (High Singer) really drink a pint that had been spiked with a sheet of acid and spend weeks out of it?
AC: He actually voluntarily ate a sheet of window panes! Was arrested and sectioned under the Mental Health Act and it was five years before he could hold a lucid conversation.

IAWS: What happened with the whole chart rigging thing and did you think at the time that you had probably lost all credibility as a result?
AC: London Records had a choice; spend twenty-thousand pounds on an advertising campaign or spend ten-thousand on a buying team! (Normal industry practise I understand - see Lenny Kravitz same week) The first we heard was when we got the evening paper. Credibility - what credibility!! They had T-shirts made for their Christmas party that year with a picture of the fifty-thousand pound cheque they paid in fines!

IAWS: Do you think they really realised how good they were?
AC: We always knew. No self-doubt, total self-belief.

IAWS: Do you think they were really good, or it was more a confluence of diverse causes that made them so big? AC: We / they were the ultimate gang / band.

IAWS: Did you keep on good terms with them? AC: No! Nothing more vicious than a lovers tiff (John & Ian).

IAWS: The Mick Middles book says that after you left the Roses, 'strange things began to happen'. Like what? AC: Gareth Evans followed me for weeks, hiding, watching my every move. He believed and had spread rumours that I was under cover drugs squad! Guilty conscience if you ask me!

IAWS: Why do you think that you and Evans never got on? AC: Evans, in his own words, thought I was 'nouveau riche'. But I thought it was probably more to do with the fact that I questioned his contract and insisted my lawyer looked at it.

IAWS: I notice that Pete Garner got on stage with The Rub at a couple of their gigs. Would you consider doing that? AC: Yeah! Always a buzz playing with Reni, but doubt I'd be asked.

IAWS: How important, in your opinion, was it that Reni joined the band? AC: Vital. No Reni, no music, no band.

IAWS: Which songs that eventually made it to 'The Stone Roses' LP did the band have at the time of you quitting? AC: Finished were; Adored, This Is The One & Sugar Spun Sister.

IAWS: Were you surprised by how good 'The Stone Roses' LP was when you heard it, or had you heard demos, etc before its release? AC: No, I wasn't surprised at all, as like everyone else in Manchester at the time I'd heard demos. But strangely it wasn't until the 10th Anniversary release that I actually sat down and listened to it properly.

IAWS: To your knowledge, did Ian Brown have a swastika tattoo? If not, what actually was it? AC: No, it was a Union Jack.

IAWS: What's your biggest regret in music? AC: The question suggests I have some. I don't!

IAWS: What's your opinion on One Love Story? AC: Dangerous, obsessive drug-addled conspiracy theorist with a personality disorder.

IAWS: Do you think the band were better as a five-piece? AC: Yes. What else would I say?! But seriously, they lacked another guitar live.

IAWS: What is a garage flower? It's bugged me for years. AC: A delicate thing of beauty blossoming in a brick built shed (see the garage bands of the Sixties that blossomed into psychedelic flowers of the Sixties like The Misunderstood or The Clash - THE garage band).

IAWS: How do you think the Roses would have differed if you had stayed? Would you have kept them together, or would they have split sooner, would they have been as good/better and taken the same musical directions? AC: Who knows - I wouldn't know where to start!

IAWS: What was the most bizarre gig the Roses ever played during your spell with them? Was it the gig at McOnagles, Dublin, in 1986? AC: Yeah, a mad night, but all the gigs were. The night in Sweden where Ian sucked the barrel of the gun some nutter pulled, or the night the police showed and arrested the whole audience just before we went on, or or or or or - you get the picture.

IAWS: How exactly did Ian and John word their statement to the other band members that they themselves would take the majority of the royalties? Do you regret not returning, like Reni, after having time to think things over? AC: They told us the money would be split equally (it wasn't) and it was important for the image of the band to have a Lennon / McCartney or Jagger / Richards on the label. No regrets - ask Reni about doin' ten years more time.

IAWS: What sort of music were you listening to at the time (1985/86)? Any of these supposed 'Goth influences', or is that a load of rubbish?
AC: Beatles: Revolver-Peppers / Stones: Beggars-Let It Bleed-Majesty's / Jimi - Anything / New York Dolls / Neil Young - Everybody Knows / Pink Floyd - with Syd Barrett / Bowie - Hunky Dory-Ziggy / The Nazz / The Misunderstood / Slaughter & The Dogs / Jesus & Mary Chain / Orange Juice / Buzzcocks, etc

IAWS: How much were you rehearsing/practising at the time? AC: Five, sometimes seven nights a week.

IAWS: Did you ever buy flagons of strong cider from The Legendary Lancashire Heroes on Sylvan Avenue? AC: None of us drank alcohol.

IAWS: Do you remember The Suprise, Explained Emma or Corrosive Youth playing at South Trafford College? AC: I remember 'The Youth' - mad punks from Stretford!

IAWS: At the International in May 1985 is it true that Gareth Evans paid all the Chorlton Gladiators Scooter Club £5.00 each to cause a bit of a rumpus?
AC: I doubt it, Gareth wasn't managing us then. But there was always some trouble without help like that!

IAWS: What was Stephen Cresser's actual role in the band? As he was on the verges of the band from the early days road-ying etc but then appeared in band photos for a while around 89 and then when they signed to Geffen there was no mention of him - but he was still big mates with Ian Brown. It was rumoured around Manchester that he was on the pay roll during the five years of the making of The Second Coming? Any clues?
AC: Steve was, and is, the entertainments manager and style guru. Never officially on the payroll but never short of money either. He did a couple of tours with The High in the same capacity.

IAWS: Is Ian the only person left with the true spirit of The Roses? AC: The Roses are dead but there's still spirit in the tunes.

IAWS: Have you seen The Rub, if so what do you think of them? AC: No I haven't, so I can't comment.

IAWS: How was the atmosphere when you were recording in Strawberry Studios (for Sally Cinnamon etc) and Spirit Studios (Going Down etc)? AC: I've been asked this many times but have a large speedball-induced memory block. I remember going, coming home and smashing a video. The only music I remember is 'This Is The One'.

IAWS: What did you experience in Sweden 1985? Was it exciting for you?
AC: This was the making of the band. The spirit well and truly forged. Mad gigs, strange people fuelled on Pro-Plus, and stealing some experience.

IAWS: Which of the gigs you played (not just the Roses) was the best for you?
AC: Best Roses - Hacienda 85. Best High - Elland Road with the Mondays 91.

IAWS: What was your first impression of each member of The Roses?
Have the impressions been changed?
AC: Ian - Bruce Lee Incarnate / Mani - The Artful Dodger / Reni - Tom Jones / John Squire - Whoever came up with Ice Cold Cube - perfect! / Pete Garner - Mr Nice Guy

IAWS: So, have your initial impressions of them as people changed since? AC: No.
IAWS: What is Sally Cinnamon about? AC: I always thought it was a love song but you better ask Ian.

IAWS: Did you ever go and see any of their gigs after you left, and what did you think? AC: I did see them a few times and how could I not like them. I was there at the beginning; they were my baby too!!

IAWS: When and where? Did you see them on the Second Coming tour, and were you surprised by how much each character had changed, as far as on-stage personas go? AC: I didn't see them on the Second Coming tour as I didn't like the album apart from Ten Storey Love Song and Begging You so I can't comment.
The earlier gigs I think were just prior to the release of the album, in Sheffield, Chester, and Manchester at the Hacienda, and at International 1 and 2.

IAWS: The much talked-about argument over songwriting credits which led to you leaving the band happened in 1986, yet how come the band were happy to let Ian and John get songwriting credits for the So Young/Tell Me single, that was released previously, in 1985?
AC: The argument actually happened in 1985 just prior to the release of So Young and was presented as a "fait a complie". Reni and I both walked but were persuaded to return on the promise that it was just an image thing, nothing had changed and all proceeds would be split equally. It took me a year to realise that these people who had been my closest friends and who I trusted implicitly were in fact lying! So I left. (The naive human condition that is hope.)

IAWS: How did Garage Flower get released, and on what label was it on? Were Silvertone involved at all?
AC: Garage Flower was released Garage Flower records a wholly owned subsidiary of Zomba Music who also own Silvertone. So yes Silvertone were involved (same staff same office) the only difference being the band own the tape and licence it to them for release.
Will, do I get the impression that people think I was responsible for the release of Garage Flower and that it is in fact a bootleg?
IAWS: I think that's the general consensus as far as Garage Flower goes, yes. Is that a false impression?
AC: Couldn't be further from the truth, Zomba/Silvertone put it out. All the members of the band were party to the deal and we all get paid the way it should've been - "equally". We still, each of us, own the copyright and they license it from us. This gives us the right to take it elsewhere or not to put it out at all.

2003 - John Matthews appears on Black September - Why Are Churches Shaped Like Rockets? 1 Track Promo CD
February 2004 - John Matthews appears on Black September - You Can Do Anything If You Set Your Mind To It CD Album

27 September 2013 - Matthew Mead interviews Stone Roses rhythm guitarist Andy Couzens for This ls The Daybreak
Notes: This ls The Daybreak exclusive interview. See The Stone Roses 2011-2013 Media for article.

31 August 2014 Sunday - The High reform
Notes: From Matt Mead article, Louder Than War (see 29 April 2016 entry): ''I received this email: ‘Hi my name is Steve Forster and i was THE HIGH’s tour manager around the time of the first album. I was looking at a possible reunion gig in Manchester Academy in 2015 as part of the the Gigantic festival we run. Here’s my telephone number….’

2014 - Rehearsals
Notes: Only Andy Couzens & John Matthews remain from the original line up. Jack Couzens, Andy's son, drums during rehearsals.

2015 - The High
Andy Couzens - Guitar
John Matthews - Vocals
Jack Couzens - Drums
Richard Thomas - Keyboards
Tony Meehan - Bass

2015 - York

2015 - Strawberry Studios Celebration

2015 - Shiiine Festival, - Supporting: Echo and The Bunnymen

23 May 2015 Saturday - Gigantic Indie All Dayer, Academy 1,2 & 3, Manchester * Supporting: Echo and the Bunnymen, Inspiral Carpets, Pop Will Eat Itself, Gang Of Four, The Primitives, Hurricane#1, Eat, Echobelly (acoustic), The Milltown Brothers, BOB, Mark Morriss (The Bluetones acoustic), The Woodentops (acoustic), Diesel Park West.
Notes: The High were fifth on the bill. '3 Stages, 14 Great Bands, 18 Hours Of Music, A Big Big Love...'. Most of the worthwhile bands clashed, it was also very difficult moving from venue to venue with the amount of people and security checks going on. Also quite a few of the big band names played stripped down acoustic sets, which left many fans truly disapointed.

2015 - Recording Session
Sugarpuff / Kiss The Sun
Notes: Sugarpuff would be released 21 April 2018 (see entry).
20 April 2018 - Andy Couzens XS Noize Interview by Mark Millar:
After a lengthy split, The High reformed in 2015. Have you recorded much more new material and is there an album on the horizon?
We have recorded a few things, and we are still writing as well. So we will have a body of work. We can put stuff online or put something out with either five tracks or ten tracks. Whether or not we put an album out these days is another matter. But there will be more new music from The High yeah.

19 March 2016 Saturday - Liz Kershaw Session, 6 Music, BBC Radio, London
Notes: Matt Mead Interview regarding the bands reunion story.

March 2016 - ‘Kiss The Sun’ Radio Play Debut
Notes: Premiered on Manchester local radio.

2016 - ‘Kiss The Sun’ U.K. Release Date
Label:
Format: 7inch Vinyl. Catalog Number:
Kiss The Sun / Woodhead Pass
Notes: The High & Jake Evans.

29 April 2016 - Louder Than War Website publish article on The High & The Stone Roses
Notes: ''The return of The High, fan Matt Mead on lost High/Stone Roses recordings & the bands new material''
Carl Stanley wrote:
''Big fan of Manchester group ‘The High’ Matt Mead tells his own amazing tale on how he tracked down band founder Andy Couzens and ended up in the possession of unheard High, as well as Stone Roses material. A real music fans story on how he played his own part in The High’s return and details what is now next for his favourite group as they look ahead to future dates and releases.
Matt Mead – So…where do I start…Nottingham lad gets THE HIGH back together!!?…or was I just dreaming it?! Here’s my story of innocent enquiries, to being contacted by the manager of The Stone Roses to the reformation of THE HIGH!.
I think it was back in 2013 when the chain of events started. A lad called Paul McAuley and I talked about Paul conducting an interview with Chris Goodwin (ex Stone Roses, Inspiral Carpets, Buzzcocks FOC, THE HIGH and Electronic drummer) for Paul’s Stone Roses fan site www.thisisthedaybreak.co.uk .I had been in contact with Chris probably for about a year at his time and I had been in contact with Paul regarding his superb Roses site previous to his intentions to run the interview with Chris due to the various interviews Paul had done previously with Roses related folk. It was through this initial enquiry that Paul asked if I would be interested in doing an interview for his page and he passed me some contact details for some Roses related people within these contacts was an email address for Andy Couzens (founding member of The Stone Roses and THE HIGH). I was a fan of the Roses and a massive fan of THE HIGH, they are my fav ever band, I still owned all of their back catalogue including singles Up and Down, Box Set Go, More… and their stunning debut album Somewhere Soon, I was that much of a fan at school in 1990 I even sang to some of my school mates This Is My World (track from their debut album Somewhere Soon) at lunch time, I got a round of applause, not sure if it was a sympathy vote though..ha! Anyways, I tentatively wrote an email to Andy, not sure what response I’d get being a complete stranger, fortunately when I explained that I wanted to do an interview with him for the Roses site he was welcoming to me and I ran the interview with him which was published on the site. After conducting the interview I wasn’t going to let Andy go without enquiring further with him about all things to do with THE HIGH. Within the interview he revealed that he had kept nearly all of the DAT tapes of recordings of THE HIGH gigs!! I was amazed by this confession and obviously wanted to hear and enquire more of the tapes and THE HIGH in general. After little persuasion I was stunned that he said he would share some of the tapes with me and he was kind enough to send me some of the tapes he had kept, I managed to get them transferred digitally, these included many tracks and sessions that hadn’t appeared anywhere or been heard before, this was all a dream come true. All of the gig recordings were from the mixing desk, and of supreme sound quality, I was amazed they had lasted this long in such good condition and sounded so good!
Just an interesting story from this is the following: From then onwards myself and Andy struck up a decent communication structure and the trust developed as I sent back the tapes in a timely manner after. It was from these initial tapes that he revealed he had some tapes from his time in The Stone Roses, including rehearsal’s featuring never before heard versions of well-known Roses tracks, plus other previously bootlegged rehearsals tapes. After digitally transferring these Andy then revealed he had a one of a kind reel of pre Stone Roses band, The Waterfront, that featured Andy on rhythm guitar, Kaiser/Ian Brown Vocals, Chris Goodwin on drums, John Squire on guitar, Pete Garner/Mani on bass. Obviously this was an astonishing find and one that I thought the Roses base would be interested in. From the Roses related contacts Paul had initially given me, within them was an email address for Matt Squire, John Squire’s talented photography brother. I wondered if any of the Roses camp knew of this reel and assumed it might have some sentimental value to all involved. After sending an email to Matt within a week or so I had an email back from who else but one of The Stone Roses current management structure, wanting to know where I had got the reel from and what were my intensions with the reel and they wanted to call me to know more! I thought I was in trouble, BIG trouble. Rest assured, we had a pleasant enough conversation, and after revealing who the reel belonged to and that I wasn’t going to distribute the reel etc… I was able to relax, although I wasn’t overly impressed the Roses management wanted to talk about The Beautiful South’s upcoming tour?! Anyways, back on track, with all the newly discovered material by THE HIGH I thought it would be good to do something with all this new material so other fans could to listen to the material. With the approval of Andy, I have since put many of the session tracks and live tracks on my soundcloud page https://soundcloud.com/the-high-2/box-set-go . I was then impressed to conduct further interviews with the original band members for a fan lead THE HIGH website www.the-high.com , Andy gave me a contact for John Matthews (ex Turning Blue, THE HIGH and One Summer lead singer), John had been rarely if ever heard from since the split of THE HIGH so it was really refreshing to hear from John and get his insights into THE HIGH, plus his experiences of that time including washing grapes. From this interview I thought I was on some sort of roll so tried my luck at getting in contact with Simon Davies (ex Buzzcocks FOC and THE HIGH bass player). Simon had completely vanished since the breakup of THE HIGH and Andy, John or Chris had heard nothing from Simon in over 25 years. Thankfully I was given a couple of leads on how I might get in contact with Simon, who it turns out now lives a comfortable life in London! After Simon’s interview Chris Goodwin laid down his interview for the fan site plus he sent to me a shed load of archive press cuttings, that he had kept from when THE HIGH were the flavour of the month with NME, Meloby Maker, Sounds etc…, that I duly put up on the fan site, and that was that, all of the original members of THE HIGH interviewed and I thought that would be the end of the story, how wrong was I?!
Sunday 31st August 2014, I received this email: ‘Hi my name is Steve Forster and i was THE HIGH’s tour manager around the time of the first album. I was looking at a possible reunion gig in Manchester Academy in 2015 as part of the the Gigantic festival we run. Here’s my telephone number….’
Wow…just wow! The unbelievable could take place, a THE HIGH reunion!!! I never got to see The HIGH in the early 90’s, they only played my home town of Nottingham once back in 1990 and I missed out, never enough pocket money J overly excited with the prospect of the reunion I promptly contacted the entire band, all of who seemed to be initially intrigued by the prospect of a reunion. With all the bands blessing I gave Steve all their contact details and Steve did the rest. He met with Simon in London, then with John and Andy in Manchester and email correspondence with Chris. Sadly all couldn’t commit to the reunion due to personal reasons and work commitments, but Andy and John wanted to take off again with The HIGH again and they drafted in former Oasis roadie Tony Meehan on bass duties, Richard Thomas aka Manchester Piano on er…piano and Andy’s son Jack on drumming duties , was a tad nervous as to what the new version of The HIGH would sound like, would they be able to pull off the unthinkable?! Regardless, I promptly took to task to get the news out on the WWW. I wanted to make as many people aware of this news so with the bands blessing I set up the official Twitter account @boxsetgo , which promptly exceeded all expectations and was swamped with followers, including ex The Verve guitarist Nick McCabe who commented ‘One of THE great lost bands…amazing band, powerful songs and guitar that sounds like dulcimer, spy movies and layers of snow in Eastern Europe. I know, I need stfu. In an alternative universe, THE HIGH gain worldwide success and the Gallagher’s work at the McVities factory in Manchester making Jaffa Cakes’ High praise indeed. I needn’t have worried about how the new THE HIGH would sound, the Gigantic festival appearance was the stuff of magic, all band members clicking into gear and causing shivers down each spine in attendance. Manchester had again awoken from its sleep to see a rebirth of Manchester’s THE HIGH. From this first gig in over 20 years where to now you ask? THE HIGH are firmly on the comeback trail, with further gigs played in York, a Strawberry Studios celebration and the upcoming Shiiine festival appearance supporting Echo and The Bunnymen http://www.bigweekends.com/the-weekends/specialist-music-weekends/shiiine-on-weekender.aspx plus, excitingly, a superb new single ‘Kiss The Sun’ premiered on Manchester local radio last month and a promised proper release later this year, the band are well on track to record their first album since the unreleased HYPE album, which is to receive a first full release alongside Somewhere Soon and other material to be rereleased first on iTunes on 6th May 2016 with a physical release hopefully later this year, all of which will be available via their official new website www.the-high.co.uk . In amongst all this exciting news I was also able to make an appearance on Liz Kershaw’s 6 Music Saturday radio show to talk up all things to do with THE HIGH and Somewhere Soon https://soundcloud.com/boxsetgo/the-high-6-music-liz-kershaw-show-19032016 . For me personally hearing THE HIGH’s material on the radio again was such a great feeling and felt like all the efforts I had made had fallen into place. Obviously my love for THE HIGH hasn’t wavered and it’s been really special to share with other fans our love for one of THE underrated bands from Manchester….here’s to the next stage of this incredible journey! See you Somewhere Soon…. follow the High on Twitter – https://twitter.com/BoxSetGo THE HIGH’s digital rereleases are now delayed until May 27th 2016…'' https://louderthanwar.com/return-high-fan-matt-mead-lost-highstone-roses-material-bands-comeback/''

06 May 2016 - HYPE / Somewhere Soon original scheduled U.K. Release Date
Notes: iTunes exclusive and official The High website pre-order go on sale. The release was delayed until 27 May 2016.

27 May 2016 - HYPE / Somewhere Soon U.K. Release Date
Label: Silvertone
Artwork: '' John Squire
Format: 7inch Vinyl. Catalog Number:
Format: 12inch Vinyl. Catalog Number:
Format: Cassette. Catalog Number:
Format: CD. Catalog Number:
Notes: Re-release of Somewhere Soon with unreleased second album HYPE.

07 December 2016 - Woodhead Pass / Sugar Puff U.K Download Release
Woodhead Pass
Sugar Puff
Notes: Download only single, had two alternate sleeves. The High & Jake Evans.

N - 201 - Scott Parkinson replaces Jack Couzens on drums.

09 June 2017 Friday - The Ruby Lounge, Manchester * Doors Open: 19:30, curfew 23:00 * Ticket Price: £10 (Advance) * Support Act(s): The Train Set.

2018 - Recording Session
Say It Now
Notes: Say It Now would be released 21 April 2018 (see entry). Chris Goodwin approves of the 'Say It Now' sessions, the track dates back to when he was in the band. Sadly Chris will not be playing drums on the new recording.

20 April 2018 - Andy Couzens XS Noize Interview by Mark Millar:
Andy Couzens has been in a lot of bands over the years with the most famous being The Stone Roses and The High. For Record Store Day 2018, Andy is releasing previously unreleased tracks from The Waterfront the predecessor for the legendary band we now know as The Stone Roses for the Christie cancer charity and two new tracks from The High on vinyl. Mark Millar caught up with Andy to talk about the releases and the early days of The Stone Roses and The High.
What music did you listen to growing up?
All sorts of music such as old soul stuff and Rock n Roll. But I suppose the thing that really got hold of me was Punk rock when it kicked off.
Did Punk inspire you to pick up a guitar?
Yeah probably. Its been that long ago I can't remember when I picked a guitar up. (laughs) I do seem to remember doing what everybody did - trying to learn the Sex Pistols songs by putting the record on and trying to play along. I could never work it out - the records always played at the wrong speed.
When did you meet John Squire and Ian Brown?
When we were at college, I was eighteen.
Did you all hit it off immediately or did it take a while to get to know each other?
We got on straight away pretty much. They had started a punk band called The Patrol. Ian Brown was on bass, John Squire was on guitar, and they needed a singer. They didn't know me because I wasn't from around their way I just went to the same college. One day they asked me if id like to try singing for the band. I always wanted to be in a group, and I didn't care how so I said; "Yeah no problem." and it went from there. But yeah we got on okay.
One of the early bands you formed with John Squire was called The Waterfront which also featured Mani. For Record Store Day you are releasing two tracks Normandy on the Beach + Where the Wind Blows. These songs where only previously available on cassettes handed out to friends and are very rare. Why are they only seeing the light of day now?
I found the tape which I've had for the last thirty-five years, and I was asked by Vinyl Revival if they could put it out to raise money for Christies cancer charity which is a big cancer hospital in Manchester and it seemed like a good idea. It is a limited release, so there's not going to be any digital downloads or anything like that - it's only restricted to Record Store Day.
What state where the recordings in and did they take much work to get them cleaned up?
They were on a quarter-inch reel that I had from the studio at the time, and they just needed baking. That's when they put old tapes in an oven to bake and then send them to a mastering suite. There wasn't a lot of time spent on them, but they got them as clear as they can be.
How did it feel listening back to the songs after all this time?
It made me laugh I hadn't heard them for thirty years. (Laughs) It was hilarious especially the song When the Wind Blows - with the whistling chorus - very funny.

During your time in the Stone Roses, you recorded the Garage Flower album which featured early versions of ‘This is the One,' and ‘I Wanna Be Adored'. Did you realise how unique those songs were at the time?
Yeah, I remember recording This is the One in the studio and coming out that night and Ian Brown, and I was absolutely buzzing on the song and saying; "that's a football anthem." And even to this day, Manchester United run out to it at Old Trafford which always makes me smile. Although we were playing the song live to about five people, who weren't interested in the slightest. (laughs) Just before I left we recorded Sally Cinnamon and nobody was interested in that at the time either.
What other songs on the 'Garage Flower' album did you contribute to?
All of them - we used just to bash them out in the rehearsal rooms. It was all very much a learning experience - learning how to fight with each other I think.
What was it like working with the legendary producer Martin Hannett on the album sessions? (did he have legend status then?)
Yeah, he did then. We all knew who he was because he had worked with Joy Division and New Order although we were more interested in the fact he had worked with the Buzzcocks and Slaughter and the Dogs and all the bands from the time of Punk. He was a mess, but I think he was always a mess. I went and worked with him with the High as well. I always liked the way he worked - it was complete and utter chaos, but he always got something from us.
Why was the 'Garage Flower' album shelved? I think we realized that there are probably only three or four good songs on there and the other stuff wasn't quite right. It was what it was, and that was us just starting out and learning. They were all the songs that we had at that time - it was everything we had ever written together. It's one of these urban myths, but it was released under license by the band through Silvertone. Everyone thinks it was bootlegged in 1996, but it wasn't at all. The tapes reverted back to the band, so it is the band including myself who own those tapes, but Ian Brown won't put them out again, so that's that.
There have been a few rumours why you left the Stone Roses. Some being it was over songwriting royalties, You flew on a plane from Dublin and left the band behind. Band manager Gareth Evans offered you ten grand to go. Can you clear those rumours up?
All of the above. (Laughs). The reality is I felt let down by Ian Brown and John Squire their loyalties had disappeared, so that's why I left.
I recently watched the Stone Roses documentary where Gareth Evans is interviewed. He seems to be a bit of a character and reminds me of David Brent.
Gareth Evans is definitely something that begins with a 'C,' but I wouldn't have said 'Character.' (laughs)
How did you feel when it started blowing up for the Stone Roses, and you heard the self-titled debut?
You know I didn't listen to the debut album in its entirety until the 20th-anniversary release. I wasn't really interested before. Obviously, I had heard stuff when I was out or on the radio. It's always difficult to listen to because all I can hear is the thing that we started and it was our imagination that put it all together. I still kept in touch with John and Ian for a short while after I'd left. I would have gone down to rehearsals occasionally.
Was it hard to listen to the album after everything that happened?
No, I was disinterested, and I really couldn't understand what all the fuss was about at all - I had lost interest.
What did you make of the Stone Roses comeback a few years ago?
I was very surprised but in the next breath maybe not. It was quite nice to see John, Ian, and Reni back talking at that point - Mani never fell out with anybody, but I know those three all fell out.
Nothing has been confirmed, but it's rumoured that they have split up for good and Ian Brown is making another solo album. Do you think they have called it a day or will we hear from the Stone Roses again?
No, I don't think we will ever hear from the Stone Roses as a band again.
In 1989 you formed The High with John Matthews, Chris Goodwin, and Simon Davies. And signed to London Records after only one gig. The band's debut album ‘Somewhere Soon' received rave reviews. The band also had three minor UK chart singles before hitting the top 30 with the re-vamped infectious Box Set Go. What was it like being in the band during those times?
I always loved recording but I liked playing live, and I still do like playing live. The gigs were really good. I've not got any amusing anecdotes about it.
The High is releasing the brilliant track ‘Say It Now' on 12" double vinyl with the song ‘Sugar Puff' for RSD. ‘Say It Now' was written in the early nineties after the release of ‘Somewhere Soon.' Why is it only getting a release now?
Say it Now is one of those tracks from that time that I always felt was unfinished business. We never really recorded it. We have done some gigs over the last few years and dropped it into the set. I had forgotten how good it was and I wanted to record it. Then there was this opportunity for Record Store Day to put it out which was fantastic.
After a lengthy split, The High reformed in 2015. Have you recorded much more new material and is there an album on the horizon?
We have recorded a few things, and we are still writing as well. So we will have a body of work. We can put stuff online or put something out with either five tracks or ten tracks. Whether or not we put an album out these days is another matter. But there will be more new music from The High yeah.
Will there be any live shows? We will but the only thing we've got booked so far this year is the Kendall Calling Festival, but there will be a couple of warm-up shows in Manchester before that.
What have you been listening to recently that you could recommend?
Sunflower Bean. I liked the first album I thought it was good but the new one Twenty-two in Blue is the dogs bollocks it really is. I can't stop playing it. I went to see them live a few weeks ago they are really good. My son turned me on to the first album, but when the second album came out I thought "fuck this is great!"

The High - 21 April 2018 - Sugarpuff U.K. Release Date
The High - Sugarpuff / Say It Now
Format: 12inch Vinyl
Format: CD
Cat: VR12
Label: Vinyl Revival
Artwork: Tony Meehan
Say It Now (2018)
Sugarpuff
Notes: Record Store Exclusive. Only 100 CDs were pressed, all exclusive to Vinyl Revival, a record store in Manchester. Sugarpuff was recorded in 2015, whilst Say It Now is a 2018 re-recording. Say It Now was written in the early nineties after the release of Somewhere Soon. The High & Jake Evans.
20 April 2018 - Andy Couzens XS Noize Interview by Mark Millar:
The High is releasing the brilliant track ‘Say It Now' on 12" double vinyl with the song ‘Sugar Puff' for RSD. ‘Say It Now' was written in the early nineties after the release of ‘Somewhere Soon.' Why is it only getting a release now?
Say it Now is one of those tracks from that time that I always felt was unfinished business. We never really recorded it. We have done some gigs over the last few years and dropped it into the set. I had forgotten how good it was and I wanted to record it. Then there was this opportunity for Record Store Day to put it out which was fantastic.

2018 - John Matthews appears, on four tracks, on the Black Sedan - Adventure Lit Their Star CD Album

2018 - Manchester

2018 - Kendal Calling Festival
20 April 2018 - Andy Couzens XS Noize Interview by Mark Millar: Will there be any live shows? We will but the only thing we've got booked so far this year is the Kendall Calling Festival, but there will be a couple of warm-up shows in Manchester before that.

24 March 2020 - COVID-19 Lockdown

29 August 2020 Saturday - The Martin Hannett Sessions, Record Store Day 2020 U.K. Release Date
White Vinyl - Catalogue Number: VR14
This Is My World
Forget
Up & Down
A Minor Turn
-
Four Thirty
P.W.A.
Box Set Go
Blue Tourist
Mrs. Watson
More... (Extended Version)
Notes: Vinyl only release went on sale online at 18:00 on 29 August 2020, one per customer. Forget is a previously unreleased outtake.
Record Store Day is usually 'the one day each year when over 200 independent record shops all across the UK come together to celebrate their unique culture. Special vinyl releases are made exclusively for the day, in what’s become one of the biggest annual events on the music calendar.' Due to COVID-19, Record Store Day was split across 3 dates: 29th August, 26th September and 24th October.
From thegreatbear.net/audio-tape/dat-restoration-the-high-martin-hannett-sessions/ :
Greatbear Audio & Video Digitising, Unit 26, The Coach House, 02 Upper York St., Bristol, BS2 8QN
This Record Store Day, Saturday 29th August 2020, is particularly exciting for Greatbear as it sees the release on Vinyl Revival, Manchester of The High - Martin Hannett Sessions, a restoration and digitisation project we worked on earlier this year.
The tapes we received were DAT (Digital Audio Tape) masters, produced by Hannett at recording sessions with The High in 1989 (at Strawberry Studios) and 1991 (at Great Linford Manor), and included Hannett's last production work before his untimely death.
analogue to digital
From the Nigel Couzens footage (see video clip below), it looks like the Strawberry Studios sessions were recorded to 2 inch analogue tape, on a 24 track Studer A80. This was quite an old machine at that time as there would have been the A800 and possibly the A820 available too - but maybe they just loved the sound on the A80.
DAT, introduced by Sony in 1987, became popular in the audio and recording industry for mastering during the 1990s. The initial recordings would be made to 2" (or other width) analogue tape, but the mixed and produced final versions would be recorded to DAT - allowing the benefits of lossless encoding and avoiding the addition of further analogue tape hiss at the mastering stage. This process could be seen as a stepping stone towards an emerging all-digital production chain, and the development of hard disk recording.
fragile tape
At 3.81mm wide and 0.013mm thick, DAT is more fragile than other cassette-based digital tape formats such as DTRS/DA-88, ADAT and PCM digital audio, or any of the reel-to-reel formats (analogue or digital).
This makes it vulnerable to ripping. The High - Martin Hannett Sessions DAT masters arrived at Greatbear with visible signs of mould growth along the edges of the tape. (See the fuzzy white threads along the surface of the tape pack in the pictures above and below.) When this happens, the mould sticks the layers of the tape together - particularly along the edges - which inevitably leads to the tape ripping under the high tension of playback.
A ripped tape is especially problematic because DAT uses a helical scan recording system, based on a miniature video transport, and so cannot be spliced for clean edits. (Splices also risk irreparable damage to heads on the drum of the playback machine.) A ripped DAT tape - the helically-imprinted signal being bisected - results in irreversible signal loss.
The problem of mould growth on DATs is not unique to these precious Hannett / The High recordings.
Most DATs are now between 20 - 30 years old, and it only takes one period of storage at high temperature and/or relative humidity (RH) for mould to set in. To avoid damage, magnetic tape must be stored consistently at levels of 18 - 21 °C, and at 45 - 50% RH - something which no garage, attic or back room can guarantee...
We regularly receive mouldy DATs at the Greatbear studio. So much important material was mastered to DAT in the 1990s, and its vulnerabilities make it a priority for digitisation.

2020 - Somewhere Soon 30th Anniversary Edition

The High