I probably already wrote as much as you really need to know about the Dovers here, but if you can't be arsed to read all that for whatever reason, the Dovers were myself and my good friend Carl Glover, although I actually still think of us as the Dovers even now for what it's worth. I played guitar, Carl programmed the drum machine and sang, and we played live quite a lot. Needless to say, we sounded kind of basic, although I personally prefer the term primal, but were fun to watch according to at least a few of the people who saw us and then bothered to turn up at a second gig. I sort of enjoyed the gigs, but I always worried that we might sound a bit like Carter the Unlistenable Sex Machine or one of those baseball-cap-festival-and-references-to-Blockbusters bands of whom there were far too many at the time. We started recording on portastudio around 1990 or so, and took the opportunity to produce something a bit more layered than what we had been doing live, something with room for nuance 'n' shit. We recorded a lot of material but somehow never quite got around to doing anything with the tapes. The World of the Dovers was vaguely intended to be our first album, at least by me, and would have been released through my Runciter Corporation tape label had I got around to it, but for some reason I never did.
I remember this stuff sounding decent, but I'm surprised at how good it sounds now, at least to me - thankfully more reminiscent of Wire or maybe bits of Mark Perry's Alternative TV with an Iggy influence than Carter or Pop Will Regard Itself With Studied Irony or any of that auld shite. I'm also surprised at how good that drum machine sounded, pissing over most of those tedious work / obey marching bands. Actually, listening to this stuff, I really don't understand how we failed to be fucking famous.
Oh well.
I remember this stuff sounding decent, but I'm surprised at how good it sounds now, at least to me - thankfully more reminiscent of Wire or maybe bits of Mark Perry's Alternative TV with an Iggy influence than Carter or Pop Will Regard Itself With Studied Irony or any of that auld shite. I'm also surprised at how good that drum machine sounded, pissing over most of those tedious work / obey marching bands. Actually, listening to this stuff, I really don't understand how we failed to be fucking famous.
Oh well.
Tracks:
1 - Chief
2 - The End
3 - Screaming the Blues
4 - So Many Fools
5 - West Midlands
6 - Sentimental Fool
7 - Wide Open to You
8 - When the Power Falls
9 - Call It What You Want
10 - Be My Valentine
11 - You Were Better When You Were Crap
12 - Jimmy Stewart
13 - Fly in the Ointment
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