BABYBIRD: The F-Word CD PROMO 2000. housed in outer PVC sleeve. Check video, the additional songs, and all the press for this release.

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Baby Bird began as the alias of Stephen Jones, a prolific British singer/songwriter who initiated his performing career as a member of the Dogs in Honey “anti-theater” troupe. After buying a four-track machine, he began making his first lo-fi home recordings; over the next several years, he wrote some 400 eclectic pop songs, ranging in content from surreal, comic narratives to intensely personal meditations.

At the urging of friends, Jones sent out Baby Bird tapes to record companies, but his music was roundly rejected; however, Chrysalis Music did offer a publishing deal which Jones accepted, applying his earnings towards financing a series of independently-released, limited-edition collections. The first disc of material culled from the vast Baby Bird archives, I Was Born a Man, appeared in 1995; within the course of a year, three other acclaimed albums — Bad Shave, Fatherhood, and The Happiest Man Alive — followed, and won Jones a contract with Echo Records.

Upon making the leap to a major label, Baby Bird mutated from a one-man project into a full band, as Jones assembled a backing group comprised of guitarist Luke Scott, bassist John Pedder, keyboardist Hugh Chadbourne, and drummer Rob Gregory. In its new incarnation, Baby Bird debuted in late 1996 with Ugly Beautiful, a lush, sparkling collection of re-recordings of favorite songs from Jones’ back catalogue, all selected by fans by means of postcard ballots included in the first four albums.

In 1997, Dying Happy was assembled; issued in a limited pressing of 1000 copies, the disc compiled a number of previously unreleased songs that Jones had kicking around. Theres Something Going On followed in 1998, and two years passed until the release of Bugged, Baby Birds ninth full-length.

Babybird   The F-Word
Label: Echo   ECSCD92
Format: CD, Single
Country: UK
Released: 2000
Genre: Rock, Pop
Style: Lo-Fi
Tracklist :
1 The F-Word 3:05   “The F-Word” was later used as the theme tune for Gordon Ramsay’s television series of the same name.
Co-producer Luke Scott, Matt Hay, Stephen Jones
Engineer, Mixed By Matt Hay
2 Just A Little 4:09
Co-producer Luke Scott, Matt Hay, Stephen Jones
Engineer, Mixed By Matt Hay
3 The F-Word (Steve Osborne Mix) 3:46
Producer, Mixed By Steve Osborne
Programmed By, Engineer Ben Hiller*

PRESS INDIVIDUAL LINKS TO LISTEN TO THE SONGS LISTED BELOW:

(CD1)
1) The F-Word
2) Just A Little
3) The F-Word (Steve Osborne mix)

<—— PRESS INDIVIDUAL LINKS TO LISTEN TO THE SONGS LISTED ABOVE

Phonographic Copyright (p) The Echo Label Ltd.
Copyright (c) The Echo Label Ltd.
Distributed By Pinnacle (3)
Published By Chrysalis Music Ltd.
Glass Mastered At Nimbus

Photography By Steve Bloom Images
Written-By Stephen Jones

Published by Chrysalis Music Limited.
P & © 2000 The Echo Label Ltd.
Made in the UK.
Tracks durations are not printed on the release.
Barcode: 5027529715425
Matrix / Runout: D6534 ECSCD 92 NIMBUS
Mastering SID Code: IFPI L123
Mould SID Code: ifpi 2307


Press Quotes:
“A MAGNIFICENTLY CHILDISH SKIPPING TUNE FROM THE HOPSCOTCH GRID IN HELL…” (MELODY MAKER)

“LIKE THOSE SMALLTOWN MUSEUMS THAT JUMBLE EVERYTHING TOGETHER – STUFFED FOX, DOLLS’ HOUSE, MOTH COLLECTION, NASTY OLD MAN – YOU NEVER QUITE KNOW WHAT YOU’RE GOING TO FIND LURKING INSIDE STEPHEN JONES’ HEAD… MONSTROUSLY CATCHY AND FEROCIOUSLY IRRITATING” (NME)

“BIG, BAD AND STOMPING OVER INFERIOR WHINY TUNES ON A RADIO NEAR YOU” (SKY MAGAZINE)

THE F-WORD
(from www.thef-word.com which doesn’t exist anymore)
…the kids decide to leave the city park. they ditch their radio in the trashbin, leaving it on to kill off the batteries. it’s four o’clock and the DJ is trying to save the world with a joke, then another, then another, till you don’t know where you are anymore.

but the abandoned radio will be safe. as soon as the kids leave, it’ll get picked up by the park keeper, who’ll stick it in the electrical recycle dump, with the toasters and the kettles.
the kids return half an hour later with a petrol tank from the garage, they pour it into the slot on the dumpster, and flick in a lit cigarette. stepping back there’s a rush of inhaled air, and then a small explosion, and the slot begins to roar fire like a burnt out tank.

the kids run round it screaming like fruitcakes, holding their air pistols and homemade capguns in the air. it’s like kuwait all over again, but the kids never saw that. for them it never happened. it wasn’t even part of their memory, unless it had been on sony’s new dreamcast Bomb Iraq III. but this, torching the recycle bin, now that was the real thing. this is war.
but then they hear a sound. something is terribly wrong. It sounds like the radio’s still going, and when they calm down, they can hear a voice above the crackling, this is so-and-so with the f-word…”I wanna get high. I wanna get low…”

they look for the sound. at first they look at the mouth of the burning dumpster, and then at themselves. the big kid counts the heads to make sure they’re all there. but there’s one missing. he can’t see the runt, anywhere, the one they normally dangled and dropped in the recycle bin.
but with a closer look it’s okay. there he is. the little f*kwit screaming his head off along to the words, ”Cuss my mother and I cuss my dad…”

the big kid runs over and gags his little brother’s mouth with the cup of his gassy hand, ”Hey shut up you little prick”. but he keeps it up, still singing through the big kids hand, louder and louder…
…the dumpster’s mouth moving, moving it’s black metal lips, singing the words. then the song ends, and with one almighty firey cough it pukes out the radio, knocking the kids on their backsides…and there it is, melted and smoking, dead as a chewed up doughnut, on the concrete.
the kids run out of the park, screaming that scream that could ever be blind panic or absolute joy.

Review from The Bad Pages:
“At first impression this a simple rocker with heavily distorted guitars, a real bastard groove and a direct-in-your-face refrain wrapped up in a surprising fuzzed attitude. So it’s definitely a grower and the ideal record to annoy your neighbours with – it begs to be played extremely loud. And as time would later tell, it is also a fine representation of Bugged.
The two b-sides ‘Just a Little’ and ‘Beat the Boys Up’ recapitulates the simple groove/heavy refrain of ‘The F-Word’, but none of the two were ever a personal favouritet here. Perhaps its their lack of an unmistakable catchy tune or their intentionally simplified, almost monosyllable appearance that keep coming at you.

CD1 comes with a Steve Osbourne remix of ‘The F-Word’ which might have a cleaner big beat-eque production and is easier to dance to (sic.), but in spirit is pretty much identical to the album-version (without the trademark guitar) and therefore rather uninteresting. But then again, if this version actually gave you a chance to listen to Babybird when clubbing, I’d go for it.


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