In my experience there's nothing quite so likely to nark a non-paying audience as the sight of a pub band putting their guitars back on their stands, switching off their amplifiers and coiling up some leads at the end of a performance, for this usually means that the evening is nearly over. Encouraging as it is that the good people wish to enjoy your company further, an entreaty to continue the performance can sometimes be expressed in less than gracious terms - for instance the spittle and cigarette breath demand that Picturehouse "...earn your fucking money" which once followed a lengthy third encore extemporisation on the theme of All Day and All of the Night in Stowmarket didn't really engender a warm feeling and a desire to resume the performance in any of our hearts.
Stephen Constable later came in to the studio and helped multi track the backing vocals and John Bennett (The High Llamas) dropped a suitably spiky guitar part in that helped tie the whole thing together with Nick Zala’s ever-sympathetic pedal steel reading on his part. It didn’t really fit with the rest of the IV album and so has been addended to our version of You’re So Vain (largely vocally performed by the sparky and delightful Canadian folk chanteuse Cara Luft) as the b-side, b/w or c/w, depending on your point of reference, of what would have been referred to in the olden days as ‘a single’. Ironically, one of the charges regularly levelled against us in our Star Club days was that we were a bit too full of ourselves.