I found the article quite muddled and therefore a bit disappointing. For example, in Record Collector (back in the 9os I think it was) Lawrence explained how Maurice had written all the music to Primitive Painters in its final form, and went on to describe how his classical training and greater experience in writing gave the song its different sound compared to other Felt songs. He contrasted this with his own stilted way of writing. Here he says that the music was not wholly formed when he first heard it and that they worked on the arrangement together, as well as Maurice not doing much writing. Recordings of Primitive Painters credit Lawrence with lyrics and Maurice with music. Stranger still is both Lawrence and Gary talking about "something being signed" to keep Lawrence away from the remix. I remember reading this description about a Denim recording with John Leckie, which explains why Robin Gutherie says he does not remember such a thing happening. What a great song though.
It sounds untypical because Maurice Deebank wrote all the music. Usually, we wrote songs together but this time he had the whole thing ready. What you hear is how he'd presented it to me, and then I filled in the melody and the lyrics on top. So it didn't have my stilted rhythms. It hasn't got a basic Felt song structure which I used to provide. I think that's why it breathes a lot. He was a lot more experienced at songwriting than I was. It sounds more normal and that's why people got into it, I think, apart from the fact that Liz was singing. It almost had a riff, which is a terrible word to fling around!