ESN 4 - Eccentric Sleeve Notes

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BLUEBELLS
DAINTEES
FASHION
OK JIVE
.
YAZOO
GANG
OF FOUR
ECHO AND THE BUNNYMEN
SIMPLE MINDS
CHINA
CRtSIS BELLE
HOLLIDAY STARS
ROMAN
KISSING THE PINK
THE FASHIONABLE
IMPURE
3
THE CLASH
A lot of preparati~n had gone into the visual
side of the Clash tour. There was an abundance of slides representing aspects of most of
the songs. Most striking were those hinged
around dr~atic
events covered by the media:
Violence caused by a failure of understanding
of different political views, how casually
physical strength is used by those who possess
it.
The Clash musically were unstable.
The reinstated drw"mer, Terry Chimes, had to be
coached along. Time for rehearsing the set
was something the Clash had not had. This
made the older songs more suitable for show.
I
remarked to Joe Strummer, after the set, that
they could easily be in the middle of the
London Calling Tour.
JS: Yeah, that'e because we've just been
learning the basics with Terry.
We started
with 35 numbers we can play with Terry.
We
played 24 tonight.
ESN:
~ill the set remain the same throughout
the tour?
JS:
No. we've got ten numbers to play with.
We try to learn new ones, two a day. The car
broke down todey, so the sound check was fucked.
We were going to play ·Car Jamming" and "Ghetto
Defendant" but it was such a crap show tonight
we didn't feel like it.
ESN:
Newcastle City Hall has always been a bad
place to play.
>SN:
People can't dance here, there's too many
bouncers that keep them in their seats.
JS:
Yeah, we think we're going down crap.
puts us off.
ESN:
That
Wh~t's involved in Club Caabah?
JS:
We want to try and make the glg more fun
for the audience.
Like, it didn't go down well
toni~ht.
We had the Burundi cirummers playing a
couple of nights ago. _e have Hikey Dread play'ing records.
'e try to come on early and leave
some time at the end for Kosmo to play records
and for people to dance at the unseated venues.
rit the end of the show a couple of nights ago,
I made
the ar.nounce~ent th~t we were f.oin~ to
get changed and then come out.
Everybody
thought we were coming back on stage.
They
all stood round it watching the roadies take
the equipm.nt down. What I meant was that we
were going to come into the audience and have
a drink.
Tbe next night at Stoke we thought,
'right, we won't make an announcement and see
what happens'.
So after we had done the set
Kosmo started playing some great records - and
they all went home~ We're still trying to work
out how to do it. Gigs are eo shit these dsys
we're just trying to make it more of an evening out, a bit more fun.
As we talk to Joe he is signing autographs.
Everybody who waited to come backstage is there.
Joe had been signing for nearly an hour.
JS: See that flicker.
I'll tell you what
gets on top of me. These guys mean well, but
the whole lock stock and barrel, having to
sign all of that. Then your hand starts
shaking.
ESN:
It's to bring some kind of personal
contact into it.
JS:
AUTOGRAPH
ESN:
JS:
JS: We've Deen ~rying to learn with Terry stuff
we've never played live before, like "Death Or
Glory", but we shouldn't be playing here.
It'e
seats.
we were banned from here for two yeare.
I wish they'd kept the ban up. We're only
playing here because there's a demand.
Yeah, I suppose
ESN:
r.uNT~:
Thanks
BO.
Will you sign it to Pete?
for your time.
You forgot something.
"bat
'5
that?
JS: You didn't give me a copy of your mag.
Something to read in bed~
SIMON McKAY
4
5
A company can do a lot to make you successful.
They mould not have this power.
Bormi:
"When a musician becomes a business-
Lifeatthe
Okjive.
man he's no longer a musician.
B\ue Cbonio S\\~
OK Jive start promoting their career in
J;e71carUe storming all the record shops in
town, leavir.g a trail of post~rs, stickers and
free recores wherever they went. Hopefully
"Life At The ~nue Conjo Sky Day And Night Club"
continued, even when they were out of earrange of the shop turntables. this being the
title of their debut L.P. on Frenzy Records.
Lee:
"Frenzy is our own label within CBS. We
set out to sign to an independant label.
This
was the next best thing. We hope to have releases by other bands on the label, maybe some
"~rica.n bands."
Swabili music has influenced OK Jive's
records greatly.
Bormi:
"Swabili is not
only a laneuage but also a culture."
Lee:
Datsun, Bavon and Bonni are all from Africa.
I reme~ber we tot slagged off in a music paper
written for black people in this country.
It
slaggec us because our music is African-style,
although there is only one black in the band.
The article was a load of rascialist crap."
It seemed strange that Joe Jackson mould
have once produced a band playing African
music.
"We had playee quite a few dates with
Joe and he had really liked us. He wanted to
proeuce our first single which was 'On Route'.
It was a little strange.
It didn't work out
that well. Nobody was particularly ple~sed
with the ene sound. Joe inspired a great confidence in us though. He told us we had a
really original sound, and what an asset that
was and that we sho~ld build .on it end not
slip into other people's slots."
"Bavon does our producing now as well as
playing guitar.
It's ~uch easier to do that
than bri~g a producer in from the outside who
is not ta~iliar with our sound, and what we
want.
Producers like Eartin P.ushent might
make hit records, but it's only because they
stamp so much of the~selyes across the recorcing. A proeucer like that ta~es a band as
elements and re-arranges the~ in his mode. At
the end of the year he can turn round and say
'Well, I've produced so many hit singles this
year', and that's what he gets paid for. That
is not the kind o!' person we want."
a busi-
businessman.
You can't be both."
Datsun:
"CBS are hoping we'll take off soon. They
released a single, 'Anyway', just before the
al bum without us even knowing it. They didn't
promote it or anything.
It was a complete
waste of time. They did it on the off-chance
that it might get picked up and become a hit."
r-
day & night club
When
nessman becomes a musician he's no longer a
OK Jive have recently finished supporting
Squeeze on their "Last Orders Tour".
"It's
ah'aYs hard to got onto a stage and play to
another band's audience.
We were really
excited about the tour. The kind of people
attracted to Squeeze are an older laid back
audience more appreciative of music than
fashion.
Which is good because they tena to
be more open minded.
It's great if the audience get up and dance, we really enjoy ourselves.
It didn't happen much on that tour.
At the seated venues we would .so on and start
playing and we can see the people being ushered into their seats.
It made me feel like
a 2-D film.
It was really claustrophobic.
It
was as if we were not there.
At one venue
everyone got up to dance.
When Squeeze came on
it was half an hour before they would stand
up.
It was really strange.
People don't
usually show their appreciation so enthusiastically.
Quite often it's a case of 'I've
come to enjoy Squeeze'.
Maybe it just doesn't
occur to some people to stand up for anyone
other than the main band. Inbetween songs
the applause can really explode.
It's so
worrying when you're playing the songs, you
think '?fuat the Hell are we doing wrong?'
~e
played with the Polecats once. The audience
just glared.
After that there was a rockabilly
who kept ~urninf
ROMAN
~OB LA~:Jf'RT
JOHN 'F'l,~aTT
Sn:ON OOR::':
BRIAN ;lONHO'),:!,
JORK Dc:'J!O
STEV3
L!,1.3EP.T
us. lie still had the suit and the quift". It
"as nice to know "e had won a fan. Part of
the incentive on the Squeeze tour was that "e
had the ch:mce to win over people who would
not otherwise hear us. That is an advantage
of playing to another band's audience, it is
something positive."
Progress comnercially is a slow process
"hilst working up from singles to e.n album.
Datsun is not happy with the band's commercial
progresE; "l:usically we have improved and have
the sound we want. The set has progressed, a
lot of the older BOnbs have been dropped."
Ruby:
"A lot of our songs are in two parts.
The second part might be completely different
to the first part though."
OK Jive play on stage with great charisma.
Everything is colourful, chirpy, but not
sickly.
Cri ~p rhythms mix with Ruby's stable
voice.
Datsun circulates, while the rhythm
continues.
The guitars sound like guitars,
no screech, and Bo~
can sing in Swabili.
The night is not ye~ over, promoting
never ends. After cooling down we steer Ruby
and Datsun, Hansel and Gretal style, to~ds
Metro P.adio. ~our ~iles south, the turntable
assault begins.
:~ter the maze of flying oneway arrows the security guard iE easily dealt
wi th by a fast tongue.
A.fter winding hiJn up
we point him in the direction of the broadcast
ing studio, "Take It F.asy" in hand. We discus
how plausible it would be to remove his hi-fi,
with the glittering lights.
Our little watchdog soon re~~es his post in reception.
We
stand and listen as the DJ realises he has
something unexpected to talk about on air. Ne
fuss or time wasting, "Take It Easy" is slottE
in nicely, before t~e 9 p.m. news.
I walk
away ba"fled - just who are "T3S OK Jive"?
SIMON McKAY
up at our gigs to see
HOLLIDAY
LEAD VOCf..LS
S.'J(
1?lT1.~ET
DRm:S
GUITAR/VOCALS
BASS/VOCALS
"IYe've been going seven month s aE a swing
band.
~e started at a residency in Gossips,
London.
We got ~o~e live work from there and
got some labels interested" - Steve.
Roman Holliday's debut EP was released a
couple of ",oths ago, and included "Stand By"
and "Motor !,'ania". (I.ly
personal favourites,
Ha!)
"We played with the Clash at Portsmouth
as our first main support. We've played with
Culture Club and kari Wilson as well. We went
down "i th her crowd qui te well.
The only
problem is when no-one watches because the bar
is upstairs."
Roman Holliday also supported
the Belle Stars tour.
"We were touring in a
tranEit and using lots of their gear." - steve
The name Roman Holliday came from a member
of the band who "was left" a year ago.
"He
probably thought it sounded hip at the time.
The double '1' came from a name, i.e. Billie
Holliday.
There was a film made in black and
white years ago called 'Roman Holiday' as
well." - Steve.
Rom~ Holliday play what was pop music
in the forties.
"\le're not part of a revival
or anything." - Steve.
Indeed, one of the
appealing points about the band is that they
do not try to emulate forties dress, nor do
they use a double bass. A very enjoyable
band to watch, who play a 45 minute set of
well arranged numbers.
The set also includes
a couple of covers.
It is refreshing to see
them playing in scruffy jeans. The emphasis
is obviously on the music and not any would-
be ~rul>.
t..; ...~
.
. ..,
C"TVn.N
M rr .•.•••
.vJ,.IIlV
~ ~Cn...tt.l·
4
5
A company can do a lot to make you successful.
They mould not have this power.
Bormi:
"When a musician becomes a business-
Lifeatthe
Okjive.
man he's no longer a musician.
B\ue Cbonio S\\~
OK Jive start promoting their career in
J;e71carUe storming all the record shops in
town, leavir.g a trail of post~rs, stickers and
free recores wherever they went. Hopefully
"Life At The ~nue Conjo Sky Day And Night Club"
continued, even when they were out of earrange of the shop turntables. this being the
title of their debut L.P. on Frenzy Records.
Lee:
"Frenzy is our own label within CBS. We
set out to sign to an independant label.
This
was the next best thing. We hope to have releases by other bands on the label, maybe some
"~rica.n bands."
Swabili music has influenced OK Jive's
records greatly.
Bormi:
"Swabili is not
only a laneuage but also a culture."
Lee:
Datsun, Bavon and Bonni are all from Africa.
I reme~ber we tot slagged off in a music paper
written for black people in this country.
It
slaggec us because our music is African-style,
although there is only one black in the band.
The article was a load of rascialist crap."
It seemed strange that Joe Jackson mould
have once produced a band playing African
music.
"We had playee quite a few dates with
Joe and he had really liked us. He wanted to
proeuce our first single which was 'On Route'.
It was a little strange.
It didn't work out
that well. Nobody was particularly ple~sed
with the ene sound. Joe inspired a great confidence in us though. He told us we had a
really original sound, and what an asset that
was and that we sho~ld build .on it end not
slip into other people's slots."
"Bavon does our producing now as well as
playing guitar.
It's ~uch easier to do that
than bri~g a producer in from the outside who
is not ta~iliar with our sound, and what we
want.
Producers like Eartin P.ushent might
make hit records, but it's only because they
stamp so much of the~selyes across the recorcing. A proeucer like that ta~es a band as
elements and re-arranges the~ in his mode. At
the end of the year he can turn round and say
'Well, I've produced so many hit singles this
year', and that's what he gets paid for. That
is not the kind o!' person we want."
a busi-
businessman.
You can't be both."
Datsun:
"CBS are hoping we'll take off soon. They
released a single, 'Anyway', just before the
al bum without us even knowing it. They didn't
promote it or anything.
It was a complete
waste of time. They did it on the off-chance
that it might get picked up and become a hit."
r-
day & night club
When
nessman becomes a musician he's no longer a
OK Jive have recently finished supporting
Squeeze on their "Last Orders Tour".
"It's
ah'aYs hard to got onto a stage and play to
another band's audience.
We were really
excited about the tour. The kind of people
attracted to Squeeze are an older laid back
audience more appreciative of music than
fashion.
Which is good because they tena to
be more open minded.
It's great if the audience get up and dance, we really enjoy ourselves.
It didn't happen much on that tour.
At the seated venues we would .so on and start
playing and we can see the people being ushered into their seats.
It made me feel like
a 2-D film.
It was really claustrophobic.
It
was as if we were not there.
At one venue
everyone got up to dance.
When Squeeze came on
it was half an hour before they would stand
up.
It was really strange.
People don't
usually show their appreciation so enthusiastically.
Quite often it's a case of 'I've
come to enjoy Squeeze'.
Maybe it just doesn't
occur to some people to stand up for anyone
other than the main band. Inbetween songs
the applause can really explode.
It's so
worrying when you're playing the songs, you
think '?fuat the Hell are we doing wrong?'
~e
played with the Polecats once. The audience
just glared.
After that there was a rockabilly
who kept ~urninf
ROMAN
~OB LA~:Jf'RT
JOHN 'F'l,~aTT
Sn:ON OOR::':
BRIAN ;lONHO'),:!,
JORK Dc:'J!O
STEV3
L!,1.3EP.T
us. lie still had the suit and the quift". It
"as nice to know "e had won a fan. Part of
the incentive on the Squeeze tour was that "e
had the ch:mce to win over people who would
not otherwise hear us. That is an advantage
of playing to another band's audience, it is
something positive."
Progress comnercially is a slow process
"hilst working up from singles to e.n album.
Datsun is not happy with the band's commercial
progresE; "l:usically we have improved and have
the sound we want. The set has progressed, a
lot of the older BOnbs have been dropped."
Ruby:
"A lot of our songs are in two parts.
The second part might be completely different
to the first part though."
OK Jive play on stage with great charisma.
Everything is colourful, chirpy, but not
sickly.
Cri ~p rhythms mix with Ruby's stable
voice.
Datsun circulates, while the rhythm
continues.
The guitars sound like guitars,
no screech, and Bo~
can sing in Swabili.
The night is not ye~ over, promoting
never ends. After cooling down we steer Ruby
and Datsun, Hansel and Gretal style, to~ds
Metro P.adio. ~our ~iles south, the turntable
assault begins.
:~ter the maze of flying oneway arrows the security guard iE easily dealt
wi th by a fast tongue.
A.fter winding hiJn up
we point him in the direction of the broadcast
ing studio, "Take It F.asy" in hand. We discus
how plausible it would be to remove his hi-fi,
with the glittering lights.
Our little watchdog soon re~~es his post in reception.
We
stand and listen as the DJ realises he has
something unexpected to talk about on air. Ne
fuss or time wasting, "Take It Easy" is slottE
in nicely, before t~e 9 p.m. news.
I walk
away ba"fled - just who are "T3S OK Jive"?
SIMON McKAY
up at our gigs to see
HOLLIDAY
LEAD VOCf..LS
S.'J(
1?lT1.~ET
DRm:S
GUITAR/VOCALS
BASS/VOCALS
"IYe've been going seven month s aE a swing
band.
~e started at a residency in Gossips,
London.
We got ~o~e live work from there and
got some labels interested" - Steve.
Roman Holliday's debut EP was released a
couple of ",oths ago, and included "Stand By"
and "Motor !,'ania". (I.ly
personal favourites,
Ha!)
"We played with the Clash at Portsmouth
as our first main support. We've played with
Culture Club and kari Wilson as well. We went
down "i th her crowd qui te well.
The only
problem is when no-one watches because the bar
is upstairs."
Roman Holliday also supported
the Belle Stars tour.
"We were touring in a
tranEit and using lots of their gear." - steve
The name Roman Holliday came from a member
of the band who "was left" a year ago.
"He
probably thought it sounded hip at the time.
The double '1' came from a name, i.e. Billie
Holliday.
There was a film made in black and
white years ago called 'Roman Holiday' as
well." - Steve.
Rom~ Holliday play what was pop music
in the forties.
"\le're not part of a revival
or anything." - Steve.
Indeed, one of the
appealing points about the band is that they
do not try to emulate forties dress, nor do
they use a double bass. A very enjoyable
band to watch, who play a 45 minute set of
well arranged numbers.
The set also includes
a couple of covers.
It is refreshing to see
them playing in scruffy jeans. The emphasis
is obviously on the music and not any would-
be ~rul>.
t..; ...~
.
. ..,
C"TVn.N
M rr .•.•••
.vJ,.IIlV
~ ~Cn...tt.l·
7
CHINA
Slowly but rurely, 'bands from Liverpool
are starting to be recognised by major record
companies.
One such band is China Crisis who
recently signed to Virgin.
We met the band on
the third date of a British tour £upporting
Simple ~inds.
Although reluctant to respond
to our questions, we managed to get a few
facts out of them.
ESl!: How many people
are there in the band?
CRISIS
ESN:
Why ,was African
and ·,'lhi
te re-released?
CC: There was a big demand fnr the original
single so we deleted it, held back until the
orders built up and re-released it in the hope
of getting it high in the charts, but it only
reached somewhere in the forties.
ESN:
How
is the remix di~ferent
from the
origin~?
CC: There are two members in the band at the
moment, although a f"w weeks ego there were
three.
CC: The vocals were changed and it had a
different B side.
ESN: What arc you going to do after this
tour?
CC:
few
oe are going into the studio to record a
mo!"e
t::-acks.
At this point everyone dries up and we
don't seem to be abls to get anything more
but skit out of China Crisis.
S'rEPHEN JOYCE
NEW RECORD INN
ESN:
CC:
Why are there only two now?
The third member
like touring.
That's
left because he didn't
why we didn't
tour much.
ESNI
So how do you manage to produce music
live with only two members?
CC: On stage we have three people to help us
out. We used to use tapes but now the sound is
~otal1y live.
ESl!: You've
just released an LP.
CC: Yes, it was recorded with the original
three members and various other people helping
out.
-
8
BLUEBELLS
R03~T
HOIY;~;S
sa
KE!:1I"Y
llcCLr:
RI:SSELL LO'ln:::
LJ.'C'lE::CE
DC;B;'.l1i'
DAVID l'cCLUSKY
-
GUIT!3, VOCALS
!V.Pl:0NTCA,VCCALS
Gun A:! , VOCALS
BA 'OS,VOCALS
D?TIi''', VOCALS
The Bluebells were just about to release
their first ringle, "Forever l:ore" when E!irl
interviewed the~ for the second time. The
Bluebells have played Ji'ewcastlefour times in
les~ than a year, once on their own, twice with
P.aircut 100 2nd tonight as guests on the Elvis
Costello tour. The 31uebells had been in the
Studio with Elvis Costello producing them, to
record trrtcks for a possible eingle. "by
didn't any of these tracks appear as the first
single?
LAUP.E/;CE: '"e did the tro.cks wi th Elvis when
we didn't have a recora company.
We had
originally planned to record two and bring them
out as a Eingle on Elvis' own label, Demon.
We didn't have anyone to produce us so we asked
our ~blishers
if we could have Elvis.
They
sent Elvis a tape of our muEic and he came to
see us live. He liked us and agreed to produce
us. ';/edid the t'"o tracks, "Aim In Life" and
"EVerybody's :emebody's Fo 1", but we didn't
think they .•e:::-e
very good.
"Aim In Life" came
off the best, but "::Verybody's SoOlebody's Fool"
waE really awf"l, a:ld we had planned to make it
the A side. "Aim In Life" will be on the B
side of tr.enew single and a new version of
"Everbody's Somebody's Fool" will a?pear as an
extra track on the 12" single.
Esr:
Ybet was it like, working
with Slvis?
in the studio
L!URENCE:
~'e liked "orking with ~:lvis, 00 we
have got hi~ to pro~uce our debut album which
we are going to record after this tour.
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.ESN: You've had a lot of exposure with other
bands, like Haircut lOO, Altered Images etc.
'O ••
'"
••
LAURENCF:
E~l:
If you play out of tune, they'll
know.
never
'LAURD1CE: And we did! It was good, ver good
exposure.
We keep getting loads of letters
from them. If they write them, they are sure
to buy a copy of the single.
How is this tour GOing'!
LA~ENCE:
'ileare nearly half way through at
the moment and it's going rea~onably well.
~!e've had a few good reactions.
The audience
are a lot older than tr.eF.aircut tour so you
don't have lote of girls screaming at you when
the drQ~Ler breaks his hi-hat.
At thie po:r.t tte interview was br~ught to
a halt due to a soundcheck.
They have their
own ori~inal sound which is Y.hy they had almost
every big record coocpany after them.
STEPHEN JOYCE
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through Phonogram.
They usually just give
single deals to new bands.
That's what they
did for the likes of ASe and Soft Cell.
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LJ.~E::CE D:J!~0l\
DAVID l'cCLUSKY
8
The
second P.aircut tour was very
How is this tour GOing?
never
STEPHEN JOyeE
At this po:~t the interview was brought to
a halt due to a soundcheck.
They have their
ori~inal sound which is Yohy they had almost
every big record co~pany after them.
01'"
LA~~CE:
Ue a::-enearly half way through at
the moment and it's going reasonably well.
~e've had a few good reactions.
The audience
are a lot older than the P.aircut tour so you
don't have lots of girls screaming at you when
the drQ~~er breaks his hi-hat.
ESN:
'LAUREHCE: And we didl It was good, ver £'Ood
expoeu::-e. We keep getting loads of letters
from them. If they write them, they are sure
to buy a copy of the single.
Egl:
If you play out of tune, they'll
know.
good, young audiences who think you are superstars as soon as you walk on stsge.
LAURENCE:
.ESN: You've had a lot of exposure with other
bands, like Haircut 100, Altered Images etc.
LA'JREl:CE: ':'Ie've
signed to London which is
through Phonogram.
They usually just give
single deals to new bands.
That· s what they
did for the likes of A3C and Soft Cell. Tie
wwre tte first to be offered an album deal for
2 or 3 years.
BLUEBELLS
v:cns
GUIT!3. VOCALS
!V.Pl::lNICA.
GUIrAR, VO:;.LS
BA 'OS,VOCALS
D!HJi"::,
VOCALS
The Eluebells were just about to release
their ~irst .1n/;le, "Forever J.:ore"when E~
interviewed theffifor the sscond tims. The
0=,
Blusbells have played l\ewcastle four times in
twice with
less than a year, once on their
Eaircut 100 and tonight as guests on the Elvis
Costello tour. The 3luebells had been in the
~e did the tracks with Elvis When
Studio with Elvis Costello producing them, to
record trncks for a possible single. .by
didn't any of these tracks appear as the first
single?
LAUP.~;CE:
we didn't have a recora company.
We had
ori/;inally planned to record two and bring them
out as a single on Slvis' own label, Demon.
We didn't have anyone to produce us so we asked
our ~blishers
if we could have Elvis.
They
sent Elvis a tape of our music and he came to
see us live. He liked us and agreed to produce
us. 'riedid the t",o tracks, "Aim In Life" and
"EVer/body's ~mebody's Fo 1", but we didn't
think they "'e::-e
very good.
"Aim In Life" came
off the best, but "Everybody's Soo:ebody's Fool"
was really a",f"l, and we had planned to make it
the A side. "Aim Ir. Life" will be on the B
in the studio
side of t~e new single and a new version of
"£Verbody's Somebody's Fool" will a?pear as an
extra track on the 12" single.
Esr: y.'h"twas it like, working
wi th O:lvis?
~~t'RENCE: ~e liked working with Elvis, eo we
have got hi~ to pro~uce our debut album which
we are going to record after this tour.
E~:
Do you think that you weren't ready to
record a sin5le when you r.ent into the studlO?
LA~~~'CE:
ce probably weren't ready to do it
and didn't get ar,und to talking about what we
were .,ing to do before we went into the studiQ
ESI!: Yo·, got a lot of publicity from the
sessions yo~ did for Kid Jensen?
LAl'P.~:CE: rnings like radio 1 sessions are u?
to nothin[ because you EO into the studio and
you've got 12 hours to do four tracks and it
took us six days to reco::-dthe single.
Eg;:
The last time we talked, you didn't
have a record contract and you were looking
for a good one. ~at
is the contract like?
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about a love affair between
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a cripple
It's
and a
NICK:' ThE1re's "Last Film" which
is about
a.soldier who has to fly in a plane in the
war. Ha is s;,own propoganda films of how
wonderful life back in Britain is, although
it's not true'. They lie to him to give him
an incentive to fight.
Hopefully Kissing The Pink are on the
verge of some kind of a breakthrough.
The
Newcastle date of the tour was very badly
attended, though t~e audience, emall as it
was, was extremely enthusiastic.
Rave you
ever seen' a punter physically stop the band
leaving the stage until they've done a second
encore?
Kissing The Pink's debut album "!laked"
is to be ~eleased in ?ebruary, and a promotional tour is lined up for January.
BE
THE!tE.
SIMON McKAY
sent out to the music industry, offering them
the chance to see something totally unique.
When financial backing results from these
initial performances, The Fashionable Impure
will play around the country.
ri
,0
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The Fashionable Impure a~e ready to make
a video for demonstration.
It will be s~ot
at one angle and one distance, head on,
throughout the two or three tracks, so etrong
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art-form, merely a transmitter paving the way
to the showcase performances - then the media
and industry jump in. But then, Mr. 1.I0neymaker always rn~~es exceedingly good investments.
I'll smugly say "I told you so".
SIMON UcKAY
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reflecting one another, revolutionary plans
and an a~tual set exist.
I have seen them!
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merely a tray of slides added ae an afterthought.
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NICKs
The intere"ting thing. about our music
is the style of our songs are 80 different to
one another.
A lot of bands plump for a
certain sound. We can play the instruments
reaeonably well.
GF.ORGE: Everything hinges
the songs, the atmosphere,
try to get across.
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groin.
It· s really d.1fficult.to get people
to listen to music, 60 many people are into
image.
I find that depressing.
NICKs
The intere"ting thing. about our music
is the style of our songs are 80 different to
one another.
A lot of bands plump for a
certain sound. We can play the instruments
reaeonably well.
JOHN:
We make up a song and t.hen decide on
the style. It can vary from a sort of
Kraftwerk sound to funky jazz, even military.
on the meaning of
which is what we
a cripple
It' s called "Broken Bodies".
and a
It's
It's not really a love song.
We have one love
v.bat are the songs about?
GF.ORGE: Everything hinges
the songs, the atmosphere,
try to get across.
ESN:
JOHN:
GWRGE:
about a love affair between
"normal.tt• person.
NICK:' ThE1re's "Last Film" which
is about
a.soldier who has to fly in a plane in the
war. Ha is s;,own propoganda films of how
wonderful life back in Britain is, although
it's not true'. They lie to him to give him
an incentive to fight.
Hopefully Kissing The Pink are on the
verge of some kind of a breakthrough.
The
Newcastle date of the tour was very badly
attended, though t~e audience, emall as it
was, was extremely enthusiastic.
Rave you
ever seen' a punter physically stop the band
leaving the stage until they've done a second
encore?
SIMON McKAY
Kissing The Pink's debut album "!laked"
is to be ~eleased in ?ebruary, and a promotional tour is lined up for January.
BE
THE!tE.
10
'mhat if you went to anothe~ venue for
the late bar and you were absorbed in so~ething so radical you didn't know how to react,
and left in total bewilderment?
Turn on the radio - is it hard to define
what you hear?
The market is saturated with
new record releases, not because the music is
inspired but because peopls want to buy
records, although not as many people as in the
past.
People are losing interest in something
uninteresting.
The Fashionabls Impure a~e a new art
form, combining music with visualsl overpowering visuals which show initiative, not
merely a tray of slides added ae an afterthought.
The first ever true three dimensional form is being prepared for showcase
performances in London.
Invitations will be
sent out to the music industry, offering them
the chance to see something totally unique.
When financial backing results from these
initial performances, The Fashionable Impure
will play around the country.
At a time when a thousand bands walk
hand in hand up the ladder of progress merely
reflecting one another, revolutionary plans
and an a~tual set exist.
I have seen them!
'Hush, hush, this is a preview not a throwaway description.
The Fashionable Impure a~e ready to make
a video for demonstration.
It will be s~ot
at one angle and one distance, head on,
throughout the two or three tracks, so etrong
is the subject. Video is not part of the new
art-form, merely a transmitter paving the way
to the showcase performances - then the media
and industry jump in. But then, Mr. 1.I0neymaker always rn~~es exceedingly good investments.
I'll smugly say "I told you so".
SIMON UcKAY
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ECHO AND THE BUNNYMEN
~s:!1: I'-~"tdo you do ",hen you go down to
London?
The Liverpool Scene. Has Been.
'ill
3e.
Look Right.
Club Le~t.
Place it.
Toxteth?
::"arehouse7 ;.:inistry? Private Eell.
Put your finger on anything good from the
North-West.
v.bere? It's all opinion.
A
minion?
Could be. Use an enema and all
LP: We go out and get drunk - it's the only
enjoyment there is. ~e used to be against
that rockist ima~e but there's no point in
t~~ing that a~titude.
things scouse would dro~
in the crap seeping
out of the ruins eny atlas would call a city.
J.ffinity. Scant reg"rd.
Forgotten by the
government.
Admired by NME, and all things
musical.
l'he Soul Kitchen wouldn't go bankrupt in Liverpool.
Liverpool might.
ESI:: Have your cusical
recently?
ESlI: Would you let image s put you off?
Am I.
LP:
Sometimes it does. Take Dexy' s l~idnight
!lunners. They de~' it about ~aEhion and then
they ram it do~ your throat. To me, they're
really big hypocrites 'c~s they were in a
cabaret band in velvet suits when I first
saw them.
-000Face: Les Pattinson
Age: 24 Interview:-
Job: Bass with Bunnymen
LP:
I left school at 16. Then I worked,
boatbuilding, for five years to the day. Then
I decided ttat While I was still young, I'd
give the.band a go.
ESI!: Were you in any bz.nds at school?
LP:
No, this is the first one.
ESN:
Before
LP:
They were the be~t five years of my life.
ESN: What was their reaction
boatbuilding?
LP:
Physically different.
It was great to
get home at night and know you'd done a days
work.
Now, I sleep til ab~ut eleven, rehearse
etc.
It's hard, different.
Where
LP:
LP: They told me to stick to my job, saying
I was Clad. Now when I say that I'm going to
quit the band and get a normal job, they tell
me to stay with the band. I just do the
opposite of what they say!
ESN:
~s~
How long have you been playing
the
LP: About three and a half ye:EJ:s. I started
three days before our first gig, I'd never
touched a guitar before.
It was a suP?ort wit!
The
(De Teardrop
Freitas) were
Explodes
really
at nervous.
Eric's.
UeI've
and never
Pete
been so nervous in my life.
do you live?
ESK:
LP:
I still live .nth cy parents,
style?
~at
is their reaction
Whs.t was it like?
ESN:
Don't like
'em!
Even though they've helped you a lot?
LP: It's only becauEe we're four nice cheps.
When they come up, it's just because we have
a good laugh. Live, sometimes we're great,
sometimes we're really stit. When the moments
are magic, they're really ace, we savour them.
ESN:
'I1hatabo'J.tthe new violinist
wi th them live)
(who played
LP: His name is Shankar.
We're just using
him for the album.
~e met up with·him at
r.O~~~
and it just went from there.·
ESN: Were you. surprised at the success of
Back Of Love, compared to A Promiss?
'cos it's
cheap.
ES1:
LP:
I liked Geno.
Eileen is really ~atchy
and very well done ••• They said "we don't
do interviews, roe don't like hippies, smoking
pot, they're the degenerates of today" and
then they say "we believe in doing what you
want to, keep the spirit" - it's stupid.
when you quit
Better than now'?
~~:
l.~usically?
ESI!: The Rock Press?
Did you enjoy ooatbuilding?
ESN:
LP: "ell, it's sor-ethin
when he's in the pub. ~e m~~ was there last
night, it was the first time they'd seen us.
It kinda like puts you off, thiru:ing, God, me
mum's out there, which I thought when we did
the first number.
She loved it and s~ did
me dad.
that?
LP:
I used to go to ~ic's a lot. I thought
it wss fantastic.
The first bands I saw wers
Generation X, The Damned, The Clash.
I used
to go three times a week, spend all mv wages
on seeine bands.
E~I:
E~!:
to your life-
LP: It was gre ••
t. Heart wrenching.
Everyone re~ded
it as a cla·ssic. ,fe only did
one song, "Monkeys", but it was fifteen
minutes long.
are you re-mixine
the album?
LP:
~e didn't de=o it, and one or two of the
tracks c.ieht be better, so•••• e've seen
alrend7 that it is better.
:S~';:
',l,~n~t
's
it
called?
ta~tes changed
LP: Oh cefinitely, yes.
After being in the
studio especially.
One or two L.P.s from
years ago I still like - es.rly Bo~e
up to
Space Odditty, Images, etc.
And out of the desolation came forth new
hope.
All those lists you've read before.
Teardop, 3unnymen etc. Look right.
Whisper
working class.
Cue image.
Sham?
Some are.
s~,: ;~y
LP:
I never thought Proocise would oake it. It
wae one of those weird s~ngs, everyone could
listen to it, but it didn't get any airplay.
Love playing The Back Of Love.
It's difficult
to play, so it's good when you get it right.
LP: Dunno yet. ";hat usually ha?pens is }~ac
has a I;I'C"tidea =d it (fOes round until we
settle.
~~!:
The direction of this album
settled.
So where next?
is now
LP:
I dunno.
It's ?ersonal really.
The
other two alb~s have stood the test of time.
It's ju£t us. All four of us knor. what we
want,
I:; ju~ doinrr the right t~dng. The
rel~tionthip within the ~and iEn't what it
it
·,sed to be as me, kac and ~ill used to go out
every night and get pissed and generally have
a good time.
Now Mac is almost married, Will
can be moody.
ESN:
LPI
And you've
No.
not changed?
DAVID lJl.ARTIN
ECHO AND THE BUNNYMEN
3~1: ~·h~.tdo you do v:hen you go down to
London?
The Liverpool Scene. Has Been.
7.ill
Be.
Look Right.
Club Le~t. Place it.
Toxteth?
7:arehouse'i ;.:inistry? Private Eell.
Put your finger on anything good from the
North-West.
v.bere? It's all opinion.
A
minion?
Could be. Use an ene~a and all
LP: We go out and get cL.-unk- it's the only
enjoyment there is. ~e used to be against
that rockist imaee but there's no point in
t~~ing that attitude.
things scouse would dro~
in the crap seeping
out of the ruins any atlas would call a city.
Ufini ty.
Scant regard.
Forgotten by the
government.
Admired by !mE, and all thiD8s
musical.
The Soul Kitchen wouldn't go bankrupt in Liverpool.
Liverpool might.
E51:: Bave your cusical
recently?
LP: Oh r.efinitely, yes. After being in the
studio especially.
One or two L.P.s from
years ago I still like - e~rly Borie up to
Space Odditty, Images, etc.
And out of the desolation came forth new
bope.
All those lists you've read before.
Teardop, 3unnymen etc. Look right.
Whisper
working class.
Cue image.
Sham?
Some are.
ES,I:
Am I.
Job: Bass with Bunnymen
saw them.
LP:
I left school at 10. Then I worked,
boatbuilding, for five years to the day. Then
I decided ttat ~~ile I was still young, I'd
give the band a go.
ESl/: Were you in any bands at school?
LP:
No, this is the first one.
ESN:
ESlI: I.:u
sically?
LP: ;;ell, it's sor..ething~or me dad to say
when he's in the pub. J.~emum was there last
night, it was the first time they'd seen us.
It kinda like puts you off, thinl:ing, God, me
mum's out there, which I thought when we did
the first number.
She loved it and so did
me dad.
ESlT: Did you enjoy ~oatbuilding?
They were the be~t five yeare of my life.
ESN:
ESN: What was their reaction
boat building?
when you quit
LP:
LP: They told me to stick to my job, saying
I was cad. Now when I say that I'm goinS to
quit the band and get a normal job, they tell
me to stay witb the band. I just do the
opposite of what they sayl
ESN:
~s~
Bow long have you been playing
the
Better than now?
LP: Physically different.
It was great to
get home at night and know you'd done a days
work.
Now, I sleep til about eleven, rehearse
etc.
It's hard, different.
E~,:
LP: About three and a half ye&rs.
I started
three days before our first gig, I'd never
touched a guitar before.
It was a sup:;lOrtwi tl
The
(De Teardrop
E'reitas) were
Explodes
really
at nervous.
Eric's.
l~e
I've
and never
Pete
been so nervous in my life.
Where do you live?
Esr.: 1'1h~twas it like?
LP:
I still live ~~th cy parents,
cheap.
ESl!: ~at
style?
-._-----
is their reaction
LP:
I liked Geno.
Eileen is really ~atchy
and very well done...
They said "we don't
do interviews, r.e don't like hippies, smoking
pot, they're the degenerates of today" and
then they say "we believe in doing what you
want to, keep the spirit" - it's stupid.
ESllt The Rock Press?
Before that?
LP: I used to go to ~ic's a lot.
I thought
it was fantastic.
The first bands I saw were
Generation X, The Damned, The Clash.
I used
to go three times a week, spend all mv ~ges
on seein,:'bands.
LP:
Would you let images put you off?
LP:
Sometimes it does. Take Dexy's ~idnight
~unners.
They deny it about ~aEhion and then
they ram it dov:~ your throat.
To me, they're
really big hypocrites 'cos they were in a
cab:ret band in velvet suits when I first
-000Face: Les Pattinson
Age: 24 Interview:-
ta~tes changed
ESN:
Don't like 'eml
Even though they've helped you a lot?
LP: It's only becau£e we're four nice chaps.
When they come up, it's just because we bave
a good laugh.
Live, sometimes we're great,
£ometimes we're really stit. When the moments
are magic, they're really ace, we EaVour them.
ESN:
What abo~t the new violinist
wi th them 11ve)
(who played
LP: His name is Shankar.
We're just using
him for the album.
~e met up with 'him at
r.O~~~
and it just went from there.
ESN: Were you. surprised at the success of
Back Of Love, compared to A Promise?
'cos it's
to your life-
LP: It was great. Heart wrenching.
Everyone regarded it as a classic.
~e only did
one sons, "Monkeys", but it was fifteen
minute s long.
LP:
I never thought Pro~ise wO'~d cake it. It
~as one of those weird songs, everyone could
listen to it, but it didn't get any airplay.
Love playing The Back Of Love.
It's di:ficult
to play, so it's good when you get it right.
s~,:
i~.y are you re-mixine
the album?
LP:
~e didn't dexo it, and one or two of the
rie've seen
alrendy that it is better.
t~acks cieht be better, so•••
S~I:
''':n"t'
sit
called?
LP: Dunno yet. '\'hatusually happens is Hac
has a P,reat idea and it ~es round until we
settle.
~~~: The direction of this sl~~
settled.
So where next?
is now
L?:
I dunno.
It's personal really.
The
other two ~lbums have stood the test of time.
It's jUFt us. All four of u£ know what we
want, it' 0 just doin!; the right t!,ing. The
rel~tionship within the ~and isn't what it
'lsed to be as me, i,:acand 'Ilillus"d to go out
every night and get pissed and generally have
a good time. Now Mac is almost married, Will
can be moody.
ES!':
LP:
And you've
No.
not changed?
14
15
E~,: Do you fell as though you can achieve
GANG OF FOUR
ESlf: Ylas there any attempt
off the market?
to have it taken
JON:
It was too late, the person didn't find
out until it had sold. It was in her interest
to get damages.
Prior to our interview The Gang had been
filmed for a TV news show in which they wore
leotards.
JON: We thought it would be a bi t of a laugh.
We had all sorts of d1f~erent uniforms projected on us. il,rr tried to convince everybody that it wasn't about the army, which
obviously it was.
It isn't about people who
are worried about their sexuality as the m.!E
review of it said. Most of it's about handouts - they got me down. You've got no opportunity, this is where your culture pushes
you.
You've got nothing else. Look at the
army now, they're actually making people
redundant.
There's no shortage of people for
cannon fodder, there are so many people who
have got bugger all to do.
We had a lot of trouble with uniform because
of the ?alklands crisis. ,'hen it first came
out it r.os doing really well.
Jon King was quick to pick up on the
introduction I laid before him: a cutting ~rom
a German TV Times.
It Showed a still from
Winnetou I, the much ~amed Cowboy and Indian
handShake, amidst rocks and blue sky.
JONt
This is one of the biggest TV series in
Europe.
Vie went to Yugoslavia, and I was told
the whole background to it. I saw it like this
except it was in black 'n' white, and liked
the picture.
This alienated Western heroe
goes around befriending Indians, and that 's
what the stories are built around.
Which is
quite co-incidental.
I couldn't of course,
use the picture because of copyright.
So what
I did was, I traced it to avoid any possibility of connection and made the faces white and
red.
That was part of the idea as well. We've
been sued before for using pictures out of
magazines.
On "Tourist", the woman on the
back sued Us. On an Everest advert in a paper
it said "It's her family".
She couldn't lsave
her house because it wes so upsetting that a
punk group had used her photograph on their
cover.
The BBC hated it because it mentioned
packets.
The add agency '1Uedus for it as
well.
It cost us as much as we made on the
bloody thing.
It went to
number 65, then Radio 1 stopped playing it' and
it started to go down. They knew it wasn't
connected with the Falklands, the radio producers were being quite re8sonable about it.
The line was, if the "Shoot, e.'>oot,burrh" was
being played and there was an interruption
saying another 200 men had been killed it
would reflect badly on them. It was recorded
two months before the Falklands conflict.
It
was a real pain in the arse.
'In the past our stuff has always been too
political or heavy. We got bored with making
statements like on"Entertainment".
On "Uniform" we spent a lot of time getting the vocal
sound right.
It depends a lot on the vocal
sound as to whether the radio will play it or
not.
"Uniform" became so incredibly political.
More so than "Poverty".
ESN: Rave you added a fifth member
band, on synthesised bongos?
JON:
Simmons drums.
Eddie Redah
to the
is not a
full member.
She's only playing with us live.
We need extra percussion when we appe8r live,
the songs need it. There's no way of doing it
otherwise, and she's got a great voice.
There's loads of percussion - "We Live As 'foe
Dream Alone", "Kii Kii Buah".
I couldn't
do that, unless I had five arms.
so~ething
and it's not just the motions
of a
job?
JON:
On the bottom of it, it's just a job.
That's how I earn my living. That is pretty
straightforward.
I find it really interesting,
particularly having done "Songs Of The Free".
I feel we're getting so~ewhere towards what
we could have done.
I think "Entertainment"
bogged me down. Dave AlIen wrote them, although they were credited to The Gang Of Four.
Dave 'ran out of ideas.
On "Solid· Gold", Andy
and I were credited. on four of the' songs. Now
we do all the writing •. 'f,e'rereally productive. Together WE< wrote 25 songs for the last
album.
Thirteen· we recorded.
E~":
Although
the album.
there were only nine
songs on
JON:
One went on the other side of "Uniform".
There was another one, which was a bit of a
rocker.
~e play it·live but it didn't really
fit the LP. On that second sid~, I rea~ly
like playing it right. through as it is •. The
last track has ~e sinGing quietly over a
·synth. It's not like anything we've ever dcne
.before •. On "Solid Gold", for me, there were
only six really good songs. '1 don't like
It::>itchll,lIKeep"Itlt,
don't like "Trains".
There was "Army'" which is one of'my absolute
favourites.
Although it never came out good
on record, live I love it.
I suppose it is ju~t a job, I really enjoy it,
though.
I've always enjoyed music that gives
you an echo in your own life. I don't think
able to sell it. It wouldn't be worth your
time.
It reached the sta£B where a band would
have a thousand copies of a record for themselves, and nobody r.ould buy it. Rough Trade
h~ve got a large turnover, but not the organisation to b:.d: up a single that Clay dent the
charts.
!'l~ is funny, if you know hor. they
work you can really use t.'>emachine.
"Uniform"
was stirfed, ~ ~etll put another one out
str~ight away.
E,:! picked up the option on us.
If we make another two album~ for them we are
free of our c~n~ract.
E$:
On the "Solid Gold" tour you had problems
wi th your voice.
Has t~at cleared ut> now:?
J)N:
perly.
throat
I never used to ~e able to breathe·prol.',y singin(! c2.!lle
tco ll:uchfrom I!!Y
and not enough froT down belo~.
C can
now sin€ for a long time with a different
technioue - pushing up from lower down.
I
sing in tune and loudly for a. long as a 30
day tour.
To me, The Gang Of Four are one of the
few bands that have progressed, leaving a
trail of good records and tours behind them.
To them originality eomes easily, and is omi tted just as easily. How many bands can
retain their fans who still feel enthusiastic,
not ll:erelyloyal? I!ow many other bands have
dropped a disillusioned audience along the
stage-wayside?
......•
-
ffi'ON McKAY
you
change
somebody's
mindin bya certain
writing way
a
L
sonc,can
when
people
are moving
anyway. 'They sort of get music as a fellow
traveller to themselves.
They don't listen to
a song and say "Great, now I'm going to renounce nuclear weapons" •. (We never take on
grand subjects like that anyway •. Not ever.)
Somebody moving in that direction might say,
yeah, I see the point.
Got any chicken?
Chicken for me.
(Jon tries to order BOme
./onderful 1:ayfair grub. His reaction is well
illustrated. )
Jon's wonderful, racing mind (he doesn't
.need me to prompt him). has plenty to say:
JON:
','ie
got a lot of flak for signing to ~~.
\Vhen E,~ work well they deliver exactly what
you want. You h~ve to use them in the right
way, give them a product.
Then their six
weeks selling cycle follows.
They do things
Rough Trade can never do. I~ve never believed
in do-it-yourself things anyway, never have
done.
We were with Fast, in Glasgow.;.
In
the sense of having made something it' c not
neceesarily a good thing. This ~agazine of
yours, it's no good writing it and not being
rrAKE
A TIP) GET HIP:'ESN
14
15
E~,: Do you fell as though you can achieve
GANG OF FOUR
ESlf: Ylas there any attempt
off the market?
to have it taken
JON:
It was too late, the person didn't find
out until it had sold. It was in her interest
to get damages.
Prior to our interview The Gang had been
filmed for a TV news show in which they wore
leotards.
JON: We thought it would be a bi t of a laugh.
We had all sorts of d1f~erent uniforms projected on us. il,rr tried to convince everybody that it wasn't about the army, which
obviously it was.
It isn't about people who
are worried about their sexuality as the m.!E
review of it said. Most of it's about handouts - they got me down. You've got no opportunity, this is where your culture pushes
you.
You've got nothing else. Look at the
army now, they're actually making people
redundant.
There's no shortage of people for
cannon fodder, there are so many people who
have got bugger all to do.
We had a lot of trouble with uniform because
of the ?alklands crisis. ,'hen it first came
out it r.os doing really well.
Jon King was quick to pick up on the
introduction I laid before him: a cutting ~rom
a German TV Times.
It Showed a still from
Winnetou I, the much ~amed Cowboy and Indian
handShake, amidst rocks and blue sky.
JONt
This is one of the biggest TV series in
Europe.
Vie went to Yugoslavia, and I was told
the whole background to it. I saw it like this
except it was in black 'n' white, and liked
the picture.
This alienated Western heroe
goes around befriending Indians, and that 's
what the stories are built around.
Which is
quite co-incidental.
I couldn't of course,
use the picture because of copyright.
So what
I did was, I traced it to avoid any possibility of connection and made the faces white and
red.
That was part of the idea as well. We've
been sued before for using pictures out of
magazines.
On "Tourist", the woman on the
back sued Us. On an Everest advert in a paper
it said "It's her family".
She couldn't lsave
her house because it wes so upsetting that a
punk group had used her photograph on their
cover.
The BBC hated it because it mentioned
packets.
The add agency '1Uedus for it as
well.
It cost us as much as we made on the
bloody thing.
It went to
number 65, then Radio 1 stopped playing it' and
it started to go down. They knew it wasn't
connected with the Falklands, the radio producers were being quite re8sonable about it.
The line was, if the "Shoot, e.'>oot,burrh" was
being played and there was an interruption
saying another 200 men had been killed it
would reflect badly on them. It was recorded
two months before the Falklands conflict.
It
was a real pain in the arse.
'In the past our stuff has always been too
political or heavy. We got bored with making
statements like on"Entertainment".
On "Uniform" we spent a lot of time getting the vocal
sound right.
It depends a lot on the vocal
sound as to whether the radio will play it or
not.
"Uniform" became so incredibly political.
More so than "Poverty".
ESN: Rave you added a fifth member
band, on synthesised bongos?
JON:
Simmons drums.
Eddie Redah
to the
is not a
full member.
She's only playing with us live.
We need extra percussion when we appe8r live,
the songs need it. There's no way of doing it
otherwise, and she's got a great voice.
There's loads of percussion - "We Live As 'foe
Dream Alone", "Kii Kii Buah".
I couldn't
do that, unless I had five arms.
so~ething
and it's not just the motions
of a
job?
JON:
On the bottom of it, it's just a job.
That's how I earn my living. That is pretty
straightforward.
I find it really interesting,
particularly having done "Songs Of The Free".
I feel we're getting so~ewhere towards what
we could have done.
I think "Entertainment"
bogged me down. Dave AlIen wrote them, although they were credited to The Gang Of Four.
Dave 'ran out of ideas.
On "Solid· Gold", Andy
and I were credited. on four of the' songs. Now
we do all the writing •. 'f,e'rereally productive. Together WE< wrote 25 songs for the last
album.
Thirteen· we recorded.
E~":
Although
the album.
there were only nine
songs on
JON:
One went on the other side of "Uniform".
There was another one, which was a bit of a
rocker.
~e play it·live but it didn't really
fit the LP. On that second sid~, I rea~ly
like playing it right. through as it is •. The
last track has ~e sinGing quietly over a
·synth. It's not like anything we've ever dcne
.before •. On "Solid Gold", for me, there were
only six really good songs. '1 don't like
It::>itchll,lIKeep"Itlt,
don't like "Trains".
There was "Army'" which is one of'my absolute
favourites.
Although it never came out good
on record, live I love it.
I suppose it is ju~t a job, I really enjoy it,
though.
I've always enjoyed music that gives
you an echo in your own life. I don't think
able to sell it. It wouldn't be worth your
time.
It reached the sta£B where a band would
have a thousand copies of a record for themselves, and nobody r.ould buy it. Rough Trade
h~ve got a large turnover, but not the organisation to b:.d: up a single that Clay dent the
charts.
!'l~ is funny, if you know hor. they
work you can really use t.'>emachine.
"Uniform"
was stirfed, ~ ~etll put another one out
str~ight away.
E,:! picked up the option on us.
If we make another two album~ for them we are
free of our c~n~ract.
E$:
On the "Solid Gold" tour you had problems
wi th your voice.
Has t~at cleared ut> now:?
J)N:
perly.
throat
I never used to ~e able to breathe·prol.',y singin(! c2.!lle
tco ll:uchfrom I!!Y
and not enough froT down belo~.
C can
now sin€ for a long time with a different
technioue - pushing up from lower down.
I
sing in tune and loudly for a. long as a 30
day tour.
To me, The Gang Of Four are one of the
few bands that have progressed, leaving a
trail of good records and tours behind them.
To them originality eomes easily, and is omi tted just as easily. How many bands can
retain their fans who still feel enthusiastic,
not ll:erelyloyal? I!ow many other bands have
dropped a disillusioned audience along the
stage-wayside?
......•
-
ffi'ON McKAY
you
change
somebody's
mindin bya certain
writing way
a
L
sonc,can
when
people
are moving
anyway. 'They sort of get music as a fellow
traveller to themselves.
They don't listen to
a song and say "Great, now I'm going to renounce nuclear weapons" •. (We never take on
grand subjects like that anyway •. Not ever.)
Somebody moving in that direction might say,
yeah, I see the point.
Got any chicken?
Chicken for me.
(Jon tries to order BOme
./onderful 1:ayfair grub. His reaction is well
illustrated. )
Jon's wonderful, racing mind (he doesn't
.need me to prompt him). has plenty to say:
JON:
','ie
got a lot of flak for signing to ~~.
\Vhen E,~ work well they deliver exactly what
you want. You h~ve to use them in the right
way, give them a product.
Then their six
weeks selling cycle follows.
They do things
Rough Trade can never do. I~ve never believed
in do-it-yourself things anyway, never have
done.
We were with Fast, in Glasgow.;.
In
the sense of having made something it' c not
neceesarily a good thing. This ~agazine of
yours, it's no good writing it and not being
rrAKE
A TIP) GET HIP:'ESN
17
BELLE
The Belle Stars were nearin~ the end of
their first 3riti~1 tour when ww interviewed
them before a gig at Newcastle Poly.
ES::
~~t
has the tour been like?
STELLA: It's Or.. there aren't ae many neople
coming to the gigs as we expected.
E~I: Do you think this is becau.e you've lost
popularity since the hit single?
STARS
E!:N: Te=ible.
STELLA:
No, not at all.
I think it's because
people aren't co~ng to gig. anymore, because
of the recession and they've got no money.
It's not just u. that are being hit by it
either.
That's it, but look at how
E5N: They didn't even include it on the LP
so they got a hit single out of it then waved
it goodbye.
l/hat happened to Penny Lay ton?
srELLA:
STELLA:
Yeah:
high it got in the charts.
You didn't even
think of them doing a cover.
Y·ou would have
thought they would have been against that.
She left.
She found it cold when we
were touring, in the cold van.
ESN:
I thought all these cover versions
have kept her warm.
would
JENNY:
Even people like ~ick Jagger are being
hit. H. playe~ the Hope And Anchor the other
week to two people.
STELLA: I suppose there were other problems
as well.
She works at the screne on the green
selling chocolate now.
Around that time
Jenny's brain went.
ESN:
JE:!!NY: '?hat's that?
Was that an undercover
gilt?
STELU.: Yes, but you would still think that
people would have got to know that the Stones
were playing the Hope )-OdAnchor.
srELLJ.: Your brain love,
Penny left.
JENJ:Y:
Oh, my brain went.
ES1: Why do you thi~~ the last single didn't
do as well as the previous two?
STELLA:
STELLA:
JEl~!Y: ~ell,
Because
"The Clapping
we released it too soon after
ESN:
So you don't want to do any more covers?
STELLA: No, the next single is going to be
called "Sign Of The Times".
one of our
It's a real rocker, a killer.
0=
m'ELLA: You can't say they "ere a bad sound,
or badly produced. We were just trying .omething else because we had tried our own stuff
and they hadn't T.orked. ~ou can't be poor all
of YO'J.rlife.
~y
did you do cover versions?
STELLA: To get a single in the charts.
It
worked, people know us. ~e've been on TV, so
now hop:fully we can do our own stuff, and get
more response thar. we did in the early days.
~e didn't get a hit sin&le even thouGh we
released
Claire's
joined us now.
rouc~ of applause.
t~xee
"ben does the LP come out?
STELLA:
January
28th.
ESN:
Is this the LP you promis"d
ago ,",ouldbe out Feb/March 1982?
Jsm!Y:
ESN: I think t~,at "Iko" and "The Clapping
Song" were really bad, taking the first thxee
singles into con.ideration.
Esr.:
Just a joke.
Song" and because it was another
cover.
ESN:
it left us when
me a year
Yeah!
S:!'£LLA: The album's got a lot of" our own song
on it, ROme covers, and it sounds alright.
Doesn't it1
ES:~: And it took you a year to r.:akeit.
ST~LA:
No, it took a couJle of ~onths.
took us a year to get into the studio.
ESN:
Claire,
why did you join the band?
8?ELLA: "e offered
every night.
I;'~i:
It
~ow are stiff
her lots of ",oney and
me,-
r~co:'d.s trea tin,:- you?
'I''"1.LA:
Not too bad.
singles, ~o we did a cover
version which was the in thing.
,~at do you
think of Bauhaus doine; ZigeY Stardust?
"ElI'l!Y:
',','e
don't really know, we haven't
lith any other record company.
been
18
FASHION
ESll: What happened
to De Ea=iss?
L::.?TIll:It was just totally out of the blue.
~e just got a letter fro~ the record co.,
saying that he'd left the band and that we
could put it down to different ideas.
On the
next album he wl!.11ted
to use things like a,
brass section and backing vocalists, which we
thought eugb! \'le"'ere going to come out
soundin" like Koo1 And The Gang, and it's not
really where we're coming from.
So we decided
to do so~e demos between us. De did some
dezos in London and took them to the record
>I'ELLA: It's good now that they've moved
>acause they just live down the road from where
10~t of the bands live.
co. and they thought they were a load of shit,
and we did eome in Birmingham and they thought
"this is more like Fashion sound like", and
that blew his confidence.
From theh on we
~Sll: Are they pushing you to release more
:over versions to gain hit singles?
just started growing apart. You know, we
could see t~e enthusiasm was going, and then
he sent a letter to the record co. saying he'd
left the band. He didn't ~ive any reasons,
just "I've left the balllld".I haven't even
seen the letter.
'n'2LLA: No, I think they've realised
Rant to do our own stuff now.
that we
51: I thi~~ they had our best interests at
heart when they released the cove~s because
they wanted us to be successful.
Seeing as
a lot of people were releasing covers it seemed
a good thing to do from a record company point
of view.
- ESN:
Do you get total control
released?
of what is
srELLA:
Yeah, well, at least we get a chance
to have a discussion about it.
CLAIRE:
~e are going
do three gigs.
J~n;y:
to ft~erica next week to
Kew York!
Sl'ULA:
~!e are really 100ki:1g forward to it.
~e're doing ~~ree gies, two at the Danceteria
a."!done in Philadelphia.
E~,:
Y:'ho's going to write
the new material?
~TIN:
We're going to ~ite
it between us.
The only reason De wrote the last material
was because he wouldn't let anyone t1se write
'cos he wanted all the publishing.
That's
the sort of guy he was, he never fitted in
anyway, just sort of took over the whole thing
and it was just getting out of hand.
Tonight
we'll be doing three new songs, 2 of which
Troy had alre~dy got recorded on cassette when
he joined the band and one which Alan had
alrec,dy record'",. In future I'll write and
:':ulligan'll write and maybe I'll work with
Dik and work it from a bass and drums point
of view and we'll all contribute.
It'll all
be equal - it's much more a band, much more a
five piece.
ES!t:
So will the music be very different?
;.:.'.RTU::
It will be. I think it'll still be
ESI,: Have you released any records in ft-'llerica?
dance orientated, but it'll be a lot different, a lot ~ore youth orientated as opposed to
":T:::LLA:No, they are singles which have been
sophisticEted audience which is where De was
imported from 3ritain.
The LP will be reltr-fing to get across to. We'll gradually move
eased over there if Stiff get a distributor.
away from the old SOl!gs.
F~': ~fuy are
vinyl
you eoinr
to prosote?
to F~erica
r.ithout any
ESN: Troy, hOT! did your
come about?
ST?LLA:
Just really as a test to see how
every thine goes.
T?0Y:
Cl ',r.lE:
Explodes
leaving,
it.
'-:e"-re all really looking
forward
to
At this point the interview ends when all
the members of the band rush out of the room
to watch
"Deep Soots
of ~.~usic"on TV.
STEPHEN JOYCE
It was really
split with Teardrop
co:npliccted with Teardrop.
~s f~r as me leaving.
It was partly
partly being made to leave.
It was
a very complicated situation, 'it just fell
apart really 'cos we did it for such a long
time and we had different musical tastes and
a
tudes towards touring
and playing to
audiences and things like that. There's been
such a lot said about it that it's a waste of
tti
j;ime.
18
I
FASHION
ESlI: ~~at happened
>rELL•.: It's good now that they've moved
>scause they just live down the road from where
)Ott of the bands live.
~Sll: Are they pushing you to relea£e
lover ver£ions to gain hit singles?
:n'LLLA: No, I think they've realised
Rant to do our own stuff now.
more
that we
SJ: I thin~ they had our best in~erests at
neart when they released the covers because
they wanted us to be successful.
Seeing as
a lot of people were releasing covers it seemed
a good thing to do from a record company point
or view.
- ESN:
Do you get total
released?
control of what is
STELLA:
Yeah, well, at least we get a chance
to have a discussion about it.
CUTRE:
~e are going
do three gigs.
J~1fY:
to ft~erica next week to
Kew York:
STELLA:
~!e are really looki~b forward to it.
~e're doing three gigs, two at the Danceteria
and one in Philadelphia.
Est,:
Have you released
any records
in A",erica?
~~LA:
No, they are singles which have been
imported from 3ritain.
The LP will be released over there if Stiff get a distributor.
F~N:
~fuy are you eoinr
vinyl to promote?
to P~erica
~ithout
to De Sarriss?
off::
next album he wanted to use things like a.
brass section and backing vocalists, which we
thought eU8h! VIe "'ere going to come out
soundin~ like Kool And The Gang, and it's not
really where we're coming from.
So we decided
to do some demos between us. De did some
de~os in London and took them to the record
co. and they thoU8ht they were a load of shit,
and we did s:>me in Birmingham and they thought
"thi£ is more liks Fashion sound like", and
that blew his confidence.
From then on we
just started growing apart.
You know, we
could see t~e enthusiasm was going, and then
he sent a letter to the record co. saying he'd
left the bend. Hs didn't ~ive any reasons,
just "I've left the band".
I haven't even
seen the letter.
DIK:
ESlI: Tho's
going to write
it.
forward
to
At this point the interview ends when all
the members of the band rush out of the room
to watch "Deep !toots of ~.~usictlon TV.
srEPHEN
the new material'
KARTIN:
We're going to rorite it between us.
The only reason De wrote the last material
was because he wouldn't let anyone ~lse write
'co s he wanted all the publi shing. That's
the sort of guy he was, he never fitted in
anyway, just sort 01 took over the whole thing
and it was just getting out of hand.
Tonight
we'll be doing three new songs, 2 of which
Troy had alre~dy got recorded on cassette when
he joined the band and one which Alan had
alre"dy recvrd~(l. In future I'll write end
Uulligan'll write and maybe I'll work with
Dik and work it from a ba£s and drums point
of view and we'll all contribute.
It'll all
be equal - it's much more a bend, much more a
five piece.
Es!;:
So will the music
be very different?
;.:.'.RTIll:
It will be. I think it'll still be
dance orientated, but it'll be a lot different, a lot more youth orientated as opposed to
sophisticzted audience which is where De was
trfing to get acro~s to. We'll gradually move
away from the old £ongs.
ESl!: Troy, ho., did your
come about?
Cl!.r.lE: '-;e"-re all really looking
JOYCE
DIKINTERRUPTS:
I see yo~'re doing an interview.
You've just joined the band. He's only
been in the band 5 minutes!
;~at about me?
What about me! O~, don't mind me! Just sod
I.:J.?TDl:It was just totally out of the blue.
7.e just got a letter froI the record co.,
saying that he'd left the band and that we
could put it down to different ideas.
On the
any
sr~1A:
Just really as a test to see how
every thine goes.
19
split wi th Teardrop
T?0Y:
It was really co,"pliccted with Teardrop Explodes as far as me leaving.
It was partly
leaving, partly being made to leave.
It was
a very complicated situation, 'it just fell
apart really 'cos we did it for such a long
time and we had different musical ta£tes and
attitudes towards touring
and playing to
audiences and things like that. There's been
such a lot said about it that it's a waste of
:Ume.
TROY:
Go on without
gooc1 on the one
you get used to
and people then
off 200 or so.
But I'm not personally really !>othered because
I don't play music just so anybody will see me.
I do it because I just have to. It's really
important.
I can't explain it, it's like
breathing.
me then will you?
Yeahl
E~:
TROY:
Go on, bang your tubs.
• ••Anyway ,
that's all over and I can't be bothered to
talk about it.
ESH:
with Fashion.
It
E~l:
You don't get the screaming little girls.
Did the screa~ing bug you?
TROY:
MP.RTIN:
No, it was like •••
You got off on it!!
TROY:
No, obviously if you'~e standing on
stage and there's all these l:ttle girls you're
gonna get off on it. It's not 80 much bug;::ing
you, it's just you see it realistically, that
they want a reason to scream, and it:s a very
hysterical situation.
And, yeah, he s right
you do get o~f on it to soce degree,-but at the
same time in your mind you know it's stupid
s~ you don't really take it seriously.
I
was ~ore interested in playing the music and
if that enabled us to play the QUsic, well
that was good.
Sometimes it was a bit fr~strating,
It's a lot
work to do, learning
the lyrics.
the szne sort of
T?CY:
No, we havn't got that, but that was
only happening when we had a hit record.
~en
the hit records stopped you didn't have much
screaming in the audience then.
ESI:
This tour is a strain.
U1.~TIN: ~e've oeen together as a five piece
for three weeks.
In that time Troy's had the
most
~TIN:
I think we attract
audiences aD Teardrop.
How big a strain is the tour?
V;P.TIN:
TROY:
I t~~nk it's ?retty heavy.
of work.
Do you prefer Fa~~ion audiences?
r;laY: I prefer playing
sui ts me.
hand, but bad in the sense that
getting high off a few thou&you have to start getting high
You do notice the difference.
TROY,
Learning
to foget them, wh~ch I fre-
quently do. It gives it that raw edge.
What I've tried to do is to interpret the
words around me. Try to stick fairly close
to vocal delivery, but to infer in the stage
act something a bit different.
Like the song
"White Stuff" - we were talki~ about it
today and we're going to try to infer things
about De Lorean.
I don't think that's what
De Harriss meant, it doesn't matter, I just
take it to mean that. I'm trying to interpret
the songs in the way that I think I can sing
and really mean it, rather than just going up
and miming to a song end trying to copy it
exactly, which is bullshit, you'll never do it.
We are talking about th1l1gs like that. Vie
usually have about 30 seconds to discuss
everything in between
and doing the gigs.
sleeping and driving
I was into Fashion before De Harriss joined
them anyway, we've got common
ground between
all of us.
The whole attitude about certain
kinds of sounds, I!!Usicend certain things
we want to do. We want to get a bit heavier
tho', and I don't mean like Heavy J.!etal,it's
just like •••
like if you knew you were going really
M.t.RTIN: Heavier!:
badly.
roe were playing one night and it was
really bad. The sound was awful end there
were all these people screaming at the front.
I just turned I!1Yguitar off and just mimed
playing guitar, right, just mimed adjusting
the volume knobs 'cos I was in this really
cynical mood. And even when I did there were
still people going "\'iah!".
end I thoU8ht "Oh
God, what s going on". But Julian was the
IIl"tnfocal point of the band and a lot of the
girls used to come because they were into
Cope's image.
ESNI
They're
not so much into the music?
TROY: Yea~.
I think a lot of the people were,
it was just a mixture, but it was mainly when
Reward was really big and then it kinda went
down a bit and then we went abroad so it wasn; t
the same s:>rt of mania anymore.
'7hich was
TROY:
doing
l.'orerelative to what's going on.
our own sort of sound.
Just
The interview was wound up when Troy
limped off to soundcheck.
TROY:
~ith me peg leg.
last night.
Good, eh?
~~~TIN:
I fell over on stage
It's part of the new stage act!
The only mishap on stage tonight
Alan Darby.
Move On All
was
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TO ?!lINT T3IS nl~!:?VI?:': IT' S ~~IP.El'Y.
COPIES OF TiE Ul1E:lIT::D
V~~ON
;'~E AVAILABLE
1"Rm.~ sr..'ON SL"'E'/EKOTE. mcwS!: All S.A.E.
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