sabato 27 novembre 2010

Julian Cope – Tamworth demos (1982-83) (Part 2)

After the end of the Teardrop Explodes and the beginning of his solo career Julian Cope recorded several songs in Tamworth. Among those:


- Strasbourg
- Quizmaster
- An Elegant Chaos
- Kolly Kibber's Birthday
- Wreck My Car
- Sunshine Playroom
- She Brings Me Flowers
- Jesus Christ & the Mysterons
- Hobby
- Hey, High Class Butcher

tamowrth 2

Julian Cope – Tamworth demos (1982-83) (Part 1)

After the split of the Teardrop Explodes, Julian Cope retired to Tamworth. This is his recollection of that period:

‘I hadn't written anything that people had actually liked since `You Disappear from the view' almost a year earlier. In later Teardrop sessions, I'd play a song and it would be listened to and then dismissed. I kept playing the songs on acoustic guitar, but Balfe's comments still rang in my years. I had played him a song called 'Bandy's First Jump' for the third album, but he'd hated it. By that time, he seemed to hate anything with guitars in it.

‘With Dorian away, I was forced to keep busy. I couldn't drive a car so I was stuck. Stuck in this house with songs that no-one likes. I recorded them on to my ghetto blaster and listened back. I played electric guitar along with the songs and they sounded good. I should do something, really, I reasoned. But I was in Tamworth and this was nowhere. For a few days, I was frustrated, but the mood wouldn't go away.

‘I didn't know how to book a studio; that had always been done for me. But I had to record. It was the first time in ages that I'd felt that way. My mother told me about a teacher she knew. He had a studio. I thought it was probably a crap studio. A teacher? I'll ring him in a day or so. I sat in the Mill Lane house with my Dinky Toys book and some pot. Dorian was in New York and I knew I had to make the phone call.

‘What a snob I was! I went to the studio and it was brilliant. I was sooo surprised. The guy who ran it was called Steve Adams, a junior school teacher and ex-weirdo. The local taxi took me to this tiny cottage in Birchmoor, a village on the other side of Tamworth, near to Glascote Heath where I'd grown up. Birchmoor was a heath of great desolation and remove. As a child, my father had taken me on walks there, but I had always seen it as being "Beyond" my area. It was untamed and heathen, and the tiny houses squatted upon the moor.

‘[…] Steve Adams expected me to be big time and know about VU and all that studio stuff. I faked it for a while to make him feel better, but soon we were recording really fast and easily. I wasn't bothered about the sound. I put the drum-machine of my Casio into the Vex AC30 amplifier and played the song on acoustic guitar over its dry thumping. The song was a beautiful major-chord thing called `Strasbourg' whose current arrangement was only one minute and 40 seconds long but featured a repeated Glam Descend link of considerable charm. Listening back to the empty song, I considered what Troy Tate might have contributed and set up the amp in a way that made me feel Troy-like as I recorded. I added a tight fuzz theme and distorted early Teardrop-type keyboard, then tightened the whole track up with tambourine. Ey-up, I was a bloody one-man-band. Balfe had made me terrified to pick up a guitar or bass anymore. Now look! And listen to this stuff ... it's a moving fucking thing.

‘I was ecstatic. This was the sound I had wanted for the third Teardrop album, instead of those dumb programmed synthesizers. Synths should fart and squeak, but Balfe had kept his on Rhythm/Dribble. Fuck that!

‘I made a list of all my songs, things that I'd been scared to try. I'll try them! I can play! I can play! When Dorian rang me, I played `Strasbourg' down the phone for her and she loved it. She loved it. I'm alive! I was dancing round the room. I played it to her again and a third time and danced all the time she listened.
In my sudden realisation that I could still be capable, we seemed suddenly so much closer and so much stronger that the most powerful lyric of the new song pulverised me with its truth:

"If I were France, and you were Germany, What an alliance that would be."

‘[…] I continued to record at Steve Adams' studio. I suggested he change its name to The Drug Attic, but he politely declined. The songs were coming thick and fast by now. I had hit upon a formula - just put everything on to tape that you can. I never gave Steve much time to sort out sounds; it would go down before we had a chance to get bored with it.
I had handpainted the little Casio keyboard that Balfe sold me. Dorian and Joss [Julian’s brother] painted little scenes all over it, and it had become the basis for all my songs.’

(Julian Cope, Repossessed, 9-13)

Among the songs recorded in Tamworth there were:
- Strasbourg
- Death Mask (Quizmaster)
- Head Hang Low
- Blaze Star
- Holy Love
- Bill Drummond Said
- Mik Mak Mok
- The Bloody Assizes

Strasbourg, Quizmaster, Head Hang Low would figure on Julian Cope’s first solo effort ‘World Shut Your Mouth’ (1984). Bill Drummond Said, Holy Love, The Bloody Assizes featured on Cope’s second album ‘Fried’ (1984). Mik, Mak, Mok would be the b-side on the Sunspots EP (1985).

tamworth 1

domenica 7 novembre 2010

The Rain (1982)

Not to be confused with another Liverpool band of the same name (active in 1987-93), The Rain are the four members of Europe after the Rain - Kate Tate (vocals), Andy Sage (guitars), Mark Tinka (keyboards) and Mike Doran (drums, later Surface Tension, Electric Morning) – plus Tadzio Jodlowski (guitar, later Pink Industry).

This is how Breakout Magazine #10 (June 1982) described the band:

‘The Rain (formerly Europe after the Rain) are a comparatively new band on the Merseyside music scene, having been formed in November of the last year by Andy and sing Kate Tate. To date they have played only three gigs and received airplay from John Peel.

‘I asked Andy about the content of their music. “There’s quite a lot of funk in the set and some psychedelia. Both are city music, we feel like we’re city music – psychedelia covers the mass of influences that you get from the city, the funk is the jungle rhythm of the city. This music wouldn’t come from the countryside. It’s also got a romantic edge to it because Liverpool’s a very romantic place. For example, in Manchester the recent fashions have been severe and industrial, like A Certain Ratio with those high shaven heads. Here, it’s very decadent and romantic, back-combed hair and so on, like Katie.

‘The songs are mainly about love and the things that go on in your personal life, it’s very moody stuff. I’ll come along with some words or a vision of some music, a basic plan and we will draw an arrangement out of it. Writing a song is like creating a seed and the best arrangement for that song lies within it. It’s not like you add things on to it, they come from within. Something will happen to me and I’ll magnify it, get melodramatic. Often you feel things more intensely than is real,a nd you should express such feelings.”

‘Music and fashion have never been far apart from each other. Music has both crated the fashions of the day and been created by them. For many musicians fashion takes a back seat, for some it is what draws attention to their music, but there are few bands that regard music and fashion as having equal importance.

‘The Rain fit comfortably in the latter category, a group of people for whom music and fashion are motivated by the same thing. Guitarist and songwriter Andy Sage explains:
“Fashion’s really important and the same attitude that goes into music goes into fashion. Music is as much of an expression as clothes are. If you see anyone around Liverpool who looks really good or different, odds-on they’re in a band – often it’s not because of the band that they’re dressed up but because it’s the best outlet. A lot of people think that fashion is frivolous or dismiss it as vanity but it’s an attitude, you’re taking care of yourself – if you are looking good it shows that you are alert, active, wanting to do something. It’s like adrenalin, like rock’n’roll is.”

‘The band’s keyboard player, Mark Tinka (who since this interview was done has returned to his hometown of London) has a slightly different view of things – “It’s entertainment that is central to why I like playing and the same is true of getting dressed up and walking down the street. You are then entertaining people by the way you are. That’s what the café is about, for me, the café’s about entertainment as well. Those are the things that I feel I an do best in order to entertain other people and myself.”

‘The Café is the Open Mouth Café in Whitechapel, the band’s base and where they rehearse in the evenings. Andy and Mike, The Rain’s drummer both work there, so it’s important as a social base as well.”’

No recording by this band.

Europe after the Rain (1980-82)

Kate Tate (vocals), Andy Sage (guitars), Mark Tinka (keyboards) and Mike Doran (drums, later Surface Tension, Electric Morning) had been playing together since 1980, but came together as a band under the name Europe after the Rain at the very end of 1981. Most probably the band was named after the opening track of John Foxx’s Ep The Garden, released in September 1981.
Europe after the Rain played their first gig in February 1982.

This is how Breakout Magazine review the show:
‘They played an adequately long set and at a volume that made them very comfortable to listen to, generating a mellow, pensive atmosphere.
‘Their songs are about people and their situations, politically motivated but not political in themselves.
‘Continuity is provided by the keyboards and soft basslines, punctuation from the drums, intense droning vocals and the occasional rythm (sic) guitar. There is no bass in the band, the guitar being used both for bass and rythm (sic) parts.
‘The overall effect is controlled, intense and melancholy but melodic music. Worth trying to get to see.’

No recording has survived of the band, which by the end of 1982 turned into The Rain.