Dark Heart (1978-80)

In 1978 Killerwatt (Steve Charnock, guitar, Greg McGraw, bass, Phil Rice, guitars, Geoff Stalford, drums, later Flashpoint) added a new vocalist, Keith Blagden. With the arrival of Bagden many more original songs were written, with a significantly different style.

Rice recalls: ‘To save me from prog-rock Hades, my trendy chum, God bless Keith Bladgen, took me to see Joy Division. Crap instruments, but a band with such stark fury and passion that the vision was clear.’

The band recorded some songs at the Wallesey Sound Studio in 1978, among which Observations Made (in the folder). About the song Rice recalls: ‘The weirdy-stark style was Keith`s influence, he later confessed he stole, lyrically, from Sartre...we just thought he was clever!’

dark heart – observation made

(see also http://www.archive.org/details/DarkHeart_68 )

Killerwatt (1977-78)

Killerwat were formed in 1977 by Steve Charnock (guitar) and Greg McGraw (bass). When they advertised for a drummer and a second guitar they had already written some original songs, such as Arnie the Aardvark (later re-styled in dub fashion for a Rock Against the Ringroad gig at the Masonic) and Hector and the Haemorrhoids (apparently with a recognizable Hawkwind vibe). Phil Rice (guitars) and Geoff Stalford (a.k.a. Stinkfoot [as in the Frank Zappa's song], drums, later Flashpoint) replied to the add and completed the line-up. Rice recalls: ‘The name [Killerwatt] was meant to pun on death and power’.

The band debuted at the Havana club (July 1978) supporting the Mutants, and did various gigs around Merseyside between 76 and 78, such as The Mayflower, The Sportsman The Dale in Wallasey and The Moonstone in the Precinct, eventually making it at Eric’s in 1978 supporting Dalek I Love You.


As to the band’s live activity, Stalford adds:

‘Other places we played were The Joiners Arms in the heart of Chorley (Lancashire), The Duke Of Wellington Pub high on a hill in Congleton (Cheshire), The Bull's Head in Little Sutton (Wirral) and various venues that I'm struggling to remember in Kirkby (Merseyside), Burscough (Lancashire) and the Cherry Tree in Runcorn that we didn’t make it to. […] We played The Moonstone in St John Precinct (Liverpool city centre) but also appeared in the Sportsman and Star & Garter which were situated in the same precinct. Notably the Sportsman was famous for the real sports car set in the ceiling and we always wondered when it would fall down - but thankfully it never did!’

Killerwatt were first given airwaves by Phil Easton of Radio City. Stalford adds: ‘We got to know a famous local pirate radio DJ called Rick Dane (R.I.P) who would give us many a mention on Radio Jackie North rock station and would come to see us. Phil Easton (RIP) would also mention us regularly on the local 'Gig Guide' on Radio City’

Stalford describes the band’s music as follows: ‘Although we didn’t look the part with long hair etc., we played some noisy, raunchy, punky, MC5 style R’n’R which also included tracks by Eddie & The Hot Rods, Stranglers, Motorhead & occ. Quo – I mean what a combination!’. In 1978 Killerwatt changed their name to Dark Heart.

killerwatt

(Thanks to our friend Phil Rice [philrice60@hotmail.com] for the info)

Troy Tate - Lifeline (1982)

In January 1982 Troy Tate, still with the Teardrop Explodes, released his second single:

Lifeline (1982)
- Lifeline (Hold on to That)
- Kamikaze
- Thomas (Moonbase version)

.

.

.

NME dismissed the release follows:
‘Troy Teardrop loks in no mind to neglect his solo sideline. Pity that this ‘interesting’ cut does nothing much to establish an identity for him. Better is b-side ‘Thomas’, a version of his last and first solo single’ (NME, Feb. 27, 1982).

Tate talked about the single and much more in an interview with Ray Brittlewink of Merseysound (November 1981).

‘Q. What’s the title of the next single you have worked on and who plays on it?
‘A. The A-side is Lifeline and the b-side will be Kamkazzi (sic) – on those sessions were Rolo (Wild Swans), Dave Balfe, and a girl called Virginia Ashley (sic, a.k.a. Virginia Astley) who played on Townsend’s latest LP, she has done some singing on that. And I’ve got Joe Musker on the b-side – he would have been on the a-side but he couldn’t make it. So we used Ally Patterson from TV21 who was at Rockfield Studios at the time, and we were friends and liked what he had done with TV21, and he and I had been in Shake together as well, so it seemed pointless ringing Pete Kershew up who I usually work with to come down when Ally could do the job, plus we had planned to do a single together for a long time anyway, and now was our chance. […]

‘Q. If you wouldn’t have joined Teardrop what do you think you would have been doing now?
‘A. I would have been doing my own stuff, I think, and formed a band around that. Because there aren’t that many bands that I would like to join really and there isn’t that much choice when you think about it. And it’s just that everything’s gone well, and this year’s been like a dream come true. […]

‘Q. Is ‘Thomas’ about a certain person or just fictitious?
‘A. No. It’s not about anyone in particular that I know. I suppose it could be about friends but also about your own self, just how fate sets you up in certain situations. […] I wanted a short story line for it which it is. And again it was interesting to use someone different. Like in Teardrop you all rehearse together and you know everything but when you get someone who doesn’t know the songs it’s harder but more exciting. See, I can do that because I do one thing with Teardrop which I enjoy and then I do my own stuff and experiment with other people and I feel lucky in that respect.

‘Q. Do you find working with people you know better than with someone new?
‘A. No, if I had the time I would like to use all different musicians. Like I don’t like starting with a set idea about a song anyway and stick to saying from the start it[‘s] going to be like this or that. Like with ‘Thomas’, that was called Missile Time before I changed it.

‘Q. Were you disappointed over Thomas not being more of a success?
‘A. I wasn’t say disappointed over it not getting a chart entry. I was more fed up that it didn’t get any radio play, because we thought it was a good record, and the things that I have done say with Teardrop, TV21 and Shake had all done OK, and I thought this would. Mind you there is the possibility everyone thought it was shit so they didn’t play it.

‘Q. What are your plans for an album and solo dates?
‘A. Well I would like to do them but, like the single, I would do it when say I have something to say and the time. Because like next we’re doing the Teardrop LP and maybe some dates, then I wouldn’t mind two weeks off and stop having so much fun’ […]

‘Q. Who’s your main influence?
‘A. John Lennon and anyone else who’s been good. I know Lennon is an obvious answer, but he had a gutsy and intelligent way about him. I don’t like anything too bland.

‘Q. What do you think of Liverpool and the so-called scene?
‘A. It’s great the people are so alive and open about things, and even if people don’t like you they say well fuck you. And I love the girls here and everyone has their own different thing. Even when people are depressed here they have time to laugh, like where I cam from, Yorkshire. I love London, but here things are on a smaller scale so you can get around quicker like when I lived in Edinburgh.’

(Merseysound #19, November 1981)


Lifeline can be found here (thanks to our friends at fade2gray)

Troy Tate - Thomas (1981)

While still playing guitar with the Teardrop Explodes, Troy Tate released his first single as a solo artist in June 1981.

Thomas (1981)
- Thomas
- London’s Swinging

Sounds welcomed the release with the following article:

‘Pre-employ in the Teardrop camp and post the decline of Shake, Troy has drifted from the glamorous environs of the music biz into labours of a less salubrious nature. By day assembling on a factory production line and by night and weekends in a restaurant kitchen hidden behind a sky bound stack of dirty dishes discarded by the hunger-mad, food crazy diners in their quest for appetite satiation. In the few spare hours that this busy life of toil and tedium offered Troy was committing to tape demos of self-penned material. This action resulted in a publishing agreement with Warner Bros and the in-the-racks-now-pop-kids single 'Thomas' with the rear graced by 'London's Swinging' on Why Fi c/o RCA (sleeve designed by the beautifully titled Pablo Cuckoo).

'Thomas' sets off in a broody fashion, in some ways akin to a slow burning John Cale ballad. Troy's voice being well up in the mix makes it necessary to raise sound levels to allow the delicacies of the masked staccato strumming and the discreet build-up to the marching beat that underlays the chorus to emerge and fully maximise listening pleasure.

"It was recorded on an eight-track machine in the bedroom of Phil Chapman. There was no room for a drum kit in there so they were added separately just before I left for America.
"Now there's some hilarious reviews saying it's over produced. It was edited the day before we did 'Treason' for Top Of The Pops and the artwork done literally just an hour before the programme."

‘Lyrically 'Thomas' could, given the lightest of casual hearings, be dismissed as just another well-meaning but dreary anti-war tirade. But let the artiste enlighten:

"It's basically about the way events take over people. I meet people I used to play in groups with and now they're sales reps or whatever, not that there's anything wrong with being a sales rep but 'Thomas' is a twist on the way fate can push people into situations they didn't want.
"On my mind too was that that is the way an army mobilisation can happen. If they're not careful everyone could be in the army if the government and/or world events dictate it.
"The song covers this in a slightly off-centre way. I didn't want to just sing 'Oh, I hate war'. The line 'the train's on time' comes from the title of a story by Heinrich Boll, written during the war about the way people get sucked into it in quite arbitrary fashion. 'It's like watching war films when you're a kid and before you know it you're out there fighting in Northern Ireland or Poland and it's nothing to do with you.
"In some ways it's like the music business too. Like having the hit single and selling out all the gigs, we never expected that to happen. It's taken two months for that to start to sink in.
"One gig I was watching the Delmontes (UK tour support), I was tired and a bit out of it and I seriously wondered who the main band were. You suddenly think God! All these people are coming to see us!"

‘The not-to-be missed flip, 'London's Swinging' bursts out with an Iggy/Bowie style raunch, heavy duty sustained guitar leading the cut and thrust form start to finish. These grooves are made doubly dangerous by the oft-used refrain which fairly bulldozes its way to the cranium.

"That one's partly autobiographical. When the economy is bad everything is down to a minimum and people think I've got a job. Get some money and get ripped on Friday night and don't give a shit. People aren’t grabbing things and changing them any more.
"There's the comparison with the Swinging London of the sixties. Nowadays London isn't really part of England anymore and the swinging is from a yard arm.
"It's partly a tongue-in-cheek rock and roll song as well the ‘Johnny' in it has been in every rock and roll song ever written. It's like a package and I do like the idea of rock being disposable, you can take it seriously and throw it away.
"It's not like religion or the government, rock and roll keeps changing and rock and roll is bananas and that’s why I love it."

‘Prolonged globe-trotting, rather than sapping energies, has fuelled and strengthened Troy's zest for existence. Pausing only for a brief week-long rest, he's recording further personal compositions in readiness for a future follow-up RCA forty-five.

‘Strings still buzzing, he remains studio bound for the making of the second Teardrop LP, the material on which will be publicly unveiled on a September scheduled Euro-tour. Any possible unfilled studio seconds will find Troy crawling round to face the mixing desk, hopefully producing (past credits include TV21) Birmingham's Pinkies. Does he never relax?

"It's important to do things, not just talk about them. I don't want to sit around on my arse. The Teardrop Explodes is a very positive thing, a real buzz gets across to the audience and it encourages them to do things for themselves. It's a slightly different angle on the punk thing. Be creative and go out and take life. Don't let anybody give you any shit.
"I went to see James Brown at the Lone Star Club in New York. A legend just ten feet away from me on a tiny stage, doing the splits and jumping up and down and after a heart attack. It was a great inspiration seeing someone like that, you know you’ve just got to keep going.
"If there is anybody reading this (!) and they really believe in something and really want to do it, then they will do it."

(Sounds, August 1981)



Thomas can be found here (thanks to our friends at fade2gray)



(see also: http://micksinclair.com/sounds/troy.html )

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

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.

Jah Scouse

Jah Scouse (a.k.a. Ian Kay), Liverpool toaster, who collaborated and toured Europe with Young Marble Giants. The band (and more precisely, brothers Stuart and Philip Moxham) backed him on Jah Scouse first (and for a long time only) vinyl release in 1984, Better Things, produced by Phil Legg (Essential Logic). The 7” contained two numbers, and notably Merge (backed with Vegan Mix, which also featured Charles Bullen (This Heat)).

The Shake - Peel session (1979)

The official debut for Troy Tate with the Shake (Jo Callis, Simon Templar, Angel Patterson) was for a Peel Session. Recorded at Maida Vale Studio on April 23rd 1979, with Cris Lycett producing and Dave Dade and Martyn Parker engineering, the session was aired on April 30th and featured:

Peel Session (April 1979)
- (But) Not Mine
- Glasshouse
- Night by Night
- Teenbeat

The first two numbers appeared on the Shake’s first Ep, Nigh by Night was to be the b-side of the upcoming single.

shake peel

(see also: http://www.bbc.co.uk/radio1/johnpeel/sessions/1970s/1979/Apr23shake/ )

The Shake (1979-1980)

Band formed by ex-Rezillos Jo (a.k.a John) Callis (guitars, later Boots for Dancing, Human League, and, as a solo artist in-between bands, recorded the Ep Woah Yeah in 1981), Simon Templar (bass, later Flowers, Boots for Dancing) and Angel (a.k.a. Ali) Patterson (drums, later Boots for Dancing, TV21 and Troy Tate Band). Shake released an Ep in July 1979:

Culture Shock (1979)
- Culture Shock
- (But) Not mine
- Glasshouse
- Dream on

Troy Tate was added to the line-up (guitar, vocals, former Index, later Teardrop Explodes, Troy Tate Band). This line-up released the band’s second single in February 1980:

Invasion of the Gamma Men (1980)
- Invasion of the Gamma Men
- Night by Night

.

Shortly after the release of the single Tate was suggested by Bill Drummond to Julian Cope as a replacement for Alan Gill leaving the Teardrop Explodes. This is Cope’s recollection of the audition:
‘Troy Tate was great looking. He was dark haired and a little older than us. When he walked into the rehearsal room, he walked up to me, and said, ‘Hi, baby.’ I like him at once. We made a racket and he clanged his guitar the way I liked, so he was in. Within the week, we were firm friends.’ (Heads On, 107)

shake

(see also http://www.nkvdrecords.com/rezillos.htm
http://davidsmythe.org/rezillos/can )

The Index (1977-79)

Cheltenham-based band with a short life (early 1977, early 1979) featuring Liverpool born Troy Tate (guitar, vocals, later Shake, Teardrop Explodes, Troy Tate bad), Russell Elliott (bass) and Dave Hough (drums).
The Index release their first and only single in June 1978:


Jet Leg (1978)
- Jet Leg
- Total Bland



index

The Language (1982-1985)

Language were a Wallasey-based band playing westcoast rock. The original nucleus formed in 1982 and included Dean Johnson (guitars, vocals) and Pete Hunt (bass), which was enlarged in 1983 with the recruiting of Graham Todd (keyboards). And Andy Golbourne (drums). Hunt then quit to be replaced by Gareth Edwards (bass). In 1984 Language released the cassette-ep Live at the Cavern (recorded lev on July 18th, 1984 and featuing Powergame, The Same Door, Deliver us, Down by the River), which became a favourite in the Merseyside area. So much so that in October of the same year Radio Luxembourg voted Language as ‘best newcomer’. In early 1985 Golbourne left and was replaced by Barry Hilton (former Instant Agony). Todd and Edwards were the next to leave and Martin Lavery was added to the line-up on bass. In 1985 the band toured as support act of Dr & The Medics but split up before the end of the year.
In 1987 Johnson formed his outfit Dean Johnson and the British Invasion and later, with Martin Lavery the jazz-influenced The Cocoa Room.

More info and audio files can be found at the band’s myspace page:

http://www.myspace.com/languagewirral

The Vis Johnson Band

The Vis Johnson Band formed around 1985 in the Sefton area. The original five-piece act consisted of Tony Cannon (guitar), Tommy Pendelton (bass), Marty Bennett (guitar), Dave Hartley and Dave Selwood (drums and vocals). With some adjustments over time (the addition of Azzy on sax and Ste on vocals) the original line-up is still performing nowadays.
The band played a 70s flavoured pop rock, as can be hear in the band’s only song ever released (Lose All Control, on the Twist and Samba compilation in 1986) and in the numbers of the same period which can be found at the band’s official site.

http://visjohnson.com/

The Iconoclasts - Spotty Dog (1985)

The Iconoclast – Mandy Bendix (vocals, guitars, former A.T.A., later Mere Dead Men), Dibbie (a.k.a. Dib, vocals, guitars, ex Joyful Assault), another Mandy (a.k.a. Moge, bass, vocals, former Joyful Assault, later Decomposed) and Spekki (drums) – released their firs official maxi single in May 1985:


Spotty Dog (1985)
Side A:
- Bilge And Moans
- Nosferatu
- Chocolate Lime Junkies
Side B:
- Rainbow
- Sylvester Gridsporn
- The Eyelash Song- Spotty Dog


The press release accompanying the release reads as follows:

‘On Friday 10th May 1985, the combined efforts of all girl punk band The Iconoclasts, Station House Studios, Skysaw Records and Ryker Pressing plant made a successful attempt at seting a new World record for the fastest time from the band playing live to the finished 12” maxi single being on sale.

‘Up to date there is no officially recorded record breaking time, though previously 24 hours has been the unofficial time.

‘We have now set a new challenge of 10 hours and 22 minutes.

‘Once the recording had been completed, the tapes were flown by helicopter to London where lacquers were cut. Then to Leicester, by helicopter, where stampers were processed. On completion of the process, the helicopter returned o Wallasey, Merseyside, where Ryker commenced presing.
The first quantity of records were then flown over the Mersey to The Albert Dock Merseyside Alive ’85 Jamboree.
The first copies of the record were being sold before 11pm.
The first radio airplay was at Midnight on BBC Radio Merseyside, Friday 10th May 1985.

‘Merseyside Alive ’85 financed the single
Station House Studios recorded and edited the tapes
Ryker financed helicopter transport
Skysaw Records are looking after promotion and monitoring distribution
Probe/Cartel are distributors

‘TIMETABLE OF EVENTS
Friday May 10th 1985

12.10 Helicopter leaves Albert Dock, Liverpool, for London
13.18 Tapes arrive London and taken to cutting room
15.30 Helicopter leaves for Leicester
16.15 Arrive Leicester for lacquers to be mastered
21.25 Helicopter leaves for Ryker Pressing plant, Wallasey, Merseyside
22.10 First copy of record available
22.50 Box of records arrives, bu helicopter, at Albert Dock for sale
24.00 First Airplay on BBC Radio Merseyside

‘The whole operation was independently monitored and documented by Con McConville of BBC Radio Merseyside, and witnessed by representatives from Skysaw Records, Station House Studios and Ryker.’


spotty dog


(see also: http://uk82.150m.com/bands/iconoclasts.html
http://www.myspace.com/mandymdm/photos/albums/iconoclasts/1053699 )

Grown up Strange (1983-1986)

New Romantic band originally form Ulverston. After playing with punk acts the Spurts (1978) and the Hormones (1979), Chris ‘Mokka’ Hutchinson (guitars, vocals) and Mike Gaunt (drums) formed Grown up Strange in 1981 with Toby Wren (guitars), and Norman Scott (keyboards).

As to the origin of the band Hutchinson told ‘Blast Off’ Magazine:
‘I started off in a punk band. But that developed into Grown Up Strange. Mike was drumming in it, this was 78/79. Then Mike moved to Manchester, and I was just a bedroom guitarist for a couple of years. I spent a couple of years just growing up, starting to write my own stuff. In this punk band, The Spurts – and then we became The Hormones! – we used to do cover versions of about four Buzzcocks songs, and The Only Ones – and XTC. And then we, as I say, split up and when we came back it was with our own material.” (Blast Off, 1/1986)

In 1982, Wren and Scott were replaced respectively by Steve Wildgoose and Greg Shields. In 1985 the new recruits were substituted by Simon ‘Bendy’ Bennet (bass, former Hoi Polloi, Sonny & a Million) and David Williams (keyboards). Finally, in 1986 Bennet quit to be replaced by Roy Corckill (a.k.a. Roy Corckhill) former Here’s Johnny and Black) (ands the group was joined by Colin Vearncombe, from Black, for live work). This line-up recorded the band’s only single, released in August 1986:


A Wing and a Prayer (1986)
- A Wing and a Prayer
- When You Became That Summer
- Now Winter Lasts Forever


Here’s the band recording info (1987):

‘The seeds of Grown Up Strange were sown in Ulverston in the Lake District. It was there that Christopher Mark (Mokka) Hutchinson and Michael Gaunt decided to form a group together.. They have known each other since schooldays and played in various local punk bands back in 1977. Their partnership was interrupted for a while when Michael went to study in Manchester and then fell off his motor bike and spent nine months on crutches. In 1083 they adopted their current name and started to perform Mokka’s songs.

‘They made occasional forays to play gigs around the North but found it difficult operating from Ulverston, so in 1984 they decided to move. They chose Liverpool, having visited the city regularly to see gigs at Eric’s. They found themselves a manager, Dave G who has been heavily involved in the local music scene for longer than many people can remember (but is still only 28). They also found a new bass player Bendy and keyboard player Dave Williams and started to take the group seriously.

‘After a solid grounding in the clubs and colleges of Merseyside, they toured properly for the first time in the autumn of 1985 as support to the Icicle Works. They went down well to be asked back to some of the same venues in their own right. Colin Vearncombe joined the group for live work to fill out the sound and in return Mokka plays guitars at Black gigs.

‘Grown Up Strange haven’t been as active as they would like to have been in 1986 for several reasons. Firstly Bendy left the band to live in London to be replaced by Roy Corckill who as played in many groups in Liverpool including Here’s Johnny and Black. Secondly, the local club scene for up and coming groups has all but disappeared and finally, hardly anybody outside Liverpool is prepared to book a group without any records out. Consequently their live work in the last year has been restricted to several supports around Liverpool and gigs in their own right in Blackburn, London, Barrow And Manchester. Hopefully the release of their first single ‘A Wing and a Prayer’ on Uglyman Records will enable them to travel more widely as it is live that the group shines.’


grown up strange

French Lessons (1979-1984)

Wirral based pop rock band, formed in 1979 by Rob Cross (keyboards), Doug Halligan (bass and vocals), Ron Roberts (guitar) - both former members of Cops in Dieguise - and Tony Hall (vocals). Colin Roberts, the band’s original drummer was replaced by Keith Butler (former Fallen Heroes) in 1981. The band were regulars on the local music scene and winners or runners up of various local and national competitions, developing quite a large local following.
French Lessons privately released two cassette albums. Homework was recorded at SOS Studios, in Liverpool, between August 1981 and March 1982 and produced by Pete Coleman.

Homework (1982)
Side 1:
- Anytown
- Poor Little Rich Girl
- Social Insecurity
- Planet 3
- Nursery Crimes
Side 2:
- Timebomb
- Willie the Kid
- Don't believe in rainbows
- Badlands

Reel Music is the band’s second album. Side one of was recorded at Corndon House Studios in December 1982. Side two was recorded at Amazon Studios, Liverpool, in November 1982. All tracks where mixed and mastered at Corndon House Studios, in December 1982.

Reel Music (1983)
Side 1:
- Only a broken heart
- Return of the kid
- The jogger
- Midnight cabaret
- Don't believe in rainbows
Side 2:
- Protect and survive
- Mr. Zero
- Anonymous
- Dream Street

In 1984 the band released their first single (the double A-sided Red Light Girls/Ticket to nowhere).

More information about the band and audio files can be found here
(see also: http://www.frenchlessons.org.uk/ )

Doof - Exist (1982)

In 1982 Philip Johnson (see relevant post) collaborated with Paul Platypus (Exhibit A, Twelve Cubic Feet) on the project Doof, releasing the 10" mini-LP Exist:

Doof / Exist (1982)

- Treat Me Like (The Man I Am)
- Brighton, Pt.1
- Nine Years Old
- Brighton, Pt.2
- On It In It
- Treat Me Like (The Man I Am)

Abouth his music, in 1985 Johnson says:
‘My music is an uncommon mixture of musical styles – I didn’t deliberately make it that way, I just like different things andit seems natural to me to put them together, but I’ve always been identified with the ‘experimental’ end of things, like most people who release cassettes. I find what I do hard to describe, and I don’t really want to describe it, I want to surprise listeners, and I want to be able to annoy or amuse or excite or move or confuse them, or create several feelings at once’

doof

Philip Johnson

Philip Johnson is an avantgarde artist who started making music in autumn 1978 and released his first cassette (54 Minutes of P. Johnson) in 1979, one of the earliest participants in the British independent cassette scene. Between 1979 and 1981 he released about 20 cassettes, until 1981 when Johnson became a partner in Namedrop, a short-lived independent record label (which also released Johnson full-fledge Lp ‘1982 – Youth the Morning’). When Namedrop collapsed Johnson went back to releasing cassettes and providing tracks for compilations, mostly cassette compilation (among which Blues Vol. 2, released by Alan Gill’s Bopadub records). In 1981 Johnson released material also under various pseudonyms such as Ancient Regime, the Barringtons, Flower Perverts.

In the folder:
From the compilation We Couldn’t Agree on the Title (1982):
- The Bridewell
- Anaesthetic

From Three Minute Symphony (1984):
- Always Behind You

here

Surreal Estate - Midas Touch (1985)

Surreal Estate formed in 1984 when Bob Carr (guitars, former Those Naughty Lumps, Tontrix, Moderates) joined John Potter (keyboards, vocals). The duo recorded and released their first single in June 1985, with (what the press defined as) a distinctive ‘new psychedelia’ guitar sound.

Midas Touch (1985)
A1. Midas Touch
A2. Incidentally
B1. The Messenger
B2. Inciclub

The single features also Marjie Mayers (vocals), and Bunnymen Will Sergeant (guitars) and Les Pattinson (bass).
In 1986 Carr quit and the band with a new line-up (featuring, besides Potter, Rob Eagle on guitars, Anthony Wilding on bass, Peter Higgins on keyboard, and Alan McLaughlin on drums) released another single (Curtain Call b/w Without + Peppermint And Ivory Towers)

surreal estate - midas

That Volcano – Demos (1983)

That Volcano was a Kirkby electronic band formed around 1982 when Gary Williams (keyboards, drum machine, later Secluded Places), Tony O'Shaughnessy (Keyboards, Guitar) and Paul Cassidy (Keyboards), all in Penulitmate Vehicle (1981-82), were joined by Paul Beckett (Vocals, later Lunjay Blue Armey, U.S. Companion, Push Push) and John Blackhurst (Guitars). After a short period as Radio Blue (under whose name the band won the 1983 edition o the Battle of the Bands) the group settled for That Volcano. In the same year That Volcano recorded a couple of demos:

First Demo (1983):
- The Brighter Side of Life
- Read the Writing
- What Would You Do
- Too Late

Pauline Alliston, Paul Beckett's cousin, can be heard on backing vocals.

Second Demo (1983):
- Recently
- Win Win
(plus other two tracks)

By the end of the year Paul Cassidy was made to quit the band, and in December 1983 That Volcan split.

Gary Williams (see http://www.myspace.com/thatvolcano):

‘It all started in January 1981 with me doing a multi-layered recording, bouncing tracks between one tape recorder and another to build up a wall of sound. Instrumentation included a vase, a 'pong' tv game, a set of springs, some knitting needles as drum-sticks etc. The resulting cacophony was entitled 'I'm a membrane', and I was ever so proud! I played it to Tony O'shaughnessy, who lived around the corner, and within days, we'd formed a band called 'Penultimate Vehicle'!

'Most of 1981 saw us building our arsenal of instruments, including a casio VL1. Tony already had a stylophone and a church organ which you had to pump with your feet so he was well ahead of the game! By January 1982, we had expanded to three members, including Paul Cassidy. Paul was approached entirely on the basis of the fact that he bought NME and liked Fad Gadget. Me, Tony and Paul had all gone into debt (or made our parents go into debt) to buy synthesisers - Yamaha, Roland and Korg respectively. We also had the cheapest little drum machine that money could buy.

'We were ready for our first and last gig as Penultimate Vehicle, with me on vocals. This took place at a friend, Davo's house, as part of his 16th birthday party. It was just us, and another friend's band called The Atoms playing. Common consensus was that the music held at least some promise, while the vocals were appalling (the tape of the gig still exists, under lock and key. You can hear people laughing and making cat noises as I sing with a style generally written off as 'sounding like mooncat').

'The gig led to a review, and soon we had recruited my classmate Paul Beckett as frontman, and John Blackhurst to guitar. Anyway, for what its worth, the full line up of Paul Beckett on Vocals, Tony O'Shaughnessy, me and Paul Cassidy ALL on keyboards, and John Blackhurst on guitar then spent the best part of a year writing songs and rehearsing songs and not doing much else.

'Come the spring of 1983, we finally felt we had a set of songs we were reasonably confident with, so we played our first gig, which, as it happens was a battle of the bands at the local school fete. I can't really remember much about the other bands beyond the fact that one of them was called Mojo Filter. By this time we had changed our name to the very shortlived 'Radio Blue'. We won the competition, with the bands who lost questioning the decision of the sole judge (Kevin Perkes), as he was a friend of ours!

'Fired up by this win, we booked ourselves into the 'Abbey Green' 16 track recording studios in Warrington. Why Warrington? I have no idea. Liverpool was bursting at the seams with recording studios and rehearsal rooms at the time. I suppose it felt like, as it was just for one weekend, it made little difference. We all chipped in £25 each for a two day session, which covered the recording and mixing of […] four. The girl on the tape was Pauline Alliston, who was Paul Beckett's cousin.

'We were very happy with the results[…] and within weeks were on the train to London, to tout it around the record companies. Naturally, we were met with general indifference from the more fashionable labels, but London Records and EMI said they wanted to hear more. With this information under our belt, we got back in touch with Abbey Green, who immediately offered to manage us, serving up as much recording studio time as we could use to record a heavyweight follow-up to the first demo. So we would get phone calls telling us the studio was free, did we fancy using the studio? Invariably, my dad would be pressed into service, driving us up the motorway to Warrington, where we would then spend 36 very happy hours making cups of coffee, drinking beer, and generally noodling around.

'This went on for three months! At the end of which we had a tape with four new songs [among which 'Recently' and 'Win Win'] that bore no resemblance to the band we were or had been. This demo again got taken around the record companies, meeting with hostility this time! London records simply wanted to know 'What happened?' Back to the drawing board.

'It was about this time that we took our very worst decision, when we kicked Paul Cassidy out of the band. Why? Because he and singer Paul were having too much fun! We felt distracted, and wanted to ensure we could focus on the music.

'Looking back, it was a big shame that we had lost sight of the fact that all this was supposed to be fun. Abbey Green thought that we needed to build our following and put ourselves on the map with a big, showcase show. Again, our general myopic view of the world meant that we spurned Liverpool, instead deciding to hire Kirkby's Civic Suite, with a capacity of about 600! We should really have been playing little pubs around town to build an audience, but oh! no! we had to be different. So we then spent another six weeks in the studio, recording backing tapes for the gig. Basically, all the drum machine and basslines were put onto a 4 track fostex, which would then stand proudly centre stage during the gig. We were only three years or four years behind OMD and Human League in doing this, but that didn't put us off.

'So 3rd December 1983 saw us play this massive gig in Kirkby. We had an audience of about 400 people - there wasn't much to do in Kirkby of a Thursday night, if at all. Most people were there for the promised disco I am sure. Anyway, it all went reasonably well, and we convinced ourselves we were popstars. Within three weeks we had split up.'

Tracks from the band’s two demos can be found at the band’s myspace page here

The Tempest - The singles (1985-86)

The Tempest was a five-piece formed by Mike Sheerin in 1984 including Lyn Smith (vocals), Ian Finney (guitars), Stuart Dunning (bass) and Steve Dolder (drums, former Prefab Sprout).

This is how Jamming described the band:
‘The Tempest hardly comply with the dictionary definition of their name – violent, stormy, agitated. The supremely melodic, almost whimsical qualities of their music seems more in tune with that Shakespeare play from which ‘tis rumoured they drew their inspiration. There’s nothing ordinary about this Liverpool band – intent on garnering a reputation for producing pleasing tunes with acoustic instruments rather than soul-less static synths.
‘However conventional and dull this may sound, The Tempest’s frontman and songwriter Mike Sheerin has a flair for songwriting comparative to Morrissey and Lloyd Cole but with added optimism and energy. It was this innate talent which probably contributed to the band’s association with Glenn Tilbrook [from Squeeze, ndt] who produced their debut single ‘Always the Same’ and their new release ‘Bluebelle’ […]. The connection extends to The Tempest joining the Squeeze tour in October [1985].
Meeting Mike is an experience which is impossible to eradicate from te memory. Resembling a younger version of Leonard Rossiter à la Rigsby, the similar characteristics are apparent, as he hurtles through conversation, spewing out philosophical reflections and silly anecdotes in the same breath. Underneath his zany humour and subtle sarcasm lies an astute mind ready to slide into overdrive. […]
‘“I want to get as much fame as possibly as I can but not fortune or adulation, critical acclaim. I want to be massively famous and on everyone’s lips so that when I open my gob – they will listen. It’s merely a vehicle for something bigger and better”. […]
‘The first single ‘ Always the Same’ conveyed the futility of our existence – in both our lives and loves and echoes that old saying which is passed on from generation to generation. Coming from Mike, this perception is quite surprising as he appears such a spirited and idealistic person.
‘Once he becomes animated, his imagination tends to take him over and the rest of the band seem to be forgotten. Bu however strong willed and eager he may seem, it will still take the efforts of all five members of the Tempest to put them on the path to success. Something which Mike readily acknowledges.
‘“We’re five individuals – all with something different to offer. I’ve listened to bands who’ve signed for huge amounts of money and they can’s even play their guitars properly. The only trouble with us is that we’re too different – there’s nothing simple for people to latch onto”’. (Jamming, October 1985)

The Tempest released four singles, starting from April 1985:

Always The Same (1985)
- Always The Same
(b/w Love In The Winter Time)

Bluebelle (1985)
- Bluebelle
(b/w I Want To Live)

Didn't We Have A Nice Time? (1986)
- Didn't We Have A Nice Time?
(b/w The Physical Act)

Andrea Miller, reviewing the third single in NME (24 May 1986) wrote:
‘ Not many people write three-minute throw-away pop songs these days. […] Even fewer write three-minute throw-away pop songs about not being afraid of dying, and fewer still would intimate to any journalist that their purpose in this business (never mind this planet) is a good deal larger than being a popstar. […]
‘But then only The Tempest has Mike Sheerin, who’d cringe at being called a typical Liverpudlian but whose motor mouth, flights of wild fancy and insane humour could convince you he is. He is intense and intensely naïve, truly believing that pop songs can change the world and he is just the chap to do it. Sheering has a Tin Pal Alley attitude to music, backed up with a desperate need to get in the chart – skating the switchblade between pap compromise and pop credibility, between being utterly meaningless and having, as he would put it, ‘A Message’.
‘Yet the guy is probably not as crazy as I think he is. Glen Tilbrook has been convinced enough of Sheerin’s talent to stake his reputation on it and produce their yet-to-be-released album and all three of their singles to date: a sparkling little song, ‘Always the Same’, the rather disappointing ‘Bluebell’ [sic], and their current stab at the chart, ‘Didn't We Have A Nice Time?’ – a Country and Western-type number which sounds, in true Tempest style, utterly catchy and immediate. The lyrics though are a little different.
“‘Didn't We Have A Nice Time?’ is vaguely related to the reincarnation, not saying that it happens, but that if you’re going to have fun to make sure you don’t hurt anyone,” Sheering says. “The song says that we’re going to die but don’t fear death – don’t reminisce about mistakes because then we’d be frightened to do anything and we’d all be living in the same way. Try something, but not anything to hurt somebody.”
‘That said, ‘Didn't We Have A Nice Time?’ has more than a social conscience in its favours – a bustling, boppy little number that seems predestined to be played between the news and ‘First Love’.’

Although a self title album was recorded for Magnet in 1986, and produced by Tilbrook, it was never released. The band released a fourth single instead:

Lazy Sunday (1986)
- Lazy Sunday
(b/w You’ve Always Got Something to Say)

After the single, and after being dropped by Magnet, the band split up.

tempest

Roy White (1985-86)

Roy White began his career in music in 1977 when he co-founded Berlin with Johnny ‘Riff’ Reynolds (guitar, later 3D), James Mealy (bass), Gerry Garland (sax, both later Victims of Romance, Bamboo Fringe), and Roy Banks. When Banks left and was replaced by Brian Rawlins (later Liverpool Express, 3D, Keep it Dark) the band changed the name to Fun. This ‘progressive rockband’ had one track (I Heard You Called My Name) released on the compilation Street to Street Vol. 1 in 1978 (see relevant post). In 1979 Fun became Victims of Romance, as Reynolds left to join 3D and Steve Torch and Hambi (former Tontrix) were added to the line-up. In 1980 members of Victims of Romance went their separate ways, whereas White and Torch collaborated with Jayne Casey (former Big in Japan , later Pink Industry) in the Pink Military (White and Torch are among the personnel playing on the Pink Military’s Blood and Lipstick Ep, Sept. 1979, see relevant post).In 1980 Roy White and Steve Torch’s partnership got established and the duo began to release a series between 1980 to 1984.
In 1985 the due split and Roy White started working as a solo artist (mainly with the support of the same session musician who had worked with White and Torch, namely Jim Mealy (guitars), David Levy (bass), Charlie Morgan (drums), Jackie Robinson (a.k.a. Jaq Robinson, vocals), Di Wright (vocals). In September 1985 Roy White debuted as a solo artist releasing his first single:

Strange to Be with You (1985)
- Strange to Be with You

(b/w We Are America)

In December of the same year the accompanying Lp followed:

Shanty (1985)

- Stand In Line

- Don´t Stop Tommorow

- Sophie´s Choice

- Criminal Mind

- Shanty

- Strange To Be With You

- Shoot Myself

- Nothing To Remind Me

- Angel Loves Joe

- Ice On The Sun

- Reputation

- Lest We Forget

The cassette release apparently contained 4 bonus tracks. The album was not positively received and reviewed by the music press. For instance, this is what Robin Gibson wrote in Sounds:
‘Some of his album is unselfconscious and pleasant, and thus ready to be foolishly enjoyed. But much of it harbours grand intentions which fall very flat - to a point of boredom’ (January 4, 1986)

In February 1986 a second single followed:

Lest We Forget (1986):
- Lets We Forget
- Nothing to Remind Me
- Criminal Minds

After his experience as a soloist, White was joined King Of Fools in the nineties, which released an in 1991. and later formed The Truemen.

Roy White’s album Shanty can be found at the great site Rip it Up, here.
Thanks to Mikeyten for the great blog.

(see also: http://www.myspace.com/thetruemen )

Buster - Buster (1977)

In 1977 Buster (Pete Leay, Rob Fennah, Kevin Roberts, Les (Brians) Smith) released their first LP

Buster (1977)
- We Love Girls
- Saturday Night
- I Was Born To Sing Your Song
- Pretty Legs
- Daybreak
- Born To Be Wild
- Love Rules
- She's My Girl
- I'm A Fool
- Listen To What The Man Said
- Sunday
- We Love Girls


According to sources, Buster released other 2 albums (Buster 2, and Buster Live), but they seem to have been released only for the Japanese markets. In 1978 interest around the band started to fade and by 1979 Buster ceased to exist as a band. After a short period as The Jax, Pete Leay quit, Rob Fennah started to write with younger brother Alan and perform as a duo, and also managed to get Merseyland Alternative Radio (MAR), a local radio station, to play some of their demos. In 1981, Buster's original members Les Smith (Baines) Kevin Roberts joined the line-up and the band took the name of the Alternative Radio, which in the meantime had been closed down (see relevant post).


buster (1977)

(Ripped from the original LP for the PPC Blog)

(see also: http://en.wikipedia.org/wiki/Buster_(band)
http://www.myspace.com/busteruk
http://www.myspace.com/peteleay )

Buster - Singles 1976

Buster was first heard of in late 1974 ad consisted of Pete Leay (lead guitar), Rob Fennah (rhythm guitar, later Alternative Radio), Kevin Roberts (bass, later Alternative Radio) and Les Brians (a.k.a. Les Smith, drums). Buster originated from The New Attraction, a trio formed in 1973 consisting of Leay, Roberts ad Smith, which performed regularly in the cabaret circuit through the North West. In 1974 Fennah was added to the line-up on guitar and the four-piece (with average age of 17) renamed Buster. In 1975, they were spotted by established songwriters Ronnie Scott & Steve Wolfe who penned their first single Sunday. According to some sources the band recorded and released two singles in 1974 (Superstar b/w Ring Around and Motor Machine b/w Rainbows and Colours) - but this might be another band altogether since the songs are credited to Baker/Morgan. The first ‘official’ single was released in May 1976:

Sunday (1976)
- Sunday
- Salt Lake City (Silver Gun)

The record was an instant success but it was not meant to stay given the sudden rise of the punk movement. The Buster turned to the Japanese market. The same year they released other two singles:

Beautiful Child (1976)
- Beautiful Child (b/w Daybreak)

Love Rules (1976)
- Love Rules
- Who Told You

buster - singles (1976)

The Front Room - Joe Public (1981)

Obscure band which collaborated (consisted of?) such figures as Mike Percy (later Moderates, Dead or Alive), Dave Griffiths, Kevin Marr, Bolly, Mooey, Joe Riley, David Alton, Al Moneypenney, David Mathiesan. The band apparently recorded one only single in August 1981:



Joe Public (1981)
- Joe Public (b/w Camera)


Merseysound reviewed the single as follows:
‘If title like ‘Joe Public’ suggests a down-right-sounding People’s Protest then the first single by The Front Room will come as a surprise. A continuous mesh of voices over a synthesized riff suggests nothing so much as The Games’ ‘Planet War’ from the recent Street to Street album. My complaint is that ‘Joe Public’ (‘written for the benefit of the kids in Liverpool’) seems to have something to say and this sophisticated treatment obscures most of it. The recent ‘We Want to Work’ single proves that you can be clear without being disastrously clumsy, and The Front Room should bear this in mind. The sound isn’t unattractive although it works less well on ‘Camera’, the B-side, where the synthesizer gets in the way of some Bowie-ish vocals and deadens the whole song. Well-meaning though.’ (Merseysound 18, September 1981)

In 1982 The Front Room changed their name to A Second Language.


front room


(thanks to our friend Multihit)