The Balcony formed in 1981 and consisted of David Palmer 8a.k.a. Yorkie, vocals, bass), Pete McAsey (aka Peter Macassey, also with This Final Frame, bass), Paul Cavanagh (former Chinese Religion, later Room, guitar, bass,), Peter Baker (later Room, keyboards) and Bert Gardner (drums).
About the band, Paul Skillen (of this Final frame) wrote in a Merseysound issue (November 1981):
‘On the surface the music is ‘poppy’ but the band escape any category due to the very different musical elements they produce within the framework of a ‘pop song’.
‘Peter Baker on keyboards is classically trained and has never played in a group before, he quite likes Bowie but is mainly influenced by Bach. I asked him why he joined the band and he replied that he had nothing better to do. He has only been with the band a matter of weeks so his influence has yet to take effect.
‘Bert Gardiner on drums has rock/jazz style about him, the rhythms are often deceptive, and closer listenings reveal complicated timing. His influences range from Captain Beefhart to The Mahavishnu Orchesrta. I asked him why he joined the band and he said ‘ Because they are all gay’, to which Pete McAsey replied, ‘I’m not gay but my fella is…’ I decided not to interview the band after this point and to get on with describing their music.
‘Paul Cavanagh on guitar has highly original style full of discord, choppy rhythms and harmonics. His guitar style comes and goes in fits and starts, you really don’t kno what he is going to do next.
‘Another unusual element on The Balcony is that they have two bass players, Dave Palmer sings and plays bass while Pete McAsey plays another totally different bass line. They don’t play harmony lines or double up. Dave’s bass playing is mainly driving bouncy octaves while Pete McAsey provides a jazz-funk element and is obvious talented.
‘Dave Palmer is the catalyst of the band. He writes most of the material and then his ideas arer reworked by the rest of the band. His influences are Scritti Politti and James Weston Is a Dead Man (nearly the Wild Swans) which probably leaves you as much in the dark as I am. Dave says ‘I started the band because music at the moment is stale. This is the fourth band I’ve been in and it is the only one I’ve liked totally, not only can I get on with them personally, but every member is good musically and has his own ideas’.
‘Dave adds the vital touch of being able to bring such diverse element together and providing the initial ideas for the songs. The band had no collective image. As you have probably gathered they are very individual characters. The ban have great ability and potential to innovate. Their only possible difficulty is to bring their elements together and play as one coherent unit and whether they want to?’
(Paul Skillen, Merseysound 19, November 1981)
In March 1982, Mick Moss wrote in Merseysound about the Balcony’s live performances:
‘The Balcony are soiled dreamers. Their music has a private logic born of tenderness. The Balcony are lonely, spontaneous, disciplined. They probe deeper shadows then most. And are lost here sacrificed to an audience fleeing from ecstasy.
The balcony touch both bitterness and resignation in their songs. Are cul-de-sac’d by jaundice; they sing of hurt and loss, myths and utopias, but are undermined too often by regret. Too many of their songs seem robbed of hope, lost forever.
The Balcony confront the carnage of love, the transgression of desire, to revealing effect, but they’re stretched too taut, never relaxed, are trapped by stale metaphors alluding to a soul-style they don’t as yet possess. The Balcony would rouse us from slumber with hot, incisive conduct, yet lack sensuality, the seductive grace such a task demands. Their best songs are articulate, accessible, possessed of seductive economy and savage conspiracy.
They’re a glorious release from rock-filth, but to really burn, need to liberate themselves from self absorption, cut deeper, scream of love’s memories and absurdities…
Then… they’ll steal even the greyest hearts away from outrage to a searing elevation’
(Mick Moss, Merseysound 23, March 1982)
This line-up of the band released their first single in August 1982. It was produced by Pere Ubu’s Mayo Thompson.
from Naafi Sandwich to simply Naffi. In a couple of year they’ll change again to Naffi-Locksman and finally to Brenda and the Beach Balls. All these incarnations would release either a fully-fledge LP or a series of 12”, respectively in 1982 (Naffi – Yum Yum Yum Yum Ya), 1985 (Naffi-Locksman - ST), and 1986-87 (Brenda and the Beach Balls – Volume One 12”, Yummy Yah 12”, Catch a Falling Star 12”). By that time Jerry Kenny (a.k.a. Freddie Viaduct or Viadukt) would be an established producer, notably contributing to the work of such acts like the Mel-O-Tones and Jegsy Dodd.
from Naafi Sandwich to simply Naffi. In a couple of year they’ll change again to Naffi-Locksman and finally to Brenda and the Beach Balls. All these incarnations would release either a fully-fledge LP or a series of 12”, respectively in 1982 (Naffi – Yum Yum Yum Yum Ya), 1985 (Naffi-Locksman - ST), and 1986-87 (Brenda and the Beach Balls – Volume One 12”, Yummy Yah 12”, Catch a Falling Star 12”). By that time Jerry Kenny (a.k.a. Freddie Viaduct or Viadukt) would be an established producer, notably contributing to the work of such acts like the Mel-O-Tones and Jegsy Dodd.
