The Balcony - Redder than Burning Coals (1987)

By 1987, after a period of changes and of quite limited musical activity (misinterpreted as ‘non-existence’ by the Spheres’ journalist in the extract below) the Balcony re-emerged as a three-piece, namely, David Palmer (vocals), Mark Cowley (drums) and Steve Powell (guitars). This line-up (featuring session musicians like Joe Mckechnie, Mark Davies, Phil Lucking, Mike Kidson, Martin Green, John Hawkins and Narash) released a much-awaited second single in February 1987.


Redder than Burning Coals (1987)
- Redder than Burning Coals
- Too Late
- Loser



Spheres Magazine #6 (March 1987) wrote about the band:
‘The Balcony have released their first single as a 12” on Pink Pop entitled ‘Redder than Burning Coals’ c/w ‘Losers’ and a track of theirs which is featured in the soundtrack of ‘Letter to Brezhnev’, ‘Too Late’. The Balcony were formed in the summer of ’85 (sic!) by their vocalist David Palmer, along with the other members of the group they have diverse musical influence, and when their collective writing comes together, they deliver nothing short of amazing.
A recent Café Berlin gig provided a chance to witness what The Balcony are up to, including an usual attempt at dancing by an intoxicated David Palmer. […] Their songs cover a wide an area of topics as their influences, including ‘No 1 Jesus Man’ a reference to the Pope by the people of Papua New Guinea to ‘Insane Things’ the only title to explain the famine situation in Africa. ‘A Cover Version’ is another highlight to The Balcony performance, this song is planned as their next single.’

The 1987 single and other information can be found here

The Balcony - Lizard Hunt (1982)

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.

Lizard Hunt (1982)
- Lizard Hunt
- Surprise after Surprise

Backing vocals were provided by some Sue and Hilary whereas one Shehzad played clarinet.
Merseysound (October 1982) reviewed the single as follows:
‘No freneticism here. Careful and studious both songs have a rich deep sound, lots of twists and turns, being allowed the songs to settle into a pattern. Now, on Surprise Dave Palmer whimsically gives passing mention to the inferno of 14th century Forentine philosopher Dante’

balcony

The Iconoclasts - Some demos (1983-85)

The Iconoclasts came into being after the split of A.T.A., one of the few punk of the anarcho-punk scene in the Liverpool-Wirral area. Originally formed in 1980 by Jarv (a.k.a Jarvo, Jar, vocals), Shone (guitars), Penny (drums) and Lloyd (bass) (see picture, one) in 1981 they added to the line-up a female singer Mandy Bendix (see picture, two). The group continued as a four-piece, having lost Jarv along the way. They played their final gig at Lark Lane in 1983 as a quintet, with Andy O added on guitars (see picture, three).

The Iconoclasts, a Wirral-based all-girl punk band, formed in 1983 by 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). In an ad distributed in 1985 the girls described their songs as follows: ‘Our songs consist of serious and funny material as we try to look on the funny and everyday side of life.’ In 1984 the recorded three demo, one in February, the second in June and the third in November.

Demo (June 1984, 51/2 Track)
- A Type Of Anarchy
- Epitaph
- Floor Monster
- Fight Alone
- Funfair Pts 1+2
- Spotty Dog

Demo (November 1984, 4 Track)
- Pervert
- Do You Care
- Zitty
- Blood Red

In 1985 Linda joined on guitars, soon to leave the band, together with Bendix to form Mere Dead Men (with former A.T.A. bass player Lloyd, later to join Redo Zebri).

About the time of the split Mandy Bendix recalls: ‘Mere Dead Men formed in 1985, by a handful of people, Mandy included to liven up a small and very sad punk scene. Liverpool and its surrounding areas where caught up in the throes of the metal and goth movements, there were hardly any punk bands of their type left […] there were a few hardcore bands around and anarcho bands, but as we said no-one was keeping the original spirit of punk alive, which is what MDM are all about. We began playing locally and promoting gigs at Stairways night club, we then started using some of Mandy's old Iconoclasts contacts […] and started playing around the UK. From that we went on to promote shows at Planet X in Liverpool, and started to get a decent following together.’

demo 1 + demo 2

(see also: http://www.myspace.com/meredeadmen.
http://viewmorepics.myspace.com/index.cfm?fuseaction=user.viewPicture&friendID=73052825&albumId=1053699 )

The Dust Choir (1984-85)

Dust Choir were formed after the split of Chinese Religion, when Dave Lee Stark (vocals) joined Matthew Maher (guitar), John Maher (bass), Simon Barlow (drums) and Russell Edwards(sax/guitar). Ian Stading (keyboards) replaced Matthew Maher in 1984 and Steve Soar (bass, later Scorpio Rising) replaced John Maher in 1985. Apparently the band only vinyl release is the track appearing on the extra 7” released with the compilation Sons of Jobs for the Boys (1985):

- Another Fly Network

Paul Skillen (This Final Frame) used to live next door to Stark. He recalls: ‘He looks and sings like Johnny Rotten. He’s only 4 ft. 10 and he’s really an amusing character’. After his short militancy with Dust Choir, Ian Standing joined Keep and Get That Smile.
Schwartze writes: ‘Around the end of 1985 three Merseyside bands with quite a large following between them existed – Innervision, Dust Choir and West Awake were all gigging and playing live around Liverpool and Northwest England. After various approaches from management, record companies and releases on tapes and compilation albums all three came to an end. This was the start of Get That Smile.’


John, in the original line-up recalls his time with the band as follows:
'My brother Matthew and I started 'Dust Choir' (although the name came when Dave 'Davva' Lee joined) when we were 16/17. Originally my brother and I practised with a drummer called Cosmo above my Uncle Mick's pub 'The Cleveland' in Birkenhead. His mates used to laugh at us and take the piss out of the racket we made.
Eventually Dave Lee joined and we moved to practise at the top of Ford Hill in drummer Simon Barlowe's parents' garage. Russell joined on sax soon after. 'Another Fly' was written by Matthew and this first Dust Choir line-up. It was the first song we wrote. We recorded it at some fella's house after Matthew had left and Ian and his keyboard joined. My bass was recorded once and you can tell. I'd never recorded a note! Matt left for University in 1984, and with him went the guitar sound that made us sound special.
I wish we had recorded songs like 'Up on the Roof' before he'd left. We had some noisy, tight songs, not properly reflected in any of guitar free recordings. We recorded two demos in my time(I have the cassette somewhere) and got on the free e.p on the 'Sons of Jobs for the Boys' compilation album. I was chuffed when we went to by it off the owner of 'Natalie's Records'and Paul Weller was on it. We played one gig at the Venue in Seel Street and it was ace. I left in 1985 to go to university. Sadly, I never kept in contact with anyone in the band. I now know they continued with Steve Soar on bass (He went on to success with 'Scorpio Rising'). My abiding memories are of rubbish equipment (I played my bent knecked bass through a stereo amp until it blew up!) and the talent of Simon the drummer who had pots and pans fixed on his kit. We once went to record a video at a social club in Kirby?? which turned out to be the one of the weirdest nights ever. I never did get to see the recording properly as we were sandwhiched between loads of 'chicken in a basket' club bands. I would love to hear from anyone who has a copy (a billion to one shot I know). The cameramen certainly enjoyed our mad performance. Dave Lee was a good lyricist and man. He refused to cut down his lyrics, so all our songs went on a bit. In retrospect both my brother and I wish we'd stayed a year or two. You don't realise till later what you had, and we had something in the early days. I enjoyed my time in the band.

Dust choir

(PS. The quality of the recording is really poor. I apoligise for that.)
(thanks to our friend john for the information)

The Moderates (1979-1981)

The Moderates formed in late 1979, when Bobby Carr (guitars, keyboards, former Those Naughty Lumps, Tontrix, later Surreal Estate), Martin Cooper (bass, former Those Naughty Lumps) and Phil Allen (drums, former Big in Japan, later Love Look Away) joined John Brady (a.k.a. Brady, vocals), Heidi Kure (a.k.a. Heidi Cure, vocals), and Tom Gould (guitars). With their rough guitar sound – somehow influenced by the guitar pop of Big in Japan – the Moderates were on of the main attraction of the Liverpool club scene.

Pete Burns recalls ‘The Moderates, an arts band. They did Tulips from Amsterdam and they used to get this lady out of a mental asylum, Dame Looney [in the picture], she was called, and she did a long version – probably over an hour – of Mull of Kintye – Oh Mull of Kintrye, oh mist rolling into a… Mull of Kintrye, oh mist rolling into a… Mull of Kintrye – they were the only two phrases she knew. She wore crocheted hot pants, a pair of clogs and smelled of urine. She’d talk like Pam Ayres and she used to think Jimmy Savile was talking to her through the TV. People thought it was a bit cruel, but it was entertainment none the less.' (Pete Burns, Freak Unique, 81-82)

Interest in the band was such that they were offered a slot in the Liverpool Street to Street compilation Vol. 1 (I Don’t Want to Go Bald). In 1980 the group recorded at Open Eye 4 Track Studio four of the songs written by Brady, engineered by Roy White.

Fetishes (1980)
- High Hell Shoes
- Yes to the Neutron Bomb
- Don’t Be Silly
- Suntan

Bob Morten played sax on the opening track. Paul Müllen is responsible for the cover, apparently inspired by Miss Lester.
In 1980 Cooper left the band, and was replaced by Mike Percy (a.k.a. Mike Pursey, former Front Room, later Dead or Alive). In April 1981 the group released their second single:

- Yes to the Neutron Bomb (b/w Bus Girl)

In the same period the group recorded a Peel Session (recorded on 25 March and broadcast 4 April) featuring new numbers (Housewife for Life, Nightlife, What’s That’s Sound (For What It’s Worth), Emile), among which two appearing on the band’s third single in February 1982:

- Emile (b/w For What It’s Worth)

About the single Merseysound (18, September 1981): ‘The B-side is crisp and zingy with a repetitive hook that happily reminds you of the band’s show-stopping early number Suntan, but Emile itself is wonderfully inventive and mature, turning neat touches of violin, piano and percussion over a nagging little beat which suddenly disappears. There’s drama in the music and the song becomes a sophisticated dance in a room full of echoes. Music’s loss may be fashion’s gain but Heidi’s voice is so full of potential you could feel sad. The Moderates were innocent of rock-cliches and the result enjoyment.
When the single was released the Moderates were already history. Despite having completed some demos for a future release (cf. Nightlife, in the attached folder) Carr (and temporarily also Brady) joined the Surreal Estate, Percy the Dead or Alive, and Allen Love Look Away.

moderates

Ponderosa Glee Boys (1979-1982)

The Ponderosa Glee Boys formed in the summer of 1979, its founding members being Tomo (a.k.a. Tommo, vocals, later Rebél da Fé, President Beate Route) and Carl Eaton (a.k.a. Karl, bass, later Always the Now), plus Steve Coy (drums, later Dead or Alive) and Dave Banks (guitar). They played their first gig at the Lincoln’s Inn, which apparently was a disaster. After a couple of months the Glee Boys recorded their first demo at S.O.S. with John Tuite (Big in Japan, Pink Military, Faction), who also played on some of the tracks. To strengthen their act the band played a couple of low-key gigs at the Somali Club (on Parliament Street, apparently a prostitutes’ hang out) after which they were ready for Brady’s, supporting such acts as Martian Dance, Theatre of Hate, Generation X and Killing Joke.

In 1980 Roger Hill wrote about the Ponderosa Glee Boys: ‘[they] are the funniest band to play Liverpool stages since Pete Hart led the Naughty Lumps to oblivion. They veer from the unexpected optimism of UK’s OK to the rocky extremes of From Beyond to the laid-down neo-reggae. All their songs sound different and none of them finishes with a stick This-Is-Pop flourish!’

At about this time inevitable Records started to be interested in the band and gave the Glee Boys some studio time at S.O.S. for more demos. The band opted for Martin Dempsey’s studio, in Rossendale, but didn’t get along with Dempsey at all, this resulting in not doing any recording.
In 1981 Banks was replaced by Brian Swenson and, in July, this line-up recorded a Peel Session with three songs (Scream or Change Your Mind, Creation, Ritual) two of which were planned by Inevitable Records as the band’s first single (but never materialized).
In this period they played the Inevitable Nite Out at the Royal Court (with other bands like Dead or Alive and The Room). They also played the Hamilton Club in Birkenhead, where they smashed the support act’s equipment, and had to make a quick exit. After supporting the Killing Joke on their return to Liverpool, tome played his last gig with the band at the Futurama, Stafford Bingley Hall.

People from the scene remember:

‘Karl had been a ted in the early days & took to beating up punks for fun! I don't remember why, but he & Jamie (Ellery Bop) must've swapped clothes one night coz Karl became a blond Sid lookalikey & Jamie beat the Clash to the London Calling look! Anyhow the Glee Boys started about 79/80 Jamie having taught Karl how to play bass. They should have made it. There gigs always ended in a riot with Karl or Tommo or all of them jumping into the crowd for a punch up. They played all over the country’

(Thanks to Mada: http://forums.myspace.com/t/1922486.aspx?fuseaction=forums.viewthread )

When Tomo left to form Rebél da Fé with ex-members of Psycamesh (Gay Williams, Mark Robson, Steve Hadden), the Glee Boys line-up underwent some major changes. Eaton became lead singer, leaving bass playing duties to new member Bob Davies (later Change to the East) and Gordon Longsworth (former Motion Pictures, later Foundation) joined on guitars. In 1982 Longsworth was replaced by Ian Martin (later President Beate Route, ironically with Tomo) but before the end of the year the Glee Boys split. At the time, as Stuart Wood (Change to the East) remembers, Bob Davies, after rehearsing with the Glee Boys remained at the rehearsal place and formed a new band.

Here’s how Graham Trust (of No Exit) recalls Carl Eaton and the Ponderosa Glee Boys:

‘In June [1982] I bumped into Carl Eaton, a neighbour and associate of mine since childhood. He was a natural blonde blessed with the physique of a farm labourer. His future lay in his physicality, maybe as a nightclub bouncer, I supposed. How wrong I was. Unknown to me he was the lead singer and bassist with ‘The Ponderosa Glee Boys' who had played not only Liverpool but other towns and cities. The Glee Boys gained a reputation, not just for the quality of their music, but also for their eagerness to exchange blows with members of the audience. Now that they'd disbanded Carl was writing and recording by himself. He played me a cassette of his latest song ‘Sorry' (recorded at SOS Studios behind Stanley Street). I was impressed by the standard of his writing, playing and singing, and by the fact that he used a drum machine (state of the art, don't you know). Most of all I loved his use of the word "sorry". Carl's song was the lyrical catalyst for my own ‘Anything You Say', which I developed over the summer.’

(see: http://www.noexit-thevow.co.uk/history/1982 )


ponderosa glee boys - ritual

Ian Baker - Before Change to the East

In the previous posts Stuart Wood provided us precious and very detailed information about the different Change to the East line-ups leading to the definitive one, although very little we know about its members’ musical activities before Change to the East.
Here Ian Baker fills this gap concerning his part, and tells us about his musical experiences in the Liverpool music scene:

‘1979: Started off playing keyboards in school in a band called NYLON with David Owen (vocals, keyboards), David Brophy (drums), Mark Phythian (keyboards). Our favourite bands being Kraftwerk, Ultravox, Human League and OMD. We followed Kraftwerk's ethos by building a lot of equipment such as oscillators, filters and phasers (mainly because we couldn't afford to buy them!)

1981 Philip Bliss joined on vocals, we changed the name to Silent Movement and I picked up the bass guitar, and Mark dabbled with the guitar. We had left school by this point, started gigging around Liverpool at The Venue and The Masonic Pub, supporting such bands as P.O.W, and The Games
At some point in this year, (August I think) we actually recorded at the same studio where Woody had done his YOP scheme some months earlier, although we never actually met each other then.

By the end of 1982 people were drifting off to University and the band fell apart.

Unfortunately, I don't know what became of the two Davids and Phil. But Mark Phythian [who also was recording engineer on the band’s ep] went on to be a very much respected sound engineer, earning a Grammy for his work on the first three Coldplay albums, and we're still in touch to this day.

In true 1980's style I actually tried to go solo, using backing tapes at gigs whilst playing keyboards or bass and singing!

Luckily after only one gig at The Cavern Club I decided it was not for me so I started looking for an established band to join.

I think I must have contacted most Liverpool bands that were advertising in the music shops of Liverpool as well as the local newspapers, and more often than not it didn't get past the first phone call. But amongst those who I did get to play with were;- Freeze Frame, The Pale Fountains, The Lilac Trumpets, Western Diplomats, The Presidents Men, Come in Tokyo and 3D.’

‘I auditioned for the Pale Fountains before I joined Change to the East. I remember being given a very rough demo of Jean's not Happening to learn - loved the song and play it still today, but I just didn't fit in with the band. I think they were looking for a more Echo and the Bunnymen style of bass player.

Another band I auditioned for was The Lilac Trumpets, but I haven't heard or seen anything from them since.’

‘I got very disillusioned with the whole thing and when I got Woody's phone number, I actually kept it for about a month before ringing him, - never regretted it when I did ring, because our playing style fitted together so well.

He became a very close friend, and still is.’


Thank you very much, Ian.