Thanks so much to Paul Denheyer for the fantastic interview!

++ What’s the story behind Politburo? Who were the original members and why did you start a new band after the break up of Dead of Arrival?

There were a couple of line-ups after DEAD ON ARRIVAL, including for a while JOHN LEVER (from Manchester’s THE CHAMELEONS) but the main line-up was:

(myself) Paul Denheyer – voice and guitar
Ian Jackson – bass guitar and voice
Carl Henry – the drums
along with
Andy Clegg – mellotron and synth (1983-84)
Dave Dix – keyboards (1984-85 but mostly only on recordings)

There was never a question for me of not continuing to make music after DEAD ON ARRIVAL. I enjoyed it too much and personally felt I had more to say as a songwriter. I’d known from an early age that music was all I wanted to do and I suppose I’ve always been lucky enough to find like-minded people who share that passion.

++ How much has changed Wirral since the eighties?

The Wirral is now officially promoted as the ‘leisure peninsula’ and is best known for it’s golf courses and as the place where wealthy footballers have their luxury homes. But it also still has it’s fair share of areas of poverty and social deprivation. During the eighties, and as a direct result of government cuts (in particular to customs & excise) our hometown was the cheapest place in Europe to buy heroin and, like the rest of Britain, lost most of it’s manufacturing industries creating high unemployment here. It has changed in many ways since and from my point of view for the better. Liverpool has just finished it’s year as European Capital Of Culture and this always affects surrounding areas – I remember seeing the positive effects it had on Glasgow when I was playing up in Scotland with FISHMONKEYMAN in the nineties. For young musicians and artists here, there is more support and there seems to be a healthy local scene now for the arts in general.

++ Where does the name come from? I read somewhere that during the mid eighties, Dale Street’s Vernon Arms was dubbed Liverpool’s politburo. Anything to do with that?

In the early 80s, Britain was living under the conservative Thatcher government – not the happiest of times for many people and particularly for anyone with socialist or left-wing views. While we never really wrote out and out political songs, it amused us to call ourselves Politburo (after the Soviet inner cabinet) just as a means of ‘getting up peoples noses’.

++ The first release of Politburo happened to be a BBC flexi disc called Two Minute Heroes. How did this happen? Was it common for the BBC to release records at that time?

The ‘Two Minute Heroes’ record was the idea of Radio Merseyside’s Roger Hill. I think he wanted to give something back to the local bands of the time – particularly the ones that regularly submitted material for his show. For a while, i think he was the only broadcaster at Radio Merseyside supporting the local scene – later on they started a sunday night show called ‘Streetlife’ hosted by Con McConville and Janice Long (who later went on to Radio One) – but I’m not aware of any other such releases so i guess Roger should take credit for it really.

++ You released a couple of demo tapes, do you remember which songs were included? Any chance pop fans will be able to listen to them some day?

Hmm we made available several cassettes of our songs for sale at gigs – a few of the tracks I put up on the myspace page.

++ In 1984 Ronnie Flood, founder of the city’s musicpaper Merseysound “had the idea of putting together a compilation of the best local groups who weren’t getting airplay”. That was the Jobs for the Boys compilation and Politburo was included with the song “Innocence”, which you had to re-record. Did you know Ronnie already? Was there a launch party? What were your favourite tracks on the compilation? Do you think he missed any other great local groups?

No, we didnt know Ronnie directly until he asked us to submit a track for the album. The launch party was an all-day event at Liverpool University featuring many of the bands on the album. We were the last band to play and I remember waiting around most of the day watching the other bands (some we were aware of already) and only really enjoyed BROKEN PROMISE and THE FACTION. Probably because they had a similar attitude to ourselves – we prided ourselves on being as unpretentious as possible and disliked any form of ‘rockstar’ behaviour. Other than that I always had a soft spot for COOK DA BOOK’s ‘Piggy In The Middle 8′ track. I don’t think Ronnie missed any good unsigned bands at the time, BLACK, IT’S IMMATERIAL, ECHO & THE BUNNYMEN, ICICLE WORKS etc.. were already signed and making their own records by then.

++ Did you participate in other compilations?

No, just the ‘Jobs For The Boys’ album.

++ In March 1986 you release your first and only proper single “Euphoria b/w April Shower, Half a Hairpin”. What do you remember from these recording sessions? Who released the 7″? Why did you choose these three songs in particular?

I remember enjoying the sessions for the single. Our producer and good friend Dave Dix (from BLACK) took us into Pete Fullwell’s Benson Street Studios to lay down the tracks. For a small studio, it was a really good vibe with other local musicians dropping in and hanging out – IT’S IMMATERIAL, BLACK and WAH! were all signed to Pete’s label INEVITABLE.
Dave added some keyboard parts, then we did the vocals and final mixes in New Brighton’s STATION HOUSE studio. The record was released on Pete Leah’s SKYSAW RECORDS and was well received generally – I think we decided between us all that they were our best 3 songs we had at the time.

++ After that you were going to work on a second single, right? What happened with it? Why didn’t it come out?

Yes, we were booked into Cargo Studios in Rochdale to record the latest songs but split up just before the session and so regretfully it had to be cancelled.

++ Did you gig a lot with Politburo? Which gigs in particular do you remember the most and why?

We were constantly gigging throughout the UK. Gigs that stand out? I’d have to say playing at the Royal Court Theatre along with ECHO & THE BUNNYMEN and others for JOEY MUSKER’s ‘Drums Over The Mersey’ charity gig. I also remember enjoying every time we played at the ‘Larks In The Park’ event and performing live on Radio Merseyside with ICICLE WORKS and IT’S IMMATERIAL was very cool. I loved IT’S IMMATERIAL

++ What’s the story behind the Return of the Kodak Ghosts video? It has indeed that ghostlike feel! And what about the song, were you inspired by Eyeless in Gaza’s “Kodak Ghosts Run Amok” by any chance?

Haha, i have to say this song was very heavily-influenced by Sheffield’s COMSAT ANGELS (a big favourite of ours). I don’t think i heard the Eyeless In Gaza track. The video was part of a home-produced 25 minute film we made of our songs called ‘Building Cages’. To have a band video at all in those days was rare and to be selling it at gigs for the price of the cassette itself even rarer. It was produced on a couple of domestic recorders and a camera the size of a suitcase so is highly amusing to watch compared to what can be done now.

++ Did you know there was a Danish movie last year called “Room 205″ and it’s a terror movie! What is your Room 205 song about? maybe it’s about ghosts too? Do you have a particular interest in ghosts at all?

nope LOL. I never really felt too comfortable explaining my songs, preferring listeners to make up their own minds but i think looking back it’s about isolation. At the time i was losing friends to drugs and I think this sense of helplessness was reflected in more than a few Politburo songs.

++ What do you miss the most from those days when you hang around with your mates and made fantastic music?

In all honesty i’m still hanging around with friends and hopefully still making fantastic music occasionally LOL. I never grew up

++ Why and when did the band call it a day? What did you do after?

All things come to an end and there were many personal reasons for the end of Politburo in 1986. Ian Jackson had started his own musical project with local poet JEGSY DODD and it’s success, along with the band’s frustration at not gaining the recognition we thought we deserved, probably didn’t help matters. Sadly, for me, the songs written by both myself and Ian at the end were never recorded and I still feel they were the best songs we ever wrote. They did however give me a focus for the direction of my next project.
Ian went off to do his own thing and Carl and I started playing with lots of different musicians in search of the right formula that would eventually gel to become FISHMONKEYMAN. After releasing our own 12″EP in 1990, we were signed to Warners and released a couple of successful singles with them. FISHMONKEYMAN continued in various guises with support from indie label COPASETIC RECORDS until 1997 when I finally hung up my guitar and concentrated on producing local bands and discovered underground house music.
These days I produce the odd house vinyl, dj occasionally and run an underground house internet radio station and record label called MYHOUSE-YOURHOUSE. Just recently, I returned to my indie roots and started producing demos for a new Liverpool band called SLOPeS. (http://www.myspace.com/thisisslopes)

++ Anything else you’d like to add?

Only my thanks for asking me to do this interview. Was funny thinking back on what were exciting times for the Liverpool music scene. They were ‘dark times’, particularly in the north of england and yet a lot of quality music was created. It’s nice to know there’s still interest in this period, I still get emails about the bands i was involved in at the time and for that reason put up the following myspace pages so people can still hear some of the songs….

http://www.myspace.com/politburo82
http://www.myspace.com/fishmonkeyman9197

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Listen
Politburo – Innocence

Thanks so much to Gavin, Christine, Stephen and Adrian for the interview! Also a big thanks to Emma, the number 1 Proctors fan, who helped so much on the interview.

Look for the new The Proctors CD out on the Cloudberry Classics series! It includes 5 fantastic pop songs!

‘After returning victorious from a bubble bath wonderland laiden with a chest full of tunes, and the secret to a kings glory. Toys at teatime, a true daydream lay forever in front of us’ Adrian ‘Josef’ Jones (The Proctors) April 2009

++ Who were The Proctors? Why did you name the band The Proctors?

Gavin: Gavin Priest, Christina Priest, Adrian ‘Josef’ Jones and Stephen Davies. The band was named after a kid at school whose nickname was Proctor. He was a bit of an outsider.

++ Did Stephen/Stevie usually spell his name like Steven back then?

Stephen: No it was a printing error. It was always Stephen back then. Stevie is more of a recent thing, but I am tending to mainly stick with Stephen. I think it suits my advancing years better than Stevie. If my name was spelt Steven I would have the same first two names as Morrissey as my middle name is Patrick. Well they are the same but with just a different spelling. I read once that Morrissey said he is glad that is first name (Steven) is spelt with a ‘V’. I’ve never really understood what he meant by this. I much prefer the look of the name ‘Stephen’ with a ‘PH’. When I see the name Stephen Pastel I get quite excited, so I think it will definitely be Stephen from now on.

++ In which bands were you involved with bands before or after The Proctors?

Gavin: Prior to the Proctors I was in This November, The Cudgels. After it was Sweet Jesus, Venus and Groupie. Oh and Autopia and Codename Josephine after this!
Stephen: Myself and Adrian were in The Cudgels along with Gavin. I occasionally come out of retirement to play stand up drums with my brother Andrew who performs shows as ‘Andus’. Adrian is also currently playing drums with a punk band.

++ Why did you like the colour blue so much?

Gavin: I do like blue, how did you know! The deep blue ocean and a beautiful endless sky. And of course its the saddest colour of all…

Christina: Connections to blue are melancholy. Though the songs do not have a ‘Blues’ sound, some of them do have the deep emotions of Blues and I think they are also about the familiar ‘things that we knew.’ (Like Blues) On the flip side, I also believe in ‘Blue Skies’!!

Stephen: Blue is a great colour and it goes with everything. Also the word conjures up imagery that is both personal and universal.

++ Who wrote the lyrics, who did you write them for & how did the others act when they finally heard what was going to be the next lifesaving hit? Were there tears when everything eventually clicked?

Gavin: I wrote most of the lyrics, with Christina doing a few songs also. The tears were ones of sadness and joy! Nothing really clicked, we were usually ‘winging it’, but in some cases the results were pretty good!
Christina: Gavin wrote most of them so he should get the credit but the ones that I wrote were mainly to do with the unhappy time I had at University and a boy I had a crush on who had been to prison. (I was very young and impressionable at the time!)

Stephen: Although I played on a few of the songs I still think of myself as more of a ‘fan’. I love all of the songs. I think the music strikes just the right balance of melody, emotion and energy. When Gavin first played The Proctors demo tape to me I was absolutely knocked out by the songs. There were no tears – just excitement!

++ What did you eat on tour? Did you ever slept on floors? Any particular gig you remember the most?

Gavin: Many times! Usually with a big dog licking my face. That was a good hangover cure! In London we played with Drugstore and Tom Yorke and Michael Stipe turned up. I was pleased to play at the Hacienda in Manchester also. Ian Brown gave me a high five and Rob Gretton who managed Joy Division popped into our dressing room! I’m such a name dropper! These gigs were with Groupie.
Stephen: The Proctors never played a live show. When we started in 1993 the indie scene in the UK was on it’s last legs. The fanzines had died out, nobody was releasing records or starting labels. There was more interest in the band from Europe and the USA – which would have made touring difficult. The indiepop scene of the early 90s wasn’t very romantic although looking back it was great fun. The Cudgels played some good shows. My favourite gigs were the ones we used to do with Po!

++ Almost all your songs mention, in some way, mention space related stuff like the moon, a shooting star, sunshine & Jupiter, by any chance do you believe in astrology? Or maybe you wished to be an astronaut when little? What are the Proctors zodiac signs?

Gavin: I like the idea of space. An endless silent vacuum. I like Ray Bradbury stories like ‘The Kaleidoscope’. I like anything really that can’t be explained by the powers that be. Spiritual stuff. Why does a smell or a song not just bring back a memory, but make you feel a way you did when you heard it years ago. I think thats a kind of time travel…Yes I’m a believer! I love lucid dreams and hairs standing up on the back of your neck. I bet you regret asking that question! I am known to my family for making ‘cosmic comments’ as they call them. Not sure if I believe in horoscopes, seems a bit simplistic, I mean you wouldn’t leave the house on certain days!

Gavin- sagittarius
Christina -Scorpio
Adrian – Virgo
Stephen – Aquarius

Christina: I think anything to do with ’space’ means ‘optimism’ because it shows there is a massive wide world out there full of possibilities. It also reminds us how small (and sometimes fragile) we all are in the greater scheme of things. I think that space also reminds us of how we should all try and be conscious of the ‘universality’ of mankind’s existence.
Christina is a Scorpio. Fiery and fiercely determined. People often think of Scorpio’s mainly to do with the nasty ’sting’ in the tail but one very positive quality is that Scorpio’s are ‘firecely loyal.’ (You will never get a better friend than a Scorpio!)

++ What band did you secretly wanted to be? Why didn’t you become the new Smiths? (Who needs bands like The Smiths while in your adolescence when all you really need is songs like ‘Only Stupid’ or ‘My Youth’ & you’ll be alright!)

Gavin: That’s nice of you to say. Christina wrote the lyrics to ‘My Youth’. ‘Only Stupid’ deals with nostalgia in some ways, I’m terribly nostalgic. And theres a touch of ‘Beam me up Scotty’ in there. I blame David Bowie’s Space Oddity being on the radio all the time when I was about 5.

Stephen: I had always wanted to be in either the original six piece Primal Scream line-up or the original Sea Urchins line up pre-Pristine Christine. That single was released too late – they had lost it by that stage. During the summer of 1986 The Sea Urchins were at their pure pop peak. They were untouchable.

++ What does it takes to create perfection, like you did in ‘Liveforever’?

Gavin: Ha! I like you. Its one of our best efforts perhaps…Lovely and sad! A love song. I was always a little embarrassed about my lyrics, usually picking words that rhyme over any real meaning. But I think subconsciously I wrote things that meant a lot to me. Glad you like that one.

++ Who took the amazing band pictures & why didnt you all win ‘Britian’s best dressed’? my curiosity doesn’t have limits; who got the most girls?

Gavin: That was Debbie Williams – Pete Williams’ wife (he of Dexy’s Midnight Runners fame) We were at college together when I met Pete for the first time and I was star struck as I was listening a lot to Dexy’s first album at the time. Yes good photos! Christina usually got the most girls, which doesn’t say much for the rest of us!

When the Proctors turned up at the studio for our first recording session, guess who the engineer was? Pete. ‘Oh no’ I thought, ‘I have to sing in front of him!’ He recorded all our stuff from then on. Stoker from Dexy’s also popped in during a visit to Pete and Debbie, which was nerve racking for our drummer Ade!

Stephen: I think Gavin is being a little modest here – he was always pretty successful with the girls. He’s got a lovely cheeky smile! Ade did okay and I came in a poor third. I don’t think my technique was very good. I would start conversations with girls about obscure indiepop records and if they hadn’t heard them I would lose interest. Sadly my approach hasn’t improved over the years. Britain’s Best Dressed? Hmmm .. we were pretty good.

++ How did your rehearsals look like? were there biscuits involved or just strict practicing?

Gavin: Yes of course it was a very strict regime. There were custard creams involved as I recall.

Stephen: I can only remember attending one rehearsal. Malted Milk are probably my favourite biscuits but it generally depends on my mood. I suppose the variety packs are the best option.

++ Speaking of biscuits; who made the coffee, or did you prefer tea?

Gavin: I like tea usually..

Christina: Always tea

Stephen: Coffee in the mornings then tea from luchtime onwards.

++ Whatever happened to Christine after The Proctors? She ended up being Queen Elizabeth’s personal singer?

Gavin: I don’t think she’d be allowed into the Palace

Christina: Christina now lives in Edinburgh, Scotland, where she has made her home. She has a career but enjoys writing creatively. This is a link to an article she had publised about some time she spent living in New York. http://www.bettyconfidential.com/ar/h/a/a01731.html

++ How did your fanbase look like? Please send me a picture if you have so I can copy the look!

Gavin: I will find you a picture

Stephen: It is hard to know what the fanbase looked like as the internet hadn’t really got going and the band didn’t play live. I would say the fans are quite an intelligent bunch.

++ Did you design the artwork for your releases?

Gavin: No unfortunately.

++ Who played the flute on ‘The Other Side of the River’? I dont know if it was with purpose but I always have a king’s fool dancing around on a field with his flute & a nun swaying back & forth singing the vocals in my head. Or yeah OK, I’m pretty sure that’s just me

Gavin: That would make a great video…Pete Williams played the harmonica, and we all imagined a tramp coming out from a canal bridge playing this harmonica bit! Thats 3 great characters for the video. I would have to be the fool as I played the flute (well penny whistle). Christina would be the nun, but who would be the rent boy!

++ All of your songs are quite different. It’s genius how you still managed to make every track flawless. Were you always interested in trying out new sounds and styles and not just sticking to a formula?

Gavin: I suppose we like different types of music. Yes we like experimenting!

++ Which Balti house is your favourite in town? Which football team do you support?!

Gavin: Cafe Le Spice and Wolverhampton Wanderers

Stephen: There are a couple of good balti houses in Walsall and Aldridge. I support Walsall FC.

++ I loved Farewell Farewell, and that is the last song, in order, that was released by The Proctors. After that, it was farewell indeed. Was that on purpose? Why did you call it a day? What did The Proctors do after?

Gavin: That was on purpose…subconsciously. I was in another band. The Proctors had run its course I suppose. We are all alive and well, and totally cosmic! Myself and Adrian may be embarking upon some new Proctors material soon.

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Listen
The Proctors – Black Tattoos

Thanks to Ian Kirton for the interview!

++ What does The Daisychain Connection means? Was The Daisychain Connection your first musical experience, if not what earlier band were you in? What was the main motivation for starting the band?

The name came from a series of short stories written for radio by Stephen about a spoof detective named Jack Daisychain.

We had all played in bands prior to forming The Daisychain Connection. Vocalist Stephen and drummer Neil were in “Chimes at Midnight”.

Guitarist Ian and keyboards/bass player David were in “Beyond the Wall” and original bass player Pete was in “The Kittiwakes”. They all played original material and were similar in style to the DC although “The Kittiwakes” were more intense and serious!

We all vaguely knew each other through seeing each others bands play and our bands were due to split at roughly the same time for one reason or another so we formed the Daisychain because we all wanted to carry on playing and writing music.

++ What is the full discography, including demos, of the band? I can’t find any info online!

The first demo we did was done in 1986 in Crimson Studios, Manchester and contained 4 tracks. “Julie Come Home”, “You’ll Always Be There”

“There’s nothing Like Perfection” and “Sirens Call”. We sent this round numerous record companies which created quite a lot of interest. One night soon after we had 5 major companies come up from London to see us play in a tiny club in a small town called Penrith just south of Carlisle.

MCA were interested in signing us but wanted us to do another demo first which they paid for. They booked us in to Drone studios in Manchester where the Smiths had done some early recordings.

We recorded “You’ll always Be There” and “Nothing Like Perfection” again and a new song called “Janette” but the majority of the time was spent getting the “perfect drum sound” by an obsessed producer which pleased Neil no end but didn’t leave much time for anything else like vocals! After we’d finished and although we were in a far superior studio we all knew that the first demo of the songs we’d done was much better.

The A n R guy at MCA that dealt with us wanted to sign us but he couldn’t convince his superiors and, alas it never happened.

We didn’t have a manager at the time and we thought it was the main reason that MCA was put off us. 1, because they thought we weren’t taking it all totally seriously and 2, didn’t have anyone to negotiate the business side with as we didn’t have a clue at the time.

We decided to get a manager but we chose very badly and although he convinced us he knew what he was doing, he didn’t, in fact, a manager made of chocolate would’ve been more use!

Very sadly, bass player Pete then died in a house fire which knocked us all for 6.

We decided to carry on with another bass player and recorded another demo in Carlisle containing “S.W.A.L.K”, “The Day Before Yesterday” and a cover of the Simon and Garfunkel track “Feeling Groovy”.

The next recording was “Bingo and Bossa Nova” done in Newcastle which we released ourselves on 7” Vinyl with “Coal Necklace” on the B side.

The last demo was recorded ourselves in our practice room in 1990 and contained “King of Finland, “Casey Rides Again” “Mood Swings and “My My”. We have recently re-recorded these 4 along with “Wash Day”, “My Lip Hit the Floor”, “You’ll Always Be There”, “Julie Come Home”, “Kiss Of Life” and “Real Life Soap” all of which will be on an a CD album soon to be released ourselves.

++ You have recorded, twenty years later, new songs for a yet unreleased album. Something that strikes me, is that the sound of your songs haven’t lost that fantastic 80s jangle pop sound! How do you do it? Why did you decide to reunite after such a long time? How was this reunion? Was it like the good old days?

The songs recently recorded are not new. They were all written in the late 80s and early 90s. However, we have all recorded new material for various different projects over the years and we all remain slaves to the jangle! We have worshipped and studied the ways of the great god of jangle Johnny Marr! As long as Johnny is alive to guide us the jangle will always flow freely from us!

We decided to re-record 10 songs mainly because we didn’t have decent recordings of a lot of them. Recordings mainly existed on dodgy cassettes so we thought it would be good to use the better recording equipment available to us now to re-record them and get them onto CD. It was also fun to go into the studio again as a band. We have all remained good friends since the DC split up in 1991 but hadn’t played together much so it was just like old times.

++ You supported The Beautiful South, which other bands did you play with? Did The Daisychain Connection gig a lot? Which are the gigs you remember the most?

As the DC we didn’t have that many big support gigs. We supported a band called Martin Stephenson and the Daintees quite a lot at a local venue called the Front Page. We also supported “Runrig”, who were massive in Scotland at the time, at the same venue where the Beautiful South gig was.

We did a lot of support gigs in our previous bands with the likes of “Del Amitri”, “The Housemartins”, “The Woodentops”, “The Men They Couldn’t Hang”, “It Bites” and “Jamie Wednesday”.

We did gig a lot which we usually set up and organised ourselves. We used to arrange buses for fans from Carlisle to come and see us when we played in other cities.

The most memorable was definitely the Beautiful South Support gig as this was the most people we ever played to. Another one that sticks out is when we played with 5 major record company execs in the audience at a small venue in Penrith.

Another great one was Coventry University where we played really well and were well received.

We very nearly got on a tour with The Housemartins. In the end it was between us and a band called The Farm. The Farm got it because they were already signed, we were totally gutted!

++ My friend Emma asks: Who’s Julie – the queen of Finland? & speaking of Finland – how come you wrote a song about Finland’s king when they haven’t had one for nearly a century? will you write about the king of Sweden next time? he’s quite charming you know.

Julie was just a fictitious character created for the song which was about disillusioned youth.

There’s a long story associated with “The King of Finland”. At the time it was written we were very keen on rolling our own mind altering cigarettes. As they increased in size they became known as “great white cigars” this was then shortened to “great white” and then to “shark”. A DC member finding himself in Finland (shark fin land) was more to do with the state he found himself in after smoking several “sharks” than a visit to the country!

The king of Finland became one of the many fictitious characters that Stephen would draw on cassette covers. He even designed his own wrapping paper where the king would regularly appear!

The song, being about complete fantasy, was named this for the very reason that Finland didn’t have a king!

We hope this is not in any way offensive to Finnish people and was never intended to be so.

++ And she had another question: At the same time you emerged to the music scene in 1986 from Carlisle, Belinda Carlisle married Morgan Mason! Was there any connection? Maybe a tribute? Is heaven a place on earth? Maybe ‘Real Life Soap’ was inspired by Morgan Mason & his involvement in TV?

We’re really sorry Emma but the fact that we hail form Carlisle has nothing to do with Belinda. Although we were fans of Belinda’s first band, fellow jangle merchants The Go Gos, so she could have been an influence on us! And she did once play in Carlisle!

++ When in Eastenders (the BBC soap opera), the Angie character tried to commit suicide by taking pills, many viewers tried to do the same. That’s one of the cases of Real-Life Soap. If listeners were to follow the steps of The Daisychain Connection, what would be the example you’d like to give them?

Although our lyrics can be melodramatic and a bit serious we like to think that the care free feel of the jangle portrays a tongue in cheek view of life. The DC message would be enjoy the gift of life, don’t take things for granted and don’t spend too much time worrying about the future or the past, live in the moment.

On the subject of Eastenders and soap operas in general, the DC is concerned that too many people get wrapped and tangled up in fictitious lives and situations which gets in the way of enjoying their own lives.

++ What was the biggest highlight for The Daisychain Connection? What do you miss the most from those days?

One of the best feelings ever was when a gig sold out but there would still be a queue of people outside the venue trying to get in. We were sad for those left outside but at the same time, excited that there was so much interest.

The biggest highlight was probably getting interest from so many major record labels with our first demo.

++ The band seem pretty obscure, I’ve never seen it mentioned in fanzines from that era… were you involved at all with fanzines at the time?

We were featured in a Manchester fanzine and also did an interview with Melody Maker.

++ Watching the video for Sirens Call what catches my attention is Stephen’s dancing! I can’t recall many bands from that time that had their singer dancing around! Where did he learn those moves? Does he still dance like this?

Stephen first learned to dance while on holiday at the classic British holiday camp “Pontins” in the 1970s doing “the Slosh”. Unfortunately, some of these moves stayed with him even after extensive dance therapy! Careful analysis of his moves will reveal him skiing without the skis or snow.

++ Have any of you fallen into the Curse of Carlisle?

Thankfully, no! Well not that we know of!

++ Why and when did you call it a day? What did you do after the breakup?

In the late 80s the UK music scene was starting to be dominated by dance and rave music and it became increasingly difficult for guitar based live bands to get regular gigs and many record companies weren’t looking to sign bands like us, preferring to go down the dance route. This became frustrating for us and we decided to call it a day in 1991.

We then went off in many directions some of which will be on a new web site we are developing. Including a collaboration between Stephen and Ian called Dunn & Kirton producing another jangle led 10 track album.

++ Anything else you’d like to add?

www.daisychaintunes.com will be launched late April 2009 where amongst many other tracks, the DC songs will be available to download for free.

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Listen
The Daisychain Connection – Julie Come Home

Thanks so much to Nick Clay for the interview!

++ What happened (to you my dearest friend) in between The Pink Toilets and Pink Noise? Why did you decide to change the name? Did you release anything under The Pink Toilets?

The move from Pink Toilets to Pink Noise was seamless, really. We had got together in late 1984 at University. Our first gig was a showcase of the various bands that had grown out of the Musicians Soc and we needed a name. I can’t recall why we thought The Pink Toilets was a good idea for a name. We played the gig and went down fairly well and were offered the opportunity to play again at the university. I think it was after that second gig that we realised that the name was something of an albatross. Nothing was ever even recorded as The Pink Toilets. Thank god.

++ Where did the the obvious obsession with pink came from? Was this a way to attract girls, getting the proper ‘hard on the outside, soft on the inside’ image?

It’s all a bit vague now, but I think we thought that retaining the pink theme might ensure some continuity, and we came up with Pink Noise by a process of simply adding random words to ‘pink’ until we came up with something that none of us violently objected to. Your thought-processes as to how to get a band name are much cleverer than those we used I’m afraid.

++ Where did you all meet? Did you all attend Hull University? What were you studying?

Although we are all the same age Dave and Sam (just about everyone calls him Sam, even though he is really Steve) had been at Hull a year before I arrived as I’d taken a year out prior to university. They’d been in a band in their first year that had died in the summer of 1984. Sam had approached me at the first Musicians Soc meeting and said he was looking to form a band, and told me he knew a drummer from the previous year. We had a chat and sorted out a jam. At one stage (perhaps only the first practice) there was another bloke who played saxophone. I can’t even remember his name now.

Sam did a degree in geography. Dave and I did Social and Economic History.

Later on Chris Elliott from the Gargoyles joined and played some gigs with us, but that was as we were knock, knock, knocking on the door of oblivion.

++ Was Steve’s hair naturally uberblonde?

In the sense that hydrogen peroxide is natural, yes. Now his head’s naturally uberbald.

++ The idea of being in an university band with friends called “Pink Noise” sounds like a fantastic way of spending your youth! How did common Saturdays look like for the band? What did Hull as an university city had to offer?

It was great, but we weren’t in each other’s pockets the whole time. Some bands are like cliques of friends who only hang around together, but we didn’t, for instance, only go out together on a Saturday as a group. Hull is a small enough place to make it reasonably likely that you’ll meet up anyway. Hull isn’t as big a university city as Leeds or Manchester, so the options were probably fairly limited. Early on the routine would be; get pissed in the student bar, go to Spiders nightclub, walk home. Later I started going to gigs that Hull’s ranting poet Swift Nick was putting on at the Trades and Labour Club (The Nightingales, Skeletal Family and so on) and the Welly Club. Later still I ended up spending my time at the famous Adelphi Club.

++ Apart from playing in the band & studying what activity/hobby did you have? As friends, how close were you? Ever had a fight? Did a Yoko exist, maybe?

It would be great to say I had an ‘activity/hobby’. But I didn’t.

I think we were pretty close friends – we all invested time in the band, got together to practice regularly, crammed ourselves into hire-vans to drive to gigs, and generally had a laugh. I don’t remember any fights in the sense of anyone punching anyone else. Bit of mardiness maybe. No Yoko’s. We all had girlfriends, but they never tried to join in the band. Or make films of our bottoms.

++ What was your first ambition with the band? Was it being on Top of the Pops really what you were after?

I think we wanted to be famous-I remember earnestly explaining my pop-star plans to one of my house-mates. He seemed pretty interested. Then it dawned on me that he was gently taking the piss. I don’t think we were aiming for real fame, fortune and TOTP, but when The Housemartins hit the big-time I think all the local bands thought a little of the crumbs from their table might fall our way

++ What & Who were your biggest influences? During the early stages of the band what other musicians & records did you discuss in a ‘this is how we want to sound’ way? Have you had any earlier music experience?

No earlier or later bands for me. One problem that we had as a band was we didn’t have an obviously coherent look or sound. Sam was a big Jam and Blondie fan, I liked The Cure and Dave liked all sorts of odd stuff. But we had an over-lapping taste as well. When I think about it now I don’t think we ever sat down and discussed what we should sound like, and I certainly wasn’t a good enough guitarist to play authentically in any other style apart from the one I had (and still have). So we were stuck with what we had got.

++ How important was the Adelphi for you? Was it a place where Hull bands could feel there was some kind of community?

The Adelphi was central. We played there, hung out and watched other bands there…Sam got a job there as manager when he graduated so we stored our gear there and used the stage for rehearsals. It was the focal point for all the local musicians in Hull. An amazing, grotty dive in the middle of a Victorian terraced street. Some of the worst and best bands I ever saw played there. Paul Jackson was prepared to give everyone a chance to play. There were 2-4 bands a night for 7 days a week. Sometimes the sweat was dripping off the ceiling, sometimes there were more people on stage than in the audience. We were lucky when we first started playing there that we had a ready-made student following so that we could usually pull a reasonable crowd. But the important thing there for me was always how it played to the other local musicians. Local bands were always watched by other musicians. Everyone was checking the competition out all of the time. It was a mutually supportive community. With some back-stabbing thrown in.

++ What was the gig you remember the most and why? Who would you have wanted to share the headline?

I dunno really. I sort of remember the Housemartins signing gig at the Adelphi. It was the first time we’d played there and possibly the first time I’d ever been there. We got equal shares with them and the other acts-about fifty quid- the place was packed and we went down well. Although I’d seen the Housemartins play several times before, and had shared the bill with them, this was the point at which I realized that what everyone was saying about them was true. The exact moment came as they rehearsed ‘Joy, joy, joy’ in the soundcheck. No-one else was doing four-part harmony acapella and it was a revelation.

++ What was the full discography of Pink Noise, do you remember?

Leaving aside some largely well dodgy cassette demos that we did, our limited vinyl career went as follows;

1987 Thin End of the Wedge

1988 Everything/Move for You/Ghosts

1989 On My Mind- a track on compilation album ‘Knee Deep in Shit, volume 8’

All in all not a difficult list to remember.

++ Your first single “Thin Edge of the Wedge” got great reviews but your second, “Everything / Move for You”, got almost no attention! Why do you think that happened?

I don’t know about ‘great’ reviews but it was generally well received. I think that TEotW was a chugging 4-minute indie anthem and fitted in easily with the prevailing scene. The problem with the next release was it didn’t fall into any obvious camp. Everything was trying too hard to be a radio-friendly pop song, whilst Move for You was also supposed to be the A-side. That’s ok if you’re the Beatles putting out Strawberry Fields/Penny Lane but a bit dumb if you’re nobody. With hindsight I think it may have been better to put Move for You out first as there was a continuity of sound following on from TEotW and then put out Everything. Who knows? Or cares?

++ Pink Noise recorded a song called “I Won’t Miss You (When You’re Gone)” and it was directed to Margaret Thatcher. How politically involved were you during those tough years in Great Britain?

We were committed, I think. We did lots of benefit gigs at the time as did all of the local bands. There was a real feeling of active opposition to what was going on.

Times were tough. The miner’s strike was on when we started and, although Hull isn’t a mining area, it was only a short drive to the South Yorkshire coalfields. The city was on it’s uppers at the time, really. The fishing industry had collapsed, there was significant local unemployment. There were people collecting money in buckets for striking miners outside the shops, benefit gigs for miners and South African trades unionists at the Adelphi and so on. Thatcher and her government had determined to crush mining communities, called Mandela a terrorist, supported apartheid, and encouraged greed. It was an intensely frustrating time. I was glad when she got booted out. She won’t be forgiven. Mind you Tony Blair was as bad.

I’ve always liked songs that are ostensibly about one thing when in fact they’re about another; The Ruts’ Love in Vain being one of the best examples.

++ You released on Reasonable Records which was Ted Key’s, of Housemartin’s fame. label. He also produced your singles, right? How was working with him? Any anecdotes you’d like to share?

Ted played bass for the Housemartins. Then got dismissed. Or left. Or something. He also played guitar for The Gargoyles a great band who were largely met with stunned surprise by audiences outside of Hull. Reasonable Records was a label that Ted set up with, I think John Rowley of Red Guitars. I think it only put out Pink Noise and Gargoyles records. It wasn’t a very big venture. It was fine working with Ted. He was very enthusiastic and we wanted someone who we knew to be in charge because we didn’t know what to do in the studio. And no-one else was interested.

I’m not sure about anecdotes. He might get me killed. I know that when we recorded Everything he told us to go away and stop bothering him whilst he and the engineer worked on the mix. When we came back it sounded miles better than when we’d been there. Also he played the guitar solo on Ghosts and some thwacka-thwacka noises on Move for You. Perhaps he redid all the other parts on Everything whilst we were gone as well?

++ How come things got downhill AFTER John Peel played your song “Thin End of the Wedge”? Did you feel like you achieved enough & that it was time to leave with the flag waving on the top?

I think TEotW marked the start of us writing good songs, but it was also the time that our student support began to slip away as people that we knew at University were leaving Hull. John Peel playing our record was great. It was more or less all that I’d ever realistically hoped for as far as being in a band was concerned so I was very satisfied. But of course you think it’s a road to musical world domination.

We carried on plugging away and, in general, I think we became a better band from 1987 onwards. Just less…wanted.

++ What is that that you miss the most of playing with your mates?

Just that really. Playing. I used to like it best when we rehearsed and a new song would suddenly come together out of a riff or chord change or drum pattern. That was thrilling.

++ Why & when did the band call it a day? How was the goodbye party if you ever had one, or did things just run though your fingers like sand through the hourglass (so are the days of our lives) what did you do all after? You ever got together again & thought ‘hey why not regroup’ while talking good old memories but then before parting decided that maybe it wouldnt be such a good idea?

I’m not even sure when it finished. Some time in 1990, I think. Sam left Hull under a cloud after he and Paul Jackson fell out and that was it. No last Candlestick Park/Winterland Ballroom gig for us. I’m sure it was time to call it a day anyway- we were all broke and it was time to put away childish things. I got married in June 1990 and my daughter was born in October of that year.

We’ve not all been in the same room-or within hundreds of miles of each other for nearly 20 years now.

If we could get it together I would like us to have a jam together again some time. We were always a tight band and it’d be fun to see if we could still hold a song together.

++ What do you all do nowadays?

I have my own law firm representing the criminals and alleged criminals of Hull and East Yorkshire

Dave joined Secret of Life and they put a fantastic ep that got NME single of the week. Any of the tracks would have been a highlight of the This Mortal Coil album had they been on it. Then he fell out with them and sold his drums and bough an expensive hifi. He lives near to where I live and works for the local council as a planning officer. We go out for a night’s drinking together every few months, get pissed and talk about stuff.

Sam lives and works in Madrid. I met up with him for the day when I was in Spain last summer. It was the first time we’d seen each other for about 18 years. We cried, hugged….no we didn’t. But it was good to see him.

Chris Elliott got married last year and his raving days as a Beautiful South hanger on/temporary bass player behind him. My family and his family went out for Sunday lunch recently.

I play Scrabble online with Sam and Dave every day on Facebook.

Not very rock n’ roll

++ Anything else you’d like to add?

Read more my efforts to pin Pink Noise and the other Hull bands onto the wall of history at http://www.nickclay.karoo.net/

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Listen
Pink Noise – Beverly Westwood

Thanks again to Harvey!

++ Did the Tender Engines form immediately after the breakup of The Odolites? What was the main reason to put a band together again?

When the Odolites split I had a few songs stored up and had a creative burst so wrote a bunch more. So the tascam 4 track was put to good use and I probably recorded about 20 songs in that initial period. So really the band was just a vehicle for the new songs and I didn’t have too many plans beyond that.

++ Why did you choose the name Tender Engines?

Andy’s son Scott was a young tacker at the time and watched a lot of Thomas & the Tank Engines. I think it was Ringo Starrs dulcet tones that drew him in! So I think Andy suggested it as a name. I like the paradox one word soft and delicate and the other dark and gritty! The name is also a good reflection on the lyrical content as I tend to teeter between between portraying a fairly normal everyday life but with some darker overtones because I read too much Jim Thompson & George P Pelecanos.

++ On the band there was only you, Harvey, and Andrew, recording as the Tender Engines. Was it easy to record this way? How did you work out playing the instruments?

Andy and I started out together in Noddy’s Revenge back in Tasmania in the early 80’s. At the time the Odolites formed Andy was out of town so wasn’t around to play bass. A year or so after we moved to Melbourne Andy also moved over with the band the Fish John West Reject. So he was living around the corner and I’d get him around to play the bass parts on my four track recordings.

On our first trip to the studio though we got a few other friends around for some quick rehearsals and then pretty much recorded it live in the studio. After the drawn out process of recording the Odolites album I really wanted to get back to basics and just bang it down as live as possible. The studio was a little 8 track place called Phantom Tollbooth based in a warehouse.

From memory the other players on that session were Andy, Mark Narcowicz from the Fish John West Reject (guitar and backing vocals), Paul Stothard (organ) and Tim Gleeson (drums).

We recorded A Legend Never Fails & Clinging To The Wreckage in that session plus songs that would later be used as b-sides Under The Same Roof, Final Kiss, A Night At The Fair and Leaving Town. There is one unreleased track called Candyhouse which is a re-record of an old Noddy’s Revenge song.

++ I bet it must have been tough to play live with this lineup, right? How many gigs did you play? Any particular one you remember the most?

Yeah we only played a handful of shows, usually just when other Summershine artists offered us a support. I doubt we played with the same line up twice. It’d be Andy and I plus whatever drummer & second guitarists was around. We supported the Sugargliders (or was it the Steinbecks?) a couple of times. We also supported Ripe. That was a good show from memory. I think we had Ted (from the Odolites) on guitar for that one.

++ All of your discography was released by the legendary Summershine Records. How do you ended up there? Did you send a demo? How do you remember Jason Reynolds? Any anecdotes with him?

I first remember Jason as a bit of a boy about town. He had a program on the local radio station and ran club nights playing all the latest indie singles. He started coming along to Odolites shows and he’d always come up for a chat after the show. He purchased a record store called Exposure and as luck would have it he offered me part time work in the store. Summershine started during the period he had the store so he kinda had to release my records because I was working for him!

Jason was a big fan of Postcard and Creation and I think he wanted to be one of the Alan’s. Did he refer to himself as the President at one stage or am I just making that up??

++ What was the regular record deal with Summershine, was it with contracts or was it just the usual indiepop fare of having a beer together and saying, let’s make it happen!?

More the later, although Jason didn’t drink, so I had the beer and he sipped on a mineral water and did most of the talking! I don’t recall there being a contract but maybe there was. It was fairly casual though. I gave him the finished recordings, his girlfriend put the artwork together, the distributor tried to get them into the stores. As time went along most of the singles sold on export rather than locally. Unfortunately the label didn’t get the kudos it deserved here in Australia at the time. I think the great thing about Summershine was that Jason would track down overseas bands like East Village and Velvet Crush and this helped gain international attention for the Australian bands on the label as well. There aren’t too many other Australian labels as highly regard and as collectable around the world now as Summershine so full credit to JR for what he did with the label.

++ The first single “Clinging to the Wreckage” has that wonderful B side, “A Legend Never Fails”, what is this song about?

I look on it as a double A-Side single and there’s a lyrical link between the two also. Clinging To The Wreckage is part one of the story where a gravediggers son from a sheltered home meets up with a wild girl from the big bad city. She gets him do bad things like listen to the Sex Pistols! Eek! But then in part 2, A Legend Never Fails, he meets the same girl 5 years on. She’s mad as ever but she tells him she’s mended her ways, found God, and tries to preach to him. Part of her method of preaching is to recount her former deeds, which to him, are far more enticing than her current life anyway. “See her eyes shining bright, as she tauntingly describes, all the times that she had, when she was bad, oh how she woo’d them”. Both songs are 9 parts fiction 1 part fact. Well, okay, maybe 50/50!

Musically I was really into Felt at the time and insisted on having an organ on the songs for this reason. I was looking for that kinda Dylan Basement Tapes organ sound that Felt had on the Ballad of the Band EP and Forever Breathes The Lonely Word album.

++ “With Regret” was released on 7″ and CD. The CD was released months later with four exclusive songs. The 7″ included “Under the Same Roof” which wasn’t on the CD either. Was this a label move? I ask cause, say a song like Girl from the Hinterland could have been such a fine single by itself!

The EP was designed to be an EP in its own right rather than a single with 4 b sides. I think the reason to do the 7” was just that Summershine’s reputation was built on 7” singles and the CD Single was seen as a bit of an extravagance at the time. I’ve still got a boxful of them so someone got that one right!

This recording session was recorded at a decent studio, a place called Whirled, and produced by Ted, my old partner from the Odolites. He played guitar as well. I’m glad you like Girl from the Hinterland. In hindsight it was one of our best songs and lyrically has that dark but delicate blend that I referred to earlier.

++ The “Ex-Pop song” and the “Something Wicked” singles included demo versions of songs. Was that on purpose? Why wasn’t the finished recordings included?

EX-Pop Song and Something Wicked were both recorded in the one session also at Whirled with Ted in the producers chair again. We wanted to spend a bit more time on these and I think the finances were all put towards getting the 2 tracks right and there was no money left for b sides. Ted also plays guitar on these recordings and plays a killer solo on Ex Pop Song. I think Ex-Pop Song is one of the strongest things I’ve written and Something Wicked one of Andy’s best. The demos are actually left over recordings from the Wreckage/Legend sessions. Not sure why we called them demos. Probably thought they were of inferior quality! I’m pretty sure both singles were released on the same day in another cunning Summershine marketing ploy!

Ex-Pop Song also appears on Just A Taste the Slumberland Summershine compilation but under the name Pop Song 1. From memory this was the working title and we must have just finished the recording and not settled on the song title when we sent the track in. Just A Taste is a great compilation and credit to Mike at Slumberland and Jason for putting it together. It’s the only American release I’ve been on and I’m sure it’s a major reason why people in the US know of the Summershine label!

++ I know the existence of thirteen songs, the same that are listed in the Twee.net discography page, are there any unreleased stuff from the Tender Engines?

Thirteen, was it that many? Let me see now, recordings released on Summershine…..

1. Clinging To The Wreackage
2. A Legend Never Fails
3. With Regret
4. Under The Same Roof
5. Girl From The Hinterland
6. By His Side
7. Before She Met Me
8. Waiting For The Rain
9. Something Wicked
10. Ex Pop Song
11. A Night At The Fair
12. Final Kiss
13. Leaving Town Again

We also did This Girl Black Girl for a Go-Betweens tribute album called Right Here. That would be the last thing that was released actually. The Go-Betweens are one of my favourite bands ever and I begged Hippy Knight (the label that released the comp) to include us although most of the other bands were better known and a lot more active than we were.

Early on we also had 3 tracks (Leaving Town Again, A Night At The Fair and the otherwise unreleased The Last Party) on a fanzine cassette called Sparrows, A Melbourne Pop Compilation. Other bands on the cassette are Captain Cocoa, the Fish John West Reject, A.D., Ripe and the Sugargliders.

There are heaps of unreleased things if you count all the 4 track and (now that I’ve stepped up) 8 track recordings. I prefer to look on it as work in progress rather than unreleased though! I can only find one song that we recorded in a studio and didn’t release and that’s “Candyhouse”. There was a more serious attempt made to get something happening with the band after the EP and we actually started recording an album. All the tracking was done but then the studio we were recording at had to close because a ballet school opened next door and complained about the noise. It wasn’t us surely! So the studio disappeared and unfortunately so did the master tapes. It was a shame because that line up of the band actually rehearsed regularly and, to my ears at least, was sounding really good. It was Andy and I, a guy called Ed on drums, a guy called Tim on organ and Andy’s cousin Mark BJ Austin on 2nd guitar. Shortly after BJ joined the Paradise Motel, yet another bunch of Tasmanians trying to crack the mainland. They made a better fist of it than most and were based in London for a few years.

++ I read that “Ex-Pop Song” had a limited run of 500 copies, I guess that’s why it’s hard to come by! What about the other records, do you have a rough idea on how many copies were pressed?

I’d be surprised if there were more than 500 of any of the 7” singles. Most releases on Summershine were kept to one pressing only so unless a band was big enough to justify a bigger initial pressing I think it’d be 500.

++ As an Australian guitar pop fan, how did you see what was happening in New Zealand. Did you enjoy the bands from Flying Nun?

Yes, loved those early Flying Nun bands. If I was to name my top 3 all time indie labels it’d be Postcard, Creation and Flying Nun. I started getting the Flying Nun singles in the mid 80’s and I think the first ones I came across were the Chills “Pink Frost”, Verlaines “Death & the Maiden” and the Clean “Getting Older”. It’s hard to think of 3 better singles on any label!

++ What was the biggest highlight of the Tender Engines four years life?

If there was one highlight it was probably hearing that John Peel played the first single on his show! I used to tune in to his ½ hour weekly show on the BBC World Service (Short Wave) and he turned me on to so many bands.

++ Why did the Tender Engines decided to stop making music? Where you involved in any bands after?

Did we break up?? I really don’t know where the last (err) 15 years disappeared to. I’m really proud of all the things we released and disappointed that the daily grind took over and music fell by the wayside. I haven’t done anything else so I guess you can say I’m still a Tender Engine! Dozens of songs half written but don’t know what to do with them! Andy has a band called the Dunaways with Mark Narcowicz (who played on the first Tender Engines recordings), Martin Witheford and Graham Rankin (ex Odolites drummer). They have released a couple of albums that are worth tracking down and they play live occasionally. Ted, Andy and I get together every few months for a counter meal at the pub and talk about old times! We should probably talk about making some new music, but it seems easier to talk about old times!

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Listen
Tender Engines – Girl from Hinterland

Thanks so much to Lucy and Chris for the interview!

++ When did the band start? How did you all come together as A Craze?

Lucy: It started in 1982. Chris & Lucy had both been working with other bands but were looking for song writing partners and a mutual friend introduced us.

Chris: David Stephenson ( the mutual friend ) brought Lucy round to a flat I was living in Queens Park London – I knew of Lucy in Cambridge before moving to London – She had a unique style…

++ What’s the meaning under the name A Craze?

Lucy: A fad!

++ How did you end up on Paul Weller’s Respond label?

Lucy: Chris sent him a demo.

++ Were you big fans of his music? How do you feel about his socialist views in running the label? If I remember correctly he even wrote on a sampler album, something like “Business is a polite word for dipping your hands in shit”

Lucy: Both of us were big fans and both loved the idea of the label, it seemed a really exciting opportunity, something fresh and innovative.

Chris: Didn’t really think about it… Or see it in the running of the label…

++ Paul also produced the first song of the 12″ “Wearing Your Jumper”. What anecdotes do you remember while recording this track?

Lucy: It was all done in one day! Vocals & guitar were put down first. Great, friendly atmosphere.

Chris: I recall we played Paul the song – we’d recorded on a cassette tape machine and he said it reminded him of Dionne Warwick and so we booked a studio in Victoria London and went in and did it

++ How was the experience of working with Mick Talbot (Dexy’s, Style Council)? What did he bring to the sound of A Craze on these recordings?

Lucy: Mick was a lovely guy to work with. Very easy going. He added an extra jazzy feel to the song.

Chris: Mick was always very friendly and had a great feel to his playing on the Wurlitzer keyboard – Steve White was on percussion.

++ Maybe my favourite song of the 12″ is the catchy “She is So”! What a fantastic track! Is this a real story? I really identify myself with lines like: “I’d give her books to read / I wanted her to grow / Not that I wasn’t learning to”… fantastic really!

Lucy: Yes, it is partly made up from a friend that I had when I was at school and partly taken from an experience that had happened to me!

++ What was the creative process for A Craze? How did songs shape up for you?

Lucy: I wrote the words and Chris wrote the music, then we would put the two together and create the melody.

++ What bands influenced your breezy and POP! sound?

Lucy: Motown, Michael Jackson, Chic, ….. etc

Chris: Pop from the 60ts Pop from everywhere !!!

++ Your only other song released aside from the ones on the Wearing Your Jumper 12″ was “Keeping The Boys Amused” on the “Love The Reason” compilation LP. Did you record any more songs? And if so, why didn’t they see the light?

Lucy: Because we never managed to get another recording deal.

Chris: We defiantly had more songs…

++ How did the re-release of the 12″ on CD in Japanese label Trattoria happened? There are some liner notes there that I can’t understand! More or less… what did it say, you know?

Lucy: I don’t know the answer to this.

Chris: I only found out it had been released when I started getting emails from Japanese to my myspace saying how much they loved the A Craze CD

++ Where the band members involved with any bands involved prior or after A Craze? Tell me a bit about them?

Lucy: I was in The Hearththrobs, a student band that played in the colleges in Cambridge.

Chris: I was in The Users – who had one of the very 1st UK punk 7″ entitled “Sick Of You” although we were just trying to be a proper Rock ‘N’ Roll band. This year a compilation CD was issued entitled The Users Secondary Modern 1976 – 1979 on Bin Liner / Detour Records.

++ Why did the band call it a day? What are you all doing nowadays?

Lucy: I left because I wanted to earn some money !!! I am now an HR Advisor and also I make mosaic sculptures of bottoms & bosoms.

Chris: If Lucy left – I guess I must have left too !!! I now run – buy the clothes – take the photos for www.cxlondon.com – Independent Pop Fashion, Gifts & Accessories. I’ve also started writing and playing again after being inspired after singing and strumming at the inspirational Granchester Meadows Memorial for Syd Barrett in 2006.

++ Anything else you’d like to tell all the pop fans out there?

Chris: Looks like there will be an A Craze Compilation CD full of buried treasures… release this year… a must for all true Pop believers…. Check google in about 3 months time

Twitter… Join Me… – http://twitter.com/chris_free

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Listen
A Craze – She is So

Thanks so much to Seori Burnett for the interview!

++ Hello Seori! Summerhill starts after the Snakes of Shake break up. What had happened? Why do you decide to start a new band?

The Snakes of Shake had been going to record an album for Stiff Records. this was shelved but a company called Making Waves came in and we recorded the same album ‘Gracelands and The Natural Wood’ for them. Shortly after the release of the record they went bust which made promoting the record difficult. The whole process had become a bit disillusioning and I felt the band had probably run its course. The guitarist at that time was Neil Scott who had previously played with Everything But The Girl and was Living in London, I was still in Scotland. As so often happens it seemed time to move things to the centre so I relocated to London and Neil and I worked on starting a new band together.

++ Why did you call the band Summerhill? Is there any reason behind it?

The name Summerhill came from our original bass player Isabel Monteiro who later went on to have a more successful career with her own band Drugstore. We were aware of the Summerhill school started by alternative educationalist A.S. Neil and empathised with the ethos of free choice and a truly democratic set up. The name seemed to sit well with our new inclusive and collaborative venture.

++ Was it easy to gather people to form Summerhill? I noticed you changed drummers quite often!

The drummer situation seems Spinal Tapesque doesn’t it. It wasn’t always easy to get the right people because at the beginning Neil and I had a very strong vision of the feel and sound we wanted to create. Basically at the core of Summerhill # 1 was Neil Scott, Keith Gilles on bass and myself and when we reformed it was Tom Crook on guitar with Keith and me again. Some people left some were asked to leave but thankfully there’s nobody I wouldn’t talk to anymore.

++ Were any of the band members involved with bands before Summerhill?

As I’ve mentioned Neil had been in EBTG and our drummer on Lowdown Iain Shedden had been in the eponymous Australian band The Saints. My brother also played drums with us and he had previously played in Scottish garage rock outfit the Primevals who continue to record and play to this day.

++ What was the aim of Summerhill’s music? What were your influences, I think your music has as much of country and folk as of pop!
Originally I was into American garage punk, Shadows of Knight, Standells, Electric Prunes as well as the Stooges, Velvet Underground, Neil Young, Television, Patti Smith, the Ramones etc. a lot of late 70s New York in other words. Neil and I shared many influences and particularly the more experimental edge of the Byrds, Murmur/Reckoning REM and the self styled ‘Cosmic American Music’ of Gram Parsons. Deep in my psyche things as diverse as the Incredible String band and Sun Ra were also at play.

There was always a tension between the more experimental and the straighter melodic approach of country and folk. I had started to feel that folk and country with its links to Scottish and Irish music had more resonance for me than the blues based side of rock’n’roll. I guess our aim was to fuse a more experimental visceral guitar sound with the melody and harmony of folk/pop music. It’s probably more evident on our first album Lowdown rather than West of Here where the workings of a major label smoothed off the edges before the experiment was developed enough.

++ As a Scottish band, how influential was Postcard’s ‘Sound of Young Scotland’ sound? Which where your favourite Glaswegian bands to share a gig with or maybe to just go and enjoy a gig from them?

I think that the influence of Postcard cannot be underestimated. The other night there was a documentary on UK tv about Rough Trade which made the claim for that label kicking off Indie Music in the 80s. We can debate whether this is the case or whether the ethos had already started with the Punk labels in the late 70s but for my money Postcard and particularly early Orange Juice epitomised what later became accepted as Indie with their homemade slightly amateurish but free approach to making music.

I was just starting to play gigs at that time and it was exciting to have something like Postcard going on in your home town attracting all the London media attention. I saw all the Postcard bands at the time but my favourites were Josef K who were from Edinburgh and another Edinburgh band on Postcard’s rival Fast Pop called the Fire Engines.

++ Did Summerhill gig a lot? Any particular gigs you remember? and why?

We did four UK tours and numerous other one-offs. We played a lot at a tiny pub backroom club run by Geoff Barrett the man behind Heavenly Records. The club was called the Phil Kauffman Club after Gram Parson’s infamous roadie, the gigs there really helped build us up. This was before the days of smoking bans, there was no ventilation, one narrow exit from the room and a deafening PA, a classic rock’n’roll dive, brilliant.

The best gigs were all on the way up, we played Dingwalls a famous old London venue and that’s when I realised something was happening. We were still driving our own van and didn’t have any roadies, it was a great gig and afterwards the promoter came up to us with me expecting the usual “we can only give you £50″ instead he said here’s your share of the door £400. On the way down it was a lot harder there were still some good nights but the thrill is gone and the audience gets it too.

++ You released in a couple of indie labels as Demon or Rocket 5 but also on a bigger one like Polydor. What was the difference between working with them? How did you get a deal with them and was it much harder to work with them than with an indie?

Youv’e done your homework! We released one ep on Rocket 5 a label started by a friend of ours in Scotland and then signed up for a mini album, ‘Lowdown’, with Demon. Lowdown received great reviews and as the gigs improved the major labels came sniffing around.

At the end of the 80s there was a financial bubble much like the one which has just burst. Majors were offering large advances so you tended to take the best deal on offer rather than critically evaluating the company and the people. We signed to Polydor which in retrospect was a mistake. We naivelly thought it was obvious what we were about, you only had to read our reviews but majors often buy something and then try to turn it into their own product to shift as many units as possible. REM were still to break big and they couldn’t see how to deal with or develop a left field folk/rock/pop crossover. They spent too much in production, got cold feet, the baggy seen exploded and we lost our way.

In comparison indies were where music fans lived, they could be fickle, purist and skint but in retrospect we should have done another record for Demon instead of grabbing the cash.

++ You released a single convering “Wild Horses” by The Rolling Stones. Did you do any more covers?

We covered ‘It happens each day’ and ‘Don’t make Waves’ for a Byrds tribute album under the pseudonym of Static. In the latter days of Summerhill we used to do ‘Song For You’ by Gram Parsons in our live set.

++ I’ve heard mixed reviews about your second album “West of Here” and raving reviews about “Lowdown”, your first album. How do you feel about both albums? Which release of yours is the one you are more proud about?

I guess I’ve covered a lot of this above. The songs on West of Here are just as good and in some case better than on Lowdown but the arrangements and production are too safe, and the prolonged recording process sapped the energy from our performance. Lowdown is an imperfect execution of a strong vision and West of Here is a one legged affair. When I occassionally do listen back there’s lots to be proud of on both but I also have ambivalent feelings about both. If I had to nail my colours to the mast Lowdown.

++ How political were the Summerhill during those tough last years under Thatcher’s rule? How was Glasgow during those years compared to 2009?

In a public way apolitical, in private very much against what the Thatcher years had done to Britain and angry about the lack of compassion. I can’t really speak for Glasgow then or now as I left in January ‘87 but I know that when I went back the prosperity in London and the South East was not reflected in my home town where it wasn’t hard to find areas with fire bombed houses, security meshes inside shops and communal stair wells with needles blood and human waste. It appears to me that Glasgow has steadily improved since the late 70s but there are still bad pockets of deprivation.

++ Out of curiosity, what is the best Scottish beer and the best Scottish dish for you?

My current favourite is Fraoch which means heather in Gaelic. It’s a light golden sweet hoppy ale. Best Scottish dish, Cullen Skink which is a chowder type soup made with Smoked Haddock, potato, milk and onion.

++ Why and when did the band call it a day? What did the Summerhill members do after?

The last time Tom, Keith and I sang together was at my wedding in 1998. The last record was a CD ep ‘No Matter What You Do’ in 1994. Of the Lowdown lineup. Iain Shedden lives in Sydney Australia plays in a couple of bands and is the music editor of the Australian newspaper, Keith still lives in London and teaches music business and production and does standup comedy. Neil returned to his home in Hornsea near Hull and still plays locally. Of the last incarnation, Tom as you know, is still in music and does a few things including his own ‘Band of Hope’. Our last drummer Ben has a musical project called Bonobo Banjo, check out their myspace site. Me I’m a crofter (very small traditional Scottish farm)in the northwest highlands of Scotland with my wife three children, sheep pigs, chickens and friut and veg still harbouring ambitions t o make more records when I get time.

++ Anything else you’d like to add?

When Neil and I were plotting the rise of Summerhill and writing together we’d take a break and clear our heads by watching films like the Terminator and laugh out loud. I’ll be back!

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Listen
Summerhill – Don’t Let it Die

Thanks so much to Paul Dackombe and Peter Higgins for the interview. Check out their retrospective album “The Ones That Got Away” on Fastcut Records!

++ I’ve done a search on the internet, on google, and most, if not all, the results came from Japan! Have you ever been there? Do you get many fan mail from there?

No we have not been there, although we hopefully will at some point. We seem to have developed a decent size and loyal fan base across several cities in Japan where they like English music from the 80’s. We do admire their taste!

++ Not surprisingly the album “The Ones That Got Away” was released in the great Fastcut Records from Japan. Why the title of the album? What would you like the listener to get from it?

These songs were written and recorded over a relatively short period of time while we were listening to some great 40’s and 50’s Be Bop stuff from the likes of Charlie Parker, Dizzie Gillespie, Miles Davis etc. The jazz influenced material was nothing like the songs were were writing before or since, so in a sense they were of their time and to some extent forgotten. You could argue a bit like 40’s Be Bop is today. Yet we still think there are some great tunes and well crafted songs there with interesting arrangements. The title of the album seems to sum that up nicely.

++ You said, on your myspace bio, that you stopped playing live in the late 80s and concentrated in writing. Why was that? Are these songs the ones that appear in the album?

We had a large band, of around 7 or 8 players including a 3 or 4 piece brass section and simply the logistics of trying to keep all that together when live music in the UK was on the decline (and boy band pop was coming into the mainstream….eeuugghhh) was very tough. So Pete and I decided to go into a period of concentrating on writing and recording. Most of these songs did get a decent amount of live play towards the end of our live appearances, but a few, notably never Gonna say and Come Into My World, got very little, if any.

++ So let’s go back in time… how did the band start? what were those things that made you want to be in a pop outfit?

Pete started the band and went through a few players before he and I met. I was brought into the band by the bass player, with whom I’d played in another outfit with. Pete and I instantly hit it off and quite soon after he and I were writing all the material and running the band, changing personnel where we though right for the sound and image. That’s the way it has been ever since about 1980 / 81..ish!

I would say the things that made us want to be in a band are the same. A need and desire to write and play music coupled with growing up in the same part of the world and being influenced by the same sorts of music:

60’s British pop / rock (Kinks, Beatles, Faces)
70’s rock (Who, Bowie, Roxy)
Punk / New wave

Then throw in some Northern soul and you have the sounds that influence our writing and production.

++ Why did you decided to move from Warrington to London?

The North West of England was not the liveliest of places at that time, the Manchester scene would emerge a few years later. We had just won the north west battle of the Band competition (beating Rick Astleys outfit – International rescue who went on to win it the year after and from which Rick got signed to SAW) and despite that were very disappointed to find there was not much live work around in the area. Pete’s brother Tim (our sleeve designer) was at art college in London and we though, let’s just go. So we piled everything we all had (6 band members) into the back of a transit van and moved home…never to look back.

++ Why did Explained Emma wore 50s style suits? How many pairs of them you had?!

We had so much 50’s clothing it was not true. We were professionals in the art of Saturday morning jumble sales which is where we got most of them. There were some import shops in London like Flip and Covent garden market that also sold 50’s American clothing, but our brand of de-mob style suits were best found in local church hall jumble sales, so that’s where we would go most Saturday mornings. We always believed you have to look different to your audience, you just can’t get up in jeans and T shorts, so we always made an effort on the image side and that was style we liked. It was different to what everyone else was doing at the time (80’s shoulder pads and luminous shirts!).

++ One of my best friends is called Emma, so I have to ask, why did you choose the name Explained Emma?

It’s from a line in a book…we think Emma by Jane Austen…. Pete just liked the alliterative sound of it. He came up with the name.

++ You played in bars, clubs and even warehouse parties, you even played at The Hacienda. Which gigs do you remember the most and why?

We remember most, if not all for different reasons. Sometimes the emptiest where you have 5 people show up are memorable, but the Hacienda was a great couple of nights. We played on the same night that Madonna was on the dance floor doing Holiday on roller skates (at the time we though, what the hell is that all about!) that was memorable and we played a great show. There are many other shows that stick in the memory, mostly when we played really well and had a great crowd or some unforeseen event occurred. A few include the Rock garden in Covent Garden, London. Warwick University, Edinburgh and Oxford Universities. All memorable for different reasons.

++ Your music is quite varied, from be-bop jazz to indiepop. from swing to post punk. Did all these styles happen at the same time or they happened in specific time frames of Explained Emma’s career? What were your favourite bands at the time, those that influenced you?

Influences were as I mentioned above. Our writing style did evolve over time, we were not writing Jazz and indie / new wave all at the same time, but there was some overlap. I guess we tried to bring a different way of playing to all the styles we write in. We try and treat each song as a stand alone thing, rather than copy a formula. It’s not easy though, try as hard as you can and similar themes will come out based on your influences.

++ When was the original “Unnecessary Strain” single released? What label was it on? Any anecdotes you remember from those recording sessions?

It was released in 1985. There is so much we can remember anecdotally about the release of that single, from the way in which we financed it, through to it being released on the BBC Oxford Road Show (a major music Friday night programme at the time). To do it on our own label at the time with very little money and then to have it played on prime time radio and TV was a huge buzz.

++ Did you release anything else prior the “When My Heart Rings” on Fastcut?

No Naoki approached us asking to release some material. We sent him a few songs that we though might work and he chose When My Heart Rings.

++ How was your appearance at the BBC Oxford’s Road Show?

Great fun. The entire filming process was memorable. They were doing a small 3 minute documentary on what bands do to promote themselves and liked our approach, so they cam and filmed us for 3 or 4 days to recreate the making and pressing of the single, from rehearsal, through recording, mixing, mastering and production. The we went up to the TV studio on the night the show went out and got some great press and radio as a result.

++ What was the best thing of being part of Explained Emma? What is that that you miss the most?

The best thing is clearly the songs we have written and the guys we played with. Some great musicians and great guys. I won’t say too much about how great the songs are! Pete and I remain close friends today and we still see a few of the others, most notably Dave Molyneux the bass player (with whom we are working on a new album). We both miss playing live the most, but let’s see how things go in Japan and who knows.

++ When and why did the band call it a day?

We haven’t and I guess we never will. As I mentioned in the last question, Pete and I together with Dave Molyneux the bass player are working on a new album which we will release in late summer this year. Dave Formula of Magazine is producing and playing keyboards and we have brought in a couple of new guys on vocal and lead guitar. We are very pleased with how the songs sound. More on that in due course.

++ Thanks so much for doing this interview, anything else you’d like to add?

Our pleasure. We would just like to add a big thank you to Naoki and all the people in Japan who continue to show an appreciation of our songs. That is truly fantastic and has been the springboard for several things.

Paul and Peter.

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Listen
Explained Emma – All Chewed Up and Spat Out

Thanks so much to Paul D for the interview! Look for a new 3″ CD by The Artisans on March 15th as part of the Cloudberry Classics series!

++ The band went through many line up changes? How many people went to be in The Artisans in total? Why did all these changes happen?

7 people in total. Basically people got bored and left! Unfortunately we had a few members in the beginning that weren’t committed enough. and ultimately found rehearsing every week a bit tedious. It probably was, but you have to put the work in….

++ When and where did the band start? What was the main reason to start a band?

For me, it was listening to bands of the C86 era that inspired me to take up the guitar. The natural progression of this is to play in a band – everyone wants to be a pop star!  I joined my first band. as I happened to be at school with the brother of one of the members so got asked to join one day. That split up through musical differences (a cliché but true). A shame really as  I thought there was a fair degree of potential – after that I started The Artisans

++ Why the name The Artisans?

There was no real reason for it. It was just suggested one day and stuck. on account that it sounded ok and looked good written down.

++ Who were the bands that you enjoyed at the time? Did you get a chance to gig with any of them?

I was listening to all sorts at the time. Post punk, Orange Juice, C86, Sarah records. Looking back there was some great stuff released. Still enjoy listening to it.

Sadly we never got to gig with any of these bands.  Our live performances were few and far between. Another consequence of line up changes – you’re never gig ready!

++ In 1992 you release your only 7″, the fantastic Jazz Serenade! You put it out on your own Infidel Records, how was this single received?

It seemed to go down quite well with those that heard it. We were quite popular in Japan by all accounts. John Peel played it on his radio programme and not long after the Rough Trade shop in London got in touch to ship copies out there. (Apparently Peel’s programme was recorded and broadcast in Japan.)

++ Do you remember any reviews?

I can’t recall any reviews in the music press, but I think a couple of fanzines at the time made encouraging noises about us.

++ Who’s the girl on the 7″ cover by the way?

Good question. No idea it’s an unknown ballerina.

++ Why didn’t you get to release more records? The other songs I’ve heard from you are as good!

Just the way it turned out. We lacked a proper distribution deal for the Jazz Serenade 7” so sales were slow and as a result we lacked the necessary funds to put out a follow up release. Of course Slumberland Records gave the opportunity to issue a couple of tracks on the ‘Why Popstars Can’t Dance compilation.

I did get a call from Albert at Sunday Records who showed some interest in doing something, but nothing came of it.

++ You caught Slumberland’s attention in 1993 and contributed two songs to the Why Popstars Can’t Dance compilation. How did Mark got in touch with you? It seems such a process, it wasn’t that common at that time that American labels were working with UK bands.

I’m not sure how Slumberland got to hear of us. It might have been through our friends at Heaven Records / Fat Tulips. We very nearly didn’t appear on the compilation as they mislaid the tape in a box of other demos!! It was a big thrill to appear on a compilation with the likes of Stereolab.

++ Did you get any American fans after this release?

Not many that I know of. I did get a couple of fan letters from the States though.

++ Something I always like to ask is about the fanzine culture, I find fanzines, not only amazingly interesting, but also a reactionary, cultural and inspiring devices. I wish there was something similar today. Did you or the band were involved with fanzines at all?

I loved fanzines. In a way the ‘fanzines’ of today are internet blogs. But while they provide useful information they lack the intimate nature of thumbing through a real document. It’s similar with music downloads replacing actual records or CDs.

What really comes out from reading old fanzines is that they were written by people that really cared about music.

++ On the Leamington Spa compilation booklet you say that you took the “classic” indiepop route. What do you mean by that? Do you still listen to indiepop

I was referring to the fact that we took the Do it Yourself option in releasing a 7” on our own label, rather that wait for someone else to offer to do it. A lot of bands seemed to take a similar route in the 80s/90s. Once you look into it, it’s not difficult to do, just a question of getting it all organised.

Yes, I still listen to indiepop. Probably haven’t got my finger on the pulse quite as much these days though.

++ Why did the band split? What are you all doing now?

I think in the end, we justed started to drift a bit. The line up changes didn.t help as sometimes it felt like one step forward and two steps back. I was struggling to write anything  and lost a bit motivation for it all.  I’m currently writing and recording some new material with ex vocalist/bassist Julie. Dave (drums) is living and working in Leicester. Sadly, I’ve lost complete contact with everybody else.

++ What was the best of being part of The Artisans?

Probably the thrill of hearing John Peel play our 7” on national radio

++ Anything else you’d like to add?

Just to express my thanks to all concerned at Cloudberry .

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Listen
The Artisans – Jazz Serenade

Thanks to Tom Crook for the interview!

++ Who were Sometimes Sartre? When and where was the band formed? How did all of you come together? Did you knew each other from high school maybe?

Sometimes Sartre were Jonnie – vocals, Jon – drums, Jack – bass, Chris – guitar and Tom (me) – guitar, all friends from Highdown School in Caversham, Reading, UK, and fans of 80s British indie such as Aztec Camera, The Pale Fountains, Prefab Sprout, Orange Juice etc. Also joining us here and there were a girl called Donna who played keys and sang too.

++ I’ve heard a couple of songs, but I’ve always wondered if you ever released any records? What about contributions to compilations? the only one I know is Good Book to the You Can’t Be Loved Forever #1 tape.

Two songs were released as flexi-disc singles – These Kind Colours and Homelovin’ Boy. There may have been other compilations, but no proper label was ever involved, although Cherry Red once expressed an interest.

++ How many demo tapes did you record? What was the total output of recorded songs by the band?

I think we recorded maybe a dozen songs, maybe a few more. All very lo-fi thanks to lack of money. i could get a CD together if you’d like.

++ Why do you think Sometimes Sartre didn’t become more of a known name of the guitar pop scene of the time? You did have good songs, so what happened?!

In the late 80s, Britain discovered ecstasy and dance music and indie bands had to get some funky beats. The Sartres never evolved.

++ Why did you choose the name “Sometimes Sartre” for the band? Were you influenced by him?

This was the fault of our drummer, Jon Bartlett. I never knew what it meant but i couldn’t think of anything better. Carved Smiles was also in the running.

++ Music wise, which bands were your favourites at that time?

See above, and add to that Everything But The Girl, The Daintees, Felt, Hurrah! and REM.

++ Did you gig a lot? Any particular gigs you remember the most?

Yes, lots around Reading, then London. Mean Fiddler was our highlight. Also supporting Stone Roses.

++ Were any of you involved with other pop bands before or after Sometimes Sartre?

Jonnie, Jon and Jack started a band called the Lucky Bags. Jonnie the singer is now in A&R at Sony. I’ve kept on playing – played guitar for Summerhill, then worked as a session player for the likes of Mew and Amy Winehouse. Now actually singing my own songs under the name Band Of Hope and playing bass for a band called Holton’s Opulent Oog.

++ How involved were you guys with the fanzine scene of the late eighties / early nineties?

Just local fanzines such as You Can’t Be Loved Forever.

++ The biggest highlight? What do you miss the most from those days?

The biggest memory is just making music with your best mates.

++ When and why did the band call it a day?

I think it was 1990. College, jobs, girlfriends all got in the way.

++ Thanks so much for all your help and answers, anything else you’d like to add?

Thanks for the interest. You’ve got a cool label there…..very Sarah or Creation sounding bands. This MySpace site was set up so the rest of the band could hear some of the old long lost recordings.

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Listen
Sometimes Sartre – Good Book