Thanks so much to Kristin for the interview! When I wrote about the Brisbane band Fugitive Microbes, my friend Stewart from The Kensingtons, who had lived in Brisbane, managed to put me in touch with her! So cool! Then Kristin was very kind to answer all my questions and learn more about her band which was quite a discovery for me. They have some wonderful songs that deserve to be discovered!

++ Hi Kristin! Thanks so much for being up for this interview! How are you? I see in Australia you have concerts again, very jealous. Have you been to one since the pandemic start?

I’m really well thanks. Yes it’s been wonderful to get back out to see bands again. It’s been a gradual process, and we still have restrictions and crowd sizes etc, and we are campaigning for live venues to be treated the same as sporting venues which seem to be able to have far greater crowds. I love seeing live bands as often as possible.

++ You are these days in a band called The Double Happiness. You have some very fine songs, and was wondering if you could tell me a bit about the band. When did it start? Any releases?

TDH is a quartet consisting of two married couples – Pete and myself are on guitars and Meg & Simon are our rhythm section. We’ve been friends for close on 30 years, and have very similar tastes in music. We love independent alternative music. Our influences are post-punk, shoegaze and surf. We think of our sound as ‘surfgaze’. We had our very first jam about 5.5 years ago. It was so easy. We’re all on the same page. We have released one EP in 2018 ‘City’, a single ‘No place like Nundah’ in 2019, and our full length LP ‘Surfgazing’ in 2020.

++ And what would you say are the main differences and similarities between The Double Happiness and Fugitive Microbes?

TDH has its own jangly guitar sound, with call-response vocals not unlike Nancy Sinatra & Lee Hazelwood. We like interesting arrangements and trance-like outros to songs. Pete and I generally ‘noodle’ guitar riffs and ideas and bring them to band practice, and Meg & Simon lay down the most amazing bass lines and drums.

WIth Fugitive Microbes, Tony was a well established figure in the Brisbane anarchist and music scenes, having released a well known protest song – Pig City – with his band The Parameters. He had more of a blues/punk and rock sound with a great baritone. He played sax and slide guitar. I was very young and new to this as it was my first band. I wrote more jangly pop tunes. We’d each sing our own songs, and there was a distinct difference in our sounds.

Even though Pete and I each write songs in TDH, we come together in vocals and arrangements, and I feel it’s a more cohesive sound.

++ Let’s go back in time. What are your first music memories? Do you remember what was your first instrument? How did you learn to play it? What sort of music did you listen to at home while growing up?

I remember learning piano at 5 years old but very briefly as I hated practising. All I wanted was a guitar, and to play like Sister Margaret who was a teacher at my primary school. She would play ABBA to us at lunchtime when it rained. I had a few lessons when I was 10 and 11 but after that I I relied on teaching myself my favourite songs by ear. At home I loved listening to David Bowie, U2, Kate Bush, and once I discovered 4ZZZ radio I fell in love with alternative music.

++ Had you been in other bands before the Fugitive Microbes? If so, how did all of these bands sound? Are there any recordings?

No, Fugitive Microbes was my first band.

++ What about the other members?

Tony (Kneipp) had been in other bands I believe, and this band had grown out of a long standing Brisbane band “Trash of all Nations”. Colin Barwick joined us on drums once Oscar had decided he was going back to Holland and moved from drums to bass. We felt it would be easier to replace a bass player than a drummer. Col had been in many successful bands including Died Pretty, The End, Ceramic Eggplants, The Wickermen and also an earlier version of Trash of All Nations. Irena Luckas was with us during the transition from Trash to Microbes, and she had been in legendary band Xero. I learned so much from everyone in the band. They knew the Brisbane music scene so well, and had seen it all through the turbulent Joh years.

++ Where were you from originally?

I was born in Brisbane

++ How was Brisbane at the time of Fugitive Microbes? Were there any bands that you liked? Were there any good record stores? Or what about the pubs or venues to go check out up and coming bands?

Brisbane was going through a huge transition in 1989/1990. We saw the last of the Bjelke-Petersen government here in Queensland when they were voted out at the end of 1989. It was basically the end of a right-wing dictatorship which lasted two decades. Live music really suffered at the hands of brutal police. Many bands left Brisbane for Sydney and Melbourne in the 70’s and 80’s.

I loved (and still love) Ups and Downs, The Go Betweens, Purple Avengers, Dream Poppies, Thanks for the Fish, The Riptides. There was so much great music.

The record stores around at the time were Kent, Skinny’s and Rocking Horse (which is still going strong). These were all based in the CBD

The Qld Uni refec was a great place to see bands, so was The Storey Bridge Hotel. But my favourite was Albert Park when 4ZZZ put on Market Days.

++ How did you all meet? How was the recruiting process? I read you met at Kelvin Grove campus? What were you studying?

I met Tony while we were studying teaching at Kelvin Grove BCAE (now QUT). He invited me to join his band after seeing me playing at a uni friend’s party.

++ There were a few lineup changes, right?

Yes, originally there was Tony, Irena, Oscar and myself. Irena (keys/synth) left a few months after I joined, then Oscar started playing bass once we knew Col was keen to play drums for us. By the time we recorded at Burbank Studios though, my boyfriend (now husband) Pete jumped on bass guitar.

++ How was the creative process for you? Where did you usually practice?

Tony and I would each bring songs to our practices which were held at his share house on Vulture Street West End. Tony had a large number of songs when I joined, and Irena was playing some of her songs from Xero. Over time I was bringing more songs along and we’d take it in turns through the set, each singing our own songs.

++ One thing I notice is that your songs were poppier while Tony’s were rockier, was that what came natural I guess? Also whoever wrote the song, sung the song?

Yes, that’s it. I was drawn to a more indie-pop sound, loving jangly guitar. Tony had a blues rock and punk sound, and he could play slide guitar and saxophone too.

++ What’s the story behind the band’s name?

Pretty funny really. We just opened the dictionary twice and found two words!

++ Who would you say were influences in the sound of the band?

My influences were bands like The Sundays, Look Blue Go Purple, Ups and Downs. I’m not sure about Tony.

++ I think my favourite song of yours might as well be “Living with a Schizophrenic”, wondering if you could tell me what inspired this song? What’s the story behind it?

I had a crazy share house experience. My house mate was very difficult. I might leave it there

++ If you were to choose your favorite Fugitive Microbes song, which one would that be and why?

I’m pretty nostalgic about Schizophrenic being my first recorded and released song. But I loved some of Tony’s songs especially Blackest Heart. It’s a really dark blues song that gets in your head.

++ What about gigs? Did you play many?

We did play quite a few gigs there in 1990. When we were a part of the Band Collective (BC Club) we played heaps up at QUT. I loved playing at The Storey Bridge Hotel and Albert Park, but we played in people’s lounge rooms – a lot!

++ And what were the best gigs you remember? Any anecdotes you can share?

World Environment Day 1990, Albert Park. I wrote a song especially for that gig ‘Don’t Fall on Me’ but the highlight was Col’s toddler daughter Emily running on stage and drumming with her Dad

++ And were there any bad ones?

One time at Albert Park, it may have been a 4ZZZ market day, we were standing side of stage getting ready to go on and another band ran on before us. They heard the sound engineer couldn’t stay much longer so wanted to make sure they got their full set. We wound up only playing about four songs. That was very uncool.

++ When and why did Fugitive Microbes stop making music? Were you involved in any other bands afterwards?

At the end of 1990 Oscar had returned to Holland, andI had scored my first teaching job at Bribie Island which was one hour north of Brisbane. It was just not really possible to continue as we were. Pete and Col went on to Splat Acrobat after the recording. I joined an all-girl band called Fruit in 1993, but that was also short lived as Pete and I moved to Townsville that year. Pete Col and I recorded some demos as a three piece called ‘Boo Tree’. Then travelling and five kids later, I joined a three piece surf instrumental band called ‘The Ripz’ with Col as their bass player. Now Pete and I are in The Double Happiness with good friends, Meg and Simon and we are having a ball.

++ Has there been any Fugitive Microbes reunions?

There was one in December 1993 at The Zoo which was one of the best gigs we ever played. Oscar was back in town which was super special. Then Tony, Col and I played at a gathering at West End about ten years ago. That was also heaps of fun.

++ Was there any interest from radio? TV?

4ZZZ radio was always a great support to us. We did a ‘Live to Air’ from their Toowong studios in 1990.

++ What about the press? Did they give you any attention?

Haha. Not that I can recall.

++ What about from fanzines?

No. We were pretty edgy.

++ Looking back in retrospective, what would you say was the biggest highlight for the band?

Probably supporting Celibate Rifles at QUT. Talking to Damien Lovelock (RIP) backstage was very special. He recognised Col from playing in The End.

++ These days you work at 4zzz Radio. What do you do? Is there a place where we can listen to you?

Yes I LOVE 4ZZZ. I first discovered it as a teen. I host a show called Heyday on Saturday nights which plays mostly 80s alternative music http://4zzzfm.org.au/program/hey-day. I get involved as much as time allows – reviewing programs, training announcers and even got to produce a podcast for their 45th birthday where I interviewed Billy Bragg. You can listen to it here https://podcasts.apple.com/au/podcast/billy-bragg-and-the-deep-north/id1542143375?i=1000501883106

++ Aside from music, what other hobbies do you have?

Music is a huge passion. Catching arty movies with delicious nibbles and a glass of something red is also high on the list.

++ Never been to Brisbane nor Australia, I hope I visit sooner than later, so would love to ask a local for some suggestions, like what do you recommend them doing in your town,what are the sights one shouldn’t miss? Or the traditional food or drinks that you love that I should try?

Take a scooter around our beautiful river, stop for a drink at Howard Smith Wharves and see the sun go down over the Bridge, or pop out to one of our Bay islands, or check out some of our inner city suburbs like West End or Paddington for great restaurants and bars. There’s a top view of the city from Mt Coot-tha too.

++ Anything else you’d like to add?

Thanks so much for asking about this very formative time of my life. I was very lucky to meet the people that I did when I did.

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Listen
Fugitive Microbes – Living with a Schizophrenic

Thanks so much to Ian for the interview! I wrote about The Clamheads on the blog a few years ago I think. And just last week Ian got in touch with me and he was keen in sharing details and anecdotes about the 80s English band The Clamheads! The band released one 12″ record back in the day and then sort of went silent. Later on in 1995 the band reunited under the name Borgnine (hopefully we’ll talk about this period in a 2nd interview). If you’ve never heard them before, you are in for a treat, as their songs are punchy, poppy and fun. If you already know them, I am sure that, like me, you’ve always been curious about their story! Well, here it is!

++ Hi Ian! Thanks so much for being up for this interview! How are you? Are you still involved with music?

I’m fine thanks, lockdown was hard, glad we seem to be emerging from that now. I was very involved with music until August 2019, when due to complicated reasons my group Les Clochards had to take a break, which I now think may be definitive.

++ Let’s go back in time. What are your first music memories? Do you remember what was your first instrument? How did you learn to play it? What sort of music did you listen to at home while growing up?

I don’t come from a musical family and my parents weren’t big music fans and didn’t have many records, mainly Scottish stuff like pipe bands and Andy Stewart, some film soundtracks, a few old 78s, one single by Elvis – A Fool Such as I. I was born in 1960 but was only vaguely aware of the Beatles and Stones. I started to get interested in music when I was about 8, I asked my parents to buy Legend of Xanadu by Dave Dee etc, then the first record I bought with my own money was Metal Guru by T.Rex. When I was 13 I saw David Bowie at Oxford New Theatre, that was a life-changing experience. I had a cheap Spanish guitar when I was about 11 and had lessons but didn’t stick with it, then when I was 16 my friend Rob and I started a group, he had a guitar so I bought a bass from a junk shop, it was a Gibson SG copy made of plywood and cost £30. I learned by playing along with records in my bedroom, by that time it was Dr Feelgood, The Flamin Groovies, the Foggy Notion ep by the Velvet Underground.

++ Had you been in other bands before The Clamheads? If so, how did all of these bands sound? Are there any recordings?

++ What about the other members?

Matt (guitarist/singer) was in the original Clamheads duo with a legendary character called Mac. Mike (guitar) had been in the Shrew Kings. Gary (drums) had played in a group called Ariva who for a while had Sade on vocals.

++ Where were you from originally?

I grew up in rural Oxfordshire. It sounds posh but wasn’t really, Pam Ayres lived down the road. If you’re not familiar with Pam I can explain the significance of that.

++ How was London at the time of The Clamheads? Were there any bands that you liked? Were there any good record stores? Or what about the pubs or venues to go check out up and coming bands?

I loved living in London during the 1980s, went to gigs all the time, the Pogues, the Prisoners, the Milkshakes, Jesus & Mary Chain, the early Creation groups – I’ve attached a list of the gigs I went to in the mid-80s, at least those I remember! There were so many venues: The Cricketers, The Hope & Anchor, Dingwalls, The Marquee, The Clarendon, The Town & Country Club, The Half Moon, The Bull & Gate. Best record shops were in Camden, I forget the names now, and Hanway Place off Oxford Street, there was a great shop called Rocks Off where Shane MacGowan used to work.

++ How did you all meet? How was the recruiting process?

I knew Matt from Oxford, I had been in a group with his older brother. Matt started the Clamheads and asked me to play bass on some recordings, it went from there. Mike was in the Shrew Kings, and I knew Gary because he had been at art college with an ex-girlfriend, we met him at a gig by Howard Devoto’s group Luxuria at the Town & Country Club and asked him to join. There was no recruiting process, it was all quite spontaneous.

++ What instruments did each of you play in your songs?

Matt guitar/vocals, Mike guitar, Gary drums, me bass/vocals

++ How was the creative process for you? Where did you usually practice?

Matt and I wrote the songs, sometimes together, mostly individually. We practiced in various rehearsal rooms in London.

++ What’s the story behind the band’s name?

Matt would be able to answer that, I’ll ask him. Borgnine was after the actor Ernest Borgnine, who usually played a villain.

++ Who would you say were influences in the sound of the band?

Old-school rock’n’roll and garage rock, the Beatles, girl groups like the Crystals and the Shirelles, Matt liked the Everly Brothers and Buddy Holly, The Byrds, the Flamin Groovies, The Cramps, Link Wray. With the Shrew Kings it had been quite avant-garde and theatrical, I just wanted to get back to guitar music for a while. Personally I liked a lot of jazz, doo-wop and soul music plus Tom Waits, but that didn’t really feed into our group.

++ I think my favourite song of yours might as well be “Summer’s Coming Down’”, wondering if you could tell me what inspired this song? What’s the story behind it?

When I was 14 I went with my parents to a holiday camp near Great Yarmouth in Norfolk. Holiday camps were where working class families went for two weeks in the summer, we couldn’t afford foreign holidays at that time. We stayed in a chalet and there was family entertainment and games. At the age of 14 you’re sniffy and dismissive of everything, I felt I had been waiting a long time to be grown up, what was I doing with my parents at this uncool place? The song is just observations from that time, it isn’t meant to be critical, I have fond memories. Someone – I’ve no idea who – has made a video to accompany it, and they’ve perfectly captured the holiday camp atmosphere: https://www.youtube.com/watch?v=RUqMtT43rmo

++ If you were to choose your favorite The Clamheads song, which one would that be and why?

I think there are a lot of great tunes on None the Wiser. She’s a Funny Girl works for me because it’s very concise and subtly feminist lyrically, with a nice garage groove, that was a co-write with Matt. I always liked Motorcycle Song and Things That Stop Me Sleeping, those are Matt’s tunes.

++ What about gigs? Did you play many?

Yes, we played a lot, all of the small to medium London venues, plus we played in France.

++ And what were the best gigs you remember? Any anecdotes you can share?

Playing the Marquee was fun, we did some good early shows at Dingwalls and The Cricketers, plus some good gigs in France. Later on there were some great nights at the Point in Oxford. Playing open-air in central Toulouse was fun. It was nearly always enjoyable, but it’s really hard work! We liked drinking and a modest amount of narcotics but to be honest we saved the craziness for nights when we weren’t playing because I was always driving, plus I had two kids and had to go to work in the morning. I had to try to be responsible.

++ And were there any bad ones?

There was one in France, first night of the tour, no one turned up. We played anyway, treated it as a cheap rehearsal.

++ When and why did The Clamheads stop making music? You would regroup later in 1995 as Borgnine, right? Were you in any other bands?

See above for the first two questions. I had my own group Les Clochards from 2005-2019, French influence, played literally hundreds of gigs, good press, made two albums, available on Spotify etc, I’ll send CDs. The first one is really good, the second not so much but it’s ok.

++ What about the rest of the band, had they been in other bands afterwards?

Not really, which I think is a shame. Adult responsibilities get in the way.

++ Was there any interest from radio?

John Peel played our single, plus local radio.

++ I saw that you appeared on French TV. How was that experience?! That must have been fun! Did you play any other songs other than “Woodenface” and “She’s a Funny Girl”?

That was great and I’ve no idea how or why it happened, we were in Toulouse and someone told us to go to the TV studio. We only played (mimed really) the two tunes. It was a very hot day and we had to carry huge speakers on set to make it look authentic, we were sweating buckets. I remember the make-up woman saying ‘ooh-la-la’, at the time I didn’t know French people really said that.

++ What about other TV appearances?

No, that was the only one.

++ What about the press? Did they give you any attention?

Not much, we weren’t good at publicity. A dismissive review in NME, some ok reviews in Time Out. It was frustrating but you have to work at that side of things and we just didn’t, which was a mistake.

++ What about from fanzines?

Yes some good reviews in fanzines, that was encouraging.

++ Looking back in retrospective, what would you say was the biggest highlight for the band?

Touring in France, we had such a fantastic time and made great friends, most of whom I’m still in touch with. Personally it was another life-changing experience because it made me obsessive about learning the language properly, I eventually studied French at university and now I teach French. I’m about to start a PhD on French literature.

++ Aside from music, what other hobbies do you have?

I read all the time, I’m trying to learn some Arabic, I like cooking and running, I’m a football fan. Nothing’s as good as music though.

++ I have visited London many times and I hope to return. Would like to ask a local, what would you suggest them doing here, like what are the sights one shouldn’t miss? Or the traditional food or drinks that you love that I should try?

It’s a long time since I lived in London but my son lives there so I go quite often, in fact I was there last Sunday. I love London, it’s become very expensive but still a great city – you could spend your whole life there and still find new things every day. I suggest avoid the tourist destinations and try to experience the neighbourhoods, Brick Lane, Hackney, Brixton, Peckham, Tottenham (Camden is very tourist-orientated these days). Traditional London food is really down to immigration, could be Indian, Italian, Greek, Jamaican, you can get anything but some neighbourhoods specialise, e.g. Brick Lane has many Bangladeshi restaurants. English beer is not like any other beer, not everyone likes it but unlike the food it is an English speciality which you can’t find anywhere else. Served in a pint!

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Listen
The Clamheads – Summer’s Coming Down

Thanks so much to Nick and Matthew for the interview! I had interviewed Nick in the past about his previous band, Almost Charlotte, and I thought as they are re-releasing the CD compilation “I Think of the Sea” that compiled most of the recordings by Almost Charlotte and the band that came next, Bluff, that it was just perfect timing to talk about Bluff! Based in Brighton, the band didn’t get to release any proper records but left us some terrific songs. If you haven’t heard about them, now it is a good time!

++ Let’s go back in time. What are your first music memories? Do you remember what was your first instrument? How did you learn to play it? What sort of music did you listen to at home while growing up?

Matthew: T Rex and Slade got me into music and punk got me into bass (quickest to learn and everyone needs a bass guitarist) then guitar followed. Limited talent (and lack of patience to properly learn instruments) got me into writing my own songs.

Nick: 10cc and Be-Bop Deluxe were the first two bands that made my very young self musically obsessive.  Things really then kicked off post punk for me – I’m very lucky to have lived through that period when indie bands were restlessly creative and shooting off in so many different directions (think Magazine, Skids, Associates, early Simple Minds etc.)  I only ever wanted to play drums and so bought a cheap kit as soon as I was earning money to pay for it then I taught myself (badly) from there.

++ Last time we talked about Almost Charlotte, so I wonder how would you compare both bands, what was similar and what was different between Bluff and Almost Charlotte?

Matthew: Bluff felt closer to my ‘ideal’ of 3–4-minute songs with a story behind them.

Nick: as Matthew says I think that we all agreed that the new band would be more single minded.  I loved Almost Charlotte at the beginning and in the middle but by the end we had sort of fractured and lost focus; with Bluff we wanted that focus right from the start.

++ How did you all meet? How was the recruiting process?

Nick: We formed Bluff because another Brighton band – The Whirlybirds – split at the same time as Almost Charlotte so two people from each got together.  Matthew and I knew Trevor Warman (guitar) and Trevor Thorne (bass) and it sort of felt natural to do something together that was different to our previous bands.

++ How was the creative process for you? Where did you usually practice?

Matthew: We continued to practice at the same Brighton studios that we’d used in Almost Charlotte.  In terms of writing, I took the lead more than had been the case in Almost Charlotte where Ian Philipson and I shared.  Everyone threw stuff in though and we began to find our own sound.

Nick: I think that some of Matthew’s lyrics at the time were amongst his best (and I say that having been writing and playing with him for a long time now!)  Britain was still in the grip of a right-wing Government (Thatcher had gone but she was replaced by an administration that continued in her vein) and we wanted to represent that without preaching – to be a live band that would grab people and make them dance as much as make them think.  That’s a tough balance but I think that Matthew’s writing often achieved it.

++ There were some lineup changes too, right?

Nick: Just the one actually: Colin Clifford replaced Trevor Thorne after our first EP came out (‘The Frank Muir EP’) and before we did the second (‘Hospitals Houses Playgrounds.’)   I think that relative consistency was a really good thing and both the bass players bought something a bit different – it’s no coincidence to me that we were a tougher edged proposition with Colin and that’s why the songs from ‘Hospitals Houses Playgrounds’ hit hard. I think that we were more cohesive and focused with Colin.  We all had pretty broad musical interests so I think we all opened each other’s eyes to stuff that was around at the time.

++ You say Bluff had a harder edged sound compared to Almost Charlotte, and that might be true, but also within Bluff I feel some of the songs, especially those at the end of the “I Think of the Sea” comp are harder edged than the previous recordings. What was the direction the band was following? Had your influences changed at the time?

Matthew: I think Bluff was more of a collective creative process. Everyone contributed. It seemed to gel and I believe the songs show that.

Nick: to be honest it’s hard to remember influences other than a few bands that all four of us seemed to be into such as Sugar and Billy Bragg although there were certainly many others. I’m not sure that we consciously had a direction – we were focused on what we were doing at the time and had little in the way of a plan.  The whole thing only lasted a couple of years.

++ Speaking of “I Think of the Sea”, the compilation that compiles Almost Charlotte and Bluff, which is now available from Moments of Pleasure. Are these all the songs recorded by the band? Or are there more unreleased tracks?

Nick: they’re pretty much all of them.  There are a few others but they’re not good enough to release either in terms of sound quality or just, er, quality!

++ Moments of Pleasure is your own label, how do you enjoy doing label stuff, promoting, distribution? I suppose you prefer making the music? or not?

Nick: MOP is really a home for the things that any of us who were in Almost Charlotte have done since.  As such, it’s an on/off thing.  When we’re doing nothing it lays dormant and when we have something we want to share we crank it up!  The process of distribution and promotion can mostly be done online and there are intermediaries who take some of the legwork out of it but it’s still time consuming and we’re realistic enough to know that the people who are interested in what we do are very very few in number.  We put out the limited-edition CD of ‘I Think Of The Sea’ because we’d had a few people ask if there would be a physical version rather than the download/stream.  The response has been great – especially the geographic spread which has really surprised us.

++ As far as I know there were no records released by Bluff. How come? Was there no labels interested? Did you consider self-releasing?

Matthew: we self-released the two EPs on cassette (now there’s a term/format from the past!) and sold them at gigs.  Really, the whole process of searching out labels was never an option.

++ I think my favourite song of yours might as well be “Go Home Now”, wondering if you could tell me what inspired this song? What’s the story behind it?

Matthew: It’s about the inevitable ending of a long- distance relationship.

Nick: that was always a good one to play and – being selfish for a moment – I always liked the rhythm section part!  It’s also a nice example of some of Matthew’s lyrics (standing on platforms and awaiting connections) which played with different ways of describing fading links between people.  It also had one of Trevor Warman’s meatiest buzzsaw guitar parts that always threatened to swamp us – in a good way!

++ If you were to choose your favorite Bluff song, which one would that be and why?

Matthew: ‘Losing Sleep’ and ‘Attitude.’ I love the energy on both and they were great to play live.

Nick: ‘Losing Sleep’ for me too – similar reasons.  It was also the last song in the set at our last gig so it was sort of our sign off.

++ And suppose you had a chance to put a 7″ single, with A and B side. What songs would you put on it?

Matthew: ‘Losing Sleep’ and ‘Wish You Were Here’

Nick: ‘Losing Sleep’ and ‘Switch Off’ for me.  ‘Switch Off’ was personally very important because it was the first lyric that I’d done and so it was really the first song that Matthew and I had written together; it was the end of Bluff but the beginning of a lot of things that we’ve done since.

++ When and why did Bluff stop making music? Were you involved in any other bands afterwards?

Nick: we were definitely swimming against the tide.  On the one hand, at the time indie in Brighton (and maybe actually in Britain) was in the grip of grunge fever via Nirvana etc so nobody was interested in anything else.  That wasn’t us and we were never going to pretend it was.  On the other hand there was a growing interest in a sort of theatricality and over the topness which was also not us – our last gig was a Battle-of-the-Bands in which the winners used dry ice and had songs that ended in massively dramatic crescendos. We came last.  We didn’t mind at all because it was sort of a race that we didn’t want to enter.

Matthew: afterwards we were away from music for a very long time as life intervened.  It was 7 years or so before Nick and I did anything else and that was intended to be a one off but it has sort of carried on for over 20 years now under the name of Rogue Beauty.  The two of us are the nucleus but we have worked with a lot of other people and it’s been a really nice alternative to those band days – it’s sort of eclectic and freer than a band could ever be.  The ‘Seems Like Yesterday’ album is a compilation of stuff we’ve done so far and it’s nice to have it available via MOP.

Nick: I’ve also been working with Paul Midcalf on a couple of one- off projects (A Long Valley and Colourbeat – both of which have releases on MOP) as well as a much longer collaboration as Senses Reeling which has produced several EPs and an album on MOP.  There was a really nice top and tail to the story when Matthew sang several songs on the album (‘Time’s Still Now’) over 30 years after we first made music together.

Matthew: Trevor Warman now lives in France and Colin’s in Australia (last we heard Trevor Thorne was too) so we are now all sort of scattered but we stay in touch through social at least. Trevor Warman and Colin in particular are such good guys and their playing was always so distinctive to Bluff.

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Listen
Bluff – Go Home Now

Thanks so much to Hiroshi Tsutsumida for the interview! You may know Hiroshi thanks to the wonderful band Johnny Dee, but prior to being in that band that released some lovely records on Vinyl Japan he was in The Korova Milk Bar. It was fairly recently that Blue-Very Records recovered some of their songs and released a flexi with two of them. And so I discovered this great project!! And I needed to know more of course! So that’s what you’ll find in this interview! (and yes! we’ll do a Johnny Dee interview soon!).

++ Hi Hiroshi! Thanks so much for being up for this interview! How are you? Are you still involved with music?

Cool ! Yes, I’m involved with music now, although I’ve been away from music for a long time as I got rid of my huge vinyl collection. I’ve been collecting vinyl records for a long time and I’ve got the feeling that I’ve been spending in vain my life on it. But now I’m buying records again and two years ago we played at a gig with The Monochrome Set and The Catenary Wires as Johnny Dee. Then I was so nostalgic because this is the second time we performed at gigs with Amelia Fletcher. And this time, what was released cassette tape in 1989 as The Korova Milk Bar will be released on vinyl records at Blue-Very records. Actually, a master tape was found at the member’s house. FYI, this album was remixed by Tomoki Kanda (ex-
Favourite Marine), mastering by Seiki Sato (Microstar), Liner notes written by Asako Koide (Eikoku Ongaku/英国音楽).

++ Let’s go back in time. What are your first music memories? Do you remember what was your first instrument? How did you learn to play it? What sort of music did you listen to at home while growing up?

Firstly I start listening to Yellow Magic Orchestra and related artists such as “B2 Unit”, Ryuichi Sakamoto and “Murdered by the Music”, Yukihiro Takahashi. Also, I was influenced by the Ryuichi Sakamoto’s Radio program “Sound Street” so learned about new wave and electric pop. Especially loved David Bowie.

After that I listened to Soft Cell, Joy Division, Bauhaus, Echo & the Bunnymen, The Cure, New Order, The Durutti Column, Aztec Camera, The Smiths and Felt.

On the other hand, I was also into punk, hardcore, goth and industrial music. As for roots music : e.g., from The Clash to reggae dub, from The Specials to Jamaican ska, from The Jam to mods & soul music and from Echo & the Bunnymen to The Doors and The Velvet Underground like this.

When we’re KOROVA’s, listened Rough Trade, Crepusqule, Cherry Red, Creation and Sarah. In other words, we listened to those music in real time like you.

++ Had you been in other bands before the Korova Milk Bar? If so, how did all of these bands sound? Are there any recordings?

Yes, I led the a group called “The Puppets” which is goth band. Unfortunately, there is no recordings.

++ What about the other members?

The Korova Milk Bar is a group when we’re university students in 1987. The band-members are Guitar, Tsuruta (ex-Johnny Dee), G & Bass, Fukuda (ex-Johnny Dee, Psychagogo) Drums, Naito, and I. Everyone loved ‘60s music, punk, new wave and always used to get vinyl records. We’re really a white music supremacy, off course the fashion too.

++ Where were you from originally?

I was born in Kumamoto in west Japan. When played at Johnny Dee I lived in Fukuoka. Now live in Tokyo.

++ How was Tokyo at the time of Korova Milk Bar? Were there any bands that you liked? Were there any good record stores? Or what about the pubs or venues to go check out up and coming bands?

In terms of domestic bands, I particularly loved a Japanese great new wave group, The Roosters, so was especially influenced their album “DIS” and “PHY”. Then lived in local city far from Tokyo, but I often used to go to record stores such as “Zest”, “Vinyl Japan” and “Warszawa” in Tokyo. These record stores had any rare records and a lot of records of obscure new groups in the UK. I was a vinyl geek those days.

++ How did you all meet? How was the recruiting process?

We had an opportunity to meet at college circles, record stores and gigs because there were limited places go to in the world of maniac and minority music in the city of Japan.

++ How was the creative process for you? Where did you usually practice?

As for the practice, we practiced at member’s house and studio and often used to cover The Velvet Underground, The Smiths etc. This time we posted VELVET’s cover ‘Ride into the sun” and CAN cover “19c man” recorded in those days to YouTube. If you guys would like to, please check.

++ What’s the story behind the band’s name?

Its name taken from “A Clock Work Orange”. In addition, “Korova” is a label name which belong to Echo and the Bunnymen and Strawberry Switchblade I liked in those days. However, after that I found the same band’s name in the UK. Our band’s name has “The” though.

++ Who would you say were influences in the sound of the band?

Regarding The Korova Milk Bar, we were influenced The Smiths, Felt, and The Jesus and  Marychain. We pretty loved ‘80s UK sound. Since there were no like a cool guitar bands in   Japan, we wanted to be a domestic first guitar band like The Smiths.

++ Are there still many unreleased songs?

Yes, there are some songs, but the quality is not so high I think.

++ And how come there were no more releases by the band?

Because we broke up the band and became Johnny Dee.

++ At some point I noticed that the band lineup changed too, right? What happened? Who left and who came to be part of the band?

The side guitarist just left the band. After that lead guitar, Shimoda joined the band and became Johnny Dee.

++ I think my favourite song of yours might as well be “Rain Girls & Gentle Girls”, wondering if you could tell me what inspired this song? What’s the story behind it?

I’m glad to hear that. This song was inspired by The Smiths anyway. The vocal style like kind of My Bloody Valentine though. I added a bit Japanese because I wanted to make UK sound to an original Japanese song.

++ If you were to choose your favorite Korova Milk Bar song, which one would that be and why?

It’s “Rain Girls” and “Ryouzoux”. Regarding “Ryouzoux”, sounds like an early Felt. This song was inspired the early Felt and “White Nights”, Psychic TV. I really like the sound of guitar like a “Mexican Bandits” by Felt and melody. At that time, I don’t think there was a band in Japan that has such an authentic UK sound..

++ What about gigs? Did you play many?

Not so much. The audience was also quite small.

++ And what were the best gigs you remember? Any anecdotes you can share?

Unfortunately, There is nothing.

++ And were there any bad ones?

We were too obsucure. Our sound was for a minority. We didn’t have an audience, and they couldn’t understand our music. If we were in Tokyo, it would had a little better I believe.

++ When and why did The Korova Milk Bar stop making music? Were you involved in any other bands afterwards?

This band certainly broke up in 1990. Afterwards changed Johnny Dee since Shimoda joined.

++ What about the rest of the band, had they been in other bands afterwards?

We transformed to Johnny Dee. After that I was involved The Palm Songwriters and Johnny Johnny. Also, I sang two songs at Colour Filter. Fukuda, guitar & Bass formed Psychagogo and joined The Palm Songwriters.

++ Has there been any Korova Milk Bar reunions?

There was no reunion at all since I’ve been away from music, I’ve never thought about it so far.

++ Was there any interest from radio? TV?

I was not keen on either.

++ What about the press? Did they give you any attention?

There was nothing at all. We’re completely unnoticed.

++ What about from fanzines?

It’s the same. Because there weren’t fanzines around. There was a Japan’s first great indie fanzine called “Eikoku Ongaku”(英国音楽), but neither we nor they knew it.

++ Looking back in retrospective, what would you say was the biggest highlight for the band?

From my stand point, this band was purely pursuing the UK guitar sound, one of the few in Japan . Only this one point.

++ Aside from music, what other hobbies do you have?

I love fashion like a UK new wave. There are good brands in Japan. In particular, Comme des Garcons creates some good clothes that mixes new wave and trad fashion.

++ Never been to Tokyo, but I hope after this pandemic is over I will be able to visit. I want to take advantage ask a local for some recommendations! What are the sights one shouldn’t miss? Or the traditional food or drinks that you love that I should try?

If you come to Tokyo, you should first go to Disk Union, Japan’s biggest record store and off course don’t forget so cool record store Blue-Very records. Then you should go to Kyoto a beautiful city with Japanese traditional culture. In terms of Japanese foods, we would take you to the Japanese style pub, “Izakaya”. Anyway, we’re looking forward to seeing you.

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Listen
The Korova Milk Bar – Rain Girls & Gentle Girls

Thanks again to Hitoshi Oka for this interview! I actually interviewed Hitoshi many years ago about the band Sloppy Joe who released some wonderful albums and for me played one of the best gigs I ever saw at Indietracks. But of course, he had been involved in othere bands, like most recently Ivory Past. I was aware of the band he had been prior to Sloppy Joe which was called My Coffee Moment who released a terrific 7″ on Firestation Records, but I knew very little about this band. So I am very happy to learn more details about My Coffee Moment as well as the Japanese scene of the 90s/early 2000s.

++ Hi Hitoshi! Thanks so much for being up for this interview! Many years ago we did this great interview about your current band Sloppy Joe, and was wondering what’s new with the band? Is it still going?

Hi Roque! Thank you for interviewing me again.

Sloppy Joe released new album ‘Waiting for the night begins’ (LP and CD) on July 2020.And we released remastered version of the album ‘With Kisses Four’ (LP ,Originaly CD released on 2011). Please check our Bandcamp. You can listen and get our releases here. https://sloppyjoe-jp.bandcamp.com/

Because of Covid-19,we Sloppy Joe haven’t organized new album release party yet.

++ You have also been working lately on another project called Ivory Past which sounds amazing. Are there news on that side?

Thank you for always giving me praise comments about Ivory Past. Ivory Past recorded for releasing a split cassette with fanzine  in 2012, which was released by Satomi(Twee Girrrls Club,LITEN BUTIKEN) for Trixie’s Big Red Mortorbike Live Tour in Tokyo. After that, in 2016, I released a cassette single from Miles Apart Recors. In 2018 I released a split cassette with snowflakes, and in 2020 I released a split cassette with Shino Kobayashi from Blue-very Label.All of them are cassette releases, but I’m not particular about cassettes.

I want to record more songs and release it, but I haven’t been able to make enough time. I’m planing to release some songs as Ivory Past or another project.

++ So let’s go back in time. What are your first music memories? Do you remember what was your first instrument? How did you learn to play it? What sort of music did you listen to at home while growing up?

When I was a kid, I only listened to popular Japanese music such as the theme songs of TV dramas. I became interested in fashion magazines and music magazines from the 14 or 15 years old. I remember being interested in The Who, The Jam,Style Council and so on by fashion magazines. And after listening japanese Cornelius’ debut album, I became interested in Flipper’s Guitar as well. That’s when I started listening to artists from Japanese Trattoria Label and Cruel Label such as Bridge, Wack Wack Rhythm Band, Freedom Suite, Citrus , Roof and Favorite Marine etc. At the same time, I was addicted to music like Orange Juice, Aztec Camera, The Monochrome Set, Felt and The Smiths.

I started playing the guitar when I was in high school. I saw a TV program which introduce Orange Juice , Everything But The Girl etc…, and the moderator of the TV program was playing my favorite song on the guitar. I decided to buy a guitar. I bought an electric guitar and practiced songs of Flipper’s Guitar and The Smiths.

++ Had you been in other bands aside from the ones we’ve mentioned so far? If so, how did all of these bands sound? Are there any recordings?

I’d been in the band called ‘Ollie Vee’ on bass guitar.The band was with the singer of ‘Airplane Rider’ and the drummer of ‘Chicago Bass’. One of the band’s song was included a compilation CD. We play some original songs and cover version of Eggstone, La’s, and the Fairground attractions songs at our gigs.

++ Where were you from originally?

I was born in Tochigi prefecture and lived there until in high school.I couldn’t buy a lot of records because there weren’t so many record shops there.After moving to Tokyo to go to college, most of the money I earned from my part-time job was spent buying 80’s and 90’s indie pop records. 

++ How was Tokyo at the time of My Coffee Moment? Were there any bands that you liked? Were there any good record stores? Or what about the pubs or venues to go check out up and coming bands?

I remember a senior in college taking me to a gig of the band ‘Lucy Van Pelt’ (later renamed Advantage Lucy). Then I started going to their gigs a lot. I met some friends at their gig,and they invited me to the indie pop party.Then,I started the band and DJ party.

At that time, I was crazy about collecting records of the 80’s and 90’s indie pop. And I often went to gigs of overseas band. It was an incredible night to see the jazz butcher, max eider, dislocation dance overnight. I also saw Trash Can Sinatras, Rocketship, Eggstone, Poundsign, The Aislers Set and so on.

There were some good indie pop record stores in Tokyo, and I used to go there almost every day. Zest, Rough Trade, Vinyl Japan, Blue-very records (now Disques blue very), Warszawa etc. I had a lot of friends I met at the record shop. And I also worked at a record shop named ‘DMS’ as part-time job. At that time, there were a lot of indie pop DJ parties, and I was doing an event too.

My coffee moment was often played mainly at the venue named Shinjuku Jam.And, I saw a lot of indie bands there. There were many other indie pop band gigs at venues in Shibuya and Shimokitazawa too.It’s also a good memory to have performed several times at the Clover records event at a bar in Ikenoue (Local Station in Tokyo) called Bobtail.

Shinjyuku JAM closed in 2017.Japanese indie musicians and fans were very sad about it.I’m grateful that I was able to perform as sloppy joe just before the store closed.

There were so many indie pop bands around us, but I think most bands had a hard time releasing CDs and records.So,many bands sold their own copies of the cassette like us.

++ When and how did the band start? How did you all meet? How was the recruiting process?

In 1997,I met Takeyoshi on drums at university. I remember I lent him some vinyl records of Aztec Camera, The Monochrome Set, Orange Juice and McCarthy.Then he went into indie pop.Yuko, the bass player, met at the club and had a DJ Party together. I formed a band with them. Katsumi (PROGURU) also helped me with gigs and recordings. All members loved indie pop well.

After that, Riichiro (currently a member of sloppy joe) joined as a member on the guitar. I remember meeting for the first time at the DJ Party of Guitar Pop Jamboree(Disc guide book) after recruiting members. Later in the band, Osamu Shimada (The Caraway, Swinging Popsicle) help me with the drums.

++ How was the creative process for you? Where did you usually practice?

The songs were basically made by me and played in the studio as everyone liked.The lyrics were written by some members.We practiced at a rehearsal studio near my apartment. We always spent the night listening to records in my room after practice. It wasn’t difficult to share what I wanted to do because the members really loved indie pop.

++ What’s the story behind the band’s name?

The band name was taken from the catchphrase written on the vending machine. I still think it should have been a different band name.

++ Who would you say were influences in the sound of the band?

We liked Aztec Camera, Orange Juice, Dislocation Dance, The Man from Delmonte, The Desert Wolves, Razorcuts,The Chesterfields,The Close Lobsters, etc. And we wanted to make that kind of sound. We weren’t so good at playing though.

++ I believe your first releases came out on tape. I’ve seen some on Discogs and they seem quite rate. Were these early tapes distributed in any way? Sold at gigs?

It was difficult for the indie pop bands around us to put out vinyl records and CD, so we often made our own cassettes and sold them at gigs, or had them sold at record stores, and we did that too. I think I only copied 100 or less. There were also some shops that sold a lot of unknown indie pop band’s cassettes like us. 

++ One of the tapes is called “Scrapbook Sampler” and dates from 1999. This one has two songs and it says it was released by Duplo Records. Wondering then who were Duplo Records? Was it yourself perhaps? And then there’s also a “Scrapbook” compilation 7″ where you contribute one song. There are three other bands on it, Corniche Camomille, Red Go-Cart and Airplane Rider. Was the tape just a promotion piece for the 7″? Was a release party with all four bands? Were you all friends with the bands or at least you were aware of them at the time?

It’s a extra cassette for the 7inch released with Red Go-cart,Corniche Camomile,Airplane Rider from Duplo records.The label was organized by Osamu Ikeya who was writing articles and apprentices in ‘Beikoku Ongaku’.He was the same age as me and loved indie pop. He really appreciates that he released our songs.

The all members of Airplane Rider was friends of Osamu. I was in a band called ‘Ollie Vee’ with Yasutaka the singer of them.

Red Go-Cart is a band from Sendai (Miyagi prefecture). When I went to Sendai with the band ‘Poussin’ for their gig, we stayed at their room after the gig. One of the girl I met at the night was White Lily Records’ owner who later released Sloppy Joe album ‘With Kisses Four’.

++ The other tape, also from 1999, is called “I Saw Many White Tea Cups..” that had 3 songs. This was for sure a self-release. One thing that I wonder is why did you go through the cassette release route? Are you a fan of them? What do you think of the rebirth of tapes that’s been happening in the last 5-10 years?

t was a self-release. We wanted more to release on vinyl than on cassette, but we had no choice but to release on cassette.We didn’t have enough money to release it on vinyl or CD, and we didn’t have a label to release it.

There’s a boom in cassette releases these days, but I think it’s better to put it on vinyl for me.

++ Then I see a demo tape with “Spring”, “Real Life” and “Girlfriend from Summerfield” dating from 2000. Did you make any other demo tapes? Or was this the only one?

This is what we were giving out to some friends. I sent this to uwe on Firestation Records and then had the song ‘Spring’ put into their compilation ‘I Tried A Thousand Times, A Thousand Times To Change Your Mind’.

++ The one release I have by you is the 7″ Firestation Records released in 2001. I am curious about how this relationship started, you being in Japan and the label in Germany?

Shortly after the compilation, it was released on Firestation Tower Records. It was a very incredibly happy event for us.

++ Were there interest from any other international labels to release your records? What about within Japan?

It was included in some cassettes with Japanese fanzine, but I don’t think other labels were interested in releasing our songs.

++ The 7″ has a nice photo on the sleeve and was wondering if it is you on it?

That is our member. I had my college friend take a picture with me. There was a video (The Bird from Northern Britain) he made at that time, and it wasn’t released until now, but I uploaded it so please watch it.

++ And what about the split cassette with Proguru? Who was this band? I’ve never heard them! When was it released? Do you remember? It seems it was only limited to 110 copies and of course I wonder who released it and why such a limited release?!

It’s a project that Katsumi was doing, who also participated in my coffee moment in the early days. He loves indie pop and was a benefactor who taught us a lot of great bands.

Perhaps the split cassette was released 1999.Around 1998 to 2000,we released some compilation cassette with his other projects “QUADRATEENY” and “PROGURU” and other friends’ “MEGNOW”  and “Orange Bike” with us.I think these were distributed at our DJ party.

++ Aside from these releases you did appear on a few compilations. Mostly on Firestation Records and then on a few Japanese ones. There’s one CDR compilation that I believe was put together for The Lucksmiths Japan Tour in 2001. Clover Records put this out. Did you play a gig with the Australian band? There are 19 bands on the compilation, so I am not sure if all were part of the tour, or how did this work out?

We’d done a couple of Clover Records events, and we played with The Lucksmiths in Tokyo. I don’t remember the CDR well, but I think it contains the bands that appeared on their tour.

++ The other compilation that caught my eye was the “Beady Compilation Vol. 2”. This one has a few obscure bands I’ve never heard before like The Cartoon Characters, Patorush, Maybelle or Start Up Bus. I should look for them. But wondering if you’d recommend me some obscure Japanese bands as well?

Beady was a good indie pop fanzine.”Beady Compilation Vol.2” includes 9 bands. Bobbie’s Rocking’ Chair, Trans Alphabet, Chain Letter are good Japanese indie pop band you know. Especially,I remember being very excited when I heard Trans Alphabet songs on their  self release cassette. Patorush and Maybelle released some cassettes,and Patorush released a CD from Minty Fresh Japan in 2000.

I still have the cassettes I bought in the late 90’s, so I’ll show you some of those bands.

Harmony Hatch, Risette, Ping Pong Dash! were the band we played on our first or second gig.We played with them some times.

Cyclon 86 was C-86 sounds band as the name suggests. I have two cassettes of them. Bass player of Cyclon 86 is now playing as the member of Bertoia. Bertoia is very good shogazer style band that is still active.

I have cassettes of other bands, but many of them are obscure bands that only released cassettes, so it may be difficult for you to get them. I’ll send you a photo of the cassette for you.

++ Are there still many unreleased songs by My Coffee Moment?

There were a few unreleased songs that were being recorded at the time, but two were provided for the Firestation Records compilation ‘Still Mad At Me?’ released in 2000. There are a few more songs that I couldn’t mix properly in the middle of recording and ended the band activity, but I don’t know if the day will come when they will be released.

++ I think my favourite song of yours might as well be “Remember”, wondering if you could tell me what inspired this song? What’s the story behind it?

I think it was a time when I was influenced by Close Lobsters, The Desert Wolves, The Man from Delmonte, and so on. Of course I still love their songs

++ If you were to choose your favorite My Coffee Moment song, which one would that be and why?

For early year songs, I like ‘Seventy Seconds Tea Time’. We were happy that our song became a vinyl record for the first time.And ’Remember’ (released from Firestation Tower Records) is the best. I also like ‘Living’. The song couldn’t be released while we were active, but I’m glad to have it included in the Firestation compilation ‘Still Mad At Me?’

++ What about gigs? Did you play many?

We did lots of gigs. The most of our gigs were at Shinjuku JAM which was one of famous venue for japanese indie bands.We played there once or twice a month.

Most of our gigs were with Japanese bands, but we also played against some overseas bands such as The Lucksmiths and The Salteens etc. The Salteens was also included in the Firestation tower records compilation ‘I Tried A Thousand Times, A Thousand Times To Change Your Mind’ with us.

++ And what were the best gigs you remember? Any anecdotes you can share?

Poundsign and The Aislers Set Japan Tour held by Beikoku Ongaku (I remember the gig was with Japanese The Capuale Giants). Mike (Owner of Slumberland Records) stayed in my apartment, and he came to our bands’ gig with them. That’s so excited to us.

++ And were there any bad ones?

I think there were a lot of bad gigs. We were not so good at playing, especially the first gig I have some videos of our gig. It’s scary to watch for us.

++ When and why did My Coffee Moment stop making music? Were you involved in any other bands afterwards?

I don’t remember the reason why I quit, but I think it was disbanded when I graduated from college. After that, I started making demo somgs by myself and became an activity of ‘Sloppy Joe’. I’m still interacting with them. 

++ What about the rest of the band, had they been in other bands afterwards?

Takeyoshi was the drummer of ‘Sloppy Joe’ early year, and he played drums several times with ‘Poussin’ and ‘Boys and Girls Together’. Riichiro on the guitar is also the current Sloppy Joe guitar. He also participates in a band called Cleandistortion. At the end of the band, Osamu (The Caraway/Swinging Popsicle)  was temporarily playing drums in our band.

++ Has there been any My Coffee Moment reunions?

Probably there is no reunion. It’s been so long that I don’t think I can play the songs of the time, and each one has a different environment.

++ Was there any interest from radio?

As far as I know, a local radio show in Fukushima played our song only once.

++ What about the press? Did they give you any attention?

The press did not show any particular interest in us. Because we weren’t famous.

++ What about from fanzines?

We were interviewed by a few indie pop fanzines.“Beady”, ”Calino” and more. And our songs was included their compilation cassettes. Those interviews were also valuable to us.

++ Looking back in retrospective, what would you say was the biggest highlight for the band?

After all, it was the best for us to released our 7inch single from Firestation Tower Records. I’m really grateful to Uwe.

++ Aside from music, what other hobbies do you have?

My hobbies these days are running and taking pictures. I always run with my camera. DIY work is another hobby of mine. I make 7 inch record cases for LITEN BUTIKEN(the general shop and cafe).

++ Anything else you’d like to add?

I’d like to release some new songs of sloppy joe, ivory past and others.

I hope I can let you know something soon.

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Listen
My Coffee Moment – Remember

Thanks so much to Martyn Cooper for this interview! I wrote about the Reading band Henry Does a Runner not too long ago. I was lucky that a week or so ago Martyn got in touch, shared with me the 4 songs of their one and only demo, and I knew I had to do an interview with him and find out more details about his band. So here it is, and I hope you enjoy it. Time to discover this great long lost 80s band!

++ Hi Martyn! Thanks so much for being up for this interview! How are you? Are you still involved with music?

Yes – still playing

++ Let’s go back in time. What are your first music memories? Do you remember what was your first instrument? How did you learn to play it? What sort of music did you listen to at home while growing up?

My mum and dads vinyl collection was very varied – lots of rock’n’roll and country as well as ‘pop’- I was into Bolan and Slade – definitely preferred the grungier rockier tunes to ballads then punk turned up 🙂 and I was hooked.

Started on bass in school band but soon became front man and vocalist and started learning guitar. Self taught which possibly explains limitations.

++ Had you been in other bands before the Henry Does a Runner? If so, how did all of these bands sound? Are there any recordings?

The school band was ‘Dan Druff and The Lotions’ and thankfully no recordings exist. A punk/pop mix

After them I formed The Escapists who had a reasonable following in the Reading area – space Rock – mostly covers [Iggy Pop, B52s, Utopia,. Here&Now, Ramones, Sex Pistols] – real eclectic mix. Still in touch with most of them [Tom Hall, tony Man, Graham Coombe] – some bootleg recording were around but I don’t have copies. One from a gig in a barn near Huntercoombe Young Offender unit and one from ‘Doris’s Party’ – a free festival in Reading which had a great line up including Here&Now, Ozric Tentacles amongst others.

++ What about the other members?

Henry Does A Runner line up was

Brian Glister [drums]

Johnny [Bass] replaced when he left by David White

Jim Holmes [Lead guitar]

Martyn Cooper [Rhythm guitar and vocals]

Songwriting was Brian and Jim

++ Where were you from originally?

The band definitely identified as a Reading band although Brian was out in Maidenhead

++ How was Reading at the time of Henry Does a Runner? Were there any bands that you liked? Were there any good record stores? Or what about the pubs or venues to go check out up and coming bands?

There were some great venues and bands around. As a ‘pop’ band we tended to get a few support gigs to touring ‘up and coming’ groups which meant we played some of the better/larger venues but sadly to very few people. We played the Rock Garden in London apparantly twice but I only remember once 🙂

Best band in Reading at that time was ‘JOJO Namoza

++ How did you all meet? How was the recruiting process?

The guys advertised for a singer/frontman – I turned up and was too gorgeous and talented to turn down …. …. and I had my own PA system

++ How was the creative process for you? Where did you usually practice?

We rehearsed weekly in a warehouse behind the old Gillette building on the Basingstoke Road. Brian Jim would turn up with a new song and we’d work it out together but they came fairly well formed

++ What’s the story behind the band’s name?

I think Brian had been dining out and some posh blokes [Hooray Henrys] ran off from their table without paying [did a runner] – when talking to people the name was often shortened to ‘The Henrys’

++ Who would you say were influences in the sound of the band?

Everyone says ‘Lloyd Cole’ but I think there is a lot of The Smiths in the mix – catchy guitar riffs and poignant clever lyrics.

++ I’ve started asking this lately, as bands played with other bands that remain obscure to most people. Were there any great bands that you played with, that didn’t get the attention they deserved, with that you would recommend checking out?

My memory is hazy. I’ll say again that JOJO NAMOZA were brilliant.

++ I think my favourite song of yours might as well be “Before Your Eyes”, wondering if you could tell me what inspired this song? What’s the story behind it?

Brian best to answer

++ If you were to choose your favorite Henry Does a Runner song, which one would that be and why?

Frozen Frame – rockier number with, as the old folk say, a bit of bollocks!

++ What about gigs? Did you play many?

Seemed to gig a lot ….

++ And what were the best gigs you remember? Any anecdotes you can share?

I remember for a gig at The Rock Garden I literally ran into the venue having just got into London from Heathrow having been in Spain running the bulls in Pamplona. I just remember it being a good gig possibly because I hadn’t had time to get anxious about it beforehand.

++ And were there any bad ones?

Brian and I ‘exchanged words and wrestled’ a bit at a gig in Gun Street in Reading – I’d pissed him off and … well … stuff …

++ When and why did Henry Does a Runner stop making music? Were you involved in any other bands afterwards?

Because we’d worked so hard and were getting no interest from record companies it sadly just disintegrated. A shame as the songwriting of Brian and Jim was incredibly good

++ What about the rest of the band, had they been in other bands afterwards?

Dunno

++ Has there been any Henry Does a Runner reunions?

Not yet but I’m in touch with Jim, Jonny and Dave via social media. Lost touch with Brian sadly.

++ Was there any interest from radio? TV?

Not enough

++ What about the press? Did they give you any attention?

We got some local press attention but not a lot.

++ What about from fanzines?

Not to my knowledge

++ Looking back in retrospective, what would you say was the biggest highlight for the band?

++ Aside from music, what other hobbies do you have?

Back then I played rugby – now playing music continues to be my major ‘hobby’

++ Never been to Reading, so tell me a bit about your town. If I was to visit, what would you suggest me to do, what are the sights one shouldn’t miss, the food I should try  and the drinks one should drink?!

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Listen
Henry Does a Runner – Before Your Eyes

Thanks so much to John Furniss for the interview! I discovered the Sheffield band Mr. Morality late last year and wrote about them. They were an 80s band that toured with Pulp and had recorded many fantastic songs. Sadly none of their songs got properly released. Just a few years ago their song “Treehouse” ended up on a boxset released by Cherry Red featuring Sheffield bands. That was their first appearance on a release. But they had recorded many songs as I mentioned, which you can listen on Soundcloud. And also they have a Facebook updated often with lots of memorabilia.

++ Hi John! Thanks so much for being up for this interview! How are you? Are you still involved with music?

Yes, me and Dave Oldale (the guitarist) are in an indie cover version band, called Consider This. We play covers of indie songs by bands such as REM, The Cure, The Clash, Psychedelic Furs, Morrisey, Echo and the Bunnymen. We’re named after a line in Losing my Religion by REM.

++ Let’s go back in time. What are your first music memories? Do you remember what was your first instrument? How did you learn to play it? What sort of music did you listen to at home while growing up?

My sister is 3 years older than me and so I could hear the music she played. Most of it was rubbish so when punk came along it grabbed my attention.

First serious instrument was bass guitar, although I did have piano lessons at an early age.

For the bass I listened to songs and tried to pick out the bass line, or I watched friends who also played bass. There was no Youtube back in 1981.

Before the age of 14 it was music from the radio, or my sister’s bedroom.

In 1978 I bought my first single – 5 Minutes by The Stranglers. My favourite band was The Jam, with All Mod Cons being my favourite album.

++ Had you been in other bands aside from Mr. Morality?

Myself, Dave and a couple of school friends rented a practice room but soon realised that we had no idea how to play or write songs. We didn’t even have a singer or a drummer. Dave and I were approached by Steve to be in a band with him.

++ How did all this bands sound?

Awful. We were learning our instruments.

++ Are there any recordings?

++ Where were you from originally? And how come you ended up in Sheffield?

We were born and brought up in Sheffield and still live either in or very close to this wonderful city.

++ How was Sheffield at the time of Mr. Morality? Were there any bands that you liked? Were there any good record stores? Or what about the pubs or venues to go check out up and coming bands?

It was an exciting place to be. We were about 21 years old, and we felt invincible. We wanted to be rock stars and Sheffield had some successful bands in the early ‘80s so we wanted to be part of that success, although musically nothing like those bands (Human League, ABC, Heaven 17).

Pulp had been around for a while with many other bands being formed and disbanded within days, forming for just one a gig. It was a fun thing to do. Artery were the band tipped to be the next big thing. They were exciting to see live.

Sheffield had a Virgin outlet, where we could go and listen to LPs through headphones. Record Collector is the longest running independent outlet.

The Hallamshire was the main small venue for seeing new bands. Other venues were used but The Limit, The Leadmill, The Octagon and The City Hall were the bigger venues for touring bands.

++ How did you all meet? How was the recruiting process?

At secondary school. I met Steve on the first day in September 1975. We were in the same class. We met Dave on the first day of Sixth Form in September 1980. In 6^th form you were either a punk or a rocker. We were in the room where the punks gathered between lessons.

In late 1984 me, Steve and Dave produced a demo tape with around 20 songs on. They were recorded on a 4 track in my bedroom, using a drum machine. Martin was known by Steve, so we gave him a copy of the demo tape to listen to. He liked it and wanted to be in the band. We moved into our own practice room either in December 1984 or January 1985.

++ How was the creative process for you? Where did you usually practice?

Initially Steve wrote all the songs, but Dave and I helped to refine them and make them work. Latterly the songs came about by jamming and picking up on parts that sounded ok. Steve always wrote the lyrics.

We had a practice room on Garden Street, close to the centre of Sheffield, which we shared with a few bands on a rota basis. Pulp were one of the bands to use the room.

++ What’s the story behind the band’s name?

It’s taken straight from the title of a Pulp song. Steve suggested it and we liked it.

++ Who would you say were influences in the sound of the band?

XTC, Talking Heads, The Buzzcocks, The Jam, The Damned, Stiff Little Fingers, The Smiths, Echo and the Bunnymen.

++ There are so many unreleased songs by the band, have you ever considered putting together a compilation album of all these songs?

For my 50^th birthday my wife organised an LP for me, so there is actually 1 piece of Mr Morality vinyl in existence. She had to tell me about it, as she wanted me to pick the track listing.

++ One thing I did notice from all your songs I could listen is that the sound of the band evolved a bit. Early on you sound like very jangly and poppy and in later recordings you are a bit rockier, was that the natural evolution of the band? Or why do you think this change in direction happened?

It was a natural progression. Our song writing was getting better, and the songs were more involved. The main reason though was that Martin left at the end of 1987 and we replaced him with Dean, who had previously played trumpet at our gigs and on the recordings. Dean was more of a rock drummer then Martin, so our sound did change.

++ I think my favourite song of yours might as well be “A Less than Perfect Thing”, wondering if you could tell me what inspired this song?

It’s a love song about someone that didn’t feel confident in their life. Based on no-one in particular but maybe a number of people that Steve had gone out with.

++ If you were to choose your favorite Mr. Morality song, which one would that be and why?

I have many. If I had to pick one, and I did for the compilation, it would be The king of nowhere. Cherry Red Records wanted Valium Days for the compilation, I didn’t so we came to a compromise with Treehouse. A lot of the older songs are easier to play on the guitar.

++ Something that surprised me is that your Facebook page is well maintained with lots of memorabilia of the band. Who runs it? Is it yourself?

Yes, it’s me. Probably inspired by my midlife crisis but I thought it was about time that the story of Mr Morality was told. I’m currently working my way through the 35^th anniversary of each gig. For most gigs I drove the van, so hadn’t had a drink, and after each gig I wrote down the set list and a few particulars from the gig. It’s amazing what comes back to me when I read a few words of what happened that day 35 years ago.

++ Do you think social media, or even the internet, would have make a difference for Mr. Morality if all of these existed back in the day?

I’m sure it would, and I would probably have a better idea of how to get the message across. I have no real idea what I’m doing or how to promote the page. I rely on my Facebook friends sharing the post.

++ What about gigs? Did you play many?

We played 45 gigs, all are mentioned on our Facebook page, which I’m currently just over half way through the 35 year anniversary review.

++ And what were the best gigs you remember? Any anecdotes you can share?

Plenty, but playing at The Limit, The Leadmill and The Nelson Mandela Building in Sheffield and Rock City in Nottingham were great venues to play.

All memories will be on our Facebook page.

++ And were there any bad ones?

Not that many, again my memories will be shared on our Facebook page. I think the most disappointing thing was playing to large crowds in Sheffield then going out of town and playing to hardly anyone.

++ When and why did Mr. Morality stop making music? Were you involved in any other bands afterwards?

I think we were frustrated with the lack of recognition and the inability of being able to get quality gigs out of Sheffield. One reason could well have been that we didn’t have any vinyl for the venues to play in advance of a gig, or any other merchandise to sell. Sheffield in the mid to late ‘80s was not the trendy place to be from so the music press and the A&R people were focusing their resources elsewhere.

I was involved in one project with Mr Morality’s keyboard player (Dave Hinckler) and percussionist (Steve Naylor). I do have a copy of the song. It’s not my favourite song but it was great fun to create.

++ What about the rest of the band, had they been in other bands afterwards?

Steve has been most prolific. He’s been in a number of bands and produced a couple of solo albums.

The keyboard player, Dave Hinckler, was involved with Sheffield band Artery for a while, when they reformed. His brother Simon was an original member.

++ Has there been any Mr. Morality reunions?

I see Dave Oldale very regularly (we’re in a band together, playing cover versions of mainly indie type music). I see Steve a couple of times a year and I’ve seen Martin and Dave H a few times in 35 years. Only once have the four original members been back together, which was in a cafe over a coffee. I haven’t seen Dean or Steve N since 1988.

++ Was there any interest from radio? TV?

Only on local radio, when we sent them a new tape. We were on both of Sheffield’s local radio stations. We were also on Manchester Piccadilly radio – my wife went to University with the presenter and asked him to play us.

++ TV?

No, but there are a couple of videos out there. I have a copy of one of them (it’s also on Youtube), the other I’ve never seen.

++ What about the press? Did they give you any attention?

There was some attention, especially from the local press but not enough National press that we could use to get gigs outside of Sheffield. The press clippings are on our Facebook page.

++ What about from fanzines?

Nothing, as far as I’m aware.

++ Looking back in retrospective, what would you say was the biggest highlight for the band?

The creation of the songs, which I think stand the test of time. It’s a pity that only a small number of our songs were recorded. I wish we could have afforded to go in the studio more often. The memories are special, as are the enduring friendships. We shared a moment.

++ Aside from music, what other hobbies do you have?

I play and watch football and am a keen astronomer.

++ Never been to Sheffield, so would still like to hear from a local for some recommendations! What are the sights one shouldn’t miss? Or the traditional food or drinks that you love that I should try?

Sheffield is the 4^th/5^th largest city in England, but it is really a big village where everyone knows someone who knows someone famous. The city is built on 7 hills, but only 5 rivers, and we have lots of trees. We’re on the doorstep of the Peak District National Park so Sheffield is used as a stopping off point for people who enjoy walking, climbing, cycling and anything else that involves adventure outdoors.

We have a massive real ale/micro-brewery scene and some wonderful old industrial buildings that have been renovated and converted into food and drink venues.

We have our own condiment (a sauce you put on your food). It’s called Henderson’s Relish, but is known locally as ‘Endos. It’s ideal on fish and chips, or on pies mash and peas.

Tramlines Festival, held at the end of July, has in just over 10 years grown from a free inner-city festival to a mid-range size three-day festival attracting 1000’s of paying customers. The main venue has moved to a large park out of town but on the same weekend the city centre still has a three-day free festival with music on in most pubs and clubs.

At other times of the year there are always bands playing in pubs. The Leadmill is still the best venue for seeing smaller established bands whilst the larger bands play at either the City Hall or Sheffield Arena.

++ Anything else you’d like to add?

Just to say thankyou for your interest. Knowing that the music we made 35 years ago is still being found and enjoyed is a good feeling.

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Listen
Mr. Morality – A Less than Perfect Thing