Frankie Goes to Hollywood - Live 1985

Pink Industry

Big in Japan - Cindy and the Barbi Dolls (multiple takes)

Teardrop Explodes - Live 1981

Fragile Friends (1985-87)

In 1985 Fragile Friends went through a series of line-up changes. Cliff Ray joined on trumpets (also for the Paper Doll single), together with Denise D’Arcy on sax (from Zale Out). David Bathe (with Return of the Toreador) was replaced by Steve Eastwood on drums and Paul Fisher by Neil Brighouse on bass (who then left to join Chance). Out goes Brighouse, in come Mike Keane on guitar (from Royal Family and the Poor), although for a short period of time. Within a few weeks another major change takes place around the original members (Mike King and Chas Cole): Maurice Cheetham in on drums, Steve Greenmantle on bass, Phil Johnston on sax and Gary Johnson on trumpet. With this formation Fragile Friends record their second single in May 1985:

 

The Novelty Wears Off (1985)

- The Novelty Wears Off

- Caught on the Hop

- No Good in Your Goodbye

- A Walk in the Sunshine

 (Caught on the Hop was also released on the compilation Sons of Jobs for the Boys)

Faith in Pleasure Magazine, concluding a review of one of Fragile Friends’ gig said: ‘They have already released 2 excellent singles and a third is on the way.’ However  no trace seems to have survived of the third release, and by 1987 Fragile Friends were no more. In 1988 Mike King started a solo career.

novelty

(see also: http://www.michaelwestonking.com/music/

http://www.triste.co.uk/mwk.htm

http://en.wikipedia.org/wiki/Michael_Weston_King  )

Fragile Friends (1981-85)

Fragile Friends were born in late 1981, when Mike King (vocals) and Chas Cole (guitars, keyboards) left Tradition. Here’s how Pete Ellis of Merseysound described the band in 1982:

‘Meet Chas, one time lights operator in such hit musicals as Evita and The King and I, and former engineer with OMD, for the five months before Enola Gay. However, not content to bask in other’s glory […] Chas decided to turn performer.

‘Mike modestly claims to have led, in comparison, a somewhat boring life. He left school at 18, a General Music Fanatic’, played in a number of groups until finally joining up with Chas in a 5 piece called Tradition. Fragile indeed, they lasted only 2 months: thus in October 1981 Chas and Mike continued as Fragile Friends […]

‘Living in Southport and with close connections in London, they are very much a non-Liverpool band. Disenchanted by the current trend towards dance or depression which everyone seems to be churning out, they claim to play ‘music of hope’

As to the band first five-track demo, the same magazine comments:

‘Somewhere in between The Room and The System, I was left with the feeling they had much more to offer. Catchy chorus lines and neat, tight drumming, made for a most enjoyable debut sound. Mike’s voice often reminded me of Bono. Never more so than on ‘Who Says?’, a simple piano and vocals number which bore a slightly similarity to the brilliant ‘October’ by U2. The remaining 4 tracks are in a much more poppy vein. The best, by far, being ‘Agree to Differ’ with a punchy almost jazz funk feel. Fragile Friends have talent and firm foundations, but they must build on them.’ (Merseysound # 24, June 1982)

In 1983 the line-up expanded  to a five-piece − mainly for live performances − with the addition of Steve Travis (bass, former Debonaires, later Six), Steve Rimmer (keyboards) and David Bathe (drums, later Return of the Toreador). This formation recorded the band’s second cassette demo with 10 tracks (Emotional Tennis, Moments, Creatures of Habit, April Fool, Smack!, Happy Together, Gift Horse, November in the Rain, I’ll Say It for You, Creatures of Habit – Instr.). In 1984 Travis was replaced by Paul Fisher on bass. The same year the band recorded a third demo (featuring Paper Doll, Colour Blind, Summer Fate, V for Vitality) and eventually their first single, which was released in January 1985.

 

Paper Doll (1985)

- Paper Doll

- What I Call Beautiful

Breakout  Magazine reviewed the single as being ‘quite pleasant […] a good sound with definite chart potential’ (March 1985). Garden Party Magazine wrote about the title-track: ‘Classy it certainly is, well constructed, well arranged, a sad, clever ballad that stays in the mind after a few hearings’ (February 1985).

paper doll

Elegance, Charm And Deadly Danger (1985) [Re-Up]

Elegance Charm And Deadly Danger is a compilation album of St. Helens / Rainhill bands released by Push Records in 1985. Push (acronym for Promotional Umbrella for St. Helens) was formed by a group of local promoters (among whom Dave Evans of the Tractors). The bands featured on vinyl all contributed to the costs, eventually getting their money back from selling records.

Elegance, Charm & Deadly Dangers (1985)

a1. Old Ma Cuxsom And The Soapchoppers - Don't Cry Darling (Daddy Had to Drown The Cat)

a2. Wake Up Afrika - Love Died In The Road

a3. The Riotous Hues - Happen

a4. Us - This Year

a5. Dixie Cartoon - Big Bucks

a6. The Howitzer Brothers - Real Man

a7. The La's - My Girl (Sits Like A Reindeer)

a8. Mave - Samantha Rox

a9. Kingston And The Hunters - Heart And Soul

b1. Post Mortem - Pity

b2.The Aristocrats - Ballistic Boogie

b3. 5,000 Spirits - Saigon Rain

b4. Cassio Viletone - Fingerless Gloves

b5. The Academy Of Unrest - Sensitive

b6. The Happy Gauls - Bad Night At Malibu Beach

b7. The La's - Sweet 35

b8. The Romulan Cloaking Device - Terry Fields And A Pint Of Guinness

b9. Mave - Thania (Come Down To Victor's With Me)

Old Ma Cuxsom: Originally Old Ma Cuxsom & The Soapchoppers (formerly John Noakes & His Amazing Waxy Cuticles) was a St. Helens pop group form in winter 1983 by Hugh Umbidaligo (vocals), Troy Steele (bass), Marcus Gossage (guitars), Colin Smith (keyboards), and Mikey Babbs (drums). Besides the number featured on this compilation the band also released one single in1986 (Don’t scare Me b/w Don’t Cry Darling, + Lightermen, Stevedores & Dinosaurs).
(see also: http://www.myspace.com/oldmacuxsom )

Wake Up Afrika!: Widnes five-piece acoustic group formed in 1984 by Pete Benson, Dave Pichilingi’ Fenlon (vocals) (both formerly with Utopia Dream, Fenlon later 35 Summer), Duncan Lomax (guitar) (ex Perfect, later 35 Summers, Hal), Ian Donohue (guitar), Stephen Hollan (bass), Andy Hignett (drms) and Andy Frizell (sax) (ex Perfect, later Wizards Of Twiddly, Royal Family and the Poor), the latetr replaced in 1987 by John Lyons. The band only released 2-track demo in 1987 (Mr. Christie / The Breadvan), changed their name to Giant Smile, back again to Wake Up Afrika, released a single in1989 (Simple Words b/w God Only Knows + Animal) before splitting and Fenlon and Lomax formin Summer 35 in 1990.
(see also: http://www.myspace.com/35summers
http://www.myspace.com/wizardsoftwiddly )

Riotous Hues: St. Helens act formed around 1984 by David Evans (guitar, vocals, later briefly with La’s), Dave Shaw (guitars, later Old Ma Cuxsom), Sean Edelston (lead gitar) Gaz Capper (drums) and Phil Smith (bass). Mike 'The Captain' Parker occasionally played keyboards (former Ilos, Fatal Impact, Happy Accident, later Us and Space Cakes). Both Smith and Evans later played in the Tractors. The band’s only vinyl releases are the song featured on this compilation and two others appeared on the Secret Liverpool compilation (Lessonless Rainbows, She Left). (see also www.myspace.com/therawhidechomp )

Us: Pop act formed in 1985 by ex-Riotous Hues The Captain (later Space Cakes), Tony Russell (drums, also with Romulan Cloaking Device), and other quite obscure figures such as Jamie and Ste A. The band only released the track appearing on this compilation.

Dixie Cartoon – Punk act from St. Helens fronted by Mike McCauley (later Rawhide Chomp). The only recorded song is ‘Big Buck’ featured on this compilation.

Howitzer Brothers: A group of funny poets from St. Helens.

La's: Originally a garage and R&B band formed in St. Helens in 1984 by Mike Badger (guitars), Lee Mavers (vocals, former Neuklon), John Power (later Cast), Paul Hemmings (guitars), John Timson (drums). Original member Badger – responsible for the band’s name – was asked to leave in 1986. In 1987 Mirk Birchall replaced Timson on drums, and this line-up released their first single (Way Out + Knock Me Down b/w Endless)
(see http://www.thelas.org/forums/ )

Mave: St. Helens poet.

Kingston And The Hunters: St. Helens power pop act featuring Paul Wilson (founder member, later Sweler and American Band Kerosene) and Simon Pratt (later Rawhide Chomp) on drums. The only recorded song is the one appearing on this compilation.

Post Mortem: Punk group from the Rainhill area formed around 1982 by Dr Death (vocals and song writer), Xon Walt (guitar), Paddy Nailbomb (bass), Drum Roll (drums). Only released the number on this compilation. They changed their name to Dr Death and The Mortem Boys, since there was already another band with the same name. (Thanks to Mike for the info)

Aristocrats: Dance-punk group from St. Helens. The only sing left is the number in this compilation.

5,000 Spirits: Pop rock band based in St. Helens. They only released the song on this album.

Cassio Viletone: Pop group from St. Helens.

Academy Of Unrest: St. Helens goth-punk group influenced by the Killing Jokes and early Cure. The line-up included Doug (vocals, guitar), Bun (bass), Brian Carney (keyboards), and Flimb (drums). In april 1985 thy released their first single (Sheol Hex b/w Rise of Doubt + Hope). They are also responsible for opening the Dead Fly in 1984, the first rehearsal room + record label in St. Helens.

Happy Gauls: St. Helens based five-piece punk band fronted by Mike (later manager with the Vernons).
(see: http://www.myspace.com/thevernonsmusic )

Romulan Cloaking Device: Rock’n’roll band formed around 1984 by Mike Shaw, Platty, Tony Russell (drums, also Us) and Jeff Murdon (bass) (both later with Space Cakes). The band only released the track on this compilation and disbanded in 1986.

.

elegance, charm and deadly danger

Keep It Dark (1984-86) [Re-Up]

Keep it Dark is a pop-rock three-piece formed in 1984 by songwriter Jimmy Barrett (vocals, guitars), Paul ‘Reo’ Reason (guitars, vocals, former Ex Post Facto, later US Companion), and Paul Stewart (drums), later replaced by Brian Rawling (former 3D). According to some sources, Terry Kilfoyle (former Asylum, later Big Still, Seconds Out) was added to the line-up on bass at some point. The band played quite extensively the local circuit before getting to eventually release their material on vinyl in1986. The first single (The Dreamer b/w Outsider + What do We Need) was issued in March 1986, soon to be followed by their second one (Don’t Surrender b/w Far from Home + It’s over). Both a-sides were then to appear on the band’s first (and only) Lp.

1st Down And Ten (1986)
- Better Than Me
- Don't Surrender
- If You Be Mine
- Be The One
- Who Can Say
- Dreamer
- Lost Love Forever
- The Outsider
- Far From Home
- Fish Out Of Water

One of the first pieces written about Keep it Dark (Next 14, May 1984) described the band’s live performance as follows:
‘From the sound of this first set by his [Jimmy Barrett] band Keep it Dark, both ears have been well tuned to American AOR for quite a while. […] It’s a sign for all those of you who will confess to listening to CSNY or Bob Dylan to pull up a chair and hear that sort of thing done well.
‘Jimmy reckons he’s been at it ten years himself, and thinks he’s cracked it with this line up. To be honest, the band lapsed too often into dull conventionalism – I heard half a dozen familiar chord changes through the night. But that, and the somewhat samey and one paced arrangements, are bound to change with more time together, and the background in musicianship and confidence is there to encourage experimentation.’

The American press reviewed as follows:
‘Liverpool, England, has spawned yet another pop band that has made its way to the United States after gaining a following at home. Keep It Dark was formed after singer Jimmy Barrett and guitarist Reo Reason saw each other playing in British clubs and decided they had a lot in common musically.
Their debut U.S. release is a modern pop blend of electronic keyboards, horns, guitar and a steady driving drum beat. Keep It Dark`s sound is more of a mesh of pop/rock style than raw-roots rock.
Side 1`s Dreamer is a medium-paced tune with Barrett backed up by a David Sanborn style saxophone. Most of the album`s cuts have a highly produced, studio mixed sound, which is something of a surprise since this band`s success started on the club circuit.
Keep It Dark keeps a pretty steady sound throughout, never really kicking in, and making it hard to decide just what they`re trying to say.’
(see here)

keep it dark

Old Ma Cuxsom - Some Recordings (1985-87)

Originally Old Ma Cuxsom & The Soapchoppers (formerly John Noakes & His Amazing Waxy Cuticles) was a St. Helens pop group form in winter 1983 by Hugh Umbidaligo (vocals), Troy Steele (bass), Marcus Gossage (guitars), Colin Smith (keyboards), and Mikey Babbs (drums). Besides the number featured on Elegance, Charme and Deadly Dangers (Don't Cry Darling (Daddy Had to Drown The Cat)) the band also released one official single in 1986:

Don't Scare Me (1986)
- Don't Scare Me
- Don't Cry Darling (Daddy Had To DrownThe Cat)
- Lightermen, Steve Dors And Dinosaures

here

 

The Bamboo Fringe - Someday (1985)

In 1985 Gary Garland recorded and released the band’s third single with John McLaughlin (guitars), Keith Cherry (bass), John Reynolds (guitar) and Howie Minns (drums).

 

Someday (1985)

- Someday

- Turn on the Lights

In 1986 The Bamboo Fringe provided a track for the Sefton Compilation ‘Twist and Samba’ (Careless Talk Costs Lives), which is the last recording of the band to date.

Someday can be found here.

(Thanks to our friend mineforlife )

(See also http://gerryculligan.com/history.html )

The Bamboo Fringe - The Life and Times of... (1985)

By mid-1984 The Bamboo Fronge had been ‘trimmed down to a two-piece, then a one-piece. the sole survivor was singer Gerry Garland. With the help from friends he recorded six wonderfully idiosyncratic Bambs classics’ (Skysaw PR info, 1985). Among this friends-fellow musicians who helped Garland complete the recording are Steve Torch (bass, guitars, keyboards, former Victims of Romance, White & Torch), Gary McGuiness (guitars, vocals, keyboards), Glen Winskill (synthesizers, bass), Pete Cummins (keyboards), Howie ‘Minns’ D’Minnzo (drums, ex Cherry Boys). With such a band Garland recorded and released the Bamboo Fringe much awaited first (mini) LP in 1985:

The Life And Times Of...

- The Hands Of Time             

- Turn On The Lights             

- Happy In Our Home            

- Under Attack                       

- All Too Safe                        

- Life And Times                      

Jamming (June 1985) wrote: ‘So far more promised than delivered, but Mini-LP on Skysaw contains hints of a brighter future.’

You can find the MLP here.

(Thanks to our friend to fade2gray)

The Bamboo Fringe - Dorian Gray (1983)

Bamboo fringe formed in 1981 by Gerry Garland (vocals, sax, keyboards, former Berlin, Fun, Victims or Romance) Jimmy Badel (guitars, bass) and Gary Mazier (keyboards, tapes). In Merseysound that’s how Badel described the band:

‘When Jerry and I met Gary, we’d been mucking around with tapes and things, we got Gary in on synthesisers, which seemed like a good idea at the time. This comes across as sounding rather predictable I suppose, because, because there seems to be a lot of bands who are douing and saying the same thins, but it did seem like a good vehicle for some of the ideas that gerry and I had at that particular time, having gone through the usual format of Drums, Bass, that kind of group. […] The idea of using tapes is to have a smaller nucleus in the band, when you have tyo accommodate four or five egos in a band it gets to be a bit of a pain after a while, working with tapes you can pre-record the rhythm track which leaves the musicians free to play things over the top at a gig’ (Merseysound #20, December 1981)

In March 1982 the band was portrayed as follows in the Bobey Magazine:

‘To see thee Bamboo Fringe in a live environment is to experience a unique event, fro every show is different. Singer, Garland, may be playing the role of intimidating frontman − daring the crowd to like him − or more recently playing the smooth sophisticated torch-singer, and wooing the crowd − daring them to dislike him. Badel guitar work ranges from the manic neck wringing feedback of Hendrix to the driving rhythm guitar of David Byrne, whilst Maziers stage presence remains constant − the elegant teenager − his diverse synthesiser frippery washes over and through the songs while his tapes link the songs thus removing the necessity for band to audience banter. […] On completion of their recording contract the band will expand their multi-media ideas but for the moment their major exploits will be in the confines of the recording studio. ‘We are aiming at being the only true Dadaist group of the eighties,’ Badel insists’ (Bobey Magazine, March 1982)

In 1982 Mazier was replaced by Gary Davey and later the same year Badel left his place to James Mealy (Garland’s fellow member of Berlin, Fun, Victims or Romance, and session musician with White and Torch), first, and then to Jim Eden.

This line-up recorded the band’s first single in June 1983:

Dorian Gray (1983)

- Dorian Gray

- How Do I Dance To This Music?

You may find it here

(Thnaks to our freind fade2grey)

Passion Polka (1982-84)

Passion Polka was a pop duo formed in 1984 by Steve Cottier (vocals, guitars, former Scope, Xionics, Kinetics later Peep Show, He Thinks He’s Me) and Keith Leary (keyboards, later Peep Show). Siobhan Maher (later Peep Show, River City People) helped out on vocals on some demos and augmented the abnd’s line-up for live appearances, together with a drummer and a guitarist (Tim Speed, former Beat That Drum).

Passion Polka released one single in 1983:

Obsession (1983)

- Obsession

- Juliet

Later on, the live session musicians − namely Siobhan Maher and Stan Trickle (drums) − became fully fledged band members, together with Dave Shell (guitar) and this line-up in 1985 changed name to Peep Show. In 1986 Peep Show disbanded and Maher and Shell went on to form River City People.

ppolka

Windows - Uppers on Downers (1981)

In September 1981 the Windows (Roddie Gilliard plus session musicians) released their first and only LP on Skeleton Records:

Uppers on Downers (1981):

- Immortal

- Toolbox Guitar

- Electric Cowboy

- Creation Rebel (aka Creation Dub)

- Prime Evil Scream

- Tenement Girl

- When the Music’s Over

The band gigged around the Liverpool area to promote the release. Here is how Merseysound (#18, September 1981) reviews the band’s gig at Kirklands:

‘Wondered how they would come over in Kirklands, but after brief nerves (on my part) I needn’t have worried. After the first song (back to the psychedelia boys) they continued strongly and atmospherically with a zippy rendition of Immortal followed by another newie about grass and trees. Other favourites from the album followed on with a familiar strains of My Guitar though I did think that sawing a piece of wood was a bad move especially not appreciated at Kirklands.

‘Despite a few drunk hecklers, a good number stayed enthralled. On stage Roddy and Steve came over as honest blokes, modest almost to the point of being shy, thus letting their music take your attention. I had reluctantly to tear myself away after Tenament Girl which seemed very different from the LP version. I left feeling pleaded and hoping that their live performance was a promise of good things to come’

In late 1981 Windows were history, and Roddie Gilliard would resurface in 1985 with the Munchies.

uod

Windows - Re-arrange (1981)

Windows were formed in 1980 by Roddie Gilliard (guitars, keyboards, voice, percussion, former Afraid of Mice), basically a solo project carried out through the aid of session musicians. The first release by the band − this time with Madtrax the Tank-driver on drums and Omega the Rainmaker on sax − was a rendition of When the Music’s Over for the compilation A Trip to the Dentist in May 1980. Almost a year later the band released their first fully fledged single, with Steve Cockrill (keyboards, guitar, vocals, from Geisha Girls) and Dave Morton (bass, guitar, keyboards and vocals), in August 1981:

Re-Arrange (18981)

- Re-Arrange

- Over Dub

Roger Hill’s review of the single reads as follows:

‘Watch out, ‘Ghost Town1’ This is spooky, has character, is bound to be hated by anybody who is allergic to ‘created’ sound, but has an A-side to compel the rest, whatever they make out of the typical Windows fuzzy-dub-without-the-reggae on the other side. I had hopes of this signle and wasn’t disappointed’ (Merseysound #17, August 1981).

re-arrange

Second to None (1982-1983)

Sefton band formed in late 1981. Three of the original members − Paul Masters (aka. Paul Marsters, guitar, vocals, former Shwerlemont & The Bad Spadges), Steve Swinnerton (guitars, former Frets, Harmonics, Fourmers, Between The Lines) and Mick Clarke (drums, former Frets, later Shell Collectors, Jenny Lind, Fallen People, Western Promise) − were together in the mod band Forgotten Image (1981-1982). When the act split Swinnerton and Clark played for a short time in Suspect Greenhouse (1982), before getting back together with Masters and bass-player Dave Deevey (bass) with a new band, Second to None. The band released one single in April 192:

Stop Thinking (1982)

- Stop Thinking

- I Don’t understand

Second to None disbanded in 1983. Clarke joined Western Promise, and Masters went on to form Blueprint.

secondtonone

Liverpool Rock Photography (Francesco Mellina)

Liverpool Eric's - The Book

A Game of Soldiers (1988)

On the band’s page that’s the only information to be found:

‘WE BEGAN IN THE EARLY 1980'S WITH SEVERAL DIFFERENT LINE UPS.
WE GIGGED ALL AROUND LIVERPOOL. PUBS & CLUBS.
PLUMMERS, FIREHOUSE,
SULLIVANS, PEN & WIG,
MOUNTFORDHALL, DAYLEYS DANDILION, STAR & GARTER,
EVERYMAN BISTRO, VENUE, PYRAMID,
SYSTEM, ETC’

In 1988 the line-up consisting of Dave Lang (guitars), Gary Marshall (vocals, keyboards), and Johnny Morrison (bass) recorded and released the band’s first (and only?) single, produced by Keith Hartley and the band.

Big Bad Money World (1988)

- Big Bad Money World

- Heaven Is High

Material by the band (including the debut single) can be found here and here.

A Man Called Russell

Gordon Hon (former Dalek I Love You) writes:

‘I have had a cassette knocking around for more than 25 years of music by a man called Russell. It was recorded in his Birkenhead bedroom on a 4 track. I think he had a clerical job in the tax office. That’s all I know about him. I only met him once and I remember him as a nice chap. He gave copies of his tapes to Alan Gill who copied them for me. I have always really liked these songs. They have something of Half Man Half Biscuit’s humour but are musically more inventive. Anyway I have finally copied them & here they are in cyber space almost 30 years later. I wonder what happened to him. I didn’t have titles for the songs; all that was written on the tape was “Russell for Gordon” so I have invented them based on the lyrics or almost arbitrarily for the couple of instrumentals.’

russell

(Thanks to Gordon for making this material available)

The Blitz Brothers (1979-80) [Re-Up]

The Blitz Brothers formed in late 1979 and consisted of Dave Bates (vocals, former Dalek I and A&R manager for Phonogram), Chris Hughes (drums and FX, formerly of Virgin Records, later Dalek I Love You, Adam and the Ants), Steve Lovell (guitars, ex Tontrix, later Hollycaust, and with Julian Cope) and Hugh Jones (bass).

Dave Bates:
‘As a teenager, Bates left his native London to become a successful BBC Radio Journalist, DJ and promoter in Sheffield. The success of his local shows encouraged him to return to London and the heart of the music industry. His grasp of the singles market saw him recruited by Richard Branson in an effort to steer the fledgling Virgin Empire away from just album sales and hippy shops. Branson also felt that he was the man to organise an in-store radio station for the Virgin shops. The idea never saw the light of day, but it did get Bates working with Chris Hughes, (Then a colleague at Virgin). The two became firm friends, bonded together by a mutual obsession with music. It was the start of a relationship that abides to this day with Chris as Davids' partner at db. " From that point on," they admit, " our careers are inextricably linked." As Bates moved into to A & R, Hughes was given the opportunity to move into production.‘Bates joined Phonogram as an A & R scout in 1976, at the height of the punk scene. His first signing was Dalek I, a band that contained future members of Siouxsie and the Banshees [sic], OMD and The Teardrop Explodes. Two years later Bates' vision came into it's own when he persuaded Mercury to fly in the face of fashion and sign a gang of unkempt rockers he'd found back in his old stomping ground of Sheffield, known as Def Leppard.‘Bates' unlikely lads went on to sell over 40,000,000 albums, and David's reputation as a man the music business could ill afford to ignore was assured.‘Never one to miss an opportunity Bates made use of his record companies facilities to form and record a band called 'The Blitz Brothers' starring him and Chris Hughes. He sent the demo into Phonogram by post. When the label decided to sign them he was forced to admit his involvement. Two of the singles have appeared on many US 'New Wave' compilation CD's.‘Bates hit the USA for the first time in 1978. He had formed a relationship with Ork Records and was trying to do a deal that would enable him to sign Alex Chilton, The Cramps and Television. He needed to go to New York to close a few details. Assigned £1,000 for the whole trip he performed a minor economic miracle by staying for four months. In that time he saw bands that he both loved and championed including Devo and the B52's. To their cost Phonogram failed to share in Bates enthusiasm and when the last dollar was finally spent he came home older, wiser and manifestly ahead of his time.‘It was in Middlesborough,1979 that Bates instincts told him that he had found another star in Julian Cope and a seminal band called ' The Teardrop Explodes'. Under Bates auspices the band recorded two legendary LP's and he continued to work with Julian Cope as a solo artist on Mercury.The 1980's and Bates' next big score would come via a tape of songs offered to him by a publisher. Unimpressed by the idea of covering the songs, he inquired after the writers instead. They were two teenagers who had given themselves the name of 'Tears For Fears'. After two failed singles Bates decided to go out on a limb, and recorded an album.For the third single he switched the A side with the B side "Mad World'. It made No 3, and the LP sold 4 million copies. It was the start of a union that lasted until the early 90's and has accounted for some 20,000,00 albums to date.In the mid 80's David's instincts had acquired Phonogram what can be described as an embarrassment of riches. "Of the five of us on Phonograms A & R team we had nine of the top ten singles in one week. You suddenly think that you can do anything and that everything is possible". Bates has always looked to hide behind, even back in the 70's he had formed Back Door records, he released 'I'm the Face' by the Who's first incarnation, 'The High Numbers'. Another hit. Bates now decided to sift through world music for further inspiration and went onto form a label called The Mobile Suit corporation with David Claridge. As well as his established bands Bates also found one-off hits like Trio's ' Da, Da, Da,'. Following a bet with a colleague Tracey Bennet, he had a top ten hit with Monsoons 'Ever So Lonely'. David, it seemed could do no wrong.Back home his long and intimate relationship with Julian Cope (Bates and Cope had shared a flat together, and in his autobiography Cope devotes a whole paragraph to Bates' record collection.) was under strain. Cope's conceptual excesses in the face of declining public interest, meant that they no longer saw eye to eye and one of Bates closet and most fruitful partnerships came to an end. "I wanted him to be Jim Morrison, he wanted to be Iggy Pop" says Bates. Although they still remain firm close friends today.’
http://www.dbrecords.co.uk/davidbiog.php?lang=1

Julian Cope, talking about Dave Bates calls him ‘A genius and a lunatic’ (Head On)

Chris Hughes (a.k.a. Merrick):
‘Right from the start, Chris Hughes' musical career has been about diversity. Since he bought his first drum kit aged 13 his endeavours have spanned the musical spectrum, devoting himself chiefly to its most ancient (percussion) and modern (electronics) forms. […]
‘As a teenager Chris immersed himself in the classic pop of The Beatles and The Stones and spent his spare time drumming in bands with his schoolmates. In 1973, he joined Virgin Records as "a basic sweeper-upper". Whilst working his way through the retail end of the business his fascination with electronic music grew. He began to experiment with recording, using a mixture of feedback, tape-loops and outright noise in a (now industry standard) "bedroom studio" fashioned from early synths, valve equipment and quarter inch tape.His first outing as a producer (and an early Bates collaboration) was Dalek I's "Compass Kum-pas", which was a fusion of pop and electronics that would not only point the way for Hughes' future but the direction of pop music as a whole. ‘Other early work would include the Bates fronted Blitz Brothers and some primitive sequencer sessions at Ringo Starrs' house for the young Def Leppard.‘In 1978, Chris played drums in session for former Big Star main man Alex Chiltern at Olympic Studios in London. Chiltern was sufficiently impressed to take Chris with him as drummer on his US tour. Back in London Chris found himself in the offices of Do It Records, two rooms above a minicab office in Camden, listening to a cassette tape played on the telephone answering machine. The tape was by Adam and The Ants and Chris, spotting both their potential and his need for some work, agreed to turn his attentions to the masters. […] ‘The Hughes produced Kings Of The Wild Frontier was a No 1 album, a milestone in pop, singles like Dog Eat Dog and Antmusic fused the Hughes fashioned Burundi drum sound into the consciousness of a generation and Chris joined Adam on the bedroom walls of Britain.‘Leaving The Ants in 1982, Chris began to focus more on production. He made his mark almost immediately with Tears For Fears. His work as producer commenced with their first album The Hurting and has continued, on and off, ever since. However, it was never a smooth ride. "I got fired on a regular basis," he recalls.‘The 80's saw Chris further establish his production credentials with the outright pop of Howard Jones, Wang Chung and Red Box as well as shaping the sound of more tangible artists like The Cars' Ric Ocasek and Paul McCartney. The decade saw him back again at the nexus of pop and electronics producing avant-garde hits for Propaganda.’
http://www.dbrecords.co.uk/chrisbiog.php?lang=1 

About Steve Lovell Julian Cope recalls: 

‘This is the guy that we used to adore from afar in Liverpool. Before the Bunnymen, before the Teardrop, Will Sargent, Simmo (Paul Simpson, former Teardrop Explodes, Wild Swans) and I used to consider Steve the nearest thing to Tom Verlaine. Of course, Tom Verlaine was a guitar legend in Liverpool. And, though Steve had always played in crap bands, his guitaring had always been so pioneeringly emotional and truly nerve-shuttering that we always just listened to him.’
(Head On, 17)

 

 They released two singles:

 Gloria (1979)

- Gloria (Van Morrison) b/w

- Songs/Records (C. Hughes)

 

Rose Tattoo (1980),
- Rose Tattoo (Bates / Hughes)
- Walking all alone (Bates / Hughes / Jones / Lovell).

(If uncredited, is possible to spot Alan Gill’s distinctive high-pitch voice singing in the chorus of Walking All Alone.)

 

An article in Dark Star Magazine in 1980 (No. 25, Vol. 5) the Blitz Brothers are presented as follows:
‘Producres of [Dalek I], The Blitz Brothers seems to basically consist of Chris Hughes and Dave Bates and have so far produced two superlative singles for Vertigo, the first of which was an idiosyncratic near-disco revamp of Van The Man’s Gloria coupled with the polished, wistful ‘Songs / Records’. This was followed by a Left Banke-like original called The Rose Tattoo (Deerfrance). Both may be hard to come by but persistence will be rewarded’
The Blitz Brothers (mainly Hughes and Bates) were also responsible for the subsidiary Back Door, which first signed Dalek I Love You and released the Dalek I Love You (Destiny) track in may 1980. The blitz Brothers are also credited as producers of much of the DILY’s Compass album, to which Dave Bates also provided additional backing vocals, Chris Hughes some additional drums, percussion, and FX and Hugh Jones bass on the track Heat.

blitz

(Many thanks to Endorphin)
(see also:
http://www.chrishughesproducer.com/chrishughes2/OC5.html
http://www.dbrecords.co.uk/chrisbiog.php?lang=1
http://en.wikipedia.org/wiki/Chris_Hughes_(drummer)
http://en.wikipedia.org/wiki/Hugh_Jones_(producer) )

Naffi - Yum Yum Yum Yum Ya (1982)

Naffi (aka Naafi Sandwich, Naafi, Naffis, Naffi-Locksman) was an experimental duo from Earlstown, Merseyside formed by Jerry Kenny (a.k.a. Sir Freddie Viaduct, vocals, bass, guitar, trumpet) and Brenda Kenny (a.k.a. Poly Rhythm, vocals, percussion, drums, keyboards) who played avandard music ranging from afro, to dub, to psychedelic, to noise. After a series of singles and cassatte releases (see relevant posts), as Naffi the Kennys released their full LP in 1982:

Yum Yum Yum Yum Ya (1982)

a1. The Scream

a2. Krazee Music

a3. Space Alligator

a4. More Like Beans

a5. Every Day Just Another Dream

a6. Slow Train To Viaductsville

a7. Yummy Yummy Ya

a8. Moroccan Roll

b1. Aint No Doubt About It

b2. Take Me In Your Car

b3. Blues For Toxteth

b4. Don't Forget

b5. Moonbeams

b6. I Dont Understand

b7. Krazee Version

naffi

(thanks to our friend aberrantadherents )

The Tambourines (1991-1993)

After the demise of 16 Tambourines, dropped by Arista despite the cult following they had developed over the years, Steve Roberts (vocals) and Tony Elliott (bass) continue writing songs together as The Tambourines. The line up included also Alan Gillibrand (guitars)  and Mark Roberts (ex Some Party, drums) and the music style shifted from acoustic to psychedelic rock.

The band released two EPs, She Blows My Mind in 1991 (including also In Your Hands, With You In Mind (Demo Version), Taxman (Live)) and You’re So Beautiful in 1992 (which included also Getting Younger, Jumping In The Fire (Live),  I Really Don't Want You). The Tambourines recorded also an album  which never saw the light of day. One song taken from it resurfaced on the Liverpool Unearthed Compilation: Five Miles Wide. The band toured extensively, either supporting groups like The Bunneymen, The River City People, The Real People, etc., or headlining, both in Britain and Europe but in late 1993, due to lack of management, The Tambourines folded.

tambourines

(see also: http://business.virgin.net/sixteen.music/tambourines.htm

http://www.myspace.com/tonyelliottmusic )

16 Tambourines - How Green Is Your Valley? (1989)

The idea of the 16 Tambourine was already there in 1981, when Steve Roberts (vocals) and Tony Elliott  (bass, later Tambourine, Catapult) tried without much success to give shape to a pop act, Total Action. Due to the difficulties in recruiting stable members to the group, Total Action disbanded and both Roberts and Elliott went their separate ways. In 1984 Roberts joined In Dangerous Rhythms (1983-1985) − featuring Rob Hill (keyboards), Denny Hampson (bass, vocals, former Modern Eon), John Neilson (guitars), and Tony McGuigan (drums) − whereas Elliott became a member of Sebastian’s Men  (1982-85) − featuring Mike McCarroll (ex Personal Column drums), Ian Copeland (guitars), David Hogg (later Return of The Toreador, guitars), and Margi Henderson (vocals). In 1985, after the split of In Dangerous Rhythms and Sebastian’s Men, 16 Tambourines became a reality. Elliott joined Roberts and fellow In Dangerous Rhythm’s member Hill and started jamming first with the aid of a drum machine and then bringing in former In Dangerous Rhythm drummer McGuigan. At the very beginning the band’s repertoire was the same as In Dangerous Rhythm’s but very early on 16 Tambourines started rehearsing at the Ministry and gigging quite regularly, releasing a string of original demos in 1985 of acoustic rock numbers (featuring songs like Don’t Run Away, What the People Want, Hope (A Man for All Seasons), Jumpin' in the Fire, I Wouldn't Want to Stop) which provided the band with some radio exposure. In 1987 the line-up was extended with the inclusion of Mike Moran (guitars), backing vocals (Susan Elleni, Sue Forshaw), and Perry Pineapple (aka Perry Leach on percussions), while Hill had been previously replace by David Oliver. In 1988 and 1989 the band toured the country supporting Dion, the Squeeze, Hue & Cry, Wet Wet Wet. Over this period 16 Tambourines wrote and recorded their first LP for Arista:

How Green Is Your Valley? (1990)

- Bathed In The Afterglow

- April

- Pokey Town

- If I Should Stay

- England

- Baby There Is Nothing Going On

- How Green Is Your Valley?

- A Love Like This

- When Lovers Walk

- This Is Not Love

The same year 16 Tambourines released two singles: original plans about the release of Baby There Is Nothing Going On changed and  If I Should Stay was chosen (b/w Same Old Story), whereas the second release was How Green Is Your Valley? (including also Breaking Away, Ich Liebe Frank, The World In A Day). Unfortunately, both singles failed to chart. Artista dropped the band, which collapsed, and morphed into The Tambourines.

16

(see also: http://business.virgin.net/sixteen.music/index.htm

 http://www.answers.com/topic/16-tambourines#ixzz21iMArMAu

http://www.answers.com/topic/16-tambourines#ixzz21iLzDLvZ

http://www.myspace.com/16tambourines

http://www.answers.com/topic/16-tambourines

http://noexit-thevow.co.uk/book/export/html/158

http://itunes.apple.com/us/artist/steve-roberts/id5278739)