Thanks so much to Paul Denheyer for the fantastic interview!

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

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

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

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

++ How much has changed Wirral since the eighties?

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

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

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

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

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

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

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

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

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

++ Did you participate in other compilations?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

++ Anything else you’d like to add?

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

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

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Listen
Politburo – Innocence

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Gavin: I like tea usually..

Christina: Always tea

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

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

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

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

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

Gavin: I will find you a picture

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

++ Did you design the artwork for your releases?

Gavin: No unfortunately.

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

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

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

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

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

Gavin: Cafe Le Spice and Wolverhampton Wanderers

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

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

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

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Listen
The Proctors – Black Tattoos

After another round of cutting and pasting Cloudberry sleeves I decided it was time to do some vinyl ripping. It’s been a while since I used my USB turntable. The slow morning (though I should answer a couple of emails!) invited me to go through and rummage around the 7″ boxes I have in my room. Earlier I’ve been putting together some artwork for the next split single. It’s fantastic. Also finished all the small posters for the new Cloudberry Classics CD, The Proctors, should be out any moment (you can pre-order now if you’d like and you can listen Black Tattoos streaming on the Myspace page). Also talked with some amazing bands for future interviews, so keep tuned to this humble blog.

Back to lost bands. The 7″ that I chose today for this Saturday morning comes courtesy of Avalanche Records, though they forgot to write which was the catalog number. I’d guess the band comes from Scotland too. Did Avalanche release any band that weren’t Scottish?  Having a look on the threefold sleeve, Riverhead was formed by Michael Doran, Rod White, Richard Conte and Ady Powers. It includes lyrics for both songs contained in this single sided 7″. Yeah, two songs on the A side which are “Was Away” and “Haddit”.  It also lists some other releases by the band (which are not listed in Twee.net):

• Alpharetta – which is a 12″ record that includes four songs, Looking At The Sky, She Can, Strange and My Turn. This is AGAP 005
• Haddit – another 4 track EP. This is AVA 001. Don’t know which songs were included, though I guess Haddit is one of them.
• And lastly it lists two T-shirts to buy, each for 6 pounds, one for Haddit and one for Was Away. Was it the same design as the sleeve covers?

Some more evidence that the band could/must be Scottish is that this 7″ was recorded in Funny Farm Studios, in Haddington. That’s quite close to Edinburgh.

Where does the name come from? The only Riverhead town I found in UK, is in Kent in England. There’s a Riverhead in New York state and also one in New Zealand and in Canada. There’s a Riverhead Books, a subdivision of Penguin Books USA that published the Kurt Cobain diaries… that can’t be either, right?

I don’t think this 7″ is scarce at all. I think you can find it on eBay easily. I recommend getting it for the great c-86ish, Leamington Spa sounding, “Was Away”. What a great song it is. Sadly there’s no information online about them. If you know their whereabouts, or what did they do after or before Riverhead… or maybe if there are more releases, let me know! I’d love to hear more from this band!

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Listen
Riverhead – Was Away

Thanks to Ian Kirton for the interview!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Thankfully, no! Well not that we know of!

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

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

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

++ Anything else you’d like to add?

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

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Listen
The Daisychain Connection – Julie Come Home

Thanks so much to Nick Clay for the interview!

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

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

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

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

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

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

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

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

++ Was Steve’s hair naturally uberblonde?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1987 Thin End of the Wedge

1988 Everything/Move for You/Ghosts

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

All in all not a difficult list to remember.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

++ What do you all do nowadays?

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

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

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

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

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

Not very rock n’ roll

++ Anything else you’d like to add?

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

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Listen
Pink Noise – Beverly Westwood