The Umbrella (1985)

When in October 1981 Gareth Hancock and Jono 'Kumo' Podmore left Alvin The Aardvark & The Fuzzy Ants, the remaining three members − Norman 'Noko' Fisher-Jones (guitars, later Cure, Dynamo Futurista, Luxuria, Maximum Roach, Th’Ends, Apollo 440), James Gardner (keyboards, later, Luxuria, Apollo 440), and Howard Gray (later Apollo 440)− moved to London and formed what was to become the Umbrella. In London Gardner played and programmed keyboards and synthesizers for a variety of artists. In the meantime, Gray started working as a tape operator and sound engineer for Richard Branson’s Virgin, first at Manor Studio (Oxford) and then at Townhouse Studios in London, working with producers like Steve Lillywhite and artists such as Public Image, Stranglers, and fellow scousers OMD. In the same period, around 1983, Norman 'Noko' Fisher-Jones briefly joined the Cure on bass for some European and UK live-TV dates and started putting together another band, Dynamo Futurista.

At this point Fisher-Jones and Gardner decided to make things happen, and with a the inclusion of new personnel − Simon Hoare (drums), Mark Sanderson (bass), Alex & Julia on backing vocals − they recorded the material written so far, which was released as an EP called ‘Make Hell (For The Beautiful People)’.

Make Hell (For The Beautiful People) (1985)

- Make Hell (For The Beautiful People)

- William Brel

- The Persuaders (J. Barry)

The songs bear some audible influence of 60s pop à la John Barry, played through overlaid postpunk guitar and organ.

The EP can be found here and here .

(thanks to our friend Fantod under Glass. Band picture by Donald Lush)

Alvin The Aardvark & The Fuzzy Ants (1979-1981)

Five-piece avantgarde-experimental group formed in late 1979 by Howard Gray (later Apollo 440) − and originally his brother Trevor Gray − and fellow schoolfriends Jono 'Kumo' Podmore (guitars, later Kumo), James Gardner (keyboards, later Umbrella, Luxuria, Apollo 440), Norman 'Noko' Fisher-Jones (guitars, later Umbrella, Cure, Dynamo Futurista, Luxuria, Maximum Roach, Th’Ends, Apollo 440) and Gary Hancock (tape operator). Noko recalls:

‘[As] a teenager, I was messing around with reel-to-reel tape recorders and building fuzz-box circuits before I ever learned any actual chords.
Even though we only started @440 in 1990 (a number of years after I’d been making music for a living), it still feels like my first band, as Howard, Trevor and original founder member James Gardner were all schoolmates @ Old Hall High School, Maghull, L31. My actual first band was Alvin The Aardvark & The Fuzzy Ants and our first gig was on Granada TV’s “After All That…This” late-night arts magazine show in 1980 and was completely live and broadcast just the once! […] Our second was supporting Cabaret Voltaire at Plato’s Ballroom in Liverpool, a radical avant-garde nightclub/art-happening organised by Nathan McGough that was way ahead of it’s time. New Order played their very first UK ‘post-Joy Division’ gig there a few weeks earlier.
A.T.A.A.T.F.A sadly never made a record, although we’d recorded a single @ Liverpool’s seminal Open Eye Studios in 1981 that never saw the light of day. John Peel was a fan though, and one of my most exciting moments as a teenager was my mum handing me the phone and saying “It’s John Peel for you son”’. (http://www.apollo440.com/index.php?option=com_content&view=article&id=92&Itemid=94)

Named after a children’s toy the band created a original mix of avant-garde and jazz rock which materialized in 1981 on some tracks which appeared on the tapezine Merseysound Vol.2 (namely the oddly tilted ‘23across the Impresario 5 Letters 4 Letters’ − apparently a homage to Radio Merseyside Roger Hill − ‘Pip’s Tune’ and ‘Chumakin Dust’). Six other tracks have been recorded for a cassette EP (‘6 Audio Events’, July 1981), other 6 live tracks recorded at Plato’s Ballroom (25 February 1981) appeared on the tape ‘New’, and the band also recorded what should have been their first vinyl release (namely the single ‘Pip’s Tune’) at Open Eye Studios but they disbanded before the end of the year, and the single was not released.

Reviewing the A.T.A.A.T.F.A. last gig, (in October 1981) Breakout Magazine wrote:

‘The Ants have become almost a legendary cult band on Merseyside. With their select random non-promoted gigs and unique equipment and sound. If you have not seen The Ants then you have missed out on a unique and wondrous set. They would be an excellent soundtrack to a weird dream. The Ants are very committed to what they do, sometimes too committed. One shall always strive to be an artist. I’ve a feeling the ants think they are artists, a dangerous position. Nevertheless, what did we have here tonight. Five musicians putting noises together to create a feeling more than a sound. The Ants biggest problem is not being taken seriously by the audience, a pity as I find them listenable above all else. […] There is not a more extravagant band on Merseyside. […] I hope this is not the last we hear of the Ants. Merseyside need them badly’ (Breakthrough Magazine #3, October 1981).

The same month Hancock and Padmore left, and the Ants split.

(see also: http://en.wikipedia.org/wiki/Howard_Gray ; http://en.wikipedia.org/wiki/James_Gardner_%28musician%29 ; http://en.wikipedia.org/wiki/Norman_Fisher-Jones )

Alien Heat (1979-1980)

Birkenehead band formed in 1979 by David Hughes (guitar), Ian Powell (bass) (later Oklamotif, 11:59), Neill Buckley (keyboards), and Dave Hughes (drums), as a jazz-prog rock-oriented act. In 1980, after recruiting vocalist Paula Molyneux and under the guidance of manager Andy ‘Mally’ Jones (of Pink Moon record shop), the band changes their style towards a more pop-oriented sound. They only released one single (on their own label Alien Heat Record) in 1980, produced by Richard Brobyn:

Was it Love? (1980)

a. Was it Love?

b. Colours

The single reflects the two souls of Alien Heat, Colours being the space-jazz type of number the band used to write before Molyneux joined, and Was It Love? pointing to mainstream pop territories.

alien heat

Mutants - 1977-78 Recordings [Re-Up]

Birkenhead band formed straight from school in the summer of ’76 by Keith Wilson (aka Keith 'Kid' Steele, on guitar, later of Geisha Girls) and Paul Codman (aka Paul Pleasant, on drums, later in Egypt for Now and Geisha Girls) inspired by the pub rock of Eddie and the Hot Rods and by raw approach of the Stooges and MC5. After several changes the official line-up included, besides Keith 'Kid' Steele and Paul Pleasant, Sweet William on vocals, Al Sation (aka Paul Brady later Crawl, Ulterior Motive) on bass, and Roddie Rodent (aka Roddie Gilliard, later Muffin Man) on guitar.
The Mutants played their first ever gig at Mr. Digby’s in Birkenhead (with Slaughter and the Dogs) and quickly established themselves as an easy target for music criticism: they were too spikey, fast and ‘punky’ for a rock audience and too ‘rocky’ for a punk audience. For this reason they were banned from the premier new wave venue Eric’s due to their ‘unsuitability’. (Apparently, they responded by covering the entire club exterior, doors and all, with hundreds of posters for their upcoming gigs at the Havanna. And later, Eric’s would attempt to book the band at double their usual fee but the band at this point refused the offer). Their London debut was at the Roxy in Covent Garden, supporting The Police.
The Mutants released their first single in 1977:


Bos sman (1977)
- Boss Man
- Backyard Boys’



The single got some favourable reviews and even peaked at number six in the ‘Sounds’ new wave chart in October ’77, even though the band were disappointed, as the record failed to capture the raw energy and excitement of their live sound. The band continue touring extensively through the North, but when the time came to go back into the studio, the lack of commitment from a major label and the subconscious awareness of their inability to realise that ‘mass-market break’ took its toll. Keith Wilson, left just before the band released their second single:


Schoolteacher (1978)
- Schoolteacher
- Lady
- Hard Time



After the release of the single the band continued for several months, but due to the diminishing enthusiasm the Mutants split in late summer ’78.

Mutants

(see also http://www.punk77.co.uk/groups/mutants.htm
and http://whycontrol1977.blogspot.com/2008/03/bombsite-fanzine-1977-mutants.html thanks why control)

The Last Chant - Run of the Dove (1981)

The Last Chant (originally The Offenders) formed in 1981 by gathering friends from Liverpool Bluecoat School, namely David ‘Dix’ Dickie (vocals, guitar, later Black), Andrew Hussey (guitars), Brian Ashcroft (bass, vocals), Tim Blanthorn (violin), Richard Evans (percussion), Colin Billinge (drums, later Heaven Tonight). This line-up released the band’s first single in October 1981:

Run of the Dove (1981)

- Run of the Dove

- Strength Alone

- Tradition

As to who/what inspired himself and the band, Hussey concedes: ‘the Velvet Underground, Sex Pistols, Doors, Fela Kuti, Burning Spear, Edith Piaf, Joy Division […] The Sex Pistols were great… they believed in absolutely nothing… what always annoyed me about Punk was the way the Sex Pistols were always lumped together with all those mediocre groups who signified some kind of political or sociological protest such as the Clash… really boring political things. Politics is irrelevant… […] The Sex Pistols were just a magnificent nihilistic force… the prevalent attitude today is the importance of technical competence. When we play live the most frequent criticism is that we are not tight enough… what isn’t realised is that half of what we play is improvised. Of course this means we are frequently erratic, but also that we retain a certain tension. What matters is not play well, but to play with authority.’ (Bobeye Magazine, March 1982)

In 1982 the line-up changed drastically, with only Ashcroft remaining as a stable member from the original band, while Dikie joined Black and Hussey left to go the Manchester University and then moved to Paris. Ashcroft was joined by Colin McCornick (drums) and Dikie Rude (bass, vocals), and much later on by Dan Evan on guitars, Ronnie Williams (sax). By 1985 McCornick left for No Exit (see relevant post) and was replaced by some Karl. The band provided a song (Indifferent Blood) for the Two Points to Tonka cassette-compilation, after which Rude started collaborating with Wah! And Williams joined the Paradine Express.

last chant

(see also http://soundcloud.com/mickpuck/run-of-the-dove )

Care - Singles (1983-1984) [Re-Up]

Care formed in Liverpool, England, in 1983, when, after the split of the Wild Swans (with original members Jem Kelly and Ged Quinn forming the Lotus Eaters with Peter Coyle), singer Paul Simpson (also ex-keyboardist for the Teardrop Explodes) teamed up with guitarist Ian Broudie (previously of Big in Japan and Original Mirrors). The first single release came out in June 1983

My Boyish Days (Drink To Me) (1983)
- My Boyish Days (Drink To Me) (12" Version)
- An Evening In The Ray
- A Sad Day For England

The single well-represented the style of the band: shimmery guitar riffs and gleaming synthesizers (though ‘poppier’ and less elaborated then Kelly’s and Quinn’s) accompanying Simpson's dreamy and heartbroken crooning. Two more singles were to follow the first in October 1983, the second one in March 1984:

Flaming Sword (1983)
- Flaming Sword (12" Version)
- Misericorde
- White Cloud (alternative versions of the original ‘On The White Cloud’)

Whatever Possessed You (1984)
- Whatever Possessed You
- Besides (One And Two)

The duo was working on demos in view of an album (mainly with Ian Broudie on guitars, production and keyboards, with Paul Simpson on the keyboards and guitars, collaborating with Paul Sangster – formerly of Send No Flower together with Alan Wills and Ian Asbury – and Tony Wikelan), to be possibly titled Love Crowns and Crucifies, when divergences in the musical views of the two members – Broudie's taste for gleeful commercial pop vs. Simpson's penchant for darker more serious fare – caused the band to split. Simpson then re-formed the Wild Swans (with Jeremy Kelly and Alan Wills), while Broudie, some time later, would create the Lightning Seeds.

singles

(sse also http://www.flamingsword.co.uk/index.htm
http://www.lightning-seeds.co.uk/Care/history.htm )

La La Bam Bam (1982-85)

The band formed around 1982, under a name that was supposed to be perfectly appropriate for a band “who delighted and revelled in playing incessant melodious pop tunes” (Interview with James Scanlon 1988). The band featured Jeff Skellon (bass), Mark Kemp (vocals, later Empire), Mick Bulger (guitars, later Christians), Clive Gee (keyboards), and Mark Edmundson (drums, former Nadsad Fashion, Feathers & The Fire, Visual Aids, Royal Family, later Flock of Seagulls), soon replaced by John McQueen. The band recorded one single in October 1984:

The Colour of Your Eyes (1984)

- The Colour of Your Eyes

- I’m in Love with You

- Smiling

The Catalogue #20 wrote: ‘There’s something oddly attractive about The Colour of Your Eyes […]. Another 2 track 12” touching several bases with some nice details. One to watch, as they say’ (October 1984)

The band also performed on a Janice Long session, for her Saturday evening program on Radio One, playing The Colour of Your Eyes, Poisoned Umbrellas, Wearing Your Skin. The reaction to it was positive, and the session got repeated. LaLaBamBam also did a couple of sessions for the Radio Merseyside programme Streetlife.

In 1985 they provided the track Is it? For the compilation LP Blush on Black. Around the same time they played at a 36-hour gig at the Royal Court, a drug awareness gig. Perry Leach remembers:

‘In 85ish I remember being involved with Joey Musker and the drum marathon - a 36 hour gig at the Royal Court where the drumbeat couldn’t stop for 36 hours. All the top Liverpool bands played - Bunnymen, Pale Fountains, Icicle Works. It was a drugs awareness gig, although you needed to be aware of drugs to get you through 36 hours of drumming. I played with a host of bands as a second drummer which meant you had to keep a hi-hat beat between the bands’ songs; hence the 36 hours non-stop drumming. I did play a proper set at the show for La La Bam Bam with Jeff Skellon and Mark Kemp, who later I was to join up with on the People Get Ready project a few years later. I still keep in touch with Jeff who’s a fellow merchandiser with the same company.’

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

By the mid-eighties the members of the band went their separate ways, Kemp joining Empire, Bulger the Christians and Edmundson A Flock of Seagulls.

More of/by the band can be found here