Category: Missing In Action (Page 3 of 4)

Missing In Action: YOUNGER YOUNGER 28s

22 April 2017 /

Combining musical template of THE HUMAN LEAGUE with lyrical wit of PULP, YOUNGER YOUNGER 28s were the shining light in synthpop during an era full of dour landfill indie like TRAVIS following the fallout from Britpop.

Released in March 2000, their only album ‘Soap’ was a cutting tongue-in-cheek satire on class aspirations and dreams. Fronted by a Teddy Boy version of Phil Oakey in Joe Northern aka Ashley Reaks, YOUNGER YOUNGER 28s were a terrifically entertaining live act.

Backed by his very own Joanne and Susanne in Andie and Liz who were recruited from the Academy of Contemporary Music, there was a bizarre twist with instrumentalist Jimmy Dickinson formally being a member of heavy rockers LITTLE ANGELS!

17 years on, ELECTRICITYCLUB.CO.UK managed to trace Ashley Reaks somewhere in the city of London; he kindly chatted about the period when he “was nearly a crap pop star…”

Despite time passing, the concept of YOUNGER YOUNGER 28s still seems quite bizarre, how did it formulate? A strange story of course!

Strange indeed! Me and Jim played together in post-LITTLE ANGELS band B.L.O.W. and when that finished, we tried writing together. He was writing music for computer games under the name YOUNGER YOUNGER 28s and was into THE PRODIGY. I was writing punk and post-punk type songs so initially we were a sort of punky dance act.

We did a cover of ‘A Forest’ by THE CURE and we wrote our own song around it ‘Sugar Sweet Dreams’, which kick-started a whole new direction.

Why did Jimmy want to do synthpop all of a sudden?

At some point Jim played me some demos he’d done pre-LITTLE ANGELS and they were synthpop-esque, so it was always waiting to come out.


Who were the key influences on YOUNGER YOUNGER 28s?

Well obviously THE HUMAN LEAGUE were the template. I remember asking Jim to make ‘Teenage Mum’ sound like THE COMMUNARDS or ERASURE when I brought the song to him. Stock Aitken & Waterman and Trevor Horn were in there somewhere! As a teen, I liked the bleak Northern bands like CLOCK DVA and CABARET VOLTAIRE as well as the miserable lyricists of punk.

Was having two female vocalists alongside your comedic Northern droll always part of the plan?

No – neither me nor Jim were singers so we needed all the help we could get. Liz and Andie sang on the early demos of ‘Julie’ and ‘Teenage Mum’ and it worked well, so they stayed!

When did you realise the concept of YY28s might actually have legs?

When we started gigging… very quickly we had celebrities and music business people at our gigs. I think they liked the comedy of the live act after all the seriousness of Britpop.

You got signed to Richard Branson’s new label V2 and had STEREOPHONICS as label mates, what was it like being on the label?

Personally I think it was a bad choice and I’m not sure V2 really wanted us on the label (though they did want our manager to sort out some problems they were having at the time). We’d have been better going with one of the smaller labels that were interested in us at the time


The first single ‘We’re Going Out’ attracted some attention and radio play…

Putting ‘We’re Going Out’ out as the first single was a bad move in hindsight. The band all wanted ‘Sugar Sweet Dreams’ to be the single, but V2 and the industry were convinced ‘We’re Going Out’ would be a huge hit. It wasn’t!

‘Sugar Sweet Dreams’ was a brilliant album opener, sort of PULP FICTION meets THE HUMAN LEAGUE’s ‘Sound Of The Crowd’?

Musically I definitely remember referencing ‘Sound Of The Crowd’ and ‘A Forest’ by THE CURE on ‘Sugar Sweet Dreams’. It was probably the first track we did and we should have continued down that musical path a bit more but got seduced by POP!

‘The Next Big Thing’ was a wry observation of reality TV talent shows and wannabe culture a few years before Pop Idol / X-Factor etc?

The idea that being famous, in itself, will somehow make us feel good and paper over all the cracks is such a seductive belief and has almost become the new drug of choice. Personally, I was always interested in the life that was falling to bits alongside the illusion, including my own.

Was ‘Gary’ based on a true story?

Let me have a listen and I’ll get back… ‘Gary’ was another figment of my imagination but based loosely on some of the characters I’d come across whilst playing the Northern Working Men’s Club scene over the years in various bands. There was one particularly rough club in Wigan where the DJ was a ‘butch-as-hell’ transvestite and we shared the dressing room with the female strippers, their ‘fanny spray’ and their very protective ‘boyfriends’


There was a dispute with V2 about the ‘In Between Days’ cover being included on the album against your wishes. But how did you come to record it anyway?

‘In Between Days’ was never intended to be on the album as it was a ‘concept’ album and didn’t fit. V2 persuaded us to record a cover as a last ditch attempt at a hit but they dropped us before it ever went out as a single. I assume they thought that as they’d paid for the recording, they would add it to the album.

In hindsight, it’s a shame the superb B-side ’Karaoke Queen’ wasn’t on the album in place of ‘In Between Days’? Was that another true story or your imaginative mind?

‘Karaoke Queen’ would have fitted well onto ‘Soap’, but for one reason or another didn’t make the cut. Again it was loosely based on an ex-girlfriend of mine who would get ‘hit on’ by both sexes in dodgy clubs whilst I hovered around uncomfortably.

You ended up on open air bill in Nottingham with THE CORRS, E17 and JIMMY NAIL in Summer 1998, playing second from bottom-of-the-bill. It was quite surreal occasion cos I witnessed it, what are your memories of the day and how do you think YY28s went down?

I enjoyed that gig and seem to remember us going down ok though you might tell me otherwise! My main memory was I gave a backstage pass to a guy we’d met on our travels and he proceeded to get very drunk on the free beer and was kicked out for trying to get into THE CORRS dressing room. I denied any knowledge!

Was there a moment when you perhaps realised that things weren’t happening for YY28s and people didn’t get it, that some found the lyrics too condescending?

I remember a meeting at V2 where the marketing team had absolutely no idea what we were about and had been telling the radio shows that we were “a step up from STEPS”!

When ‘We’re Going Out’ didn’t chart, the whole buzz around the band seemed to disappear immediately and it became pretty clear that the label weren’t going to continue to push us.

I didn’t realise how many people thought I was condescending in my lyrics and looking down on the less fortunate. I’d spent years wasting away on the dole in haze of dope smoke in a small town, so I was writing about myself and my life and the desperation I (and my friends) felt on a daily basis.

There was a letter in the Melody Maker or NME one week accusing me of patronising the emotionally damaged in the song ‘Valerie’, where a lonely man seeks refuge in porn and is only capable of a fantasy relationship with one of the models in an ‘adult magazine’. That could easily be me! I think people assume that if you’re in the public eye, you must be happy and emotionally balanced – nothing could be further from the truth, in my case at least!

‘Two Timer (Crap in Bed)’ was issued as a promo but was never officially released and that appeared to be the end of YY28s. What actually happened?

‘Two Timer’ was actually one of the earliest songs we wrote and recorded – an electro re-write of the punk one-hit-wonder ‘Jilted John’. I don’t know why it was never released or on ‘Soap’…

How do you look back on the ‘Soap’ album now and its context in the grander scheme of popular culture?

I haven’t listened to ‘Soap’ in a long time, but I’m glad we made a brave record that was completely out-of-step with everything, which seems to be my forte.

Do you have any favourite songs from the album?

I always liked ‘Dirty Harry’ and ‘Sugar Sweet Dreams’

So what are you all up to today?

I’m making music and art at a rate of knots… 10 albums in the last 5 years!

Jim is teaching music production at Bath University and works with new artists.

Liz is running her own PA business, working with dogs as a trainee trainer and has her first baby on the way.

I don’t know what Andie’s up to…

If you had your time again, is there anything you’d have done differently with YY28s?

Signed to one of the smaller indie labels that were chasing us early on, and released ‘Sugar Sweet Dreams’ as the first single.

Cheers for this, Ashley 😀

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Ashley Reaks

‘Soap’ was released on CD by V2 and can be occasionally found for sale on eBay and Amazon

http://www.ashleyreaks.com/

https://www.facebook.com/ashleyreaksart/

Text and Interview by Chi Ming Lai
22nd April 2017

Missing In Action: OUR DAUGHTER’S WEDDING

17 November 2015 /

It’s accepted that commercial electronic music had its formative roots in Germany with the innovations started by KRAFTWERK and their transition from the early Krautrock scene through to that of electropop pioneers.

This was followed by the large wave of UK synth-based acts. However a comparable scene in the United States saw most bands from across the Atlantic, with the exception of DEVO, struggling to achieve major popularity in both their homeland and in the British charts.

Bands such as SUICIDE managed to make it over the pond and supported several established acts, but their influence was only really felt several years later. MINISTRY started out as a New Wave electronic act, but eventually morphed into an Industrial Metal band with frontman Al Jourgensen disowning their early material.

New York-based OUR DAUGHTER’S WEDDING, who were named after a card divider in a gift shop, were arguably one the few other commercial US synth bands to make any sort of impact in the UK. Early single ‘Lawnchairs’, a classic slice of synthpop charted at No49 and has been a regular fixture in many electronic music single compilations ever since.

ODW, who comprised Layne Rico (electronic percussion / synth), Keith Silva (vocals / synth) and Scott Simon (synth / saxophone) were often compared to early DEPECHE MODE and OMD, a comparison which the band themselves disagreed with – musically there were obvious similarities, but with the release of their sole album ‘Moving Windows’, other elements started to creep into their music with a far more polyphonic and funky chord-based approach than some of the more one finger synth bands of the day.

Sadly, ODW were a candle that burned brightly but burnt out too quickly, splitting after releasing a handful of singles, a solitary long player and touring as support for several high profile bands including OMD, TALK TALK, U2, DEPECHE MODE and DURAN DURAN.

ELECTRICITYCLUB.CO.UK spoke to ex-ODW member Scott Simon about the band’s gestation and how musical life was for a synthesizer act based in the US…

How did ODW form and transition into an electronic band?

ODW was the child of previous dysfunctional musical marriages. Firstly, the HUMAN BENDS, a five-piece alternative band formed in suburban San Francisco comprising Layne Rico, Keith Silva, Tim McGeary, Vanessa Wilkenson and myself. Under the guise of a business, I would arrange for rentals in tract home areas. We’d throw in a few mattresses, our instruments and a circus tent, which we’d pitch in the living room to drown out the sound.

The problem was we didn’t have a vocalist, as Keith Silva’s voice hadn’t found its sweet spot yet. We auditioned several but nobody suitable showed up at our door…I’m sure one of the singers was Michael Bolton – long mane, tights and suspenders, Freddy Mercury karaoke! It was a year before we found someone that fit our style, but time had done its deed. The band fought, petty jealousies formed and Tim and I decided to return to New York. Poof!!! No more HUMAN BENDS!!!

After a feeble attempt to resurrect the band on the East Coast, Tim and I decided to form a new band NEIGHBORS & ALLIES. We moved to Philadelphia where I called on a vocalist I had known since childhood and the band gelled quickly. Before we knew it we were back in New York headlining CBGBs and playing for David Bowie, who was generous in his praise, cigarettes and beer.

It was during these heady days that Keith would talk to me about his idea to form an all-electronic band. At first, I rebuffed the offer to join, but as time passed and things with NEIGHBORS & ALLIES unravelled, I agreed to join Keith. By this time Layne had moved east with his Synare percussion synth, an instrument only he could master. In the summer of 1980 we started to rehearse in a small flat on West 75th Street and with the privacy of self-powered headphones we wrote our tunes.

Tiny spaces such as the UK club in the East Village were more than happy to let us perform. Word spread, we wrote ‘Lawnchairs’, headlined every club, played with U2 on their first US gig at the Ritz, and rest as they say was history!

While you were championing synth pop on the East Coast, on the West Coast, THE UNITS were developing their style of electro-punk, were you aware of each other and what was your perception of the US synth-based scene?

I think after our North American tour with OMD, we became aware of pockets of electronic music in several cities. We were honoured to share the stage with THE UNITS at San Francisco’s Old Waldorf. The US scene had more edge, while Euro material took on a more symphonic, ethereal posture.

Early synth bands in the UK notoriously often had a difficult time from crowds unaccustomed to the lack of real instruments being played. How was your experience in US when you became fully electronic?

Trial by fire, my friend! A packed house of bikers on Long Island, my Father’s place to be exact… flying beer bottles and such! But IGGY POP had coached us on the dodgeball effect, so we ducked and played. Soon, seeing that the music we were making was song-based, crowds accepted our format.

You are best known for the song ‘Lawnchairs’, do you get fed up with the lazy comparison to OMD’s ‘Messages’?

I don’t mind the comparison at all. OMD is a great band. We were close friends at one point, even spent time with them in The Manor and their small space in Liverpool.

Both versions of ‘Lawnchairs’ have live drums on them which seemed to go against your primarily electronic sound, was there any particular reasoning behind that?

My brother Frank, who co-produced the first record, suggested we have Layne play a simple beat on kick, snare and hat. This was done to improve the sound quality as we had a limited budget back then!

How was the experience of coming to Chipping Norton Studios to record the ‘Digital Cowboy’ EP with Colin Thurston, producer for DURAN DURAN, TALK TALK and THE HUMAN LEAGUE?

Chipping Norton was great fun – Simon Phillips (who played drums on the EP) was brilliant. Although to be honest, Colin was distracted, he spent a lot of time flying around The Isles on Concorde on our dime. That part was a very unhappy experience, although he later attended our sold-out Venue show and apologized. I hold no grudge…

On the ‘Digital Cowboy’ EP, the band made a point of highlighting that “No Sequencers Were Used”, what was the reasoning behind that statement?

We were proud of our musicianship, that we could play complicated parts with precision and speed, while our contemporaries relied on programming and triggers. I got a first-hand look at the difference when we played with DEPECHE MODE in Chicago.

Your roles seem very defined on your sleeve credits, did you always play “bass synthesizer” or did you contribute other electronic elements?

I started as a drummer, moved to guitar (I have 12 credits of jazz and classical at university), then to keyboards and sax. As the band progressed, I wrote many of the tunes or co-wrote with Keith.

Was ‘Moving Windows’ a fun studio album to make? Tracks like ‘Buildings’ sound like a riot…

‘Moving Windows’ was a trip! We started in Electric Ladyland, partaking in all it had to offer, then moved to Intergalactic where Afrika Bambaataa and Arthur Baker had taken up residence. This was all with the guiding hand of David Spradley, former P-FUNK member, writer of ‘Atomic Dog’. We had access to the only Fairlight in the States at the time and we used it to the fullest. On ‘Buildings’, we dropped wires and mics into a crowd we had gathered on East 86th Street. We taught them the tune, they sang, and were sampled into the Fairlight. The hilarious results are on record.

‘Auto Music’ has one of THE great synth basslines…

I appreciate the nod for ‘Auto Music’ that came about by David Spradley and I jamming one morning in our Union Square loft.

You managed to secure some pretty high profile support slots, how was that experience?

We shared a bus with DURAN during our tour of Europe. Interesting, although they weren’t “DURAN DURAN” yet – John, Andy, Roger, Simon and Nick, all great guys. We also hung with them during the ‘Tiger’ tour in the US. What a scene!

Which synths were responsible for the ODW sound and how important was the Synare?

Primarily we used the MicroMoog, Roland RS09 String synth, Sequential Circuits Pro One, Electro Harmonix DRM32 Drum Machine and Synare 2 Percussion synth. Nobody could play the Synare like Layne, the guy was a genius. As we grew, the device was used less, especially when the Prophet 5, OB-X and others came on the scene.

What sort of a relationship did the band have with MTV?

At the time, MTV needed us and we needed them. Our loft was near their West Side studio – a ramshackle, three-story townhouse and both Keith and I appeared / guest hosted with one of the original VJs Martha Quinn. I’d say the band’s relationship culminated with the network when the winning contestant for “BRING MTV TO YOUR HOUSE FOR HALLOWE’EN 1982”, selected ODW and Joey Ramone as the stars he wanted to attend. After a three-hour booze cruise in a stretch limo, we arrived at a small suburban Connecticut house that had been converted into something out of England’s medieval times, thatch roof and all. It was a freak show! The kid was about 14 years old, his parents were overwhelmed by the lights, hangers-on and hoopla. We never heard from MTV after that affair!

Latterly you experienced major problems with your record label, what happened?

EMI screwed us, our record was on the way up, top club DJs such as Mark Kamins gave it the big thumbs up. The LA office killed it due to a personal problem a senior executive had with our representative. A personal problem! Can you believe it? The guy ruined what should have been a long and prosperous career, perhaps for the better? Who knows…

How did you feel when the second “British Invasion” happened and UK electronic bands started to have success in the US?

I’m all about music and writing, the more bands the merrier. I don’t care if they’re from Antarctica!

Why did ODW split and did you still continue in music afterwards?

ODW split after the disappointment of working hard to produce good music, but only to find music didn’t matter. People can only take so much. Nowadays I have a studio on my farm, music has been part of my life for as long as I can remember. I recently wrote and produced an album for PHILADELPHIA SOUL SOCIETY. Before I twirled a drumstick, tuned a guitar, or sat at a piano, writing was my foray into the art world and as pop music and its trappings held me by teenage reins, the pencil became less important, albeit temporarily.

After years of scribbling lyrics into a spiral notebook, mostly for tunes no one would hear, I have returned to writing fiction. My first project was declared one of the winners in the 2009 St. Martin’s Press YA competition. I was too embarrassed to use my name so I selected Simon Barkley as the nom de plume. Today I write under Scott Simon, confident there are people who will find my work entertaining. My genres are historical thrillers and private eye mysteries. I am currently working on the ‘Jedidiah Alcatraz Mysteries’ — three-part adventures of an autistic private eye.

How do you look back on your time in ODW and do you feel proud of your part in the early US electronic scene?

I cherish my time with ODW. It was seminal in my development as an artist and a person. I met my wife of 35 years through the band. She did our record covers. I used to have little regard for our work, mostly I think, because of how things turned out. But over the years, having learned others appreciate ODW and what it means, I have been most fortunate to hear our music in a new light. Through this light, I realized why I first picked up a drumstick 50 years ago… love!

ELECTRICITYCLUB.CO.UK gives its grateful thanks to Scott Simon

‘Nightlife – The Collection’ is available as a download from Amazon and iTunes

Scott Simon’s novels ‘Executive Thief’ and ‘Katherine’s Cross’ can be found on Amazon and other outlets, please visit https://t.co/XqWVOiNzvg via Amazon to view the book trailer

https://www.facebook.com/Our-Daughters-Wedding-380882682006092/

https://www.facebook.com/scott.simon.773

http://www.discogs.com/artist/106443-Our-Daughters-Wedding

Text and Interview by Paul Boddy
17th November 2015

Missing In Action: THE MOOD

28 October 2015 /

The period between 1979-1983 was one of the most glorious and productive periods in British music.

Sparked by the Synth Britannia revolution, acts such as THE HUMAN LEAGUE, OMD, DEPECHE MODE and SOFT CELL emerged. Around the same time came more conventional bands with a disco oriented flavour like DURAN DURAN and SPANDAU BALLET, who embraced electronic elements to enhance their sound.

With its colour pages and printed song lyrics, ‘Smash Hits’ became the nation’s best-selling music rag; so it was in pop that the battles for supremacy were at their most competitive. One of those vying for a slice of the action were a young York based trio called THE MOOD. Comprising of John Moore (vocals and guitar), Mark James Fordyce (drums, electronic percussion and synthesizers) and Eric James Logan (synthesizers and piano), they began as a quintet with Steve Carter and John Dalby.

Developing a modern pop sound that fitted in with the syncopated 120 BPM rhythm mood of the times, their first single ‘Is There A Reason?’ was released in 1981 on the appropriately named Romantic Records. The band attracted interest from RCA Records and after a deal was inked, a new mix of ‘Is There A Reason?’ was immediately released. Despite not charting in the UK, it helped position THE MOOD under the New Romantic banner that also included the then up-and-coming bands of the period such as DURAN DURAN, SPANDAU BALLET, B-MOVIE and TALK TALK.

Their second single ‘Don’t Stop’ showed significant progress by attaining a Top10 position on the US Billboard Hot100. However, the single stalled at No59 in the UK, despite the band being championed the BBC Radio1’s Peter Powell and appearing on the children’s pop show ‘Razzmatazz’. But THE MOOD’s trajectory was heading in an upward direction.

The potential hit breakthrough came with ‘Paris Is One Day Away’ when the band secured a slot on ‘Top Of The Pops’. However, it was the 1982 World Cup and a match heading into extra time meant that a hasty edit was made. And it was THE MOOD’s performance as the new and unknown act that ended up on the cutting room floor!

Thanks to the European success of ABC, EURYTHMICS, U2 and SIMPLE MINDS, the pop world had now moved towards blue-eyed soul and more rockier climes to satisfy an emerging Trans-Atlantic market clamouring for British New Wave after the success of MTV. For North American territories, a five track mini-album entitled ‘Passion In Dark Rooms’ came out in 1983, but it failed to capitalise on the interest in ‘Don’t Stop’ from the previous year.

A fifth single ‘I Don’t Need Your Love Now’ gained little attention and the band eventually split up in 1985, but John Moore briefly returned as THE MOOD without his two original bandmates, before changing the band moniker to WILD and then disappearing again. However in 2008, THE MOOD underwent a mini-renaissance when Cherry Red licensed all the bands recordings from Sony/BMG and issued ‘The Singles Collection’.

Mark James Fordyce kindly chatted to ELECTRICITYCLUB.CO.UK about THE MOOD’s brief flirtation with stardom and what might have been…

When you formed THE MOOD, how did you decide upon having a more synth assisted sound?

I became intrigued by the sound of synthesizers after hearing TUBEWAY ARMY in 1979 which made me revisit early KRAFTWERK recordings, then quickly leading onto everything from CAN, YELLOW MAGIC ORCHESTRA, TELEX, OMD and of course ROXY MUSIC and DAVID BOWIE. Eric was asked to join because he was the only person we know who had a synthesizer and he was into the same sort of music.

Who were the artists that THE MOOD looked up to and were influenced by?

Eric had the David Sylvian look as JAPAN was certainly an influence for him and us all, as well as ROXY MUSIC, whose music and style we were drawn to. When we first went to London, one of the first places we visited was the Antony Price clothes shop because he was the stylist for ROXY MUSIC and Lou Reed, and he was a Yorkshireman. Of course everyone from Steve Strange to DURAN DURAN also had the same idea!

Which particular synths did Eric acquire for THE MOOD and what inspired you into using more electronics despite being the drummer?

Eric started out with a Korg MS20 and Roland RS-09 string machine, adding a Prophet 5 with our advance from RCA. I had a Syndrum and Pearl Syncussion SY-1 pads right from the start, once we signed to RCA and started recording at SARM East studios, I added a Simmons SDSV full kit, Roland 808, Micromoog and a Roland SH101.

‘Is There A Reason?’ was a very promising debut single. What made you decide that should be your opening gambit?

It was always one of the most popular live songs we performed and had a great intro which made it the obvious choice for our first release. We initially released it on our own independent label and got to number 6 on the Sounds music paper dance chart, we re-recorded it when we signed to RCA and it became our first RCA release. It had some great synth runs which we really made the most of on the 12” mix, which is still one of my favourite mixes of ours.

Quite a few British acts like A FLOCK OF SEAGULLS and NAKED EYES had more success in the US than the UK. ‘Don’t Stop’ showed promise and appeared to gain a small foothold in America. Why do you think this was the case?

I think it was the right sound for the time in the US and took on a life of its own in American discos, predominantly New York clubs. I heard a story which I don’t know is true or not, that the throbbing base line was an influence for BON JOVI’s ‘Living on a Prayer’… sorry about that!

You worked with some key studio personnel like Steve Levine and Gary Langan, plus even had one of CULTURE CLUB play on ‘Passion in Dark Rooms’…

We were very lucky that our first producer Anthony Forrest chose to record at SARM East with Gary Langan and Julian Mendelson as engineers. I remember the studio being very busy with SPANDAU BALLET recording with Richard James Burgess and ABC doing ‘The Lexicon Of Love’ with Trevor Horn. It was a great place to witness some of the great recording of the early 80s, I also used to hang around in the evening when Gary and Trevor played around with their new toy the Fairlight computer, those early ideas went onto become THE ART OF NOISE! Later through a recommendation from Rusty Egan, we started to record with Steve Levine at Red Bus studios; Steve had just started working with CULTURE CLUB so we had Roy Hay play some guitar parts for us.

RCA obviously thought ‘Paris is One Day Away’ had enough potential to lavish THE MOOD with a video of the band stalking a girl in Paris… it was a different world then wasn’t it? 😉

Yes, we really thought we had arrived when RCA gave us a decent budget to shoot a video in Paris with a beautiful model! We got Tim Pope to produce it who had previously worked with THE CURE on their videos. We also made a video for ‘Passion In Dark Rooms’ in a cave where we got stalk two models this time!

You were chosen to appear on ‘Top Of The Pops’ with ‘Paris is One Day Away’ but then fate intervened… what actually happened?

When we were in Paris shooting the video we got a call to say we were No42 in the charts had had been chosen for the bubbling under section on ‘Top Of The Pops’. Unfortunately because of the 1982 World Cup, they cut that section for that week’s show, the following week we dropped back down the chart! I remember Thomas Dolby then moved up to No42 and got on that week’s bubbling under and a TOTP slot.

The next singles ‘Passion in Dark Rooms’ and ‘I Don’t Need Your Love Now’ failed to capture the public’s imagination. I understand THE MOOD weren’t playing live much then. Why do you think you lost momentum?

We played quite a lot in the early days, but as we started to spend more time in the studio and became more and more reliant on technology, we took our eye off the live side of things. We also had very weak management at the beginning who failed to take advantage of some of the opportunities we had. For example, we never went to America which was crazy considering the amount of interest we had with ‘Don’t Stop’.

What happened with RCA? 

We signed to RCA in 1981 on the back of the success we had with our own independent single ‘Is There a Reason’, which we re-recorded for RCA and subsequently became our first major release. We then released ‘Don’t Stop’ which got a lot of Radio 1 and TV support, especially from Peter Powell who we did a live Maida Vale session for. ‘Don’t Stop’ also gained good support on US radio and club plays, resulting in a number 6 Billboard Dance Chart position, which was taken from the radio and club plays, sadly not record sales.

The record company really got behind the next release ‘Paris is One Day Away’ with a video and loads of airplay and is probably our biggest track in term of exposure. We then got a bigger recording budget and started recording the remainder of the album with Steve Levine at Red Bus Studios; we recorded five tracks with Steve. Because we were getting a lot of interest in the USA, RCA America decided to put out a mini LP which included some of the Steve Levine recordings as well as the singles ‘Don’t Stop’ and ‘Passion in Dark Rooms’.

Was the debut album close to being completed?

The album was completed, but RCA decided not to release it in the UK and we were put on the back burner with the label taking a further year to release our final single ‘I Don’t Need Your Love Now’, which we recorded at Rockfield studios in Wales with new producer Paul Cobalt. It was during this time that we split from our old managers and signed a new management deal with Mike Wiand who also managed VICIOUS PINK; I played drums on their single ‘Je T’aime’. We attempted to leave RCA for a new deal with EMI which never came, we then split as a band shortly after in ‘85.

When THE MOOD split, why did you personally decide not to continue with another band?

After a short break I did get back together with John Moore and formed a band called PLEASURE COMPANY, recording back at Rockfield Studios with THE MOOD’s last producer Paul Cobalt. We signed a production deal with Rockfield alongside T’PAU and had Ronnie Rogers play guitar for us. T’PAU got the deal before us and got early success, we were eventually dropped. Eric formed a band called STRANGLANDS and ended up supporting A-HA on one of their UK tours in the 80s.

Many years later in the 90s, I formed an electronic duo called THE GROOVE TWINS with Anton Witter. Although we played several gigs and recorded an album under a recording and publishing deal, the album was never released. I am happy to report that we have recently been remastering the album tracks and intend to release it on iTunes later this year, only 20 odd years late!

Cherry Red released a CD collection of all your singles in 2008. How was that received? For a band in that didn’t quite make it position, is there much in it financially?

The release was instigated by a fan in the US who was selling a bootleg collection of our tracks on eBay. The reception was quite astonishing! With a lot of online interest which resulted in us doing a few internet radio interviews, with a show in New York dedicating an entire show to THE MOOD! The CD is still doing quite well, selling in the thousands and is on its second run with Cherry Red, so there is a small income which will not change any lives, but is still flattering that people still care about the band.

THE MOOD-singles collection

Looking back now, how successful do you think THE MOOD could have become had that ‘Top Of The Pops’ break happened? How would your sound have developed and where would you have sat next to groups like say ENDGAMES, FIAT LUX, FICTION FACTORY or H2O?

I think had we had got the TOTP exposure and better management to capitalise on the early US interest, we could have had a career along the lines of Thomas Dolby or THE THOMPSON TWINS. Incidentally, we shared the same A&R man as H2O who signed to RCA a year into our deal.

Now that you’ve had some distance, which of THE MOOD’s songs stand up for you in the realm of that classic pop era?

I still really like ‘Is There a Reason?’, especially the 12”. The same goes with ‘Don’t Stop’ which was quite ground breaking at the time and still stands out as a great synth record today, and was remixed more recently by PRINCE LANGUAGE for his NYC club hit in 2009 ‘Don’t Stop the Macho’.

How you look back on it all now? What would you like to have done differently?

We should have concentrated and built on the live shows as we were a good live band, which got us the initial attention and a good following in the north. Playing more down south and then taking it to the US would have been a better move.

You’ve had a successful post-music biz career and have been collecting vintage synthesizers over the years. What have you got, which are your favourites and which do you still want?

Yes, I have been lucky to have a successful Telecoms company which has allowed me to indulge in my midlife crisis of re-collecting some of the synths and drum machines I once owned and ones I wished I had owned at the time. I currently have a Minimoog Model D, Minimoog Voyager, Moog Prodigy, Moog Little Phatty, ARP Odyssey MK 1 in black and gold, DSI Pro 2, Roland TR-808, LinnDrum and EMU Drumulator.

Everything is plugged in and ready to play, the Model D is stunning in looks and sound and I love playing it whenever can. Also the Odyssey is beautiful and as new condition, it’s one of the rarest examples you can find. I am still on the lookout for a Prophet 5 in very good condition, then I may take a break.

What sort of music are you making now with them and how is that progressing?

At some point, I intend to make an electronic synth album recorded as it would have been done in 1981, which I think is the classic year for synthpop. This will be done with THE GROOVE TWINS and the intention is to play all the parts live onto tape with only analogue sequencing where necessary. I just like the idea of having to face the limitations of the equipment we faced back in those days, which ultimately drove a generation of electronic musicians to create amazing and beautiful music that has lasted decades.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Mark James Fordyce

THE MOOD ‘The Singles Collection’ is still available on CD via Cherry Red Records

THE GROOVE TWINS 4 track EP can be downloaded at https://itunes.apple.com/gb/artist/the-groove-twins/id1161247822

https://www.facebook.com/TheMood80s/

https://open.spotify.com/album/62TaHK5XP4D3ZhtkmAQiU8

Text and Interview by Chi Ming Lai
Photos courtesy of Mark James Fordyce
28th October 2015

Missing In Action: CHEW LIPS

4 August 2015 /

Formed in Spring 2008, CHEW LIPS rode on the wave of synth friendly female fronted acts of the period that included LITTLE BOOTS, LA ROUX, LADY GAGA and LADYHAWKE.

Less overtly poppy than the L-Word foursome, the music press more closely associated CHEW LIPS with THE TING TINGS and YEAH YEAH YEAHS. The latter were vaguely exploring an electronically enhanced direction, as showcased on the single ‘Zero’, but despite proclamations by YEAH YEAH YEAHS’ singer Karen O that the band had adopted the synth, the resultant album ‘It’s Blitz’ was more like a glitterball new wave record that was still very guitar driven.

Comprising of singer Alicia Huertas (better known to her friends as Tigs) and multi-instrumentalists Will Sanderson (synths and guitars) and James Watkins (bass guitar and synths), CHEW LIPS were actually much closer to the concept of what YEAH YEAH YEAHS would have sounded like if they really had gone all electronic.

With their “8-bit Casiotone drone-disco”, they quickly attracted the attention of hip tastemakers like BBC 6Music’s Steve Lamacq who invited them to record a radio session after only a handful of gigs. In 2009, the trio were signed to the ultra-hip French record label Kitsune who had launched LA ROUX and DELPHIC.

With a melancholic edge amongst all the blips and blops, the impressive ‘Salt Air’ showcased an accessible promise with pulsing sequencers and drum machines chugging away augmented by some octave shifting bass and occasional guitar like a female fronted NEW ORDER. Meanwhile, the bleepy second single ‘Solo’ had a charming distorted percussive rattle that came over not unlike THE TING TINGS accompanied by a Boss Doctor Rhythm!

CHEW LIPS’ live act was one of their strongest cards with Tigs being a particularly adept front woman. Indeed, her cheeky, flirtatious demeanour recalled Hazel O’Connor. Although Will Sanderson tended to be stuck behind synths, James Watkins generally played bass guitar and his bouncy movements were reminiscent of a certain George Andrew McCluskey. Indeed, CHEW LIPS would at times look like OMD fronted by Debbie Harry! As well as the tunes, the music was enhanced by club friendly sonic bass booms, so CHEW LIPS attracted the sort of audience who found LITTLE BOOTS or LA ROUX too glitzy and preferred their electronic pop with a slightly gloomier edge.

Signing to ATC Management whose founder Brian Message also co-managed RADIOHEAD, CHEW LIPS took the plunge in 2010 with their debut album ‘Unicorn’. Released independently on their own Family Records, it was produced by David Kosten who had steered BAT FOR LASHES for her first two albums. In a brave move, the threesome decided not to include the two singles that had gained them their initial acclaim and focussed totally on brand new material for the ten track collection.

The launch single was the short and immediate ‘Play Together’. A natural development of FC KAHUNA’s ‘Machine Says Yes’, it connected with the Electroclash movement of a few years before while also acting as a worthy successor to ‘Salt Air’. Referencing the post-punk era, ‘Karen’ was brilliant electronically assisted indie pop with hints of guitar-driven NEW ORDER.

It wasn’t all uptempo as ‘Too Much Talking’ and ‘Eight’ proved CHEW LIPS could do dark ballads, while ‘Slick’ gradually built itself to a climax around some initially minimal backing. Indeed, the band displayed a knack for songs that were short and sharp with no progressive doodling. ‘Toro’ played with new wave funk of GOSSIP while one of the album’s highlights ‘Two Hands’ captured the drama of classic DEPECHE MODE.

There were other Synth Britannia elements too with some Mellotron choir providing an ‘Architecture & Morality’ grandeur on the album’s closer ‘Gold Key’ while offset by an unexpected FM rock guitar solo. But with its haunting piano motif, Kling Klang rhythm section and sparkling OMD styled synth runs, the best song from the ‘Unicorn’ sessions was the beautiful iTunes only bonus track ‘Rising Tide’. The wonderfully spirited, soulful lead vocal from Tigs made it one of the most accomplished tunes from the 2008 school of female fronted electro.

All–in-all, ‘Unicorn’ was an intriguing, enjoyable debut that pointed to a promising future. But the album was not without its faults. Clocking in at just over 30 minutes, the tracklisting lacked immediacy and the exclusion of ‘Rising Tide’ from the main feature was a real oversight. A trick was possibly missed by not including the two Kitsune singles as well.

Whereas the intent was probably to give fans value for money and make the album more of an artistic statement, to not have two of the strongest and ‘best known’ songs on the debut long player might well have put off curious but casual newcomers. These listeners could have grown into some of the less immediate material had they initially bought the album for ‘So’ or ‘Salt Air’.

Sometimes, there is only one chance to make a good impression. But although the band did not hit the commercial heights of say LA ROUX, the strategy worked and in 2012, CHEW LIPS were signed by Sony Music.

The first single as a duo ‘Do You Chew?’ showcased a more R ‘n’ B focussed direction influenced by RIHANNA, while the vibrant, punchy pop of ‘Hurricane’ was issued in September 2012. In interviews at the time, Tigs and Watkins declared they had more commercial ambitions compared with when they were recording their debut.

However, the long awaited second album has yet to appear. In April 2013, the URL of CHEW LIPS website appeared to have expired and turned into a mysterious travel blog. Their most recent Facebook page update was in Summer 2014, although the last music related message was November 2013.

But in April 2015, Tigs returned to the public spotlight to run in the London Marathon in her role as a Cancer Research ambassador. She had been diagnosed with cervical cancer several years previously, but continued to work after having undergone treatment. She was given the all clear in November 2010 and had since run a number of races in aid of the charity.

With Tigs’ tireless fund raising work, music has understandably taken a back seat. But in a domestic electronic pop market today that is perhaps lacking feistiness and sparkle, CHEW LIPS are greatly missed. Whether a second album will ever see the light of day remains to be seen…

CHEW LIPS debut album ‘Unicorn’ was released by Family Records

https://www.facebook.com/CHEWLiPS

Text by Chi Ming Lai
4th August 2015

Missing In Action: JO CALLIS

30 July 2014 /

Without doubt, Jo Callis is one of the unsung heroes of the Synth Britannia era. The Rotherham born guitarist first found fame during the post-punk era with THE REZILLOS.

Formed in Edinburgh where Callis was studying at the local college of art, they scored a Top 20 hit ‘Top Of The Pops’ in 1978. THE REZILLOS fragmented after one album so Callis formed SHAKE and then joined BOOTS FOR DANCING before releasing a solo single ‘Woah Yeah!’ in 1981. His manager when he was in THE REZILLOS was Fast Records supremo Bob Last who also looked after THE HUMAN LEAGUE.

Following the well documented split between Phil Oakey and Adrian Wright with Martyn Ware and Ian Craig Marsh in 1980, the former pair continued as THE HUMAN LEAGUE with Ian Burden recruited as an additional musician plus Joanne Catherall and Susanne Sulley as backing vocalists.

Despite this line-up recording the band’s first Top 20 hit in ‘The Sound Of The Crowd’ under the production supervision of Martin Rushent in 1981, THE HUMAN LEAGUE felt they could benefit from the input of an experienced songwriter… enter Jo Callis! He joined just in time to record the Top 5 breakthrough single ‘Love Action (I Believe in Love)’ although he did not feature on the single’s cover photo.

His first public outing as a songwriter for THE HUMAN LEAGUE was with the psychedelic synthpop hit ‘Open Your Heart’. The parent album ‘Dare’ was released shortly after and has since being hailed as an iconic recording of the period.

Jo Callis’ three year tenure with THE HUMAN LEAGUE directly contributed to their imperial phase; classic numbers in The League’s catalogue such as ‘Seconds’, ‘Darkness’, ‘Hard Times’, ‘Mirror Man’, ‘(Keep Feeling) Fascination’, ‘The Lebanon’, ‘Life On Your Own’ and ‘Louise’ were all co-authored by him. But his most famous song with the Sheffield electronic pioneers was ‘Don’t You Want Me?’ which reached No1 in both the UK and US charts. However, after a difficult gestation for ‘Hysteria’, the follow-up album to ‘Dare’, Callis left THE HUMAN LEAGUE in 1984 to concentrate on his own songwriting.

Post-League, Callis co-wrote Feargal Sharkey’s’s ‘Loving You’ before partially returning to THE HUMAN LEAGUE in 1990, penning two songs ‘Heart Like A Wheel’ and ‘Get It Right This Time’ for the ‘Romantic?’ album. Another Callis co-write ‘Never Again’ appeared on 1995’s ‘Octopus.

More recently, Callis has been in the news in his adopted homeland as a result of ‘Don’t You Want Me?’ being adopted as a football crowd anthem by the supporters of Aberdeen FC. The song was given a boost in download sales as a result of The Dons victory in the 2014 Scottish League Cup.

With his profile at its highest since his HUMAN LEAGUE days, Callis is about to return to the live circuit with his new band FINGER HALO, playing alongside ANALOG ANGEL at Glasgow’s Classic Grand on FRIDAY 15TH AUGUST 2014. Now well and truly “back-Back-BACK”, he kindly chatted to ELECTRICITYCLUB.CO.UK about his career.

THE REZILLOS made it into the Top 20 with ‘Top Of The Pops’ in 1978 but briefly, what happened that led you into becoming a free agent in 1981?

THE REZILLOS split up (mid tour) around 1979, probably at my instigation more than anything else. From there, I formed SHAKE along with former REZILLOS rhythm section Ali Paterson and Simon Templar, and remained signed to Sire, THE REZILLOS’ former label. With the addition of Troy Tate (later of TEARDROP EXPLODES fame) on guitar, we released a four track EP followed by a single ‘Invasion Of The Gamma Men’ and gigged quite consistently.

The initial EP was pretty well received and the lead track ‘Culture Shock’ garnered a fair amount of Radio1 airplay. But with little record company support, things eventually just fizzled out. Broke, we eventually parted company with Sire.

From there, I joined local indie leftfield punk / funk outfit BOOTS FOR DANCING, whom I really enjoyed playing with. They could have been contenders, but bottled out of going for gold so to speak, so there was no future there for myself. Around the same time I had also been making in-roads into The League camp, who were in the process of re-inventing themselves after a split up scenario of their own, with a view to help them with new material.

What did you think when you were first offered THE HUMAN LEAGUE job by Bob Last and told you’d have to play a synth?

My memory of events here is that I simply got together with Adrian Wright, whom I was friendly with at the time, in order to do a bit of writing, which led on to my quite significant contributions to THE HUMAN LEAGUE’s canon of tunes. Although, with hindsight, I guess that the ‘svengali’ Bob Last would have certainly been pulling a few strings and making some subliminal suggestions behind the scenes, and certainly encouraging my association with Adrian.

Around that time I was also feeling a little jaded with the guitar, particularly as an instrument for composition, and felt that a change was in order. I wasn’t exactly sure what kind of change, but the opportunity of The League, synths and moving with the times certainly appealed.

Is it true Martyn Ware showed you how to use a synth at Monumental Pictures studio?

Yep, with the then fledgling HEAVEN 17 / BEF still sharing the same studio space as the ‘new’ League, Martyn Ware kindly spent a day running me through all the basics of subtractive synthesis, and also pointing me in the direction of the keyboard playing equivalent to Bert Weedon’s legendary guitar tome ‘Play In A Day’ (in another move encouraged by the venerable Mr. Last no doubt). I had soon purchased a second hand Roland SH09 synth, and began patching away when at home in Edinburgh.

Did you have a favourite synth?

I still have a great love for the old SH09, its big Bro’ the SH2 and its progeny the SH101. But the Roland Juno 106 is still hard to beat. I do still have (hopefully) working examples of ’em all. Although primarily a vintage Roland fan, I do have the odd bit of Korg and Yamaha kit, and of course the wonderfully proletarian Casio VL Tone… required equipment in my League days, we all had one in our make up bags!

Did you ever feel the tension between the two parties as the shifts changed at the studio?

Oh yes, but more in general. We would all hang out together in my early days with The League whilst in Sheffield writing the material that would ultimately comprise ‘Dare’ etc. It all seemed quite light hearted initially, but I was aware of quite deep rooted competition and rivalry between Philip and Martyn. But there was a mutual degree of respect all round.

I had to laugh really, having come out of a fairly similar situation myself recently and being aware that Bob Last had carefully handled THE HUMAN LEAGUE split with the benefit of knowledge gained from the chaotic split up of THE REZILLOS, Bob having managed both bands. So there were no handbags at twenty paces, unlike the biliousness of THE REZILLOS’ break up which was arguably fuelled by the divisive music press of the day – I did feel I was somewhere between a rock and a hard place on occasion though.

What was the creative dynamic between you, Phil Oakey, Adrian Wright and Ian Burden?

With Adrian, I would generally pick out the best of his formative ideas, develop them with him and add parts etc.

Phil and I would often find that we could graft together independent ideas we had, which would compliment each other… or else Phil would add lyrics and melody to one of my backing tracks which would just have a working title – ‘The Lebanon’ for example, came about in this way, even retaining the original title in the finished article.

With Ian, himself being a (very good) bass player and myself a guitarist, we could plug into amps and jam out ideas old school stylee sometimes. And when Jim Russell (originally Martin’s engineer, then later a band member), a seasoned drummer who’d played with the like of CURVED AIR and MATTHEWS SOUTHERN COMFORT was around, we’d have a power trio and just jam all day…

Joanne and Susanne contributed to the quality control, they were very down with what was happening in the clubs and what ver kids were digging at the time, so if they liked what they heard, then it was definitely worth persevering with. They were total Duranies then, and had previously been BAY CITY ROLLERS fans (a fine Edinburgh band – check out their version of ‘Rock & Roll Love Letter’). But their big love was JAPAN. Strangely, we seemed to listen to a lot of Grace Jones and JUDAS PRIEST during the writing of ‘Dare’.

What was the first song you wrote for THE HUMAN LEAGUE?

‘Open Your Heart’, if memory serves – originally started on the guitar and provisionally entitled ‘Women & Men’.

Legend has it that Phil freaked when he saw you brandishing a guitar during the recording of ‘Don’t You Want Me?’?

Ha! Axeophobia I believe it’s called, a rare condition and one most unusual in the case of a JUDAS PRIEST and SAXON fan! I remember Phil once saying: “I’d happily have you play the guitar on tour Jo, so long as the jack lead is only six inches long”. Classic! I feel he probably suffered from the much more common complaint; ‘Callisophobia’.

The main riff of ‘Don’t You Want Me?’ was appropriated from the guitar line of ABBA’s ‘Eagle’? Discuss!

Aha! The passage to which you refer to is definitely ABBA inspired and was originally the bassline to the bridge section of ‘DYWM’ – the “Don’t, Don’t You Want Me, You know I don’t belieeve it! Etc” bit. Martin Rushent picked it up and turned it round and made it into the top line of the intro passage… so it’s all his fault, ‘onest Guv!

How do you look back on the ‘Dare’ album now?

With my head tilted to the right, and squinting with one eye. ‘Dare’ was the result of a unique coming together of an unlikely bunch of switched on, eccentric, bloody minded individuals who, against all odds and with no great ‘industry’ expectation, created a truly wonderful work of electro glam pop – timeless, wonderfully sparse, most influential, and a true combined vision, very much the sum of its parts.

How were those ‘Dare’ tour dates, especially with those temperamental synths and taking the Linn Drum Computer out live?

Tours can be the absolute best and worst times of your life condensed into a relatively short period of time – so, careful what you wish for sometimes. We fortunately had a terrific tech and road crew on the ‘Dare’ tour which eased a lot of the potential pain, no MIDI or computer sync in them days. We had to have the Linn Drum reloaded (by cassette tape) half way through the set as its memory could not contain the entire show, we switched to the Roland TR808 for one song during the reboot! The synths all seemed to perform reliably and well, despite the abuse I would give mine on occasion. Made from Tiger tank and Me262 parts them Roland Jupiter 8s!

Things seemed to be going swimmingly for the follow-up album with the releases of ‘Mirror Man’ and ‘(Keep Feeling) Fascination’, but it all started falling apart around the recording of ‘Hysteria’?

That’s right, it was all taking far too long and frustration was setting in. We had to try and follow the unexpected success of ‘Dare’ and I think a fear of failure began to loom. The pressure maan!

The two versions that were released of ‘I Love You Too Much’ indicated there was some confusion in the band over direction?

That track actually had a synth playing back through a guitar Wah Wah pedal on it – which was my idea. As I recall the first version on the ‘Fascination!’ import EP was produced by Martin Rushent and the ‘Hysteria’ version was by Chris Thomas… or was it Hugh Padgham?

‘The Lebanon’ had a bit of a mixed reaction didn’t it?

I love a bit of contention, it was pretty much guitar driven, which is down to me again, but I think it sat okay in The League repertoire and Phil was actually quite enthusiastic about the style and direction it took. It went down well with the BIG COUNTRY / SIMPLE MINDS / U2 crowd of the time, almost a bit of a crossover track. The music press of the day, particularly the NME were fond of ripping the pish out of the lyrics, but in a very affectionate and ‘onside’ way. I still think it’s possibly the strongest tune on ‘Hysteria’, and one I’m very satisfied with personally.

Martin Rushent left the sessions apparently over something Susanne said… what was the straw that broke the camel’s back in your case?

I tried so hard to keep everyone together at that time, we weren’t too far away from having a follow-up album finished with Martin, I thought I’d managed to patch the ship up so to speak at one point, but things soon fell apart again.

Do you look on the ‘Hysteria’ period with much affection?

Not greatly.

When THE HUMAN LEAGUE said they wouldn’t tour ‘Hysteria’ because they couldn’t perform your songs without you, what that just an excuse on their part?

Never heard that one before… dunno really.

You sort of returned for ‘Romantic?’ in 1990… how did you come to contribute ‘Heart Like A Wheel’? and ‘Get It Right This Time’ ?

I’d always left things open ended, and had said I’d always be happy to contribute to writing at any time. I did initially offer them a song called ‘One For The Angels’ for ‘Crash’, the album after ‘Hysteria’, but they didn’t take it – perhaps not quite enough water had passed under the bridge by then, but I’d had such a good response from publishers etc.

With ‘Heart Like A Wheel’, and having been working a lot myself on various projects with Martin Rushent at Genetic Studios around that time, when The League came to thinking about the follow up to ‘Crash’ (which would become ‘Romantic?’), I thought there might be a good opportunity to try and get ‘the old team’ back together again, which I did manage to achieve for a couple of tunes at least. I was kind of middle man there, having a foot in both camps – helping The League out with a bit of writing now and then, and working on various production / writing projects with Martin.

I also co-wrote ‘Never Again’ with Phil for the ‘Octopus’ album, and will be revisiting ‘One For The Angels’ with my new band FINGER HALO!

With Martin Rushent on board, it looked like there was an attempt to recapture the magic of ‘Dare’. But why did things not really work out with that album as a whole either? Any thoughts?

As an addendum to the previous question; I had hoped to resurrect ‘The Old Brigade’, for the entire album, but I think Phil wanted to experiment with different producers, doing a couple of tracks with each. ‘Heart Like A Wheel’ did well for all concerned I think, so it often pays to not burn bridges… and ‘Never Say Never Again’.

Mention must go to Martin Rushent, now sadly departed. A true maverick, a passionate if headstrong fellow and one of the greatest cutting edge producers of all time. He always followed his gut instincts which invariably led him in the right direction. I learned so much from Martin and he was great fun to work with.

Noddy Holder describes ‘Merry Xmas Everybody’ as his pension, is it like that for you with ‘Don’t You Want Me?’?

As a huge SLADE fan, Noddy is seldom wrong, These days, I tend to view ‘Don’t You Want Me?’ more as a kind of capital investment, to trade with. In basic, cynical economic terms, ‘DYWM’ to me is something akin to what Cornflakes are to The Kellogg company.

You are still active in music, what are your upcoming plans?

FINGER HALO, FINGER HALO, FINGER HALO and er? Oh yes; FINGER HALO!

What would you consider your proudest achievement?

An old acquaintance of mine who served with The Royal Marines during The Falklands campaign told me that he had The League song ‘Seconds’ running through his head all through the conflict, which helped him keep focus and get through serious life or death circumstances.

That instance in particular, and other, albeit rare, occasions when somebody has remarked that your music has had a positive impact on their lives, are moments when I realise that what we do, we happy band of wandering minstrels, really can have great value to humanity, and it’s not just about self indulgently fannying about, having more control over our lives and never having to grow up, as I might have previously thought. I speak for all performers, entertainers, composers, authors and artists. I think we oil the wheels of life in many respects.

And as the Big Man Winston Churchill once said: “If you find a job you love, you’ll never work again” – now there’s an achievement in itself! These are the things that dreams are made of (and nightmares sometimes but…)

And finally, why do you think guitar synths never really caught on?

Quite simply Chi, I think that the technology had moved so rapidly then that you could use a regular guitar, with a few ‘bolt ons’, and pretty much do anything that a dedicated synth guitar could do. Also a lot of guitar players who loved the ‘Synth Guitar’ idea didn’t really think that the instruments themselves were particularly good as guitars. That Roland G-77 looked really cool though, but they never made a left handed version, the c***s!

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Jo Callis

Special thanks to Ian Ferguson

FINGER HALO featuring Jo Callis play the Classic Grand, 18 Jamaica Street, Glasgow G1 4QD on FRIDAY 15TH AUGUST 2014 alongside ANALOG ANGEL

http://jocallis.com/

https://www.facebook.com/pages/Jo-Callis/1387058038237166

https://soundcloud.com/projectfingerhalo

Text and Interview by Chi Ming Lai
30th July 2014

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