Paul Statham is undoubtedly the silent success story of the ‘Some Bizzare Album’.
The guitarist of B-MOVIE who also comprised Steve Hovington (vocals + bass), Rick Holliday (keyboards) and Graham Boffey (drums), their track ‘Moles’ was included alongside DEPECHE MODE, SOFT CELL, BLANCMANGE and THE THE on the iconic futurist showcase compiled by DJ Stevo Pearce that was released in early 1981.
Signing to Phonogram via Some Bizzare, despite an imperial trio of singles ‘Remembrance Day’, ‘Marilyn Dreams’ and ‘Nowhere Girl’, the quartet were unable to get their deserved mainstream chart breakthrough and as the band fragmented, the B-MOVIE story became just that. Although a belated album ‘Forever Running’ would emerge in 1985, the remaining founding duo of Hovington and Statham disbanded B-MOVIE not long after.
Photo by Peter Ashworth
In 1988, Statham found solace in Peter Murphy who had recently gone solo after 4 studio albums fronting goth trailblazers BAUHAUS. Becoming Murphy’s main songwriting partner over 4 successive albums, during the making of the 1995 album ‘Cascade’, Statham met producer Pascal Gabriel who proposed working together on a more dance oriented “ABBA meets THE KLF” type of project; starting out as NEURONIC and with the addition of dance and vocalist Lisa Lamb, they would become the electropop trio PEACH whose song ‘On My Own’ was featured during a key scene in the Gwyneth Paltrow movie ‘Sliding Doors’.
PEACH would become a springboard for Statham to find considerable success as a songwriter and producer, working with artists as diverse as Kylie Minogue, Rachel Stevens, Dot Allison, Dido, Sarah Nixey, Lisa Scott-Lee, Tina Arena, Shelly Poole, and Gabriella Cilmi as well THE SATURDAYS, BANANARAMA, RIGHT SAID FRED and SIMPLE MINDS.
Photo by Adrian Green
In parallel to his songwriting and production career, the original line-up of B-MOVIE reformed in 2004 while in 2009, Statham started his dark country project THE DARK FLOWERS. There has also been a series of solo experimental electronic albums in parallel to launching his own label Loki Records.
Despite releasing two new albums ‘The Age of Illusion’ (2013) and ‘Climate of Fear’ (2016) since their reformation, talk always returned to B-MOVIE’s Some Bizzare period with demand for their imperial trilogy of singles to be made available in the digital era. Those three singles plus 7 previously unreleased recordings from between 1981-1982 were digitised and restored to create the debut “that never was”. Titled ‘Hidden Treasures’, it presented documentary evidence as to why back in the day, the major record labels were clamouring for B-MOVIE’s signature.
Thanks to the positive reception for ‘Hidden Treasures’, another compilation album is planned focussing on ‘The Age of Illusion’, ‘Climate of Fear’ and latter era of B-MOVIE which Statham says will feature “more of the time and songs when I co-wrote a lot more with Steve and produced the tracks”.
After the recent B-MOVIE show in London, Paul Statham sat down to offer some insightful commentary on 20 career highlights selected by ELECTRICITYCLUB.CO.UK from his long and varied music career.
B-MOVIE Moles (1981)
“We were always amazed at how fast Rick could play solos!” said Statham of B-MOVIE’s ‘Some Bizzare Album’ breakthrough, “Recorded at Studio Playground Wragby, we felt like a proper band in this 8 track studios with a live room. The fact we travelled there from Mansfield unified us. In Andy Dransfield, we had a sympathetic producer/engineer who more to the point would buy us a round of drinks in the village pub. All good bands bond in the pub!”
Originally from the ‘Some Bizzare Album’ (V/A), now available on the B-MOVIE expanded CD + digital album ‘Hidden Treasures’ via Wanderlust Records
B-MOVIE A Letter from Afar (1984)
“Terrible press shot in a fake desert setting that became the back cover” remembered Statham of the standalone single ‘A Letter from Afar’ which was based around his sequencer programming on a Roland JX3P and a ghostly SIMPLE MINDS-type pad on the intro; “During the London recording, producer Jellybean Benitez invited me to New York to finish adding parts. We worked out of Sigma Studios, I got an insight into how professional musicians can add to the song”.
Available on the B-MOVIE album ‘The Platinum Collection’ via Warner Music
https://www.facebook.com/B.MovieMusic/
PETER MURPHY Roll Call – Reprise (1989)
“I loved writing music for Peter” said Statham of his partnership with the BAUHAUS front man, “He is highly individualistic, it was always great waiting to hear how he shaped tracks I’d give to him”. Sometimes just a few chords and sometimes fully formed backing tracks”. The guitars on the verse chord progression of ‘Roll Call – Reprise’ paid homage to Iggy Pop while there was a sombre synth brass close; “Peter later said the ‘With Your Red Shirt’ lyric was about me going out clubbing!”
Available on the PETER MURPHY album ‘Deep’ via Beggars Banquet Records
NEURONIC Heaven (1995)
“Things went south a little with Peter’s management on ‘Cascade’” recalled Statham, “so Pascal Gabriel offered me a way out to start a Europop band with him, big bright and bold and he would go play it to Daniel Miller at Mute and get us a deal… hard to believe but that was exactly what happened. Daniel gave us a deal on the spot, with just 2 backing tracks and no singer”. The vocals on ‘Heaven’ came from session singer Anna Ross, now touring with DURAN DURAN.
‘Heaven’ was originally released as a NEURONIC single via Interpop / Mute Records, currently unavailable
PEACH On My Own (1996)
“NEURONIC quickly morphed into PEACH with the addition of the lovely Lisa Lamb… Lisa Cougar would be a better fit, she would laugh at that, believe me! We changed direction, producing electronic symphonies and kitchen sink dramas that led to the first single ‘On My Own’ going into the film ‘Sliding Doors’ and giving us a bona fide US Billboard hit single peaking at #11 on the pop airplay charts” Statham said but “We promptly split up after supporting ERASURE.”
Available on the PEACH album ‘Audiopeach’ via Mute Records
https://www.inspiracy.com/peach/
DOT ALLISON Close Your Eyes (1999)
“I bought the ONE DOVE album that Dot Allison sang on and she looked so elegantly cool on the cover… I wondered how on earth do I meet singers like that to work with!” pondered Statham, “Then here she was! Mike Sault, our respective publisher set up a co-write with Pascal and me. I really found a niche here, writing tracks with strings, synths and electric guitars with Pascal providing big beats! Dot is a great writer, anything with the word ‘Satellite’ in is always a good lyric!”
Available on the DOT ALLISON album ‘Afterglow’ via Heavenly Records
DIDO Here With Me (1999)
Inspired by Brian Eno’s ‘Apollo’ album, this was a life changer for Statham: “Dido was an occasional backing vocalist in her brother Rollo’s band FAITHLESS. The Dot Allison single had laid the groundwork and ‘Here With Me’ was a sophisticated cousin to ‘Close Your Eyes’. Dido has a beautiful voice, fully formed, everything she sang sounded cool!. It became the opening theme to the US TV series ‘Roswell’. Having a big hit like this was without a doubt a very nice feeling.”
Available on the DIDO album ‘No Angel’ via Arista / BMG
KYLIE MINOGUE Your Love (2001)
“Writing with Kylie was undoubtably a high point” said Statham, “Back then, it wasn’t file sharing and a day with the artist, we had a full week of writing together. Just sitting with her and writing lyrics was a little ‘pinch yourself’ moment, especially when she dropped me at the pub in front of friends! She is extremely hardworking and yet unfailingly polite. In hindsight we should have gone more electronic, especially as we had an early listen to ‘Can’t Get You Out Of My Head’.”
Available on the KYLIE MINOGUE album ‘Fever’ via EMI Music
RACHEL STEVENS I Will Be There (2005)
“It seems that writing with very attractive women became almost normal!” Statham said on the call to provide a song for the now-solo SCLUB7 starlet’s second album, “But I never met Rachel Stevens. The track was predominantly written with Pascal and Hannah Robinson, a great writer too. I love the electro pulse and the dry drum sound in this track, her vocal delivery has a sort of strange indifference that suits the sombre lyric about a dead friend.”
Available on the RACHEL STEVENS album ‘Come & Get It’ via Polydor Records
SARAH NIXEY When I’m Here With You (2007)
“Sarah Nixey was a joy to work with, she was indie-influenced and great fun too” said Statham of the former vocalist of BLACK BOX RECORDER who liked to project a stern persona, “There was no real remit here, we wrote 3 songs together over a period and I found her lyrics to be intelligent and offbeat at the same time. My original version wasn’t as programmed as the final mix and had a more organic leaning which I feel better suited the song”.
Available on the SARAH NIXEY album ‘Sing, Memory’ via ServiceAV
THE SATURDAYS Why Me, Why Now (2008)
Statham was invited to work with THE SATURDAYS on their debut album: “Having only a small, converted bedroom as a studio was a challenge with all 5 girls and my friend / co-writer Hannah Robinson, a challenge I was happy to accept! They were enthusiastic and hardworking, Una and Vanessa were great singers too. The song had a Motown feel with a great melodic arc through leading to a strong chorus, it was mixed with a more electronic feel to the demo.”
Available on THE SATURDAYS album ‘Chasing Lights’ via Polydor Records
https://www.thesaturdays.co.uk/
B-MOVIE Dark Lines (2013)
Having reformed in 2004, a new B-MOVIE long player emerged in 2013: “A favourite of mine from an overlooked album, written by Steve and produced by myself, it has a dark quality that goes against the more uptempo feel of the album. Here, working predominantly in a sparsely produced electronic vein, we got it right. I played most of the keyboards as well on this album as Rick had begun to get disillusioned… the opposite to the title and Rick liked to swim upstream!”
Available on the B-MOVIE album ‘The Age Of Illusion’ via Wanderlust Records
THE DARK FLOWERS Radioland featuring JIM KERR (2013)
Conceived whilst Statham was reading Sam Shepard’s ‘Motel Chronicles’ and listening to an instrumental album ‘The Hired Hand’ by Bruce Langhorne featuring old instruments left out to weather in the same US deserts, he said of THE DARK FLOWERS: “It involved me mixing Eno sequences electronics with piano / banjo and found sound. Jim nailed this perfectly, a slightly Bowie vocal for the dark tale of a man who inhabits an imaginary ‘Radioland’.”
Available on THE DARK FLOWERS album ‘Radioland’ via Lojinx
https://www.facebook.com/theflowersdark
SIMPLE MINDS Kill Or Cure (2014)
“As huge SIMPLE MINDS fans, Steve Hovington and I saw them numerous times” said Statham, “my younger self would find it hard to believe Jim would become a good friend and I would write tracks with him! Based around the bassline that echoes Gina X ‘No GDM’, I tried to evoke the early feel of SIMPLE MINDS. An instrumental demo was passed on to Jim in a chain link of 4 different friends of friends and he called me straight away on hearing it and was in my studio a week later!”
Available on SIMPLE MINDS album ‘Big Music’ via Demon Music Group
PAUL STATHAM Asylum (2017)
Statham’s more experimental work came after meeting art curator Victor De Circasia in their daughters’ school playground: “I became involved in the world of painters and sculptors, where I would be commissioned to write music to accompany an exhibition or as part of the installation” he said, “‘Asylum’ was music that was based initially from these interactions acting as an almost palimpsest that I overlaid and sculpted, so the original idea was covered multiple times”.
Available on PAUL STATHAM album ‘Asylum’ via Loki Records
B-MOVIE Stalingrad (2018)
“A real gem and one that we should go back to!” said Statham of the best B-MOVIE song of their reunion era, “this was also a very creative time and we released a lot of one-off songs that were great to produce and write and that went down well with fans and live too. I put it in the same feel as ‘A Letter From Afar’ in that it is sequencer-driven, lyrics musing on the folly of war with a slight Eastern feel in some of the melodic instrumental passages.”
Available on B-MOVIE EP ‘Repetition’ via Loki Records
https://www.instagram.com/b_movieband/
AFTER THE RAIN Gospel Train (2019)
“To be updated!” confirmed Statham on AFTER THE RAIN, “I wanted to release my own project that had some vocal element and at that time not wanting to use my own voice, this went down the route of Moby’s ‘Play’ album, using old vocals lifted from Blues and Gospel. It was never fully released on streaming platforms, but I remain committed in 2025 to releasing these tracks, mixed properly and continuing in an 80s electro feel with my own vocals and guests.”
Available on AFTER THE RAIN EP ‘Black Is The Colour’ via Loki Records at https://aftertherain1.bandcamp.com/
https://www.facebook.com/aftertherain.london/
THE DARK FLOWERS Dead & Lovely featuring THE ANCHORESS (2021)
From an interim Murder Ballad covers EP, the highlight was this Tom Waits song: “I asked long-time collaborator Catherine Anne Davies aka THE ANCHORESS to do this version” Statham said, ”Catherine always sings so well but I feel my production was not quite right on this. It’s way too happy and synthetic in places. The main problem is that it’s a very long song and the narrative arc is necessary to tell the tale, but I did almost edit it down!”
Available on THE DARK FLOWERS EP ‘Death & Desire’ via Loki Records at https://thedarkflowers.bandcamp.com/
PAUL STATHAM & DANIEL PENNIE Hadar (2024)
The songwriting module leader at Solent University, Statham became friends with experimental music module colleague Dan Pennie: “He is a fabulous guitarist with his own outfit NOISE IN YOUR EYE. I had conceived these tracks as a follow-up to ‘Asylum’ but once I sent one to Dan, and he added guitar loops to run through the track, it made sense for the album to go down this avenue, making it less predictable with some unexpected rhythm and textures from his guitar playing”
Available on PAUL STATHAM & DANIEL PENNIE album ‘Object No Distance, Distance No Object’ via Loki Records at https://paulstathamdanielpennie.bandcamp.com/
https://www.instagram.com/paulsta123/
SIMPLE MINDS Your Name In Lights (2024)
Coming back to the here and now, Statham was working with SIMPLE MINDS again: “My writing with Jim Kerr and Charlie Burchill for me is one of the highlights of my career in music. Jim has an iconic voice and Charlie is one the three inspirational guitarists to me, the others being John McGeoch and Robin Simon. Predominantly keyboard led with a KRAFTWERK-style pulse and a dark meditation on fame, that they chose it as a standalone single made my year”.
Available on the SIMPLE MINDS single ‘Your Name In Lights’ via BMG
https://www.facebook.com/simpleminds
Text by Chi Ming Lai with grateful thanks to Paul Statham
13th August 2025
featured during a key scene in the Gwyneth Paltrow movie ‘Sliding Doors’.
.
appeared on ‘Partysnäks’, the soundtrack to ‘Die Tanzbeinsammler’.
(V/A) via Grönland Records
via Union Square
was recorded for the film ‘Insignificance’ and produced by Midge Ure under the pseudonym of Otto Flake Junior.
(V/A) via Union Square
via Union Square
via London Records
was very much dominated by Gabriel’s dancefloor instincts. But all was not well within. “The MD from Island suddenly left and all the people who worked on my album left as well” she remembered, “A new guy came in and already I could sense what would happen, so Pascal and I decided to get really experimental”.
via Cherry Red Records
with CHROME SEDUCTION was a frantic club number that also saw a reunion with former partner-in-crime Susanne Freytag. The project of Magnus Fiennes, brother of actors Joseph and Ralph, it was independently released by Mother Alpha Delta.
via Union Square
via BMG
via Land Speed Records
featuring a duet with FRANKIE GOES TO HOLLYWOOD’s Paul Rutherford A beautifully crafted synthesized tribute to David Bowie & Pat Metheny, it had been intended for a film soundtrack but shelved.
.
via WEA
, a co-write with Martin Gore which also featured the guitar of DEPECHE MODE’s main songwriter. It was the stand-out song on ONETWO’s debut EP ‘Item’.
via 
via Sanctuary Records
via 
via 
via Soundcolours
was the alluring highlight of three songs recorded.
(V/A) via Rockstar Games
was the first song to emerge from Brücken’s reinterpretations project with producer 
via There (there)
from scratch for OMD. “Paul had the idea of asking Claudia to do the vocal in the middle eight” remembered McCluskey before thinking “y’know, could you ask Claudia to do it in German as well?”... the result was electronic magic.
via BMG
very much reflected her personal mindset following the end of her relationship with Paul Humphreys.
via Cherry Red Records
was a lovely, lushly produced album. The standout track is ‘Deep Down Together’ a frantic spacey Eurostomper in the vein of SPARKS’ ‘(When I Kiss You) I Hear Charlie Parker Playing’. With throbbing hints of ‘I Feel Love’, it is seasoned with some wonderfully distinctive vocal ad-libs from the late Billy MacKenzie. He pops up again on the NEW ORDER-ish ‘Higher Ground’ which offers some love technique while on their final single ‘Sorrow Town’, the trio go all poptastic.
is still available as a CD or download via Polydor Records
Follow Us!