‘Spies’ is the mythical lost album by HELDEN which, despite a show to premiere the music at the London Planetarium in Spring 1983, was never released.
HELDEN was the side project of Warren Cann, best known as the drummer and electronic percussionist of ULTRAVOX. His partner in HELDEN was Hans Zimmer, then an up-and-coming musician who had worked with THE BUGGLES and THE DAMNED.
He had also been producing soundtracks, jingles and theme tunes with 1985’s ‘My Beautiful Laundrette’ and the 1987 BBC quiz show ‘Going For Gold’ being among the German composer’s earliest successes.
Despite acquiring Wendy Carlos’ Moog modular system that had been used on ‘Switched On Bach’ from Chris Franke of TANGERINE DREAM who was downsizing, Zimmer was an early adopter of the Fairlight and used four at the London Planetarium concert. He was also steadily gaining higher profile sessions and later contributed to the programming on ‘The Last Emperor’ which won an Oscar for its soundtrack composed by David Byrne and Ryuichi Sakamoto.
But in one of the most notable examples of short-sightedness within the British music industry and its inability to recognise rising talent, the theatrical conceptual opus that was ‘Spies’ confused record labels. It was sadly unable to secure a deal with the independent ‘Holding On’ single containing the only tracks from the project to be commercially released.
Another HELDEN track ‘Stranded’ belatedly appeared as a freebie with the ‘In The City’ fanzine in 1985 but by then, interest in ‘Spies’ had waned while Hollywood came calling; Zimmer’s score for ‘Rain Man’ starring Dustin Hoffman and Tom Cruise was nominated for an Oscar in 1989. He eventually won his first Oscar in 1994 for ‘The Lion King’.
However, before any of this, Hans Zimmer had been the keyboard player and producer for Zaine Griff, a New Zealander who had his own impressive portfolio including working with David Bowie, Tony Visconti, Kate Bush, Gary Numan, Warren Cann, Midge Ure and Yukihiro Takahashi. More recently, his song ‘Ashes & Diamonds’ was covered by MGMT.
Having already worked with Hans Zimmer and Warren Cann in the production of his second solo album ‘Figvres’, Griff was the natural choice as the charismatic leading man of the HELDEN project and the vocal parts of the ‘Spies’ album.
Among the other contributors were Linda Jardim, Hugo Verker, Ronny, Eddie Maelov, Brian Gulland, Brian Robertson and Graham Preskett.
With interest in ‘Spies’ having become revitalised as a result of Zimmer’s acclaim as the world’s most in-demand soundtrack composer, Zaine Griff has been working on a new recording of ‘Spies’ over the past 7 years. It will be the first time that all the songs will have been officially released with Sony Japan doing the honours.
Griff’s ambitious undertaking was co-produced by Stephen Small who also deputises for Zimmer on keyboards while Cann’s place on drums is taken by Clive Edwards whose credits include UFO as well as Zaine Griff’s most recent album ‘Mood Swings’.
Zaine Griff kindly chatted to ELECTRICITYCLUB.CO.UK about his memories of The HELDEN Project, the original recordings and the process involved in realising ‘Spies’ for the 21st Century.
How did you come to be involved in HELDEN?
I had recorded my second album ‘Figvres’ with Hans Zimmer producing. We recorded the album at Snake Ranch Studios in Chelsea with Steve Rance engineering. Around this time, Hans invited me to do jingles, check out equipment at Syco Sytems, go to movies and, well, just hang out.
Hans was playing keyboards with me at all my gigs, most notably the 1979 Reading Festival with Warren Cann on drums. He mentioned to me that he and Warren had started a new project, would I do vocals? The HELDEN Project and ‘Spies’ used Steve Rance and Snake Ranch Studios… in fact everything seemed like a continuous flow with Linda Jardim on backing vocals and Warren of course from the ‘Figvres’ team. When I came to hear the songs, much of the ground work had been recorded.
What are your main memories of recording the original ‘Spies’ album with Hans and Warren?
Long day late nights… Hans was an artist with a blank canvas painting in sound, that is how I remember Hans. Experimentation always dramatising, always counterpoint. Warren was coming off ULTRAVOX touring, I loved his rhythmic machine-like drumming. Warren laid machine-like structures that help create Germanic moods. The equipment was never an issue and Hans was always ready to go, he was quite a workaholic even at that age. Steve Rance was extremely in tune with Hans’s direction.
Of the other things I remember, the three of us, Hans, Steve and I were having two cigarettes on the go at the same time, the ashtrays were full. The sound that was being produced was cinematic. A soundscape for a movie that hadn’t been filmed. It didn’t need to be filmed, you could see it been played out with Hugo Vereker’s lyrics and Hans’ soundscapes.
What was the album’s central theme, the title suggests it was The Cold War?
The Cold War, espionage, spies, Eva, trust, mistrust, beauty, betrayal, East meets West, out of the shadows.
How did you feel when the original ‘Spies’ album was unable to secure an official release?
My personal frustration when I realised HELDEN was not going to be released was the fact that I had spent a year of my life on that project. Hans and I did a promotional radio tour for the single ‘Holding On’. I treated ‘Spies’ as if it were my own when I sang the tracks, heart and soul went into every moment to support the project. Out of that I learnt so much.
Several attempts have been made over the years to release the album, but what was the catalyst for you to revisit the album yourself?
To re-release The HELDEN Project in its original form was complex on the business end due to percentage splits for the three writers Hans, Warren and Hugo and then there was no agreement for the contributors. Hans had by-then moved to LA in a new direction that had opened up for him, movie soundtracks.
Was it straightforward to get Hans and Warren’s blessing for the release?
I met Hans back stage at The Vector Arena only a few years ago whilst he was on his world tour and mentioned I was going to do some shows in London and wanted to do some HELDEN tracks such as ‘Holding On’ and ‘Borderline’ as well as maybe recording some HELDEN tracks. He thought that was great and gave me his blessing, Warren and Hugo both also gave their blessings. When I asked Warren if he would play drums, he sadly said he no longer played. I made the commitment that all drum parts, arrangements stayed true to his every beat.
The percussive palette is particularly authentic, had you set any particular restrictions in the sounds you used, like did they have to be “of the period” to represent what Warren would have considered?
As you can hear we copied Warren’s parts and sounds thanks to Clive Edwards, Dave Johnston and Stephen Small to decipher every element of Warren’s drumming.
Undoubtedly, this new recording maintains the pomp and circumstance of the original with Stephen Small contributing the keyboards and the two of you producing. What was the process of arranging and transcribing the parts from the original?
That is a question for Stephen Small. I approached him because of his magnificent career and his background in music arrangement and production. I came to know Stephen when he played live for me, it was then I realised that I could discuss The HELDEN Project with him.
We must remember when Hans wrote ‘Spies’, he was only 23 years of age. Stephen recreated the entire keyboard structure of a young Hans Zimmer.
Did you use hardware synths or did VSTs prove more practical in the production process?
We had use of synths from the 80s and computers from that period. We went for every sound that was 1982-83 and 84.
Was there any particular track that proved more of a challenge to reproduce than the others?
Every track was smooth sailing.
In terms of re-recording the album, how was it financed, did Sony Japan come aboard quite early on it the process?
I financed this project myself. Sony picked up on it when they were wanting to re-release Yukihiro Takahashi album ‘What Me Worry’ which had the song ‘This Strange Obsession’ which I wrote for him. It seemed obvious to me that they may be interested in The HELDEN Project.
You opted to take on the lead vocals of ‘Young & Scientific’ which were originally done by Eddie Maelov and Ronny?
Yes, I opted to sing the entire album, I had never met Eddie…
‘On The Borderline’ has been chosen to be “the single”, why did that track stand out to be the one to launch the project and get a Julian Mendelsohn remix?
‘On The Borderline’ seemed like a fun track to put out as a teaser. I asked Jullian Mendelsohn If he would like to do an extended version, he loved the idea and has done a great job with a great 80s vibe to it, a remarkable man.
‘Holding On’ was the only officially HELDEN single back in the day, how was it to revisit that?
I sang ‘Holding On’ live in London at The Water Rats in 2018, it went down really well. Hugo Vereker was in the audience… his lyrics, wow. This is why a lot of my focus to do the album was to allow people to hear this great piece of music.
‘Stranded’ was another track that went public as a freebie with the ‘In The City’ fanzine in 1985, but your new version manages to sound even more like ULTRAVOX if they did the ’Top Gun’ soundtrack…
Yes, I love ‘Stranded’.
Of the instrumentals, ‘Pyramids Of The Reich’ evokes some really surreal images?
Surreal imagery indeed. The listener can close their eyes and be transported to another time. Germanic music as daylight breaks.
‘2529’ with its mighty Schaffel beat is an immediate highlight with some great synth work, it really swings… how did that come together?
The rhythm of ‘2529’ is from the initial rhythms of Warren, yet taken into a Moroder or Jean-Michel Jarre world like a mental picture of a dance floor. It came together from the backbones of Warren and the presence of David Johnston adding percussion.
Do you have any favourite tracks from ‘Spies’ or are you just happy that it is now public after all these years? How do you hope your take on ‘Spies’ will be received?
I am just happy The HELDEN Project will be available to the general public after all these years. For me, personally it is sad that the original backing vocalist Linda Jardim(who had the most incredible voice) had passed away a few years ago. I was able to convince Linda’s companion from THE BUGGLES Debbi Doss to sing Linda’s vocal on the album, which she did beautifully. I do not have any favourites song on this album, I love them all. I think what people need to realise is the depth of creativity of Hans Zimmer. For me this is how he started, right here.
What’s next for you? You’ve been working with Chris Payne?
I am very proud to be collaborating with Chris Payne from the classic Gary Numan live band with what started as a writing team for a new VISAGE, but has turned into our own Zaine Griff / Chris Payne project. We have already completed an album together which will be released in 2023, with shows in Great Britain to support it.
ELECTRICITYCLUB.CO.UK gives its warmest thanks to Zaine Griff
Special thanks to Chris Payne
‘The HELDEN Project: Spies’ is released by Sony Japan as a Blu-spec CD on 30th November 2022, available via https://www.cdjapan.co.jp/product/SICX-30156
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A 1983 archive interview with Hans Zimmer discussing HELDEN for E&MM can be read via mu:zines at http://www.muzines.co.uk/articles/hans-zimmer/6083
https://open.spotify.com/album/24RsWNXME4QiSGzCrnW7uj
Text and Interview by Chi Ming Lai
29th November 2022
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