CBS/Kitchenware Records, released 25th June 1985
Steve McQueen producer Thomas Dolby had taken part in a ‘Round Table’ singles review programme on Radio One in early 1984, waxing lyrical about Prefab’s ‘Don’t Sing’. The Sprouts happened to be listening in and asked their manager Keith Armstrong to ring Dolby the next day. Dolby takes up the story:
Thomas Dolby in 1985
‘Keith said, “It so happens we’re actually looking for a producer right now. Are you interested?” I said, “Absolutely.” So they said, “Well, we don’t have many songs on tape to play you, but we’d like to invite you up to Paddy’s (McAloon, Prefab singer/songwriter) house.” I took the train up, spent the day there. He lived on the top of a hill in an old Catholic rectory where his mum had looked after the church. There were crucifixes on the walls. His dad, who’d had a stroke, was ill in bed upstairs. Paddy took me to his room and pulled out this stack of songs. He’d squint at them and strum his way through them. He would write notes for chords and melodies over the top of the lyrics but primarily it was about the poems.’
The songs for Steve McQueen were worked up in rehearsals with Dolby at Nomis Studios in West London in the autumn of 1984, before the recording sessions proper started at Marcus Studios.
The Sprouts apparently found the Big Smoke in turns beguiling and baffling. Taken out for dinner by CBS execs, they were introduced to the dubious pleasures of haute cuisine. According to Dolby, upon being delivered a tiny plate of food, bassist Martin McAloon was once heard to utter, ‘That was for me neck – now what’s for me stomach?’!
Dolby brought out the best in singer Wendy Smith, often using her unique soprano almost as a musical instrument, especially on ‘Moving The River’ and ‘Blueberry Pies’.
Dolby realised that part of his role as producer was to ‘smooth out’ some of the rough edges of Paddy’s remarkable songs:
‘What happened when the band started to arrange those was that there were lots of extra beats here and there, strange chord changes or rhythm changes, or odd lengths of phrases. The musicians tried to sort of accommodate those, but in fact what needed to happen was a few of the rough edges needed to be trimmed off. But at the same time, I didn’t want to throw out the baby with the bath water. I mean, what made them so unique is that they defied logic. So the task, really, at hand, for me, was how to elevate them to a more accessible level, commercially, without homogenizing the essence of the music.That was the first meeting with Paddy. He’s a very interesting guy, very well read but humble.’
The album was mixed at Farmyard Studios in Buckinghamshire. That was where Paddy really became aware of what Dolby had cooked up:
‘It’s taken me decades to try to absorb what it was that Thomas did. I mean, he had a great ear for individual sounds, he wasn’t swayed so much by the things of the day. He had a Fairlight and a PPG Wave and he would use them sparingly, and he had no time for the Yamaha DX7 and the things that everyone else rushed out and bought. He was into synthesis really. He didn’t make a big thing of it… it was just what he did, in addition to having a good sense of structure.’
Dolby talks about Paddy’s vocal style on the album:
‘He can be coaxed into letting rip every now and then. So one of my favourite things about the album is that you get these occasional primal screams. The way he sings “Antiques!”, the opening line. And then later on in “Goodbye Lucille” which is this very sort of lush, soft song, in the chorus he just lets rip at the end with this scream. And I always liked that he did that on that album. In later years he tended to be this sort of breathy crooner, and you hear less of that raw side.’
Drummer Neil Conti on recording Steve McQueen:
‘When we went in to record the album, there was a very relaxed vibe which I think you can hear in the music. After a rather tense start, when Thomas Dolby, who was used to drum machines, basically tried to get me to play like a machine, things loosened up and we had some hilarious late night jams after coming back from the pub. The track “Horsin’ Around” was recorded after one such rather inebriated sojourn to the boozer and you can hear Martin laughing while I’m counting it off. That track is all over the place, but it was just what the song needed. We couldn’t get it at all before we went to the pub to horse around a bit. I think the relaxed vibe really is one of the keys to why that album sounds good. No clicks, three takes max of each song, very loose and natural.’
Steve McQueen reached 21 on the UK album chart, perhaps a slight disappointment, but the critics generally loved it. It made number 4 in NME’s Albums of 1985 poll and was well-received in Europe and the US. Rumours even appeared in the press (some good CBS PR) that Prefab might play at Live Aid. That was never going to happen but half the band did back David Bowie (producer Thomas Dolby, drummer Conti and occasional guitarist Kevin Armstrong).
An extensive UK and European tour followed the album release after which the band quickly recorded Protest Songs in late 1985, though it wouldn’t released for another four years. There was so much more to come from arguably the British band of the decade.