Many happy returns to a modern master, still Sproutin’ after all these years.
Many happy returns to a modern master, still Sproutin’ after all these years.
There’s a quality to demo recordings (rough, early versions designed to demonstrate a composition for a potential multi-track studio recording) that really appeals, especially those with ‘delusions of grandeur’ that try to sound much more expensive than they are.
In the 1980s, a demo would typically be very quickly recorded onto a four-track tape machine and then tarted up with a bit of cheap reverb. But these artefacts can very often take on a quality all their own. ‘Chasing the demo’ syndrome is common among musicians and producers, where they try in vain to replicate the freshness of the original as compared with an endlessly-tinkered-with studio version which quickly loses its zing.
‘Bearpark’ first appeared on the B side of Prefab’s ‘Nightingales’ 12” single as part of a three-song EP called The Demo Tapes (the other two tracks were ‘Life Of Surprises’ and ‘King Of Rock’n’Roll’). It never made it onto any album but has nevertheless become one of my favourite ever Paddy McAloon compositions. It was also apparently the first time he had ever used a four-track cassette machine, recorded with a Dr Rhythm drum box, cheap synth and electric guitar.
The chords hang in the air, never quite getting resolved. In fact, playing along to the song on bass, virtually any root notes work under each chord. It’s hard to imagine how ‘Bearpark’ could be improved by a big-budget production, hence possibly why it hasn’t appeared on an official album, though Paddy says he ‘felt like Phil Spector’ when he’d finished it. Its charming musical naivety and sparseness perfectly suit the lyrical theme: home, for better or worse.
Home, sweet home
Sweet home, hard as nails
Bearpark, you were mine
I know, I know, I’ve been away but you’re
Not the type for valentines
Bearpark, I get homesick
Langley you are fine
I know, I know, I’m a gypsy
But Bearpark, Bearpark’s on my mind
There’s nowhere else like you
I’m gonna walk this weary body that’s been nowhere far too long
I’m gonna drag it back where it belongs
Home sweet home, Geordies
Hard as nails, Geordies
Well out of my pram,
Hard as nails, Geordies
Bearpark, what a place
I know that this will sound soft but I
Sometimes think you’ve got a face
Both eyes black and blue
A stranger comes to town
I know, I know, the chances are that
Some bright spark will run him down
No honey on your tongue
I’m gonna take this broken spirit
Gonna heal it for all time
When I see your dear name
Upon a sign
Bearpark, you are mine
Hard as nails, Geordies
Well out of my pram…
Maybe it is time the song got a ‘proper’ recording. As Paddy says in the liner notes on the back of the 12” single, ‘You might think you can do better – be my guest. I like cover versions.’ But he also advises: ‘Don’t spend too long on the demo’…
Bought: Our Price Richmond 1988
Prefab go Pop. There are big-name guest spots (Stevie Wonder, Pete Townshend), gospel choirs, an orchestra and Deacon Blue’s producer. The lengthy recording period and increased budget certainly paid off; synths and strings glisten, Paddy McAloon and Wendy Smith sound like they’re singing in the room with you and one can hear every nuance of Neil Conti’s tasty drumming.
Steve McQueen producer Thomas Dolby could only find the time to oversee four out of the ten tracks; of these, only ‘Knock On Wood’ sounds like trademark TD. Apparently, once McAloon learned that Dolby would be unavailable for much of the recording, he flirted with the idea of using a different producer for each song. The notion was quickly abandoned but it reinforced the idea that this would be Paddy’s most collaborative project so far.
At the time of its release, Paddy publicly declared that he hated the sound of records being made in the late ’80s and in response seems to have looked for songwriting inspiration from pre-rock’n’roll forms – Gershwin, Berlin, Cole Porter and Broadway musicals. He had also by now made big strides in his keyboard playing, writing all but two From Langley Park tracks on piano.
Consequently, McAloon’s melodies are incredibly daring and original, but there’s arguably a fair degree of musical ‘schmaltz’ in the arrangements too, particularly on ‘Hey Manhattan’, ‘Nightingales’, ‘Nancy’ and ‘The Venus of the Soup Kitchen’, but it’s Stephen Sondheim schmaltz rather than Disney schmaltz. The wonderful ‘Nightingales’ sounds like the score from some kind of futuristic Broadway musical (and the 12″ single is worth tracking down for exquisite B-side ‘Bearpark’).
CBS obviously had high hopes for the album and their faith was paid off in the shape of a hit single, ‘King of Rock & Roll’, and one near-hit, ‘Cars And Girls’, though one wonders how McAloon views those now – I’ll wager with a degree of sheepishness. But I remember being extremely excited to see the video for ‘Cars And Girls’ popping up on ‘The Chart Show’.
Listening back after all this time, it’s From Langley‘s minor, more understated tracks that really stand the test of time. ‘Knock On Wood’ and ‘Enchanted’ could have come from Steve McQueen. The former features a simple, unusually direct lyric from Paddy over a surreal, subtle pot-pourri of percussion and synth effects from Dolby. One wonders what McAloon’s demo sounded like. It’s slight and simple but no worse for that.
‘Nancy’ is gorgeous, a ‘Brief Encounter’esque tale of unrequited romance in the workplace, possibly inspired by McAloon’s relationship with his fellow Sprout (it doesn’t take a huge effort to imagine the word ‘Wendy’ in place of ‘Nancy’). ‘I Remember That’ sees McAloon in full-on crooner mode, emoting over MOR strings and weirdly-stilted gospel backing vocals. Paddy pokes fun at Springsteen’s obsessions on ‘Cars And Girls’, but then hilariously attempts a four-on-the-floor, Springsteenish rocker ‘The Golden Calf’ which doesn’t quite come off.
It’s hard to overstate the weirdness of the closing ‘Venus Of The Soup Kitchen’, a collision of slick Steely Dan drums, wonky Farfisa organ, distinctly-unfunky vocals from the Andrae Crouch singers and some amusing cocktail guitar from McAloon. It unnerves in a way I’m sure was intended, coming over like a Ken Loach tale told in Broadway-musical style. For better or worse, there’s nothing else remotely like it in the Prefab output.
So, an important, big-selling album for Prefab (reaching number 5 in the UK album charts) and another hugely impressive chunk of songwriting from McAloon. He was in a bullish mood, talking to the media about chart placings and competing with Michael Jackson and Prince, and his purple patch led to an even more cogent and powerful piece of work in the extraordinary Jordan The Comeback, of which more later.
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:
‘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 heard 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.
Bought: Virgin Megastore Oxford Street, 13th July 1985 (morning of Live Aid)
We come to another of my absolute ’80s favourites. Cupid is also one of those rare ‘classic’ albums that, despite big sales and critical appreciation, is still inexplicably awaiting a re-release/remaster, unless I’m very much mistaken.
Listening again to Cupid 30 years after its release, I wonder if it sounds very dated to modern ears. I suspect it does but it was so much part of my musical (and general) coming-of-age that I can’t judge. Whilst it unabashedly utilised all manner of mid-’80s technology (Fairlight, drum machines, sequencers), I don’t really ‘hear’ those elements any more. All I hear is top-notch songwriting, intriguing and intelligent lyrics, great grooves and Green’s unique vocals. Cupid hit me at exactly the right age; it was the soundtrack to endless summer evenings, teenage crushes, adolescent musings.
Though Scritti leader/vocalist/co-songwriter Green Gartside left behind his post-punk roots and the ‘indie’ sound of his Rough Trade debut album Songs To Remember to create this major-label debut, Cupid certainly had antecedents: Green and keyboardist/co-composer David Gamson revered the highly-syncopated R’n’B/electro of The System, Chaka Khan, ZAPP and Michael Jackson, but they added some classic pop songcraft and intricate harmony.
Rough Trade boss Geoff Travis gave Green his blessing and, coupled with manager Bob Last (who also managed Human League and ABC), Green pitched the Americans his fusion of pop and funk. As he told Word magazine in 2006, ‘The American labels were all tickled pink by these big NME interviews we did and that loosened their wallets. Bob and I were terribly persuasive as to why they should part with vast sums so we could make a record.’
Legendary Aretha/Chaka producer Arif Mardin came on board as did a raft of quality players such as Marcus Miller, Steve Ferrone, David (The System) Frank, Robbie Buchanan, Robert Quine and Paul Jackson Jr. But Green apparently turned out to be more of a perfectionist than any of them: ‘It took us a great deal of time to get our bits right and my anxiety about singing was pretty acute. I would demand to sing things over and over again and I’m not sure I ever got it better than the first time.’
Cupid featured three classic singles – ‘The Word Girl’, ‘Absolute’ and ‘Wood Beez (Pray Like Aretha Franklin)’, though eventually a total of five tracks were released as A-sides. The John Potoker remix of ‘Perfect Way’ (far superior to the album version) even became a massive hit in the States, reaching 11 on the Billboard Hot 100 and pushing worldwide sales of the album over the million mark (check out this guy’s incredible play-a-long).
While ‘Don’t Work That Hard’ and ‘Lover To Fall’ might be deemed ‘filler’, they easily transcend that label by dint of their sprightly grooves and sheer catchiness. The beautiful ‘A Little Knowledge‘ showed that Green and Gamson were on the same page as Prefab’s Paddy McAloon when it came to sumptuous, intelligent romantic ballads in the mid-’80s, and the track is a great companion piece to ‘When Love Breaks Down’.
Post-Cupid, Green and Gamson booked and then cancelled a world tour (they were apparently visited in the studio by MTV executives who told them, ‘Just think, you’ll never have to tour again!’), wrote songs for Al Jarreau and Chaka Khan, made friends with Miles (who covered ‘Perfect Way’ on Tutu), hung out with George Michael at various London nightspots, embarked on a year of press in America to cash in on the success of ‘Perfect Way’ and then reluctantly hit the studios of New York and London to record the follow-up Provision.
A cursory listen to a radio station like Absolute 80s reveals the wide-reaching influence of Cupid on countless late-’80s bands: a-ha, Go West, Climie Fisher, Living In A Box, Pet Shop Boys, Bros and Aztec Camera all tried for those clinical, Swiss-watch-precision arrangements and that uplifting pure pop sound, but generally lacked Gamson’s ingenious chord changes and Green’s gift for melody.
Happy birthday to a bona fide ’80s classic.
Bought: Tower Records Piccadilly, 1998?
Perhaps like a lot of Prefab fans, I came to Swoon some time after I’d bought and fallen in love with the later albums Steve McQueen, Protest Songs, From Langley Park to Memphis and Jordan The Comeback. The dry, Thomas Dolby-less production came as a bit of a shock at the time but Swoon stands up pretty well today. I was once discussing this album with a friend recently who said the only way you can tell it’s an ’80s album is because it features a lot of major-seventh chords. This comment intrigued me but instinctively seemed on the money – it was a very ‘jazzy’ decade (think Sade, Hue and Cry, Danny Wilson, Swing Out Sister, even Madness, XTC, Squeeze etc).
Though some critics have compared the album to Steely Dan, my contemporary reference points would be Lloyd Cole, The Smiths, Aztec Camera and Songs To Remember-era Scritti, though it’s basically impossible to locate Prefab’s influences. I’m tempted to say, listening to it 30 years after its release, that Swoon sounds like the epitome of an ‘indie’ record with its stripped-back production values and jagged edges. Prefab singer/songwriter Paddy McAloon recently told The Guardian that he thinks of it as more akin to Captain Beefheart, nicknaming the album ‘Sprout Mask Replica’!
Swoon definitely still sounds very much like a debut album; it’s perky, eager to please, naive, studenty, slightly pretentious. McAloon’s vocals occasionally resemble the ramblings of a slightly squiffy, randy teenager. But the album’s adolescent in a really good way with its literary flights of fancy, indulgent ruminations on romantic love and lots of audacious melodic flourishes.
It sounds almost like rock, with solid 4/4 drums, groovy but always inventive bass from Paddy’s brother Michael and ‘girlie’ backing vocals, and yet it resolutely refuses to ‘rock out’ with not a single power chord or jangly electric guitar in the mix. Instead, the intrepid layering of synths and acoustic guitars (utilised to far greater effect on Steve McQueen and Jordan) probes the songs’ pressure points. And Wendy Smith’s pristine vocals give the music an enigmatic, otherworldly flavour.
Listening again recently, lyrically Swoon reminded me of Joyce’s Ulysses; a survey of a young man’s hopes, dreams and romantic/professional disappointments. A quick survey of the lyrics in the CD inlay card suggests that at the songwriting stage the words came first, resembling stream-of-consciousness prose rather than traditional verse/chorus songcraft. Novelist/essayist Dave Eggers wrote a great piece about how much he was influenced by this golden generation of literate British songwriters.
As befitting a band from the North East, work (and the lack of it) is a recurring theme, particularly on ‘I Never Play Basketball Now’ and the extraordinary ‘Technique’. ‘Couldn’t Bear To Be Special’ is a classic Prefab ballad (though surely never the right choice for second single) and seems to offer a truly original take on the doomed love affair – the narrator simply doesn’t feel worthy to deserve the attentions of another. Very Nick Hornby-esque. Future producer Thomas Dolby has talked about the shock of hearing ‘Don’t Sing’ when he was a guest reviewer on the Radio 1 ‘Round Table’ show. It indeed remains a stunning introduction to this half-brilliant album and to Prefab’s glittering career.
And ‘Cruel’ is still a delicious (if a trifle fey) piece of pop/bossa nova, more than a decade before the likes of Belle and Sebastian mined similar ground. Oh – and don’t forget to read the silly but funny mock liner notes penned by McAloon in the guise of an over-exuberant music scribe…
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