There’s a secret history of bands/artists disowning their own albums before they’ve even been released.
Lee Mavers’ La’s, Prince and Chrissie Hynde’s Pretenders come to mind, and the brilliant Cumbrian four-piece It Bites can also be added to that list.
They even sent out a ‘please don’t buy our new album’ letter to their fan club. I still have it. Quote: ‘They feel Thankyou And Goodnight to be a complete rip-off on the part of Virgin Records…’ It didn’t work, of course. I bought it during its first week of release.
By summer 1991, a year after guitarist/lead vocalist Francis Dunnery had done a runner from the band (this interview gives intriguing hints as to his state of mind during spring 1990) while they were recording their never-to-be-released fourth studio album in Los Angeles, remaining members John Beck (keyboards), Dick Nolan (bass) and drummer Bob Dalton (then trying to make a go of it as Navajo Kiss, and later Sister Sarah) were less than thrilled to hear that Virgin intended to release an It Bites live album.
But it was out of their hands. They reluctantly helped with track selection/sequencing, approved the artwork and title and Thankyou And Goodnight summarily became the official au revoir to one of the finest British bands of the 1980s.
One top 40 single (‘Calling All The Heroes’) was a pretty dire return for one of the most melodic acts of the era. Virgin should get some blame for that (were they generally better cheerleaders for their solo acts, apart from Genesis, Simple Minds and Culture Club?).
But you hear ‘Still Too Young To Remember’, ‘Underneath Your Pillow’, ‘Kiss Like Judas’ and ‘Midnight’ today and it’s inexplicable that they didn’t crack the charts.
In particular, their singular lack of mainstream success throughout 1988 seems to have been a huge shock for the band, especially off the back of an extraordinary sophomore album Once Around The World, sold-out UK tour and well-received Robert Plant support slot.
But back to Thank You And Goodnight. Visually, it’s a pretty shoddy package. The cover looks like it was knocked off by a reluctant Virgin designer after a long liquid lunch. There are no recording dates or technical personnel, save for mixing engineer Nick Davis (XTC, Marillion, Genesis, Phil Collins), whose surname is misspelt.
Then there are some cursory ‘history of the band’ liner notes, with an annoying addendum by a Virgin staffer: ‘We owe you a drink, Ian!’. Yeah, right…
And then there’s the track choice – it’s basically the audio from the televised June 1989 gig at London’s Town & Country Club, plus a few ringers: ‘Yellow Christian’ (recording date/venue unknown) and ‘You’ll Never Go To Heaven’ from London’s Marquee in 1987 (anyone know the date?), previously the B-side of ‘Midnight’.
A better bet for a live album would surely have been the whole T&C show, plus the whole Marquee 1987 show. It’s also surprising that both of their Hammersmith Odeon headliners (in December 1989 and April 1990) were not available for release (but both are allegedly audible on the privately-released Live In London box set, in which I’m yet to invest…watch this space…).
But it’s no surprise to report that most of the music on Thankyou And Goodnight is fantastic. Under Davis’s jurisdiction, Nolan’s bass and Dalton’s drums sound like a million dollars, at least on the T&C tracks. ‘Underneath Your Pillow’ is the standout, emerging as a superb pop song augmented by the extended, proggy ending, with Dunnery quoting from Holst’s Planet Suite (Venus, the Bringer of Peace).
‘The Ice Melts Into The Water’ and ‘Still Too Young To Remember’ (with its clever ‘Old Man & The Angel’ tag) are also superb, fitting reversions.
From memory, I saw It Bites live five times (Brunel University/Astoria 1988, T&C/Hammersmith 1989, Hammersmith 1990) and they were never less than sensational. Thankyou And Goodnight is not a great package but a decent-enough document of their late-career pomp.
What a shame they couldn’t have recorded one more studio album after 1989’s Eat Me In St Louis though and basked in some long-overdue success.
And one further mystery – Dunnery has obviously added some post-production vocals to ‘Ice Melts Into The Water’ – when and where? Maybe he was secretly in on the project after all…