Thursday, 30 September 2010
There is a small rumour going around; and I should know because I am starting it now, that Haemoccult Recordings are about to start on the project 12"EP by Muhviertel.
It is highly unlikely that you have heard (of) Muhviertel, perhaps you have heard their name mentioned in relation to Dieter Muh - but in 2010 to have heard them is nigh on an impossibility. But some old recordings have been remastered by Tim Bayes at his Unity Studio in Perth, Australia and two of the three ex-members involved are keen to see a document released before we die or go deaf (or in my case very blind). The third member might be keen too but I haven't spoken to them.
Muhviertel began life back in 1986. Symbiotic with Dieter Muh they were only to be in existence for one live performance, but the idea seemed somewhat unfinished after the live event and Muhviertel fleshed out......
At the start of 1986 Sean Rorke and Gary Warmington (representing Carnifex Recordings) decided to hire out the PSV Club in Manchester and put on a benefit gig (I think it was for the "Stonehenge Bust Fund). Both Sean's project Systemlaw Violator and Gary's Kava Kava were down to play as was IBF (Ideas Beyond Filth). Tim of IBF was not keen as we had played the venue in November 1985 and Greg Rorke of SLV wasn't too keen either, so Sean and I collaborated on a live set.
Using a Roland Space Echo, two amps (Vox Valve and Roland Jazz Chorus) and a battered old keyboard left in the Carnifex Rehearsal Space by Tim Gane (who was then in the Ingrid Slugs) we began to make exploratory sounds. Feedback tones, Oscillating tones all thrown about and at each other..it was exciting stuff. Slowly other folk drifted in and added to the sound. Gary came in and drummed, as did Andy Wright (the local Hulme drummer for hire - he was in Landishkrill, Systemlaw Violator and Kava Kava).
Sean chose the name Muhviertel, the name lifted from a Hunts Sabs leaflet, and our performance was called "Kugel Aktion". By the evening we were a five-piece group. And, as of the time, we all had pseudonyms.....
Sean / N.T.R.A. (Bass Guitar, Vocals, Tapes)
Steve / A:A:K (Guitar, Vocals, Metal, Tapes)
Andy / Rite (Drums)
Gary / (The Norse runic symbol = Leben-Rune) (Drums / Hunting Horn)
Tracy / CTG (Hunting Horn).
So enjoyable was the evening that on my return to Lincoln I decided to fold IBF, leave Lincoln and move back to Hulme, Manchester to concentrate on Muhviertel. Sean, likewise, folded Systemlaw Violator and Andy became a full time member. Gary also folded Kava Kava and began a solo project as The Secret Cinema. It was a catalytic gig.
In the ensuing months Carnifex became Muhvertelcentric as we concentrated on recording an album. We first went into The Kitchen Studios (then run by the guy from Dub Sex) and recorded an 8 Track piece called "Morsjusti", but an 8 Track studio did not suit Muhviertel. We got our hands on a Fostex mini 4 Track portastudio and did most recordings on that.
In a year we had an albums worth of material and released the album "Morsjusti" as a 3xC30 cassette package with 8 page booklet. It sold a handful mail order and a couple in the then growing Eastern Bloc Record Shop in Affleck's Palace.
All the masters for these tapes have now disintegrated but Tim has managed to extract quality recordings from his copy of "Morsjusti".
1987 - 1989 we recorded and recorded. We recorded live, we went to Lincoln to record on Tim's TEAC 244, Tim even brought his TEAC 244 to Hulme to record us but the project was never as full of purpose as it was 1986 - 1987.
I do remember (affectionately) trying to record a sample from a vinyl album of Inuit throat singing and it taking three hours or more to get the perfect 2 second loop only for Sean to say afterwards "Nah, don't like it anymore"...Tim, Andy and I could've killed him! Also we used to have drum sessions where we would cover our insides with drugs and turn on the dream-machine in Sean's flat, sit in a circle and drum on African / Indian drums. Good memories.
Muhviertel never "officially" split we just dissolved. Andy moved to Tokyo to become a DJ, Sean stayed in Manchester and I moved to the small Yorkshire village of Thorganby.
So - 2011, a Muhviertel 12"EP will (Hopefully) appear. I am not taking pre-orders.
1: "Morsjusti" book cover.
2: "Morsjusti" advertising poster.
3: "Morsjusti" review by Dan Plunkett from "ND #9".
My listening of late has been of the passive sort, I've been playing stuff that I can either relax and read to or potter about the house to, folding linen, waxing the pouffe, that kind of thing. I was handed 16 editions of "The Wire Tapper" CD a few days back by a colleague at work thinking that I may like some if not all of the tracks held therein so they have been spinning in Hartop Towers acting like wallpaper. They are mainly standard safety pieces...non threatening to the senses apart from when an odd classic by 23 Skidoo, This Heat or Laibach pops up. "Atlantic Waves 2006" with its unreleased stuff by Robert Rutman, John Duncan and Max Eastley is a gem though. (I'm playing it now).
Yesterday though the postman brought "Patient Zero" by The Psychogeographical Commission. It is a concept album. "Patient Zero refers to the original source of an outbreak of a contagious illness within a population or to the most significant case within the population". A Kind of impending Omega Man, Crazies type scenario. There is a narrative to the album, voices which carry the story along. Are you thinking "War Of The Worlds"? (I was).
So my listening habit of the last few days was changed as I sat attentively and listened to the story evolve like listening to a play on Radio 3. The music is very professional, skipping genres at every turn. TPC certainly wear their influences on their sleeves as I can hear pieces of Coil, Throbbing Gristle ("After Cease To Exist" + "Shadow Of The Sun" especially), Psychic TV and Current 93. Track two, the excellent "Beneath The Bricks A Wave" has an acoustic guitar riff not unlike "House Of The Rising Sun" by The Animals (or Angelic Upstarts depending on....).
"Can You Feel It"? is a superb piece with the story being set up with a voice leaving a message on an ansaphone that gets more and more quizzical and desperate (again, reminding me of Coil's "Is Suicide A Solution"? single).
I have had this album 24 hours and have played it three times, hearing new pieces in speech and music every time. A gem. Go to www.acrobiotic.com and see/hear for yourself.
I know little about The Psychogeographical Commission apart from that they are from Glasgow, or Newcastle. Last year they produced a CD called "Genus Loci" that I remember as a pleasurable listen full of acoustic guitars and poetry - will have to rediscover that again. Hopefully they will perform "Patient Zero" live. It would be interesting to see it staged.
1: "Patient Zero" CD Sleeve.
2: The Psychogeographical Commission logo. (I have this on a button badge).
3: "Patient Zero" CD poster.
Wednesday, 29 September 2010
Catching up on some of my back catalogue, and have just spent a pleasant while listening to BBBlood. Recently I got the untitled cassette on Beartown Records. £4.00 from their website. I'm not too knowledgeable about BBBlood, I've got a split 7" with Al-Qaeda (which I bought because I liked the sleeve) and that is roughly about it, and rather like a lot of folk these days he seems to be eternally gigging across Europe.
This release is a 30 minute barrage of effect pedal noise, sometimes cheap clanking and clanging is going on in the mix but mainly it is a construction of effect pedals creating drone like screeches and cacophonous sounds. Feedback (along with tape hiss) is omni-present. It is OK, and the tape lasted the full thirty minutes (which is more than I can say for the Psychic TV "Live at The Town & Country Club 1986" double CDr bootleg that I played before this, that was off after less than 5)!.Side A builds in to this great wall of noise speeding towards a finale but then just ends dead as the tape runs out...a tad disappointing....but I do feel that this is more document than release. I imagine it is from a live performance or home live "ritual" or some such and it has elements of what I was mentioning in the ASC#2 piece that sometimes these live improv. jam recording exploration type tracks become self indulgent and bear no meaning to no-one except those involved. The length of this tape saves it somewhat from that category, but elements are there.
Moments reminded me of Putrefier circa late nineties.
Dieter Muh share the live space with BBBlood in London in December, I'm looking forward to experiencing the sound. Google BBBlood and/or Beartown Records and support.
1: BBBlood cassette.
2: BBBlood live. (picture stolen from the Internet)!
Sunday, 26 September 2010
After the amazing tape release earlier this year on the American Neon Blossom label comes my second ASC purchase of the year. Found this one lurking cheaply on the French Amazon site of all places. "Happy Horse".
The sound is of Astral Social Club live, it doesn't say it is a live recording anywhere on the sleeve or insert, but it must be. To tell the truth it sounds like the "set" Neil performed in Exeter in 2007.
Although it can't be, as I remember him telling me that he forgot to press the play/record button on his mini-disc as he went on stage.
The sound is repetitive, motorik, ostinato. Swirling cosmic samples of a thrashed guitar mix with polyphonic keyboard chord whilst an underlay of pulses (synthetic + organic) play hide and seek amongst the sound. It is a beautiful release.
(There are a few bands/projects/artists knocking about at the moment doing this 30 minute - 40 minute improv. cosmic jam type stuff, and to be honest a lot of it sounds like self indulgent dirge. It is a dangerous area to get in to).
The album starts off with the magnificent "Skelp", a 7" from 2009 which blends in to a track called "Kilmarnock"which I reckon alone qualifies for track title of the year! The sound arrives, grabs your ears by the neck and says listen to this.....
Released on the Japanese Happy Princes label. (New one on me), and packaged in a lovely soft yellow velvet bag, please buy.
Thursday, 16 September 2010
Went to see a band called Aethnor whilst in Paris over the weekend. Aethnor are a group of which I know (relatively) nothing. I shared a stage with them at The Conway Hall (London) last year as part of the Equinox Festival but never got to see or hear their live set. I did see Stephen O'Malley soundcheck, but that was all....so I was quite interested to see them live at last...and in Paris. Fortune smiled that I was travelling with Simon Kane who was on the guest list and he got me on it too. That's what good friends are for (as Brilliant once said). I did put Aethnor on my guestlist for the Dieter Muh show the evening before - but they didn't show.
The venue was the Point FMR a venue not unlike the ICA in London (where I saw Stephen O'Malley live with Gravetemple) situated in the east of the city on the side of the canal. A beautiful venue. Cheap beer as well - only 5 euros a pint! It was a crazy hot late summers night and there were hundreds of folk milling about on the canal's edge drinking beer and wine and smoking, all of which was making the evening special.
So. Like I mentioned I was pretty much an Aethnor virgin so was not really knowing what to expect. Talk was going around of how their last LP with David Tibet on vocals wasn't that good and I saw that Steve Noble of Rip Rig + Panic was the drummer! How did this sound work?
So....to dry ice and crucifix gobo's (lighting phrase - I used to be in the lighting business years ago...Barbara Dickson at York Barbican '96 anyone)? on came Aethnor.
What next happened was jazz. Electric jazz. Henry Cow meets Weather Report with a slice of (early) Landscape jazz. Out of tune, out of time. There were fleeting moments when the 4 roads met and an electric jam was produced. Deutsche Jam a la Neu! or Guru Guru but the drums or keyboards (Daniel O'Sullivan) would soon put a stop to it all by going spastic on the sound and we were back to Hatfield & The North demo material again. I stood there not knowing what on earth to make of it all. Aethnor did two 30 minute sets. A 20 minute fag break interrupted the proceedings. Members of the band smoke - and if they can't smoke on stage then we only play for 30 minutes....It did give me chance to breathe the fag smoke in the warm parisian air.
Live set two was more of the same to an ever decreasing audience. Parts even reminded me of a band I was in back in 1982 - yep! parts of it were that bad. Kristoffer Rygg stood behind a table of FX boxes and a laptop and seemed to be making really interesting sounds, but it was hard to block out the atrocious keyboards and annoying drums to hear it. If O'Malley and Rygg had done a gig together I think it would have been more friendlier on my ears.
Obviously Aethnor are not my choice of brew, my cup of tea. I don't like jazz, be it electric, trad or rock version. I would not buy their albums...but, on the other side of the coin it was great to see them. To witness Aethnor live in Paris. An evening I will never forget. Stephen O'Malley said hello and shook my hand and I smiled at Steve Noble. He was in Rip Rig + Panic! (and Bow Gamelan Orchestra and part of Brion Gysin's live band), so he can't be all that bad....
1: Guest list ticket.
2+3: Stephen O'Malley at Point FMR, Paris. September 2010.
Wednesday, 15 September 2010
There's a night out in London in December. December the 9th at The Others in Stoke Newington. Hosted by ILL FM it features Dieter Muh, BBBlood and Eddie from Baraclough. Others may or may not be added to the evening's entertainment.
I was a Baraclough virgin so I trawled the internet (I don't surf - I trawl) and found a cassette release on the UK label Beartown Records. I also found a BBBlood cassette on the same label so I bought both, but at this moment in time I have only played the Baraclough tape; "Vulpus Vulpus". Interesting sound and I am really looking forward to seeing and hearing what is produced on the 9th.
The cassette flings me in to various moods and memories. It starts off with a David Jackman / Organum type texture, but then has some stream of conscious type poetry in there with electronic accompaniment, so the mind switches to Contrastate. The sound is set in the (late) 1980's. Choice of structure of pieces and of instrumentation. Parts even reminded me of ideas I had when I was in the Manchester based trio Muhviertel - Yes, it was that good!!!
The cassette isn't that long, maybe half an hour and cost only £4 with P+P. Highly recommended. So if you are in London in December, especially the 9th...come along. It'll be an interesting night.
I shall give the BBBlood tape a spin soon.....
1:Beartown Records drawing.
2:Baraclough cassette "Vulpus Vulpus".
Monday, 13 September 2010
For comics and vinyl, the best place to be in Paris is the Bastille area.
Two of the finest are Bimbo Tower, and Born Bad. Bimbo Tower is situated in Passage Saint Antoine, and is very difficult to find. Needle in a haystack job as most maps don't mention this little alleyway. Last time I was there in 2005 I remember having a print out from the internet to help me, this year I had to use memory and assistance of Simon Kane (a man that could get you lost looking for the toilet in your own home).
Bimbo Tower is old and new vinyl, CD's, cassettes, books, T-Shirts, DVD's, videos. fanzines, badges etc. It is one of those shops that you can easily spend an hour or two browsing and also spend a months wages in one go. The genres are all split and easily found - from New Wave to Cold Wave to Experimental Electronics to Post-Punk to Jazz to Noise and so on..thousands upon thousands of releases. The nearest I have been to such a shop is These Records in London. (R.I.P.) but Bimbo stands out for its' friendliness and unpretentiousness. I didn't look through the secondhand CD's or singles but most LP's were running between 5 and 10 euro.
Opposite Passage Saint Antoine, a little to the right and then first left (are you following this)? is Born Bad. A classic secondhand vinyl shop dealing in punk and rock n' roll vinyl + CD's. It has some new re-issues (in the post punk section) but it has rack upon rack of secondhand LP's and singles. A euro for Modern English third LP, thirty five euro for a mint copy of Psychic TV "Just Drifting" 12"EP. I bought the latter, putting the former back in the rack...a tad too much I thought.
In between both shops there is a bar to peruse over purchases. Beautiful.
A trip to Paris will not be complete without a trip to either of these shops.
If you know of anywhere else in Paris that could be entered here, please let me know.
1: Now treasured Psychic TV 12"EP.
2: Me outside Bimbo Tower.
3: Born Bad Record Shop. (with Simon Kane in corner).
Just spent a pleasant while rediscovering the album "Now Wait For Last Year" by Caroline K. I recently got the CD re-issue of the classic vinyl LP on Klanggalerie label. (cat: gg127).
Certainly one of the finest bands of my generation / life has been Nocturnal Emissions. From their early sensory assault releases through to their (what I would call) "golden period": Releases such as "Befhelsnotstand", "Chaos", "Viral Shedding", "Shake Those Cages", "Songs Of Love & Revolution", "Dyskenisia": through to Nigel's solo work today - his live performance in the Cavern at Exeter being held up as exhibit A M'lud.
The first track on the CD " The Happening World" is a 20 or so minute piece of keyboard / synth drone and textural tone with dancing pulses and layered currents / frequencies. It is a stunning piece of work that can never fail to move me. Way, way, way ahead of its' time. Another favourite is the anthemic and powerful "Chearth". A sort of sister to "Never Give Up".
I am glad Klanggalerie have re-issued this album, I have been on the search for it for 20 or so years now and never seen a vinyl copy. It is strange that they have mastered it from the vinyl though, my CD has scratches!
Back in 1986 and as part of IBF we were recording with Bourbonese Qualk in a squat in Malt Street, South London. We had recorded our contribution for the Recloose Org LP "Songs Of The New International" and were trying to put something together for Manfred Schiek of Dossier to hear. (He wanted IBF on a compilation LP too). Anyway, Simon of BQ left us to out own devices and gave us a reel-to-reel tape to record ourselves. Playback made us realise that we had gone over recordings of "No Sacrifice" by Nocturnal Emissions. Tim and I just hoped they weren't the masters. Now with NE stuff being re-issued and mastered from vinyl - I am uncertain!
Hearing this album again has been one of the aural highlights of 2010. The CD has bonus tracks of unreleased solo Caroline K material. Very folk orientated, probably recorded around the "World Is My Womb" period.
Essential - Buy!
1: Caroline K CD Case.
2: Caroline K CD.
The third live performance of 2010 took me to Paris to play live at Le Yono, a small dark cave under the streets of Rue Vieille Du Temple in the East of the City.
The evening was organised by Marie of Les Sons Paranormeaux. A very professional outfit.
This was the longest set I have performed this year. 30 minutes. Still using sound sources sent to me from Schuster earlier in the year I built a set of short pieces using the voices of Lon Milo Duquette, Maureen Long, Max Hardcore, US Shortwave Radio and old cassettes that I recorded back in 1985 (when I used to perform and release under the name of The Streetcleaner). There was also some heavy bowed cymbal resonance and general samples of chaos and clutter that I keep on my sample pads! Good fun....damn good fun. An attentive and appreciative audience of around 40 watched the proceedings evolve - again to the backdrop of the Tim Bayes film "Armenia 1915". The sound was crystal clear. Again, Les Sons Paranormeaux are a professional organisation.
The evening was recorded + hopefully (when I get the tape) parts will be suitable for release. It has been an ambition of mine for a very long time to play live in Paris. It was a joy, now I want to do it again.....
Also on the evening were local noise merchants Bulanz Orgabar and Pentothal. These folk came on and performed without warning or introduction and played with their collective backs and arses to the audience, so whom were whom I am non the wiser. It was great to see and hear Praying For Oblivion live. Again, back to the audience. For a while Andrew suffered from microphone failure for his first piece, restoring all for a second onslaught. Loud, undecipherable noise. Excellent stuff.
This was apparently the final live event at Le Yono, it now becomes a disco-bar. A shame for it is one of the finest venues Dieter Muh have played.
1: Rue Vieille Du Temple.
2 & 3: Dieter Muh live. (Pictures by Tom Newell).
4: Praying For Oblivion live. (blurred).
5: The travelling Dieter Muh hardcore massive taking a breather.
(Simon Kane & Tom Newell).
Sunday, 5 September 2010
I very rarely shop in supermarkets. I very rarely shop in "out of town" shopping centres...but today was an exception. Due to an unwell Isabel F. I had to travel to an "out of town" shopping ville in Torquay locally known as The Willows. Sainsbury's had a pharmacy and we needed drugs! It was whilst heading for the checkout and exit that I went down the booze aisle and saw a bottle that caught my eye. A beer called "Pure Ubu". Excellent. I had to buy. £1.09 for a 500ml bottle. I applaud the guy in marketing who is either a Alfred Jarry fan or an old John Peel fan / punk who is into their music. (like me) - either that or they thought the beer tastes like shit! Ha! I am drinking the beer as I type, tastes OK, 4.5% - a little like shandy for me but it is still OK. It is sitting on a bed of Grolsch and a few bottles of St. Cervois (I'm off to France in a few days and I have to adapt the palate).
I am a bit surprised I opened the bottle, usually a beer with a funny name would remain unopened and sit on a shelf somewhere. I had a bottle of Old Fart on my mantelpiece for years and a can of Maes takes a pride of place in the Hartop Towers Gimp Room. OK Maes isn't a funny name as such, but for a few years I used to write to Belgian artist and owner of Clingfilm Records Laura Maes and the can itself was lifted from a Wire (Austrian gig) rider back in 2002. But there, as Hammy Hamster used to say on Tales Of The Riverbank...is another story.
If the brewery did a dark ale, would they call it "Ubu Noir"?
1: Bottle of UBU.
2: Can of MAES.
Saturday, 4 September 2010
Just spent a pleasant while listening to the album "A History Of Labyrinths" by Andreas Brandal. Released by the French label Basses Frequences and cased in a metal tin, quite a beautiful package. Whereas the previous two albums I have by Andreas seem to follow a theme , a subterranean, dark, lost type sound, a sound of discovery with it's distant creaks and lapping waves this album is built around improvised guitars. Acoustic and bass guitars. It certainly asks for more attention, lifting itself out of the ambient drone market in to the active listening required market. No sitting down with a damn good book or letting the sound drift over the ears here. It is OK, not a classic as the other two previously mentioned albums are; I am still playing "Sunken Gardens" alot....but...a worthy release.
I have to give a big thumbs up to Tom the Intergalatick Beard for pointing me in the direction of this release and to the Basses Frequences catalogue. Cheers T!
When the kids are upstairs having a play or simply splashing about in the bath I like to put on some "easy listening" piece of vinyl or cassette for them to experience and run about to. Psychedelic Furs, Lene Lovich, Au Pairs. That kind of thing. Throbbing Gristle "Thee Psychick Sacrifice" LP being a favourite of Oscar's. Anyway, last night I decided to put on the 400 Blows LP "If I Kissed Her, I'd Have To Kill Her First". (Illuminated Records) 1984. It sounded very dated, very, very dated. Mainly the sound of the technology - the rhythm machines and the polyphonic keys sound. Parts of it sounded bloody awful which is a shame because I thought I liked the LP, and I have quite a few bits of 400 Blows discography in my vinyl collection. There are some great tracks on the LP, just not the ones where they try and be a funk band.
1984. A strange year for me. 21 going on to 22 years old and living in Hulme, Manchester.
Year zero as record collecting was involved due to a massive flat burglary in Xmas 1983 - but I think I have mentioned that elsewhere. (the scars never heal).
1984, and I was discovering stuff like Soviet France, Come Org, Portion Control, Laibach and 400 Blows. Crossing the Pennines to go to the Leadmill to see Cabaret Voltaire, Hula, Red Lorry Yellow Lorry and the like...also the nights of Psychic TV in Hampstead and Hammersmith were a joy. I cannot remember the first time I came across 400 Blows. More than likely Sean Rorke had "Beat The Devil" or something. I had certainly never heard of Concrete. Anyway. They were on Illuminated Records which was a label that was there to collect. Dormanuu, Empty Quarter, Portion Control, 23 Skidoo, Throbbing Gristle, Gary Glitter all releasing on the catalogue.
Looking back (isn't hindsight a wonderful thing) I can see the seeds of how I stopped liking music in the late 1980's.
The LP kicks off with a couple of beat driven tracks that also were 12" singles. "Groovejumping" and "Declaration Of Intent" So the LP kicks off with two really dated tracks plunging the LP straight in to the mid 1980's. Not a good start. Then comes "Them Thar Hills" a sort of stoned hillbilly jam with acoustic drums and slide guitar which probably seemed funny at the time but should have been left for personal consumption only. Where 400 Blows did excel is in their experimental (non-commercial) sound(scape). "Love" being prime example, as is "Lapwing Chant" and "Men Of The Divine Wind", two tracks that appear on side 2. Also on side 2 is the excellent "For Jackie M." a track of disturbed guitar with the voice of Charles Manson. (Again mentuoned elsewhere). Simply beautiful. So why did 400 Blows plump for being a white funk band instead of post-industrial sound artistes? They were certainly better at the latter? There's a track called "399 To Go" on the Touch cassette "Meridans 2" that is recorded in a concrete pipe during a rainstorm that is genious...why "Jive 69" and a collaboration with South London funkboys Brass Construction?
1984. I met 400 Blows on a couple of occasions. Firstly at The Leadmill in Sheffield, then I travelled from Hulme to London to see them support X Mal Deutschland at The Lyceum only to find that they had been thrown off the bill for The Guana Batz. Robert Taylor (guitar) was fully apologetic. I bumped in to Robert + Andrew at gigs throughout the year. Test Department, Psychic TV, Cabaret Voltaire gigs. They were obviously buried in "industrial culture" - even naming the LP after an Edmund Kemper quote....."The Co-Ed Killer". Ahh, them were the days when we were all serial killer obsessed. From Candyman to The Yorkshire Ripper, from The Hillside Strangler to plain old Bruce Lee (the Hull based arsonist...not the kung fu guy)! Everybody I knew had at least one Colin Wilson on the bookshelf.
I have a feeling that Andrew Beer is still active. I do know Tony Thorpe went in to KLF and was The Moody Boys. Back in the early 1990's I even bought a couple of Moody Boys 12"'s from Red Rhino Records in York. I have yet to fathom why! And Robert Taylor? Where are you now.
I think it will be a while before I play the LP again.
1: "If I Kissed Her, I'd Have To Kill Her First" LP Sleeve.
2: Andrew Beer live at Sheffield Leadmill, 1984. (They had a session bass player in a green boiler suit and full on mullet).