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the official distractions website

Welcome to the official Distractions website. We will be aiming to record the history of one of the greatest, but least heralded, of all Manchester beat groups.

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Saturday, September 12, 2020

Something For The Weekend


Click through this Facebook link to see The Distractions play 'Something For The Weekend' live on TV's Runaround with Mike Reid in 1980! 




Click this download link to obtain a high-resultion video file, courtesy of superfan, Nick Barber.














Monday, August 31, 2020

A classic pop debut - Record Collector

Here's the Record Collector review of the Nobody's Perfect 2CD and LP reissue by Tim Peacock that accompanied the Nick Stewart interview. 




Practice Makes Perfect

Post punk classic reissued. By Tim Peacock

The Distractions

Nobody’s Perfect

⭐⭐⭐⭐

Man In The Moon/Occultation MITM 42 (2CD/LP)

Like so many gifted bands who suffered similar fates, it’s difficult to pinpoint exactly why The Distractions fell through the cracks. Cited – along with their regular gigging partners Joy Division – by the NME’s Paul Morley as one of Manchester’s brightest hopes (“Joy Division are the perfect rock band for the 80s… and The Distractions are the perfect pop band”), they seemed poised for greatness when they signed to Island, only for their debut album, Nobody’s Perfect, to sink without trace.

In retrospect, the record’s abject failure still seems hard to credit, as The Distractions seemingly held all the aces when it was first released in February 1980. They could easily pull a thousand punters to their hometown gigs and their lone Factory single, Time Goes By So Slow, was as revered locally as Buzzcocks’ What Do I Get?, Magazine’s Shot By Both Sides or Joy Division’s Transmission. 

Whatever the vagaries, though, it’s criminal that Nobody’s Perfect has languished in obscurity for this long. It never previously made it to CD or even caught a whiff of a vinyl reissue, so this bells and whistles 40th anniversary edition – which also includes all the band’s early demos, non-LP singles’n’flips and a 2020 remix of the whole shebang by uber fan/Occultation label boss Nick Halliwell – will be a welcome surprise for long-term fans. It’s as close to a definitive Distractions package as you could wish for.


The Distractions (with Mike Finney, far-right): “diverse and dashing”

Approaching the two discs chronologically reveals just how quickly the band evolved en route to making Nobody’s Perfect. The second disc’s slew of demos from September 1978 and the four tracks from the debut EP, You’re Not Going Out Dressed Like That, have retained their original vim and vigour, but while their garage-y energy captures the spirit of the times, the superior song-craft inherent in Maybe It’s Love and the melancholic Nothing demonstrate that this talented quintet had already outstripped the limitations of punk.

Armed with a major label budget for Nobody’s Perfect, The Distractions pulled out all the stops to create a classic pop debut and came heroically close. Seemingly always the bridesmaid, Mike Fnney reveals why he remains the most underappreciated vocalist of his generation on the sumptuous ballads (Still It Doesn’t Ring; a glorious, Spectorian remake of Eden Kane’s 1964 hit, Boys Cry), while tunes as diverse and dashing as the edgy power-pop of Waiting For Lorraine and the swooning Leave You To Dream should have seen chief songwriter Steve Perrin ranked among Mancunian giants such as Graham Gouldman and Pete Shelley many moons ago.

Tying up loose ends, there’s also the three tracks of And Then There’s..., the band’s lone post-Island EP from 1981, which are quirkier and clearly recorded on a shoestring, but produced with little discernible drop-off in quality. To complete the picture, meanwhile, ardent fans and newcomers alike will have a blast comparing and contrasting the original Nobody’s Perfect with Nick Halliwell’s angular modern-day remix, which kicks the record’s outdated keyboard textures into touch and recasts the album in a notably sleeker, radio-friendly light that sounds thrillingly contemporary.




Sunday, July 26, 2020

Infectious pop songs - Record Collector

The biggest mainstream music magazine coverage of the reissue of Nobody's Perfect came in the wonderful Record Collector. Tim Peacock's generous review was accompanied by a Q&A with Man In The Moon's Nick Stewart, one of the main movers behind the long-awaited 2CD and LP reissue. So before the review, here's the Q&A with the former Island Records A&R man.



Q&A


Man In The Moon Records’ Nick Stewart on signing The Distractions to Island and the making of Nobody’s Perfect


You’re famous for your A&R work, signing U2 among others. Is it true you were trying to sign Joy Division to Island when you first heard The Distractions?

Yes. I heard Unknown Pleasures and A Certain Ratio’s 'All Night Party' shortly after I joined Island’s A&R department in August 1979 and thought they were both fantastic, so I met with Tony Wilson, Alan Erasmus and Rob Gretton at Factory’s HQ in Palatine Road, Manchester, in September ’79. I already rated Tony because of his work with Granada TV and I soon found out how single-minded Rob was. When I attempted to sign Joy Division to Island, he made it abundantly clear they weren’t for sale. However, Tony asked if I’d heard The Distractions’ recent Factory single, Time Goes By So Slow. I was a sucker for jangly '60s pop and The Distractions reminded me of The Byrds, so I was smitten as soon as he played me the record. By the time I returned to London, I was determined to sign them.


You originally wanted Gary Usher to helm the Nobody’s Perfect sessions?

I thought Gary Usher was a genius, because he’d done those classic Byrds albums, Younger Than Yesterday and The Notorious Byrd Brothers. To their credit, Island were up for it, but Usher hadn’t made a record for a decade – he’d retired and bought a sweet shop in Seattle! He wanted to produce The Distractions, but he also wanted Island to fly his entire family to London and put them up for a month, which was impossible financially. Eventually Phil Chapman and Jon Astley, who later worked with The Who and Eric Clapton, produced it. I gave them a copy of The Notorious Byrd Brothers and told them I wanted Nobody’s Perfect to sound like it. It didn’t, but they did a great job regardless.


The Distractions came out of Manchester’s punk scene, but they obviously stood apart from the era’s three-chord chancers…

That’s right. I was a big fan of Brinsley Schwartz and Nick Lowe’s music in general and I felt The Distractions had more in common with them and that late ‘70s power pop thing. I didn’t see them as punk at all. Their antecedents were definitely The Byrds, The Flying Burrito Brothers and some of the Nuggets acts like The Standells. They harked back to the melodic pop/rock from the mid-to-late ‘60s with West Coast Californian inflections.


The band had a wealth of infectious pop songs and a terrific vocalist in Mike Finney, so why did Nobody’s Perfect fail commercially?

In a sense, The Distractions were like The Only Ones, who also signed to a major label [CBS] and had quite a lot of money thrown at them. They obviously weren’t a “punk” band, either, so like The Distractions, they didn’t fit in with the times – and remember there was also a huge turnover of musical styles back then. For example, 2Tone was big news in 1980 and the new romantics were about to break through. Even so, I was convinced 'It Doesn’t Bother Me' and 'Boys Cry' would both be hits, but Radio 1 just weren’t interested. The album came out and the band toured, but it just never caught fire.


How do you feel Nick Halliwell’s new mix of Nobody’s Perfect compares with the original?

It’s a whole lot brighter and punchier and it’s certainly very 2020. I think he’s done a fantastic job with it and it has a good chance of picking up some of that elusive airplay this time around. Nobody’s Perfect is returning 40 years to the month of its original release in 1980 and it’s never been out on CD before, so the timing’s right and it will be very interesting to see how well it does. It’s been away for a long time, but I think it’s going to get a lot of love at last.

As told to Tim Peacock


Friday, July 17, 2020

Unknown pleasures - Uncut


On to the larger reviews from the music monthlies. This Uncut magazine review from Daniel Dylan Wray in the April 2020 issue scores our reissue at 8/10 and 9/10! Stocks are starting to run low so if you're yet to pick your 2CD and/or LP up head, head to Occultation or Bandcamp.


REDISCOVERED

Uncovering the underrated and overlooked


THE DISTRACTIONS 

Nobody's Perfect

MAN IN THE MOON

8/10

Unknown pleasures from forgotten Manc band

1979 was a musically fertile time for Manchester, and Factory Records were at the centre of it all. That year they put out records by the likes of Joy Division, OMD and A Certain Ratio, and also a 7" by a significantly less feted group, The Distractions. If "Time Goes By So Slow" today sounds like a connecting bridge between post-punk and the jangly indie that followed, in 1979 the group's focus was somewhat antithetical to the post-punk rhythm of the times. Swiftly signing to Island, the group, led by vocalist Mike Finney and guitarist Steve Perrin, released their debut album the following year. Despite some critical warmth, however, Nobody's Perfect sold poorly and just a year later The Distractions disbanded.

Forty years on, though, this curious and charming record, now being reissued, remains unshakably infectious, from the buoyant, almost Blue Oyster Cult-esque skip of opener "Waiting For Lorraine" to their soul-drenched cover of Eden Kane's 1964 hit "Boys Cry". Defying easy labelling, the group wriggle around between new wave, punk, post-punk and soul, and there's an inescapable "wrong place, wrong time" feeling that emanates from these 14 tracks. For a start, there's something inherently and inescapably Liverpudlian about this Mancunian group, with Finney's vocals possessing a touch of Ian McCulloch and their jangle-heavy sound almost like a long-lost blueprint for The La's or The Coral.


Just a few years after Nobody's Perfect's release, the unwinding guitar solos, creamy vocal deliveries and melody-drenched hooks that fill the album would come fully into fashion via the likes of Orange Juice and C86. Perrin would later comment that the band were, "Out of time rather than ahead of it - The Distractions have never seem to fit in with a particular period." As a result, they have fallen into place along with the likes of The Freshies and The Chameleons as somewhat forgotten Manchester bands from the era. Although, as this reissue proves, there's plenty of reasons why that should be remedied. 

Extras: 9/10. Original and remixed version of the album, along with 20 bonus tracks featuring rarities, demos and alternate versions. 

DANIEL DYLAN WRAY



Friday, July 3, 2020

Justified acclaim - Classic Pop


Back to the long round-up of the Nobody's Perfect reissue reviews. This is the first of the absolutely glowing reviews that the release had in the music monthlies: a four-star Classic Pop review by John Earls in March 2020's issue. Nobody's Perfect sits alongside fellow Mancunians, M People - only The Cure's Disintegration and Electronic's self-titled debut received higher scores, and we can't argue with that. The Nobody's Perfect 2CD and LPs are still available from Occultation or Bandcamp (get the 14-track download there too).





THE DISTRACTIONS
NOBODY'S PERFECT
MAN IN THE MOON/OCCULTATION

⭐⭐⭐⭐

Originally signed to Factory, Manchester indie popsters The Distractions were poached by Island's Nick Stewart, the A&R who signed U2. Forty years later, Stewart reissues his charges' debut album on his own Man In The Moon label. His long-standing faith that The Distractions deserve more acclaim is fully justified. 

Singer Mike Finney has the same mix of intense fervour and soulful beauty as Kevin Rowland, while guitarist Steve Perrin's melodies take in Undertones-style melodic punk (Louise), pre-Smiths wistful wonder (Stuck In A Fantasy) and Phil Spector dramas (Boys Cry). 

A lost classic, it may be The Distractions' diversity that proved their undoing as they tear through so many styles and cheerfully master them all. 

The reissue is lovingly done - the original LP on heavyweight vinyl, or a 2CD set featuring 34 bonus tracks compiled from five standalone singles, four demos, a compilation appearance and an alternative mix of the original album by The June Brides producer Nick Halliwell.

Touchingly, The Distractions reformed in 2010. They've released two further albums on Halliwell's label Occulation and still tour. If Nobody's Perfect is any judge, they deserve wider cult hero status. 





Monday, June 29, 2020

New releases

While The Distractions have bowed out after their third and final album, Kindly Leave The Stage, and the triumphant reissue of Nobody's Perfect, this is not to say there will be no more music. In fact, June 2020 has seen not one, not two, but three new releases with a Distracting flavour.

On the same day, Friday 19th June, there were two Bandcamp releases, both in support of great causes (and of course, the fourteen band-owned, Occultation-administered tracks from Nobody's Perfect 2CD set can also be had for just £7). 



Lockdown Live! is a live music project in support of independent music venues in Manchester, including Gullivers and the Eagle, where Mike and Alex's live band have played in recent years. Their June releases continued on the 19th with Lockdown Live Volume 3. The compilation album is available to stream and download in MP3, FLAC and other high-resolution formats for just £5.

The Distractions have contributed a live version of 'Girl Of The Year' to the compilation. The track was recorded on the second evening (Saturday 1st September) of the wonderful Salford Arms gigs back in 2012. This professionally recorded track comes after a number from The Only Ones' Peter Perrett - and of course, the late, great Mike Kellie of The Only Ones played with The Distractions in Salford! 



As mentioned above, Mike Finney, Alex Sidebottom and the new live band of Joe, Chris and Johnny, have been playing around the country for the last few years, and are delighted to rebrand as New Distractions. The first new material from the band is a charity release in support of the COVID-19 Community Response Fund, Manchester. 

'Juliet' and 'Stacey' have been played live in the last year and are - to quote David Quantick from 2010 - "in the great Distractions tradition of songs about girls". In late 2019, New Distractions recorded these two tracks (and several more...) in the studio, and released them on 19th June 2020.

For the price of half a pint (£2) or more, you can also stream and download 'Juliet' and 'Stacey' in MP3, FLAC and high-res formats. A CD release is planned for later in 2020, but we hope you can support what is a great cause in these unprecedented times.


Sunday, June 7, 2020

Soul-strong - Mojo

Continuing our round-up of the terrific reviews that the Nobody's Perfect reissue received, here's the first of the music magazine reviews from Mojo. It's also the shortest, and least-effusive, albeit still quite positive. You can still pick up Nobody's Perfect 2CD and LPs from Occultation or Bandcamp (where the Occultation-administered 14-track download is also available). 


The Distractions

⭐⭐⭐

Nobody's Perfect

MAN IN THE MOON. CD/LP

A 48-track, 2-CD reissue of "lost" Manchester band's 1980 debut.

"The missing link between Freddie And The Dreamers and The Fall," suggests Manchester photographer Kevin Cummins in the sleevenotes. More the Dreamers... It now seems anomalous that single Time Goes By So Slow (featured here) was released by Factory Records. Early Elvis Costello was the closest post-punk counterpart, but The Distractions stuck even closer to tremulous rock 'n' roll verities. This is manifest on a cover of 1961 Eden Kane hit Boys Cry. Something For The Weekend, meanwhile, suggests both Del Shannon and the Springsteen of Hungry Heart. Bespectacled Mike Finney is an unlikely frontman - almost a real-life John Shuttleworth - but his soul-strong voice is impassioned, while songs like (Stuck In A) Fantasy sound like unknown 1960s standards. 

Roy Wilkinson


Wednesday, May 6, 2020

Must-have reissue - Sunday Times

You can still pick up the Nobody's Perfect sets from Occultation, but if you're reading this, then you probably have already had them for a month or two! Continuing our round-up of reviews from the national press, this is the Sunday Times website review from 15th March 2020 in the On Record: Pop, Rock and Jazz section.




THE DISTRACTIONS

Nobody's Perfect

Man In The Moon


THE DISTRACTIONS
Nobody's Perfect 
Man In The Moon

After a brief flirtation with Factory records, the Manchester band The Distractions fell into the arms of Island Records' Nick Stewart, who would sign U2 to the label shortly afterwards. Only one of them went on to conquer the world, but The Distractions, whose debut album Nobody's Perfect celebrates its 40th birthday this year, were beloved by both fans and critics for music that, like that of many bands at the time, forged an edgy compromise between their pop past and punk's then insistent supremacy. Reissued on vinyl on Stewart's own label, with multiple fan-pleasing extras, the album is a reminder of one of the key moments of musical collision in British pop. DC

Saturday, April 25, 2020

Brilliant bittersweet pop - Daily Mail

The long-awaited Nobody's Perfect resissue is still available from Occultation and Bandcamp, as well as some online retailers, but it's selling fast, such has been the overwhelmingly positive response from fans and journalists alike. Here's the review that appeared on the ever-popular Daily Mail website and in its English and Scottish papers on Friday 27th March.






THE DISTRACTIONS: Nobody's Perfect (Man In The Moon)

MANCHESTER outfit The Distractions were contemporaries of Joy Divison and released the brilliant Time Goes By So Slow single in 1979. They also signed to Island at the same time as U2, but disbanded after their 1980 debut. The band recently re-formed and this 40th anniversary reissue - with new mixes - reiterates their bittersweet pop credentials.

⭐⭐⭐⭐




Sunday, April 19, 2020

This classic - Sunday Mirror

We hope you've enjoyed the Nobody's Perfect reissue (still available from Occultation and Bandcamp, and that you agree that it was worth the wait! Over the coming weeks we will be taking a look at some of the reviews that have been published in the music magazines and websites. But first, the newspaper reviews, and this from the Sunday Mirror (spot the mistake in the opening line!).


Re-release

The Distractions

Nobody's Perfect

This classic has been reissued, 20 years on. The post-punk New Wave band were label pals with Joy Division before they were signed to Island Records by Nick Stewart, who also discovered U2. He says: "Tony Wilson of Factory Records suggested I check out another local band who'd just recorded a single called Time Goes By So Slow. I loved it from the moment I heard it."



Friday, April 10, 2020

Because they were so good

The third and final part of the Barmcake magazine Distractions / Mike Finney article. Again, huge thanks to Dave at Barmcake for kind permission to re-publish this. Barmcake is essential reading, after all it's Northern entertainment for the middle-aged, but you don't have to be northern to enjoy it. If you can't find a FREE copy at your local stockist (when this madness is over), then you can also pick it, and back issues, up via their tumblr site: https://barmcakemag.tumblr.com


  

Were you mates with members of these bands? I believe Mark E Smith was a fan of your voice, comparing you to Roy Orbison?

Pete Shelley was very supportive, as was Mark Smith. Mark was kind enough to say that he thought the songs were non-original because they were so good, also saying to Mick Middles that I reminded him of the 'Big O'... can't get any better than that, surely?





Our big buddies in the Manc music scene were Buzzcocks (the line-up of Pete, Steve, John and Garth) and Ian, Bernard, Pete and Steve of Joy Division. 

We would meet at Cox's Bar at the back of the Free Trade Hall - a Boddington's pub that was relatively posh for Boddies pubs, and on to the Ranch Bar in Dale Street. JD were Stiff Kittens then. They were a very likeable bunch and privately, they could not have been further from their Joy Division stage persona... excellent senses of humour, which reverted to child-like as we got more pissed. 

This never changed, although I haven't seen Bernard and Pete for many years. They live in the Chorlton area and I live in Holmfirth - yes, I crossed the Pennines. A Manc who chooses to live in Yorkshire - that says a lot about my personality, I'm sure!

I understand that band weren't happy with the way Island recorded the first LP as they felt it didn't sound like you. Was that the main reason for you splitting up in 1981?


THE DISTRACTIONS. The classic line-up. Left to right: 
Alex Sidebottom, Adrian Wright, Steve Perrin, Pip Nicholls, Steve Perrin.  
Photo: Adrian Boot.


The album was a mix 'of its time', not what any of us wanted, so a compromise. The re-release that is being completed by Nick Stewart (the A&R man who signed us to Island) is being re-mixed to a more Distractions sound - removing many of the keyboards, a lot of effects, etc.

I still see Steve Perrin each year when he comes over from New Zealand, we have been friends since 1974 and that will not change.

The version of The Distractions doing the stuff now would have had Steve, if he was here, although he is no keener on playing live now as he was back then! 

The fall-out really was musical differences, along with me becoming more and more into 'socialising''; the whole thing pissing off Steve; Ade Wright leaving to become a student. Pip Nicholls, Alex and me carried on with Arthur Kadmon (ex-Ludus and The Fall) for a while, when it just fizzled out. 

I set up The Secret Seven, we recorded for Bronze Records, but not for long, then I joined the Art of Noise, again - not for long...


 


Did you regret leaving Factory for Island?

There are times that staying with Factory would have made artistic sense, but the whole Island thing was just so attractive - they just didn't know what to do with us. U2 signed the following day and always wanted to be rock stars in the conventional way, which was much easier. I don't blame them, I just don't share their passion for it. We wanted to break moulds, but we were not sure which moulds to break.

We were the first Factory band to play Hurrah Club, in New York so we got a lot of attention there; Warhol's team out in force; Lou Reed in the audience. That was a great moment, that and the great review in the NY Times.


For details about the re-release of Nobody's Perfect and new material, go to www.thedistractions.co.uk or Twitter @DistractionsMcr. The band play St Joseph's Hall, Leigh, on February 15, in aid of The Pete Shelley Memorial Campaign


Wednesday, March 11, 2020

Dark pop

Here's the second part of the Barmcake magazine (Northern entertainment for the middle-aged) feature on The Distractions featuring Mike Finney. Many thanks to Barmcake for the opportunity to re-publish the article.

 


In an interview on Salford City Radio, Mike Finney said the band was formed after Steve listened to him singing along to the songs on the jukebox in the Imperial pub, Stockport. Mike was 'a big soul boy', Steve liked Beefheart and Richard Hell. They both liked The Velvet Underground and when the band first formed, they initially covered Velvets and Stones songs.

But when Steve bought the Ramones album in 1976, they decided to write their own songs. By the time they did their first paid gig in 1977 at the Ranch Bar, Manchester, they had a set of original tunes (bar a Velvets cover).

I asked Mike what made The Distractions stand out from other bands at the time?

We were one of the few bands doing pop tunes. There were the Flamin' Groovies, a few power pop bands, but little in the way of pop tunes. However, if you listen to the words, most of them are pretty dark compared to those guys.


Pete (Shelley) often told us that was the direction we should go in and 'dark pop' became a Manchester thing. Unfortunately, we didn't get the bookings outside, inhibited by all having day jobs. We had never played south of Buxton before we signed the Island deal in 1979!


When people talk about the Manchester music scene in the late 70s, Buzzcocks, Joy Division and The Fall dominate. Do you feel The Distractions never got the acclaim they deserved then and now?

We got massive acclaim within the music press at the time. Many of the journalists are still mates - Mick Middles, David Quantick, and others. Tony Wilson wanted us to release on Factory to provide light between A Certain Ratio and Joy Division at gigs, which worked very well from an artistic perspective, but may JD fans stared at their shoes and said we were not 'serious' enough. That's life!

We played in Victoria Vaults, York, recently. We went down very well, but most people had never heard of us before and the irony of us supporting a Joy Division tribute act was not lost on us.


THE DISTRACTIONS. The classic line-up. Left to right: 
Alex Sidebottom, Adrian Wright, Steve Perrin, Pip Nicholls, Steve Perrin.  
Photo: Adrian Boot.

Sunday, February 23, 2020

Breaking the mould

In late 2019, the wonderful Barmcake magazine - Northern entertainment for the middle-aged - published a feature on The Distractions, including an interview with Mike Finney. With huge thanks to Barmcake, we are pleased to publish the piece in three parts. Here's the first.



'We wanted to break 
moulds, but were not sure
which moulds to break'

Signed by Island, praised by Pete Shelley and Mark E Smith, The Distractions could have become one of Manchester's biggest bands. Singer Mike Finney talks about their seventies heyday and plans for the future

"One of the greatest, but least heralded, of all Manchester beat groups" is how The Distractions' own website describes the band. It's a fair summary.

When people look back at the city's late 70s music scene, The Distractions appear to have been pushed out by the 'big three' of that time - Buzzcocks, Joy Division, The Fall - and related to passing references.

But the inkies (Sounds, NME) raved about them, comparing them to Buzzcocks and The Undertones. Paul Morley and David Quantick were among their fans; Quantick said Mike "looked like a bookie's clerk and sang like R. Dean Taylor or some other blue-eyed soul god". The band signed to Factory then Island in 1979 around the same time as the latter snapped up U2.

The Distractions were founded in 1975 by Stockport College pals Mike Finney and Steve Perrin and split in 1981 after five star reviews of their first album but poor sales. They have reformed and recorded sporadically over the years and started playing live again more regularly, following a memorial gig for Manchester punk legend Jon The Postman in 2015.

The band now feature Mike and Alex Sidebottom from the classic line-up, with new members Joe Brehony, Chris Dutton and Jonny Poole. They plan to release new songs in the New Year. Meanwhile, The Distractions' first LP, Nobody's Perfect, will be re-released next year in time for its 40th anniversary. It will have at least 18* additional tracks and at least 14 additional remixes.

(C) Barmcake, 2019.


* the reissue has 20 bonus tracks as well as the 14 album remixes



Thursday, February 20, 2020

End of the Pier-fect

The reviews for our Nobody's Perfect reissue are already coming in. But before those who pre-ordered from Occultation get their hands on their vinyl LPs and 2CD sets (about a month ahead of the official release date), here's a review of The Distractions' comeback album, 2012's The End Of The Pier (which you can pick up in good value bundles from Occultation and SDE) from our friend Rarebird that we somehow overlooked at the time:


The Distractions - "The End of Pier" (2012)

The Distractions were an overlooked Manchester band who broke up in the early ‘80’s after releasing only one full-length album called Nobody’s Perfect. They have recently re-formed, and have finally issued their second full-length album – 32 years after their first. The End of the Pier was recorded in June 2011 by a lineup consisting of original vocalist Mike Finney, original guitarist Steve Perrin, keyboardist Nick Garside (who was a part of the band’s short-lived mid-‘90’s lineup), guitarist Nick Halliwell (who played on the 2010 EP Come Home), bassist Arash Torabi, and drummer Mike Kellie. The album was released this week in the U.K. on the Occultation label, and the CD will be available as an import from Amazon.com next week. The mp3 download can be purchased now. 

The music on The End of the Pier is surprisingly mellow and understated. After the band gets some lingering new wave intensity out of their system on the lead-off track “I Don’t Have Time”, they tone things down to achieve a gently melancholic pop sound. The End of the Pier does not quite match the emotional poignancy of the Nobody’s Perfect album, nor does it deliver the same concentrated cogency as the more recent Black Velvet and Come Home EPs. It probably wasn’t meant to do either. 

Finney and Perrin do not pretend to be young men anymore on this album. Both musically and lyrically, they come across as former new wavers who have grown up over the past three decades. Finney’s vocals still have power, especially when he reaches down deep on “When It Was Mine”. However, he does not communicate the same sense of emotional anguish as he did in the past. He no longer sings like a young man who feels like his feelings of longing and heartbreak will never subside; now he comes across more like an older and wiser man who has learned how to cope with such feelings. 

Some of the songs (“Boots”, “The Summer I Met You”, “100 Times”) do echo the new wave aesthetic of the late ‘70’s and early ‘80’s, but they substitute mature refinement in place of youthful tension. “Girl of the Year” and “The Last Song” (not the Edward Bear tune, although it does bear some lyrical resemblance to it) are reminiscent of more old-fashioned pop music. Although it is still clear that Finney and Perrin appreciate a wide range of musical styles, they mainly aim for simplicity on The End of the Pier. Halliwell (who also produced the album) fits into The Distractions very well. His compositions “Wise” and “Man of the Moment” stand out as intelligently constructed ballads. 

The Distractions’ earlier work has held up well over time; it’s hard to predict how The End of the Pier will be regarded years from now. Then again, the band was probably not concerned about that. The Distractions who recorded this album were not na├»ve young men trying to please record executives or hoping to become the next big thing. This version of The Distractions merely seemed to be aiming to create a fine, respectable album, and at that, they have succeeded. 

The Distractions “The End of the Pier” (Occultation YMIR7DC017) 2012 

Track Listing:  

1. I Don’t Have Time -- (Perrin)  
2. Wise -- (Halliwell)  
3. Girl of the Year -- (Perrin)  
4. Boots -- (Perrin/Halliwell)  
5. When It Was Mine -- (Perrin)  
6. Too Late To Change -- (Perrin)  
7. The Summer I Met You -- (Perrin)  
8. Man of the Moment -- (Halliwell)  
9. 100 Times -- (Perrin)  
10. The Last Song -- (Perrin/Halliwell) 

Wednesday, February 12, 2020

Win a Nobody's Perfect 2xCD set

Congratulations to the winner, Veronica!

COMPETITON! 


For a chance to win a 2xCD set of Nobody's Perfect 2020, please email your answer to the below to dan(at)thedistractions.co.uk.

Name the Rhonda Fleming film featured on the 'It Doesn't Bother Me' sleeve.


You can also enter via Twitter (@DistractionsMcr) and Facebook ('The Distractions - UK').

Thanks to Nick Stewart (the man who picked the photo for this release which was 40 years ago this week!) at Man In The Moon Records

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