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I wouldn’t be writing this if it wasn’t for that
fateful decision made by Island Records in the early eighties.
Really.
OK, an awful lot of other things have happened to put
me in this place, right now, with laptop on knee, but I can honestly say if
that decision had gone the other way then most of those other things just
wouldn’t have lined up.
Let me explain…
A few months apart in late ‘79/early ’80 I saw two
bands. I probably saw many more, but it’s these two bands that are important.
The first band was at The Taboo Club on Huntriss Row in Scarborough. Don’t ask
me how I still remember the name of the street - I just seem to have a knack for
retaining trivial information, while the important things get forgotten.
Birthdays just don’t go well in my family. Anyway, my mate, and resident club
DJ, Paul Russell had a flat above the club which doubled as a changing room for
bands playing at the venue. So, there I was one Saturday afternoon with fish
and chips on knee, watching the wrestling on World of Sport, commentated on by
Kent Walton (more trivia…), when four skinny, spotty youths walked in with bags
in hand. They milled around a bit, talking quickly in hushed tones and
generally getting in the way of my tv viewing. So I bogged off downstairs to
catch up with Paul and have a beer.
The band hit the stage later that evening and
played a fairly enjoyable and energetic set, the lead singer being the focus of
attention as he clambered on a fairly unsteady stack of amps, nearly losing his
balance at several points and generally making a prat of himself. I asked Paul
who the band were at the end of the night, as he was ejecting the recording he
had just made of the gig- something he did for all the bands who played there. "Irish band," he said, "call themselves U2 I think." I’d never see them play
live again.
Fast forward a few months and I was at the Welly Club [Wellington Club]
in Hull to see The Members and, more importantly, a band called The
Distractions. I’d bought an EP of theirs called ‘You’re Not Going Out Dressed
Like That’ and the follow up single, the classic ‘Time Goes By So Slow’. They’d
just been signed by Island Records on the back of much critical praise and were
about to release their debut LP. The future looked bright. To say this was one
of my favourite gigs of all time is not overstating things. The band were
terrific, brilliant 3 minute post punk pop songs played superbly by a band
including a guitarist with a Wilko Johnson haircut and a charismatic but
unlikely looking frontman in a spangly suit. Me and the girl I took along spent
the evening swinging along and grinning stupidly. We both swore to buy the
debut LP and catch the band live again. I would do so, but little did I realise
it wouldn’t be for another 32 years...
[to be continued]
The Distractions
: Interview
Author: Malcolm Carter
Published: 14/12/2013
Penny Black: Why do you think Island have never re-issued
‘Nobody’s Perfect’ or why no other re-issue specialist has picked up on it?
Island have reissued many of their albums through the years that didn’t exactly
set the world on fire on their initial release. Yet despite ‘Nobody’s Perfect’
attracting more and more interest over the years there’s never been a reissue.
Neil Storey: Well, I heard there was a small label in the US [Acute Records] who were
interested at one point a few years back, but that came to naught. I have no
idea why none of the so-called specialist re-issue labels haven’t picked up on
the Distractions. Ever since I created HiddenMasters, this has been on our
to-do list (for want of a better phrase).
Like any label, we have to formally apply to the relevant masters’ rights
holders, and while Universal always knew we wanted to work on a proper
Distractions set (not just a ‘Nobody’s Perfect’ re-issue), we still had to go
through the proper channels. The actual title clearances came through mid-way
through last year although, as you know, the project has been going longer than
that. These things take time! Plus, as much as this is a priority, we have
other HiddenMasters projects on the go as well.
PB: Personally I think that one of ‘Nobody’s Perfect’s’ qualities is that the
music is timeless. It could have been made in any decade from the sixties on.
What are your thoughts on why this music that is now 33 years old is more
popular than ever?
Steve Perrin: It was interesting to talk to some of the people who came to 'The End of
the Pier’ shows at the Kings Arms in Salford [in August-September 2012]. I was
the only one from the band staying in town, so I spent a fair bit of time on
Saturday wandering around on my own and running into people who had seen the
Friday gig. The main things they mentioned were the songs and Mike’s voice, so
I guess it’s down to that.
NS: It’s down to the songs (in my view). Either they stand the test of time or
they don’t. The Distractions tunes are fab. Not much more to say than that
really.
PB: How much input have the members of the original band had in choosing any of
the extra tracks included in the new issue?
SP: We’ve been consulted at every stage. I quite often wake up in the morning
and find a forgotten recording or photograph in the inbox.
Mike Finney: ‘Parabolically Yours’ looks excellent, and Neil is filling us in every step
of the way. I am hoping I don’t get to know too much as I would like the
surprise element, but as I trust Neil totally I know it will be just what is
wanted. Love it!
NS: Yes, Mike and Steve are involved at every step of the way, from the first
murmurings to everything else, really. Nick Halliwell has also been heavily
involved too. Alex Sidebottom, the original drummer, has been really helpful as
well. And, I wouldn’t have it any other way. Don’t forget, this is their record,
set, call it what-you-will. Therefore (and just the same as with any
HiddenMasters release), the artist or their estate have complete right of veto
across the board. If, for sake of argument, Steve really hated one of the
pictures we were planning to use, then it’d be ditched; simple as that.
We’re just the conduit to making this sound and look as good as it humanly can.
Having worked extensively with the band during the Island days, it’s been
wonderful reuniting.
PB: Are original producers Jon Astley and Phil Chapman involved in anyway? Who
is taking on the task of remastering?
NS: No, they’re not, but yes, I’ve been in touch with Jon. Phil I’ve not spoken
to (yet). Richard Whittaker at FX Mastering in London has done all the
analog/digital work plus any required restoration and he’ll be re-mastering the
full track-listing. Richard is, quite simply, one of, if not the best
analog/digital specialists in the world. He’s also one of the most unassuming
people on this planet and incongruously let slip the other day that he was
nominated for a Grammy recently for his work on The Who. Richard works with us
on all our projects and his care and attention to detail mirror our own.
PB: Is the reissue just going to concentrate on material from the early eighties
or, given that ‘The End of the Pier’ was so warmly received last year, are any
newer songs going to make an appearance?
SP: It’s going to come bang up to date.
NS: ‘Parabolically Yours’ is the entire Distractions career from inception to
present.
PB: It’s not unusual for bands to get back together now to play live gigs just
to recreate whole albums that, in some cases, are regarded more highly today
than they were when originally released. Given the Distractions have proved
that they still cut it live with the ‘End Of The Pier’ gigs is there any chance
that we are going to see the band promote ‘Parabolically Yours’?
NS: We’re somewhat geographically challenged since Steve and Mike are
continents apart, but, while things like interviews about this project haven’t
been discussed yet, I’m pretty sure they’ll be up for promoting it. I certainly
hope so!
MF: Steve’s over in the UK next year...
SP: I tend to think that those ‘recreating the old album’ shows are my
generation’s equivalent of doing a summer season in Blackpool; a thought that
fills me with dread. Also I think it would only be relevant to do that with
‘Nobody’s Perfect’ if we reunited the original line-up of the band and that’s
definitely not going to happen.
Having said that, it was interesting to revisit some of the older material at
'The End of the Pier’ shows, and Mike and I will be around to promote
‘Parabolically Yours’.
MF: There may be another gig or two, but we're not sure – our planning hasn't
changed much in 30-odd years.
SP: Maybe we could do an acoustic radio session or something. We’ll see.
PB: Thank you.
The eagle-eyed amongst you may have spotted the news posted on Hidden Masters recently, but for those who haven't, here's the latest excellent news on the 'Parabolically Yours' project:
The Distractions – digitisation now completed
Well… we finally did it!
Digitisation of all-found is now complete.
Naturally we’ve been working with
the expected 1/4″ and 2″ analog reels but also a bunch of cassettes which,
quite honestly, were so layered in dust – having lain in un-looked-at boxes for
decades – they had to be wiped clean so that the track-listings could be read.
And, as much as we didn’t want to
resort to this, we’ve also worked off pristine vinyl since three or four tracks
have ceased to survive in any other format – quite where those particular
masters are is anybody’s guess… sadly, most probably long-since destroyed.
Now… the song selection process
is underway and it is hoped that we’ll be able to announce the finalised
track-listing to Parabolically Yours by the end of February.
The Distractions
: Interview
Author: Malcolm Carter
Published: 14/12/2013
Penny Black: We’ve heard that a PledgeMusic campaign is
getting underway. When it is that likely to happen?
Neil Storey: Only when we have all the ducks lined up and in a satisfyingly neat row. A
project like this cannot be rushed because otherwise something’s bound to go
horribly wrong and bite us in the arse. (Our lawyer is responsible for that
quote… and he’s right).
As much as I don’t want to, I’ll delay any HiddenMasters project until it is
exactly right. Because, unless it is precisely as it should be, then ultimately
one is letting the artist down, and letting the fans down. And, that simply
doesn’t happen so far as I’m concerned; it’s not an option. One example – with
our recent 'Jess Roden Anthology', we changed the packaging and overall design
at the last minute. It caused a considerable delay, but it was the right
decision. The fans were a bit pissed off initially because that project had
been more than three years in the making, but they stuck with us, and all we’ve
had are enthusiastic responses for what we ended up putting together. Jess was,
and continues to be, thrilled with what we did.
PB: Are there going to be any ‘limited edition’ versions of the album?
NS: The 1st edition of the set is limited to 500 copies worldwide. Pre-ordering
will be exclusive to PledgeMusic.com and any copies remaining after that
process will be exclusively available from HiddenMasters.net – in other words,
this will not be found on, say, Amazon or via any other carrier whatsoever.
PB: Apart from the fourteen songs on the original album are there going to be
any bonus tracks included like the Island and Factory singles?
Steve Perrin: It’s best not to think of this as a reissue of ‘Nobody’s Perfect’, but as a
Distractions retrospective. Over the years people have asked me if there’s any
unreleased stuff, to which I have always replied ‘no’. Things have, however,
been unearthed that I’d totally forgotten about. Happily I’ve been surprised by
the quality of most of it and, yes, the Island and Factory singles will be on
there.
NS: I don’t think in terms of ‘bonus tracks’; that’s not how we work. To me,
that’s just a bit of a cop out. Reissue an album and chuck in a few (so-called)
bonus tracks, singles, B-sides or maybe a couple of live tracks. Frankly,
that’s a bit rubbish and doesn’t really offer any kind of value for money as I
see it. No: this is a different beast altogether, and we’ll be including a good
deal of material that has never, ever, been heard before. Be prepared for a few
surprises.
PB: We’ve heard that the packaging of the album is going to be something a
little special? Can you tell us a little more about that?
NS: Sure. It’s a 12” hard-backed, case-bound book format. The inside pagination
is currently at 80 pages (and I don’t think that’ll now change). So, pretty
substantial! Images inside include between 80 and 90% that have never been
previously seen alongside a lot of other ‘things’.
SP: Again, there’s stuff in there that I didn’t know existed. I would have
sworn that some of it didn’t, but it’s hard to deny the existence of a photo
when somebody who looks like a younger version of your self is in the middle of
it
NS: We are not really wanting to give the game away too much as I’m sure you’d
understand, but it looks pretty good. Actually, you asked about delays
previously and, I guess one of the ‘delays’ was caused by the fact that it did
take quite a long time to figure out just how the layout would best work.
The cover is quite graphic (for want of a better
word) and, while a picture of Hulme Arch Bridge in Manchester may not sound
very exciting, it sits perfectly. That, too, took time to figure out. The
genesis of that was, I knew in my mind’s eye that, with the title suggesting
curves, we needed something quite stark to represent that. One afternoon, while
walking along a canal near where we live, we came across a set of canal bridges
that, if shot from the right angle, made the most fabulous curves. We
experimented a bit, then Jayne (who is overall responsible for the design and
layout) saw a web image of the Hulme Arch Bridge and we realised if we shot
that just right, we should have what we were after. We shot that in Manchester
on a very dull day (exactly what I’d hoped for).
With only a teeny amount of PhotoShop work, we had our front sleeve for Mike
and Steve to approve. Obviously, if they didn’t like it we’d have been back to
the drawing board, but it got the thumbs up!
We also struggled with the opening pages for quite a while. Neither Jayne nor I
could get a layout going that worked, until, in the middle of one night, she
put the first eight or so pages together in about half an hour flat. They
worked absolutely perfectly – from which I’ve been slotting the rest in from
that beginning. We’re now pretty close to having the entire book sorted out;
just a few more images need attention and some more text to drop in. After
which, Jayne will do her not-inconsiderable thing and tweak away until it’s as
good as it humanly can be (it’s not for nothing that she’s won the design
awards she has over the years).
The text, by the way, consists of interviews with all those relevant to the
band. In other words, there is no journalistic essay (however worthy that might
be). This is the Distractions, and those who played a key role telling their
story in their own words.
PB: Is the early version of ‘It Doesn’t Bother Me’ and the other songs from the
‘You’re Not Going Out Dressed Like That’ EP going to be included too?
SP: All the tracks from ‘You’re Not Going Out Dressed Like That’ will be
included and there’s other stuff from earlier, and later, than that.
[to be continued]
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