Saturday, 30 November 2019



give me this chair
where the sunset light falls,
give me loud guitars
in my earbuds,
give me new poems,
give me the soft warmth
of this woman’s skin

to live extremes
crushes the world,
we burn and maim,
leave victims in
bitterness and pain,
I’m beyond that,
don’t need that any more
don’t want to hurt,
or be hurt

give me this ouzo,
this music,
give me this chair
in the corner
where sunset light falls,
give me this
moment of peace

Friday, 29 November 2019

New Wave SF: Graham Charnock's 'First And Last Words'


 His new book – ‘LAST WORDS’, is a collection of highly idiosyncratic 
poetry. But Graham Charnock began as part of the ‘New Worlds’ 
 New Wave SF revolution, and recorded with 
 Michael Moorcock’s Deep Fix

 ‘Come on, climb into my web, and toast eternity with me 
 as time tick ticks out. Let’s have one last dance together’ 
 (“A Night On Bare Mountain”) 

The deep maroon cover of ‘New Worlds no.184’ (November 1968) is straplined ‘SPECIAL ALL-NEW WRITERS ISSUE’, and it features Graham Charnock’s “Crim”. At just twenty-one, he was the youngest contributor, but of course, he’d already been writing for some time. In his early teens he recalls submitting tyro-texts to the magazine’s previous editor, EJ ‘Ted’ Carnell. ‘There was “Decline And Fall”, a three-hundred-word plotless vignette, which came back with the note, ‘so sorry, our minimum is three-thousand words’. I promptly shot off a three-thousand-worder. That came back too, on a bare slip this time…’ Then Michael Moorcock’s editorial regime set the controls for the heart of change, innovation, and new blood. Robert Holdstock was there, alongside M John Harrison… as well as names such as Brian Vickers who made his mark, then moved on. Yet within a short space of months, Graham Charnock would be co-editing his own ‘New Worlds’ issues.

Born 18 November 1946, after spending time at Greenford Grammar School, Graham was living in Alperton, Middlesex, working as an executive ‘with a large West End advertising agency’. A setting that provides ‘much of the experience and conflict’ for “Crim”, reconfigured into exaggerated metaphor. In accordance with New Wave dictates there are no spaceships or alien worlds, the medium itself is now the message. JG Ballard sets the tone, with less plot or characterisation and more stream-of-consciousness innovative literary experiment. ‘CRIM is a button that somebody pushed and then buried the button. CRIM is an igloo that too many people have crawled into. CRIM looks after its employees and all that shit.’ There are detonations of image grenades that soak the narrator’s body in sepia auras, as tactile as putty. And explosions of wild invention. The coffee-machine is plotting to poison the staff, perpetrating a crime against humanity. Velma Vonay is still having orgasms caused by an illicit air-strike of heat-seeking Sex-film Warheads. In a Total Warfare Area they plan a campaign to counter ‘Pain’, a suicidal religious cult, using military-assault terminology. There is a drop-in paragraph with characters called A and B. In shock-phrases of sexual violence, a Chinese girl has hung herself on a monkey-puzzle tree, ‘Jones fires off a burst at the young corpse. The soft ammunition explodes in the body, pulverizing it into rainbow iridescence.’ Although the story ends in hope, its rhythm is downbeat.

Then, collected into ‘Best SF Stories From New Worlds 8’ (Panther, 1974), “The Erogenous Zone” forms one of what are announced as ‘ten voyages beyond the far reaches of speculation’, yet seems to occupy elements of the same “Crim” continuum. Originally featured as his fourth ‘New Worlds’ appearance – in no.192 (July 1969), the ciphers A and B reappear, but as Craven Image drives his automatic towards Media Assault Limited’s Co-ordination Centre he hits and kills an idiot-kid ‘with hydrocephalic forehead and glazed eyes.’ The text is rifted with confrontation, in ways that twenty-first-century sensitivities might find offensive. The Dresden bombing was an atrocity. In a war against fascism, there were anti-Semitic taunts among the allies. Taken through sense-distorting clouds of hallucinogenic mist to a strange National Hospital, Image has sex with ex-stripper nurse Hedy. ‘Hedy was an automaton whose fingers were scalpels. Her private parts were choked with rust and he could feel nothing for her. She held up a portion of his gut and said, ‘see, I told you I could do it.’

By then, Graham had established the parameters of his continuum. “The Death Layout” (in ‘New Worlds no.188’, March 1969) is another fragmented hand-out from the same campaign, using its William Burroughs cut-up textual techniques. The various fragments compile into sections of a continuous novel, a single work in instalments. It is next level. There were no Spin-Doctors back then, but they were spinning. There were Focus Groups, although they didn’t call them Focus Groups. Compared to today, media was in a state of relative infancy. But Graham was ahead of the curve. ‘Vance’ might have been Vance Packard who delineated the subliminal role of ‘The Hidden Persuaders’ (1957). Marshall McLuhan was furnishing the Global Village with electro-interconnections. ‘This is a TV camera. It writes the history of now. Its moving finger comprises the elementary particles. The mosaic of its cathode ray image is a jigsaw puzzle with an infinite numbers of solutions.’ That reality is not so much fixed, as determined by malleable degrees of perception. 

The steady drip-drip-drip of Fake News creates a society in which truth is negotiable. While this is the new frontier that Graham was already charting in 1969, ‘not yesterday’s environment, but the reality of this minute, this second, this nanosecond.’ It has even greater currency now, when Graham tells me ‘the sophistication and ease of modern CGI has a lot to answer for, I fear, when it can seamlessly reconstruct old footage of dead stars such as Audrey Hepburn for chocolate adverts. Soon reality won’t count for much. We will believe anything we see, no matter how unlikely, and our TV myths will go down for future generations as ‘reality’ and ‘actuality’. It might even be possible to reconstruct Donald Trump as a Humanitarian Saviour!’

Is this the fitting subject for SF under its revised guise of Speculative Fiction? Older readers were less convinced. Where is the First Contact encounter with tentacular life-forms on lost asteroids? Oldsters were also less enthused about the seemingly gratuitous loveless sex. But wasn’t there supposed to be a new evolving morality fuelled on contraception, sexual revolution and the expanded possibilities of repealed censorship? Awash with testosterone perhaps, unaware that female-empowerment may have gender-agendas other than as three-hole sex-toys. Yet it’s difficult not to enjoy the passage about ‘her nursing slip was torn over one huge pendulous breast which trembled, recording the MAL bombardment like a fleshy seismograph.’

Pop-culture references are scattered, the Beatles “And Your Bird Can Sing” in “Crim”. Hendrix in “Sub-Entropic Evening” (in ‘New Worlds no.191’, June 1969), and a guitar ‘whereby cells, like crystals, could be made to resonate. The guitar broadcasts a special signal that affects the cells in the visual cortex of the brain in this way.’ Langdon Jones editorialises about Michael Moorcock’s fiction technique as utilised in his ‘Jerry Cornelius’ tales, with ‘his method of construction as being closer in many ways to musical composition… stories are conceived in terms of tone, repeated images, quotes from his own earlier work and the work of others.’ This is also true of Graham’s contributions. The basement dialogue between Jones and Dragon in “Sub-Entropic Evening” has a more conventional structure, although Velma – traumatised and incapable of speech following her father’s repeated reprimands, works for CRIM, and endures a strange interlude with a paunchy over-jowled man who mistakes her for a prostitute. There is an atrocity Arena, Cap-Sul-ads, lizard visions… and the Pain cult.

For the inner coterie of ‘New Worlds’ writers it was an intoxicating year-zero insurrection, subverting and reinventing texts, perpetrating intellectual games in experimental prose and poetry bewildering to outsider non-initiates. Over the decade event horizon, the January 1970 issue no.197 includes Graham’s “The Suicide Machines” set amid an Oxford heatwave, with recognisable characters Velma, Dragon and Jones, plus Felix Apropos engaged in a dialogue about pornography. It is ‘art with none of this capital letter shit… that’s true art, the art of reality.’ Apropos returns to the small dusty room which had been his student squat, there are the names of previous occupants scrawled on the wall – including his own tight controlled hand. As he leaves, he casually tosses a grenade into the room and destroys it. The past exists only to be obliterated. There are unexplained ‘Feedies’, which only the issue’s editorial reveals as ‘totally subservient, humanised robots’.

Beyond stories in ‘New Writings In SF’, Damon Knight’s ‘Orbit’ and the ‘Other Edens’ anthologies, the ‘New Worlds’ connection continues, into its later reincarnation as a thick paperback series edited by David Garnett. The teasing conundrum “On The Shores Of A Fractal Sea” (in ‘New Worlds no.3’) draws on Graham’s close encounters with Rock music, via his contributions to Michael Moorcock’s Deep Fix. The fictional deceased Rock-star narrator persists in a virtual Lagoona where ‘the beach goes on forever’, and where he works on his concept-cycle triple-album. Maybe being dead means he’s unaware that Hawkwind’s seventh studio album is also called ‘Quark, Strangeness And Charm’ (Charisma, June 1977)! He talks to shape-changing French, to whom his reality exists as ‘a fragment of cloned tissue… awash with oxy-infused saline.’

Next, “Harringay” (in no.4, 1994) is a curiously ingenious piece featuring a cloned Andy Warhol in a world where viable DNA-relics of historical characters are traded in hard-copy print-outs of ‘Clone And Mart’ (and there is still a BHS store!). Andy shops at a new Tesco, and muses about resurrection-cloned buildings. Then, in “A Night On Bare Mountain” (in the August 1997 edition), Venn addresses Gance in rambling discourse, recalling memories and incidents they’ve shared, allowing the reader in only gradually. ‘The world ends at midnight, Gance. Have you heard?’ as fundamentalist missiles fly overhead. A second speeding gonzo section is both satirical and satyrical, it shifts to a kind of post-apocalypse bayou fuelled on the rush of cyberpunk, with Athene who has needles grafted beneath her cuticles into ‘a walking acupuncture’. There are clever lines such as ‘our history lesson for today is how history lessens,’ and music-savvy fake-news about ‘you heard how Elvis landed on the Moon, right? One small step for a man, one giant leap for King Creole.’ It closes with a neat Arthur C Clarke inversion ‘one by one the stars were coming on.’ Although Venn’s quiz-question about movie versions of Richard Matheson’s ‘I Am Legend’ obviously precedes the 2007 Will Smith remake!

 Garnett also brings readers up to date with Grahams subsequent ‘proto-Goth group Smackhead’ and three solo albums of ‘country swamp jazz’ on his own Drop label, presaging his YouTube presence nailing “King Of Stupid”, set to acoustic Blues guitar. As well as ‘Mutant Surgery’, his ‘bi-monthly fetish magazine devoted to body piercing and scarification.’

When questioned about the wide spread of his work, Graham tells me ‘I think I understand you perfectly. I can only say I’ve never been interested in being a one-trick pony, and have always felt strangely sorry for my many successful friends who have knuckled down to one discipline and become very adept at it. In just the way I am not. Like I feel sorry for classically trained musicians who can never step outside the boundaries of their discipline and training. I have classically trained pianists as friends who simply do not understand me when I talk about improvising or free-form music. I have never been bothered by lack of professional success. I have toiled in the book industry most of my working life and it has kept body and soul together for both me and my family, leaving me free to flit from artistic flower to artistic flower in true dilettante fashion. I have no complaints.’

For his ‘Last Words’ (2019) collection, poetry is the language – and weapon, of choice. His poems are songs that become poems or poems that become songs, or simply songs that ‘got ideas above their station’. They’re a dialogue with his neglected guitar about daring to disturb long silences, with plectrums and pencils, but they’re also image grenades, spiky with contrarian indiscretions. A shock-confrontational “Jo Cox” seen through the warped mindset of the Labour politician’s deranged assassin. Stark about Srebrenica ‘ethic cleansing’. Or junkie Elvis overdosing in Tehachapi exile. Words explode like a match bursting into flame, written in napalm image-gel. Spitting phrases like machine-gun bullets. Sometimes they unfashionably rhyme, as songs do, sometimes they are scatological, but they don’t care. They don’t conform to anyone’s preconceptions, and are better because of it.

“Creatures Of The Night” observes ‘what all you humans do’, while “Northern Soul” compares kids dancing in Manchester clubs, those young men who ‘collapse in gutters, and rest their heads on kerbstones’, to salmon ‘singing along to Aretha’ while ‘flaying their bodies through scouring rocks’, Graham finds in favour of the ‘dancing silver of fish.’ Each line is touch-papered with fissionable material, barbed with the stubborn curmudgeonly humour of his ‘Facebook’ posts. Perhaps pretending a fake normality, from dementia, bereavement, and the beach at Dunkirk lost in the endless unfurl of years, where ‘new time lies like a crust on the mantle of the earth’, to the biography of “My Friend Kong” who ‘had anger issues’. Savage with tenderness, twisting hard shapes out of softness. Until the extinction-event asteroid comes. Disclaiming ‘this is what happens when you let rabble words run wild without supervision.’

‘I don’t need any of you any more, but I still love you.’ Graham once said ‘a cynic still has beliefs. He’s a disappointed romantic’. It seems that’s still true.


May 1966 – first issue of fanzine ‘Phile’, edited and produced by Graham Charnock. It survives for seven issues until 1968

January 1967 – published letter in ‘Speculation no.15’, a fanzine edited by Peter R Weston

February 1968 – ‘Vector no.48’ book review of Kit Reed’s ‘Mister Da V And Other Stories’ 

November 1968 – ‘New Worlds no.184’ edited by Michael Moorcock and James Sallis. Includes “Crim”

March 1969 – ‘New Worlds no.188’ edited by Michael Moorcock and Charles Platt. Includes “The Death Layout”

June 1969 – ‘New Worlds no.191’ edited by Langdon Jones. Includes “Sub-Entropic Evening”

July 1969 – ‘New Worlds no.192’ edited by Langdon Jones. Includes “The Erogenous Zone”, collected into ‘Best SF Stories From New Worlds 8’ edited by Michael Moorcock (Panther, March 1974)

November 1969 – ‘New Worlds no.195’ edited by Graham Charnock and Charles Platt

December 1969 – ‘New Worlds no.196’ edited by Graham Charnock and Graham Hall

January 1970 – ‘New Worlds no.197’ edited by Charles Platt, features “The Suicide Machines”

December 1970 – ‘Orbit 8’ edited by Damon Knight, includes “The Chinese Boxes”

July 1974 – Pat Charnock produces first 46-page issue of fanzine ‘Wrinkled Shrew’, drawing on members of Ratfandom group. The title survives for eight thick issues, the last dated April 1979

December 1974 – ‘Tree Rot Too’ fanzine edited by Leroy Kettle, includes “The Mind Pebbles”

1975 – ‘New Writings In SF no.27’ edited by Kenneth Bulmer, includes “The Observer” polished crafted prose, even on perfectly worldscaped Jocaster, Klien is uneasy, ‘vast beauty was paid for with vast ugliness’, brutal love-making and the ritual suicide of native forest-people. Graham Charnock recalls that ‘Ken was a good and kind man and supportive of the young writers that we were. I sold him my story and he printed it, but afterwards he confessed to me he didn’t have the foggiest idea what it was about. Well, that made two of us!’

March 1975 – LP ‘The New World’s Fair’ by Michael Moorcock And The Deep Fix (United Artists UAG 29732). Graham writes “You’re A Hero”, “Come To The Fair” and “In The Name Of Rock And Roll”, he also plays guitar and provides vocals. Reissued as CD by Esoteric Recordings ECLEC2026, in 2008

August 1975 – first issue of six-page fanzine ‘Vibrator’ edited and produced by Graham Charnock. No.2 September. No.3 October. No.4 ten-page issue January 1976. No.5 March 1976. No.6 eight-pages, March 1977. No.7 revived as eight-page issue April 2003, with four-page no.8. Relaunched with a vol.2 no.1 September 2013

August 1979 – ‘Seacon ’79 Programme Book’ edited by Graham Charnock, free handout for attendees at the Thirty-Seventh World SF Convention at Brighton, with Brian Aldiss and Bob Shaw fiction plus essays by Harlan Ellison and James White

December 1980 – “Dodgem Dude” c/w “Starcruiser” (Flicknife Records FLS200) by Michael Moorcock’s Deep Fix, with Graham playing bass. Single release of Deep Fix original demo

July 1987 – ‘Other Edens’ edited by Christopher Evans and Robert Holdstock, includes Graham’s “Fullwood’s Web”

November 1988 – ‘Other Edens 2’ edited by Christopher Evans and Robert Holdstock, includes “She Shall Have Music”

September 1993 – ‘New Worlds no.3’ new series edited by David Garnett, includes “On The Shores Of A Fractal Sea” (vol.62 no.219)

November 1994 – ‘New Worlds no.4’ edited by David Garnett, includes “Harringay”

August 1997 – ‘New Worlds’ anthology from White Wolf Publishing, listed as no.222, edited by David Garnett, includes “A Night On Bare Mountain”

November 2017 – ‘Running Amok In The Fun Factory’ (Ansible Editions), UK Con Reports Collected by Graham Charnock who also writes the introduction and five ‘reports’

April 2018 – ‘The Mysterious Affair At The Hanover Hinckley’ (Wrinkled Shrew Books ISBN 978-1365633225) ‘Two Gentlemen explorers go in search for the ultimate recipes for Wemblesham Pie and other Modern Wonders, little knowing it will lead them to an ultimate confrontation with the Evil Horned Spook’ 98pp

June 2018 – ‘Lost Children’ (Shrew Books), a collection of fourteen short stories, plus three novellas, 302pp 

August 2019 – ‘Graham Charnock Lyrics’ (Lulu Product ID 24217893) ‘a lifetime of inane perceptions condense into a whole volume’, 270pp

September 2019 – ‘Last Words: A Collection’ poems by Graham Charnock (Lulu ISBN 5-800136-006205)

Thursday, 28 November 2019

CD Review: 808 STATE


 Album Review of: 
by 808 STATE 
(ZTT/ Salvo SALVOMDCD051 Element 20, 2011) 

‘We are the Music-Makers and the Dreamer of Dreams…’ 

There was a time, and not so very long ago, when a band could be something other than a commercial brand for merchandising product. They could be musicians doing interesting things. It doesn’t really matter what 808 State look like. They could do the massive dance-floor things when the fancy took them. But they’d be highly unlikely candidates for the ‘Celebrity Big Brother’ house. The original Manchester trio was Graham Massey (the only consistent member), with Martin Price (owner of ‘Eastern Bloc Records’) and ‘A Guy Called Gerald’ Simpson. The latter two later replaced by Andrew Barker and Darren Partington. They were faster-than-a-neutrino at picking up on the first implications of Chicago House, and fusing it to avant-electronica. Thus creating a zone where prehensile pulses shimmer, warp and quake in and out of sharp-edged beat-scapes.

 Theirs were industrial-funk grooves pioneering acid strategies – or blueprints, to be decoded and developed by other techno-head experimentalists such as Aphex Twin, Orbital, Chemical Brothers or Prodigy. Here, their debut dance-floor-filler “Flow Coma” comes as a slip-slithering Aphex Twin 2001 remix, with strangulated treated-voices lost in harshly abrasive shoot-‘em-up game-machine acid bleeps. Followed by further contributions from Simian, a Brian Eno Radio Mix, Manic James Dean Bradfield (with a 1996 EP-collaboration on the ethereal “Lopez” with Nicky Wire lyrics), plus lazy-voiced guest-vocals from Elbow-&-XFM presenter Guy Garvey on “Lemonsoul”, and ZTT (Zang Tuum Tumb)’s Trevor Horn on the opulent movie-stretch “Plan Nine”. Bjork collaborates with her usual spooky distinctiveness on the 1991 “Qmart”. 

Dance used to be singles stuff. Dance didn’t do albums. A music-biz truism, until 808 State, and an elite of other trail-blazers skewed the rules. They were game-changers. They pioneered the ‘radio edit’ as a seven-inch cross-over tool to do it. “Flow Coma” was originally launched on their own Creed label while they were still operating as Club DJ’s, and I well-recall some of those nights, with the Hacienda’s yellow-and-black hazard-striped décor and ecstasy-fuelled dancefloor sweat-monkeys in loved-up trance. OK, I was only there three, maybe four times (I was more east of the Pennines in Sheffield’s ‘Leadmill’ or the Leeds ‘Warehouse’), but there was a definite sense of being in on the cusp of something. A year-zero vibe where change was happening and future-music was being invented.

The record was picked up and reissued soon after as a twelve-inch promo on Richard (Aphex Twin) James’ Rephlex label. Its reception led to seven albums spaced across two decades – from ‘Newbuild’ in 1988, (on Rephlex 080), to ‘Outpost Transmission’ in 2002. Although this high-energy career-spanning compilation dips into each, what they’ve found is titivated and re-treated. The blue cover-art techno-print sets the tone, showing the circuit-board of the Roland TR-808 drum-machine – from which the group-name is derived. With an uncompromising depth of construction this well-dressed overview is less ‘Greatest Hits’ as greatest bits. It shares nine of its seventeen cuts with the earlier ‘808: 88: 98’ (ZTT, June 1998), but it roves beyond that album’s singles remit – accurately announcing itself as the best in not only ‘psycho-ecstatic, trance-inducing groove-riding,’ but the ‘techno-funkalogical’ too.

BBC’s Rob Hughes calls the trio the ‘wizards of wibbly’, yet they produced the placid blissed-out exotica of “Pacific State” (no.10 in November 1989), adding cheesy lounge-core sax and bird-tweets to the busy chopped-up rhythms of the Dance vocabulary. Then classic single “Cübik” (no.10 in November 1990), here in a dirty-groove Monkey Mafia rare remix form with Jon Carter’s cut-up vocal looped, and other voices warped and corrupted to nonsense. And – at their rawest, a revisited revision of “In Yer Face” (no.9 in February 1991), with its swaying full-frontal soundtrack spliced with a sampled news-commentary of ‘conflict between the generations’, of ‘the bomb’, the population explosion, and the pollution of air and water. But they have other gears. The snappy “Olympic” was the theme for Channel 4’s engagingly rowdy ‘The Word’, and the ‘B’-side of “Cübik”. The relentlessly urgent turbo-rave hyper-brutalism of “Timebomb” – predicting Prodigy, is lifted from their ‘808 Tape Mix’, and its ‘B’-side “Nimbus” appears in a tunefully obscure alternate version.

As the superstar-DJ thing began hitting its stride, 808 State were already moving off into other more ambient realms of the chill-out suite. And again, others would follow. So, from such a breadth of abstract hard-core kinetic thumps and pulsing breakbeats, what to include? What to exclude? The hits “Open Your Mind” (no.38 in August 1991) and “One In Ten” (no.17 in December 1992) are not here. Replaced maybe by two previously unavailable tracks, “Spanish Ice” and “Metaluna”, a radical mash-up of hard-to-find earlier piece “Hear You Soon”, retitled to reference SF movie-classic ‘This Island Earth’, seguing into “Compulsion” which closed their 1988 debut LP ‘Newbuild’, in a neat closed-circuit back to the beginning. Can Dance-music be subversive? Or is it strictly functional? Jazz was once dance-music. Dance is a democratising medium in which the individual is subsumed into the rhythm. It can be a collective transcendental ritual, a trance-inducing route to oneness. It can be lots of other things too. A fad. A trip. A groove. As serious as cancer. The great social leveller. But from a time when Dance-music was a vital step more than just a commercial brand for merchandising product, 808 State dared to be musicians doing interesting things.

 Originally featured on website:
(UK – November 2011)

Wednesday, 27 November 2019



Book Review of: 
(Sterling) ISBN 978-1-4549-2052-6 Hardcover. 264 pages

For those of a certain right-wing bent, this is the year that saw moral laxity, free-love promiscuity, drugs and student riots. To some, it’s the year that Rock lost its way as sharp tight Mod beat-groups grow their hair, and start wearing bells and kaftans. To others it’s the pinnacle of Rock evolution that runs a direct line all the way from Sun studios to ‘Sgt Pepper’, the final flourish before it all fragments into country-Rock, Prog, jazz-fusion, garage, Psychedelia, Heavy Metal, Glitter and Glam… before Punk presses the Reset button and returns it all to factory settings. 1967 is the lurch from singles into albums, from overground into underground, from Purple Hearts to LSD. The complacent American music industry, slammed off its axis and still reeling from the British invasion, suddenly has to find ways of dealing with the Mothers Of Invention, the Dionysian Lizard King and the mesmerising beauty of Grace Slick’s Up Against The Wall Motherfuckers!!!. Fifty years ago today it’s the most written-about, analysed and anthologised year since forever. So what can this visually colourful large-format tome do that the others don’t? I have my own system for determining the depth of research, which is to search up Electric Prunes in the index… and no, they’re not there, but wait – phew, they are included in the essential playlist. While the trippy month-by-month chapters are art-rich with lavish photo-spreads, posters, quote sidebars and atmospheric memorabilia. Destination: Groovy!

Published in:
‘R’N’R’ Vol.2 No.64 July-August
(UK – July 2017)




Review of: 
With Victor Henry, Susan George, Jack Shepherd and Clare 
Kelly (Miron Films 1968, DVD Studio Canal 2014 

She’s ‘usually typed as sexpot’ snipes sniffy film critic Leslie Halliwell, about Susan Melody George. But she was only twelve-years-old when she made her TV debut, as ‘Kitty Walker’ in the BBC series adapted from Arthur Ransome’s ‘Swallows And Amazons’ (1962). It was later, with her long blonde hair and sub-Bardot pout that she became the go-to dolly-bird with Boris Karloff in ‘The Sorcerers’ (1967), with Denholm Elliott in TV’s ‘Dracula’ (1968), and supporting Suzy Kendall in ‘Up The Junction’ (1968). ‘All Neat In Black Stockings’ is a very minor entry in the Swinging Sixties movie-genre that does her no great favours, but by the same token it’s a light amusing romp with shots at many of the tropes that distinguish the sub-genre. Based on a sex-comedy novel by fantasy writer Jane Gaskell, better known for her ‘Atlan’ (1965) saga set in prehistoric South America and mythical Atlantis, it spreads its passing glance from kitchen-sink drama to lowbrow psychedelic art-house romp. So there’s predictable wackiness to come. When Ginger’s aerosol runs out of shaving foam, he improvises by using a froth of toothpaste. Lying in bed, he pours salt into his navel, the better to season the boiled egg he dips into it, before eating. And he orders his pub ‘black and tan’ shaken, not stirred. A Bond-reference that at least had the excuse of being reasonably current in 1968!

Window-cleaner Ginger (Victor Henry) is amoral. But the supposedly permissive times were meant to be amoral. Girls are ‘it’, or ‘something’ to be shared with his best scruff-mate Dwyer. ‘Allow me to introduce myself, my name is Jack the Ripper’ he sweet-talks a promising new bird, but once in bed she proves tediously over-talkative. So he sneakily pours cola beneath the sheets to discomfort her, until she gets up and leaves in a strop. But haven’t we been here before? Sure we have, in Michael Winner’s ‘The System’ (1964), where opportunistic ne’er-do-well teen-louts ‘grockle’ holidaying crumpet, then pass them round on a rota basis. And, of course, there’s Michael Caine’s chauvinistic womaniser ‘Alfie’ (1966) too.

The strap-line calls this film ‘A Provocative Modern Story Of Loving And Living’, in which ‘he falls in love, and lived to regret it,’ while ‘she learned about love, but left it too late.’ And maybe it tries to be all that. But if the title hints at a mild kinkiness, the prurient moviegoer would be disappointed, and largely un-titillated. The black stockings in question – Susan George’s (Jill’s), are first encountered by Ginger as he crawls across the pub floor to emerge from beneath the table where she’s sitting. But this early take on the more ribald ‘Confessions Of A Window Cleaner’ hinges on the central wheeze of his temporarily gaining access to a lavish palace of a house.

In the opening sequence he’s distracted from cleaning hospital windows by an attractive nurse, but before the Ward Sister has ‘this young thug’ escorted out he meets up with one of the patients, Old Gunge (Terence De Marney). This unkempt eccentric is concerned about how his menagerie of pets will survive while he’s hospitalised with gallstones. Naturally, heart-of-gold Ginger offers to help. He’s sharing a rundown rooming-house with Dwyer, so once he enters Gunge’s house – through a concealed entrance between giant billboard hoardings, he realises its potential. And moves in. By now he’s taken a more serious fancy to mini-skirted Jill, trading in his van for a £149 white MG sports car to impress her, with the house as the ideal back-up crash-pad. Unfortunately his dissolute brother-in-law Issur (Harry Towb) – who sleeps on the floor in a rolled-up carpet, decides to move his family in too, not only pregnant sister Cicely (Anna Cropper) but also his bit-on-the-side Jocasta (Nita Lorraine)!

There’s a Supremes poster on Ginger’s wall, even though the soundtrack consists of swinging caper-jazz, cool sax (provided by luminaries Tony Coe and Kenny Wheeler) and snazzy drums. Filmed in and around Wandsworth, the film’s grittiness-content probably comes down to Ginger’s diatribe about global overpopulation, that ‘abortion is man’s answer to the desecration of the world.’ While, like girl-getter Oliver ‘Tinker’ Reed in the effortlessly-superior ‘The System’, Ginger’s sexual double-standards kick in when the hunter gets captured by the prey. As Tinker falls for posh totty Nichola, so Jill becomes the exception to ‘an obvious plonker like’ Ginger. She’s special, he doesn’t want to take advantage, so she stays ‘untouched by human hand’, despite the unsubtle urging of the pub-name ‘The Ram Inn’. Until the situation goes into meltdown when Issur throws a wild party that near-wrecks the house. Ginger throws out the revellers by wielding a medieval halbert, while Jill is conforming to their supposed free-love ethos by having it off with Dwyer. ‘She’s a fair piece and no mistake about it’ he comments approvingly. And when she falls pregnant it’s Dwyer – ‘share and share about, that’s our motto’, who’s responsible. ‘We’d best get married, I suppose’ concedes Ginger bitterly, ‘that’s the usual procedure.’

Despite some amusing distractions, including Dwyer pulling scams to raise funds for a projected jaunt to Jersey – expanded in some bonus ‘deleted scenes’, the film spirals into a downbeat note. They honeymoon in a Herne Bay B&B. She goes into labour during an embarrassing lecture from a trendy vicar. He wants to get their own apartment, she prefers they move in with her widowed Mum. After picking a fight in a pub he lurches home drunk – as in ‘A Kind Of Loving’ (1962), but actually winds up romancing himself into disapproving Mum’s favour. And they fall into a kind of begrudging domesticity. Finally, back on his window-cleaning round he calls off at a café where he flicks a mental gear and starts flirting with the waitress, who is all neat in black stockings. He’s regained his mojo, at the price, we suspect, of his precarious marriage!

Victor Henry also shares a role with Susan George in ‘The Sorcerers’, and while he was a TV bit-part regular, he can also be seen with Manfred Mann vocalist Paul Jones in his shot for movie celebrity ‘Privilege’ (1967). But tragically, whatever acting promise he showed was never to be realized. The pedestrian victim of a random auto-accident he died after being in a vegetative comatose state for seventeen years, in November 1985. While, a decorative sexpot addition to any screen part, and never less than adequate, probably Susan George’s most high-profile role was as Amy Sumners, Dustin Hoffman’s doubly-raped wife in the disturbing psychological thriller ‘Straw Dogs’ (1971), then the counter-culture road movie ‘Dirty Mary, Crazy Larry’ (1974) with Peter Fonda.

While at best ‘All Neat In Black Stockings’ is a vaguely atmospheric period piece from a decade of British cinema that still attracts nostalgic attention.


(1968, Miron Films, Anglo Amalgamated Films) Producer: Leon Clore with credit ‘Nat Cohen Presents…’. Director: Christopher Morahan. Based on the novel by Jane Gaskell. With Victor Henry (as Ginger), Susan George (as Jill), Jack Shepherd (as Dwyer), Clare Kelly (Mother), Anna Cropper (Ginger’s sister Cicely), Harry Towb (Ginger’s brother-in-law Issur), Vanessa Forsyth (Carole), Terence De Marney (Old Gunge), Jasmina Hilton (Babette), John Woodnutt (Vicar), Nita Lorraine (Jocasta), Deirdre Costello and Rosalind Elliot (as new Birds), Andre Dakar (Man with Parrot). Music: composed by Bob Cornford, with soloists Tony Coe and Kenny Wheeler.
Plus an April 1969 single by Jon Mark – “All Neat In Black Stockings” c/w “Run To Me” from the soundtrack as Philips BF1772. (DVD, Studio Canal 2014) 95:26 minutes

 Featured on website:
‘VIDEOVISTA’ (August 2014 – UK)

Tuesday, 26 November 2019

Jackie DeShannon: When She Walks In The Roon


 Album Reviews of: 
(2015, BGO RECORDS) 

When “Bette Davis Eyes” topped global charts in 1981 the one-time screen siren excitedly phoned singer Kim Carnes to express her thanks, whereas the credit really should have been directed at songwriter Jackie DeShannon. John Tobler’s liner-notes term her Rock’s first notable female singer-songwriter – which neatly overlooks Carole King, and Jackie’s occasional co-writer Sharon Sheeley (they wrote Brenda Lee’s hit “Dum Dum” together), but it’s close enough. Although she wrote “When You Walk In The Room” for the Searchers and “Come And Stay With Me” for Marianne Faithfull, ironically her own breakthrough hit came with the syrupy tuneful “What The World Needs Now Is Love” – a ‘Billboard’ no.7 in June 1965, from the tired old Bacharach-David duo, until her co-written “Put A Little Love In Your Heart” took her up to no.4 in July 1969.

On a 1964 ‘American Bandstand’ interview Dick Clark asks a mini-skirted Jackie which is most important to her, writing or performing, and she tells him ‘I started as a singer, and singing is my whole life. But I don’t know how I would choose because writing is so much a part of me. When it came right to the nitty-gritty, I take singing.’ Which is unfortunate. She has a great light and expressive voice, but great voices are not uncommon in Pop-Rock. Fine original songs are the real gold-dust. And if this two-CD package is padded out with too many covers – who really needs another “Puff The Magic Dragon” or Petula Clark’s cheery “Call Me”? there are four full LPs here – ‘In The Wind’ (1965), ‘Are You Ready For This?’ (1967), ‘New Image’ (1967) and ‘What The World Needs Now’ (1968) – forty-eight tracks, so even after a little judicious whittling it’s wonderful value whichever. Kentucky-born Jackie starts out long hair ablowing acoustic-Folkie with three Dylan songs (including rare Broadside “Walkin’ Down The Line”), some tasty twelve-string, and her own exquisite “Don’t Turn Your Back On Me” which is the best hit the Searchers never had. But the timbre of her high pure voice excels even on the mediocre later material drenched in Bacharach orchestration.

‘Variety is something that everyone thrives on’ she told ‘Melody Maker’. ‘I’m gospel at my roots, but then I fall into Folk, and then I’ll do “Don’t Think Twice”, and suddenly I’ll feel soul. I’ll do a gig that’s all acoustic, then one with heavy R-and-B content, then into very light, very mellow things. Laid back days can be good too’ (22 July 1972).

And her original songs are exquisite.


21 August 1944, ‘Jackie DeShannon’ is born as Sharon Lee Myers in Hazel, Kentucky

1956 – debut single as by ‘Sherry Lee’, “I’m Crazy Darling” c/w “Baby Honey”

1957 – single as by ‘Jackie Dee’, “I’ll Be True’ c/w “How Wrong I Was”

1958 – single as by ‘Jackie Dee’, “Buddy” c/w “Strolypso Dance”, later collected onto November 1980 LP ‘Imperial Rockabillies Vol.3’ (Liberty-United UAG 30312)

1958 – single as by ‘Jackie Shannon’, “Just Another Lie” c/w “Cajun Blues”

June 1961 – Brenda Lee’s version of Jackie DeShannon-Sharon Sheeley’s song “Dum Dun” (Brunswick 05854) reaches no.4 in the US, and no.22 in the UK

1961 – Brenda Lee cuts Sharon Sheeley-Jackie DeShannon’s “So Deep”. Jackie’s songs are notated as sheet-music by David Gates. Issued as ‘B’-side of January 1962 single ‘Break It To Me Gently’

1963 – The Crickets “Right Or Wrong” DeShannon-Sharon Sheeley’s song ‘A’-side (Liberty LIB10113)

April 1963 – Helen Shapiro single “Woe Is Me” (Columbia DB7026) by DeShannon-Sheeley

1963 – DeShannon-Sharon Sheeley’s song “You Won’t Forget Me’ on Bobby Vee’s LP ‘The Night Has A Thousand Eyes

November 1963 – Jackie DeShanon single “Till’ You Say You’ll Be Mine” c/w “When You Walk In The Room” (US Liberty 55645). The Searchers cover of “When You Walk In The Room” (Pye 7N 15694) is a no.3 UK hit and no.35 US hit. There are later versions by Paul Carrack in 1987 and ABBA’s Agnetha Fältskog in 2004. Jackie’s original ‘When You Walk In The Room’ featured on 1970 compilation ‘More From The Vaults’ (Liberty LBS 83377)

1964 – original version of DeShannon-Sheeley’s “Breakaway” by Irma Thomas as ‘B’-side of hit ‘Wish Someone Would Care’, but later becomes a no.4 UK hit in its own right for Tracey Ullman in 1983

August 1964 – the Beatles second American tour, with support acts the Righteous Brothers, and Jackie DeShannon after her ‘Needles And Pins’ catches the ear of Brian Epstein

1964 – Darlene Paul ‘B’-side “A Little Bit Of Heaven” (Capitol CL 15344) by DeShannon-Sharon Sheeley. ‘A’-side is ‘Act Like Nothing Happened’

February 1965 – Marianne Faithfull gets a UK no.4 hit with Jackie’s “Come And Stay With Me” (Decca F12075)

1965 – Jackie DeShannon LP ‘In The Wind’ (Imperial mono 9296) with Jackies own ‘Don’t Turn Your Back On Me’, her arrangement of the Trad ‘Oh Sweet Chariot’, three by Bob Dylan (‘Blowin’ In The Wind’, ‘Walkin’ Down The Line’ and ‘Don’t Think Twice, It’s Alright’, plus Eric Von Schmidt’s ‘Baby, Let Me Follow You Down’ as featured on ‘Bob Dylan’ 1962 LP), Pete Seeger’s ‘If I Had A Hammer’, Bobby Darin’s ‘Jailer, Bring Me Water’, Jack Nitzsche and Sonny Bono’s ‘Needles And Pins’, Trevor Peacock’s ‘Little Yellow Roses’ (by the TV actor from ‘The Vicar Of Dibley’), Hedy West’s ‘Five Hundred Miles’ and Peter Paul And Mary’s hit ‘Puff The Magic Dragon’

June 1965 – Jackie DeShannon single “What The World Need Now Is Love” (US Imperial 66110) hits US ‘Billboard’ no.7

June 1965 – the Byrds debut LP ‘Mr Tambourine Man’ (UK CBS SBPG 62571) includes Jackie’s “Don’t Doubt Yourself, Babe”

November 1965 – The Fourmost LP ‘First And Fourmost’ (Parlophone PMC1259) leads off with Jackie DeShannon’s ‘Till You Say You’ll Be Mine’

December 1966 – Jackie visits London with husband Bud Dain. Married 29 January 1966, and annulled in 1967, she later dated young session guitarist Jimmy Page, and Bryan MacLean of Love

1966 – Jackie DeShannon LP ‘Are You Ready For This’ (Liberty LBY 3085) ‘Record Mirror’ says ‘she really is marvellous, this girl. One of the most expressive, near-jazz, voices in the business – a tremendously powerful influence on the industry… yet still virtually unheralded here’, ‘NME’ says ‘using several gimmicky effects, Jackie manages to make this a restless sounding LP, with plenty of rocking backing in the background.’ With Jackie’s own ‘Are You Ready For This’, ‘To Be Myself’, ‘Love Is Leading Me’ and ‘Find Me Love, plus Bacharach-David ‘Windows And Doors’, ‘So Long Johnny’ and ‘To Wait For Love’, plus ‘Call Me’ (Tony Hatch). ‘I Can Make It With You’ (Chip Taylor), ‘Music And Memories’ (Bert Keys, Charles Singleton), ‘Will You Love Me Tomorrow’ (Goffin-King), ‘You Don’t Have To Say You Love Me’ (Dusty Springfield’s hit)

1967 – movie ‘C’Mon, Let’s Live A Little’ (All-Star Pictures, Paramount), directed by David Butler, stars Bobby Vee and Jackie DeShannon (as Judy Grant)… and also Kim Carnes. Thirteen years later Jackie will co-write “Bette Davis Eyes” with Donna Weiss, a hit for that same Kim Carnes!

September 1967 – “Come On Down (From The Top Of That Hill)” c/w “Find Me Love” (Liberty 66224), both sides are Jackie’s own compositions

1967 – Jackie DeShannon LP ‘New Image’ (Imperial LP-9344), with Jackie’s own ‘Where Does The Sun Go?’ and ‘That’s The Name Of The Game’, plus ‘Come On Down (From The Top Of That Hill)’, ‘The Carnival Is Closed Today’, ‘I’ll Be Seeing You’, ‘A Sunday Kind Of Love’, ‘The Wishing Doll’, ‘Night And Day’, ‘I Haven’t Got Anything Better To Do’, ‘Time’, ‘A Proper Girl’, ‘Poor Someone’

1968 – LP ‘Jackie DeShannon: Great Performances’ (Liberty LBS 83117E) a compilation including ‘When You Walk In The Room’, ‘What The World Needs Now Is Love’, ‘Needles And Pins’, ‘NME’ says ‘her talents are undeniably recognised Stateside and all she needs is a publicity boost and I’m sure she will make many new fans here’

1968 – Jackie DeShannon LP ‘What The World Need Now Is Love’ (Imperial LP 12404) with only ‘Where Does The Sun Go?’ by Jackie herself, plus Burt Bacharach-Hal David title song, ‘So Long Johnny’, ‘Windows And Doors’, ‘A Lifetime Of Loneliness’ and ‘To Wait For Love’, plus ‘You Don’t Have To Say You Love Me’, ‘It’s All In The Game’, ‘Changin’ My Mind’, Bob Crewe-Gary Knight’s ‘Everything Under The Sun’, ‘Little Yellow Roses’ and Petula Clark’s hit ‘Call Me’

1968 – LP ‘Lonely Girl’ by Jackie DeShannon (SLS 0039) compilation including ‘Needles And Pins’, ‘Take Me Away’, ‘Should I Cry’, ‘I Remember The Boy’

February 1969 – Jackie DeShannon LP ‘Me About You’ (Liberty 831486) with her own songs ‘Splendour In The Grass’ and ‘Nicole’ plus eleven others

1969 – “Put A Little Love In Your Heart” (US Imperial 66385) written by Jackie with her brother Randy Myers, with Jimmy Holiday. Her chart breakthrough, reaching no.4 on the US Hot Hundred. The song is later recorded by Annie Lennox with Al Green, the Dave Clark Five, Andy Williams, Cilla Black, Dolly Parton… and Leonard Nimoy

November 1969 – Jackie DeShannon LP ‘Put A Little Love In Your Heart’ (Liberty LBF 15238) with ‘I Can Make It With You’ a Chip Taylor song covered in US by Pozo Seco Singers and in UK by Rob And Dean Douglas (c/w ‘Phone Me’ Deram DM132)

December 1969 – Jackie DeShannon single “Love Will Find A Way” (Imperial 66419) reaches US ‘Billboard’ no.40

February 1970 – “What The World Needs Now” (Burt Bacharach-Hal David) sung in Robert Culp-Natalie Wood wife-swapping movie ‘Bob And Carol And Ted And Alice’

1971 – Jackie DeShannon produces six tracks, ‘Tomorrow Never Comes’, ‘Liverpool Lou’ and Jackie’s own ‘You Have No Choice’ (with three other tracks produced by Leon Russell) for the LP ‘Genesis’ by Delaney And Bonnie’ (GNP Crescendo GNPS2054), a cash-in collection of early material by the duo

1972 – Jackie’s single “Vanilla O’Lay” c/w “Only Love Can Break Your Heart” (Neil Young song) from LP ‘Jackie’ (Atlantic SD7231) with ‘Paradise’ (John Prine), ‘Would You Like To Learn To Dance’ (Steve Goodman), ‘I Wanna Roo You’ (Van Morrison) plus original songs ‘Laid Back Days’, ‘Peaceful In My Soul’ and ‘Anna Karina’. ‘Melody Maker’ says ‘on this Memphis-recorded set, she proves again what a distinctive voice she has, and how she can really drive a song along. It’s the nervous intensity of her vocals that gives songs a special flavour’

1974 – ‘Jackie DeShannon LP ‘Your Baby Is A Lady’ (Atlantic SD 7303), the title track written by Jackie with Donna Weiss, and ‘You’ve Changed’ by Jackie with Vini Poncia. Musicians include Steve Gadd (drums), Richard Tee (keyboards), Cornell Dupree and Hugh McCracken (guitar), with Cissy Houston, Judy Clay and Gwen Guthrie vocals

September 1975 – ‘New Arrangement’ (CBS), with single “Let The Sailors Dance” (Randy Edelman-DeShannon) c/w “Boat To Sail”, soft-rock, mid-tempo piano, with musicians Larry Knechtel (keyboards, John Kahn (bass), Ron Tutt (drums), Jesse Ed Davis, Michael Stewart, Mike Deasy, Waddy Wachtel (guitars) Joe Clayton (conga, cymbal) with guests Brian Wilson, Kenny Rankin, Buddy Emmons, Leland Sklar

1977 – ‘You’re The Only Dancer’ Jackie DeShannon LP (Amherst Records AMH 1010) with her own songs ‘Don’t Let The Flame Burn Out’, ‘I Don’t Think I Can Wait’, ‘You’re The Only Dancer’ and ‘Tonight You’re Doin’ It Right’ plus ‘Just To Feel This Love From You’ and ‘Your Love Has Got A Hold On Me’ (both with Dean MacDougall). Musicians include Randy Edelman, to whom Jackie was married 3 June 1976

1978 Van Morrison’s LP ‘Wavelength’ (Warner Bros) features his “Santa Fe/ Beautiful Obsession” co-written with Jackie DeShannon. Jackie adds guest-vocals to Van’s tracks ‘Warm Love’ and the title-song for ‘Hard Nose The Highway’ (1973)

May 1981 – Kim Carnes hits a UK no.10 with Jackie’s “Bette Davis Eyes” (EMI America EA121), but is no.1 for nine weeks on US ‘Billboard’ chart. She’d allegedly hawked the song around for seven years before placing it with Kim Carnes

17 June 2010 – inducted into the ‘Songwriters Hall Of Fame’. She also broadcasts as entertainments correspondent for Sirius XM Satellite Radio on the Beatles and related topics

Expanded version of review published in:
‘R2: ROCK ‘N’ REEL Vol.2 No.52’
(UK – July/August 2015)

Thursday, 31 October 2019



in stone town
you’re shown your place
in a security of knowing,
this is the way we do things
we have always done things this way
there can be no other way,
in this town we fit together

in flesh town
we are free to choose
we invent our own path or
reinvent new ones in amusing games
we grow together, or fall apart
on whim, are inclusive or not
depending on the colour of the day
or the scent of the breeze
in this town we are individuals

in art town
they say, before you can read
first you must know words,
before you can sing
first you must learn to listen,
poems are compacted language
that inflates in your head,
reverse-time snapshots
from which energies glow,
but before you love
you must first be loved

I stand at the crossroads
wearing a comic hat of puzzlement,
people glance, throw sharp stones,
 some mutter of madness,
but give me time, eventually
I’ll decide where I belong,
eventually I will decide…

'Stone Town' is now on the
with thanks to Atlanta Wiggs
for her beautiful artwork,

Wednesday, 30 October 2019

Interviews: ARTERY - Sheffield's Great Lost Band


 Although guitarist Simon Hinkler went on to play with Pulp
 and fill stadiums with Mission, Artery remain an intriguing 
cult secret. At a time when Sheffield meant Human League
Heaven 17, Cabaret Voltaire, Clock DVA and 
Vice Versa (ABC), Artery used conventional instrumentation 
in unconventional ways



There’s a strange Cadillac, lipstick red (lips tick red!), all chrome gleam and varnish flash. There’s lush green foliage, thick vines that resemble twisting knotted veins growing outta the windscreen and the wind-down side-windows, long snaky tendrils of chlorophyll emerald. Crash! Fade to green. I got one, two, three, four, five, SIX senses working overtime! Underneath the frame, against the white whiteness of the wall, Mark Gouldthorpe is saying ‘…it’s all based on fear.’ Voice pitched confessional low, like in a TV documentary, the silence roaring all around us and swelling out in waves to engulf this segments of the ‘Mappin Gallery’, and perhaps out into glacial Sheffield beyond.

I’m almost scared to ask. Like, having made the incision, I’m now slowly peeling the skin back to expose the wet porous flesh beneath. But, ‘fear of what?’

‘…the things in life, that are… frightening. That I find frightening.’

Gouldthorpse is singer and poet. He fronts Artery whose single “Into The Garden” is at least a fortnight ahead of its time. A lyric about sex with identical sisters, implications of troilism, the ‘smell of sex, blended with the scent of the flowers.’ He’s a head of his time. He’s a guy well weird. He’s got ideas and opinions by the shovelful – once you’ve got beyond the sounding-out stage and into braincell contact. Artery are an apocalypse in the head. The shockwaves have only just begun.

He opts for straight narrative, leans forward, bubble-plastic seating locked into tubular steel frames wheezing and exhaling as he does so. ‘I found myself leaving school, went into work, was a Carpenter, worked for a building company. For a couple of years it was alright – but as soon as I started to THINK and look into things, it all went wrong. IT BECAME A MONSTROUS SITUATION. You get people in that walk of life that are there just to be used by the big machine called society. AND I COULD SEE THIS! And I didn’t want to be part of it anymore. So I started writing. That’s where it all came from. That’s what I mean about the fear factor.’ He pauses, slumps back in the chair. ‘I’m not so frightened these days.’

Yes, but when you’re under pressure and you’re creating out of that pressure you can make some really tense work. (Mark Gouldthorpe is on a bus, hands thrust deep in his pockets, where he holds a gun. The barrel is warm. There is one bullet left in the chamber. He’s considering whether to take ‘my shoes and socks off and walk barefoot/ over the corpses through the blood and brains’) … and when you get out from under that situation, and can’t feed off that pressure, the motivation to write in that way is removed. I’ve seen musicians stuck in grim factories having to earn their crust, playing furiously in their spare time, brilliant stuff, but once they’ve made their pile and retired, once that resentment and hatred is gone, they just fall apart creatively.

‘I feel that’s a big thing, it could happen. Could happen to anyone that’s expressing things out of one particular situation – what one does then is make a choice. Stop. Realise the situation, just handle it on its level. It’s no good trying to write frightening material when you’re no longer frightened.’

Do you find working in a Rock band stimulating in itself?

‘Yes, Sometimes I find it difficult to get off on things. I get confused – ‘is it good, is it bad?’ – I can’t decide. And that’s dangerous. But on the whole yes, I love it. I love the music.’

--- 0 --- 


First assignation in Sheffield, zoning in off the M1. The buzz is on for Artery. Pete Scott, cartoonist, Rock journalist, William Burroughs-ophile, and all-purpose credible source has been cranking them up in correspondence for a couple of weeks. A tape of theirs he enclosed in his latest letter-bomb prestige package is on my in-car system all the way down the M-way. Fading in on repeat mode through a deceptive calm of soaring glissando guitar and perfect stereo separation drum-pulse into what is already the most hypnotic-compulsive single of 1982. Artery are a new band from Sheffield. No roots or connections to family trees, no previous convictions, no form, tie-ins, cross-references or inter-pollinations with the so-called ‘Sheffield Sound’. The only constant parts are talent, of which they have more than their egalitarian share – and control vision, a pristine clear sense of purpose, a concise stage-by-stage programme for conquest. They’ve got a Virgin publishing deal, a signing to the small but upwardly mobile London Armageddon label – responsible for the Method Actors recent very crazed ‘Little Figures’ album, and they’ve scarfed up track-time on two compilation albums (‘Bouquet Of Steel’ 1980, Aardvark STEAL2, “The Slide”, alongside Comsat Angels and I’m So Hollow, plus ‘WNW6: Moonlight Radio’ 1981, Armageddon Records MOON1, “Into The Garden”, with the Pinkies and Patrik Fitzgerald).

I’m hanging round outside the ‘Crucible Theatre’ foyer – but the mission is aborted. Gouldthorpe’s just escaped decapitation! Manager Tony Perrin explains. The ‘Lyceum’ is across the road, a huge gothic cornucopia of refurbished movie-house rewound into Rock venue, Human League and Stranglers last weekend, Slade tonight, and Mark was helping out, just that there’s this heavy-laden boom well-hung with spots which comes loose and arcs down with vicious intent. Leaving Gouldthorpe severely incapacitated.

We shuffle snow. Perrin wears the kind of hat Humphrey Bogart wore in ‘The Big Sleep’ perched incongruously atop a mass of tight curls. He’s sharp and comes on polite but insistent, the effective way to hustle. He wears a single strand of beads, and (later) dunks his teabag thoughtfully in his McDonalds disposable red-and-white striped beaker. Histories are exchanged. Mark Gouldthorpe’s laceration is not unprecedented. Artery were slated for a tour with Toyah, bulging with potential and promotional prospects, armies of vinyl-hungry kids awaiting exposure, and Mark stakes out his position in the autowreck games, takes a neat and bloody head-dive through the windscreen. Crash! Fade to red. Comments about severed arteries, or jokes in that vein are to be discouraged.

--- 0 --- 


ANDREW: What was the first record you ever bought?

MARK: Can’t remember.

ANDREW: The photo on the cover of your poem-lyrics booklet (‘Oceans’) bears a strong visual similarity to Iggy Pop. Is that an image you deliberately contrive?

MARK: No. Just a coincidence.

ANDREW: Artery are not part of the Sheffield band Mafia. The local Rock inter-support system.

MARK: No. I don’t know anything about that.

ANDREW: What was it like doing the John Peel Session? Do the bands actually get to meet John Peel?

MARK: Yeah, he’s a right good buddy. Supposed to be taking us out for an Indian…

TONY PERRIN: He still owes us a meal.

MARK: (bored) Yeah, it was real exciting. It’s goo… WE’RE BEING DISTRACTED LIKE MAD HERE…!!!!

This is bad. Sheffield is drowning us, we’re being boiled. Writer, poet, and one-man managerial band sat in a Department store cafeteria walled in by non-communication. Tension stands out so electric you can taste it. A great void of emptiness that drains all potential energies. Mark Gouldthorpe is morose, or perhaps wary, or even nervous. He’s hunched into his coat, toying irritably with his plastic spoon in his turgid plastic coffee. He’s got short black hair and eyes that have become black holes. Dull and expressionless, glazed over with discontent, then coming opaque and pacing across the vinyl-top table to the next vinyl-top table where a gaggle of released shop-girls are laughing at loud stories about grope-fingered dates, Pop Stars in ‘Pink’ magazine, and new shades of eye-liner. Background conversation intensifies, and the long-awaited interview grinds down to monosyllables. I’m thinking that if I split now I’ve got a tape-worth one-thousand words, and even that shot-full of incomprehension. Frustration burns to flashpoint. Each opener I attempt either gets squashed flat or gets effortlessly fielded by Tony Perrin.

ANDREW: Was that story true, about the Toyah tour you were going to do?

MARK: It was just an idea that came up.

TONY (pushing back Mark’s hair to show scar-tissue across his forehead): That’s why the tour didn’t come off.

MARK (bored): Oh yes. That happened. Forgot ‘bout that.

ANDREW (attempting to provoke response): Perhaps it was a lucky escape. A tour with Toyah is like touring with Sooty!

MARK: ‘Scuse me smiling, but that girl over there keeps looking at me.

TONY: I don’t think people would connect a support band with a headline act. It’s just a case of getting in front of a lot of people and playing.

MARK: But I had a car crash, so it didn’t happen.

ANDREW: Last time I came round you’d had a collision with a lighting boom or something.

MARK: …who? Me? Is it getting to you in here? It’s getting to me!

TONY: You wanna go somewhere else? Time to, um, fade away and radiate.

--- 0 --- 


On the street I’m tempted to cut out, but we head instead for the promised calm and non-aural interference of the ‘Mappin Art Gallery’. It’s too good to miss. Artery in the Art Gallery. Artery for Arts sake. Sheer Art Attack. On the way Mark tries oblique verbal strategies ‘You ever interviewed a group from Southport?’ No, is there a reason why I should? ‘No reason, I just wondered.’ I’ve interviewed Kraftwerk, they’re from Dusseldorf, that’s near Southport, I guess. Stoned fragmented illogics à la Beefheart I can understand! It gets better. The ‘Mappin’ folds in around us as we’re comparing notes about Leonard Cohen, Mark likes the early albums, and we agree that the Phil Spector produced one (‘Death Of A Ladies Man’, 1977) was a mistake. Then we talk about Cohen’s novel ‘The Favourite Game’ (1963, Secker and Warburg).

Swing doors open and we’re tramping down long corridors of glass-top cabinets of artefacts and sculptures, between paintings of water-colour industrial landscapes, nudes in oils, and flowers. Mark selects a row of low black bubble-plastic tubular steel chairs beneath a painting of a lipstick red Cadillac lost in a garden. He wears heavy boots against the snow and walks like slow motion, in long loping strides as though he’s wading through knee-deep water. And when he sinks down it’s with a languorous wishful sinful Jim Morrison slouch, part surly, part lazy sensual. And yes, there is something of the wilful brinkmanship, the FURTHERNESS of Iggy about him, despite denials. An air of jumpy energy. Only now the conversation’s off and running, no distractions, walls coming down fast. We just flow with it.

Is there a story behind “Into The Garden”, or is it just an image?

‘It was just an image’ he explains, as careful as if he’s handling eggs. ‘I want to work with images, I know it’s been done before – but then so has walking. But I did get it from something that inspired me to write. What do you see in the lyrics?’

Me? I see a kind of symbolist decadence, and some submerged Art Deco eroticism.

‘Yeah, it’s basically about sex, and society’s attitude towards sex’ he adds expansively. ‘The way people are ruled by undiscovered areas such as ego and jealousy. People don’t delve into themselves in order to get to know themselves. The majority of society just functions on surfaces, because that’s what society demands. I feel that these animals – ego and jealousy, need to be looked at and understood. I was trying to express that in the lyrics. Love is love, right? But people screw each other uptight. Seems a bit shallow to me not to try to understand it. You get what I’m trying to say?’

Sure I do. It’s like we’re sitting here in this gallery having good conversation, but all the time there’s all kinds of undercurrents. ‘I want something out of you,’ ‘You want something out of him,’ ‘He wants something out of you.’ All that is going on simultaneously beneath the surface. And when you bring the sexual angle in, there’s a whole lot more besides.

‘It’s one of the most difficult areas to talk about. It’s bad for people in general to be like that. People should be more open with sex, and not be frightened of it. People’s ego’s rule their lives. That’s what fashion feeds on. People have to tart up their ego.’

Yes, but ego also manifests itself in violence. Like in Mark’s “Bus Poem” where he shoots all the other passengers.

‘That’s a slightly different field. That’s nearer the surface. That’s DESPERATION!’

But there’s still violence in there as well as love and sex.

‘It’s an expression of that. I think that poem is expressing myself violently, sure, but I didn’t actually want to do just that… it boils down to people not knowing themselves. Someone made a quote about war, I forget who it was, he said ‘men go to war because the women are watching’.’ (It was TE ‘Lawrence Of Arabia’ who said it.)

We live in violent times (cliché).

‘…we always have!’

--- 0 --- 


There are five Artery’s. There’s Mark, Simon Hinkler and Mick Fidler on guitars, Neil Mackenzie on bass, and Garry Wilson on drums. But just another band from Sheffield they ain’t. Theirs is a traditional Rock instrumentation. No synth-drums or electronics. ‘But they use these normal factors to produce something that’s totally unique’ stresses Perrin, quite correctly. ‘Which is a bigger achievement than using new instruments or new combinations. It’s a fairly standard combination, but out of it comes totally ridiculous stuff.’ I’m not arguing.

Artery recorded their ‘John Peel Session’ in September, the production talents of Tony Wilson brought to bear on their material at the BBC Maida Vale studios. Following the well-received broadcast the band hived off the studio-tape and appropriated “Into The Garden” for the face-up side of their single. Dreaming guitar-lines supplied by Fidler, shortly afterwards he reneged, then drifts back into harness. Face-down side, “Afterwards”, was cut in Surrey with Dale Griffin and Overend Watts, one-time Mott The Hoople producer, at the desk.

Live, Artery is something else. If you think music’s the Food of Love – prepare for indigestion! They did the ‘ICA’s Sixth Rock Week’ crammed in alongside seventeen other bands on a roster headlined by heavyweights Maximum Joy, Rip Rig And Panic, Buzz and Haircut 100 – and thrashed them all! ‘Melody Maker’ concedes they ‘made the new psychedelia sound meek, weak and sane. Howling from the shadows.’ With Mark mesmeric, from manic stare to bare feet slap-slapping the boards. ‘Don’t overstate the lyrics to the demerit of the band’s corporate wholeness’ urges Perrin. ‘They are just as much a part of Artery, and each part is just as important as any other.’ Strict control of all photographically-recorded evidence of their uniqueness chases this theme too, and is a central prong of his/ their programme. No orthodox grinning dummies line-ups, no ‘diluting your soul’. Instead they get a creative freelance sometime ‘ZigZag’ lensperson (Kishi Yamanoto) to direct the flash. A spread of them up to their necks in the local canal, and more, shots of them suspended upside-down from tree branches… stay tuned…

But the words DO stand up to investigation. Mark’s sometime lyrics/ sometime poems can be obtained in a thirty-pence booklet called ‘Oceans’ (from 8 Hobart Street, Sheffield 11). It includes the text for “The Clown”, b-side of the next single, now in gestation… (top side will be “The Slide”)… about the clown who has to die, but ‘he can’t die, in a world of amusement.’ Later, as we get up, and the interview closes down, I glance across the gallery and on the opposite wall is a crazy harlequin clown in maroon patchwork clothes, he’s contorted in some impossible act of circus juggling. The coincidence is uncanny. Whether the portent is good or bad I still can’t decide.

--- 0 --- 


Banks of TV screens at full volume, worlds in rows. The Thin White Duke’s attention skates across the thin white ice of jumbled visions, six, seven, eight, NINE senses working overtime. Inserts from multi-locational tales, Humphrey Bogart in ‘The Big Sleep’, cultural revolution in China beneath huge Mao Zedong posters, Elvis Presley in ‘Tickle Me’, antelopes on the shores of an African lake, starving Third World children, flies feeding off huge empty eyes – and I swear, somewhere in there, there’s Mark Gouldthorpe on a nightmare Horror-Show train-ride across France!

But we’re just talking about David Bowie’s ‘The Man Who Fell To Earth’ movie. ‘There was a lot in it’ asserts Mark, ‘a lot suggested. At times, I thought, perhaps with no real point underneath it.’ A good pose? A striking image? Yes. But ‘to stimulate. To make you think. A bit Ken Russell-y.’

Nicholas Roeg’s production for Bowie is not as force-fed as Ken Russell’s, I counter. Do you like Ken Russell? ‘Yes. Reminds me of tripping. What you get off hallucinogenics.’ At first I’d not made the connection, but now it’s suddenly obvious.

Is tripping one of the ingredients for the lyrics – replacing the Fear Factor? ‘More now than it used to be. It’s influenced me, it’s made me look at things. Acid, and Magic Mushrooms as daft as it sounds.’ Speed and harder drugs he dismisses contemptuously. ‘Just a kick that, isn’t it? You’re not going to learn anything from it. But you learn from hallucinogenics. They discovered the drug LSD because they wanted to use it in psychoanalysis, to understand mental illness better. It can be good if you understand what’s happening. If you don’t, it can be an atrocity.’ Words: Mark Gouldthorpe. Mind-Movies: Hieronymus Bosch thru Salvador Dali. ‘The main stimulation for a bad time, in myself and a lot of people I know who have touched it, is isolation, loneliness. They get paranoid. Really disillusioned. That’s the bad side. It’s there to start with – but the acid amplifies it. And if you’ve got an idea, an attitude towards something, then it’ll expand that too. It helped me to discover the distance between light and dark, and about up and down. You gain more insight. It opens your consciousness somehow.’

We’re moving into Timothy Leary territory, altering states, opening Doors To Perception, the road of excess leading to the palace of wisdom, stuff like that. But he’s firm that dropping psychedelics (yes, Alice, that’s where the name comes from) is NOT a thing to focus on. Fear of flying on the ground is alright. ‘I don’t think it’s a good thing to write about. People might read it and be encouraged.’ The balance is somewhere around William Burroughs’ protean addiction memoir ‘Junkie’ (published as by ‘William Lee’ in 1953). ‘He’s a very clever guy, a virtual genius. He’s very blatant about his experience with heroin. He tells you the reality of it, which is good because there’s a lot of taboos about it. If it was educated properly it wouldn’t encourage people onto it. People go into something like that because they’re curious. But William Burroughs puts it right down the line, exactly what the situation is. The undertone is the shit. You’ll be used and you’ll be spat out…’

Mark Gouldthorpe functions on a number of different levels, gleefully demonic, determinedly provoking, but his games are far from superficial. His lyrics separate all that out in width and depth. Like in William Burroughs. It can be related backwards and forwards, over, under, sideways and down. As in ‘Junkie’ where he sees giant centipedes crawling out of buildings when he’s absolutely on heroin. Then ‘The Naked Lunch’ (Grove Press, 1959) and ‘The Soft Machine’ (Olympia Press, 1961) where those same hard narcotic visions have been soaked up into one continuous fantasy. All one trip. You can glide over the top of it and get a pleasingly jumbled disorientation. Like David Bowie watching all those lines of multi-broadcast TV screens.

‘Not really watching any one screen in particular in depth’ suggests Mark. ‘Just watching the surface. Cut up.’

‘…and getting a fragmentation.’

--- 0 --- 


As we come out from the ‘Mappin Art Gallery’ into the ice I’m looking out across the street, the snowed-in autos and the meters, to the wall of the building beyond. There, in huge melting aerosol letters someone has graffiti’d F-A-K-E! Whatever he’s commenting on, chances are it’s not Artery. Artery refuse to fake it, and they’ll never get static. They might ‘slip into doing bad things – causing deaths and world wars and things,’ but it won’t be boring. They talk of extremes, and of sheer power, there’s some nihilistic intensity and vitality about it all, taking it all on out to the brinks and the jagged edges.

Eventually they will probably destroy themselves in fire, perhaps midway through their second US tour?

‘…the first US tour’ corrects Mark Gouldthorpe emphatically.

Published in:
‘HOT PRESS Vol.6 no.4’ 
(Eire – February 1982)


When you switch on your deck you hear the tension violating your airspace before the first note hits. It’s there in the tape-hiss fade-in of the William Burroughs prologue/ travel-log, there in the vivid gleaming Premier drum-kit sub-lit monolithic against the psychedelic eye backdrop. This Artery is razored raw to four-piece basics. It’s like feeling the pulse of Yorkshire fragmenting with every nerve a charged wire. Then there’s Mark and Garry, Neil and Murray, through an electronic storm in a web of strobes shocked supernatural in a noise of edgy reflexive brutality, projecting like hell. Is this the end, beautiful friend? But let’s get Sirius. It’d take a 10,000k-memory Pete Frame to chart the fractured Artery bio-lines – like Bowie/ Dylan each evolutionary phase tricked out territorially in time-locked disciples all ‘ya shoulda shoulda been THERE!’-ing. Emerging on suicidal torque (of the Devil) – late seventies, the decapitation theory from manic to shamanic through a vinyl drip-feed of hi-energy low-tech Aardvark singles high in the pain-scale. Darkness at the edge of Sheffield’s computer dream, a bouquet of steel, carnivores in a field of musical vegetarians. Sophisticated they weren’t – mesmeric they were. Through wonderfully odd mid-period Red Flame albums spawning dark caustic ripples of fear and psych-idyllic riffs. Taste and class and shake your ass. Show me the way to the next little girl. Soundtrack albums from Hades. Musicians head-hunted from the cream and music as broadly-based as it is well-placed. The smell of sex/ blended with the scent of the flowers. Ocean-deep/ Mountain-high. If the godlike genius of Leonard Cohen ever becomes next month’s Scott Walker, these albums prove Mark Gouldthorpe will cope. And now… here… the spools coil – sucking up necro-nirvanic sound, and this Artery is raw. Mark in pointed-toe shoes, meticulously frayed denims and biker jacket – but closer to the Golden Dawn, immersed in Aleister Crowley’s uniform of imagery. On his feet or on his knees, bloodied but unbowed, slips over into near self-parody. Holds the mic gun-barreling his forehead the better to reach cerebellum direct, bites the cable to sharpen the sound, folds into foetal crouch and primal howl. Mesmeric. Could THIS be the end, beautiful friend? Now he’s crucified on shocks of light, reborn in the ferocious fire of his own intensity, bigger than jesus, on a vocal-style that’s early-cunnilingus mating the curious sorcery of late Beast 666. He’s a one-off. THIS is Artery NOW!... and the tape-hiss amputates and leaves only an audible tension violating your airspace. This tape is the most fun you can have without actually coming… ya shoulda been THERE…

Mini-album Review of: 
(1982, Red Flame RFM4) 

As far as Sheffield is concerned, Artery is the antithesis of all things coldly cerebral and digital-sterile. Artery inhabit zones of manic compulsion, shot through with the red and violent streaks of poetic flame, flooded with shadows suggesting mystic and haunted symbolism. It’s an obvious route to simply grab the lyric-sheet and write your thesis around Mark Gouldthorpe’s texts, the magnum opus “The Ghost Of A Small Tour Boat Captain” forms a tempting entry point. Fed in though Michael Fidler’s gull-wailing sax and Simon Hinkler’s demon-possessed violin it becomes a gothic voyage pitched midway between Jim Morrison’s “Horse Latitudes”, and Samuel Taylor Coleridge’s “The Rime Of The Ancient Mariner”. Gouldthorpe’s is an oblique narrative style that intimates more than it states, his world being one of savage intuition (the percussive “The Slide”), erotic beguilings (“Into The Garden”), and the logics of dream or hallucination (“The Sailor’s Situation”), all launched upon a painted ocean of romantic blackness. It’s easy to concentrate on his dead, often inflectionless delivery too, the full mesmeric intensity of which only comes clear when his voice gets substituted by Fidler’s more jauntily Alan Hull colouration on the remix of their current John Peel Session single (“The Clown”).

But there are five Artery’s, and Mark’s imagery floats on a fathoms-deep mood set by the fully interlocking combination of their quintuple heads. The Debussy piano corruptions and fairground lilt to “The Clown”, the strummed acoustic introduction the “The Slide”, the high keening ascending guitar and Neil McKenzie’s bass-addiction on “Into The Garden” where an ugly riff becomes a thing of beauty, all nailed by Garry Wilson’s drums. Excerpts from this album at work-in-progress stages have already received much airtime and critical John Peel favour. They benefit from studio-time with Peel’s producer Tony Wilson, from Dale Griffin and ex-Mott The Hoople bassist Overend Watts. And in toto its seven tracks form a stunning debut into twelve-inch territory.

Published in:
‘HOT PRESS Vol.6 no.20’ 
(Eire – December 1982)

Review of:
in ‘HOT PRESS Vol.7 no.12’ (Eire – July 1983)


The orgasmic interpretations of the word ‘Come’ got Frankie Goes To Hollywood one of the most commercially successful BBC airtime bans ever. But in a different universe, and typically miles-ahead, Artery are already into the vinyl multiple-orgasm. Their new album is called ‘The Second Coming’ (1984, Golden Dawn GDLP01). And it’s as hot as the orgasmic interpretation of that title might suggest.

Mark Gouldthorpe puts the Art in Artery. He’s sat in front of me now, eyes, nose and mouth like ragged holes gouged in a Persian carpet. His lips move like lightning – girls melt in the heat. He forms words with the punch of filthy kisses. ‘The Western World is swamped by product, and it’s very difficult to maintain a truthful outlet/ expression’ he admits, eyes now like distorting lenses. ‘I always think back – although time moved slower then, to some of the great artists who went all through their lives suffering in poverty, when their paintings in future years became invaluable. It’s very s-t-r-a-n-g-e.’ A long contemplative pause. ‘It ties in with the idea of wanting to create something that you believe in, and the reality of surviving in a business sense’ he expands with a languorous gravedigger stare.

I prompt more – he’s delineating the conflict that exists between coming up with something that’s artistically valid, and something that’s gonna sell records? What separates the creators from the caterers? ‘Yes. The fact that you have to be ‘product’ to make cash to survive, to live, and all that. The two don’t really go together. The actual expression, and the reality of having to earn a living.’ He down-strokes the day-growth of ebon-black stubble on his chin thoughtfully. And nods. ‘It’s a realisation of that situation,’ delivered in neat rhyming couplet.

Artery is a band of five-years standing (and falling!). I’ve known Mark Gouldthorpe for much of that time-period. He’s often obtuse, difficult to interpret, but he’s always impressive. I recall Artery psyched-up pre-gig, in a room miles deep beneath the Sheffield ‘Leadmill’ club, cheap moonshine lager poured from weighty plastic tubs into polystyrene cups. Manager Tony Perrin in stylish goldthread lumberjack shirt. He’s haranguing local Mafia or Tong factions for sabotaging press reports and posters to the effect that the gig’s been cancelled. One Artery ignores it all, tunes up his sax in jagged broken lines. Another Artery unravels a long discourse about the merits and demerits of circumcision, and his own discovery of them. I briefly consider reviewing the band along those lines, who is and who ain’t circumcised. Would Steve Fritz print it?

I recall Gouldthorpe reclining back on the segmented off-white couch. An expression you can see on stage where he alternates from lazy closed-eyed sneer to a demonically leering eyeballing the end-of-the-world stare. A man who’s writing and performance tackles his nightmares head-on, in collisions from madness to erotic self-absorption across three albums, three Satan’s treasure-houses high on the pain scale. This is his Second Coming. I decide on that recorded evidence as a more fruitful line of enquiry.

So I ask. Why the reference to Vance Packard’s book about ‘The Business Jungle’ on the 1983 album ‘One Afternoon In A Hot-Air Balloon’? Could it represent an attempted shift from the heart of darkness to the art of business? And how did that angle tie in with those slyly insinuated musical motifs that crop up across the album? ‘The whole scene with that second album is that it uses ideas – not only in a commercial sense, but how to get people interested’ he says. ‘Because a lot of people are asleep, and you have to encourage them to listen. Those almost-subliminal motifs mean ‘I’ve heard that before, what is that?’ They just seem to make people get involved with it. Then they get involved in the thing underneath that I want to say. It surfaces to them then because they’ve actually taken the time to listen.’

The motifs, the splinters of themes, tend to run from a hint of John Barry to a taste of Spaghetti Western. Do you relate to movies? Is that a strong input? ‘No. Not at all. But they are part of the subliminal thing. I got the idea for those subliminal musical references from actual films, because it was used in America. It’s illegal in this country… it’s illegal even in America now, but it was mooted as a very sinister selling strategy. I was amazed that it worked, but…’

You mean that ‘Hidden Persuaders’ idea of advertising? Where they infiltrate sneaky promo for their crummy product in – like, one movie-frame in twenty, so that…

‘…right. They put one still in twenty of – say, a beefburger, or frothing Cola, and you’re watching this completely innocuous film and you suddenly start thinking ‘I’m hungry’ (his lips chomping lasciviously). You don’t see it, but your subconscious eye sees it. It was proved over and over again that it works. It’s an ingenious manipulative idea…’

A glance at a Fred Flintstone watch indicates time is hurtling gigwards. ‘...a dangerous idea though! ‘Cos you never know what else they could involve. But – then, that gets v-e-r-y complicated.’

Things tend to get complicated when Mark Gouldthorpe is involved.

--- 0 --- 

There had been an earlier Punk band simply named The. But Artery came into being around 1979 – ‘born out of frustration’, with Gouldthorpe just turned twenty-two, on guitar. He began writing while still at Sheffield’s De La Salle School, and later published a poem collection – tagged for Artery’s first album ‘Oceans’ (1982, Red Flame RFM4). But it wasn’t until he – and perennial stix-man Garry Wilson connected as nucleus of the ever-vacillating Artery line-up that the group sparked. Neil McKenzie played bass while original vocalist Toyce Ashley quit, allowing Mark to assume the role. Mick Fidler (guitar and saxophone) and guitar/ keyboardist Simon Hinkler (formerly of TV Product) joined. It was also manic. ‘It got frightening for a while. People would say ‘Let’s go and see if they kill themselves tonight!’

There were three singles, recorded on primitive technology for Marcus Featherby’s embryonic Aardvark label. They played the London ICA Rock Week, and the legendary ‘Futurama’ in Leeds Queens Hall – a vast airless abattoir of lethal echoes, a huge crucible of noise, an aircraft hangar of a venue with all the acoustic properties of a Spaghetti Junction autowreck ‘…and it was like a sheep-dip backstage.’ But their set was televised and got them much favourable kudos.

The next phase – the two Red Flame albums, followed. At one point I suggest to Mark that perhaps Red Flame label-boss Dave Kitson – a man with a lyric-orientated roster including Patrik Fitzgerald and Anne Clark, might have seen him in a similar bardic light. Gouldthorpe’s not so sure. ‘They saw us appear live’ he counters. ‘And we had quite a lot of impact live, in the old days. That encouraged them.’ A suddenly ludicrous laugh. ‘‘In the old days!’ – that sounds STUPID, but it DOES seem like a long time ago.’

A lot of that lunacy stopped when people began to expect it. When it became a role. Excerpts from ‘Oceans’ – at work-in-progress stages, received much airtime and critical favour from cult DJ John Peel. It benefited from studio-time with Peel’s producer Tony Wilson, and bragged the involvement of former Mott The Hoople bassist Overend Watts. Producer Dale Griffin, with a history clear through David Bowie and Mott, was also present. In toto the album’s seven tracks form a stunning debut into twelve-inch territory. The Peel Show, and the album, showcased their then-current single “Into The Garden”. Its sensual linear decoration and amorphous colours reflecting a chimerical state of mind. It perhaps best snares the melancholic fin de siècle breath of that phase, one of Mark’s most haunting melodic lines igniting the lyric. It still requires the mere use of ears to drown in its mythic stillness.

But there was bloodletting and Artery-cutting. John White (later of UV Pop) replaced Mick Fidler, Christopher Hendrick replaced Neil McKenzie, and David Hinkler (of Pulp) joined on keyboard. Although they were stripped down to a trio in time for the ‘One Afternoon In A Hot-Air Balloon’ album, with its teasing musical motifs and ‘Business Jungle’ references…

And there was a long long lay-off for rethink. Now it’s their ‘Second Coming’ phase. The first product emerged as a twelve-inch single from the newly-formed Golden Dawn label, ‘closer to the Golden Dawn, immersed in Crowley’s uniform’ as in David Bowie through the dark occult wizard Aleister Crowley. It was a taster for the third Artery album, the listed personnel having firmed as a returned Neil McKenzie on bass and Murray Fenton on guitar. Garry Wilson remains the only Artery – bar Gouldthorpe, to play all three albums. How did he escape the lethal stripping-down and reshuffling?

Is Gouldthorpe difficult to work with? ‘I’ve always found Mark easy to work with’ Garry offers loyally, or perhaps tactfully. ‘If we keep a distance between us. Leave him to do what he wants to do.’

‘There’s a lot of trust involved’ adds Gouldthorpe.

--- 0 --- 

Mark’s is a strange, highly individual method of creativity. Ambiguities abound in his songs, narratives are tantalisingly rich and leagues-deep, they imply moods that leave definition pleasingly blurred. But his stuff doesn’t rhyme, the songs are stretched and manipulated to fit his odd line-lengths and metres. ‘That approach throws a whole new angle on song-structure and attitudes. That’s unique in a sense, and that makes it good. My lyrics are not even really song-material at all, although it’s put into musical form because I love to be involved in that process. I love playing live gigs and things like that…’

I suggest that, on the album track “A Song For Lena”, where Gouldthorpe doesn’t take the vocals, it comes out technically better, if I can say that…?

‘You may say that if you want’ he concedes generously, unphased.

…but it’s not as interesting. It comes out blander.

‘I see. Slightly more conventional?’ As though the thought’s just occurred to him. ‘Yes, that was the one song that demanded a more conventional approach.’

So what about the technicolour violence of “The Slide”, that’s hardly conventional, ‘razorblade in the blood, razorblade stained with life’? No light there, just a visible darkness. ‘When I hear that I think, yes, it’s expressing myself violently.’

--- 0 --- 

The pungent aroma of illegal substances pervades odd corners of the Leeds University Bar, while backstage, Artery bass-person Neil McKenzie has only to draw on a relatively modest Peter Stuyvesant cigarette (sat beneath a green NO SMOKING sign) to provoke a hysterical near-physical attack from a jobsworth – ‘CAN’’T YOU READ SONNY!!!’ So much for the wild and wacky world of Rock’n’ Roll hey kids? And he extinguishes against a wailing wall of feedback.

Artery is now a band of five-years standing (and falling!). They know the art of tightening up and letting go simultaneously, and how to let the loose ends hang properly loose. They’ve always been the darkness at the edge of Sheffield’s clean computer dream, with a genealogy as twisted as DNA’s double helix. Mark Gouldthorpe is a fully-qualified survivor. He tests his role to near-destruction against lethal pulses of psychic violence and compulsively ugly beauty. The twisted delicacy of the ‘Red Flame’ albums gets gear-stripped down and deconstructed to a maximised minimalism. The sparsity of the bass/ lead/ drums triad electrified by the killer instinct and the subtlety of a high-speed train-wreck.

Mark languorously drapes around the mic-stand in pointed-toe shoes, meticulously frayed denims and Biker jacket, fingers sensuously crawling his thigh like some obscene scorpion, tongue lolling long and pendulous. He’s folding down into foetal crouch and primal howl. He’s too big for this cramped stage, coming furiously animated, lashing the speaker tower until it trembles close on collapse. All the while he’s flanked by Murray Fenton, the shock-headed manic-dancing guitarist who splits the prime focus in two with lead-lines that maim by remote control, every nerve a charged wire. They do the jagged narrative “Killer Behind The Trees”. They do a pointed attack on Big Business called “Live Like This” – ‘the root of all evil is man himself, money just buys his dreams’, the powerful “Big Machine”, and the current twelve-inch single take on Leonard Cohen’s “Diamonds In The Mine”. All delivered up in a celebration of the sheer physicality of raw energy.

‘I didn’t really get off on it tonight’ Mark confides afterwards. But this Artery on a supposedly bad night still fly higher than most other bands you’re likely to see this year…

April 1979 – ‘Mother Moon’ c/w ‘Pretends’ plus ‘Heinz) (Limited Edition 3) with Fidler, Gouldthorpe, McKenzie, Wilson

1980 – ‘Unbalanced’ c/w ‘The Slide’ (Aardvark STEEL3) with bonus live EP of ‘Perhaps’, ‘Turtle’, ‘Toytown’ and ‘Heinz’

1980 – ‘BOUQUET OF STEEL’ (Aardvark STEAL2), compilation includes Artery’s ‘The Slide’, alongside tracks by Comsat Angels and I’m So Hollow

1981 – ‘Cars In Motion’ c/w ‘Life And Death’ (Aardvark5)

1981 – ‘Into The Garden’ c/w ‘Afterwards’ (Armageddon Records AS026)

September 1982 – ‘OCEANS’ (Red Flame RFM4, mini-album) with ‘The Ghost Of A Small Tour-Boat Captain’, ‘Into The Garden’, ‘The Clown (studio version)’, ‘Afterwards (Remix)’, ‘The Slide’, ‘The Clown (alternate John Peel Session version)’, ‘The Sailor Situation’. Cover painting ‘The Secret Goldfish’ by Tony Perrin. With full lyric-sheet insert

1981 – ‘WNW6: MOONLIGHT RADIO’ (Armageddon Records MOON1), compilation includes Artery’s ‘Into The Garden’, with other tracks by the Pinkies and Patrik Fitzgerald

1982 – ‘FEAR AND FANTASY’ (Armageddon Records, MOON2) compilation including tracks by the Pinkies, Dr Mix And The Remix, Patrik Fitzgerald Group, Flying Club, and Artery’s ‘Afterwards’

1982 – ‘The Clown’ c/w ‘The Clown (Version)’ (Red Flame RF704)

March 1983 – ‘ONE AFTERNOON IN A HOT-AIR BALLOON’ (Red Flame RF18) with, side one: ‘Perhaps’, ‘Being There’, ‘Unbalanced’, ‘One Afternoon In A Hot Air Balloon’, ‘A Song For Lena’ (vocals by Christopher Hendrick). Side two: ‘Potential Silence’, ‘Turtle’, ‘The Butcher’s Shop’, ‘Louise’, ‘It’s Good To Be Alone’. Recorded and mixed at Southern Studios, September 1982. Vocals, lyrics, electric and acoustic guitars, Mark Gouldhorpe. Piano, bass, guitar, Christopher Hendrick. Drums, percussion, Garry Wilson

1983 – ‘The Alabama Song’ (Brecht song) c/w ‘Song For Lena’ (Red Flame RFB25), the twelve-inch format has ‘B-side ‘The Death Of Peter X’ RFB25-12. ‘Vocals that infer more menace through understatement than theatrics thread around quirky piano and banjo… Artery enhance its magic without resorting to dramatic tactics. Brilliant’ says ‘Melody Maker’ 12 November 1983

March 1984 – ‘A Big Machine’ c/w ‘I Open My Eyes And Walk’ plus ‘Brink Of Extinction’ (Golden Dawn GD1203, twelve-inch). In ‘Melody Maker’ Frank Worrall says ‘The Big Machine’ ‘has a menace and yet a subtlety that Artery have rarely achieved before and two embryonic Gouldthorpe compositions ‘The Father Song’ and ‘The Mother Song’ promise to usher him to the level of genius’ (1 September 1984)

1984 – ‘THE SECOND COMING’ (Golden Dawn GDLP01, vinyl mini-album, via Red Rhino Distribution), with, side one: ‘The Last Song’, ‘My Age, My Beast’, ‘The Father Song’. Side two: ‘The Mother Song’, ‘Little Boy Blue’, ‘Diamonds In The Mine’ (Leonard Cohen song), ‘Ringing The Bells’. Recorded at Terminal, London, during October 1984. Producer, Tim Parry. Vocals/ lyrics, Mark Gouldthorpe. Guitar/ keyboards, Murray Fenton. Bass, Neil McKenzie. Drums, Garry Wilson. Backing vocals by Elizabeth Jean Murray. Martin Bedford cover art. Artery headline at Sheffield City Hall Ballroom, Thursday 3 May with Sedition 

November 1984 – ‘Diamonds In The Mine’ (Leonard Cohen song)’ plus ‘Live Like The Rest’ c/w ‘Onepenny Horror Show’ and ‘The Butcher’s Shop (revisited)’ (Golden Dawn GD1204, twelve-inch)

1985 – ‘NUMBER FOUR (LIVE IN AMSTERDAM’ (Golden Dawn GDLP02) with, side one: ‘Living In The Real World’, ‘Escape This Thing’, ‘Kiss Of Truth’, ‘The Finest Thing’, ‘It Was Raining When You Left Me’. Side two: ‘Diamonds In The Mine’ (Leonard Cohen), ‘Scarecrow Joe’, ‘That’s All There Is’, ‘Black All Night’. The ‘Discogs’ website adds… ‘Simon Hinkler briefly returned, with band manager Tony Perrin added on bass. A live album was released in 1985, by which time the band had split up, after Fenton had joined The Batfish Boys’

April 1986 – Gouldthorpe and Simon Hinkler collaborate on a further album, ‘FLIGHT COMMANDER SOLITUDE AND THE SNAKE’, reviewed by Sorrel Downer as ‘pleasantly unsettling. Gong meets the Goths. In solid songs like ‘Hidden For Days’ and Shipwreck On The Moon’ we’re rushed past the exotica gripping on the easybeat drum like the handrail of a big dipper’ (‘Melody Maker’ 3 May 1986). After which Hinkler joins the Mission. They collaborate on a second album, ‘A ROOM FULL OF THIS’, in 1992, working together under the name The Flight Commander

1989 – ‘AFTERWARDS’ (Pleasantly Surprised label PS011), a compilation cassette edition of demos, live tracks and interviews

Gouldthorpe moved away from music to run his own hair salon, stating in 2009 ‘I lost it with music for a bit and went into dark corners.’ Artery reformed in 2007 after being invited to perform at the Meltdown Festival by long-time fan Jarvis Cocker, and recorded a session for Marc Riley’s BBC 6 Music show. They stayed together, releasing the ‘STANDING STILL’ EP in February 2009 (with Mark Gouldthorpe, David Hinkler, Murray Fenton and bassist John Clayton, ‘Standing Still’, ‘A Song For All The Lonely People’, ‘The Seeds Of Youth’ and ‘Who’s Afraid Of David Lynch?’). In 2010 they split up again when David Hinkler decided to leave, but continued after recruiting James Bacon to replace him. A further album, ‘CIVILISATION’, was released in October 2011 (Twinspeed Records), featuring Mark Gouldthorpe (vocals), Simon Barfield (bass), Garry Wilson (drums), Murray Fenton (guitar, percussion), James Bacon (keyboards) with ‘Standing Still’, ‘The Prediction’, ‘A Song For All The Lonely People’, ‘Is It All For Real’, ‘Waiting In Subway’, ‘Unfaithful Girlfriend’, ‘The Stalker’, ‘The Night An Angel Was Raped’, ‘Who’s Afraid Of David Lynch?’, ‘Civilisation’, ‘Into Oblivion’

Published in:
(Italy – May 1983)


Before Sheffield was Sam Smith or the Arctic Monkeys
before it was Def Leppard or Tony Christie, it was ABC
the Human League, Cabaret Voltaire… and Artery

Outside, in the sodium streetlight wash, there’s a big adjacent ‘Come Dancing’ sign. Inside Sheffield City Hall, the support-band – Siii, ain’t dancing. Ageing Bouncers in dickie-bows watch the sound-traps in the richly-inlaid ceiling, joke about the noise, and glance at the time. It’s 10:09:13.

Then, the latest Artery is razored down to basics. Crucified on trips of light, Mark Gouldthorpe has always been the visual fix, but now he’s backed up by guitarist Murray Fenton, a Yamaha, a Fender Strat, a cowboy shirt, and a severely damaged Johnny Thunders brained-out lurch. His hair walls vertically down so he stumbles disjointed, head angled sharply back on the permanent brink of collapse. Bassist Neil McKenzie, in red/ white neckerchief, is well hung-back, guitar penis-high at forty-five degrees spawning dark caustic ripples of fear and psycho-idyllic riffs. From a remixed “Butcher’s Shop” (off their ‘One Afternoon In A Hot-Air Balloon’ LP), to the current album ‘Second Coming’. From “One-Penny Horrorshow”, bridged by a shriekback of distortion, into the excellent ‘Golden Dawn’ single “Big Machine”, then “Dangerous To Think” with Mark on his feet or on his knees, bloodied but unbowed. He slips over into near self-parody, then gets reborn in the fire of his own manic intensity, his own ‘Second Coming’. He’s a one-off. Should be bigger than Jesus.

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‘Occasionally I tend to go too deep. Lose myself,’ Gouldthorpe admits. ‘The surface is imagery, but there are a lot of other things in it.’

Is there a political angle? ‘I’m not all for politics.’

What about drug-based literature, then. Jean Genet? William Burroughs? ‘I’m about a third of the way through Burroughs’ ‘Nova Express’. It’s his use of English, basically, that’s too clever for me. I hate trying to read a book I can’t read.’ He states it artlessly, or possibly deviously. It occurs to me as odd that Rock accepts and ushers into culthood its poetic word-spinning Bob Dylan’s, Jim Morrison’s, Elvis Costello’s… and quite possibly its Mark Gouldthorpe – while refusing anything more ambitious from its poetry poets than Music-Hall John Cooper Clarke, Stephen ‘Seething’ Wells, and Mark Miwurz…

What critique does Mark use for good or bad? Is it a personal thing? ‘I just see what the reactions of the people around me are. And then I can get back to myself and decide, so I don’t wander too far. Basically the chemistry of Artery is, I’m writing all the time. If I come up with a good lyrical idea I take it down to the guys and we’ll read it, think about it for a bit, if I have a vague musical idea I try to get that across so it goes the way I want it. Or I ask what they think I’m trying to say in it, what’s happening, and somebody might come up with a mood music and build it off that. That’s how the construction occurs. We’ve all got our political – not political, our outlooks on life. We’re not all exactly the same. Artery is a very tight thing. A very solid thing ‘cos we’ve all looked at each other and we all understand each other. We all understand ourselves. Eventually it will disband, it’s a vehicle for us at this stage to get us into the music arena. To consider it a permanent thing is to underestimate the situation. It’s better not to.’

Tony Perrin – manager, sharp entrepreneur and fifth Artery, intercedes tactfully. ‘In terms that other bands go by, Artery is permanent. But at the same time, we’re looking at bigger things. There’s a lot more fields of communication than just Rock music!’

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I try on that serious archivist hat for size. It fits quite snugly. So let’s talk-through Artery’s fractured time-lines…

Gouldthorpe still has time for the first Artery single – “Mother Moon” c/w “Pretends”. It arrived in April 1979, and seems like a good point to begin. It was followed by “Unbalanced”, and the urban note-taking “Cars In Motion”. Around this time they were playing the ‘stagnant’ Leeds ‘F-Club’ – four times, although their particular tapestry of decadent perversity was well outside its Punk tribal orthodoxy. ‘The pure sense of that time was saying a lot of what I was feeling then’ Gouldthorpe recalls. ‘But the business machine gobbled it all up and spewed it out as fashion. It became the deformed child of Punk.’

An Artery gig at the ‘Leadmill’ – 16 August 1980, was significant in that a then-unknown Jarvis Cocker was in the audience. ‘It was the singer I couldn’t take my eyes off’ he wrote later, ‘he was half-talking and half-singing. You couldn’t catch all the words, but the ones you did fired the imagination… this wasn’t a concert – it was a ritual, a summoning of primal energies, a trip, all the things I’d hoped music could be. And then some.’ Jarvis became a long-time Artery fan, promoting a reunion gig at the Meltdown Festival as late as June 2007. Meanwhile, Artery were slotted onto the ‘ICA Rock Week’ promoting their then-current single “Into The Garden” – issued through a temporary hook-up with Armageddon. At the time he did a travelogue on the single for me. It was a tale of sanguinary rites and forbidden indulgences with ‘identical twin sisters’. ‘The smell of sex blended with the scent of the flowers…’

‘Do you get the point about the identical bit’ And the importance of it?’ he probes. ‘I was trying to point out that it seemed irrelevant because they were two identical people.’ Ambiguities abound, narratives tantalisingly rich and seamed with metaphor, implying moods but leaving definition pleasingly blurred.

Artery played West Hampstead’s ‘Moonlight Club’ which led to inclusion on a couple of compilations – ‘WNW6: Moonlight Radio’ and ‘Fear And Fantasy’ (both for Armageddon), supplying tasters for the mid-period portfolio and the first Artery album-proper – ‘Oceans’. But first, Artery did a John Peel session, recorded on the BBC’s Maida Vale equipment. ‘We learned a lot from that. The previous work we’d done in the studio was so inadequate as regards production. That was the big door that opened for us.’ Tony Wilson was knob-twiddling and dial-watching, and he was ‘one of the best producers we’ve ever had. We learned a lot, yeah. There’s so much brilliant production about that you have to compete to get people to even listen to you. And it’s all down to production. Production enables you to express the music better. If you can make people listen, you know it’s working.’

Then it’s 1982. The album versions of “Into The Garden” and “The Clown” are lifted direct from ‘borrowed’ John Peel session tapes. ‘We tried to get Tony Wilson to produce the other five ‘Oceans’ tracks, but he wasn’t available. So we asked John Peel if he could think of anyone else who was good, and he said ‘well, try Dale Griffin’. So we did, and he was even better!’ Griffin has a history clear back to Mott The Hoople. ‘Tony Visconti used to manage both Mott The Hoople and David Bowie at the same time. It was really strange just listening to Dale ‘Buffin’ Griffin talking about those guys in the same way that we talk about our friends. Good in’t it? It was interesting to hear about Lou Reed’s hang-ups though.’ He delivers straight, no description in his eyes. A moment’s pause. ‘Not that there’s a division between people – well, there is, yeah. Of course there is.’ Sometimes the division is felt more by the people outside, I suggest. When you get to meet someone you’ve only known previously by listening to their records. It’s you that builds the barriers, not them.

Mott bassist Pete ‘Overend’ Watts also gets a co-production credit on the “Afterwards” track. Did Gouldthorpe listen to his records with Mott – “All The Young Dudes”, “All The Way From Memphis” and the rest? ‘No. Never really got into them at all. But if I had it might’ve been a situation like you say. That’s why I don’t read the music press. That tends to happen when you read the papers.’

Despite his reservations about journalism, ‘Sounds’, ‘Melody Maker’ and ‘Hot Press’ came calling. They liked what they saw/ heard, and reported accordingly, at some length. ‘Oceans’ yo-yoed around the Indie chart for some time, but after its success ‘I was getting disillusioned with the English music scene’ resumes Mark. ‘The set-up was becoming really tight, because of the cash thing. It’s all become so instant, nobody will touch anything that won’t sell. So it’s limiting the output from creative people, it disheartens them from the very root. Although we had a bit of a head start by being involved with the company, and they did want a second Artery album.’

The regenerative process was inaugurated by the brief link with multi-instrumentalist Christopher Hendrick, through which they fulfilled the obligation to Red Flame Records, in the form of ‘One Afternoon In A Hot-Air Balloon’. And, spilling over into 1983, it was within this three-piece guise – with drummer Garry Wilson forming the third component, that Gouldthorpe apparently exorcised his demons, rising from the murky depths of oceanic angst into the… well, the buoyancy of aerial travelogue. There were ten tracks, and twisted weirdness aplenty – the butcher who accidentally amputates and sells his own hands, fish that swim in and out of eyes, midnight suicides who ‘drip on into the day’, and monsters with the eyes of children – and there’s no disappointments, just that the themes are handled with a slightly more whimsical edge that Hendrick’s surprisingly rich instrumentation lifts and fleshes out, with piano credits, keyboards, bass guitar, electric ‘Flamenco’ guitar, and xylophone!

‘From the outset, we (Gouldthorpe and Hendrick) decided to just do that one album, that one thing, because I realised more than him that it was what it was – and that was it! After that I’d want to move on, and that was made fairly clear between us. We’ve now gone our own ways. He’s working with a new band, he’s got his own ideas. Before we did ‘Hot Air Balloon’ he was on the rocks a bit. At a loss. He’d worked with two or three bands that he’d not been happy with, and they’d split up. But the whole approach to our album encouraged him to get his own thing together.’ There’s one track – “A Song For Lena”, where Hendrick wrests vocal chores too. ‘Yes, Chris loved that lyric. But I found it difficult to do because I wanted to do other things with the song. It wouldn’t work for me, so we were going to drop it. But Chris said he liked it, and liked the idea. He said ‘can I have a go?’, and I said ‘sure, if you can do it, do it’. And he did, and it was good. All that basically took place in the studio. It came together really well.’

The return to vinyl was hotly chased by fresh live work. Playing their way through an intense series of UK dates shoving a wide-textured sound with blaring brass, sax, trombone, and Simon Hinkler’s honky-tonk piano circling the core of Garry Wilson’s drums and John K White’s guitar.

There were additional gigs in foreign climes. ‘We got an offer to go to Italy. The agency was really interested, so we got the live set together because of that. What we wanted was to get a range of songs that represented tracks from ‘Oceans’, tracks from the second album, and the single we had out of the old Brecht-Weill ‘Threepenny Opera’ thing “Alabama Song”. Then we went over. It was the first time I’d been out of the country, and the experience was incredible. It was excellent. The enthusiasm we experienced in Italy was so good compared to reactions in this country, the actual level of involvement. It felt like a new breath of fresh air, a new situation.’

Audiences are blasé here, I suggest. There are so many fine bands. Whereas in Italy, a gig is still an occasion – I mean, people still riot to get INTO Eric Clapton concerts there! Rioting to get OUT I could understand, but…?

‘It’s the same all over Europe’ he claims. ‘Yet the whole European scene looks to England. It’s a complicated situation. I suppose it makes you work harder here, and you get more out of yourself.’

Since that tour the Artery line-up has gone through switches again. Simon Hinkler had worked with Pulp – playing on and producing their Red Rhino mini-album ‘It’ (April 1983, RED LP29), while co-writing their debut single “My Lighthouse”. ‘It’s nice and sweet to listen to’ opines Garry Wilson, in a tone that could imply approval – or could be a subtle put-down. ‘I did the drumming for it, and I think their biggest mistake was, they got the drums and they really mixed them down. I can lie and listen, and just about hear myself.’ While John K White went on to form his own one-man UV Pop, issuing a series of incandescent LPs of his own, starting with ‘No Songs Tomorrow’ (Flowmotion FM004, 1983).

But for Artery, this was the ‘Second Coming’ phase, which brings things more or less up to date, ‘Confuse To Prevail’ reads the liner-blurb, and ‘PLAY LOUD’. At that time, Artery was the four-piece I saw at Sheffield City Hall. Harder, more guitar-based, and the power they’re supplying – it’s electrifying!

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Mark Gouldthorpe can be cagey. He’s very emphatic he won’t ‘pander to the media’ except on his own terms. Won’t ‘dilute his soul.’ ‘It’s the writing side that’s been chosen to get Artery into the press. At this stage. Now. You can’t really talk about the music. It’s got this sound and that amp, and that’s it. It’s not interesting to read about. But with Artery there’s a unity, the same direction in the whole set-up.’

Tony Perrin, the man who painted the Magritte-esque ‘The Secret Goldfish’ cover-art for ‘Oceans’, points out that ‘Rock is the only business you can get into without anything other than raw talent, and get into a position of power. In every other business you need capital.’

‘One has to earn a living to survive in amongst this society’ Gouldthorpe concurs. But not to the extreme where ‘the machine uses you, instead you should try to use it. Because then the human is in control, at the top of the hierarchy. It can get very dangerous if the ‘society machine’ is in control of events. That’s probably what’s going wrong with the ‘Bomb’ thing…!’

‘The Second Coming’ LP, launched under their own control, on their own ‘Golden Dawn’ label, is probably their most direct and accessible work to date – without once diluting their soul. Artery play haunting sounds, taunting sounds, creating the perfect audial back-projection for Gouldthorpe, always the focal point with his insolent deadpan delivery and Jagger-animal movements. This Artery has the will and the skill, a music that works on stage and on the page. Outside the confines of Sheffield, the business jungle and fiercer chart competition has concentrated their minds wonderfully.

To quote a current advertising slogan, I am convinced they are a major contribution to contemporary music.

It’s 11:13:11. Outside, the sodium streetlights dance…

Published in:
‘TERMINAL no.10’ 
(USA – August 1985)

(UK – October 1985)

 Artery ‘Sheffield City Hall’
Gig Review published in:
(UK – December 1984)