THE WONDER STUFF GO WILD WITH
THEIR CASHCARDS
I was checking out the latest
Ohio Players waxing when a
Cortina Estate pulled up
outside. The 'No Barbers Need
Call' and Walsall license plates
were the giveaway that The
Wonder Stuff had slipped into
the country, avoiding the
screaming multitude that had
gathered in a Heathrow telephone
box waiting daily for the
telemessage that would announce
their arrival.
"Check the threads, honky,"
yelled the Bassist Groove Thang.
"Git your ass DOWN!" said
Malcolm mildly. "ALLLLright,"
declared Martin. "There are
three men in my life and they
all eat shredded wheat," mumbled
Miles, throwing caution and his
breakfast to the winds. They
slinked their way across the
room in their cream and brown
solateos, blue oxford bags and
pointed collar black shirts
singing, acapella, "well you can
tell by the way I walk I'm a
Mindy man, no time for Mork,"
before tripping over a Brass
Construction 12". None of which
really answers my questions. Who
does want to be the cisco kid?
A fable for children by Charles
McCartan
(from the inner sleeve of 'Who
Wants To Be The Disco King?'
single) |
The single
was released at the end of February and
charted in it's first week at number 28. In
an attempt to further the progress of the
single, Polydor issued a special dayglo
coloured sleeve to record shops for them to
place the inner sleeve and record from the
standard issue seven inch into and,
hopefully, persuade fans to buy the release
again. The band were initially unaware of
Polydor's plans and when they found out they
forced the label into quickly withdrawing
the limited edition sleeves though not
before a large number had gone on sale in
the UK. Slightly differing from the normal
'...Disco King?' release, the dayglo sleeves
can normally be found on sale containing a
purple labelled pressing of the record with
it's title stamped on the label in a plain
black inner sleeve. This was also the way
promotional copies of the single were issued
(without the dayglo sleeve though).
To coincide
with the release of the new single, a short
UK tour was undertaken which featured
support from Jesus Jones, Mega City Four and
new Midlands discoveries, Ned's Atomic
Dustbin. Though hopes that new material and
a successful single would enable these gigs
to be some of the best yet, it was not to
be. Internal tensions were high within the
band with frequent arguments and
disagreements between Rob and other members
of the group.
The direction of the group was changing and
developing from when the foursome had first
started working together and it seemed that
the two most outspoken and vocal members of
the group, Miles and Rob, wanted different
things.
One public
airing of the tension came
on the first night
of their sell-out show at London's Town &
Country Club when Miles stormed off stage
midway through the last track of the set,
followed shortly by a fuming Rob leaving
Malc and Martin to bring the track
abruptly to an end. This set
the scene for a showdown between Rob and
Miles at London's Columbia Hotel with the
Bass Thing threatening to kill Miles if he
ever got his
hands on him. The night, thankfully, passed
without incident but both Rob and Miles sat
down the next morning to talk about how they
were feeling and to try to clear the air.
As a result of the argument, Miles penned a track about the
event called 'Room 410', named after the
room he was stopping in at the hotel.
Wonder Stuff graffiti could still
be found on the door of the room for years
afterwards in homage to the track which
later appeared on the group's second album.
After the
previous nights events, it was thought that
their second night's appearance at the Town and Country
Club couldn't be any worse. Sadly this
wasn't the case - the they managed to remain
onstage for the entire performance, someone
in the audience threw a plastic
drinking cup at Miles which cut his head open
slightly putting
Miles in an understandably foul mood. As a
consequence he sulked for the rest of the
show and refusing to engage in any
between-song banter withthe audience.
LONDON TOWN & COUNTRY CLUB -
22/03/89
These are troubled yet exciting
times for The Wonder Stuff.
Their mass potential is
beginning to be recognised by
you good people out there, but
the band are already impatiently
ahead of you. The Midlands' most
lovable sons have gained
promotion from division two of
the pop league almost
effortlessly, and tonight, in
front of a second consecutive
sardine audience in the capital,
they can do little wrong, and
yet all's not well in the Groove
Machine.
The Wonder Stuff demand more
from this pop circus than your
average guitar gang and yet
their adoring audience are still
more than happy to lap up hit
after hit, be they indie or
minor major without so much as a
thought of the future. After
all, the best pop music
possesses more than its fair
share of inbuilt obsolescence,
but Miles, Malc, Martin and Bob
refuse to be passed over in
favour of the next biggest
thing, and they also possess the
musicality and vision to pull
this ambition off.
Not helped by a tragically
accurate glass which splits open
Miles' head before the young
motor mouth has shifted to
second gear, it's always going
to be a struggle to communicate
with an adoring yet potentially
volatile audience. Miles chooses
not to chastise and this leads
to an even more disconcerting
aloofness that spoils the
evening.
The Stuffies are struggling to
shrug off their fiercely loyal
but distinctly pedestrian rock
audience. It's a struggle both
they and their audience will
eventually resolve, but Miles
may have to don the odd crash
helmet along the way.
Andy Strickland, Record Mirror |
Following
their UK tour came a 12-date American tour.
The aim of the tour was to combine live
dates to bring themselves to a wider
audience with the now-obligatory
promotional work for radio stations and
music publications.
It was also
hoped that the break away from the UK would
help the band to regroup and settle the
tensions that had developed during the past
few months yet it was only a couple of days
into the tour before Miles and Rob hit
problems again. Rob had stayed with a
friend he had met at the aftershow party
following the group's appearance at New
York's Ritz and the group had to leave for
their next town, Boston, without him as he
wanted his friend, Jessica, to accompany
him on the rest of the tour.
Eventually Rob
and Jessica were flown to Boston to join the
group although Jessica returned to New York
the following day promising to return for
their appearance in Los Angeles.
Whilst in
LA, a radio announcer for the K-ROQ
radio station promoted their forthcoming
live appearance with the line, "They're
mean, they're crazy and... they're here in
Los Angeles. The Wonder Stuff have arrived
so lock up your daughters!"
The group also
managed to catch some other acts who were
performing in the area at the same time -
New Order gave them tickets to see one of
their shows whilst they were in LA and The
Wonder Stuff's American manager,
Steve Rennie, organised a trip to the Irvine
Meadows Amphitheatre - The Grateful Dead
were playing. En-route, Miles reminisced:
"Me and Martin were down by the pool
yesterday and I said, 'This all started in
Cradley Heath in the West Midlands one
afternoon because we had nothing better to
do. Here we are in LA, in a Jacuzzi!'" Not
overly enthralled by the Dead's performance
though, Martin Gilks was heard to observe
that "you can see bands like this in pubs in
Dudley on any Sunday afternoon".
After
finishing the tour in San Francisco, the
group took part in more promotional work,
including a feature on MTV, before returning
home to the UK.
Miles and
Rob only spent a couple of days at home
before returning to America - Rob
went back to spend more time with Jessica
following his decision to split with
first-wife, Lee, and Miles went to visit
friends in upstate New York. Rob would
eventually start spending more and more time
in New York, frequently flying back and
forth to fulfil work commitments in the UK
and then returning to America,
the country he now considered to be his
home. His character and appearance was
always felt to be 'different to the norm' in
the UK yet living in New York he was treated
like a celebrity and not shunned for his
style and clothing as he felt in the
UK
(Rob said it was residual effects of the
past Thatcher reign).
Meanwhile,
Polydor were making preparations for
recording sessions for the second album to
begin
although both Rob and Miles nearly missed
the planned start date of the sessions as
they were still both in America, not
returning until almost the very last minute.
Thankfully,
the sessions kicked off without a hitch and
proved to be very fruitful producing
a new electric
version of demo track, 'Don't Let Me Down,
Gently' in one take with James Taylor (of
the legendary James Taylor Quartet)
assisting on Hammond Organ. At the end
of the first day, the
group were handed the keys to a luxurious flat for them
to use whilst the recording sessions were
taking place.
Malc, Rob and
Miles
moved into the new flat in
Regents Park whilst Martin settled into a
new house with his wife, Penny. They had met several
months previously as Penny worked for the
group's press office and, whilst Penny had been
initially shy of the long-haired Midlander,
he took her out to see The Fields Of The
Nephilim at London's Town & Country Club and
their relationship blossomed from there! "It
was great," Martin once said, "I was the
first person in the band to get one of the
record company into bed."
The flat was
to be used by the band for three months
though, after a bit of haggling, that
was eventually extended by a further eight
months with the occupants paying a share of
the rent. However, continued
disagreements within the group led to Rob
moving out to share a flat with Jessica whom
he had asked to come over to the UK to spend
more time with him.
At one stage, whilst they were in
London to record their new album, Pop Will
Eat Itself even stayed there - with just one
long-suffering and fed up housemaid to 'look
after them'.
Miles' and
Rob's trips to America had improved
relations between the two of them and
whenever they had a free weekend, they would
both return to the US - Rob to see his
girlfriend and Miles, in his words, "to be
gross and enjoy myself, sit in the sun all
day, get drunk and drive friends' motorbikes
and not care. And I bought my first tartan
waistcoat there!"
Recording
sessions for the second album continued and
festival time approached with the main
highlight being their performance at the
much revamped Reading Festival in August.
The previous year's festival had ended in
acrimony when headliners Meatloaf and Bonnie
Tyler fled from the stage when bottles and
cans of warm urine were thrown at them. The
1989 festival, organised by London's Mean
Fiddler organisation, boasted a more indie-orientated
line-up featuring The Pixies, New Order and
The Wonder Stuff.
As a
warm-up for the festival, the Stuffies
played support to festival headliners The
Mission at Sheffield's Polytechnic Arena in
a secret show organised by The Mission's fan
club. At the festival itself, The Mission
were the headline act on the same night that
the Stuffies appeared and backstage meetings
marked the beginnings of a long-lasting
friendship between the two groups. The other
highlight of the Summer festivals was
Glastonbury and it was for this that the
group learnt and debuted a 'new' song, a
cover of The Youngbloods' 'Get Together'.
Following
their Reading appearance, September saw the
first release from their forthcoming second
album. 'Don't Let Me Down, Gently', written
after Miles had read 'Profession Of
Violence' - a biography of the Kray Twins -
reached number 19 in the UK Singles chart.
The high chart position dictated that the
group should make their first ever
appearance on Top Of The Pops. The
occasion also marked the first appearance on
National television for Ned's Atomic Dustbin
when Malc wore one of the Ned's early
"radioactive logo" T-shirts for the
broadcast. The shirt was designed by Helga -
Miles' then girlfriend - who maintained a
healthy relationship with the Ned's and
subsequently went on to design all the bands
record sleeves and much of their promotional
artwork whilst Tank, Martin Gilks' brother,
managed the group until their split in 1995.
On the back
of the single success came the
release of their second album, 'Hup'. To
promote the album, a four track CD was
distributed which featured 'Don't Let Me
Down, Gently', 'Piece Of Sky', 'Golden
Green' and the Columbia Hotel incident
inspired 'Room 410'. The latter track, along
with another track on the album '30 Years In
The Bathroom', featured samples from the
1966 film, Midnight Cowboy. Whilst in
America, Rob had found and recorded a number
of samples for use on the album though when
a representative of the United Artists film company heard the
track, they refused to allow the group to
use all of the samples and the album had to
quickly be repressed containing a shorter
version of the track. A promotional CD is
the only available release featuring the
longer version of 'Room 410' and the group
have been forbidden from ever releasing the
unedited version in the future.
HUP
The Wonder Stuff, it seems, are
happy making their slightly mad,
slightly unsightly music and
getting on people's nerves
whenever they can. Which is just
what they do on 'Hup'. But like
it or not, the 'Stuff have come
up with a rather impressive
range of tunes. Of course
there's plenty of grungy
filthy-hair-ahoy guitars and
milk-curdling singing but
there's more to it than that -
like the pretty wonderful
'Unfaithful', a ballad which
young Miles sings with a voice
as smooth as velvet. Others are
really quite rock and roll, like
'Them Big Oak Trees' and 'Let's
Be Other People' and then some
are just horrendous dins like
'Goodnight' which shouldn't be
allowed but which will probably
have them rocking in the aisles
anyway."
Alex K |
The album -
with artwork adapted from Georges Melies'
1902 film, Trip To The Moon - featured
further instrumental assistance from James
Taylor plus large contributions from Martin
Bell. Like it's predecessor, there was no
set formula here with the opening track '30
Years In The Bathroom' leading into a poppy
attack on the methods of getting records
played on the airwaves in 'Radio Ass Kiss'
before entering the country hoe-down stomp
of 'Golden Green'. Follow-up track 'Let's Be
Other People' was inspired by Leonard
Cohen's book, Beautiful Losers, before the
Jane's Addiction-inspired 'Piece Of Sky' and
'Can't Shape Up' completed the first side of
the album. First single 'Don't Let Me Down,
Gently' led into the next single for
America, 'Cartoon Boyfriend', which featured
Miles at his cynical best. One of Rob's
finest moments appeared next in the track
'Good Night Though', full of powerful basslines and possibly one of his favourite
tracks as it leant itself to a new tattoo
for the bassist in the form of the lyric "It
was a good night though" - a line which
although doesn't feature in the recorded
version of the track, was commonly used to
introduce the track whenever they played it
live. A direct descendent of the first
album's 'Rue The Day' came as 'Unfaithful'
before 'Them, Big Oak Trees' and the album's
closing track, the shortened 'Room 410'.
To promote
the album a UK tour, supported by Eat and
Ned's Atomic Dustbin (debuting a new line-up
without their original female vocalist),
opened at Glasgow's Barrowlands. The
tour began in the aftermath of a series of
arguments involving Rob, Jessica and other
members of the group. Rob and Jessica
had wanted to travel between venues on Rob's
motorbike rather than being on the tour bus
with the rest of the group which had not
been well received. As a result,
Jessica returned to New York so
that the group could concentrate on the
forthcoming live dates although Rob missed
her greatly and, in an attempt to get the
group the see how much he missed her,
he started drinking before going
onstage, acting hostile to people within the
touring community and generally trying to be
very unpleasant.
Midway through
the tour, Polydor released the second single
from the album,
a double
A-side featuring 'Golden Green' coupled with
a studio recording of the track they
rehearsed for and played at the Glastonbury
Festival, Chet Powers' 'Get Together' -
originally a hit in the 60's for both the
Dave Clark 5 and PJ Proby. For the 12" and
CD single releases, a version of John
Lennon's 'Gimme Some Truth' was added. Using
a slightly different arrangement to the
original version, the bassline especially
differs as Rob preferred to elaborate on
Public Image Limited's 'Public Image' track.
The single reached number 33 in the charts
and led to another Top Of The Pops
appearance.
After a
meeting in the second half of the tour,
Miles, Malc and Martin all agreed that,
sensing he was unhappy, maybe it was Rob's
time to move on and gave him the ultimatum
that either he stepped into line and pulled
his weight within the group or he could
leave the group to concentrate on his
personal life. At a gig in
Liverpool, he was too drunk to even stand up
properly which resulted in Miles having
on-stage words with him. This made matters
even worse and for long periods of time
hardly a word was shared between the two of
them. The tour ended at London's Brixton
Academy which was recorded and filmed for
potential future release.
Rob
remained with the group to complete the tour
and, even agreed to join them at Rockfield Studios
in South Wales to try out new tracks for
their third album. It was at this time that
Martin Bell was bought onboard as a
full time member of the group - a move intended to
dissolve (or distract from) the tensions
surrounding Rob although by this time he had
cut back on his drinking and seemed to be
more interested in being part of The Wonder
Stuff than he had been for several months.
However,
although he seemed happier and more willing
to work than in previous months, there was
still an impression that he was dissatisfied
with the direction the band were taking.
Miles: "One day we were sitting at the big
oak table having our customary cigar and
sherry after dinner when Bob told us he was
leaving. It came as a surprise in that week
particularly, because things felt good
again. But what he wanted to do was move to
New York and reinvent himself. We finished
the demos for 'The Size Of A Cow', 'Maybe',
'Grotesque', 'Play', and 'Inertia' in a
really good mood because at least we all
knew where we stood."
In an
interview for the NME before news of his
departure had been released, Rob was quoted
as having said, "At this moment in my life
I'd rather not be in a band, I'm sick of it.
There's always arguments of some
description, although nothing really
drastic, things just happen. The main
problem is that you can't get away from it.
It would be nice just to walk away and have
some time without anybody ringing up about
photo sessions, interviews, recording, TV -
it's never-ending."
The
news of Rob's departure came as somewhat of
a shock to Polydor who were preparing to
release a new single at the start of the New
Year. The four track EP, 'Luna Thug', was to
planned to have 'Piece Of Sky' as it's main
track coupled with two new tracks, 'Play'
and 'Our New Song' plus an acoustic version
of the 'Can't Shape Up' track off the 'Hup'
album retitled 'Can't Shape Up, Again'. The
three additional tracks were all recorded
during the Rockfield sessions but Rob's
announcement led to Polydor cancelling the
release although there is a rumour that an
acetate pressing of the release was later
given away in a competition on UK television
or radio.
Although no
records were ever officially pressed
for the release, the release process was
already underway for the sleeve's artwork which echoed the designs of the 'Hup' album
sleeve by featuring stills taken from Georges Melies' film. The designs show that,
alongside the standard cassette and CD
single formats, Polydor had been considering
releasing the seven and twelve inch singles
in both standard and gatefold sleeves.
News
had still not been made public about Rob's
departure when the group announced a series
of end-of-year gigs. Privately, a decision
for the group to split up - at least
temporarily - had been made, and the tour
would close with two Hometown Hoedown dates
at Birmingham's Aston Villa Leisure Centre.
As
the dates were to close an era for the band,
old favourites such as 'Song Without An
End', 'Poison', 'Grin' and 'Goodbye Fatman'
- from the 'A Wish Away' single - were
bought back into the live set.
Support was
provided by The Metal Gurus, a pseudonym of
The Mission who played a set of glam rock
covers on the first evening wearing drag
outfits with Balaam And The Angel supporting
for the second night. A third date was
announced following the rapid sell-out of
the first two evenings which saw long-time
friends and peers Pop Will Eat Itself booked
as support. These plans were thrown into
doubt though when Poppies' vocalist Graham
Crabbe broke his leg during the Poppies'
Australian tour resulting in a rush to have
a special splint designed for him by London
doctors to allow the support slot to be
maintained.
Miles
recalls the third night of their Hometown
Hoedown dates: "The final night was sad. I
remember leaving the bar of the Holiday Inn
in Birmingham and using one of my mates as a
crutch. I was quite tearful, and so was Bob.
He stayed up until 6am, got a lift to
Heathrow Airport and went to America." The
crutch was Bryan Taylor and he recalls the
atmosphere of that night: "It was very odd.
I remember Miles turning to me in the lift
and saying to me 'I always knew that bastard
would make me cry'."