Essential Bop - Chronicles

21 tracks on this compilation from psychedelic bandits 'Essential Bop' who between 1978 and 1985 released as eclectic a bunch of recordings as could be gathered together under the 'post-punk' banner. Comprising a bunch of degenerate refugees from Bristol Bands such as the Cortinas and other mutant outfits, Essential Bop carved a bizarre path between punk, prog and psychedelia. Tipped by Paul Morley (NME) to be one of the bands to go big in the 80', (which they quite obviously didn't). Check them out.

TRACKS...

1 CHRONICLE (1979)
2 RAIDER'S BLUES (1980)
3 ELOQUENT SOUNDS (1981)
4 CROAKED (1981)
5 BUTLER IN RUNNING
SHORTS (1981)
6 TIN AND PLASTIC (1981)
7 LOVE IS A LOUD NOISE
(1981)
8 MONKEY GLANDS (1981)
9 MANDARIN WHORES
(LIVE 1980)
10 QUOTATION (LIVE 1981)
11 DEATH WEARS YELLOW
GARTERS (LIVE 1981)
12 PLEASURE DOME
(LIVE 1981)
13 THE WESTERN BLUES
(1979)
14 MAU MAU (1981)
15 ABZ OF LOVE (1979)
16 THE DEATH OF THE COOL
(1979)
17 ESPIONAGE (1979)
18 WHY DID YOU CALL MY
NAME ? (1984)
19 KICKING THE SUN
AROUND (1985)
20 CENOTAPH (1985)
21 CHRONICLE (LIVE 1981)

When the Great Book of Bristol Rock is written Essential Bop will probably merit little more than a substantial foot note in the chapter headed 'Post Punk and Stuff'. Such reputation as they have derives largely from a series of anarchically intense live performances and a rather mixed bunch of recordings.

Essential Bop was formed in the spring of 1978 by a disparate bunch of musicians, mostly refugees from assorted Bristol bands like The Cortinas (Mike Fewings, guitar), The Biros (Steve Bush, singing) and, er, Dragon Sandwich (Simon Tyler, keyboards). Dave Robinson (who was responsible for starting the band) was a bluesman who had played bass with the likes of 'Champion' Jack Dupree and Joe Cocker. Nick Tufnell had never played drums before, but really wanted to so, like, why not The band also featured 'visualist' Seng-gye, whose job it was to create bizarre and arty stage happenings

The band debuted at The Stonehouse (alongside the Art Objects) and soon developed a very enthusiastic live following, assisted by well-received appearances at the Ashton Court Festival and a track on the 1979 'Avon Calling' compilation ('Chronicle').

Record company interest was hard to come by so in 1980 the band released the 'Eloquent Sounds' EP (Eloquent Sounds/Raider's Blues/Failsafe/Mandarin Whores) on their own Monopause label. This garnered some press interest, and the NME's famous Paul Morley trekked down to the sticks to interview Steve Bush, subsequently proclaiming Essential Bop as one of the bands that would make it in the 1980's. Having the kingly wig thus laid upon them made the band even more popular within the BS postal area, and further recordings were issued in the form of two tracks on the Bristol Recorder 3 compilation (Tin and Plastic/Love is a Loud Noise) and a single (Croaked/Butler in Running Shorts) in early 1981 (also on Monopause).

By this time line-up changes had reduced the band to a guitar-less four piece, with Steve Bush and Simon Tyler assisted by Danny Cotterill and Phil Howard on bass and drums respectively.

The band had constant trouble getting many gigs outside Bristol, a problem which was relieved by the offer of a US east coast tour in the summer of 1981 - a result of the single featuring in the independent charts in New York. The tour was successful, but the band split on their return, with Cotterill and Howard returning to New York to live and work. The band's last ever live appearance was at the Peppermint Lounge in NYC in August '81.

Steve Bush and Simon Tyler joined the mass exodus of Bristol musicians of the early '80's, and re-formed the band in London in 1984 with Mike Fewings on bass and Martin Kiernan on drums. The band's debut album - 'The Flick Was Boss' - was issued in that year on TSAR (The Sound of Amnesia Records), comprising a mixture of new and previously released material, plus some live recordings. The band split up for good the following year.

Listening to the material some 20 years after the event, one is struck by the rather schizophrenic nature of much of it. Given the varied interests of the band's assorted members (punk, prog, poetry, r'n'b etc) the songs were bound to be a bit of a mishmash, but by the time 'Croaked' and 'Tin and Plastic' rolled around there seemed to be a definite direction emerging. Often - erroneously - compared to the Doors or the Stranglers (not worthy of the former, and as for the latter), Steve Bush was at that time mostly worshipping at the Church of Devoto and Simon Tyler always danced (and composed) to his very own private drum that somewhat defied definition, although he once professed to a liking for surf music and for some time the band hit the stage to the sound of a tune called 'Wild Bike' from an obscure Annette Funicello beach movie.

Most of the band's fans seemed to be spotty youths with thick glasses, anxious to discuss their neuroses - a source of profound irritation to the band's testosterone charged members. Odd - well, very odd, moments stand out in a Spinal Taptastic way. The topless onstage shoeshine event was a standout, as was the puking-on-groupies incident. The 'shoot Reagan' US radio outburst caused much distress in the irony-free zone that was America in those days, and the contents of those little brown envelopes dished out each day by their US tour manager led to some seriously dilated pupils (but not much money).

Live, the band were (when they could get it together) a much less tightly-wrapped proposition than the rather tenuous studio outings imply. Steve Bush usually came on like some deranged person, half Iggy half Ian Curtis. Tyler looked like a Zen Monk who'd been slipped a Mickey - breaking from his usually static stage posture to attack his keyboards with fists, feet, or inanimate objects found nearby. Dan Cotterill was a serial guitar-smasher, Dave Robinson was the archetypal leather-clad rocker and a stone-solid horse-frightener. Mike Fewings was the best musician anyone had ever heard, but seemed indifferent to praise or blame, standing stock still throughout as if dipped in embalming fluid. Phil Howard, a moody Northerner was a drummer of incandescent ability who made his own drums in sculpture class at Bower Ashton, whilst skinsman numero uno - Nick Tufnell - brought a tender aristocratic sensibility to a band which got louder and louder after his departure. Also mentioned in despatches are drummer John Langley and guitarist Jon Klien (then of the Art Objects and Europeans, respectively) who depped during the not infrequent periods of upheaval, and Martin Kiernan who added a touch of Scouse spice to band's final incarnation.

Steve Bush went on to form A Pair of Blue Eyes with Christian Clarke (formerly of Various Artists and the Art Objects) enjoying very modest success on CBS/Sony in the late '80's. His 'Blossom Freak' album will be released soon on Green Goat Productions (www.greengoat.co.uk). Simon Tyler is writing the definitive history of the Fosseway, Nick Tufnell has become a country squire, Mike Fewings is a rally driver and still records with Steve from time to time. Dave Robinson is enjoying life as a coastal guru and Martin Kiernan is now an intellectual Scouse Git. As for the others who knows?

Greatness in any form is rarely invoked by nostalgia alone. Essential Bop were never great, but sometimes they were good. Hell, ain't that enough ?

For those persons who were potty-trained at gunpoint Steve Bush has offered a few observations about the songs on the Sugar Shack 'Chronicles' album. Many of these statements may be lies, but we've included them because we feel sorry for him.

CHRONICLE (from 'Avon Calling' album)

Originally titled 'Samizdat' (which is Russian for 'Chronicle'). Inspired by underground dissident newspapers. The riff resulted from an attempt to play Wes Montgomery's 'Four On Six'. We couldn't.

RAIDER'S BLUES (From 'Eloquent Sounds' EP)

A bunch of sub-Dylan bollocks really, but delivered with gusto, so we got away with it.

ELOQUENT SOUNDS (From eponymous EP)

A sort of sixth-form manifesto, sung as if I had just had a parsnip shoved up my ass. The guitar's good, though.

CROAKED (A- side of second single)

Lyrically barking, but not unhealthily so. Always a live favourite. During the US tour (in Royal Wedding Year) the middle eight was changed to 'They're changing the guard at Buckingham Manor. Prince Charles went down on Lady Diana'. Ho Ho. Very prescient

BUTLER IN RUNNING SHORTS (B-side of 'Croaked')

A rather odd attempt a going all funky, rappy and stuff. Song arose from my hatred of jargon (aka MBA speak). We were all constantly pissed on Red Stripe during this session. Some may think it shows.

TIN AND PLASTIC (From 'Bristol Recorder 3')

One of our better efforts. Co-produced (or at least egged on) by Peter Hammill, whose Jerry Lee Lewis impersonation has to be seen to be believed.

LOVE IS A LOUD NOISE (From 'Bristol Recorder 3')

Well, it's true isn't it. Very popular live number. Bass riff nicked from a Pere Ubu number, but I can't remember which one.

MONKEY GLANDS (Unreleased 3rd single)

Inspired by a trip to Pere Lachaise cemetery in Paris. Sort of Apocalyptic, really, I suppose, but I can't really figure out what the hell it's about. I still like this one.

MANDARIN WHORES (From 'Eloquent Sounds' EP)

The intro is self-explanatory. I actually landed up singing the entire song whilst holding the lost little girl, which was rather sweet, really. Immediately prior to this Ashton Court set one band member took such a fearsome amount of drugs that he could hardly stand up. No-one noticed the difference.

Quotation

(From 'The Flick Was Boss' album)

Lyrically an amalgam of quotes from poems by Ezra Pound, hence the title. During the US tour we played at the Mudd, Spit and Dirt clubs. Maybe someone was trying to tell us something.

This is from the Dirt Club in East Orange, NJ. known as such because the entire place was hung with plastic bags of soil sent, according to its owner - the appropriately named Johnny Dirt - from 'all around the world'.

DEATH WEARS YELLOW GARTERS (Previously unreleased live track)

Title from an article by Raymond Chandler ('How to Write a Crime Novel', I think). Basically a jolly bit of hokum. Also from the Dirt Club. After the gig Johnny Dirt confided that he didn't have enough money to pay us, but offered 10 bottles of Jack Daniels by way of recompense, which we accepted (and drank) with alacrity.

PLEASURE DOME (From 'The Flick Was Boss' album)

Once described by a reviewer as "Sounding like Marillion". This alone would have justified a furious chain-whipping at the hands of deranged, drug-crazed sociopaths. Still, if it's that bad, then it is. A performance of some brio, nevertheless, with the cynical head in full effect. Recorded at our last ever gig, Peppermint Lounge, NYC.

THE WESTERN BLUES (From 'The Flick Was Boss' album)

From our first ever recording session. I don't think we ever did better than this, song-wise, and it was jolly difficult to play. I don't think many of today's young bands could do it, to be honest. And why should they?

MAU MAU (Previously unreleased)

We used to play Black Sabbath songs in rehearsal as a kind of warm-up, hence this not-so-subtle recasting of their 'NIB'. Sorry Ozzy. Also recorded by the Blue Aeroplanes.

ABZ OF LOVE (From 'The Flick was Boss' album)

Title taken from some trashy US sixties sex manual. Included because of Danny's guitar outburst - one of his finest. I think he managed to break ALL the strings on this one. Quite right, too.

THE DEATH OF THE COOL (From 'The Flick Was Boss' album)

An overblown manifesto-style lyric guaranteed to make the strongest mortal cringe. Notice also how The Parsnip makes another appearance. John Langley on drums (on a busman's holiday from the Art Objects). Included because apparently it's one of Wojtek Dmochowski's favourite guitar solos.

ESPIONAGE (From 'The Flick Was Boss' album)

Not much to say about this one, really, except that it's jolly sill, but it exists although I'm not sure whether it should.

WHY DID YOU CALL MY NAME? (From 'The Flick was Boss' album)

I spent hours farting around in the aforementioned Pere Lachaise looking for Gertrude Stein's grave, but couldn't find it anywhere. Somehow - given the object of the search - this seemed rather appropriate. A good example of Mike Fewings playing backwards guitar forwards, if you get my drift.

KICKING THE SUN AROUND (Previously unreleased)

A last gasp return to the sixth form, with a top piece of cod poetry and Martin Kiernan slapping the drums like wet fish on a beer tray. Recorded at the Brixton Bunker, rock 'n' roll's equivalent of Hitler's last resting place (and good riddance, too).

CENOTAPH (Previously unreleased)

Crikey, even MORE Poetic Vales of Melancholy. Tootles along nicely enough, though. Mike Fewings now keeps his sax in the loft, which is a shame.

CHRONICLE (Previously unreleased live version)

We were supporting Altered Images at Bristol's infamous Granary ("Call that rock 'n' roll, son ?"). They'd just come off a tour with Souxsie and the Banshees and the audience seemed to be full of kohl-encrusted 12-year olds. Boy, did they hate us. We chatted to Altered Images in the dressing room: "We've just recorded a song called 'Happy Birthday' and it's going to be a smash", they said. We all smiled politely and sniggered behind our hands not with a silly title like that, we thought. Oh, fuck.

That's all folks.

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