The Complete Works of (The) Flowers

He said he really liked me and did I take the pill?
I sprayed myself with Charlie and got ready for the kill.

Flowers were the Scottish Joy Division. That's one of those throw-away lines journalists like to use, but there's something to it. Both the throbbing octave bass lines and razor guitars are present (courtesy Andy Copland and Fraser Sutherland), along with a probing intellect in the lyric department and a willingness to go just one step beyond. Both bands made it onto Earcom compilations, documents of the Fast Products label Bob Last established in Edinburgh in December 1977. The Flowers were on Earcom 1, while Joy Division waited until the second instalment.

"Criminal Waste" is a confounding song full of lines about wounds, poison and lies. I might guess it's about Sid Vicious. But this is mere prelude to the phenomenal "After Dark", a song that starts with a limping beat and becomes something quite different as the incisive lyrics bite home. The dissection of human relationships is explicit and disturbing, a prime expression of the punk distaste for sex. Each verse builds on the previous in an inexorable accumulation, like a ball of metal and concrete gathering momentum down a hill. The climax has Hilary Morrison yelling about dancing in the disco in similar fashion to how Curtis hollered about dancing to the radio.

There is panic here. And a fear that cannot be hidden by bravado. This is the sound of someone trapped in the system of societal expectation and representation. A woman lost in the marketplace, trying to force her way to something better.

The first of their two singles inaugurated the Pop Aural label in November 1979. It's a tamer affair; some effort has been made to rein in the energy and smooth the edges, though the production is still crude. "Confessions" sounds diffident but for me that's part of its charm. Hilary sings of needs and wants as though it's already too late to invest any passion in these ideas. "The game is clear, the name is fear, but I want to know just what is next." This is still the voice of a person questing for something beyond the given scheme of things. "I want to fight, but I need a starting point." Me, I hope she found it.

The version of "(Life) After Dark" on the flip really should have stayed under wraps. This points to a new wave direction (pointillist drums, flanged bass) not taken by the band.

The music of Last's labels was compiled onto Mutant Pop 78/79 for release in North America. Crude and exciting efforts from Scars, The Mekons, 2.3, The Human League and Gang of Four made this a vital outburst of post-punk -- the first time listeners in Canada and the USA had been exposed to these acts. The Flowers contributions were "Confessions" and "After Dark". It might not be too much to claim that the record holds the best efforts from all the assembled acts.

With their third and final release Flowers, like many other bands of the time, took an audio leaf from Gang of Four. The trio of tracks on "Ballad Of Miss Demeanour" are better produced than before. The band's target is explicitly expanded from sexual politics to the consumer landscape. The Marxist-tinged "Food" could easily have been on Entertainment! The cover of this record, the third single on Pop Aural, is quite a brilliant piece of graphic design.

Determining any more about this band is a difficult enough proposition. They couldn't even decide from record to record if their name was simply "Flowers" or "The Flowers". My investigation has revealed that Morrison was perhaps married to Bob Last, which might explain her appearance singing backup on two other Pop Aural singles, Restricted Code's "First Night On" (1980) and The Fire Engines' "Big Gold Dream" (1981). Here, as with The Flowers, she was credited as "Hl Ray", as though she wanted to be a member of Tubeway Army.

Simon Best, drummer, originally was sound man for The Mekons. He was in Delta 5 long enough to get writing credits for their debut single "Mind Your Own Business" (1979) and "You", the b-side to "Anticipation" (1980), though I do not believe he played on any of their recordings. Later on he arranged those mad strings on Fire Engines' "Candyskin" (1981), certainly his finest achievement.

Here then, we present, for the first time anywhere, the collected works of Flowers. All are original TSM rips except "(Life) After Dark, which was kindly donated by our good friend Dualtrack.

Earcom 1
B3 Criminal Waste (3:41)
B4 After Dark (3:18)
UK LP Fast Product [FAST 09a] 1979

Confessions
A1 Confessions (3:05)
B1 (Life) After Dark (4:10) [version]
7" Pop Aural [pop 001] November 1979
recorded at Cargo 24 & 26 August 1979
produced by Bob Last
engineered by John Brierly

Mutant Pop 78/79
B3 After Dark
B4 Confessions
US LP PVC Records [PVC 7912] 1980

Ballad Of Miss Demeanour
A1 Ballad Of Miss Demeanour (3:04)
B1 Food (2:42)
B2 Tear Along (2:58)
7" Pop Aural [pop 003] 1980
A1, B1 recorded at Castlesound, Pencaitland 15 Feb 1980
B2 recorded at Cargo, Rochdale December 1979
produced by Bob Last

P.S. Don't confuse this band with that which became Icehouse, or any of the several other minor acts of the same moniker.

-- Second Chameleon

Missing Persons - Missing Persons EP

If the idea of New Wave bands in the the UK brought to mind serious-faced young men in skinny ties, chopping away at guitars, or staring intently at Korg synthesizers, in Los Angeles and its environs, it seems to have been associated with camera-friendly female vocalists often supported by jobbing session musicians looking to cash in on the latest craze. What is most surprising is how enduring some of that music has proved to be.

Take for example Missing Persons. Like Berlin, or SSQ, they had the requisite fashion-forward singer in Dale Bozzio, a former Playboy Bunny who had previously provided backing vocals for Frank Zappa's Joe's Garage album. It was during those sessions that she met drummer Terry Bozzio, whom she married in 1979. Together with another Zappa alum, the wildly talented if occasionally overly showy guitarist, Warren Cuccurullo, they formed Missing Persons, recording their debut EP in Zappa's brand new Utility Studios. Released on the Kosmos label in 1980, it showcased Dale's distinctive vocals, somewhere between a dreamy observer of modern life and a ticked-off Valley Girl whose parents won't let her borrow the car. Dale's partner, Terry, provided not only some inventive drumming, but helped out with the swirling, bubbling battery of synthesizers that gave the music a deep gloss sheen. Local alternative station KROQ put the second track, "Mental Hopscotch," into regular rotation and the EP sold some 7000 copies, mostly in the Los Angeles area. Capitol re-released the EP in 1982, and it went on to rack up a further 250,000 sales, an amazing achievement when one considers that the record was already two years old, and an indication of just how far ahead of the curve the band had been when they first formed. The subsequent album, Spring Sessions M (an anagram of the band's name), yielded a further hit single in the oft-covered "Walking in LA," but to my mind their finest moment remains here, buried away on the b-side of the EP, after a not entirely unsuccessful cover of The Doors' "Hello I Love You." "Destination Unknown" is one of the most perfect slices of synth pop ever committed to vinyl, the percolating arpeggiators and gently propulsive beat blending perfectly with Bozzio's girlish voice, the lyrics reflecting on the utter strangeness of the journey we find ourselves on in the modern era. The descending bass synth variation that comes in as the song fades into the distance is an especially nice touch.

Here then is the Missing Persons EP, as it was first released on Kosmos records, newly ripped from a pristine vinyl copy.

-- Crash the Driver

Missing Persons - Missing Persons EP

01 I Like Boys
02 Mental Hopscotch
03 Hello I Love You
04 Destination Unknown

USA 7" EP Kosmos No Serial 1980

Daphne's Purple Closet

You don't remember Daphne's Purple Closet. But then, again, you do. Anyone who hung out at the local punk/new wave/goth club, any one who listened to college radio, any one who bought hand-made cassettes from a box labelled "local bands" at the only hip record shop in town, remembers Daphne's Purple Closet, or at very least a band just like them. Part Siouxsie and the Banshees, and part The Cure, the singer never wandered much beyond her three or four note range, but you had a mad crush on her all the same, what with that punky hair and torn up fifties dresses, and too cool for school eye liner. She never spoke to you, probably wouldn't have given you the time of the day even if you had screwed up the courage to ask, but it hardly mattered. You requested the songs. You went to the gigs. You bought the cassette. You remember.

This blast from the hey day of the Canadian New Wave scene of the mid eighties should bring it all back to any one who went to college or played in a band in the post punk era. Daphne's Purple Closet were formed in Toronto around the talents of lead singer Jamie Browning. They established a strong following for a few months in 1984-85, playing clubs in the London-Toronto-Ottawa corridor, and scoring regular airplay on stations like Ryerson's CKLN, and Western's CHRW. On her web site, Browning describes the band as "Gothic sugar punk space-pop," all qualities in ample evidence on this very groovy, six-track cassette, self released by the band in 1984. The production is clean and crisp, and the songs a testament to just how strong so many of the regional post-punk scenes were at the time. If you liked those bands, if you went to those clubs, if you remember that girl, this is for you.

-- Crash the Driver

Daphne's Purple Closet - S/T

01 Open Mind
02 Human Manner
03 Panic Is On
04 Three Piece Suit
05 Nursery Rhyme
06 Cheese and Crackers

Canada Cassette-only Self Released 1984.

Rarities From A.C. Marias

When it's ebbing for them
it's waving for me.

Since we gave you the fantastic A.C. Marias album One Of Our Girls (Has Gone Missing) we have been hot on the trail of her more obscure items. Now we can offer eight tracks that trace the arc of her musical output from the very origins.



Which means Dome, the Gilbert & Lewis project that came about in 1980 as the first incarnation of Wire broke up. This is the purest art formulation of these musicians' many disguises and is perhaps best appreciated in a gallery setting. Listening to the ebb and flow of the muted sounds from CD can be a tiring experience, although there are joys as well to be found in the four albums they issued in rapid succession on their own Dome label. These have been reissued by the wonderful Mute label with titles two per CD, as Dome 1/2 and Dome 3/4 (although the last album was originally not called Dome 4 but Will You Speak This Word).

The second track on the first Dome record is "Cruel When Complete," written and sung by A.M.C., as she was then credited. All the characteristics of her later work are already in place here. We have included this as her most characteristic contribution to Dome. She cropped up again on Dome 3, which is really one extended riff and never that interesting to me. Their final album was a much superior effort. Give it a try if you think that rarified rumblings and ramblings are your kettle of eels. Just don't expect pop music or guitars.



Shortly after, in 1981, the debut A.C. Marias record was issued as DOM 45.1. Two tracks, "Drop" and "So" initiated her penchant for one word titles. Given how similar these were to her Dome contribution, it would have been reasonable to assume this was a one-off project, yet another zany outing from the Wire boyos.



The not dissimilar "The Whispered Year" found its way onto the obscure Touch cassette "Meridians 1," which I bought in 1983. Touch was in the habit of including postcards, art inserts and all sorts of intriguing design elements into their compilations, which mixed every kind of pop and art music together with phonography and enthological forgeries. These tapes are long out of print and will not be reissued, since the rights cannot be cleared. Nonetheless it is evident from the detailed history on the Touch site that they are appreciated for their place in music culture.

By this time A.C.M. was in the group P'O with Gilbert, Lewis, David Tidball and Peter Price. They issued one album, Whilst Climbing Thieves Vie For Attention, an item so obscure even I didn't own it until WMO (Wire Mail Order) re-issued the CD in 1998. Discogs has a hilarious picture of the lads. They look like a post-punk band or something.



Conway wrote and sang one track on the Bruce Gilbert album The Shivering Man, a collection of work he had done for dance (which is how the two first met, I assume). When the record was combined with This Way to form the CD This Way To The Shivering Man Mute dropped several tracks, including the now rare "Eline Cout II." With its sequenced patternings and insistent rhythm, this was a distinct move into a more palatable sound. In fact it's quite lovely, and a template for what was to follow. As a side note, Conway also provided the cover art for these Gilbert albums.



That same year, 1986, the single "Just Talk" crept out on Mute. Two years later followed "Time Was," the Canned Heat cover you already have as a bonus addition to her one and only album. Here we provide "Some Thing," a great mix of "Sometime" from the album. The production on this solo work is a distinct step up from the low-fi sounds she had previously been dealing with.



Conway's final release was the single "One Of Our Girls Has Gone Missing" which came in an alternate mix. The b-side, "Vicious," is a long and not entirely satisfying cover of the Lou Reed song (from Transformer), with David Rogers on bass and Steve Wright on guitar.

In addition to these entries in the discography, you will definitely want to buy the He Said album Hail, a phenomenal work that includes Angela Conway vocals on "Pump" and "I Fall Into Your Arms."

A.C. Marias Rarities

01 Cruel When Complete [Dome] (3:15)
02 Drop (4:33)
03 So (2:31)
04 The Whispered Year (3:41)
05 Eline Cout II [Bruce Gilbert] (4:42)
06 Some Thing (4:12)
07 One Of Our Girls Has Gone Missing [single version] (3:17)
08 Vicious (8:45)

Thanks to the various sites and sources from which we compiled together this collection.

-- Second Chameleon

The Art Of Parties EP by Japan

When the ads for Japan's The Art of Parties EP appeared in the Spring of 1981, every New Romantic worth his or her eyeliner took notice. Gentlemen Take Polaroids, their fourth album, and first for new label Virgin, was, after all, a genre-defining event. Mixing the sophistication of late Roxy Music, with the warm ambiances of Eno's solo work, and the sinewy grooves of Chic, GTP had quickly become a touchstone for all connoisseurs of arty dance music, a resounding rejoinder to any critic who claimed the new music was merely a fashion accessory. On songs like "Methods Of Dance," "Taking Islands In Africa" and the Satie-influenced "Nightporter," it was not a matter of form eclipsing content, but of form becoming content, the one wholly a function of the other. I remember setting a friend's speakers in the window of our college residence rooms after the last of our exams, playing this album over and over for all those assembled on the lawn below. As Sylvian's world weary voice floated over the grassy quad, we all passed into a sun-soaked longueur.

What then would The Art Of Parties bring? Well the cover offered a somewhat more casual-looking David Sylvian, a plaid shirt rolled up at the sleeves and over sized glasses peeking out from his teased blond hair. He appeared to be holding headphones up to his one ear, while dreaming of a Chinese boat making its way across some distant river. Not much in the way of clues, then. And the record? The a side featured the band's most richly sumptuous dance track to date, wildly syncopated rhythm guitars and horns bursting across Steve Jansen's cascading drums, and Sylvian offering one his most irresistible choruses. Add in Mick Karn's increasingly baroque fretless bass, Richard Barberi's shimmering oriental synth textures, and some female backing vocals, let the whole thing run for nearly seven minutes, and you needed the three subdued instrumentals that followed just to gather your senses.

This Canada-only EP has suffered a cruel fate in the digital age. Two of its b sides ("The Experience of Swimming" and "The Width of a Room") were used for bonus tracks to the most recent reissue of Gentlemen Take Polaroids. The lavishly-produced box set version of Tin Drum, meanwhile, included the a side and the remaining b side ("Life Without Buildings") on a separate disc, but left off the other b sides in favour of various remixes from the album. So here is The Art Of Parties EP as it first appeared in the stores, with the original b sides restored to their rightful running order. Can you dance to it? Probably not. Is it art? You bet.

-- Crash the Driver

Japan - The Art of Parties EP

01 The Art of Parties (Extended)
02 The Width of a Room
03 Life Without Buildings
04 The Experience of Swimming

D. Sylvian: Vocals, Guitars, Treated Piano, Synthetic Brass
M. Karn: Fretless Bass, Finger Cymbals
S. Jansen: Drums and Percussion
R. Barberi: Synthesizers

Produced by John Punter and Japan

Canada 12" Virgin [VEP 305] 1981