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When I first
received a demo tape from The Thamesmead Rollers, way back in 1992, I didn’t
know quite what to make of it. For a while, it served as a coaster in our
office, but eventually I summoned up the courage to listen to it. It was
awful. It wasn’t just Marc’s lack of singing ability, musicianship and
songwriting skills, it was the lack of that special something extra. “You’re
wasting your time,” I told them, “you’re crap, you’ll never get anywhere.”
But they’d been drummed off a music course for being too old and the tears
were rusting their zimmer-frames, who was I to deny them a chance at their
15 minutes? Marc Bell owns and runs Brain Dead Studios in London, he’s
worked with such luminaries as Mike Westergaard (The Blessing) and his
‘awful’ band went on to be one of M&E’s all time top 10 sellers. Oh, and
they are bigger than ever now, their contribution to the New Year 2014 M&E
Showcase racked up over 4,500 plays. What is it with you people? Do you not
like your ears or what? I caught up with the man himself to get some tips…
The Thamesmead
Rollers: Marc, Debbie, and Derek, back when they were young, so long ago
that the publicity photos were still produced in sepia.
MM: It looks like the piss-taking started almost immediately, my
first review saying how great it was to see you guys doing your own thing at
an age when you’d normally send it out to be done. That first M&E release,
“Wasted Years” (M&E 119, December 1992) was probably the biggest surprise of
our first year in business. In spite of it sounding like a 1973 edition of
‘Top Of The Pops’ recorded off the TV with a cheap microphone, it propelled
you to our 7th best selling band of that period. How did the three of you
come together in the first place, and perhaps you can tell us something of
the creation process that came up with the rather unique Thamesmead Rollers
sound?
MB: That was a long time ago back in
the early 80’s….. the rumour goes we met at a Bruce Springsteen concert (on
‘The River’ tour). And we all did live in Thamesmead at the time (apart from
Derek, who was just down the road at Charlton). We jammed together down at
Waterfield (Thamesmead) and hit it off straight away. Our drummer at the
time was Shane. He only knew one beat, but played very loud, so he got the
ticket. I guess at the time we were a 70’s covers band. Within a couple of
years, we were the backing band to an up & coming local singer/songwriter
called Andy. Just as we were getting success on the London circuit, Andy
quit music to give away Bibles in Eastern Europe, hence my rather biased
views on man-made religion. By, I think, 1984, I had moved to Plumstead and
built my first small studio….. later to be called ‘Brain-Dead’, after a
review in Making Music….. ‘The engineer must have been brain dead to have
recorded this’.
MM:
It's not just me then.
MB: By the time we sent you our first
tape, we had been together getting on for 10 years and had written &
recorded over 200 songs.
For the sessions
of ‘Wasted Years’ we had a Fostex 8-Track, a Seck 12/8/2 Desk, 1 Compressor,
1 FX unit, some MIDI gear & a selection of very cheap mikes. The vocals were
recorded on the cheapest Shure Prologue microphone. First we’d start with
rough demos on a Fostex X30 (4-track). Then we’d program a rough drum part &
MIDI instrumentation. The 8-Track & gear was then hauled to Waterfield &
we’d record live drums, percussion & a bass part in sync with the MIDI
tracks. This was then taken back to our studio & we built the rest of the
track. We usually finished a new recording from writing to mix-down in 10-14
days. These days I like to work fast too….. if you can’t demo a song on an
acoustic or piano first, you know you’re wasting your time & no amount of
studio time & production will save you. |
MM: To
celebrate the first complete year of Music & Elsewhere, we issued a
compilation called “The Best Of M&E 1992/93” (MMATT 39) in April 1993,
featuring our top 10 selling artistes to that point. My band were no.1,
nah-nah nah nah-nah. And there were you guys at no.7, represented by “Down
Of The Farm” and “Twenty Odd Years”, go figure. In the summer of 1993,
“Wasted Years” topped the M&E chart, we’ve long suspected anonymous bulk
purchase by sympathetic staff at Help The Aged. So, did you expect your
material to go down so well on M&E and how did that sudden success begin to
change things for the Rollers?
MB:
Actually we never expected or wanted any success. Back then we used to
write, rehearse & record 2 days a week and take any live gigs on offer. Our
first stoke of luck was getting in touch with the folk singer Michael
Chapman, (an idol of mine…. it was fantastic meeting the guy) he recommended
us to ‘Right Now Records’. So we travelled to Cumbria for a second time to
record the ‘Yellow EP’ (vinyl & cassette). Mel Hogan (Mega-Music
International) then approached us & signed us for management. He agreed to
our terms for a percentage of our P.R.S. He edited, then licensed bits of
our stuff for Jingles & stuff…. I still see some of it turning up in my
P.R.S. statements to this day…. Fuck knows what percentage he took, but he
was a great guy! One of the few people in the music biz I’ve never had a bad
word for. Around this time we were approached by Radio Thamesmead. One of
their DJ’s had suffered one of our gigs. So we had some interviews and
started to get regular airplay. The first track we had played was
incidentally, ‘I Will Survive’, a Derek vocal ballad. I remember sitting at
home and listening to the radio… I thought, ‘Fuck me, that’s our song!’ We
moved on to giving free live shows & DJ’ing at hospital radio stations.
Joyce Green, was my favourite, it was a mental hospital and the control room
& live area were packed every-time we visited. (The facility was built from
money donated by Sir Mick Jagger). Within a year we’d had interviews &
airplay across the UK Independent Radio Network. After ‘Wasted Years’ topped
the M&E sales chart, people started to approach us. Especially companies who
asked us for more commercial material…. But to paraphrase Neil Young, ‘We
just headed for the ditch!’ When some publishing rep at CBS puts a bottle of
beer on the table and tells you ‘You write great songs, can you drop the
band & write for us instead.’ You know all he has is $ signs for eyes…. Over
20 years later I pride myself on never selling out. The Clash taught me that
back in ’76.
A more recent publicity still,
from after the invention of colour film...
MM:
Although I’d done nothing to you, you invited me to your Plumstead studio to
do a session for your next album. I only said yes coz I knew Kate Bush lived
somewhere nearby and I might have bumped into her in the kebab shop one
night. What you wanted was a bit of lead on “Armageddon Time”, but I’m not
much of a lead guitarist and just |
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