I first met Steve and Chris in the Broken Doll Pub (Sadly no more... it was sacrificed for a new bypass... a disgrace). We bonded over pints of cheap larger and a mutual appreciation of 4AD artists and The Smiths. They were The Joans, and just four weeks later, after my boyfriend at the time left a demo we had done together in Steve's flat, I was singing a version of "Sunday Morning" by The Velvet Underground with them, in the very same pub, for a benefit to save it from the bulldozers and town planners... six months later I had joined the band and replaced Steve as the main vocalist, we were now Dubstar, had a manager and a load of demos, recorded in the managers' dining room in Darlington, who thought he might be able to get us a record deal. Things seemed to move so quickly I had to pinch myself to make sure I wasn't dreaming... I kept thinking either I had sold my soul or done something very very good in a previous life. It's terrifying and exhilarating in equal measure to see all you ever wanted start to happen.
After a few trips to London to meet Andy Ross of Food records, we signed a record deal, met Stephen Hague, which was a pretty starstruck experience for all of us, being big Pet Shop Boys and New Order fans and before we knew it, we were recording what was to become the critically acclaimed album "Disgraceful" at Peter Gabriel's (now there is a man with amazing eyelashes) gorgeous Real World studios (or unreal world as it felt like at the time!) in Box near Bath. I have fond memories of the swans chasing the boys as they tried to go for breakfast and doing an emotional vocal in the main studio... (which had a water wheel underneath... it was that kind of place)... with the lads rowing past the full length studio window making faces and obscene hand gestures at me... happy days...
With the wonderful William Rice of Savage and Best press on board and Robert Steel's amazing thought provoking artwork, we were all set for a ban from Woolworths (in 1995 had one of the highest turn over for record, particularly singles, sales). It was a proud moment. A ban on London Underground followed and I was gutted to have to compromise the iconic pencil case/balloon artwork with a cute bunny slipper. Some people have such filthy minds... and no sense of humour...
Stars, Not So Manic Now and Anywhere graced the top 20 and so began the endless merry go round of touring the UK and the rest of Europe. TV appearances followed making us all shy and self concious... most notably were Top of the Pops and The White Room (where I got to see a little more of Iggy Pop than I bargained for thanks to his see through trousers... and yes... its magnificent!) Festival appearances followed... my favourite being Reading 96, where our encore started with me shaking my way through an acapella version of "The Day I See You Again" mixing into "St Swithin's Day" with the boys.... and Mr Billy Bragg.... a truly special moment.
Work began on our second album, Goodbye, in Stephen Hague's stunningly beautiful barn/studio conversion in Woodstock, upstate New York. Neighbours included Robbie Robertson and Bob Dylan and though I didn't see either of them I did spy a hearbreakingly cute baby bear that I hoped wasn't too far from it's mum. Incredible. It was December, freezing and gorgeous and the view out of the studio window onto the snowy Catskill mountains was awe inspiring. Upon arrival, Chris greeted me with the unforgettable line "Its places like this alien abductions happen" which kept me, highly strung at the best of times, awake at night, particularly as my room didn't have curtains. It was a slightly less sinister "Twin Peaks" and we hung out in the evenings at the Tinker St Cafe and The Pine Crest Pub... (now that was straight out of Twin Peaks... complete with a supporting cast... fabulous). I particularly remember Haguey's patience when the vocal to "Ghost" took over 3 days to record because I couldn't stop weeping... the line, "I still cook for two you know" to this day never fails to make me cry. Not one for the live show then... Chris ended up in the vocal booth with me administering Kleenex to my tears.
Once again the round of touring, heavy drinking and TV began again. Highlights included TFI Friday and going onstage at Glastonbury in my wellies and being photographed, miserable on a chemical toilet... I wouldn't take off my kagool... but stubbornly wearing false eyelashes with pride.
By 1999 I think we were all starting to unravel both personally and professionally. Years of heavy drinking and hangovers, living a nomadic lifestyle, no real feelings of security or routine and forgetting we had one of the best jobs in the world were starting to take their toll. For me particularly, my sense of self esteem was so low I kept thinking that things like this don't happen to girls like me. For all the people that tell me now they had my poster on their walls there was a shy geeky Northern girl who never really fitted in anywhere and was bullied at school. My mantra was "This won't happen until I get an arse like Kylie". After "Make It Better" failed to set the world alight (even though it included the wonderful "Self Same Thing") we called it a day.
In September 2009 we were approached by Buffet Libre regarding a project for Amnesty International. They were asking artists from more than 50 countries to cover songs from the 70's, 80's or 90's, a sort of 'musical atlas'. Artists involved include Marsheax from Greece, BlackStrobe from France, Ryuichi Sakamoto from Japan, Jori Hulkkonen from Finland and Bonde Do Role from Brazil. Included amongst the Uk artists are Official Secrets Act, Mark Almond, Mogwai ans A Certain Ratio. After much deliberation we decided on "I'm In Love With A german Film Star" and got approval from "The Passions" which was really lovely. Buy Peace Compilation
July 2010 we are back in the studio, picking up where we left off. Watch this space...
