It has been an absolute joy and a pleasure compiling my online scrapbooks about The Jam over the last 18 months or so, but for this blog post I am returning once more to the pages of Kindred Spirit.
Members of several of the bands I featured in my fanzines went on to achieve success with other bands and projects. I thought it might be rather interesting to see where the journey has taken some of them.
The first person under the
spotlight is Deni (also known as Denny Gibson and Yo-Yo), who fronted avant-garde
I found a really interesting broadcast from 2016 on the Music Life Radio website, where Deni speaks about her wide and varied career in detail. She most certainly started in style too, when in 1975 she won a competition run by ‘Top of the Pops’ magazine, resulting in her being presented with a guitar by Marc Bolan.
In the beginning she played with bands called Wildfire, The Lulu Boys and Mistress.
LeLuLus first came to the attention of the music press primarily because as well as playing to audiences at traditional music venues, they played a series of much more intimate gigs in people’s living rooms. This was something that soon gained momentum. Pete Shelley appeared sat in somebody’s armchair one time. John Otway and Wild Willy Barratt arranged their own private performances.
Following on from the success of this they launched the Commuter Computer tour, where they played in people’s work places. I would love to have been a fly on the wall at one of those gigs!
Through researching this post I found out that LeLuLus supported The Jam amongst other bands. I wish I’d known about that when I wrote my fanzine review!
In March 1985 the band appeared on Channel 4’s legendary music show The Tube. I found a brief clip of the interview Deni did with the late great Paula Yates along with a live performance of ‘Down My Spine’.
Have a listen and see what you think
I don’t think I appreciated how experimental LeLuLus were when I wrote the piece for Kindred Spirit back in 1983. I was not particularly a fan of electronic music and the feminist in me took rather a dim view of the fact that Deni was a self confessed “sex object”. I see now it was all part of a much bigger picture.
My rather derogatory comments formed part of an interview that appeared in the Belfast fanzine Youth Anthem. I should add however that I never once described Deni as “dumb”.
Having listened to some of the creative work she has produced through Timekode over the decades that followed - some of which was way ahead of its time - if I’d been asked to write a review now I’m sure I would have taken a different view.
Here’s the feature as it appeared in Kindred Spirit issue 2:
ABOUT THE BAND
“Creative, deviant, sexual, self-abusing, negative, intelligent and in need of behaviour modification” are just some of the nicer words used by Denny Gibson to describe the three members of her avant-garde electro pop/rock outfit – LeLuLus. Determination, egotism and as much publicity as possible is the name of the game.
Although they’ve
only been together in their present form for a mere nine months, LeLuLus have
already received much acclaim in their home town of
The future looks pretty bright too, as the band have recently secured a publishing and production deal with producer Oswin Falquero. This guy is apparently known for his work with Linton Kwesi Johnson, Imagination and Black Slate amongst others.
All this plus the possibility of an appearance on TV show ‘Something Else’ should give Lelulus the publicity they so badly desire.
Coupled with hard work and constant gigging around the country, the trio most definitely have a saleable image. Perhaps this is what separates them from other equally competent up-and-coming bands, because there is no escaping the fact that image plays a very large and important part in the music world of 1983.
Teenage boys will love self-confessed sex object ‘Delicious Denny’. Feminists will cringe at the very thought of her. I must admit, I can think of better ways of reaching the top of the ladder myself, but look at Debbie Harry, Natasha and Beki Bondage. Denny’s approach is certainly nothing new. It’s a publicity stunt that rarely fails.
ABOUT THE MUSIC
I managed to obtain a copy of the band’s seven track demo tape. Before you read any further I suggest you bear in mind the fact that this is only an example of “the broader, more commercial side of LeLuLus, whereas their live show is far more exciting with an emphasis on rhythm and motivation.”
The seven tracks seem to fall into three different sections and probably the easiest way for me to tell you about la musique de LeLuLus, is to describe each section in turn.
First and foremost is the opening track ‘Indian Fires’ and also ‘F-Beat; (meaning Fever Beat). Both share the same poppy, hum along appeal and the sort of chorus you can’t erase from your mind.
‘Indian Fires’ gives an almost tribal effect, with powerful drum beats and Adam & The Ants type chants echoing in the background.
‘F-Beat’ could quite easily have been an early 70s top 20 hit, bearing great similarities to songs like ‘Get It On’ and ‘Blockbuster’.
Both move forward at a fast pace, proving that LeLuLus really can be an even blend of man and machine sometimes.
Section two… (sounds like a maths exam paper dunnit?) would be made up of ‘One Voice’ and ‘Untouchable’.
The former opens with the words “Oh there’s just one voice/singing all alone/oh it’s just one less than two./ Oh there’s just one voice/singing all alone/as I live my life as one/without you.”
The vocals sound childlike, deliberately so. But nevertheless it’s the ideal pop song, combining the use of computerised sound effects with a catchy little melody line and a handful of simple sentiments.
Slightly more up-tempo, but not quite as infectious is the final track ‘Untouchable’. Once again here you have a prime example of a very simple melody line, spiced and improved with the aid of technology.
In the third and final section is the band’s most recent single ’Boom Boom’ along with ‘Spaceman Bassman’ and ‘Africa’.
Being one of those individuals who actually likes a certain degree of life and energy in their music, all three of these tracks act like a rather unpleasant reminder. A reminder that we live in an age where silicon chips, flash gadgets and video screens are rapidly becoming more important than people and emotions. I arrive at this conclusion not because of the lyrical content (most of which is difficult to decipher) but because of the bleak mechanical sound which prevails.
On ‘Boom Boom’ a noise rather like someone winding up a clockwork mouse ticks and creaks throughout.
“I know what happens to your heart” whispers Denny in soft, seductive tones, to which a voice comparable only to that of a Dalek replies “What?”
The conversation continues in this way, but it’s not until the very end of the record that we do find out what happens to his heart. Suddenly the clockwork mice, Daleks et al start to beat louder and faster, louder and faster like a human’s heart occasionally does.
If all this sounds like a huge insult then I apologise, but at least it proves that LeLuLus manage to bring atmosphere into their music successfully, thus creating weird visions of no-man’s land and dark desolate futures. Perhaps that’s not what was intended. Perhaps I’m taking all this just a little too seriously.
So there you have it. Certainly distinctive, possibly recognisable and almost unique. Whether LeLuLus can make a favourable impression on the necessary people remains to be seen.
*****
Kindred Spirit Fanzine Jill Webb Words
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I think it's fantastic research & a great work, Jill! I feel it's a book coming nearer & nearer! Can't wait to read it! Joe
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