Prior
to the album's release at the end of
May, another single, 'Caught In My
Shadow', was released. The track was
written during January 1990 at a time
when Miles wasn't sure if the group
still had a future. The video was
filmed outside Birmingham Cathedral
during a short unpublicised secret
'unplugged' gig in April 1991.
Originally, the group had wanted to just
"turn up outside the cathedral and see
who notices" but permission had to be
sought from the local council, the local
police had to be consulted and it all
started getting complicated so the plan
for an impromptu appearance was dropped.
Another alternative suggestion for the
video involved a camera being strapped
to the front of a car and then driven
around the city - an idea inspired by
The Cure's 'Jumping Someone Else's
Train' video which showed the
London-Brighton train journey at high
speed. Another (thankfully dismissed)
idea was to follow the group as they
walked around Birmingham.
Despite
attempts to keep the appearance quiet,
news of the event was broadcast on local
radio the night before, guaranteeing a
turnout of a few hundred fans who were
treated to several playbacks of the new
single as well as an acoustic 'greatest
hits' set.
...Picture yourself out in
Brum on a Saturday with
pigeons in trees and snow
laden skies...
Because that was the scene
on April 20th in the middle
of Pigeon Park, just outside
Birmingham's cathedral.
Around 11 o'clock, a fairly
large crowd had gathered,
and about them milled
several film cameramen. An
impromptu gig by St. Cliff
the Evangelist perhaps? No,
far too many Ned's Atomic
Dustbin T-shirts on view for
that. A "Help The Aged"
rally possibly? No, not
enough Inspiral Carpets
T-shirts for that. So what
then?
The answer was much simpler
and even more interesting.
Those legendary pop stars
The Wonder Stuff were in
town shooting the video for
their next chart-topping
single, 'Caught In My
Shadow'. Following Miles'
recent assertions in the
press that should the band
ever lose their popularity,
they would turn their
attentions to busking at
tube stations, the Stuffies
decided that it was probably
wise to get some practise
in, just in case. And so,
there they were, surrounded
by a crowd of 200 fans
busking their way through
some of the greatest pop
hits of the day, such as 'A
Wish Away', 'Don't Let Me
Down, Gently', 'It's Yer
Money I'm After, Baby' and
'Unbearable', ably assisted
by some vociferous backing
vocals from the crowd, some
even managing a reasonable
approximation of the right
key for the right song. As
the snow began to fall,
there were even a few
seasonal choruses of 'Jingle
Bells' to keep us all warm.
Bemused Saturday shoppers
passed by throughout the
filming, one looking at the
state of the crowd before
declaring it "weirdo music".
After about an hour and a
couple of run throughs of
'Caught In My Shadow', the
temperature plummeted and
the band buggered off to
their bus for coffee, but
Birmingham's hardy citizens
remained firmly in place,
busily passing the time by
inspecting the genitalia of
brass monkeys and issuing
witty, pithy comments like "Fuckin'
hell it's cold". All was
soon well however as the
Stuffies returned to conduct
some more community singing
and run through 'Caught In
My Shadow' a couple more
times, as cameramen
clambered on top of every
available monument to get a
good shot, one even filming
from the roof, caught
between two gargoyles with
more than a passing
resemblance to Shaun Ryder.
Finally the director
pronounced himself happy,
consigning the band to half
an hour of signing T-shirts,
records & cider bottles.
When everyone had packed up
and gone home, I suddenly
realised that despite all
that honest busking
endeavour, nobody had given
them any money. They'll just
have to stick to making
weirdo music I suppose.
Les Johnson, Sharing The
Love |
Climbing to No. 18 in the charts, the
single also featured a live version of
Lennon's 'Gimme Some Truth' as one of
it's bonus tracks. Often appearing
in the set-list of many of their 1989/90
gigs, Miles commonly namechecked a
number of his journalist friends during
the track although this version,
recorded at Pontefract's Minsthorpe High
School in 1990, is without those
references as well as very little
swearing (as was almost the whole of the
performance at the school) due to the
age range of the audience.
Following
on the heels of 'Caught In My Shadow'
came the release of the group's third
album, 'Never Loved Elvis'. Straying
away from the rough sounds of 'The Eight
Legged Groove Machine' although
continuing the acoustic, and sometimes
country, theme of some of the 'Hup'
tracks, the album saw Mick Glossop at
the production helm in place of the
usual Pat Collier. Whereas Martin Bell
had only played a small part on the
second album, 'Never Loved Elvis' was
dominated with his accordion, fiddle and
banjo playing leading many to draw
comparisons to one of Miles' favourite
groups, The Waterboys. Rocketing into
the album charts at No. 3, the album was
to become the most popular and
best-selling album of their career and
is possibly one of the best albums of
the early nineties.
The
majority of the album was written around
the time of The Bass Thing leaving, and
many of the lyrics reflect this state of
affairs - such as in 'Maybe' where Miles
is evaluating his options for the
future. The first single, 'The Size of A
Cow', was actually written and
originally recorded in August 1989, but
had been discarded for possible future
release as it could never be played live
with no-one able to play the piano
section. When Martin Bell joined the
group full-time and told them that he
could play the instrument, the track was
revived.
Some of
the tracks also reflected the changes in
Miles' life between 1989 and 1990, such
as Rob's departure from the band and
Miles' marriage to Mary-Anne which he
also referenced in the liner notes to
the 'Sleep Alone' track - "Clifford
laughed at me every time I jumped to
answer the phone. Ha fuckin' ha. He
didn't know what I knew." The
phonecalls in question were primarily
from Mary-Anne.
The
album also featured a new version of
'Play', fifteen months after it's
original scheduled appearance on the
'Luna Thug' EP, which differed from the
original recording with additional
fiddle and a different bass part due to
the line-up changes.
NEVER LOVED ELVIS
Third album decision time.
Undoubtedly a direct No. 1
hit but is it peak plateau
or superbooster? Succeeding
in simultaneously standing
still and surging forward,
this isn't 'Sgt. Pepper' '91
but it could be their 'Dark
Side Of The Moon'. Lyrically
there's no new insights,
still ploughing the fertile
row of sneer 'n' cynicism
with razor blades slicing
through the familiar targets
of hypocrisy, the biz, the
nation, prejudice and a
pocketful of fuck you.
Musically though, there's
new corners, old lampposts
(wasn't 'Size Of A Cow'
really The Small Faces with
a fiddle?), mezzanines,
rooftop gardens and dark
cellars; split level
redecorating jobs and
straight from the lab
steamers. Already noted
'Mission Drive' opens
proceedings then it's a
swarm of angry violin into
'Play', driven on
desperation, racing down a
tunnel, dogs at its heels.
'False Start' is. Distort
mindflip. And for real with
'Welcome To The Cheap
Seats', carousel, vertigo in
the hall of mirrors,
disorientated; "in another
world he can wear a dress".
Middle eight musical box
ballet. A classic single.
Radio will probably think
it's about transvestism.
Have a 'Cow'. Then 'Sleep
Alone'. Almost wistful.
Bloody bitter romantic.
Immeasurably sad. A heart
not all anger, Miles.
Bastard. 'Donation', already
given. 'Inertia' phases
between heads. Spoiled for
choice. Not the strongest.
Keeps on moving to a
definite 'Maybe'. The waltz
of indecision. If in doubt,
do nothing.
Harmonica, more fiddle and a
namecheck for Michael Stipe.
'Grotesque' met Bo Diddley.
Spleen machine,
misogynistic. Not a
Valentine card. 'Here Comes
Everyone', The Waterboys in
a twister. 'Caught' in my
single. And final 'Flying
Five' reborn '38 Line Poem',
a tour-de-force finale from
naked to robes of splendour
and tape snag end. Nobody's
perfect. They're just asking
like everybody else. Who's
Elvis?
Mike Davies, Brum Beat |
Asked
about how he felt about 'Never Loved
Elvis' compared to their previous
long-players, Miles responded, "I love
this album. I listen to it every day,
which I didn't do with the others. I
play 'Sleep Alone' every morning when I
get up." "I think 'Elvis' has a sound
and a collection of songs that we'll
stay with for a while. It's going to be
a long time before I'm tired of playing
them live. I'm happy to play every song
in our set now, even 'Give Give Give...'
and 'Unbearable'. It feels good to fall
back into the old stuff."
Not
everything went as planned with the
recording of the album though. Usually,
the group insisted on being "very sober
and studious" whilst recording but when
it came to laying down the vocals for
'Donation', things were a little
different. "I was absolutely blind
drunk," says Miles. "I wanted to sound
hateful when I sang it. The night the
Gulf War kicked off, I was paralytic. I
watched the TV for half an hour, and all
that CNN stuff coming in, and I felt an
overwhelming sense of hate and fear and
Blue Nun. I thought, 'This is an
opportunity to get the vocal down on
'Donation'. I'd never done that before,
except for 'Radio Ass Kiss'. I was
absolutely slayed for that."
An
unpublicised warm-up gig for their
forthcoming mini-festival tour took
place on June 20th at Nottingham
University with support from The Paris
Angels and Kingmaker, which premiered
the band's 'Never Loved Elvis' set and
was also notable for a major bust-up
between the two support bands when some
equipment was allegedly stolen.
On
June 22nd 1991, The Wonder Stuff began
their Sharing The Love mini-festival
tour at Walsall FC's Bescot Stadium. The
first - and to date only - concert ever
to be held at the football ground, Les
Johnson refuted claims of the group
achieving stadium rock status by saying
in Select magazine that "if they are a
stadium rock band, then they're in the
fourth division."
Subtitled as The Big Day Out gig, it
featured support from Kingmaker,
Swervedriver, Spirit Of The West and New
Fast Automatic Daffodils. Julian Cope
and Big Audio Dynamite had been
approached initially but declined,
feeling that the event was too much of a
rock gig - Julian Cope went on record as
saying he couldn't get the right 'vibes'
in daylight. However, it was the
Stuffies that the crowd had come to see
and they weren't disappointed, despite
the atrocious weather conditions that
caused several equipment failures and
inevitable delays - it was a changeover
of over 90 minutes between the New Fast
Automatic Daffodils and the Stuffies
themselves. As a result of the
conditions, the set-list was constantly
changing with 'Unbearable' replacing
'Sleep Alone' when the Bell's fiddle
became waterlogged and a lengthy pause
at the end of 'Cartoon Boyfriend' when
Paul's bass rig went down.
During
the encores, the group were joined on
stage by comedian Vic Reeves and his
comedy partner Bob Mortimer for a
version of Free's 'A Little Bit Of Love'
and one of Reeves' own compositions
'Oh... Mr. Songwriter', which was marred
only by Vic forgetting to switch his
microphone on. A long lasting friendship
was established between the band and the
comedy duo, with suggestions being made
for a collaborative single in the future
as Vic was embarking on a moderately
successful career as a pop singer -
having already charted with a cover of
the film theme, 'Born Free', which he
had debuted on his Big Night Out
television show.
Although an excellent performance as it
stood, a lot more had been planned for
the event but had to be abandoned due to
the weather conditions. Mobiles of cars
and clouds - as per the 'Never Loved
Elvis' sleeve - were due to have been
hung but had to be left at the back of
the stage area as the wind might have
sent them careering stage-wards. Another
treat left unseen was a £3,000 25 foot
inflatable Elvis Presley - after it was
noticed that it bore more resemblance to
snooker star Ray Reardon than to the
King himself.
It was
at this point that the band further
augmented their line-up with the
addition of Peter Whittaker on
keyboards, reproducing Martin Bell's
instrumentation on tracks such as 'The
Size Of A Cow' and 'Don't Let Me Down,
Gently' thus allowing Bell to
concentrate on other instruments. Though
never an official member of the group,
Whittaker was an integral part of their
touring ensemble from this point onwards
and it was rumoured at one time that he
was going to become a full-time group
member
Following two UK dates at Brighton's
Centre venue (at which a new track,
'Sing The Absurd' was premiered - having
been recorded just two weeks after
sessions for the 'Never Loved Elvis'
album had finished) and Glasgow's SECC,
the band then returned to America in an
attempt to further their popularity. In
addition to playing gigs with the whole
group, Miles also performed a couple of
solo acoustic concerts in New Jersey and
Los Angeles as part of a month long
promotional tour of America with Martin
Gilks, where he played a selection of
tracks from the Stuffies' back catalogue
along with cover versions of some of his
favourite tracks such as The Jam's
'That's Entertainment' and the Indigo
Girls' 'Closer To Fine'.
Returning to the UK, the band played at
Manchester's Cities In The Park Festival
on August 3rd, an appearance that was
very nearly cancelled after Miles came
down with a bout of 'flu. However, the
performance went ahead with a subdued
Miles neglecting to say much between
songs and generally trying to rest his
throat. This must have had some effect
though as the following day they managed
a successful performance at Ireland's
Feile Festival.
Another
tour of the States was lined up and to
promote it, a special double CD titled
'Greatest Hits And More More More', was
issued in Canada to promote the 'Never
Loved Elvis' album. Released in a
slipcase sleeve with a picture of Elvis
Presley on the front and crossed-out
track listings for a fictitious Elvis
compilation album on the back, it
coupled the album with a additional
compilation CD which collected together
seventeen album and single tracks
released between 1988 and 1990. Now an
extremely rare item to find, both inlay
booklets contain messages on the covers
that are best viewed with a light
shining on them - one has "Never Loved
Elvis" written all over it whilst the
other reads "Never Liked Compilations".
It
was during their Never Goin' Back To
Memphis tour in September and October
that some members of the Stuffies road
crew got themselves in trouble with the
American Police. After the concert in
Philadelphia, the road crew found that
somebody had parked a car behind the
venue thus blocking in the equipment
truck. After some discussion, it was
agreed upon to "bounce the bastard onto
the sidewalk". Coming out from the
venue, manager Les Johnson found members
of the Philadelphia Police Force
arresting three people - roadies Jez and
Russ plus Dennis, a friend of Jez's.
Instructing the group and the rest of
the crew to continue on with their
journey (next stop, New York) Johnson
began proceedings to release the
suspects from their holding cells. After
an enormous amount of driving between
police stations, courts and more police
stations, Les discovered that the owner
of the car was now claiming that items
amounting to around $2,000 had also been
stolen from his car by the three
offenders. Nearly twelve hours later,
the three were released on bail, quickly
travelling to New York for the next gig.
According to reports, Rob Jones made an
appearance at the venue to watch the
group during their sound-check though it
is not known how long he stayed or
whether he actually spoke to anyone in
the group (unlikely given that he had
had no contact with anyone from the
group since he left at the end of 1989).
On
their return to face the charges bought
against them, Jez, Russ and Dennis were
sentenced to watching a videos on how to
be good citizens and about the dangers
of bumping cars. Unknown to the trio at
the time, the group had also arranged
for each to be made to write a 5,000
word essay on what they had learnt and
how they were going to become better
citizens in the future.
Around
the middle of October, the band found
themselves at the top of the UK singles
charts in the UK with 'Dizzy' - a
collaboration between themselves as
backing band and Vic Reeves on lead
vocals. A rendition of Johnny Cash's
'Ring Of Fire' had originally been
considered for recording, which the
Stuffies went off and learnt - complete
with Mexican cowboy brass - only to find
that Vic actually preferred Tom Jones'
R&B version of the track. After this
idea and Miles' suggestion to do a
Hawkwind cover were dropped, they
eventually settled on the Tommy Roe
track, 'Dizzy'. Backed with a Vic
Reeves-only track, 'Oh... Mr.
Hairdresser', the 12" single included a
poster showing Vic surrounded by the
group.
Number
one in the UK singles chart meant the
call was made once more for the
obligatory appearance on Top Of The
Pops. It had become the band's
good luck charm to drink a big glass of
Tequila before going on-stage on these
(and similar) occasions so, fifteen
minutes before their performance was due
to be recorded, they (the Stuffies plus
Vic and Bob) knocked back a large
Tequila - on top of the voluminous
amounts of alcohol they had already
consumed during the day. Shortly
before they were all due to go onstage,
they were told that there would be a 20
minute delay so more Tequila was called
for. By the time they were
eventually called to 'perform' the track
in front of the cameras, everyone was
very much worse for wear. The
single knocked U2's 'The Fly' off the
top spot in it's first week of sale and
stayed there for two weeks, being
removed by Michael Jackson's 'Black Or
White' after two weeks.
Following the US tour and promotional
appearances, the group performed a
handful of dates in Australia. To
coincide with the tour, a special single
was released on cassette and CD which
featured 'Caught In My Shadow', the demo
version of 'Play' (as recorded at
Rockfield Studios in 1989 for inclusion
on the 'Luna Thug' release), the
Paranoia Mix of 'Circlesquare' plus live
versions of 'Unbearable' and 'Who Wants
To Be The Disco King'. Following this,
the band also played their first - and
only - tour of Japan.
Returning from Japan towards the end of
1991, they played a few more UK gigs.
The tour opened at Manchester's huge
Greater Manchester Exhibition Centre (G-Mex),
taking in two dates at Leicester's
Granby Halls and two dates - later
expanded to four - at London's Brixton
Academy. Support on the tour was again
provided by Eat and at one of the dates
at the Brixton Academy, Miles had a bet
with Eat's lead singer, Ange Doolittle,
that he wouldn't go on stage and perform
totally naked. To the amusement of the
audience, Miles lost the bet - Ange sang
the entire show naked which left Miles
(uncommonly) speechless!
Other
London dates included a secret Christmas
Celebration show at the Town & Country
Club on December 19th. The show was
recorded by the group with the intention
of releasing it as apart of a live album
in the future. However, the
bootleggers beat the group to it and the
results can be heard on the 'Winter
Warmer' double album - a double
LP that has possibly the worst sound
quality of all of the Stuffies'
bootlegs. However, the album's makers
must have realised that not many people
would want to buy an album that sounds
as bad as it does because they added
three excellent - and well recorded -
tracks at the end of the second record
which made the album a more worthwhile
purchase. Originally recorded for Mark
Goodier's Evening Session programme on
BBC Radio One in 1991, 'Caught In My
Shadow', 'Unbearable' and 'Sing The
Absurd' - it's first time of release on
record - are all acoustic renditions.
A 'proper' release of the show remains
in the vaults...
Following their Town and Country Club
performance, the group returned to
America to play an acoustic set for the
K-ROQ radio station. Originally it had
been planned for the whole group to
perform but just hours before the group
were due on stage, Paul was taken ill
with chest problems and had to be taken
to hospital. Gilksey then decided that
he would rather not play either so
Miles, Malc and Fiddly performed an
acoustic set.
In
the Christmas issue of New Musical
Express, some of the year's musical
stars were asked to dress up as their
favourite artists. Whilst most people
chose something 'sensible', Miles
decided that his favourite star of the
moment was Dee-lite's Lady Miss Kier and
consequently appeared in the issue
wearing a skintight catsuit and make-up!
The
following night, on December 20th, BBC
Radio One broadcast a 60 minute In
Concert Special featuring the Stuffies
recorded at their Manchester's gig nine
days previously. This broadcast later
turned up as a bootleg CD called
'Inertia', of which an alternative
version was bootlegged in Australia
which featured the entire 55minute as
one long track. A couple of years later,
a re-edited version of the recording
surfaced again as an official BBC
Records release, 'Live In Manchester'.
As the
New Year began, the group began to toy
with the idea of building their own
rehearsal studio and, with the demos for
the 'Never Loved Elvis' costing in the
region of £40,000, Polydor were only too
happy to offer the money required. The
elusive search for a suitable venue had
only just begun when Martin Bell found
what they felt to be the ideal location
in North London.
Amid
plans for their new studio, the group
released their fourth single from the
'Never Loved Elvis' album in January
1992. Originally intended to have a
cover of the Nitty Gritty Dirt Band's
'Will The Circle Be Unbroken' as it's
main track coupled with a re-recording
of 'Welcome To The Cheap Seats'
(featuring Kirsty MacColl's vocals in
more prominence than they had been on
the album version of the track), two new
tracks were also to be featured. One was
a cover of The Jam's 'That's
Entertainment' (recorded in the same
studios and using the same recording
desk as the original track) and the
other was a new track, 'Me, My Mom, My
Dad and My Brother' written by Miles in
tribute to his family. However,
after consideration by the group and
their record company, the eventual
release had 'Welcome To The Cheap Seats'
as it's main title track with 'Will The
Circle...' being moved to the third
track. The decision to swap the tracks
around had been made to better promote
the forthcoming release of the group's
second long-playing video, 'Welcome To
The Cheap Seats'. For CD buyers a
second disc was released, initially in a
box to also hold the first disc, which
featured acoustic versions of the title
track, 'Caught In My Shadow', 'Circlesquare'
and 'Can't Shape Up, Again'.
Another
highly charting single, another Top Of
The Pops appearance, another disaster.
The night prior to the recording of the
show, Miles went to Camden's Palace
night-club and got 'attacked' by a
bouncer. Showing up at the Top Of The
Pops studio with a swollen lip and jaw,
everyone (Kirsty included) proceeded to
get immensely drunk. Indeed, such was
the state of Miles due to both his
drunken state and the use of makeup to
cover his injuries, that for the
recording of the track his appearance
bore more resemblance to that of a
vampire than of his usual self.