September began
with the group preparing for 'On The Ropes' - their first single
release in nearly 18 months. In
a bid to gain popularity in America, Polydor bought
in Samuel Bayer (of Nirvana's 'Smells Like Teen
Spirit' fame) to direct the video. Despite having
a reasonable following in the US, there was still
a lot of work to be done for the group to claim
to be big in America. Everything that Bayer was
involved with seemed to be lapped up by MTV and,
in a nation where nearly every home has access to
the channel, the move to bring in someone who had
the power to boost their popularity via the television
medium was all important.
As if to highlight
Polydor's attempts to breakthrough the American
market, the total cost of producing this one video
amounted to more than the cost of rehearsing and
recording the entire fourth album - including the
lease of the studio complex as well!
In
conjunction with the release of the single, Polydor
also distributed two promotional CD's. The first
was a six track compilation featuring 'Welcome To
The Cheap Seats', 'Unbearable', 'Don't Let Me Down,
Gently', 'Who Wants To Be The Disco King', 'Circlesquare'
and 'The Size Of A Cow'. The second, a sampler for
the forthcoming album entitled 'Construction For
The Modern Idiot', featured 'On The Ropes' and 'I
Wish Them All Dead' plus new tracks, 'Hot Love Now!'
and 'Hush'.
With the decision
on track listings and running order finally decided
upon, there was now a bigger problem - the artwork.
Proof copies of the CD were pressed and distributed
to the band and their management team which showed
the front picture as a conventional band photograph,
taken underneath palm trees in America earlier in
the year. However, upon seeing it, the group had
some objections to the design and alternative
artwork had to
be looked for.
The eventual decision
was to continue the theme of images used for the
sleeve inlays of schoolchildren in various lessons
though the group were just as unhappy with this
solution. However, deadlines had to be met and the
new design had to stay though the change was made
too late for promotional purposes and adverts for
the album in the music press featured the 'palm
trees' picture. Some CD copies of the album were
also pressed before the design change which somehow
found their way out of the manufacturing plant into
British record shops and were quickly snapped up
by collectors.
The album was released
at the start of October, one week later than originally
planned due to the sleeve changes. Unlike 'Never
Loved Elvis', the album had a fuller and more mature
sound - Miles had wanted to use electric guitars
more and Fiddly, fed up with comments about the
Waterboys influence of the last album, had played
many of his instruments through a set of Marshall
stacks. To create an atmosphere for the album, Miles
created a character called The Modern Idiot - someone
who symbolised everything that he hated; entertainment,
trivia, the changing face of music, the re-election
of the government and environmental issues - and
employed this persona for the intro to the first
track on the album.
The album itself
was a major advance on anything else they'd ever
done before - with the exception of the 'Size Of
A Cow'-like 'Cabin Fever' and the eventual appearance
of 'Sing The Absurd'. A horn section was used for
the first time on 'Hot Love Now!' (dedicated to
Diana Dors and Alan Lake) and Miles' alcohol-inspired
'A Great Drinker' also made it's appearance towards
the end of the running order. Dedicated to Charles
Bukowski in the sleeve notes, the track sees the
Stuffies attempting a new musical style - blues
- during which Miles coughs, splutters, lights cigarettes
and tells the story of his booze-fuelled antics.
An unlisted track
appears at the end of 'Sing The Absurd' on the CD
and some copies of the cassette, 'Something For
Sammy' - dedicated to the American comedian Sam
Kinison. However, for owners of the 'palm trees'
sleeved CD which, incidentally, was still being
used on German, Australian and Japanese copies of
the album, the track is listed on the sleeve at
the back of the CD case, but there is still no mention
of it elsewhere in the inlay or on the CD.
Ironically,
for everything about the country that the group
seemed to dislike, it was America that inspired
a large amount of the songs on the album - notably
'I Wish Them All Dead' with its US paedophile connection
and 'Cabin Fever' which was loosly based upon a
track written during a three week promotional trip
to the States in 1991, when Miles heard an advert
for the Interflora flower company involving two
OAP's arguing about frozen stringbeans and started
to pen a track titled 'So Honey We Don't Mention
The Stringbeans Anymore'.
Another track on
the album, 'Hush' (written around the same time
as 'Cabin Fever'), concentrated on Miles' 25th birthday
for which the group's American manager, Steve Rennie,
arranged for them all to see Guns N' Roses in concert.
As Miles says, "I got really drunk, sat in my seat
in an audience of, what, 14,000 people and Guns
N' Roses were just horrible. I just found myself
looking at the audience and thinking: I've spent
three weeks prostituting the band in an attempt
to sell ourselves to an American audience. And here's
a gig so vile... I started to spit on people. In
the end, Steve and Mary Anne dragged me off and
I sat in a corner sobbing, because I thought the
whole trip had been pointless."
CONSTRUCTION FOR THE MODERN IDIOT
It's been a long time since the last
album. Maybe I've forgotten what to
expect - but while Miles and Co. may
not think it's remarkably different,
I do. Glorious brass sections; fiddles
laid down in favour of something more
guitar-orientated - this is undoubtedly
a change of mood...
Initially, I couldn't decide whether
it was a stroke of genius or a sell-out;
albeit an uncomplacent one. Look at
'Hot Love Now'. The Stuffies - leading
lights of the infamous rough and ready
Stourbridge contingent, who gave us
brash, footstomping odes we could swig
beer to - coming out with a smooth,
polished little number laced with horn
and trumpet... Come to think of it,
why didn't they do it sooner? - it's
cracking.
First fears pushed aside, it becomes
obvious that this is something rather
special. Only 'Cabin Fever' harks back
to pre-Idiot Stuff - and it just so
happens to be a stormer in true 'Size
Of A Cow' mode.
Miles' lyrics are less quirky, more
reflective, more conscious, more inspired
(have a listen to 'Full Of Life'). His
voice couldn't be better. He pushes
himself to the limits. Never have we
heard such power and passion.
Through the bright hard-pop of 'Swell',
the bluesy 'A Great Drinker', and the
epic 'Sing The Absurd', the traditional
Stuffies exuberance remains evident;
yet underneath it's moody, intense and
brooding. If you haven't done so, pack
away the tartan and the frilly shirts
- this album, dark yet not sinister,
has no place for them. Miles and the
boys are still pissed off with the shit-tip
that is life, and with the time-wasters
who add to its enormity.
'Hup' hit the number five slot, 'Elvis'
made number three - this album deserves
to get to the very top. Many people
love the Stuffies; some loathe them
so much it hurts. No-one can fail to
acknowledge just how impressive The
Wonder Stuff have become.
Di Lambert, The Zine
|
The album charted
highly in its first few weeks of release, but then
dropped quickly. Reviews for it were mixed. Some
liked the new sound, others accused them of selling
out to the mainstream pop scene. Despite hopes for
a successful release, the album flopped in America.
Die-hard fans lapped it up, but relationships between
the group and the American side of the Polydor label
were strained - they'd been at loggerheads since
the beginning of 1992 and things were getting worse.
The label basically didn't want to know about them,
they couldn't be bothered to do much, if any, promotion
of the group or their material, but wouldn't release
them from their contract knowing full well that
there were labels such as A & M who were eager to
sign them.
Shortly after the
album's release, the band embarked on a new tour
with a special warm-up gig at London's Astoria Theatre
on October 28th. Playing a set of exclusive material
from the new album, the show was filmed for broadcast
by ITV's The Beat programme which was shown across
the UK during November and December. Along with
an interview with Miles, a total of six songs were
showcased.
The Idiot Manoeuvres
Tour officially began on November 3rd in Stockholm,
stopping off the following night at the Rockefeller
in Oslo. Broadcast on the National radio station,
the show was later the subject of two bootleg CD's
and premiered the new set-list to the majority of
the band's large fanbase - including a rearranged
version of the 'Hup' track '30 Years In The Bathroom',
revived for the first time in almost three years,
and now boasting a new fiddle solo. Oddly, despite
being bootlegged from the same broadcast, there
are some differences in the track listing of the
bootleg CD's though they still both play the same
tracks.
Later
that month, 'Full Of Life (Happy Now)' was released
on a four track EP as the follow-up single to 'On
The Ropes'. Possibly the highlight of the EP was
the inclusion of their excellent cover of the Indigo
Girls' 'Closer To Fine', one of Miles' favourite
tracks, which had previously only been heard at
the solo acoustic sets he had staged in America.
However, a snippet of the song is featured as the
backing track to one of the scenes in the 'Welcome
To The Cheap Seats' video where they talk to DJ
and close friend, Matt Pinfield - who also appears
in the video as a reporter called Sol Rosenberg.
For CD buyers,
an additional disc was released which showed the
group working in a new vein - the dance remix.
The title track on the second disc (subtitled as
the 'Dignity Mix') was remixed by top producers
Rollo and Rob D and contained a new gospel-sounding
backing behind a newly re-recorded vocal by Miles.
The other tracks on the disc were dub mixes of 'Change
Every Light Bulb' and 'I Wish Them All Dead'. A
French promotional one track version of the single
was also released featuring an exclusive edited
version of the Dignity Mix.
These two dub versions
came from a batch of five remixes which Miles allegedly
organised. Initially, the group had re-worked another
of the 'Construction...' tracks, 'Swell' for inclusion
on the eighth instalment of Demon Records' 'Volume'
compilation CD's. The idea for this mix came after
Malc had been listening to an instrumental version
of Generation X's 'Wild Youth' called 'Wild Dub'.
After taking a recording of the track into the Greenhouse
recording studios for the others to listen to, they
then decided to try to produce something with similar
effects and sound.
Two other tracks
were also given the remix treatment, 'Hush' and
'Storm Drain', though these have never yet been
released commercially.
With the group
electing not to play in the UK until after they
had visited Europe and America, the band's only
end-of-year UK appearance was at the recording of
a session for satellite music channel MTV's Most
Wanted programme during which they played acoustic
versions of 'Full Of Life (Happy Now)' and 'Sing
The Absurd'.
After a short break
for the Christmas and New Year period, the group
reconvened for the next leg of the Idiot Manoeuvres
world tour at Seattle's Moore Theatre on February
1st. The tour - marred by Miles' long-standing love/hate
relationship with the country - proceeded to continue
across the United States for the next four weeks.
Feeling that the
European tour had not gone well, things swiftly
got worse - an entry in Hunt's tour diary for the
night of the Seattle gig marked further dissatisfaction
with the state of affairs: "Another car park before
another stage. On with the pretence." By Vancouver,
only two nights into the tour, things had deteriorated
even further. Miles had considerably cut down on
his drinking but his tour diary said it all: "I
was really disappointed at myself on that second
night, when I said to Nipper (guitar tech) halfway
through the gig, 'Get us a bottle of wine will you,
because I'm so bored!'"
Further
unhappiness came to light in an article for Q Magazine
in which Miles was interviewed whilst on a visit
to San Francisco's infamous Alcatraz prison - the
main picture for the feature showing Miles sitting
on the floor in a prison cell, not looking the happiest
of people. "I feel like we're flogging a dead horse
here," he was reported as saying. "I don't think
we should be here now. I've had countless arguments
with management and record company over this. They
said it would be 'commercial suicide' not to tour
this album in America, and my answer was: it can't
get any worse."
The worst selling
album of their career in the US, the band became
resigned to the fact that they wouldn't be breaking
into big-time in the States just yet. Miles recalls
how "one of the morons from the label in New York
was talking to a friend of mine the other day -
he didn't know he was a friend of mine - and he
said 'I just don't get that group.' And yet I've
stood with this bloke countless times and he's said,
'Great album! Love it! Love it!'" He continued by
saying, "I pray every time we make an album: Please,
America, don't release it. Because if they don't
release it within three months then we're free.
But they always release it, because someone somewhere
has said, 'They do alright in England, we can't
let them go, we might look like idiots.'"
Two days later,
in Toronto, Miles spoke to Caitlin Moran of Melody
Maker: "I fucking hate being here, I resent every
fucking minute of it. The people we have to deal
with here, Polydor America, are shit-for-wits and
I would willingly jump on their graves, but they're
not dead yet. Give me a shovel and I'll start digging
in preparation... I know my contract inside out,
I know the exact fucking paragraph that says 'We
will do our utmost to promote and exploit the music
of The Wonder Stuff' and they haven't kept their
side of the bargain, and I think it's fucking unfair...
The amount of time I've spent on this tour sitting
in car parks surrounded by kids asking why we don't
play here more often - the reason is I hate the
fucking country and I hate the people I have to
deal with. They're all apathetic wankers... Anyway,
I'll be over all this when I get back home. This
is my Complaint of the Week."
He also began to
air his dissatisfaction with the music of the band
publicly. "I like the bits between the songs. I
don't get any enjoyment from playing my guitar in
front of people any more. The only thing I like
at the moment is thinking of stupid things to say
between songs."
In parallel with
his change of heart during the recording of 'The
Eight Legged Groove Machine' - when he felt that
he'd "rather be making Shamen records - 'Jesus Loved
America' and 'Knature Of A Girl', not fucking 'Love
is like a merry go round'" - when asked what he
wanted to be doing now, he replied "I want to be
making 'Ich Bin Ein Auslander' by Pop Will Eat Itself."