A version of my story originally appeared at soundcheck.ocregister.com. The band returns to Riverside on Friday; see info below...
When the Third Wave ska revival hit big in Southern California during the mid-1990s,
various bands (including Orange County’s No Doubt, Reel Big Fish and Save
Ferris) often gave a stylistic tip of the checked hat to U.K. progenitor The
English Beat.
Formed in Birmingham as The Beat (“English” was added in
America for legal reasons) by lead singer/guitarist Dave Wakeling and guitarist
Andy Cox in 1978, the pair sought to create a vibrant sound that would meld
such disparate influences as Toots & the Maytals, Velvet Underground and
The Clash. Bassist David Steele, toaster/co-vocalist “Ranking” Roger
Charlery, drummer Everett Morton and veteran saxophonist Lionel “Saxa” Martin rounded
out the lineup.
It wasn’t long before the trailblazing interracial sextet
joined The Specials’ 2 Tone label/music movement and racked up several hit singles
at home. Here in SoCal, alt-rock stations KROQ/106.7 FM put “Mirror in the
Bathroom,” “Save it for Later,” “I Confess” and a jittery take on Smokey Robinson
& the Miracles’ “Tears of a Clown” into regular rotation.
After recording three albums which deftly incorporated
reggae, ska, punk, Motown sounds and more during a five-year period, the band
broke up.
Wakeling and Roger started the short-lived General Public
and scored a U.S.
top 40 pop single with “Tenderness” (a ‘90s reunion spawned another one in Staples
Singers cover, “I’ll Take You There”). Meanwhile, Cox and Steele hooked up with
singer Roland Gift for Fine Young Cannibals and landed back-to-back chart
toppers in ’89 with “She Drives Me Crazy” and “Good Thing.”
Flash forward to the present. Last spring, The English Beat
performed at the Rock ‘n’ Roll Hall of Fame ceremony in Cleveland, where Wakeling's trademark teardrop-shaped
guitar is on display. The past few months have been plentiful with archival
English Beat releases from Shout! Factory Records.
First came The
Complete Beat, an exceptional five CD box set containing remastered
versions of studio albums I Just Can’t
Stop It (1980), Wha’ppen (1981)
and Special Beat Service (1982) - all
expanded with bonus tracks. Two discs contain 12” and dub versions, John Peel’s
BBC Radio One sessions and live selections from a 1982 Boston show. The accompanying booklet is filled
with rare photos.
Single disc compilation Keep
the Beat: The Very Best of the English Beat contains 16 tracks and an
introduction by Rhoda Dakar of fellow 2 Tone labelmate The Bodysnatchers. Live at the US Festival ’82 & ’83, a CD+DVD marking the 30th
anniversary of the band’s appearance at the inaugural event (they were among
two acts to play both), arrived a few weeks ago.
Last week, we caught onetime Dana Point
resident Wakeling, 56, in a jovial mood during a phone interview from his present
home in Pacific Palisades.
Soundcheck: You’ve
played several OC venues over the years. Do you have a favorite?
Dave Wakeling: I really
like the House of Blues [Anaheim],
because it has a really nice ambience, a nice dance floor and a great sound. I
like the Coach House too. We’ve had a lot of great reactions there, despite the
tables and chairs.
You recently toured Australia for
the first time. How was that experience?
A bit of a shock, really. They have this incredibly high
standard of living and an enormous amount of rules and regulations.
Like what?
In most [places], you can’t buy a shot of liquor straight
up. It has to be on the rocks. That includes fine whiskeys and rums, which
would never be served on the rocks elsewhere. But that’s the only way you’re
allowed to drink it. So that was an odd one.
I’ll bet your Aussie
fans were ecstatic, having waited so long to see you live.
They were, indeed. The tour was nearly sold out. It was
amazing. They’d been waiting for 33 years. Some songs were too fast for them to
dance to anymore. I must say, I enjoy California
because everybody’s quite happy to be the age they are and let time roll by;
let things evolve and have fun in the moment. Not pretending to be any other
decade.
What do you remember about
performing on Day 1 of the first US Festival, alongside The Police,
Talking Heads, Ramones and others?
When we were putting the footage and package together, I looked
at the old posters and saw who else was on the bill with us and I was amazed. To
be honest, at the time, it was so huge, that it was a hard to take on board. You
just acted blasé about it - as if you always rode helicopters to every gig, had
three-quarter of a million people and three PA systems flaking up into the
distance.
In retrospect, I didn’t realize until we started compiling it that I
was actually on the side of the stage for The Clash’s last gig [with its original
lineup]. My favorite band of all time and I was right there!
That was the largest
gig you’d played until that point…
Still ever.
Anything else stand out
in your mind about those two appearances?
It was the first time we’d ever been on a helicopter and I didn’t
know they go sideways with the wind when they’re taking off. I thought they
just went straight in the air…I remember feeling a bit of Dutch courage,
thinking, ‘I can do this.’ You looked at the crowd and you couldn’t see the end
of it. We played in the afternoon. People looked like the size of ants coming
up over the top of the hill.
Were you nervous at
all?
When we got onstage, I started singing the first song and a
camera with a telescopic arm, immediately shot right in front of my face. I was
singing to a quarter of a million people, but guess what? I couldn’t see one of
them! The only way I managed to get through it was to straighten my legs, keep
them really firm and solid until the first song was over and I was ok.
The Sept. 1982 festival
set is far more rousing. Would you agree?
Yes. In ’82, we’d been touring with The Clash, so I think we
were in a punky/reggae mood. We’d been touring with The Police in ’83, so that
probably chilled us out for that one…The Beat weren’t going to do many gigs
after that. So there was a sense of [finality]. The ’82 one is more energetic,
but I would say the ’83 one is tighter and more choreographed.
The new CD+DVD is the
first-ever live release from the band.
There had been scratchy versions of one song or another over
the years. We had endless requests. I even started searching around myself,
three or four years ago, to try and find out where things were. Then the last
couple years, there has been a flurry of activity. I think some tapes that were
held by somebody were sold or released or licensed. All the sudden, the dam
gates were opened. We were glad to be able to eventually find them. All I’d
ever had was a VHS copy of a copy that looked and sounded so badly, you only
wanted to watch it once and then not bother again.
Shout! Factory just does incredible work on mastering. I
think they absolutely maximize whatever’s there. Not only is it nice to have
everything in a beautiful box, but it’s the best they’ve ever sounded, which is
terrific. We’re doing the same thing with the General Public [catalog] in the
spring. I’m really looking forward to getting a great version of those songs
too.
Was unearthing all the
rarities a matter of everyone digging through their closets?
Yes. There was an incredible amount of searching. We managed
everything except two tracks of which we could only find a cassette version.
They were from radio sessions: “It Makes Me Rock” and really terrific version
of [Cole Porter’s] “Night and Day” from the early 80s. I thought I’d sung it
particularly well at the time, like Tim Buckley might have…We left those two
out with the promise we’d continue looking for the reel to reels. Although it
may have disappeared at the BBC. That would be a tricky thing to find there. If
we do ever find cleaner versions, we’ll stick ‘em up online for the collectors.
After listening to
the remastered albums, I didn’t think they sounded dated like so many others
from the same era do. Is that because the band didn’t succumb to all the latest
trends, like using synths, sequencers, etc.?
Exactly that. It wasn’t really our doing, although I’d love
to take the credit. Many of us did want to have a go. Everybody was starting to
get into synthesizers. At the time, we though they sounded a bit like an
orchestra. Producer Bob Sargeant was absolutely opposed and wouldn’t be
involved if we wanted to do that. He was BBC trained.
So the band used actual
strings on “Save It for Later” and the smooth cover of the late Andy Williams’
Pomus/Shuman-penned “Can’t Get Used to Losing You.”
We got a string quartet from the Royal Philharmonic
Orchestra in London.
They performed “Save It for Later” in their black and whites as if they were
doing a concert at the Royal Festival Hall! They were serious professional
classical musicians. Now the proof is in the pudding. The songs don’t sound
particularly dated and they don’t sound as old as the songs that were trying to
be terribly modern at the time. So we thank Bob for that. We didn’t at the time
[laughs].
Did having videos
shown on MTV during the channel’s early days help The English Beat get a leg up
here in America?
It did, undoubtedly. When we first started, the videos were
a bit of a novelty. The first video we did was for “Mirror in the Bathroom,”
the third single. We never made a video for “Tears of a Clown” or “Hands Off,
She’s Mine.” There was no demand for them. By the time of “Mirror,” we started
to hear that people were doing these videos for the songs in America.
Suddenly, everybody
was making them.
I was always about ambivalent about music videos because I
loved radio - what’s known as a ‘hot’ medium. It leaves you space for your own
imagination. For your favorite songs from the ‘60s and ‘70s, before they made
videos, you made up your own film. Your own collection of images that would
pore through your head while enjoying the music soundtrack. But you weren’t
allowed to be nearly as creative in video as you were in audio. MTV got to the point
where it was a bunch of 40-year-old people deciding what was appropriate for
14-year-olds. We all knew and they’d forgotten that 14-year-olds are offended
by very little [laughs].
After The English Beat and General Public ran their course, you joined Greenpeace in the ‘90s. Were you burnt out on the music industry?
It was a soul-cleansing operation, really. I’d had enough of
record industry double dealing. I wasn’t coping with it very well. I’d always
wanted to work with Greenpeace, so when the opportunity came up, I grabbed it
with both flippers. I did it for five years. We made the solar-powered album
‘Alternative NRG.’ It helped spread the word about global warming. [pauses] Not
fast enough, by the looks of it. At the same time, it raised substantial funds
for Greenpeace.
You were lured back
into performing after taking some co-workers backstage to meet Elvis Costello
when he played Irvine
Meadows Amphitheatre.
He said, ‘This Greenpeace and anti-Apartheid stuff is all
well and good, but your place is on the stage Wakeling and you know it’…about
10 days after that, somebody phoned up and said, ‘would you like to do a song
for a movie called ‘Threesome’ and be interested in talking to Ranking Roger
about doing it as General Public?’ I said, ‘yes.’ Lo and behold the song ‘I’ll
Take You There’ went to No. 1 on the dance charts and we were back onstage.
It was the early
2000s when you started performing again as The English Beat, right?
Yeah, sort of by default. I had a band called Bang and The Free
Radicals. It didn’t matter what you put in the contract [club ads would list
them all plus] English Beat, General Public, Dave Wakeling. In the end, I felt
if the audiences accept it as The English Beat and we do good enough quality
songs that we only add to the mystique and not detract from it, then it’s
acceptable. We did a trial period and everybody in the audience said they were
happy with that. It’s been The English Beat ever since. (The current version
includes ex-General Public bassist Wayne Lothian).
And you have a
gentleman’s agreement with Roger who only appears as The Beat in England.
I’ve tried endlessly to make occasions where we could work
together in England
or America.
He always finds a reason why he can’t do it that time, but will next time. We
never have managed it and I don’t know if we ever will.
What did you think
about seeing your British ska contemporary Madness on the Summer Olympics closing
ceremony last month?
The Specials played a show in conjunction with it too. Once
I got over the jealousy of not being on that stage myself, I enjoyed it
[laughs]. It was an odd spectacle. Obviously, the Olympics were an expensive
thing to put on and people there seemed put out by it. But now that it’s all
over, everything went well – despite Mitt Romney’s concerns [laughs]. He sure
has a way of putting people’s noses out. Better not run for president in England!
I read that you’ve
been working on new material and plan to put out a series of EPs. Is that still
in the works?
I’ve got them half recorded with basic drum tracks. As we
got the [reissues] together, some lads in the original lineup felt that nobody
should put out their own records at the same time. Out of deference to that,
I’ll follow this in the spring with the General Public re-releases and then put
out my new stuff in summer/fall 2013. I still have to figure out the best way
to go about it. I’ve always loved EPs. The fans are keen on it. I’ve been
talking to record labels about licensing.
Who will be on the
recordings?
It will be me on guitar. I’ve never played a guitar solo, so
I might get some guests in. I’ve had loose talk over the years with Mick Jones
[The Clash/Big Audio Dynamite guitarist contributed to General Public’s debut All the Rage]. I was shocked to hear
from Johnny Marr that ‘Save it for Later’ was his favorite song from the 1980s.
We had a chat once about maybe playing together some time. So I might approach
those guys.
What will you call
the project?
Dave Wakeling’s English Beat. The rest of the [original] band
still holds the legacy of The English Beat in high regard and feel if I put
that name on a record, it might confuse people. My name would make that
distinction.
The English Beat
performs 8 p.m. Friday,
Oct. 5 at Romano's, 5225 Canyon Crest Dr., Riverside, $22.50,
(951) 781-7662, www.theconcertlounge.com.
Thanks for posting this story. The English Beat has had so many great songs.
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