An EXCLUSIVE Interview With DISLOCATION DANCE

Don’t Knock Me Down:

An EXCLUSIVE Interview with 

DISLOCATION DANCE’s Ian Runacres

By Stephen SPAZ Schnee

     Manchester has given birth to some of the most exciting artists of the  Rock era including Buzzcocks, 10cc, The Stone Roses, Davy Jones, The Chameleons, Van Der Graaf Generator, Inspiral Carpets, Herman’s Hermits, Simply Red, The Hollies, The Fall, Magazine, 808 State, James and, of course, Oasis and The Smiths (and that’s just the tip of the iceberg!).  For every Manc band that achieved great success in other parts of the world, there are many that did not, although that has nothing to do with their talent or influence on the city’s thriving music scene.  Dislocation Dance is one of the finest and most influential bands to emerge from Manchesteryet they remain relatively unknown outside of the UK.  While it may be presumptuous to say that they had a big hand in creating the Indie, Post-Punk, Twee and Alternative genres, they were certainly at the forefront of those scenes back when the Punk movement kicked open the doors ushered in a new era in Rock music.

     Formed in November of 1978 by singer, guitarist and songwriter Ian Runacres, Dislocation Dance always did things their way while not realizing that ‘their way’ was going to influence the next generation of Manchesterbands.  DD’s sound was rough around the edges but was a unique and melodic blend of Pop, Jangle, Jazz and Funk.  Their live shows and stunning array of songs helped the band ink a deal with local indie label New Hormones (which was run by Buzzcocks and their manager Richard Boon). The band released their first EP on the label in 1980, followed by another EP in ’81 and then finally their debut album, Music Music Music, that same year.  Sounding like no other band at the time, their musical output was so varied that they could have easily aligned themselves with the Postcard Recordsscene (Aztec Camera/Orange Juice) as well as the Post Punk (The Fall/Durutti Column/Crispy Ambulance) and Punk Funk (Higsons/Pigbag/Rip Rig & Panic) scenes. But alas, Dislocation Dance chose to travel their own path and, even though they didn’t cross over to the mainstream, they created some of the most engaging records of the early ‘80s.

     After signing with Rough Trade in ‘82 and releasing a handful of stunning singles, the band finally unleashed their second album, Midnight Shift, in 1983. Again, Dislocation Dance sounded like no other band, which didn’t help them commercially. Though the band received plenty of critical kudos and toured throughout Europe, they failed to connect with a larger audience. Through it all, though, younger bands were paying attention and were inspired and moved by what the band accomplished both live and in the studio.  Sadly, Dislocation Dance called it a day in 1986.

     It’s hard to pinpoint exactly why the band didn’t achieve greater success.  Perhaps it was their ever-(r)evolving line-up that often-times would include a female vocalist sharing duties with Runacres.  It also could have been the band’s desire to stretch themselves musically, creating an eclectic catalog that confused the casual listener (yet still sounds fresh and exciting to this day). Or maybe it was the fact that the band never signed with a major label?  In any case, the band may not have become a household name, but they did inspire many successful bands including The Smiths, James (DD’s horn player Andy Diagram has been a long-time member of James) and, indirectly, Oasis.

     As luck would have it, continued interest in the band encouraged Runacres to reform Dislocation Dance in the new millennium.  That line-up of the band recorded the Cromer album in 2005. The following year, LTM Records went back and properly reissued DD’s first two albums complete with a plethora of bonus tracks.  More recently,  Runacres took DD back into the studio and recorded their 2012 platter,  The Ruins Of Manchester.  Instead of picking up the band’s sound where they left off in the ‘80s, The Ruins Of Manchester (and Cromer) sounds fresh and contemporary, as if the band never went away and had naturally matured into this more focused direction.  Leave that to Runacres’ ability to create a musical moment that remains timeless.  He did it 30 years ago and he’s still doing it today.  

     Stephen SPAZ Schnee was able to catch up with Ian Runacres and discuss the band’s past, present and future…

SPAZ: LTM have recently released your latest album, The Ruins Of Manchester, packaged together with your 2005 album Cromer.  How are you feeling about this release and everything leading up to it?

IAN RUNACRES: I’m really excited about the new album.  Ruins was a lot of fun to make and it was great collaborating with new musicians.  The initial responses have been really positive.  I’m also really pleased that Cromer will reach a new audience, too.  I’m very proud of that album.  The songs are lovely and it has some of my best ever guitar playing, plus Andy’s, (Diagram), trumpet, flute, violin, soprano sax, mandolin and ukulele; it’s a very organic sound.

SPAZ: The Dislocation Dance of 2012 are sonically different than when the band first began over 30 years ago.  When a band reunites after a couple of decades, fans expect them to go right back to where they left off.  Were you ever tempted to try to recapture that period in time?

IAN: Interesting you should say that.  For me, the songs on Ruins are very Dislocation Dance and reflect my writing style.  Having said that, Midnight Shift (1983) did have those ‘80’s drum machines, synths and reverbs, which somewhat place it that time period.  I guess I’ve lived through a transition, which might not be apparent to the old fans, in that I wrote and recorded a couple of albums with my other band, Brightside, in the ‘90’s, called Slide & Dive and Snakes & Ladders, plus Shinjuku Junction and Cromer, as Dislocation Dance, in the ‘00’s, for Vinyl Japan.  So there’s a lot of stuff out there which fills the gap.

SPAZ: When the band first formed, what was the music scene in Manchesterlike?  Judging by the great Punk and Post-Punk bands that came from there, it must have been very exciting…

IAN: Manchesterwas an extraordinarily wonderful place to be in the early ‘80’s.  In fact the new album makes reference to it.  When I say wonderful, I guess have to put it in context: the City had very high levels of deprivation; it had the infamous Moss Side riots; there were constant threats of IRA bombs, some of which were realized; the Factory Club had just opened and Post Punk was flourishing.  Surprisingly, there was a huge amount of optimism.  I was very active in the Manchester Musicians Collective, working with other bands to organize and promote gigs; share sound systems; manufacture compilation LPs and so on.  It was through the MMC that I trialed a pre-Smiths Mike Joyce as a potential drummer and where I met Andy Diagram (later recruiting him as my trumpeter). The music scene was a real community, with a genuine fondness between bands across labels and styles, with loads of cross overs. We played in each other’s bands; I particularly liked to step in as a bass player and even had the interesting experience of being Nico’s bassist, for a short stint.

SPAZ: Where did the band’s name come from?

IAN: Alliteration!  Everyone was at it in the early ‘80’s.  Actually, what interested me was being musically accessible, but with a subversive content.  I still feel the same, as you may hear on new songs such as “Hang Fire”, which is pretty dark.  I’ve always liked the idea that you could both subscribe to and challenge the pop song convention; ideally all within one song.

SPAZ: While some bands from the era may have been easily classifiable, Dislocation Dance were most certainly not.  What were the influences, musically and otherwise, that helped to shape the DD sound?

IAN: Yes.  I know.  Not being classifiable was probably commercial suicide.  Geoff Traviswanted to promote us as Manchester’s Aztec Camera, when he signed us to Rough Trade, alongside the Smiths.  The Smiths, however, made his job a lot easier, by having a consistent and easily recognizable sound.  A brilliant sound, too, of course.  We, I think, were much more difficult to market, as every single sounded like a different band.  Having said that, I simply couldn’t help myself.  I was listening to Dr Buzzard’s Original Savannah Band, Burt Bacharach, Chic, Pere Ubu, Scritti Politti, Talking Heads, Iggy Pop, early Gong, TV & Film music, Eric Satie, Holst, Charlie Mingus and, of course, I grew up listening to The Beatles.  So what chance was there of writing in one style and sound?

SPAZ: There were many different sides to the band, musically.  Did you see the band as ‘different’ to what was going on around you? 

IAN: If you’re a genius, you can create a distinctive and unique style; but there aren’t many of those in the world.  At the other end of the spectrum, some just copy one particular style, even though, in some cases, they do it really well.  I can’t do either.  I get bored too easily to just have one approach to writing and like always like to try something new.  I’m certainly influenced by whatever I’m currently into, but rather than copy, I like to let the essence seep in.  It’s musical osmosis.  Besides, no matter how hard I try, I just can’t write a normal song.  That was one of the most exciting things about the Post Punk days; there was an understanding that you didn’t have to conform, you didn’t have to please a major label (although, that might have been a good idea, in retrospect), and you could be true to yourself.  It’s true, though, that Dislocation Dance weren’t like other Post-Punk bands, nor did I want us to be.

SPAZ: You are linked to many of Manchester’s greatest bands such as Buzzcocks, James and The Smiths.  Was it true that Morrissey was a big fan of your music?  And for the uninitiated, what was your relationship with Buzzcocks and James?

IAN: Pete Shelley (Buzzcocks) was our guest vocalist when we played at the Factory Club, as a treat for Tony Wilson.  Pete asked me out, afterwards, but I declined and he never sang with us again.  Tony wanted to sign us, but as I’d ended up sharing a house with Richard Boon, the Buzzcocks’ manager, we were firmly bonded to New Hormones, (easily as good a label as Factory, but with no capital, to invest, ha ha).  Tony always maintained an interest in the band, even bailing us out in New Yorkwhen we couldn’t afford the hire of our backline for our 1982 East Coast tour.  Morrissey used to hang out at the New Hormones offices; he was a big fan of Ludus.  I remember him giving Richard a cassette of his poetry, interspersed with New Hormones label acts, (he liked “Spare Concern”, from Dislocation Dance’s 8 track EP).  His poetry was a spoken version of his later approach to Smiths vocals.  I have to say that Morrissey seemed so shy, that we just left him sitting in the corner and no one spoke to him.  Tim Booth (frontman in James) was just the vegan fella in the ground floor flat below Factory’s offices on Palatine Road.  We gave him a lift back from a Leeds, after we’d supported Orange Juice and our paths kept crossing over the following decade.  James had their offices next door but one, to mine, in the late ‘80’s, when I’d become a label (Bop) rather than a gigging band.  I used let James use our photocopier.  One of my bands, The Man From Delmonte, lent them a guitarist, who ended up being a permanent fixture, (Saul), closely following by Andy, who still tours with them, as we speak. 

SPAZ: By the time your second album, Midnight Shift, was released, you had added a semi-full time female vocalist to the line-up.  The band seemed more focused than ever. Did writing for another voice appeal to you?

IAN: I’ve always thought of myself as a writer, rather than a singer.  I like writing songs for women.  The range and dynamics of a woman’s voice is so different to anything I can achieve and, of course, I can experiment with the sentiment.  Mind you, for the song “Here Comes Love” from Midnight Shift, I imagined I was a 1940’s crooner.  I wanted Sinatra to sing it.

SPAZ: Why did you end up calling it quits in ’86?

IAN: I thought it was time for either a major deal, or set up my own label.  I was writing songs with a vocalist called Sonja, who had a lovely soulful, jazzy voice, with great range and amazing phrasing.  She reminded me of Cory Day, the Savannah Band’s vocalist and had a real presence. We did a few return visits to the usual suspects, however the lyrical subversion, (there was songs about child abuse and female contraception as a form of oppression), plus my usual slightly eclectic musicality probably made us a marketing challenge.  So, I then moved into being a manufacture, (of cassettes, for the likes of Womad), and a label; indie, world and dance.  That was certainly fun.  We got to release James, Inspiral Carpets, 808 State, A Guy Called Gerald and The Man From Delmonte.  It was only by overstretching; we wanted to be a magazine and set up a Manchester Motown, old school soul label, too, that finally caused a spectacular crash.

SPAZ: Since the band’s original break-up, did you start noticing a Dislocation Dance influence in some of the indie acts that started to infiltrate the scene in the early ‘90s?  it seems that some of the bands that came out of the Twee Pop scene sounded remarkably similar to tracks off of your two albums…

IAN: I like to think that the ripples from our small pebble in the pond of popular music had an impact.  Think Stereolab, Belle and Sebastian, Cardigans, Saint Etienne….?  I definitely know that Rip Rig and Panic took away something from our early sound (Punk/Jazz) because they were so vocal at our gigs.  We toured so much, in the early ‘80’s and had reasonable exposure that I’m sure our sound filtered through.  I know, for certain, too, that the Japanese pop singer Kahimi Karie, was influenced by the band, because she said so.  You should hear her 1992 single “Mike’s Always Diary”, which sounds uncannily like our single “You’ll Never Never Know”, (which is on the LTM version of the LP Music Music Music).  It was Kahimi’s reference to Dislocation Dance that formed the catalyst to our late ‘90’s re-releases in Japan and our Japanese tour of 2000.

SPAZ: Almost 20 years after DD split, what inspired you to reform the band and record the Cromer album?

IAN: After the collapse of my label, I decided to call it a day.  However, in the mid 1990’s I’d started collaborating with a writer called Phil Lukes who used to bring me demos when I ran the label.  We recorded a couple of albums together, under the name Brightside, called Slide & Diveand Snakes & Ladders, with a more indie leaning.  Phil is superb bass player and he joined the rest of the line up for our Japanese tour.  After that we carried on writing, firstly an album called Shinjuku Junction, of which the title track currently features on Omoiyari for Japan, a charity album for the victims of the Tsunami.  This album was just feeling my way back into a Dislocation Dance zone, however, it was Cromer that really worked for me, as the natural extension of that original DD sound.

SPAZ: Now, half a dozen years later, The Ruins Of Manchesteris available.  How did the album come about? 

IAN: I know I take too long to record albums, although, that’s partly to do with there being lots of songs and versions which didn’t make it to the end product.  We’d been playing gigs with the new line up, partly to promote the lovely LTM re-releases.  So, I had the perfect opportunity to try out new songs with a band, which then turned into an album.  There are few songs which look back, notably Ruins, which, as I’ve said, is about how amazing Manchester was in the early ‘80’s.  The bands owned the City; it was ours.  Mancunians were radical and political.  We marched for CND and Rock Against Racism and gave sanctuary to a Tamil Tiger. The ‘ruins’ are the now.  It’s a wonderful city, but it’s not what it was, back then.

SPAZ: Is the songwriting process completely different from when the band first started?

IAN: Well, I’m very lucky to have a songwriting collaborator.  I always like to have several ideas on the go, but I’m not too good at finishing.  Phil is a talented lyricist and like Paul Emmerson, back in the early days, I like to put music to someone else’s words.  Phil and I, however, are a great team and we bring a lot to each other’s ideas.  They why, on the whole, we’ve been writing as a partnership:  Some are more mine and some are more his.  Phil was a big fan of Midnight Shift, all those years ago, so the sound is kind of in his blood.  The thing that’s nice about the current line-up is that I can try out songs as a band, which brings a new dynamic.

SPAZ: While you have other projects, do you foresee DD as being an ongoing project, at least sporadically?

IAN: Yes, I think so.  We’ve been playing live, to promote Ruins, and what’s nice about being Dislocation Dance is that I can play songs like “Don’t Knock Me Down”, from the 1981 album Music Music Music, alongside “Stop Breathing”, from the new album and they sound like they were written at the same time.  Also, I’ve been Dislocation Dance, in one form or another since 1978 and I’m keen for that to continue contributing to the body of work under that name.

SPAZ: What’s next for Ian Runacres and Dislocation Dance?

IAN: Well, I’ve already started writing new songs, for what is likely to be a new Dislocation Dance product, but first I’m keen to promote the LTM Ruins/Cromer release.  I think it’s a product to be proud of and I’m obviously keen for people to hear it.  I also ask that as many people as possible download the track “Crash”, with its commentary on the economic elite and their contribution to the current crisis, as it’d make a great single.  It’s also a vehicle for my love of ‘70’s guitar playing (which I don’t express often!!).

SPAZ: What is currently spinning on your CD, DVD and record players?

IAN: Oh yes.  This is one of those questions which allows artists to affect a certain credibility by citing cool and, in some cases, obscure tracks as a way of demonstrating their musical sensibilities, however I’ll just be completely honest and let you exactly what I’ve just been listening to.  Here goes. I have to say that I’m enjoying the new Rufus Wainwright album, Out of the Game.  It’s quite understated and he has a lovely turn of phrase and musicality to his voice.  I’ve also been listening to Ron Sexsmith’s Long Player, Late Bloomer, Regina Spektor’s Far and Neil Finn’s American version of One All, for similar reasons.  I do have a soft spot for Andrew Bird, especially the Mysterious Production of Eggs, plus Flaw, by the Bombay Bicycle Club, both for their lovely organic textured sound.  I’ve also recently dug out Bowie’s Hunky Dory, which has to be my favorite of his albums and whilst in a ‘70’s mood decided to download 10cc’s “The Dean and I” (how uncool is that, but it does really sound great and is beautifully put together), oh and R. Dean Taylor’s “There’s a Ghost in My House”, just for the nostalgia, (remember, I was a teenager in love, when that came out!) and finally Todd Rundgren’s “Be Nice to Me”.  That just about sums me up, for now. 

Thanks to Ian Runacres

Special thanks to James Nice and James Agren

DISLOCATION DANCE

THE RUINS OF MANCHESTER/CROMER

Available NOW!

An EXCLUSIVE Interview with SHOES!

If The SHOES Fit….

An EXCLUSIVE interview with

JOHN MURPHY,

GARY KLEBE

and JEFF MURPHY

By Stephen SPAZ Schnee

     In the world of Rock, there are two standard models that musicians adhere to when putting an original band together. The more common of the two is built around a single songwriter who brings in a few friends to help him (or her) shape the sound he has in his head. He may be open to some input from the other members, but it his ultimately his vision. The second model revolves around two strong creative forces leading the band. Whether they write together or separately, the band’s oeuvre is ultimately more varied and exciting. But sometimes, there are bands that come along and up the ante by adding a third creative presence into the fold. While it’s not an entirely rare occurrence, it isn’t as common as you think.

     In 1977, most Punk, New Wave, Rock and Power Pop bands tended to follow one of the two standard models. But then along came Shoes, a Zion, Illinois quartet and their first widely-distributed independent album, Black Vinyl Shoes. With drummer Skip Meyer in tow, the band was led by a trio of immensely talented singer/songwriters: Gary Klebe (guitar) and brothers Jeff Murphy (guitar) and John Murphy (bass). Though crudely recorded at home on a 4-track machine, the album’s songs were other-worldly: melodic, atmospheric and unlike anything else at the time. While each of the trio of songwriters had their own style, the three of them blended together perfectly, creating a sound that was uniquely their own.

     In 2012, Shoes have returned from an 18 year hiatus with Ignition, their best album in 30 years. With their pop smarts intact, the long period of inactivity has done nothing to dull their musical charm. Whether you prefer to call them Power Pop or Rock ‘n’ Roll, Shoes have created an album steeped in their own history yet totally modern. In fact, the album is a timeless collection of great songs that will satisfy their legion of fans and even bring in a whole generation of new ones.

     If that wasn’t enough, Real Gone Music has just released 35 Years: The Definitive Shoes Collection 1977-2012, a stunning compilation that features songs from all of their studio albums beginning with Black Vinyl Shoes and taking the listener right up to date with a song from Ignition. When most of their ‘70s and ‘80s contemporaries winded down their careers decades ago, Shoes have continued to create an extraordinary body of work unlike any other.

     While compiling and writing liner notes for the 35 Years… collection, Stephen SPAZ Schnee was able to catch up with Jeff, John and Gary to discuss their career thus far. Here are previously unreleased excerpts from those interviews. You can read the full Shoes story in Real Gone Music’s brand new compilation, available now…

SPAZ: When you first came together, was it your intention to work on your own material, or did you start out playing covers like most bands normally do?

GARY KLEBE: In the big picture, we did envision playing live at some point, but early on, writing songs and making records was by far our primary goal. Eventually, we did play live, and we reluctantly agreed to play some covers. No venue was interested in booking an unknown band that only played original material.

SPAZ: Were you interested in playing live in the early days or did you focus on recording?

JEFF MURPHY: Initially, the band only existed on tape. We started recording tidbits of songs that we wrote to learn how to play and write and record. We always envisioned that we'd eventually learn to play together live, but that didn't happen until after Gary returned from France (where he had been studying). Our first live gig was April 8th, 1976, almost 2 years after we made our first recordings together as Shoes. Skip joined in mid-1976 and by 1977 we were playing out more regularly.

SPAZ: Your early recordings are legendary amongst fans and collectors. Do you remember much about writing and recording Heads Or Tails and One In Versailles?

JOHN MURPHY: Yeah we were still tickled by the fact that, with the help of the Simul-Sync feature on the TEAC 4-track, we could make a group sound by building up individual tracks. It was way crude but these were our first steps. We had to do a lot of punching to get through a take but all we needed was one complete pass. If it was a guitar or a bass, you would just play along with the track and Jeff would hit ‘RECORD’ just before you had made your mistake. For Heads or Tails, Gary and I shared songwriting credit on most of the tunes; Jeff composed the one that he sang. Gary was in Europe during OIV so Jeff and I worked independently; he was at home in Zion and I was away at school in Champaign, IL. Jeff would have his songs ready when I would come home on weekends so I’d add bass or we’d do harmonies. I recorded most of my songs during the week of spring break…we were trying to finish in time to send Gary a cassette.

SPAZ: The band is referred to as a Power Pop band, but how would you classify the band’s music, then and now?

JEFF: The best bands define their own category: Who would you say The Beatles sound like? Or The Stones? Or Fleetwood Mac? Even the term Power Pop was originally used by Pete Townsend to describe The Who, yet today, most people wouldn't consider The Who to be power pop!

SPAZ: Black Vinyl Shoes was the album that really set things in motion. Do you remember much about the recording of the album?

JOHN: Jeff’s house was basically a converted garage so it was pretty cramped quarters…the kitchen had the TEAC tape machine and the Peavey mixing console and Jeff could keep eye contact by the pass-through into the living room that was packed with guitar amps, guitars, drums, mic stands and cords. He had to pre-plan the order of instruments and voices because of the limited number of tracks; some things had to be combined onto one track, in order to maintain audio quality.

SPAZ: What made you sign with Elektra and not continue going the indie route?

JOHN: Well there wasn’t an indie route that we were aware of in the 70s, not like there is today. The goal of every band or artist at that time was to try to hitch their wagon up to a major record company. We had cut a single for Bomp! Records and sublicensed BVS through JEM, which mostly dealt with import records, but we regarded these as steps toward what we considered the Big Time. We also had serious discussions with Sire Records, who were building their roster up with bands like Talking Heads and the Ramones and they had just secured a distribution deal with Warner Bros. But when Elektra approached us, they were very enthusiastic and, frankly, had all the right answers.

SPAZ: Your first major label album, Present Tense, certainly lived up to the songwriting standards of BVS with the extra added bonus of big-time production. At any point during your time on Elektra, did you have any input on which singles would be pulled from the album?

JEFF: We always had input, but we figured they had a better feel for what radio would play and what was getting a response. We could have lobbied for this song or that song, but ultimately, we mostly left it up to the label, in the mistaken belief that they knew what they were doing. In reality, they didn't know anymore than we did and they often put things out and waited for radio to decide what songs to play.

SPAZ: Your next album, Tongue Twister, was much more edgy than your previous output. Was it a more conscious decision to move in that direction... or more of an organic one?

JOHN: Yeah we consciously tried to strip things down. We wanted to keep the background vocals leaner so that it wasn’t so much a giant faceless choir and some of the guitar sounds were kept rawer. In hindsight, some of the tracks have a demo-like, slightly undercooked quality, especially compared to the pop music of 2012.

SPAZ: Boomerang was yet another great collection of edgy pop songs. Were you frustrated by Elektra's inability to break the band beyond your loyal fanbase?

GARY: Yes, we were very frustrated. By this time there was a huge downturn in the music industry. Financially speaking, Elektra and most major labels were in dire straits due to plummeting record sales. Their energy was spent struggling to sell records by previously multi-platinum artists. Breaking non-established artists like Shoes suddenly became a low priority.

SPAZ: After Boomerang, you left Elektra. Were you disillusioned by your experience with a major label?

JEFF: By the time we finished the recording for Boomerang, we could see the label was crumbling. People were getting fired and we were very nervous. Shortly after Boomerang was released, the VP that signed us to the label was fired and we knew our days with them were numbered. But we still saw major labels as the only way to exist professionally, as a recording band. We were certainly disappointed in many of the decisions that Elektra made during our tenure there, but once we finished recording a record, we didn't have much say in the process of promotion of that record.

SPAZ: Skip Meyer left the band at this point. Was it a difficult task to continue without him?

JOHN: Well, the three of us were responsible for coming up with the material and the general direction of the band…the drummer is kind of the moveable piece within our structure. Skip was always a little lost when we hunkered down to record; he’d prefer to play live gigs. But, when he left, we missed Skip as a pal to hang out with. Every drummer we’ve ever worked with has something special to bring to the table and Skip certainly made his contributions.

SPAZ: Although you used them before, the band began to experiment more with keyboards than ever on Silhouette. Did you enjoy the challenge of adding something new to your sound at this point?

GARY: The band was doing a lot of soul searching during that period. Our contract with Elektra was over, and I think the disappointment with our major label experience left us weary and maybe a bit self-doubting in what direction to head. The keyboard injected some welcome energy into the songwriting and recording process. It served as a springboard for getting the ball rolling and providing a new perspective.

SPAZ: There was a lengthy time period between Silhouette and your next album Stolen Wishes. You managed to set up your own label and began releasing your back catalog on CD. How was it that you managed to retain rights to your Elektra recordings?

JEFF: The time lag between Silhouette and Stolen Wishes was a result of us moving and building a new studio. From early 1983 until later that year, we were building our first studio, so we could continue to record after our time with Elektra ended. It took us about a year to build the studio and record Silhouette. We able to secure deals with three European labels in England, France and Germany to release the album in late 1984. By late 1985 we realized that we needed to move our studio, due to a conflict with the new landlord and we spent the first half of 1986 building a new studio in a new location. By 1987, CDs were becoming the new music medium and we asked Elektra to release our back catalog on CD. Our Elektra deal allowed for us to reacquire the rights to our catalog, if they refused to release it. They declined and returned all of our master tapes to us, so we released the original Shoes Best CD on Black Vinyl Records in the fall of 1987. We began releasing more CDs on Black Vinyl Records in 1988 and writing and recording more new songs until we released Stolen Wishes in early 1990.

SPAZ: Stolen Wishes was yet another feather in the band’s cap, resulting in an album that was more focused and mature than ever. Do you remember much about this period of the band’s career? It seemed to be right in between the original New Wave/Power Pop days of the early ‘80s and the Power Pop revival in the ‘90s.

JOHN: By the time we were writing for Stolen Wishes, it had been 4 years since Silhouette came out overseas and 6 years since our last Elektra release. In the meantime we had built another studio, which was bigger and better than our last, and we revived the Black Vinyl label and dipped our toes into the digital waters with the release of Shoes Best on CD. We had new gear and were anxious to use it but soon found we had a fair amount of problems with the software. Also, we had to work around the ever-growing amount of sessions needed to fund the place. Week to week, we were making progress, but it was draining: Jeff engineered session work with other bands during the day and Gary and I both had full-time jobs outside of the studio so most of our recording was done in the evenings and on weekends.

SPAZ: Propeller followed in 1994. The production on the album was more intricate than ever and the album featured some of the band’s greatest songs thus far. Any memories of this period in the band’s evolution?

GARY: From the beginning, we set out to make Propeller an edgier record than its predecessors. The guitars were mixed more to the forefront, the bass was punchier and the drums were recorded with more ambiance. Also, we had upgraded from a 16 track to a 24 track analog tape machine which resulted in better fidelity. In general, the songs had a heavier, darker mood and lyrical content… possibly, a reflection of the times.

SPAZ: 2012’s Ignition is one of the best albums of your career (and certainly the best since Boomerang). What inspired the band to go back into the studio and make a new Shoes record?

JOHN: We had been strolling down Memory Lane for at least a year as Mary Donnelly was gathering material for her book, Boys Don’t Lie. With those remembrances fresh in our minds, Gary, in the meantime, had carved a space out of a section of his basement and installed recording gear that he had acquired over the years. He unveiled the new studio to us in the fall of 2010. Even though Jeff had his home studio for a few years, this was a step up, as far as the quality of the gear goes. We didn’t know we’d get a full album out of it, but we began with a couple of songs and quickly booked time with our drummer, John Richardson, so that we could begin doing final versions of the songs. Every few months, we’d have him come down—he lives 5 hours north of us—so we’d have a handful of new tunes for him to drum on. In the meantime, we kept writing and building up the tracks that were already recorded.

SPAZ: How much input do you have on each other’s songs either in the writing or recording phase… and are you open to receiving creative suggestions from the other guys?

JOHN: Oh yeah we’re all open to suggestions/input from the others. It sometimes depends on how much the writer had initially done. Ideally, we’d all like to be a part of every tune, but it doesn’t always work out that way. Gary has pointed out to me that the more parts I want to play, in addition to the bass, it gets harder to fit in other ideas. But I think that holds true for all of us.

JEFF: While one writer steers the ship on their respective songs, we each toss out ideas and suggestions as we go. Sometimes, major changes happen (as in Ignition’s “Out Of Round”) and sometimes, it stays truer to the writer's original idea. But we all certainly have the opportunity to contribute. Even if we don't change the structure or make chord changes, etc. we all work together on the backing vocal parts, which are typically concocted in the studio, on the spot. We are all completely open to receiving creative suggestions at any point from demoing to mixing and all points in between.

SPAZ: The music industry was a different beast back when BVS was released. Although it’s been 35 years, do you feel that you are facing just as many challenges today as an indie band as you did then?

GARY: The challenges are quite different. The record industry has been decimated by the digital age. On one hand, few people are crying about the decline of major labels, who for decades took advantage of recording artists. On the other hand, independent labels and recording artists have also suffered. Today, I think it’s even harder for artists to making a living when so many listeners think that music should be free. Hopefully, some new platform will emerge that will offer music at affordable prices while fairly compensating artists for their work.

Thanks to Jeff Murphy, Gary Klebe and John Murphy

Special thanks to Gordon Anderson, Gabby Castellana and Linda Lester

IGNITION

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35 YEARS: THE DEFINITIVE

SHOES COLLECTION 1977-2012

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