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Joe had difficulty staying on his drum stool so decided to play standing up around this time.Ī series of support slots with Echo and the Bunnymen, The Woodentops and Hoodoo Gurus followed, while we also hooked up with various North West indie bands like The Walking Seeds, Barbel, Marshmellow Overcoat, The La's, The Tractors and Bogshed to do gigs around the area. Early gigs were drink-fuelled parties - a bottle of mescal during our first performance, and a bottle of Jack Daniels during the second. Stay out of Churches, and never wear a lawman's badge." And with cries of 'Yip goddammit' (we'd been listening a lot to Jon Wayne's Texas Funeral) we launched into a song called Big Mouth Shut. First time out the stable - Benny Profane. Joe wrote a speech for the host to read before we started: "Born of the bastard. On 29 September 1985 Benny Profane played its first gig at a house party in Aigburth. We started writing new songs and worked up a cover of Hank Williams's I'll Never Get Out Of This World Alive. Smith said about independent labels being the real rip-off merchants and thinking he was just being contrary. I always remember reading something Mark E. However, what we didn't know then was that our experiences with Red Flame would be as nothing compared to the independent label hell into which we were about to descend. He'd been with Red Flame label-mates Shiny Two Shiny, so we could bitch about Dave Kitson with him. Shortly after, we enlisted Robin Surtees as our head jangler. Will gave us an idea of how we could sound and the recording was fun. We went into Amazon studios for a day in August 1985 and put down four songs: Credulous As Hell, I Don't Know What, Vain Profane and The Speed It Likes Best. Natural selection, I suppose.Īfter a brief period with Joe on guitar and Paul Sangster (ex-Send No Flowers, Wild Swans) on drums, we enlisted the aid of Will Sergeant of the Bunnymen to do the guitar on our first demo. We tried another guy called Bendy who didn't actually own a guitar, and then went and broke his arm playing Rugby. We tried out a couple of guitarists, one of whom (Ben Gunn) had been in the original Sisters of Mercy, yet had a trainspotterish obsession with The Fire Engines and Big Flame. But Witts failed and Joe decided to stick with us. In fact, Dick Witts was also trying to poach Becky as bassist. Only trouble was, Joe didn't really want to play drums anymore and even if he did, The Passage were still not quite dead and he'd temporarily rejoined them. However he'd taken exception to the mellower jazzier style that we were trying around the time of Clear!, and would pointedly read a book while drumming during rehearsals to register his indifference.īut this was a new band, and we'd come to the conclusion that there were only two types of jazz - and they were both crap. He'd played with The Room when Alan Wills was injured and had been our original choice of replacement for Clive Thomas.
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I was moving more in the direction of telling magical realist stories in the vein of Jackpot Jack and Jeremiah, and we wanted Joe McKechnie (The Passage, Wild Swans) on drums right from the off. I wanted something that lay somewhere between the stripped down Velvets play rockabilly vibe of Fiery Jack/New Face in Hell period Fall married to Roy Orbison's melodramatic sense of melody. In response to our experiences with Virgin, and a feeling that John Porter had overproduced his tracks on In Evil Hour, we decided on a back-to-basics, rough and ready approach to our new band. We nearly called the new project The Whole Sick Crew or The Profanes, but settled on Benny Profane, the name of a character in the Pynchon novel V described as 'a schlemiel and a human yo-yo'. I was drinking a fair bit, listening non-stop to Hank Williams and reading Thomas Pynchon.
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After our first band The Room split in the summer of 1985, Becky Stringer and I quickly began recruiting and planning for a new group.