December 1982 was one of the most
crucial months in the rapid development of The Sisters of Mercy after the
release of the breakthrough of the Alice/Floorshow double A side single the
previous month. The band not only secured their first
cover appearance on one of the very influential music weeklies with Paul
Slattery's photo of the band accompanying their first major interview (in
'Sounds' on 18th December 1982), but the band played a series of gigs in the capital around Christmas
as they sought to capitalise on the increased interest in their music as their
third single rose steadily up the "Alternative" chart. Eldritch
always refuted the idea that the band needed to move to London in order to
succeed, but even he seemed to accept that they needed to give the industry
movers and shakers an easy opportunity to see the band 'live', and so the band
played three gigs in three different London venues over five nights straddling
Christmas at the end of the month.
Having supported the newly renamed
Spear of Destiny (formerly Theatre of Hate) and the Cocteau Twins at the
Kilburn National Ballroom on Wednesday 22nd at a gig promoted (as were the other two) by Head Music,
the Sisters moved on the Ballroom of the Clarendon Hotel in Hammersmith the
following evening to support UK Decay, before ending the series of gigs with
their final show of 1982 as part of a six band spectacular at the Lyceum Ballroom just off The Strand on Sunday 26th December, their biggest show in the capital to date.
(Ultra-rare poster of the December 26th 1982 show from the amazing collection of Bruno Bossier)
This rapid return to the scene of their
triumphant support slot to Aswad the previous month (which had garnered a rave
review from Mick Sinclair in Sounds) came as something as a surprise, and was
the result of a late but significant change of heart from promoters of the Lyceum show, Head
Music, who had emerged from the shadow of Straight Music (note that the
backstage pass from the Christmas on Earth reproduced here - from the collection of Robin C - still bears
the name "Straight Music").
Regular readers may recall that in September 1981 John Curd's organisation Straight Music had promoted the successful Daze of
Future Past show at Leeds' Queen's Hall (causing John Keenan's
Futurama 3, at which The Sisters had featured for their first big break, to
relocate to Bingley Hall near Stafford), and later that year Straight Music put
on an even more successful punk revival festival at Queen's Hall, entitled
"Christmas on Earth". This brought together fans of the second wave
of punk bands such as Vice Squad, G.B.H. and The Exploited alongside original
punks Chelsea, The UK Subs and The Damned on 20th December 1981. This contemporary review claims that as many as 7000 fans gathered on a snowy winter's
day for the indoor festival, so it would have come as no surprise that Straight
Music's successors, Head Music, should retain the name "Christmas on
Earth" for another punk extravaganza to be held on 26th December at the
Lyceum in London three days after another Christmas punk show at the same venue
headlined by The Anti-Nowhere League.
Whether it was poor ticket sales as "Punk's
Not Dead" defiance finally gave way to the reality that the revolutionary movement had not petered out but merely evolved, or confusion caused by the
fact that the original adverts claimed that the gig was on a Thursday, Head
Music made the dramatic late decision to dump old school punks Discharge, Vice Squad
and G.B.H from the bill, and replace them with post-punks Sex Gang Children,
Alien Sex Fiend in a move which marked a symbolic and definitive moment in the rise of what
would become goth. Curiously, 1977 punks The Vibrators remained on the bill,
meaning that those who attended the show on the day after Christmas (but before
the Monday Boxing Day bank holiday) was a curious mix of the two audiences.
This is reflected in the contemporary
review by Paul Roland (from the archive of Malcolm Argyle), who clearly felt
that The Vibrators were the best received band on the day, with the "audience singing along" to several of their songs, something which fans of the newer scene
would have been unable to do. Roland (a musician himself) is very complimentary about the Sisters
though, stating that "the Ballroom filled up nicely" as they took the
stage, and that not only was Eldritch's yelping "quite effective", but that
the band's music was "a welcome change from the one look/one sound
hardcore groups".
Whilst this may be true, the Sisters' performance that early evening was not a huge improvement on those on the
Psychedelic Furs support slots two months earlier (including the gig which I
uncharitably dubbed their worst ever in a previous post on this blog), and was
again beset with technical difficulties, many of the band's own causing, as can
be witnessed in an audio recording of the show kindly lent to me by Phil Verne
of the 1980 - 1985 The Sisters of Mercy unofficial Fan page on Facebook. Gary
Marx has stated that the band liked to start the "live" set with Kiss
The Carpet as it enabled them to iron out any technical difficulties, but here
the opening section is both chaotic and discordant, the guitars clashing on
several occasions where they appear to be playing in different keys, before
Gary's key riff disappears in the mix just after the Doktor ushers in the
change of tempo to kick-start the set. Apart from some feedback and sound level
issues, the rest of the opener passes without incident as Eldritch's
reverberating vocal takes over. "Floorshow", already becoming a
favourite on the indie club dancefloor, increases the pace of the set, with the
singer's bloodcurdling screams again the dominant feature. The third track,
"Adrenochrome" gets off to a terrible start, Adams seemingly playing
the wrong notes whilst the guitar is lost in a sea of feedback, but again the
singer impressively keeps going by staying in tune against the odds for the
opening stanza, after which the song gets rapidly back on track. Before moving
on to the next track, Eldritch announces "We are the Sisters of Mercy.
This is a new one. What's it about? It's about sex...and violence...and
television...and (inaudible)" as the band launch into
"Valentine", given its second ever playing and now uploaded to Soundcloud by Phil Verne. Although musically identical to the Reptile House
version, lyrically the final verse is different, with Eldritch singing "I
see no need for this, I see no reason, reason" before returning to the
more familiar "For a million empty faces" line and the song's
impressive climax. He had sung the same unusual couplet but at the start of the second
verse for the song’s live début three days earlier at the Klub Foot (as can be heard in this version kindly uploaded to YouTube by Ade M), but by the time of
the Portastudio demo, the final lyrics are in place, apart from a transposition
of adjectives towards the end (“hollow faces”…”empty smiles”). Less than a
month after the Lyceum show, though, at Leeds Warehouse on 20th January 1983, Eldritch sings the full Reptile House lyric of the song, just a
month before it was recorded for the EP. The pace of the Lyceum show increases again with "Alice" over a
more metronomic than usual Doktor Avalanche introduction, before early single
"Watch" is given another airing. Now shorn of the "dark
room" section, this had become one the longest-standing songs on the set
and one of the most potent, with the bass and drum machine "Watch us fall,
falling down" (better suited Eldritch's than Marx's vocals) section forming an extended, guitar-free ending.
Unfortunately it was at this point
that the traditional 1982/1983 Doktor Avalanche technical gremlins returned, with the "Body Electric" drum
pattern only kicking in successfully at the fourth attempt, and then Ben's
guitar seeming slightly out of tune on the first section, and again in the
instrumental section in the middle of the song, as can be heard here on YouTube, again thanks to Phil Verne. Once more it's Eldritch's vocal that sees
the band through, with Marx's final soloing even more off-the-wall than usual
towards the end.
Eldritch has a brief altercation with
a member of the audience ("That's right in my face") before the band
launch into a primitive, staccato version of next single "Anaconda",
another song which betrays the fact that as the third band of six on a busy
bill, they would have had little time to soundcheck. Again, Eldritch rises
above the feedback with another tour-de-force vocal performance, and the band
save the day with a typically unbridled "Sister Ray" finale, the only
cover version in the set with "1969" having been recently dropped.
The Sisters would return to the
Lyceum for what Eldritch would late describe as their best ever gig, supporting
the Gun Club some four months later, and it remained a favourite venue for the
band on subsequent tours. Having started life as a theatre, the Lyceum had had its stalls removed and become a ballroom after the Second World War, and prior to hosting gigs had been
the home of the televised "Miss World" competition. The lack of seats made it
an ideal venue for gigs in the punk and post-punk eras, but it closed in 1986,
eventually reopening as a theatre a decade later after a lavish refurbishment.
Anyone who has visited London since 1999 will know it as the the home of the
hit Disney musical The Lion King, appropriately for a venue which has completed
its own, erm, circle of life.
Curiously for a show which was put
together at the last minute, the show is well-documented, including this ticket
belonging to well-known post-punk archivist David M who attended the show, with more evidence available than for any other show of that era.
My thanks for this post are due to
Phil, Malcolm, Bruno, Robin, David, Ade and all those who have shared memories of
this final gig of the breakthrough year of 1982.
The first poster that show Discharge headlining says "Thursday 26th December". That date doesn't exist in 1982. Poster screw up? Or could that poster be from a different year (1985 has a Thursday 26th December)?
ReplyDeleteI went to most of the gigs in the 80s great time
ReplyDeleteLyceum was a great place seen a lot of bands there
ReplyDeleteI remember this gig very well I bought my ticket as soon as the gig was advertised and despite not knowing most of the bands went anyway and discovered Sex gang children, not long afterwards their 12’ singles sat happily alongside my ‘Trad’ punk records, I thought they were just as Punk as other bands, just another evolution of it like say, Killing joke were.
ReplyDeleteThat is what was good about Punk, it was a ‘broad church ‘musically, P.I.L would sit happily alongside Discharge or the 1st Cure LP or the Banshees and all were punk to me.
Still love Punk in all its forms, god that music is great!
Thanks for your comments!
ReplyDelete