by Steve Martin
Ten years-plus in the music business and what
have the Psychedelic Furs learned? When they're
happy, they're commercially successful...but
commercial success doesn't make them happy.
Richard Butler's acrid, spiteful snarl, his brother
Tim's pulsing bass, John Ashton and Roger Mor-
ris' swirling, aqueous wall of guitars, Vince Ely's
relentless floor-toms and Duncan Kilburn's
cacophonous sax first gelled on The Psychedelic
Furs, released in 1980. Painting aggressive sound-
scapes heavily reliant on surrealism and sarcasm,
the record's lyrical convolutions constituted a
perfect counterpoint to punk's full-on nihilistic
bent. Next year's Talk Talk Talk ventured into more
melodic territories, most notably in "Pretty in
Pink," which later became a major bratpack
soundtrack hit in its revamped, wimpier incarna
tion. Morris and Kilburn left before the slick Todd
Rundgren production of 1982's Forever Now would
herald a period of unfounded optimism and
creative confusion for the group (as well as Ely's
departure). This sound prevailed through the
subsequent Mirror Moves and Midnight to Mid-
night, with the latter scoring the band their first
gold Lp and a bonafide MTVpop radio hit, "Heart-
break Beat."
In 1988, the Furs re-recruited Ely, returned to
England and recorded "All That Money Wants"
for inclusion on the All of This and Nothing com-
pilation. The sparse, gritty quality of this new
recording was the first harbinger of the return to
vintage Furs drone and cynicism that is their cur-
rent Book of Days. "I'm really pleased about that,"
says guitarist John Ashton of this resurrected
drive. "I think Richard is at his best when he has
something to say. I felt for quite some time, for
a couple of albums there, that he didn't really have
a lot to say. A different Richard. I guess he's
the
psychedelic
always best when he's
pissed off a bit. On the
new record, he's taken the
burdens of the world back
onto his shoulders again.
furs
He's been looking around and going. "This planet's grinding to a halt
and we're none too pleased about it.' I think that's really fueled Richard
up and gotten him back on the right track. It's given him a vehicle
to get angry about again, or very cynical, at least."
Hence, Book of Days' 180-degree sonic re-orientation. Butler's
Above: Psych Fur Richard
Butler. According to
guitarist John Ashton,
"He's always best when
he's pissed off a bit."
Photo: Kristin Callahan.
return to his acclaimed,
abrasive deadpan grates
against stark, simplistic
musical textures that recall
the band's halcyon days of
sarcasm ("Entertain Me"), surrealism ("Shine") and outright gloom
("Book of Days"). The whimsical love songs of the Mirror Moves/Mid-
night to Midnight period rarely make appearances in the current Furs
live set. "Richard has his cynicism back," says Ashton. "People have
labeled us as being miserable at times, being a (Continued on page 100)
by Kirsten Voris
Let's deal with the burning question right
away-why a name like the Young Fresh
Fellows? "We almost changed our name to the
Beverage Men when our old guitarist quit," says
drum specialist Tad Hutchenson. Almost? "We
couldn't think of anything stupider, so we had
to stick with Young Fresh Fellows," explains
bassist Jim Sansiger.
The Young Fresh Fellows is one Seattle band
that can't be categorized and cornered with the
sounds people associate with the Northwest
these days. The marathon pace of a Fellows gig
will exhaust you. Tad is the demented duke of
drumming. A shield attached to a long bamboo
stick bounces dangerously over his head as he
alternates between dodging it and smacking it
with a drumstick, looping his legs over the snare
and tapping the edges of the cymbals with a
serene bliss. Guitarist Kurt Bloch must have
been lashed to a chair during his formative
years. If he's not doing a synchronized-across-
the-stage workout with Jim, he's backstage pull-
ing out cases of beer so vocalist/fellow guitarist
Scott McGaughy has something to stand on.
When he remembers there's a guitar across his
middle, he's playing Chuck Berry's famous
"Rock Around the Clock" solo with a vengeance
and an exactness that is horrifying. Meanwhile,
Scott is on his back, playing, kicking, getting
the back of his shirt dirty.
The Fellows' most recent effort, a 45 with
Scruffy the Cat entitled "My Boyfriend's in
Killdozer" marks the debut of the band's own
label: Cruddy Records. Scott is happy to re-hash
the true life story of the song, but it's just as easy
to figure out if you turn it up and listen.
One band responsible for exposing the most
people to Fresh-ness is the Replacements. "At
one point they were really into us," Scott ex-
Te Ro
RASHER
Feeling young and fresh, fellows Tad, Kurt, Scott and Jim (L to R) display their priorities. Photo: M.Fo
young
fresh
fellows
18Q
plains. The Replacements even took the
Fellows on tour and got them naked.
"One night we traded clothes between
sets," Scott says. "They stripped down.
and threw all our clothes to the audience.
Luckily it was the last night of the tour so
we just got some towels and drove home."
On their new 1989 release entitled
"This One's for the Ladies," the band
proves they can explore their shadier side.
without becoming angst-ridden. It's ob-
vious that as the Young Fresh Fellows
embark on their second decade as a unit,
they still enjoy playing together. Scott il-
lustrates their philosophy.
"We try to work pretty hard and get out
there and play a lot. People love us when
they see us live, even sometimes when
we're really bad. Play music because you
like it and don't expect to make a big liv-
ing out of it, otherwise you'll end up like
White Lion."
"Unless you want to be like White
Lion." Kurt says.
80
81