And the Band Played On

As the owner of this blog and bearing in mind its title, it would be seriously remiss of me if I didn’t say a few words on the recently announced retirement of those two cockney sparrows, Chas and Dave, who once regaled us with their cheeky charm but frankly what is there to say?


Instead, I mourn the passing of the singing group that were once the Sugababes. It seems that the last remaining founder member, Keisha Buchanan, has now fled the coop and whether she was pushed or left willingly is not really the issue. What is important now is whether the remaining ‘Babes plus any newcomer really have the right to call themselves the Sugababes with all the global goodwill that goes with that name?

This is a matter that I have touched on before and as yet is still largely unresolved. My contention is this: should any band have the right to use their original name once all founder members have left?

In a recent issue of ‘Record Collector’ there is a page of gig adverts which includes the following; Focus (featuring Thijs van Leer), Martin Turner’s Wishbone Ash and The Grounghogs with Tony McPhee. All these are really the thin edge of the wedge as none of them are the original bands but one member plus supporting players. Focus was never Thijs van Leer on his own and without Messrs Akkerman, Ruiter and Van der Linden the Focus name seems a little sullied. I’m not sure who’d want to see Wishbone Ash without Andy Powell (and Upton and Ted Turner come to that) but the name is still being used for commercial gain. It would be interesting to know what a conglomeration of Powell, Upton and T Turner would call themselves?

The case of the Groundhogs is perhaps more acceptable as Tony McPhee was undoubtedly the main man, but I’m sure long time fans of the band would still feel a little short changed without the remaining members.

My feeling is that all bands that do not have a single founding member should be forced by the musicians union to change their name. After all, from a punter’s point of view there is a little matter of the Trades Descriptions Act and the misrepresentation of goods. I dare say that Martin Turner would claim he has done just that by playing under the mantle of ‘Martin Turner’s Wishbone Ash’ but I hear the sound of hairs being split. What we need is a decent judicial decision on this point then we can look forward to years of acrimony (see Pink Floyd).

False Start

It has long been a pet theory of mine that the route to success is not paved with unbroken success but more likely stained with failure, or at least some sort of initial setback. This apparent paradox can be seen in the music business time and time again. No sooner do record companies drop or fail to sign an act than they get picked up by a rival and are immediately successful.

A good example is the Sugababes who were unceremoniously dropped by London records just before achieving global mega-status for new label Island. Of course, there are always famous cases of future stars being turned down at audition by unsuspecting potential employers. I dare say that Decca are still kicking themselves over those four scousers called, what was it? Oh yes, the Beatles – I wonder what happened to them?

But often, success of a different flavour can follow disappointment. In the mid 1990s, Julian Cope was dropped by Island after his masterwork, ‘Jehovahkill’ was considered too uncommercial. But since then he has carved out a low key yet successful multi-career by releasing his own albums and writing learned books about ancient stone monuments as well as his own idiosyncratic autobiography.

More recently, a favourite artist of mine, Nerina Pallot has just returned to the fray with the brilliant ‘Fires’ album, released on her own independent label, Idaho, having been dropped by Polydor after just one album, and it is the best work she has done to date. Why can’t artists be given room to grow? Let’s face it; ‘Sgt Pepper’ was the Beatles’ eighth album. How many bands get the opportunity to release eight albums these days? Commercial shortsightedness is the bane of the music industry. How many companies these days would tolerate the experimental dabblings of the Pink Floyd before ‘Dark Side of the Moon’ (also album number eight)?

But let us not be too hard on the companies who see fit to let their potential stars go, as there is an upside. It is often the enforced change of direction that such setbacks bring about that precipitates the improvement in fortunes, something that may not have happened in situ. I, however, like to think that there is a strong element of two fingers to the perpetrators that spurs artists to thrive elsewhere.

Succeeding at a new record label after being dropped by another is a bit like scoring the winner against your old club, having been transfer listed the previous season– hugely satisfying.