Paul Hanley on Gideon Coe’s Late Night Book Club on BBC Radio 6 Music talking Hex Enduction Hour and Have A Bleedin Guess. Click play above to listen. Running time 36:29.
Paul Hanley in conversation with Daryl Easlea at Louder Than Words Festival 2019. They discuss Paul’s book Have A Bleedin Guess: The Story of Hex Enduction Hour. Running time 1:02:37
AUDIO: Brothers Steve Hanley and Paul Hanley in conversation with John Doran at Walthamstow Rock N Roll Book Club. The first part of the conversation is dedicated to The Fall’s 1982 album Hex Enduction Hour, the subject of Paul Hanley’s book Have A Bleedin Guess. The second part is taken with general questions about The Fall, led first by John Doran and followed up by questions from the audience. Recorded at The Trades Hall, Walthamstow on 23rd October 2019 in front of a full house. The sound of bottles smashing during the recording come from the bar, there wasn’t a riot in the crowd. Click play above to listen. Running Time 1:26:50
(If the audio player above is not active, click this link to play the file in your browser, or right-click and choose ‘save link as’ to download the podcast’)
VIDEO: Click here to watch a video of the audience Q&A (It duplicates the last 21 minutes of this recording, so you can switch over at 1:05:29 and listen to the remainder with moving pictures.)
For more on Steve and Paul’s books, click the covers below.
Even if it’s a fool’s errand trying to decide which is the greatest LP out of The Fall’s huge back catalogue of albums, many fanatics of the group will tell you that the worst thing you can say about Hex is that it’s their equal best at the very least. ’ – John Doran, The Quietus
Of all The Fall’s myriad long-players, Hex Enduction Hour remains one of their most highly regarded. Even the circumstances of its recording, purportedly in an abandoned cinema and a cave formed from Icelandic lava, have achieved legendary status among their ever-loyal fanbase. HAVE A BLEEDIN GUESS tells the full story of the album, including how each song was written, performed and recorded. It also includes new interviews with key players.
Author Paul Hanley, who was one of The Fall’s two drummers when Hex was created, is uniquely placed to discuss the album’s impact, both when it was released and in the ensuing years.
Hanley writes in his introduction to the book: ‘Because of the way The Fall worked in those days, Hex and its contents can’t be discussed in a vacuum […] While what went on during the Iceland and Hitchin sessions will inform much of what follows, documenting the making of Hex Enduction Hour isn’t like discussing Rumours, or even Blood on the Tracks: its recording was part of a process. What’s more, the Fall process often subverted the rehearse-record-tour cycle by skipping the rehearsal bit – it wasn’t unheard of for a song roughed out in a soundcheck to be part of that night’s set. The oldest song on Hex Enduction Hour was first played live as early as August 1980. The group released an LP, a six-track ‘mini-album’ and two singles before it made its way onto vinyl, but it fits Hex Enduction Hour’s atmosphere perfectly. Someone in The Fall knew what they were doing. Hopefully by the end of this you’ll have some idea too.’
It is this continuous working process – from the formation of the band that made the record, through the trip to Iceland, the key switching of record labels from Rough Trade to Kamera and the subsequent recording at The Regal in Hitchin – that is at the heart of HAVE A BLEEDIN GUESS. Along the way, Hanley’s insider’s perspective busts a few myths that have surrounded the album over the years, as well as bringing fresh insights, not least of which is who is the King Shag Corpse.
The book features new contributions from key players on the album, including Craig Scanlon, Steve Hanley, Marc Riley and Kay Carroll, plus producers Grant Showbiz and Richard Mazda, and Kamera’s Saul Galpern and Chris Youle.
Foreword by Stewart Lee
Paul Hanley was the drummer in The Fall from 1980-85 and now plays with Brix & The Extricated. His debut book Leave The Capital: A History of Manchester Music in 13 Recordings was nominated for the ARSC Award for Excellence in Historical Recorded Sound Research.
HAVE A BLEEDIN GUESS: The Story of Hex Enduction Hour Advance copies of a paperback edition can be ordered direct from Route and will be disptached from 20th November. The book is not be available through other trade outlets until March 2020. CLICK HERE TO ORDER
Wednesday 23rd October
Rock N Roll Book Club, Walthamstow Trades Hall.
Paul was joined by brother Steve. Interviewed by John Doran of The Quietus
Click here to listen an audio recording of the event, plus a video of the audience Q&A
Sunday 10th November
Louder Than Words Festival, Principal Hotel, Manchester
Paul will be interview by Daryl Easlea
Click here for tickets and further details.
A review of Paul Hanley’s Leave The Capital in Association for Recorded Sound Collections Journal by Robert Iannapollo.
Worth the reader’s time and effort is a slim volume entitled Leave the Capital by Paul Hanley. Hanley was the drummer for The Fall, one of the finest bands to emerge from the post-punk scene, and which performed for 40 years under the stewardship of their volatile leader Mark E. Smith. The personnel was rarely stable for more than a few years and Hanley was there during one of the peak periods (1980–1985).
Hanley’s book, subtitled A History of Manchester Music in 13 Recordings, is an informed perspective written with intelligence and wit. Hanley frames his story around the creation of recording studios based in Manchester. Any band not based in London during this period would have to make the journey south to record in an ‘acceptable’ studio. Even the Beatles had to record in London (not Liverpool) throughout their career. Not until 1968–69 was a decent recording facility established in the third largest city in Britain. But Hanley starts his story further back than that.
The story starts with two British Invasion bands that would seem like small potatoes in the history of rock: Herman’s Hermits and Wayne Fontana & The Mindbenders. The latter band was primarily known in the US for two hits (‘The Game of Love’ and the Wayne Fontana-less ‘Groovy Kind of Love’) but had a somewhat higher profile in the UK. In that group was a member critical to the story of Manchester-based music: rhythm guitarist and composer Eric Stewart. As the Mindbenders’ career wound down, Stewart was approached with some seed money to start a studio in Manchester, which was something he has always wanted to do. He, in turn, approached songwriter Graham Gouldman, who had written hits for some of Manchester’s finest – Hollies, Mindbenders, Hermits – and even for London-based bands such as the Yardbirds. Gouldman had been approached by US bubblegum producers Kasenetz and Katz to write some songs for their US label (Buddah). Stewart added Kevin Godley and Lol Crème to help round out the instrumentation and compositional chores. This turned into a production deal when they realized that the Manchester duo produced demos that were better than their US counterparts and soon these demos were being released under the monikers of the Ohio Express and other teeny-bop sensations.
All was going well with profits plowed back into the studio when an ‘accident’ happened. In the process of producing a recording where they were testing a new Ampex 4-track they had acquired, they kept experimenting, trying to acquire a certain percussive blend. Stewart happened to play it for a friend who was an A&R man at Phillips, to show him what they were doing in the studio and the A&R man said it could be released as it was and be a hit. They released a track titled ‘Neanderthal Man’ by a fictitious group called ‘Hotlegs’ and it proceeded to reach number two in the UK and the top 20 in the US, and to sell over two million copies worldwide. This posed a dilemma because the four had a number of recordings they’d been wanting to release, but surely not as Hotlegs. And so it was that the band 10cc was born, a group that was phenomenaly successful in Britain between 1972 and 1978 and had a few big hits in the US as well.
At the same time, their Manchester-based studio, now christened Strawberry Studios (after Stewart’s favorite Beatles song), began to take off and the band had a dual career as both a highly successful rock band and studio producers/engineers. The studio was highly regarded for the productions that emerged. Among the first of their successes was the re-igniting of Neil Sedaka’s career in 1972 with two very popular albums. To really hear what this studio was capable of, one need only listen to 10cc’s biggest hit, ‘I’m Not in Love’. Its fulsome sound, massed choir of voices, and otherworldly ambience shows just what could be done there. Subsequently, many other bands began recording there, including Joy Division, The Smiths, Paul McCartney, the Buzzcocks, New Order, Happy Mondays, and many others.
Going back to the Hermits, although Peter Noone (aka Herman) is perhaps the only one remembered today, two members had a more substantial impact on the development of Manchester’s music: rhythm guitarist Keith Hopwood and lead guitarist Derek Leckenby. Concurrent to Stewart’s early acquisition of the building to house Strawberry Studio, Hopwood was interested in starting his own studio and Stewart agreed that he could start a second studio in the same building on the second floor. Hopwood and Leckenby named it Pluto Studios. Leckenby eventually bailed when the Hermits reformed. Hopwood remained, but he built Pluto into the second viable option for recording in Manchester. The studio plodded along and succeeded in luring groups who preferred not to venture south to London to record. Pluto had its first number-one in 1977 with a song called ‘Matchstalk Men and Matchstalk Cats and Dogs’ by Brian & Michael. It was a distinctly English and distinctly Mancunian piece of work but was enormously popular and is still lauded today. The importance of both of these studios in developing quality recording facilities set the stage for the Manchester that produced such subsequent English stalwarts as the Smiths, the Stone Roses, and many others.
Hanley tells his story entertainingly and does it in a thorough, readable, unpretentious manner. Hanley’s witty prose is to be found even in the book’s copious footnotes. Well researched, Hanley provides some good, unique information about the British music scene that most probably do not know. At a little over 200 pages, it could have been a little bit longer, but even in its brevity, it is one of the best books I have read on a rock topic in years.
Paul Hanley in conversation with John Robb at Louder Than Words Festival, Manchester, talking about his book Leave The Capital: A History of Manchester Music in 13 Recordings.
Video trailer for Paul Hanley’s Leave The Capital: A History of Manchester Music in 13 Recordings
Leave The Capital tells the story of Manchester music through the prism of the two studios’ key recordings. Of course that story inevitably takes in The Smiths, Joy Division, The Fall and The Stone Roses. But it’s equally the story of ‘Bus Stop’ and ‘East West’ and ‘I’m Not in Love’. It’s the story of the Manchester attitude of L.S. Lowry, by way of Brian and Michael, and how that attitude rubbed off on The Clash and Neil Sedaka. Above all, it’s the story of music that couldn’t have been made anywhere else but Manchester.