Be Here Now: Sources and appendices
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Discography
Adamson, Barry 1996 Set The Controls For The Heart Of The Pelvis, "Oedipus Schmoedipus", Mute Records.
Baddiel & Skinner & The Lightning Seeds 1996 Three Lions, Epic Records.
John Barry Orchestra 1962 James Bond Theme, Columbia Records.
The Beatles 1962 Love Me Do, Parlophone Records.
The Beatles 1965 Yesterday, "Help!", Parlophone Records.
The Beatles 1965 Norwegian Wood, "Rubber Soul", Parlophone Records.
The Beatles 1966 Eleanor Rigby, "Revolver", Parlophone Records.
The Beatles 1966 Tomorrow Never Knows, "Revolver", Parlophone Records.
The Beatles 1966 Yellow Submarine, "Revolver", Parlophone Records.
The Beatles 1967 Penny Lane, Parlophone Records.
The Beatles 1967 Strawberry Fields Forever, Parlophone Records.
The Beatles 1967 "Sergeant Pepper's Lonely Hearts Club Band", Parlophone Records.
The Beatles 1967 Good Morning, Good Morning, "Sergeant Pepper's Lonely Hearts Club Band", Parlophone Records.
The Beatles 1967 Within You, Without You, "Sergeant Pepper's Lonely Hearts Club Band", Parlophone Records.
The Beatles 1967 All You Need Is Love, Parlophone Records.
The Beatles 1967 I Am The Walrus, "Magical Mystery Tour", Parlophone Records.
The Beatles 1969 All Together Now, "Yellow Submarine", Apple Records.
The Beatles 1969 Octopuses Garden, "Abbey Road", Apple Records.
The Beatles 1969 Polythene Pam, "Abbey Road", Apple Records.
The Beatles 1970 Let It Be, Apple Records, 1970.
The Beatles 1995 Free As A Bird, Apple Corps/EMI Records.
Black Grape (featuring Joe Strummer and Keith Allen) 1996 England's Irie, Radioactive Records.
Blur 1993 "Modern Life Is Rubbish", Food Records.
Blur 1994 Girls & Boys, "Parklife", Food Records.
Blur 1994 Magic America, "Parklife", Food Records.
Blur 1994 Parklife, "Parklife", Food Records.
Blur 1994 To The End, "Parklife", Food Records.
Blur 1995 Charmless Man, "The Great Escape", Food Records.
Blur 1995 Country House, "The Great Escape", Food Records.
Blur 1995 Globe Alone, "The Great Escape", Food Records.
Blur 1995 Top Man, "The Great Escape", Food Records.
Blur 1997 Look Inside America, "Blur", Food Records.
Bowie, David 1993 "The Buddha Of Suburbia", Arista/BMG International Records.
Branigan, Laura 1982 Gloria, Atlantica Records.
Chemical Brothers 1996 Setting Sun, Junior Boy's Own Records.
Collins, Edwyn 1996 Keep On Burning, Setanta Records.
Cornershop 1997 Norwegian Wood, "When I Was Born For The 7th Time", Wiija Records.
The Divine Comedy 1996 Becoming More Like Alfie, Setanta Records.
Dodgy 1996 Good Enough, A & M Records.
Dodgy 1996 In A Room, A & M Records.
Dreadzone 1995 Little Britain, "Second Light", Virgin Records, (more 'becoming British' beats).
Echoebelly 1995 "On", Rhythm King Records.
Elastica 1994 Connection, Deceptive Records.
Elastica 1995 Waking Up, Deceptive Records.
Embrace 1998 Come Back To What You Know, Hut Records.
Fatboy Slim 1997 Going Out Of My Head, Skint Records.
Gerry And The Pacemakers 1964 Ferry Across The Mersey, Columbia Records.
Goldie 1998 Tempertemper, Ffrr Records.
Kinks 1966 Sunny Afternoon, Pye Records.
Kinks 1968 'Village Green Preservation Society', Pye Records.
Lennon, John 1971 Imagine, "Imagine", Apple Records.
Lighthouse Family 1997 High, Polydor Records.
Lightning Seeds 1995 Marvellous, Epic Records.
Massive Attack 1998 Angel (Blur Remix), Circa Records.
Menswear 1995 Daydreamer, Laurel Records
Morrissey 1992 Glamourous Glue, "Your Arsenal", HMV Records.
Nirvana 1991 "Nevermind", DGC Records.
Oasis 1994 Cigarettes & Alcohol, "Definitely Maybe", Creation Records.
Oasis 1994 Slide Away, "Definitely Maybe", Creation Records.
Oasis 1994 Whatever, Creation Records.
Oasis 1995 Some Might Say, Creation Records.
Oasis 1995 Talk Tonight, B-Side of Some Might Say, Creation Records.
Oasis 1995 Don't Look Back In Anger, "(What's The Story) Morning Glory?", Creation Records.
Oasis 1995 She's Electric, "(What's The Story) Morning Glory?", Creation Records.
Oasis 1995 Wonderwall, "(What's The Story) Morning Glory?", Creation Records.
Oasis 1997 All Around The World, "Be Here Now", Creation Records.
Oasis 1997 Don't Go Away, "Be Here Now", Creation Records.
Oasis 1997 Stand By Me, "Be Here Now", Creation Records.
Pulp 1995 Common People, Island Records.
Pulp 1995 Mis-Shapes/Sorted For E's & Whizz, Island Records.
Pulp 1995 I Spy, "Different Class", Island Records.
Pulp 1995 Disco 2000, "Different Class", Island Records.
Pulp 1995 Pencil Skirt, "Different Class", Island Records.
Pulp 1998 Glory Days, "This Is Hardcore", Island Records.
Pulp 1998 I'm A Man, "This Is Hardcore, Island Records.
Pulp 1998 Seductive Barry, "This Is Hardcore", Island Records.
Pulp 1998 Cocaine Socialism, B-side of A Little Soul, Island Records.
Richard, Cliff 1988 Mistletoe & Wine, EMI Records.
Right Said Fred 1992 Deeply Dippy, Tug Records.
The Rootsman 1998 General Synopsis, "52 Days To Timbuktu", Third Eye Music.
Sleeper 1995 Inbetweener, Indolent Records.
Small Faces 1968 Lazy Sunday, Immediate Records.
The Smiths 1986 Frankly, MrShankly, 'The Queen is Dead', Rough Trade Records, 1986.
Spice Girls 1996 Spice, Virgin Records.
The Stranglers 1977 No More Heroes, United Artists.
Suede 1992 The Drowners, Nude Records.
Supergrass 1995 Alright, Parlophone Records.
The Verve 1997 Bitter Sweet Symphony, Hut Records.
The Who 1965 My Generation, Brunswick Records.
Williams, Robbie 1997 Old Before I Die, Chrysalis Records.
XTC 1982 Senses Working Overtime, Virgin Records.
Other Audio Visual Materials
Alfie 1966 Lewis Gilbert, United Kingdom, 114 minutes.
The Brit Awards 1998 United Kingdom, February 1998, ITV.
Evening Session 1997 (Presented by Steve Lamacq), United Kingdom, August 1997, BBC Radio 1.
Heartbeat 1992/1998 United Kingdom 1992/1998, Yorkshire Television, ITV.
Heartland 1995 United Kingdom, 18 November 1995, Wall To Wall Television, Central ITV.
The Hours And Times 1991 Christopher Münch, United States, 60 minutes, black and white.
The Money Programme 1998 United Kingdom, 22 February 1998, BBC 2.
Music Of The Millennium 1998 United Kingdom, 24 January 1998, Channel 4.
Night Waves, "Heritage" 1996 (Presented by Patrick Wright). United Kingdom, 16 May 1996, BBC Radio 3.
The Party's Over 1998 United Kingdom, 21 May 1998, Channel 4
Pearce, Dave 1998 United Kingdom, 2 June 1998, BBC Radio 1.
Poumtchak! The Story Of French Disco 1998 United Kingdom, 31 May 1998,BBC Radio 1.
Quadrophenia 1979 Franc Roddam, United Kingdom, 120 minutes
Rockin' Around The Clock 1995 United Kingdom, 14 October 1995, Channel 4.
The Rutles 1978 All You Need Is Cash, d. Gary Weis & Eric Idle, United Kingdom, 72 minutes, Broadway Video, VHS
Stars In Their Eyes 1990/1998 United Kingdom, 1990/1998, Granada Television, ITV.
Trainspotting 1996 Danny Boyle, United Kingdom, 93 minutes.
Undressed: Fashion In The 20th Century 1998 (Part One), United Kingdom, 15 February 1998, Channel 4.
You'll Never Be Sixteen Again 1986 p. Peter Everett, BBC Radio 1.
Other Material
Australian Doors Show, attempted interview.16 October 1996. Rock City, Nottingham 1996 Appendix 3
The Beatles Story, Liverpool.Visited on 28 January 1997. 1997
The Bootleg Beatles, Empire Theatre, Liverpool.24 August 1997. 1997
Danson, Jack, private interview, 25 October 1997.Royal Concert Hall, Nottingham, 10 minutes. 1997 Appendix 2
Euro '96 Launch Party, Old Market Square, Nottingham, June 1996.Performance by The Fab Four. 1996
http://members.aol.com/blissout/
http://www.xs5all.nl/~steim
International Beatle Week, Liverpool.Visited from 23 August 1997 to 25 August 1997. 1997
Magical Mystery Tour, Liverpool.Rolled up for on 28 January 1997. 1997
Oasis, Cigarettes & Alcohol T-Shirt.As worn by Lucie Bodle, ILF, Nottingham, June 1996. 1996
Rock Circus, London.Visited on 2 September 1997. 1997
Tyrrell, John, private interview by telephone,22 November 1996. Approximately 30 minutes. 1996 Appendix 1
Appendix 1
Interview with John Tyrrell, Bjorn Again Manager. Friday 22 November 1996 at 4.30 pm.
JPT: Could you tell me about the origins of the tribute band phenomenon?
John T: I would say that in the early '80s in Australia there were a lot of cover bands … and then because of the competition in the live venues - because in Australia you've got to realise that there are so many live venues in each capital city, you know, the corner pub in Australia would have a room with five hundred to a thousand capacity. You can open the paper on any night, say Saturday night, and there'll be fifty or sixty cover bands playing, so many bands, and they're really good quality. Now, in the mid-to-late '80s these tribute bands started, they just came out of the competition - 'how can we become better'. I can't remember the first one but, I mean you've always had your Elvis Presley and your Beatles bands, but they never played in
pubs, they were more cabaret. So the rock 'n' roll sort of bands started coming up. There were glam bands, The Doors, they were about the only two I really knew. Then we thought, or Rod Woolley who created the idea of Bjorn Again, he thought, 'gee, if we did Abba this could really go well'. And once we started and got a lot of media; I mean we got so much media because we really pushed the band - we were doing TV. There was no Abba revival, we didn't spring up out of an Abba revival, we just thought it would be a fun idea to do on the weekends. 'Cos all these other bands were getting so serious. You can imagine all these cover bands and they've got their long hair and their guitars, acting like Bon Jovi. I mean they were very pretentious in a way. And we thought 'let's turn it on its side and do something funny', so Rod thought Abba would be perfect. So let's do the music well, but dress up in the costumes, have Swedish accents, do radio interviews with Swedish accents and all this sort of stuff, and we got so much media attention and our gigs started going from one to two gigs a week to bigger capacities, and then we started touring interstate, to Sydney, Adelaide, Brisbane, Perth and it just got going bigger. Now once people thought, 'gee, this Bjorn Again, they're doing really well', then, all of a sudden, everyone thought of a tribute act and started doing it. And about 1990 I rang around a few agencies and said 'look, I want to get a list going of all the tribute bands that are touring' - I got 53, that was ridiculous, you know. I didn't bother counting after then, it probably went up to more from there.
JPT: Do you think the number's still growing even now?
John T: I don't, I think it's died a bit - it's died a lot in the last two or three years definitely because you've got to pick a band that's got a lot of songs, a lot of hit songs and then you can make a stage show out of it. And some bands were picking bands that were just dreadful, that had had like two hit songs. So you get a lot of them doing it, and a lot of them had clever names - I would say we started the clever names thing with Bjorn Again.
I'd say by '93 you could safely say they were really dying and only the good ones remain.
And also another factor was a lot of the big international acts just don't get to Australia. A lot of acts have never been to Australia. It's second best but some of them were doing really good shows.
It's hard to know exactly how something starts, but that's my opinion.
JPT: Would you say the tribute band thing is now a worldwide phenomenon?
John T: You can't generalise like that, like I know it has really picked up in the states. I know in Canada it's big, but I don't know for how long, when I got there I thought we're here starting it off, but no, there'd been quite a few around. In the UK I didn't really know of any tribute bands, except, if you look in stage and television, there's hundreds of 'em, but they're sort of Stars in your Eyes lookalikes and they do cabaret and functions whereas we've done Albert Halls, The Forum … and this sort of thing … Rock Concert Hall venues and we're doing really good media. Plus, something what helped us in '92 is when we released the single Erasure-ish in response to Abba-Esque by Erasure, and that sort of was the joke. You know, you'd have to research other countries, I don't think it's that big in
Europe.
JPT :When I was in Prague I saw a few but they were mainly Beatles things.
John T: But you'll always get Beatles, Elvis everywhere, but we're sort of different in that regard. I think the value of Bjorn Again - we're not just tribute, we're actually sending it up as well.
JPT: So it's more tongue-in-cheek?
John T: It's very tongue-in-cheek and just by getting up and doing Abba perfectly is in itself a send up 'cos you're doing it in the '90s (ha, ha!).
JPT :What sort of people go to, well I s'pose you'd know more about Bjorn Again, but, sort of tribute shows in general?
John T: Well, obviously the fans, but a lot of people just assume the fan of the original band goes and that's not true because a lot of the real fans of the real bands really despise, you know, plagiarism, I s'pose … copying. But on the whole you get just people who like that music and never saw the original act and if there's one other thing going for the tribute act then they'll go along as well, like 'oh you
should see Bjorn Again - they're really funny', they do an Oasis song and a Nirvana song, you should see how they carry on with the audience.
JPT: So they need some originality of their own in a way?
John T: Yeah … although any tribute band that puts their own original songs in gets crucified.
JPT: Do you think many people go an see tribute bands lots of times, or is it the case that for most people once is enough, that there's nothing to sustain their interest?
John T: Well, if I can speak on behalf of Bjorn Again, what happens usually is when we start in a new country we get a lot of girls coming along then the guys realise there's all these girls at this gig so they go along too. All the girls go back to work and say 'you've got to see this band I saw, they're fantastic!' So they go back again but bring more friends, and the friends that came along they tell their friends, and the people that saw them first they do come back but with their friends, so the Bjorn Again crowd's like a party atmosphere, remember when little girls had the hair brushes back to back in the mirror.
So, we know for a fact by people who write to us and e-mail and all that sort of thing that they come back time and time again, and we know when we put on these December shows in England they just sell out so quickly, and we see a large proportion of the people who were there last time - we can see them in the crowd.
JPT :Do the band(s) find it hard to sustain their interest, I mean, I dunno if I'm right in thinking this but I imagine a lot of tribute bands would have started off playing their own material and switched to the tribute thing because they couldn't find any success through their own material.
John T: I think that's a fair call, a lot of people see this as a stepping stone - they don't say I've given up on my own tunes. I know a few members of lots of different tribute bands and they don't play all year - they might do say six months or eight months and the rest of the time they'll work on their other projects, so it funds other projects or other interests whether it's music or whatever. But sometimes it's come out of failure - 'I can't get a deal' or whatever, 'I can't get in a band' or whatever, and they start it up or they join one, yeah, definitely. With Bjorn Again, we've always thought in the band what's kept us going for so long, 'cos we do a lot of touring, that's our only source of income, is that it's hard to play when the audience doesn't get into it; you really do it for the audience more than yourself, because when you've got a gig where, which is rare for Bjorn Again I might add, you go to a place and, they're just not getting into it then it's really hard work. Most of the members of Bjorn Again, it's usually what happened, the girls are big fans of Abba and the guys who've joined Bjorn Again didn't like it originally when it came out, so they're more objective about how we do it, and it's harder for the guys I think when the show's not going down that well; but I'm only talking about one, two or three shows here out of hundreds.
JPT: I'm going to quote you a couple of things people have said about the tribute phenomenon and I wondered what you think of these. It's been called 'the thinking man's karaoke'. (John T: Yeah, I remember that one.) Do you think that's a fair assessment?
John T: (thinks) … The thinking man's karaoke … that's just one … Bjorn Again are a lot of things, there are a hundred things about Bjorn Again, that's just one. I wouldn't say that's all that Bjorn Again was. It's a lot of things to different people.
JPT: Do you think part of the appeal is that people think, 'well I could be up there doing that'.
John T: No, I don't actually. I think they think it but I don't think they could do it, definitely not. I mean when we auditioned, and we've had this line up for six years, I mean it's hard, you've got to look like it, they've got to be able to dance and sing well. People say it's simple music but just 'cos it's simple doesn't mean it's easy. I mean we're still learning harmonies and chords and stuff like that now, still perfecting how it's done, I don't think anyone can get up and do it. They think it because it's just so easy, it's like when you're watching the soccer, you go 'oh I could've done that', but you can't, the same thing.
JPT: The second quote is from a guy from Who Two called Martin Dimery who said 'tribute bands will be the chamber orchestras of the future.' Do you think this is a fair assessment?
John T: How could we become chamber music if we're copying someone? Am I on the right track here?
JPT :I think what it means is that you'll be playing definitive versions of the music, it'll be like classical music is now, something more respectable I s'pose.
John T :I would say that about Abba but not about Bjorn Again 'cos
we're playing Abba's music.
JPT: My final question is what do you think the future of the tribute phenomenon is?
John T: Well, as long as the crowds like this sort of thing, then they'll keep going, and it'll depend on the quality of the acts, you know it's getting absurd when you've got Oasis who've kicked on and No Way Sis are huge, they're doing really big business. I reckon that's the absurd extreme of what's happened with the tribute phenomena, because Oasis, the real thing, do a handful of gigs and then I don't think they'll tour for a long time, that's paved the way for this band to come in and do it.
As long as there's the demand and the audiences have gotta like it, 'cos I really think it's all about entertainment, you know let's go along and have a good time watching Bjorn Again play, it's not like they see it as a serious thing or even rationalise it to the original. I don't think people think that. I don't think a lot of people go along and go 'right, I'm gonna compare this to the real thing', I don't think they do, they compare tribute bands, like what's Bjorn Again like to Voulez-Vous or the Abba Gold, but I don't think you know… there's a future as long as you've got those elements.
I mean I remember when we did our first two tours of Holland and we did really well there and then I think it was the start of '93, we wanted to go back there and our agent was looking into it and he got a call from the venue, one of the big venues in Amsterdam, this venue in Amsterdam, pulled a stunt whereby they advertised there was a Queen band playing and there was a good crowd there, they opened the curtains and there was a cardboard cut out of each of the Queen members and they said we just want to stamp out tribute bands like Bjorn Again … we want to stop that in Holland. And we haven't been able to tour there, in three years we haven't been there but they're
interested again - because all the Dutch bands are boring. I don't know (!) (ha!). So, some places don't like it, but our whole year next year is paved out.
JPT: So even if some of the others fall by the wayside Bjorn Again will still be going?
John T: Year, because Abba's music will still … if there's an Abba Gold just released, and then Muriel's Wedding and Priscilla came out … we don't … we don't rely on those things.
Appendix 2
Interview with Rod Stewart tribute, Jack Danson. Saturday 25 October 1997.
JPT: Could you tell me how you became a tribute performer?
JD: Yes … my management suggested that I did that 'Stars in their Eyes' programme.
JPT: How much research or practice have you had to do to get your impression of Rod Stewart accurate, or as accurate as you can?
JD: Quite a lot … videos; I went to see the guy a couple of times.
JPT: Was that over a period of months?
JD: Yeah I would think so, but then I've been doing it for about five or six years, so when I first started I was a bit green, I was going off the videos, but as you move along your act matures.
JPT: Do you think the audience are bothered if you're not one hundred percent accurate, or do you think that really matters?
JD: I think it really matters 'cos there's so many people doing it if you don't do it bang on then they just laugh at you and jeer you off the stage.
JPT :How much of your own personality do you put into your performance, or are you always thinking 'how would Rod have done this?'
JD: It depends on the venue. If it's a crappy venue I just do it my way, if it's a big time venue like this then I do it as Rod Stewart would have done it.
JPT :Some people have called tribute shows 'the thinking man's karaoke'. This suggests that anyone can do a tribute. Do you think that's fair?
JD: Well there's so many people out there doing it badly that could be a viable criticism, but to put it as this level that's total nonsense.
JPT: Do you think there will still be tribute shows in, say, ten years time, or do you think people will grow tired of them?
JD: I think there will be, but there won't be as many. It will only be the ones that do it perfectly.
JPT: What are your personal ambitions as a performer?
JD: Well, I don't really want to do tributes for the rest of my life. I'd like to get into television on a regular basis: singing, or whatever comes up. I've piloted a couple of chat shows, I've done a bit of work with Reeves and Mortimer, so I'm going along those lines, but at the moment this is lucrative.
Appendix 3
Abortive interview with the Australian Doors Show. Rock City, Nottingham. Wednesday 16 October 1996.
The band were an hour late and I'd started spending the money that the electricity company were demanding of me in a sports theme bar as I sat watching football replays and sympathising with an overworked barmaid. Returning to the foyer of the venue the first thing I heard was Adam Booker, the tardy Tour Manager for this final tour by the Australian Doors Show, saying that 'the band hate interviews'.
'Fucking brilliant', I thought as I introduced myself requesting once again the interview which was meant to have been signed, sealed and delivered. Some agreement! It seems that the singer's not feeling too well. How about the others, will any of them do it? Booker reappears a few minutes later with the bad news: no can do.
A glimmer of hope - he offers the possibility of a phone interview later in the tour. Doubting very much that this will happen I nevertheless leave my name and number and stomp off home.
Needless to say, that phone call never came.
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Southeby's 1991 Catalogue for Sale 6199, New York, Saturday, June 22, 1991: Animation Art and Collector's Carousel (Including Toys and Jimi Hendrix and Buddy Holly Memorabilia), Southeby's, New York.
Southeby's 1985 Catalogue for Auction of Rock 'n' Roll Memorabilia 1956-1984, London, Thursday 29 August 1985, Southeby's, London.
Southeby's 1990 Catalogue for Auction of Rock 'n' Roll and Film Memorabilia, London, Tuesday 21 August 1990, Southeby's, London.
Southeby's 1991 Catalogue for Auction of Rock 'n' Roll and Film Memorabilia, London, Thursday 22 August 1991, Southeby's, London.
Spencer, Neil 1994 'Pop: Review of 1994', REV, The Guardian, 18 December, page 8.
Sullivan, Caroline 1995 'City of Dreams', G2T, The Guardian, 19 July, page 11.
Sullivan, Caroline 1996 'Gobfathers of Punk hit the comeback trail', The Guardian, 19 March, np.
Sullivan, Caroline 1992 'The High priests of Euronaff', FEA, The Guardian, 21 September, page 32.
Sullivan, Caroline 1994 'Hark! The faded popsters sing', G2T, The Guardian, 6 December, page 4.
Sullivan, Caroline 1997 'Life after the Park', Friday Review, The Guardian, 7 February, page 15.
Sweeting, Adam 1995 'Let it be - again', G2T, The Guardian, 18 October, page 2.
Sweeting, Adam 1995 'Pop goes the Britpop?', G2T, The Guardian, 8 December, page 11.
Sweeting, Adam 1993 'The erosion of British rock', G2T, The Guardian, 15 December, page 4.
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Theweleit, Klaus 1987 Male Fantasies - Women, Floods, Bodies, History, Polity Press, Cambridge.
Thornton, Sarah 1995 Club cultures: music, media and subcultural capital, Polity Press, Cambridge.
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Tobler, John 1993 This Day in Rock, Carlton (Simon & Schuster), London.
Tomlinson, John 1993 'A Phenomenology of Globalisation?: Giddens on Global Modernity', paper presented to the IAMCR Conference International Communication Section, University College, Dublin, June.
Toop, David 1995 Ocean of sound: aether talk, ambient sound and imaginary worlds, Serpent's Tail, London; New York.
Troitsky, Artemy 1987 Back in the USSR: The True Story of Rock in Russia, Omnibus Press, London.
Turner, Bryan S (ed) 1990 Theories of Modernity and Postmodernity, SAGE, London.
Urry, John 1990 The Tourist Gaze: Leisure and Travel in Contemporary Societies, SAGE, London.
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Walden, George 1997 'France says No', Prospect, Observer taster, nd, pages 9/13.
Walker, Robert 1993 Running with the Devil: Power, Gender, and Madness in Heavy Metal Music, Wesleyan University Press, London; Hanover, RH.
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Williams, Paul and Robert Ashton 1997 'British talent scores Top 10 clean sweep', Music Week, 8 November, page 1.
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Discography
Adamson, Barry 1996 Set The Controls For The Heart Of The Pelvis, "Oedipus Schmoedipus", Mute Records.
Baddiel & Skinner & The Lightning Seeds 1996 Three Lions, Epic Records.
John Barry Orchestra 1962 James Bond Theme, Columbia Records.
The Beatles 1962 Love Me Do, Parlophone Records.
The Beatles 1965 Yesterday, "Help!", Parlophone Records.
The Beatles 1965 Norwegian Wood, "Rubber Soul", Parlophone Records.
The Beatles 1966 Eleanor Rigby, "Revolver", Parlophone Records.
The Beatles 1966 Tomorrow Never Knows, "Revolver", Parlophone Records.
The Beatles 1966 Yellow Submarine, "Revolver", Parlophone Records.
The Beatles 1967 Penny Lane, Parlophone Records.
The Beatles 1967 Strawberry Fields Forever, Parlophone Records.
The Beatles 1967 "Sergeant Pepper's Lonely Hearts Club Band", Parlophone Records.
The Beatles 1967 Good Morning, Good Morning, "Sergeant Pepper's Lonely Hearts Club Band", Parlophone Records.
The Beatles 1967 Within You, Without You, "Sergeant Pepper's Lonely Hearts Club Band", Parlophone Records.
The Beatles 1967 All You Need Is Love, Parlophone Records.
The Beatles 1967 I Am The Walrus, "Magical Mystery Tour", Parlophone Records.
The Beatles 1969 All Together Now, "Yellow Submarine", Apple Records.
The Beatles 1969 Octopuses Garden, "Abbey Road", Apple Records.
The Beatles 1969 Polythene Pam, "Abbey Road", Apple Records.
The Beatles 1970 Let It Be, Apple Records, 1970.
The Beatles 1995 Free As A Bird, Apple Corps/EMI Records.
Black Grape (featuring Joe Strummer and Keith Allen) 1996 England's Irie, Radioactive Records.
Blur 1993 "Modern Life Is Rubbish", Food Records.
Blur 1994 Girls & Boys, "Parklife", Food Records.
Blur 1994 Magic America, "Parklife", Food Records.
Blur 1994 Parklife, "Parklife", Food Records.
Blur 1994 To The End, "Parklife", Food Records.
Blur 1995 Charmless Man, "The Great Escape", Food Records.
Blur 1995 Country House, "The Great Escape", Food Records.
Blur 1995 Globe Alone, "The Great Escape", Food Records.
Blur 1995 Top Man, "The Great Escape", Food Records.
Blur 1997 Look Inside America, "Blur", Food Records.
Bowie, David 1993 "The Buddha Of Suburbia", Arista/BMG International Records.
Branigan, Laura 1982 Gloria, Atlantica Records.
Chemical Brothers 1996 Setting Sun, Junior Boy's Own Records.
Collins, Edwyn 1996 Keep On Burning, Setanta Records.
Cornershop 1997 Norwegian Wood, "When I Was Born For The 7th Time", Wiija Records.
The Divine Comedy 1996 Becoming More Like Alfie, Setanta Records.
Dodgy 1996 Good Enough, A & M Records.
Dodgy 1996 In A Room, A & M Records.
Dreadzone 1995 Little Britain, "Second Light", Virgin Records, (more 'becoming British' beats).
Echoebelly 1995 "On", Rhythm King Records.
Elastica 1994 Connection, Deceptive Records.
Elastica 1995 Waking Up, Deceptive Records.
Embrace 1998 Come Back To What You Know, Hut Records.
Fatboy Slim 1997 Going Out Of My Head, Skint Records.
Gerry And The Pacemakers 1964 Ferry Across The Mersey, Columbia Records.
Goldie 1998 Tempertemper, Ffrr Records.
Kinks 1966 Sunny Afternoon, Pye Records.
Kinks 1968 'Village Green Preservation Society', Pye Records.
Lennon, John 1971 Imagine, "Imagine", Apple Records.
Lighthouse Family 1997 High, Polydor Records.
Lightning Seeds 1995 Marvellous, Epic Records.
Massive Attack 1998 Angel (Blur Remix), Circa Records.
Menswear 1995 Daydreamer, Laurel Records
Morrissey 1992 Glamourous Glue, "Your Arsenal", HMV Records.
Nirvana 1991 "Nevermind", DGC Records.
Oasis 1994 Cigarettes & Alcohol, "Definitely Maybe", Creation Records.
Oasis 1994 Slide Away, "Definitely Maybe", Creation Records.
Oasis 1994 Whatever, Creation Records.
Oasis 1995 Some Might Say, Creation Records.
Oasis 1995 Talk Tonight, B-Side of Some Might Say, Creation Records.
Oasis 1995 Don't Look Back In Anger, "(What's The Story) Morning Glory?", Creation Records.
Oasis 1995 She's Electric, "(What's The Story) Morning Glory?", Creation Records.
Oasis 1995 Wonderwall, "(What's The Story) Morning Glory?", Creation Records.
Oasis 1997 All Around The World, "Be Here Now", Creation Records.
Oasis 1997 Don't Go Away, "Be Here Now", Creation Records.
Oasis 1997 Stand By Me, "Be Here Now", Creation Records.
Pulp 1995 Common People, Island Records.
Pulp 1995 Mis-Shapes/Sorted For E's & Whizz, Island Records.
Pulp 1995 I Spy, "Different Class", Island Records.
Pulp 1995 Disco 2000, "Different Class", Island Records.
Pulp 1995 Pencil Skirt, "Different Class", Island Records.
Pulp 1998 Glory Days, "This Is Hardcore", Island Records.
Pulp 1998 I'm A Man, "This Is Hardcore, Island Records.
Pulp 1998 Seductive Barry, "This Is Hardcore", Island Records.
Pulp 1998 Cocaine Socialism, B-side of A Little Soul, Island Records.
Richard, Cliff 1988 Mistletoe & Wine, EMI Records.
Right Said Fred 1992 Deeply Dippy, Tug Records.
The Rootsman 1998 General Synopsis, "52 Days To Timbuktu", Third Eye Music.
Sleeper 1995 Inbetweener, Indolent Records.
Small Faces 1968 Lazy Sunday, Immediate Records.
The Smiths 1986 Frankly, MrShankly, 'The Queen is Dead', Rough Trade Records, 1986.
Spice Girls 1996 Spice, Virgin Records.
The Stranglers 1977 No More Heroes, United Artists.
Suede 1992 The Drowners, Nude Records.
Supergrass 1995 Alright, Parlophone Records.
The Verve 1997 Bitter Sweet Symphony, Hut Records.
The Who 1965 My Generation, Brunswick Records.
Williams, Robbie 1997 Old Before I Die, Chrysalis Records.
XTC 1982 Senses Working Overtime, Virgin Records.
Other Audio Visual Materials
Alfie 1966 Lewis Gilbert, United Kingdom, 114 minutes.
The Brit Awards 1998 United Kingdom, February 1998, ITV.
Evening Session 1997 (Presented by Steve Lamacq), United Kingdom, August 1997, BBC Radio 1.
Heartbeat 1992/1998 United Kingdom 1992/1998, Yorkshire Television, ITV.
Heartland 1995 United Kingdom, 18 November 1995, Wall To Wall Television, Central ITV.
The Hours And Times 1991 Christopher Münch, United States, 60 minutes, black and white.
The Money Programme 1998 United Kingdom, 22 February 1998, BBC 2.
Music Of The Millennium 1998 United Kingdom, 24 January 1998, Channel 4.
Night Waves, "Heritage" 1996 (Presented by Patrick Wright). United Kingdom, 16 May 1996, BBC Radio 3.
The Party's Over 1998 United Kingdom, 21 May 1998, Channel 4
Pearce, Dave 1998 United Kingdom, 2 June 1998, BBC Radio 1.
Poumtchak! The Story Of French Disco 1998 United Kingdom, 31 May 1998,BBC Radio 1.
Quadrophenia 1979 Franc Roddam, United Kingdom, 120 minutes
Rockin' Around The Clock 1995 United Kingdom, 14 October 1995, Channel 4.
The Rutles 1978 All You Need Is Cash, d. Gary Weis & Eric Idle, United Kingdom, 72 minutes, Broadway Video, VHS
Stars In Their Eyes 1990/1998 United Kingdom, 1990/1998, Granada Television, ITV.
Trainspotting 1996 Danny Boyle, United Kingdom, 93 minutes.
Undressed: Fashion In The 20th Century 1998 (Part One), United Kingdom, 15 February 1998, Channel 4.
You'll Never Be Sixteen Again 1986 p. Peter Everett, BBC Radio 1.
Other Material
Australian Doors Show, attempted interview.16 October 1996. Rock City, Nottingham 1996 Appendix 3
The Beatles Story, Liverpool.Visited on 28 January 1997. 1997
The Bootleg Beatles, Empire Theatre, Liverpool.24 August 1997. 1997
Danson, Jack, private interview, 25 October 1997.Royal Concert Hall, Nottingham, 10 minutes. 1997 Appendix 2
Euro '96 Launch Party, Old Market Square, Nottingham, June 1996.Performance by The Fab Four. 1996
http://members.aol.com/blissout/
http://www.xs5all.nl/~steim
International Beatle Week, Liverpool.Visited from 23 August 1997 to 25 August 1997. 1997
Magical Mystery Tour, Liverpool.Rolled up for on 28 January 1997. 1997
Oasis, Cigarettes & Alcohol T-Shirt.As worn by Lucie Bodle, ILF, Nottingham, June 1996. 1996
Rock Circus, London.Visited on 2 September 1997. 1997
Tyrrell, John, private interview by telephone,22 November 1996. Approximately 30 minutes. 1996 Appendix 1
Appendix 1
Interview with John Tyrrell, Bjorn Again Manager. Friday 22 November 1996 at 4.30 pm.
JPT: Could you tell me about the origins of the tribute band phenomenon?
John T: I would say that in the early '80s in Australia there were a lot of cover bands … and then because of the competition in the live venues - because in Australia you've got to realise that there are so many live venues in each capital city, you know, the corner pub in Australia would have a room with five hundred to a thousand capacity. You can open the paper on any night, say Saturday night, and there'll be fifty or sixty cover bands playing, so many bands, and they're really good quality. Now, in the mid-to-late '80s these tribute bands started, they just came out of the competition - 'how can we become better'. I can't remember the first one but, I mean you've always had your Elvis Presley and your Beatles bands, but they never played in
pubs, they were more cabaret. So the rock 'n' roll sort of bands started coming up. There were glam bands, The Doors, they were about the only two I really knew. Then we thought, or Rod Woolley who created the idea of Bjorn Again, he thought, 'gee, if we did Abba this could really go well'. And once we started and got a lot of media; I mean we got so much media because we really pushed the band - we were doing TV. There was no Abba revival, we didn't spring up out of an Abba revival, we just thought it would be a fun idea to do on the weekends. 'Cos all these other bands were getting so serious. You can imagine all these cover bands and they've got their long hair and their guitars, acting like Bon Jovi. I mean they were very pretentious in a way. And we thought 'let's turn it on its side and do something funny', so Rod thought Abba would be perfect. So let's do the music well, but dress up in the costumes, have Swedish accents, do radio interviews with Swedish accents and all this sort of stuff, and we got so much media attention and our gigs started going from one to two gigs a week to bigger capacities, and then we started touring interstate, to Sydney, Adelaide, Brisbane, Perth and it just got going bigger. Now once people thought, 'gee, this Bjorn Again, they're doing really well', then, all of a sudden, everyone thought of a tribute act and started doing it. And about 1990 I rang around a few agencies and said 'look, I want to get a list going of all the tribute bands that are touring' - I got 53, that was ridiculous, you know. I didn't bother counting after then, it probably went up to more from there.
JPT: Do you think the number's still growing even now?
John T: I don't, I think it's died a bit - it's died a lot in the last two or three years definitely because you've got to pick a band that's got a lot of songs, a lot of hit songs and then you can make a stage show out of it. And some bands were picking bands that were just dreadful, that had had like two hit songs. So you get a lot of them doing it, and a lot of them had clever names - I would say we started the clever names thing with Bjorn Again.
I'd say by '93 you could safely say they were really dying and only the good ones remain.
And also another factor was a lot of the big international acts just don't get to Australia. A lot of acts have never been to Australia. It's second best but some of them were doing really good shows.
It's hard to know exactly how something starts, but that's my opinion.
JPT: Would you say the tribute band thing is now a worldwide phenomenon?
John T: You can't generalise like that, like I know it has really picked up in the states. I know in Canada it's big, but I don't know for how long, when I got there I thought we're here starting it off, but no, there'd been quite a few around. In the UK I didn't really know of any tribute bands, except, if you look in stage and television, there's hundreds of 'em, but they're sort of Stars in your Eyes lookalikes and they do cabaret and functions whereas we've done Albert Halls, The Forum … and this sort of thing … Rock Concert Hall venues and we're doing really good media. Plus, something what helped us in '92 is when we released the single Erasure-ish in response to Abba-Esque by Erasure, and that sort of was the joke. You know, you'd have to research other countries, I don't think it's that big in
Europe.
JPT :When I was in Prague I saw a few but they were mainly Beatles things.
John T: But you'll always get Beatles, Elvis everywhere, but we're sort of different in that regard. I think the value of Bjorn Again - we're not just tribute, we're actually sending it up as well.
JPT: So it's more tongue-in-cheek?
John T: It's very tongue-in-cheek and just by getting up and doing Abba perfectly is in itself a send up 'cos you're doing it in the '90s (ha, ha!).
JPT :What sort of people go to, well I s'pose you'd know more about Bjorn Again, but, sort of tribute shows in general?
John T: Well, obviously the fans, but a lot of people just assume the fan of the original band goes and that's not true because a lot of the real fans of the real bands really despise, you know, plagiarism, I s'pose … copying. But on the whole you get just people who like that music and never saw the original act and if there's one other thing going for the tribute act then they'll go along as well, like 'oh you
should see Bjorn Again - they're really funny', they do an Oasis song and a Nirvana song, you should see how they carry on with the audience.
JPT: So they need some originality of their own in a way?
John T: Yeah … although any tribute band that puts their own original songs in gets crucified.
JPT: Do you think many people go an see tribute bands lots of times, or is it the case that for most people once is enough, that there's nothing to sustain their interest?
John T: Well, if I can speak on behalf of Bjorn Again, what happens usually is when we start in a new country we get a lot of girls coming along then the guys realise there's all these girls at this gig so they go along too. All the girls go back to work and say 'you've got to see this band I saw, they're fantastic!' So they go back again but bring more friends, and the friends that came along they tell their friends, and the people that saw them first they do come back but with their friends, so the Bjorn Again crowd's like a party atmosphere, remember when little girls had the hair brushes back to back in the mirror.
So, we know for a fact by people who write to us and e-mail and all that sort of thing that they come back time and time again, and we know when we put on these December shows in England they just sell out so quickly, and we see a large proportion of the people who were there last time - we can see them in the crowd.
JPT :Do the band(s) find it hard to sustain their interest, I mean, I dunno if I'm right in thinking this but I imagine a lot of tribute bands would have started off playing their own material and switched to the tribute thing because they couldn't find any success through their own material.
John T: I think that's a fair call, a lot of people see this as a stepping stone - they don't say I've given up on my own tunes. I know a few members of lots of different tribute bands and they don't play all year - they might do say six months or eight months and the rest of the time they'll work on their other projects, so it funds other projects or other interests whether it's music or whatever. But sometimes it's come out of failure - 'I can't get a deal' or whatever, 'I can't get in a band' or whatever, and they start it up or they join one, yeah, definitely. With Bjorn Again, we've always thought in the band what's kept us going for so long, 'cos we do a lot of touring, that's our only source of income, is that it's hard to play when the audience doesn't get into it; you really do it for the audience more than yourself, because when you've got a gig where, which is rare for Bjorn Again I might add, you go to a place and, they're just not getting into it then it's really hard work. Most of the members of Bjorn Again, it's usually what happened, the girls are big fans of Abba and the guys who've joined Bjorn Again didn't like it originally when it came out, so they're more objective about how we do it, and it's harder for the guys I think when the show's not going down that well; but I'm only talking about one, two or three shows here out of hundreds.
JPT: I'm going to quote you a couple of things people have said about the tribute phenomenon and I wondered what you think of these. It's been called 'the thinking man's karaoke'. (John T: Yeah, I remember that one.) Do you think that's a fair assessment?
John T: (thinks) … The thinking man's karaoke … that's just one … Bjorn Again are a lot of things, there are a hundred things about Bjorn Again, that's just one. I wouldn't say that's all that Bjorn Again was. It's a lot of things to different people.
JPT: Do you think part of the appeal is that people think, 'well I could be up there doing that'.
John T: No, I don't actually. I think they think it but I don't think they could do it, definitely not. I mean when we auditioned, and we've had this line up for six years, I mean it's hard, you've got to look like it, they've got to be able to dance and sing well. People say it's simple music but just 'cos it's simple doesn't mean it's easy. I mean we're still learning harmonies and chords and stuff like that now, still perfecting how it's done, I don't think anyone can get up and do it. They think it because it's just so easy, it's like when you're watching the soccer, you go 'oh I could've done that', but you can't, the same thing.
JPT: The second quote is from a guy from Who Two called Martin Dimery who said 'tribute bands will be the chamber orchestras of the future.' Do you think this is a fair assessment?
John T: How could we become chamber music if we're copying someone? Am I on the right track here?
JPT :I think what it means is that you'll be playing definitive versions of the music, it'll be like classical music is now, something more respectable I s'pose.
John T :I would say that about Abba but not about Bjorn Again 'cos
we're playing Abba's music.
JPT: My final question is what do you think the future of the tribute phenomenon is?
John T: Well, as long as the crowds like this sort of thing, then they'll keep going, and it'll depend on the quality of the acts, you know it's getting absurd when you've got Oasis who've kicked on and No Way Sis are huge, they're doing really big business. I reckon that's the absurd extreme of what's happened with the tribute phenomena, because Oasis, the real thing, do a handful of gigs and then I don't think they'll tour for a long time, that's paved the way for this band to come in and do it.
As long as there's the demand and the audiences have gotta like it, 'cos I really think it's all about entertainment, you know let's go along and have a good time watching Bjorn Again play, it's not like they see it as a serious thing or even rationalise it to the original. I don't think people think that. I don't think a lot of people go along and go 'right, I'm gonna compare this to the real thing', I don't think they do, they compare tribute bands, like what's Bjorn Again like to Voulez-Vous or the Abba Gold, but I don't think you know… there's a future as long as you've got those elements.
I mean I remember when we did our first two tours of Holland and we did really well there and then I think it was the start of '93, we wanted to go back there and our agent was looking into it and he got a call from the venue, one of the big venues in Amsterdam, this venue in Amsterdam, pulled a stunt whereby they advertised there was a Queen band playing and there was a good crowd there, they opened the curtains and there was a cardboard cut out of each of the Queen members and they said we just want to stamp out tribute bands like Bjorn Again … we want to stop that in Holland. And we haven't been able to tour there, in three years we haven't been there but they're
interested again - because all the Dutch bands are boring. I don't know (!) (ha!). So, some places don't like it, but our whole year next year is paved out.
JPT: So even if some of the others fall by the wayside Bjorn Again will still be going?
John T: Year, because Abba's music will still … if there's an Abba Gold just released, and then Muriel's Wedding and Priscilla came out … we don't … we don't rely on those things.
Appendix 2
Interview with Rod Stewart tribute, Jack Danson. Saturday 25 October 1997.
JPT: Could you tell me how you became a tribute performer?
JD: Yes … my management suggested that I did that 'Stars in their Eyes' programme.
JPT: How much research or practice have you had to do to get your impression of Rod Stewart accurate, or as accurate as you can?
JD: Quite a lot … videos; I went to see the guy a couple of times.
JPT: Was that over a period of months?
JD: Yeah I would think so, but then I've been doing it for about five or six years, so when I first started I was a bit green, I was going off the videos, but as you move along your act matures.
JPT: Do you think the audience are bothered if you're not one hundred percent accurate, or do you think that really matters?
JD: I think it really matters 'cos there's so many people doing it if you don't do it bang on then they just laugh at you and jeer you off the stage.
JPT :How much of your own personality do you put into your performance, or are you always thinking 'how would Rod have done this?'
JD: It depends on the venue. If it's a crappy venue I just do it my way, if it's a big time venue like this then I do it as Rod Stewart would have done it.
JPT :Some people have called tribute shows 'the thinking man's karaoke'. This suggests that anyone can do a tribute. Do you think that's fair?
JD: Well there's so many people out there doing it badly that could be a viable criticism, but to put it as this level that's total nonsense.
JPT: Do you think there will still be tribute shows in, say, ten years time, or do you think people will grow tired of them?
JD: I think there will be, but there won't be as many. It will only be the ones that do it perfectly.
JPT: What are your personal ambitions as a performer?
JD: Well, I don't really want to do tributes for the rest of my life. I'd like to get into television on a regular basis: singing, or whatever comes up. I've piloted a couple of chat shows, I've done a bit of work with Reeves and Mortimer, so I'm going along those lines, but at the moment this is lucrative.
Appendix 3
Abortive interview with the Australian Doors Show. Rock City, Nottingham. Wednesday 16 October 1996.
The band were an hour late and I'd started spending the money that the electricity company were demanding of me in a sports theme bar as I sat watching football replays and sympathising with an overworked barmaid. Returning to the foyer of the venue the first thing I heard was Adam Booker, the tardy Tour Manager for this final tour by the Australian Doors Show, saying that 'the band hate interviews'.
'Fucking brilliant', I thought as I introduced myself requesting once again the interview which was meant to have been signed, sealed and delivered. Some agreement! It seems that the singer's not feeling too well. How about the others, will any of them do it? Booker reappears a few minutes later with the bad news: no can do.
A glimmer of hope - he offers the possibility of a phone interview later in the tour. Doubting very much that this will happen I nevertheless leave my name and number and stomp off home.
Needless to say, that phone call never came.
posted by Justin Toland at 12:54 pm
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