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Fishbone

Fishbone is an American rock band from Los Angeles, California. Formed in 1979, the band plays a fusion of ska, punk, funk, metal, reggae, and soul. AllMusic has described the group as "one of the most distinctive and eclectic alternative rock bands of the late '80s. With their hyperactive, self-conscious diversity, goofy sense of humor, and sharp social commentary, the group gained a sizable cult following".

Fishbone first assembled as school students in 1979 with John Norwood Fisher (bass), his brother Philip "Fish" Fisher (drums), Angelo Moore (vocals, saxophones, theremin), Kendall Jones (guitar), "Dirty" Walter A. Kibby II (vocals, trumpet), and Christopher Dowd (keyboards, trombone, vocals). They achieved their greatest commercial success in the late 1980s and early 1990s, after which they went through many personnel changes. From 2003 to 2010, John Norwood Fisher and Angelo Moore were the last remaining original members of the band. In the 2010s, all the other original members except Kendall Jones rejoined the band for various reunion tours and anniversary activities. As of April 2024, the lineup consists of Moore, Dowd, guitarist Mark Phillips, bassist Aroyn Day, drummer Hassan Hurd, and trumpeter JS Williams.

Early career (1979–1987)
Fishbone got started in 1979 as a "disparate, all-black oddball crew" when the members were in junior high school. The Fisher brothers, Jones, Dowd, and Kibby were all from South Central Los Angeles and were included in a school busing program that sent them daily to the San Fernando Valley, where they met Moore, who was native to the area. After first using the name Megatron with Titus Norris on vocals, the sextet adopted the name Fishbone and formed a unique stew of different styles that became popular in the Los Angeles club scene and was a great influence on several subsequent alternative bands. Their first club date was at Madame Wong's, the influential venue in Los Angeles's Chinatown that had been a showcase for a variety of seminal punk bands in the 1980s. They formed strong friendships with Los Angeles bands like Red Hot Chili Peppers, Thelonious Monster, and Psi Com. Fishbone were signed to Columbia Records in 1983 after being spotted at a club gig by Brian O'Neal of The BusBoys. Their first release was the 1985 single "Party at Ground Zero", followed by a self-titled EP, Fishbone produced by David Kahne. They released their first full-length album In Your Face in 1986, and the following year they performed "Jamaica Ska" in the Annette Funicello/Frankie Avalon reunion movie Back to the Beach. Fishbone's first major international tour was as the opening act for Beastie Boys on the 1987 Licensed to Ill tour.

Rise to fame (1988–1994)
Fishbone was primarily considered a ska and funk band during their early years, but later became more guitar-driven with a focus on rock and soul music. The 1988 album Truth and Soul brought Fishbone wide critical acclaim. With this album, the band also added left-leaning social commentary to their lyrics, covering topics such as the breakup of families, contemporary racism, fascism, nuclear war, and oppression in lower income housing projects. The album was highlighted by a hard rock-inspired version of Curtis Mayfield's classic "Freddie's Dead" from the film Super Fly. The music video, directed by Douglas Gayeton, became the band's first hit on MTV. That same year, the group toured with Red Hot Chili Peppers and became nationally known in the burgeoning alternative music scene. Also that year, Fishbone and Little Richard recorded the Lead Belly song "Rock Island Line" for the tribute album Folkways: A Vision Shared.

The band added former Miles Davis sideman John Bigham on guitar and keyboards in 1989. The 1991 album The Reality of My Surroundings was a critical and commercial success, reaching #49 on the Billboard albums chart. One month before the album's release, the group played a performance on Saturday Night Live of "Sunless Saturday," a song which later featured an MTV video directed by Spike Lee. The song "Everyday Sunshine" also became a modest hit on radio and MTV.

While the band retained their roots in funk and ska, the 1993 album Give a Monkey a Brain and He'll Swear He's the Center of the Universe included songs with free jazz, hard rock, punk, and heavy metal elements. At the time of the album's release, the band began to tear apart internally. Just before Fishbone joined the 1993 Lollapalooza tour, guitarist Kendall Jones was accused of mental instability and quit the band, moving to Northern California. Bassist John Norwood Fisher tracked Jones down in the belief that he needed rescue from a religious cult, only to be charged with attempted kidnapping; Fisher was acquitted at trial. A benefit concert to help with Fisher's legal expenses featured Porno for Pyros, Primus, Tool, and Alice in Chains. Keyboardist Christopher Dowd left Fishbone in 1994 and released an album titled Puzzle in 1997 under the name The Seedy Arkhestra, with various guests including Jeff Buckley and N'Dea Davenport. The album included an anti-Fishbone song called "Flog Your Dead Horse."

Post-Sony years (1995–2002)
Now a five-piece, Fishbone was dropped by Sony Records (formerly Columbia) in 1995, upon presenting their next album. The band added more heavy metal and hardcore punk influences to their sound on the 1996 concept album Chim Chim's Badass Revenge, released by Rowdy Records and produced by Dallas Austin. The album went largely unnoticed by the general public, peaking at just #158 on the Billboard albums chart. In 1996, the band contributed to the AIDS benefit album Silencio=Muerte: Red Hot + Latin produced by the Red Hot Organization. In 1998 the band lost another founding member, drummer Philip "Fish" Fisher, who became a session drummer and later appeared in the heavy metal band Wicked Wisdom. After brief periods with various drummers, the position was filled definitively by John Steward. John Bigham also left the band during this period to pursue his own career, later founding the band The Soul of John Black; Bigham was replaced by former Sound Barrier and Mother's Finest guitarist Tracey "Spacey T" Singleton. Keyboardist and horn player Anthony Brewster (The Untouchables) was a member of the group from 1997 to 1998, while John McKnight (from Ben Harper's band) joined on keyboards, trombone, and guitar. During the latter part of the 1990s, Fishbone was without a recording contract and earned their keep through constant touring.

Fishbone maintained their dedicated fan base and achieved another major record deal with Hollywood Records in 2000. They were given the chance to record a new album with several special guests, including H.R. of Bad Brains, Gwen Stefani, George Clinton, Rick James, Donny Osmond, and Los Fabulosos Cadillacs. The resulting album, Fishbone and the Familyhood Nextperience Present: The Psychotic Friends Nuttwerx, saw poor sales, though AllMusic called it the band's best album in a decade. The band was dropped from Hollywood Records and headed back on the road. John McKnight left the band in 2001, and the group continued as a five-piece. In 2002, on their own independent record label, they released Live at the Temple Bar and More which contained all new songs recorded live throughout 2001 and 2002. This was later complemented by a live CD/DVD, Live in Amsterdam, containing most of their hits and filmed at the 2002 Cannabis Cup Festival in Amsterdam, Netherlands.

Shifting membership and a documentary (2003–2015)
In late 2003 Fishbone lost another founding member when Walter Kibby left the band. Guitarist Tracy Singleton departed as well. After leaving Fishbone, Kibby released two albums with his band Dirty Walt & The Columbus Sanitation: To Put It Bluntly (2000) and Still Smokin' (2009). Kibby and Singleton also collaborated in the band Year of the Dragon, releasing the albums A Time to Love Is a Time to Bleed (2006) and Blunt Force Karma (2009). Together, they also recorded tracks with Swade G (Kibby's younger brother Wade Antonio Kibby) for the album Ghetto Life (2010).

After the 2003 departure of Kibby and Singleton, the last two founding members John Norwood Fisher and Angelo Moore, along with drummer John Steward, restarted Fishbone with Rocky George of Suicidal Tendencies and Tori Ruffin of The Time on guitars (though Ruffin left soon thereafter), and Dre Gipson on keyboards. In 2005 John McKnight returned on trombone and guitar. Trumpet players during this period were PaDre Holmes, Fernando Pullum, Mervin Campbell, and Curtis Storey. The line-up of Fisher, Moore, Steward, George, Gipson, Storey, and McKnight recorded the studio album Still Stuck in Your Throat with producer David Kahne, who had worked on the band's early albums. The album was released in October 2006 in Europe, and in April 2007 in the United States. Music videos were recorded for the cover song "Date Rape" by Sublime, and for the song "Let Dem Ho's Fight."

In 2008 and 2009, departed original members Walter Kibby, Christopher Dowd, and Kendall Jones joined Fishbone on stage on various occasions, most notably for the shoot of the Pepsi "Pass" commercial, which aired in January 2009. In April 2008, Stephan Kraemer directed the shoot of a live CD/DVD recorded in Bordeaux, France. The DVD Fishbone Live was released on May 10, 2009.

In January 2010, John McKnight left Fishbone for the second time. During this period original member Walter Kibby returned on trumpet and vocals. During a 2011 tour, Tom "Tom-Bone" Ralls, formerly of Weapon of Choice, filled in on trombone. Tori Ruffin also briefly returned to play guitar in place of Rocky George, who was unable to tour. After the tour, Jay Armant, a former student of Fernando Pullum, joined as the new trombone player. Fishbone released a seven-track EP titled Crazy Glue on October 11, 2011.

Current and former members of the band were deeply involved in the making of the documentary film Everyday Sunshine: The Story of Fishbone, directed by Lev Anderson and Chris Metzler. Narrated by Laurence Fishburne and featuring interviews with Les Claypool, Gwen Stefani, Flea, Branford Marsalis, George Clinton, Ice-T, and Gogol Bordello, the film debuted at the Los Angeles Film Festival on June 19, 2010. The film has screened at more than 100 film festivals in twenty countries, winning 12 awards for Best Documentary. One of the top-reviewed documentaries of 2011–2012, the film has a ranking of 100% on RottenTomatoes.com and was nominated for a Golden Tomato Award. The film was rolled out in United States theaters nationwide with bookings in over seventy-five cities, including extended runs in New York, Los Angeles and San Francisco, plus week-long engagements in 20+ cities including Chicago, Boston, Seattle, Portland, Detroit, New Orleans, Baltimore, and Kansas City. A DVD was released by The Cinema Guild on February 21, 2012, and received a national TV broadcast on the public television series AfroPoP.

In February 2013, keyboardist Dre Gipson left the band after nine years to focus on a new project called Hunter Green. Fishbone was in the midst of a US tour, and reggae musician Freddie Flint filled in temporarily on keyboards. In July 2013, Paul Hampton (formerly of The Skeletones) joined as Fishbone's new keyboardist. In February 2014, federal judge Jan E. DuBois ruled that Fishbone had to pay $1.4 million to a woman who suffered a fractured skull and collarbone during a 2010 concert in Philadelphia when Angelo Moore stage-dove and landed on top of her. A five-track EP titled Intrinsically Intertwined was released on April 22, 2014.

Original lineup reforms and disbands (2016–present)
On November 18, 2016, founding member and original drummer Philip "Fish" Fisher played his first show with the band since his departure in 1998. On November 26, Fishbone performed at a Jimi Hendrix tribute concert at Harlem's Apollo Theater, at which time drummer John Steward departed Fishbone after 18 years to make room for the returning Fish. In January 2017 the band announced a tour to commemorate the 1996 album Chim Chim's Badass Revenge. Former guitarist John Bigham returned to the band, after which Rocky George departed after 14 years of service. In late 2017 Moore, Kibby, and John Norwood Fisher were featured in the song "Creatures of Habit" by funk-rock supergroup The Big Ol' Nasty Getdown.

In January 2018, Christopher Dowd made a guest appearance with the band onstage and decided to rejoin, thus replacing both trombonist Jay Armant and keyboardist Paul Hampton. The band's 2018 lineup consisted of Angelo Moore, John Norwood Fisher, Fish, Walter Kibby, Christopher Dowd, and John Bigham, thus recreating the classic Fishbone lineup minus Kendall Jones. In December 2019, John Bigham announced that he was no longer playing with Fishbone to focus on his solo work. Guitarist Mark Phillips joined the band shortly after. In November 2020, Kendall Jones joined the band on stage for the first time since 1993 for a performance of "Them Bones" by Alice in Chains for a tribute to the band arranged by the Museum of Pop Culture. Phillip "Fish" Fisher left the group again in late 2021, after which John Steward rejoined on drums.

On May 26, 2023, Fishbone released a self-titled EP, including one song in collaboration with NOFX. In January 2024, Steward left the band for a second time. On April 25, 2024, Fishbone made a vague post on Facebook, indicating a major lineup change for their upcoming live dates. The following day, Dowd revealed that Fisher and Kibby had left the band. Dowd and Moore would continue to perform, alongside new musicians to be announced, as Fishbone.

Members

 * Angelo Moore – vocals, saxophones, theremin, percussion (1979–present)
 * Christopher Dowd – keyboards, trombone, vocals (1979–1994, 2018–present)
 * Mark Phillips – guitar (2019–present)
 * Aroyn Day – bass (2024–present)
 * Hassan Hurd – drums (2024–present)
 * JS Williams – trumpet, vocals (2024–present)

Live albums

 * Live at the Temple Bar and More (2002)
 * Live in Amsterdam (CD/DVD – 2005 – recorded live in November 2002)
 * Fishbone Live (in Bordeaux) (CD/DVD – 2009 – recorded live in April 2008)
 * Live at The Independent (2012)

Compilation albums

 * Singles (Japan only, 1993)
 * Fishbone 101: Nuttasaurusmeg Fossil Fuelin' the Fonkay (1996)
 * The Essential Fishbone (2003)

EPs

 * Fishbone (1985)
 * It's a Wonderful Life (1987)
 * Set the Booty Up Right (1990)
 * Fishbone and the Familyhood Nextperience Present: The Friendliest Psychosis of All (2002)
 * Crazy Glue (2011)
 * Intrinsically Intertwined (2014)
 * Fishbone (2023)

Music videos

 * Modern Industry (1985)
 * Party At Ground Zero (1985)
 * V.T.T.L.O.T.F.D.G.F. (1985)
 * When Problems Arise (1986)
 * It's a Wonderful Life (1987)
 * Jamaican Ska (1987)
 * Freddie's Dead (1988)
 * Ma and Pa (1988)
 * Fight the Youth (1991)
 * Sunless Saturday (1991)
 * Everyday Sunshine (1991)
 * Swim (1993)
 * Servitude (1993)
 * Unyielding Conditioning (1993)
 * Alcoholic (1996)
 * Date Rape (2006)
 * Let Dem Ho's Fight (2007)
 * Crazy Glue (2011)
 * All We Have Is Now (2023)

DVDs

 * The Reality of My Surroundings - Past to Present (1991)
 * Critical Times - Fishbone's Hen House Sessions (2001)
 * Live in Amsterdam (CD/DVD – 2005 – recorded live in 2002)
 * Fishbone Live (in Bordeaux) (CD/DVD – 2009 – recorded live in April 2008)
 * Everyday Sunshine: The Story of Fishbone (Documentary – 2012)

Appearances on soundtracks and "various artists" compilations

 * "Jamaica Ska", with Annette Funicello, on Back to the Beach soundtrack (1987) (Fishbone appear in the film)
 * "He's a Fly Guy", with Curtis Mayfield, on I'm Gonna Git You Sucka soundtrack (1988) (Fishbone appear in the film: they are outside the prison when Flyguy gets out)
 * "Slow Bus Moving" on Tapeheads soundtrack (1988) (Fishbone appear in this film: they are in a bar playing this song)
 * "Rock Island Line", with Little Richard, on Folkways: A Vision Shared compilation (1988)
 * "Skankin' to the Beat" on Say Anything... soundtrack (1989)
 * "Swim" on Last Action Hero soundtrack (1993)
 * "Let the Good Times Roll" on The Mask soundtrack (1994)
 * "Fled" on Fled soundtrack (1996)
 * "What's New Pussycat?" with Los Fabulosos Cadillacs on Silencio=Muerte: Red Hot + Latin compilation (1996)
 * "Crazy Bald Heads" on Ska Island compilation (1997)
 * "I'm a Weed Plant", later reworked into "Where'd You Get Those Pants", on Steady Sounds from the Underground compilation (1998)
 * "Critical Time" on Hen House Studios Anthology Volume II, 2002
 * "Cheyenne Star Forever Moore" on Rising Son: The Legend of Skateboarder Christian Hosoi: Music Inspired by the Film compilation (2006)
 * "Dead Ones (Scene 3) – Revenge" and "Night Out (Scene 5) – Connects" (as Mega*Nut) on Lifesavas' Gutterfly soundtrack (2007)
 * "Changes" (not to be confused with "Change" from Truth and Soul) on The ChangeRing Compilation (2008)
 * "Our House", on New Wave '80s Hits and Generation Rubik's Cube compilations (2009)

Guest appearances

 * "Fix" (Blackstreet featuring Ol' Dirty Bastard, Slash and Fishbone) (1997)
 * Amoeba Cleansing Syndrome (Joi) (1997)
 * Boggy Depot (Jerry Cantrell) (1998) Tracks 2. and 12. feature Angelo Moore on horns. Tracks 4. and 5. feature John Norwood Fisher on drums.
 * The Crucial Conspiracy (The Dingees) (2001) Multiple tracks feature Angelo Moore on vocals, horns, and theremin.
 * Purple Onion (The Les Claypool Frog Brigade) (2002) Tracks 5. and 8. feature Phillip "Fish" Fisher on drums. Track 8. features John Norwood Fisher on bass.
 * Sunny Disposition (Avenged Sevenfold) (2016)

Film and television appearances

 * Angelo Moore appeared briefly in the 1984 movie Breakin' 2: Electric Boogaloo.
 * In 1985, Angelo Moore and Walter Kibby appeared in the Eurythmics video "Would I Lie to You?"
 * Angelo Moore appeared in the 1986 music video for "Do Fries Go with That Shake?" by George Clinton.
 * The band is featured in the 1987 movie Back to the Beach, performing a rendition of "Jamaica Ska" with Annette Funicello singing lead vocals.
 * In 1987, the band has a brief cameo in the Hank Williams Jr. music video "Young Country", appearing on a merry-go-round, raising their cowboy hats as they pass by the camera.
 * Fishbone appears in the 1988 John Cusack/Tim Robbins film Tapeheads as "Ranchbone" in the bar scene, playing the song "Slow Bus Movin' (Howard Beach Party)". They supplied an incidental score for the film as well.
 * In the 1988 blaxploitation-spoof I'm Gonna Git You Sucka, members of Fishbone appear on the street as hecklers of Antonio Fargas' character Flyguy, and also as a back-up band.
 * The January 1989 performance at Brixton Academy, London, UK was shown on UK TV in February 1989 in the second episode of Channel 4's Big World Cafe introducing the group to a wider UK audience.
 * Frontman Angelo Moore made a cameo in the 1989 music video for the Red Hot Chili Peppers song, "Knock Me Down"
 * Angelo Moore joins Living Colour live on stage for their performance of "Elvis Is Dead" on a 1990 episode of The Arsenio Hall Show. This performance of the song also features a live guest appearance of Little Richard on vocals.
 * Angelo Moore has several appearances in the music video for the Sublime song, "Wrong Way".
 * The song "Swim" was featured in the 1993 film Last Action Hero.
 * Angelo Moore and John Norwood Fisher both appear in the music video for The Mighty Mighty Bosstones' 1993 cover of the Bob Marley song "Simmer Down".
 * A woman wears a Fishbone t-shirt in the 1991 Richard Linklater film Slacker.
 * In 1994 Fishbone plays "Let the Good Times Roll" in the Chuck Russell film The Mask. Fishbone is also on the film's soundtrack.
 * Fishbone performed "Sunless Saturday" on Saturday Night Live on March 23, 1991.
 * The band appeared on the March 6, 1995, edition of WWF's Monday Night Raw to promote their upcoming performance of "America the Beautiful" at WrestleMania XI. The band was ultimately replaced by Special Olympian Kathy Huey.
 * Fishbone is mentioned by Janeane Garofalo as the musical guest on February 12, 1997, episode of The Larry Sanders Show entitled "Pain Equals Funny".
 * Angelo Moore, John Norwood Fisher, and John Steward appear in the 2006 film Idlewild as members of the band led by Rooster, the character played by Big Boi of OutKast.
 * In 2007 Fishbone appeared in the David Arquette movie The Tripper.
 * Marlon Wayans (in the role of Seymour Stewart) wears a Fishbone T-shirt in Mo' Money (1992).
 * The characters Freddie and Lena of A Different World were depicted as fans and could be seen wearing Fishbone band shirts.
 * John Cusack wears a Fishbone shirt in the film Say Anything.... The movie's iconic "boombox" scene originally featured Fishbone's "Turn the Other Way" blaring from the radio. Peter Gabriel's "In Your Eyes" replaced the song during editing.
 * In the movie Bull Durham, Tim Robbins' character Ebby "Nuke" Laloosh is wearing a Fishbone T-shirt with his suit while giving his first interview after getting called up to the big leagues.
 * In 2010's Hot Tub Time Machine, Cusack pulls out and clearly advertises a black T-shirt with the band's logo from his character's suitcase.
 * In the TV show Northern Exposure, Ed Chigliak (Darren E. Burrows) is frequently spotted with a Fishbone shirt under his leather jacket.
 * Early episodes of Beverly Hills, 90210 had scenes filmed against a set of lockers that featured a Fishbone sticker in almost every shot.
 * On November 21, 2011, Republican presidential candidate Michele Bachmann was played on to Late Night with Jimmy Fallon to the Fishbone song "Lyin' Ass Bitch". The Roots drummer Questlove later explained that the playing of the song was "tongue in cheek." Fallon and the NBC network later apologized.
 * In the video for the Ramones song "I Believe in Miracles" the band's name appears as part of the scrolling text on the upper and lower part of the screen. Fishbone members are also seen in a cameo in this music video.

title: Fishbone


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Beat Happening

Beat Happening was an American indie pop band formed in Olympia, Washington, in 1982. Calvin Johnson, Heather Lewis, and Bret Lunsford have been the band's continual members. Beat Happening were early leaders in the American indie pop and lo-fi movements, noted for their use of primitive recording techniques, disregard for the technical aspects of musicianship, and songs with subject matters of a carefree or coy nature.

Formation
Beat Happening met while attending the Evergreen State College and began recording in 1983. The band took its name from a student art film, Beatnik Happening, made by Bret's girlfriend. The band's basic line-up was drums, guitar, and vocals, though when they formed, their only instruments were a pair of maracas and a Sears Silvertone guitar purchased at a thrift shop. Heather once joked in an interview that the history of the band could be told through a list of the various people whose drums they had borrowed. Heather and Calvin had been members of a previous band and approached Bret, who had no musical experience at the time, saying they ought to start a band and go to Japan.

Early recordings made use of an Echoplex machine to add heavy reverb to Bret's guitar, in an attempt to mask his poor performance.

The band traveled to Tokyo in 1984 with intentions of touring. Their first show in Japan was at the high school of a former exchange student Calvin knew. The band members recorded Three Tea Breakfast, a five-song EP that marked the band's first release.

Studio albums
Beat Happening (1985), their full-length debut, was critically acclaimed, as was Jamboree (1988). By the release of Dreamy in 1991, Beat Happening was one of the most popular bands in the indie rock community, leading to their pivotal role in the International Pop Underground Convention, which brought anti-corporate rock its earliest mainstream acceptance. Their last full-length album was 1992's You Turn Me On, which represented the band breaking many of their established conventions from earlier albums, most notably on "Godsend", which runs 9 minutes and features blatant use of multitrack recording. The album was described by allmusic.com as a "masterpiece." Though never announcing a break-up and claiming at one point to still practice once a month, the members of Beat Happening have moved on to various other projects. In 2000 they released the "Angel Gone" single, their first new release in eight years.

Crashing Through, which collects all of the band's officially released music except for two of their tracks from a live cassette split with The Vaselines, was released in 2002. The box set included a booklet containing a lengthy essay on the history and impact of the band by Lois Maffeo, as well as rare photos of Calvin, Heather, and Bret.

In September 2015, the band announced the release of a new compilation spanning their entire career entitled Look Around, which was released by Domino Records on 20 November 2015.

With the full cooperation of the band and Calvin's K Records label, Domino released a vinyl box set of the entire Beat Happening discography, We Are Beat Happening, in November of 2019.

Influence
The English indie-pop band This Many Boyfriends are named after a Beat Happening song - namely The This Many Boyfriends Club. The Swedish band Friendly Boyfriend, likened to a "corrupted Beat Happening," has a name that recalls the lyric "You got a friendly boyfriend" from Beat Happening's song "T.V. Girl." The United States band The Snogs have also been compared to Beat Happening, and have released tracks such as "Tastes Like Candy," "Couple of Sleepyheads," and Teenage Sleepyhead" recalling Beat Happening song titles "Black Candy" and "Sleepy Head."

Beat Happening's live performances stood out for Calvin's dancing moves (pogo, hula, and shimmy), which he'd seen on news reports about UK punks. His onstage behavior did not ingratiate the band to hardcore audiences when they toured with Fugazi in the late 1980s, and audiences were openly hostile, even throwing an ashtray at the band. Nonetheless, rock critic Michael Azzerrad suggests that Beat Happening "was a major force in widening the idea of a punk rocker from a mohawked guy in a motorcycle jacket to a nerdy girl in a cardigan." The presence of Heather Lewis on drums and Calvin's non-threatening stage presence presented a wider variety of behaviors and identities than other acts in the hardcore scene of the time, which was predominantly male and focused on aggression or hyper-masculinity. Beat Happening has been cited as an influence on early riot grrl acts such as Bratmobile and Kathi Wilcox of Bikini Kill. Kurt Cobain had the K Records logo tattooed on his forearm, saying it was to "try and remind me to stay a child." The song "Lounge Act" on Nevermind references his logo tattoo in the line, “I'll arrest myself and wear a shield.” Cobain also played guitar on a K Records release, "Bikini Twilight," with Johnson, released as The Go Team.

Calvin Johnson was one of the founders of indie-rock label K Records, and comprised one-half of the indie pop band The Go Team, along with Tobi Vail; they had an approach and aesthetic similar to that of Beat Happening.

Current status
Though not officially broken up, the band has not performed together in public since the early 1990s.

Members

 * Calvin Johnson – guitar and vocals
 * Heather Lewis – drums, guitar, and vocals
 * Bret Lunsford – guitar and drums

Discography
Albums
 * 1985 – Beat Happening (K Records)
 * 1988 – Jamboree (K Records/Rough Trade)
 * 1989 – Black Candy (K Records/Rough Trade)
 * 1991 – Dreamy (K Records/Sub Pop)
 * 1992 – You Turn Me On (K Records/Sub Pop)

EPs
 * 1984 – Beat Happening (K Records)
 * 1984 – Three Tea Breakfast (K Records)
 * 1988 – Crashing Through (53rd & 3rd)
 * 1988 – Beat Happening/Screaming Trees (K Records/Homestead)

Compilations
 * 2002 – Crashing Through (K Records) box set
 * 2003 – Music to Climb the Apple Tree By (K Records)
 * 2015 – Look Around (K/Domino)
 * 2018 – We Are Beat Happening (Domino)

Singles
 * 1984 – "Our Secret" / "What's Important" (K Records)
 * 1987 – "Look Around" / "That Girl" (K Records)
 * 1988 – "Honey Pot" / "Don't Mix The Colors" (53rd & 3rd) [flexi-disc]
 * 1990 – "Red Head Walking" / "Secret Picnic Spot" (Sub Pop)
 * 1990 – "Nancy Sin" / "Dreamy" (K Records)
 * 1991 – "Sea Hunt" / "Knock On Any Door" (Bi-Joopiter)
 * 2000 – "Angel Gone" / "Zombie Limbo Time" (K Records)
 * 2001 – "Crashing Through" / "The This Many Boyfriends Club" (K Records)

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Beat Happening


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Gloucester County, New Brunswick

Gloucester County (2016 population 78,444 ) is located in the northeastern corner of New Brunswick, Canada. Fishing, mining and forestry are the major industries in the county. The eastern section of the county is known for its Acadian culture. The county is named for Princess Mary, Duchess of Gloucester and Edinburgh.

Communities
There are nineteen municipalities within the county (listed by 2016 population):

First Nations
There is one First Nations reservation in Gloucester County (listed with 2016 population):

Parishes
The county is subdivided into ten parishes (listed by 2016 population):

Demographics
As a census division in the 2021 Census of Population conducted by Statistics Canada, Gloucester County had a population of $78,256$ living in $35,830$ of its $39,145$ total private dwellings, a change of NaN% from its 2016 population of $78,444$. With a land area of 4734.3 km2, it had a population density of in 2021.

Access Routes
Highways and numbered routes that run through the county, including external routes that start or finish at the county limits:

 * Highways

 * Principal Routes

 * Secondary Routes:

 * Secondary Routes (cont):

 * External Routes:
 * None

title: Gloucester County, New Brunswick


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Amelanchier

Amelanchier, also known as shadbush, shadwood or shadblow, serviceberry or sarvisberry (or just sarvis), juneberry, saskatoon, sugarplum, wild-plum or chuckley pear, is a genus of about 20 species of deciduous-leaved shrubs and small trees in the rose family (Rosaceae).

Amelanchier is native to temperate regions of the Northern Hemisphere, growing primarily in early successional habitats. It is most diverse taxonomically in North America, especially in the northeastern United States and adjacent southeastern Canada, and at least one species is native to every U.S. state except Hawaii and to every Canadian province and territory. Two species also occur in Asia, and one in Europe. The taxonomic classification of shadbushes has long perplexed botanists, horticulturalists, and others, as suggested by the range in number of species recognized in the genus, from 6 to 33, in two recent publications. A major source of complexity comes from the occurrence of hybridization, polyploidy, and apomixis (asexual seed production), making species difficult to characterize and identify.

A pome fruit, the berries are commonly consumed by wildlife and picked by humans for uses in baked goods. The Canadian city of Saskatoon, Saskatchewan is named after the berry via a Cree term describing the sweet fruit which was wild-harvested for food by Aboriginal people and early settlers of western Canada.

Description
The various species of Amelanchier grow to 0.2–20 m tall; some are small trees, some are multistemmed, clump-forming shrubs, and yet others form extensive low shrubby patches (clones). The bark is gray or less often brown, and in tree species smooth or fissuring when older. The leaves are deciduous, cauline, alternate, simple, lanceolate to elliptic to orbiculate, 0.5–10 x 0.5–5.5 cm, thin to coriaceous, with surfaces above glabrous or densely tomentose at flowering, and glabrous or more or less hairy beneath at maturity.

The inflorescences are terminal, with 1–20 flowers, erect or drooping, either in clusters of one to four flowers, or in racemes with 4–20 flowers. The flowers have five white (rarely somewhat pink, yellow, or streaked with red), linear to orbiculate petals, 2.6–25 mm long, with the petals in one species (A. nantucketensis) often andropetalous (bearing apical microsporangia adaxially). The flowers appear in early spring, "when the shad run" according to North-American tradition (leading to names such as "shadbush"). The fruit is a berry-like pome, red to purple to nearly black at maturity, 5–15 mm diameter, insipid to delectably sweet, maturing in summer.

Amelanchier plants are valued horticulturally, and their fruits are important to wildlife. Some orchards are cultivated in the Canadian prairie provinces which are subjected to severe winter cold of -60 C, indicating the hardiness of the plant having a lifespan up to 50 years.

Species
Species accepted by the Plants of the World Online as of :

Natural hybrids

 * Amelanchier × lamarckii F.G.Schroed. ( A. arborea × A. laevis.)– Juneberry
 * Amelanchier × neglecta Eggl. ex K.R.Cushman, M.B.Burgess, E.T.Doucette & C.S.Campb. (A. bartramiana × A. laevis.)
 * Amelanchier × quinti-martii Louis-Marie (A. arborea × A. bartramiana. )
 * Amelanchier × spicata (Lam.) K.Koch (A. alnifolia × A. humilis.) -  low juneberry

Garden hybrids
Since classifications have varied greatly over the past century, species names are often used interchangeably in the nursery trade. Several natural or horticultural hybrids also exist, and many A. arborea and A. canadensis plants that are offered for sale are actually hybrids, or entirely different species. A. × grandiflora is another hybrid of garden origin, between A. arborea and A. laevis. The cultivar 'La Paloma' has gained the Royal Horticultural Society's Award of Garden Merit.

A taxon called Amelanchier lamarckii (or A. x lamarckii) is very widely cultivated and naturalized in Europe, where it was introduced in the 17th century. It is apomictic, breeding true from seed, and probably of hybrid origin, perhaps descending from a cross between A. laevis and either A. arborea or A. canadensis. While A. lamarckii is known to be of North American origin, probably from eastern Canada, it is not known to occur naturally in the wild in North America.

Etymology
The origin of the generic name Amelanchier is probably derived from amalenquièr, amelanchièr, the Provençal names of the European Amelanchier ovalis.

The name serviceberry comes from the similarity of the fruit to the related European Sorbus. Juneberry refers to the fruits of certain species becoming ripe in June. The name saskatoon originated from a Cree noun misâskwatômina (misāskwatōmina, misaaskwatoomina) for Amelanchier alnifolia. The city of Saskatoon, Saskatchewan, is named after this plant.

Shadberry refers to the shad runs in certain New England streams, which generally took place about when the trees bloomed.

Ecology
Amelanchier plants are preferred browse for deer and rabbits, and heavy browsing pressure can suppress natural regeneration. Caterpillars of such Lepidoptera as brimstone moth, brown-tail, grey dagger, mottled umber, rough prominent, the satellite, winter moth, and the red-spotted purple and the white admiral (both Limenitis arthemis), as well as various other herbivorous insects feed on Amelanchier. Many insects and diseases that attack orchard trees also affect this genus, in particular trunk borers and Gymnosporangium rust. In years when late flowers of Amelanchier overlap those of wild roses and brambles, bees may spread bacterial fireblight.

Uses and cultivation
The fruit of several species is safe to eat raw, possessing a mild sweetness strongly accented by the almond-like flavour of the seeds. Selections from Amelanchier alnifolia have been chosen for fruit production, with several named cultivars. Other cultivars appear to be derived from hybridization between A. alnifolia and A. stolonifera. Propagation is by seed, divisions, and grafting. Serviceberries graft so readily that grafts onto other genera, such as Crataegus and Sorbus, are often successful.

The fruit can be harvested for pies, muffins, jams, and wine. The saskatoon berry is harvested commercially. One version of the Native American food pemmican was flavored by serviceberry fruits in combination with minced dried meat and fat.

The wood is brown, hard, close-grained, and heavy. The heartwood is reddish-brown, and the sapwood is lighter in color. It can be used for tool handles and fishing rods. Native Americans used it for arrow shafts. Members of the Pit River Tribe would use the wood to create a sort of body armor, crafting it into a heavy robe or overcoat and corset armor worn during fighting.

Garden history
Several species are very popular ornamental shrubs, grown for their flowers, bark, and fall color. All need similar conditions to grow well, requiring good drainage, air circulation (to discourage leaf diseases), watering during drought, and soil appropriate for the species.

George Washington planted specimens of Amelanchier on the grounds of his estate, Mount Vernon, in Virginia.

title: Amelanchier


text:
The Orchids

The Orchids are a Scottish band that achieved success with Sarah Records. Formed in Penilee in Glasgow in 1985, the Orchids released a series of underground singles on Sarah Records. The group's line-up comprised James Hackett (vocals), Pauline Hynds Bari (vocals), John Scally (guitar), Chris Quinn (drums), Matthew Drummond (guitar) and James Moody (bass). Their producer, Ian Carmichael, often played keyboards on their records. They changed their line up in 1993, when bassist James Moody left. Ronnie Borland, a long time collaborator and supporter of the band, then took over on bass. They went quiet after their 1994 album release, their last on Sarah Records, only surfacing in 1995 to play at the Sarah Records farewell party. After that they took a break until 2004 when they reformed.

Starting with a melancholy guitar pop sound on Lyceum and contemporaneous singles, they moved on to become more keyboard and sample/effects-based for their second and third albums, Unholy Soul and Striving For the Lazy Perfection, developing a more electronic sound, possibly as a result of their producer, Ian Carmichael, who was a member of dance band One Dove. Their entire back catalogue was re-released on CD on LTM in 2005. In 2007, they released their fourth album, Good to Be a Stranger. The album was issued on Madrid based label Siesta, with the band playing live gigs for the first time in eleven years. In 2010, the group released a fifth album, The Lost Star, through Pebble Records, mixed by a returning Ian Carmichael. In October 2014, they released their sixth album, Beatitude#9, under another Spanish record label, Acurela.

In September 2017, to celebrate the 30th anniversary of their first physical release (a flexi disc on the sha la la label), they released a retrospective featuring 20 "best of" songs from their singles and albums, plus an 18 track rarities disc. Titled, Who Needs Tomorrow... A 30 Year Retrospective, was released on Cherry Red Records.

Their most recent album, Dreaming Kind, was released on Skep Wax Records on 2 September 2022.

Singles

 * "I've Got A Habit" (Sarah 2, February 1988)
 * "Underneath The Window, Underneath The Sink" (Sarah 11, November 1988)
 * "What Will We Do Next" (Sarah 23, September 1989)
 * "An Ill Wind That Blows" (Caff Records 11, September 1990)
 * "Something For The Longing" (Sarah 29, February 1990)
 * "Penetration EP" (Sarah 42, February 1991)
 * "Thaumaturgy" (Sarah 66, September 1992)
 * "She's My Girl" (Pebble 001, May 2010)
 * "The Way That She Moves" (Pebble 009,

Albums

 * Lyceum (Sarah 401, August 1989)
 * Unholy Soul (Sarah 605, May 1991)
 * Striving For the Lazy Perfection (Sarah 617, January 1994)
 * Good to Be a Stranger (Siesta 226, February 2007)
 * The Lost Star (Pebble 002, October 2010)
 * Beatitude#9 (Acuarela, October 2014)
 * Dreaming Kind (Skep Wax, 2022)

The first three of these albums were reissued with bonus tracks on LTM in 2005.

Compilation albums

 * Epicurean (Sarah, August 1992)
 * Who Needs Tomorrow... A 30 Year Retrospective (Cherry Red Records, September 2017)

title: The Orchids


text:
The Field Mice

The Field Mice were an English indie pop band on the independent record label Sarah Records. They had top 20 success in both the singles and albums UK Independent Charts.

Career
The Field Mice initially formed as a duo from South London suburb of Mitcham comprising Robert Wratten (for vocals and guitar) and Michael Hiscock (on bass guitar). The group's first single, "Emma's House", was released in November 1988, and reached number 20 in the UK Independent Chart. But it was with their second single "Sensitive" that they first received significant critical attention, giving them a top-20 indie hit and with a subsequent placing in John Peel's 1989 Festive Fifty. Debut mini-album Snowball reached number 3 on the UK Indie Albums Chart. The original duo were joined by Harvey Williams (of Another Sunny Day) on guitar: the first fruits of this new line-up being the Skywriting mini-LP and in late 1990 the band expanded to include Anne Mari Davies on vocals, keyboards and guitar and Mark Dobson on drums. This five-piece line-up later recorded what was to be their final album (but their first full length for Sarah Records), For Keeps.

Over a five-year career, the band were often dogged with the reputation of having a post-C86 indie pop, or generic Sarah Records sound, despite producing tracks with numerous styles and influences. Early singles and even their sleeves harked back to early Factory Records bands such as New Order and the Wake, with many tracks often featuring sequencers and samples. Many of the group's recordings, notably "Triangle" and their epic seven-minute swan song, "Missing the Moon", displayed a strong influence from the popular dance music of the time. Most of the group's records were produced by Ian Catt, who later went on to develop the pop dance sound of "Missing the Moon" further with Saint Etienne (whose second single was a cover version of the Field Mice's "Let's Kiss and Make Up").

Split and legacy
The band split up in 1991 after a fractious tour to promote the For Keeps album, during which lead singer/guitarist Robert Wratten announced he was leaving.

Later, Field Mice members Wratten, Anne Mari Davies (Wratten's ex-girlfriend) and Mark Dobson briefly formed Yesterday Sky before becoming the more synth-oriented outfit Northern Picture Library. Wratten went on to form Trembling Blue Stars in 1995 and Lightning in a Twilight Hour.

A double-album compilation of the now long-deleted Field Mice releases, Where'd You Learn to Kiss That Way?, was released in 1998 and sold more copies than any Field Mice record ever sold at the time. Their entire back catalogue was reissued on CD for the first time by LTM Recordings in 2005.

Discography

 * Studio albums
 * Snowball (Sarah 402, 1989)
 * Skywriting (Sarah 601, 1990)
 * For Keeps (Sarah 607, 1991)

 * Compilation albums
 * Coastal (Sarah 606, 1991)
 * Where'd You Learn to Kiss That Way? (Shinkansen 014, 1998)

 * Singles and extended plays
 * "Emma's House" (7", Sarah 012, 1988)
 * "Sensitive" (7", Sarah 018, 1989)
 * "I Can See Myself Alone Forever" b/w "Everything About You" (7", CAFF 2, 1989)
 * "The Autumn Store Part 1" (7", Sarah 024, 1990)
 * "The Autumn Store Part 2" (7", Sarah 025, 1990)
 * So Said Kay (10", Sarah 038, 1990)
 * "September's Not So Far Away" b/w "Between Hello and Goodbye" (7", Sarah 044, 1991)
 * "Missing the Moon" (12", Sarah 057, 1991)
 * "Burning World" (Loop cover) (7", BULL 4–0, 1991)

 * Peel session
 * "Anoint"/"Sundial"/"Fresh Surroundings"/"By Degrees" (Recorded on 1 April 1990 and originally broadcast on John Peel's radio programme, on 23 April 1990 on BBC Radio 1). All four songs were written specially for this session and were not released on any of their records.

title: The Field Mice


text:
Kent County, New Brunswick

Kent County (2016 population 30,475 ) is located in east-central New Brunswick, Canada. The county features a unique blend of cultures including Mi'kmaq, Acadian, and English. Some larger tourist attractions include the dune de Bouctouche, Kouchibouguac National Park, and Bonar Law Commons.

Federally, it is split between the ridings of Beauséjour, represented by Dominic LeBlanc of the Liberal Party of Canada and Miramichi—Grand Lake, represented by Jake Stewart of the Conservative Party of Canada. Provincially, it is split between the electoral districts of Kent North and Kent South.

History
Established in 1826 from Northumberland County: named for Prince Edward, Duke of Kent and Strathearn (1767–1820) and the father of Queen Victoria.

Communities
There are five municipalities within Kent County (listed by 2016 population):

First Nations
There are three First Nations reserves in Kent County (listed by 2016 population): Note – Richibucto 15, formerly Big Cove Band is now called Elsipogtog First Nation

Parishes
The county is subdivided into twelve parishes (listed by 2016 population):

Demographics
As a census division in the 2021 Census of Population conducted by Statistics Canada, Kent County had a population of $32,169$ living in $14,074$ of its $16,274$ total private dwellings, a change of NaN% from its 2016 population of $30,475$. With a land area of 4550.38 km2, it had a population density of in 2021.

Access routes
Highways and numbered routes that run through the county, including external routes that start or finish at the county limits:

 * Highways

 * Principal Routes

 * Secondary Routes:

 * Secondary Routes:

 * External Routes:
 * None

title: Kent County, New Brunswick


text:
Spacemen 3

Spacemen 3 were an English rock band, formed in 1982 in Rugby, Warwickshire, by Peter Kember and Jason Pierce, known respectively under their pseudonyms Sonic Boom and J Spaceman. Their music is known for its brand of "trance-like neo-psychedelia" consisting of heavily distorted guitar, synthesizers, and minimal chord or tempo changes.

The band drew inspiration from acts like the Stooges, the Velvet Underground, and Suicide. Following their debut album Sound of Confusion (1986), Spacemen 3 had their first independent chart hits in 1987, gaining a cult following, and through albums The Perfect Prescription (1987) and Playing with Fire (1989), went on to have greater success towards the end of the decade. However, they disbanded shortly afterwards, releasing their final studio album Recurring post-split in 1991 after an acrimonious parting of ways.

They gained a reputation as a 'drug band' due to the members' drug-taking habits and Kember's candid interviews and outspoken opinions on recreational drug use. Kember and Pierce were the only members common to all line-ups of the band. Pierce has enjoyed considerable success with his subsequent project—Spiritualized. Kember has since found acclaim for his production work with indie artists, most often under the stage name Sonic Boom.

Formation and early years (1982–85)
The creative and song-writing force throughout Spacemen 3's history were Peter Kember and Jason Pierce. They met at the (now defunct) Rugby Art College on Clifton Road, Rugby, Warwickshire in autumn 1982, both aged 16, and became close friends. Pierce was in a band called Indian Scalp, but he left them near the end of 1982 to collaborate with Kember. The two guitarists recruited drummer Tim Morris, who played with a couple of other bands and had a rehearsal space at his parental home, which they used. Shortly afterwards Pete Bain joined on bass. Morris and Bain had previously played together in a band called Noise on Independent Street. Pierce handled lead vocal duties. Now a 4-piece, the band originally adopted the name The Spacemen. Their first live performances occurred around winter 1982/83, playing at a party and then at a couple of gigs they managed to get at a local bar; at the latter their set included a 20-minute version of the one-chord song "O.D. Catastrophe".

In autumn 1983, Pierce, having finished his course at Rugby Art College, started attending an art school in Maidstone, Kent. This prompted Bain and Morris to leave and join a new local band, The Push, being formed by Gavin Wissen. Kember and Pierce recruited a replacement drummer, Nicholas "Natty" Brooker. They continued without a bassist and Pierce would regularly return to Rugby for rehearsals. In early 1984, they only performed at a few local, low-key venues. Still a trio, they changed their name to Spacemen 3. Kember explained:

The "3" came about completely by mistake. We did a poster which was just for The Spacemen, which we were for a while. But it was "The" Spacemen and I hated that, it sounded like a 50s rock 'n' roll group – that's all very well, but we didn't want to be imagined as…one of those surf bands. So we stuck the 3 on afterwards – that came about from a poster we did which had "Are Your Dreams at Night 3 Sizes Too Big?" with a very big 3 on it and it really worked as a logo, it just fell into place. It's really for the third eye.

Eventually, Spacemen 3 decided to produce a demo tape. In 1984 they made their first studio recordings at the home studio of Dave Sheriff in Rugby. This material – which included early iterations of the songs "Walkin' with Jesus", "Come Down Easy" and "Things'll Never be the Same" – was used for a short demo tape entitled For All The Fucked Up Children Of The World We Give You Spacemen 3. They got a few hundred cassette copies made and produced their own artwork and booklet to accompany it, selling the tapes for £1 at a local record shop. Spacemen 3's music at this stage had a loose, swampy blues feel; some songs included harmonica and slide guitar, and their style sounded akin to The Cramps. These early demo recordings, which Kember later recalled as being "really dreadful", would later be released unofficially in 1995 on the Sympathy for the Record Industry label, thus providing an insight into the band's embryonic sound.

Around 1984 and 1985, Spacemen 3 were doing gigs every two or three months on the local Rugby/Northampton/Coventry circuit, and had a regular spot at The Black Lion public house in Northampton. Their gigs had an 'anti performance' element: Kember and Pierce would play their guitars sitting down and would barely acknowledge the audience. They would illuminate the stage with some cheap, old optokinetic disco light-show equipment which they had acquired, providing a psychedelic backdrop.

By summer 1985, Spacemen 3 were headlining at The Black Lion and becoming one of the biggest local bands. Around this time they started to co-host a weekly club night together with another local band, Gavin Wissen's 'The Cogs of Tyme'. 'The Reverberation Club', as it was called, was held at The Blitz public house in Rugby on Thursdays. "50s, 60s and 70s punk" records were played and it soon provided a live venue for Spacemen 3 and various other local bands. At one of their gigs at The Black Lion in 1985, they came to the attention of Pat Fish, the leader of the recording band The Jazz Butcher; he felt Spacemen 3 were "extraordinary" and "like nothing else".

Northampton demos
In November 1985, Spacemen 3 played a gig at a leisure centre in Coventry to an audience of fewer than ten people. Nevertheless, encouraged by the support of Pat Fish, they determined that they ought to record a new demo tape. By this time they had reconfigured and honed their musical style, and their repertoire consisted of newer songs and re-worked older ones.

At Pierce's instigation, Pete Bain rejoined the band on bass in order to fill out their sound. Despite being a 4-piece again, they would retain the name Spacemen 3. Kember and Pierce opted to upgrade their guitar equipment ahead of recording the new demos. Kember purchased a Burns Jazz electric guitar and 1960s Vox Conqueror amplifier; whilst Pierce bought a Fender Telecaster and a 1970s HH amplifier. Both of their new amplifiers included distortion/fuzz and tremolo; these two effects were key components of Spacemen 3's signature sound.

In January 1986, Spacemen 3 attended the Studio Morocco based at the home of Carlo Marocco at Piddington, outside Northampton, to record their new demo tape. They spent three-and-a-half days at the 16-track studio. Recording live as a group, with minimal overdubs, they managed to get demos for approximately seven songs. Kember and Pierce handled the production. with studio manager Dave Howard dealing with the technicalities. These "fine set of performances" would later be unofficially released as the vinyl album Taking Drugs to Make Music to Take Drugs To on the Father Yod label in 1990 (albeit described incorrectly as "rehearsals in Rugby").

Spacemen 3 managed to obtain a record deal shortly after producing their new demos. Pat Fish had given a copy of the demo tape to Dave Barker, the owner of the independent record label Glass Records, to whom Fish's band The Jazz Butcher were signed. Spacemen 3 signed a three-year, two-album recording contract with Glass Records in early 1986.

Debut album
Spacemen 3 were sent to record their first album, Sound of Confusion, at the studios of Bob Lamb in the King's Heath area of Birmingham. With a recording budget of less than £1,000, they completed the album in five days, with the last two days dedicated to mixing. Attempts at recording the title song "Walkin' with Jesus (Sound of Confusion)" were unsuccessful and abandoned.

Pat Fish was slated to produce the album, but he had commitments with his band, and Bob Lamb produced it. Kember and Pierce were unhappy with the results, and they preferred the Northampton demos instead.

The seven-track Sound of Confusion album had a heavy psychedelic style. It was "a full on, fuzzed up drone of relentless guitar pounding" (Ian Edmond, Record Collector), with a "rough garage energy " and "minimal, bluntly entrancing riffs". A NME review of the 1990 re-release said that the album was "A lo-fi, mostly low-key affair."

Sound of Confusion was released in July 1986. The cover artwork included shots of the band illuminated by their light-show equipment. The album was not received well, making little impression at the time, although it went on to reach no. 2 on the UK Independent Chart in 1989. Publicity for the album suffered from lack of funding by Glass Records.

During 1986, Spacemen 3 made live performances every few weeks. These continued to occur at local venues, with the exception of gigs in Chesterfield, Birmingham and, in August, their first appearance in London. The latter gig saw them receive their first reviews in both NME and Sounds.

"Spacemen 3 are practitioners in the fine art of repetition; instinctively drawing on the lessons of their forefathers and adding an atmosphere, a mood and a sonorous backbeat of their own... they take hold of a chord and work every last permutation out of it before calmly working through to the next."

To follow up their album, Spacemen 3 made their first single, "Walkin' with Jesus" in 1986; the received decent reviews from NME and Sounds, and peaked at no. 29 on the UK Independent Chart, and no. 46 in the indie chart published by Sounds.

It was in 1986 that guitarist Peter Kember started to use his long-term alias 'Sonic Boom'. He had earlier employed the aliases 'Mainliner' and 'Peter Gunn'. Bassist Pete Bain also adopted his alias—'Bassman' or 'Pete Bassman'.

1987
In January 1987, Spacemen 3 commenced work on their second album, The Perfect Prescription, which was recorded at Paul Atkins' VHF Studios, near Rugby; it was at the request of sound engineer Graham Walker. It took eight months and £3,000 to produce.

Whilst working on the album, "Transparent Radiation"—a cover of a song by the Red Crayola—was recorded, and released as a single in July 1987. "Transparent Radiation" was awarded 'Single of the Week' by Sounds, and matched the previous single in reaching no. 29 on the independent chart. The B-side included "Ecstasy Symphony", an experimental piece using an organ drone.

The Perfect Prescription was completed in September 1987 and released the same month. Kember described it as "kind of a concept album, it's about our better and worse experiences with drugs". Produced by Kember and Pierce, they agreed to restrict the amount of guitar overdubs in order that it would be easier to replicate the songs live. The Perfect Prescription received little critical attention in the UK, being better received in the United States. However, it represented Kember and Pierce's "collaborative zenith" (Erik Morse), and the album "is practically a best-of in all but name".

The Perfect Prescription "marked a serious artistic development, drawing deeper from gospel, ambient, and spiritual music, granting a serenity and depth to their spaced-out garage psychedelia". Much of the album did not feature drums. This was the first album on which Kember contributed lead vocals.

Spacemen 3 performed live on about twenty occasions during 1987. This included several gigs in the Netherlands and Belgium in March, and a few dates in London, Sheffield and Leeds later on in the year.

1988
In January–February 1988, Spacemen 3 undertook a six-week tour of continental Europe, encompassing Germany, Austria, Switzerland, the Netherlands and Belgium. Comprising nearly thirty gigs, the tour saw tensions and discontent arise between band members. After they returned to England, drummer Stewart Roswell quit.

Relations between Peter Kember and Jason Pierce were beginning to suffer as a result of Pierce's romantic relationship with Kate Radley, whom he had been dating since summer 1987. Kember resented the amount of time his song-writing partner was spending with her at his expense.

A UK tour in spring 1988 used stand-in drummers to fulfil live dates. Roswell's departure was followed by that of Pete Bain at the end of May. A replacement bassist was immediately appointed: Will Carruthers, a friend of the band who had recently been playing in another Rugby group, 'The Cogs of Tyme'.

In July 1988, Spacemen 3's third single, "Take Me to the Other Side", was released, from The Perfect Prescription album. The single received good press and was NME Single of the Week.

Spacemen 3 reached a deal with Glass Records where in return for providing a live album, their contractual obligations would be deemed to have been met, and they would be allowed to leave. The album, a recording of their gig at the Melkweg venue, Amsterdam, was released in July 1988.

Following their departure from Glass Records, Spacemen 3 were without a record deal. The only offer they received was from the prominent independent label Creation Records. However, Creation owner Alan McGee was only able to offer a one-album deal and with no advance. This was not pursued.

It was at this juncture that Kember and Pierce chose to enter into a contractual relationship with Gerald Palmer, a Northamptonshire businessman and concert promoter who had already been functioning recently as Spacemen 3's de facto manager. This tripartite business partnership had the following terms: Palmer would own the master tapes of all future recordings, the rights of which would be licensed to record labels for release; touring and recording costs etc. would be financed by Palmer, who would give Kember and Pierce an advance of £1,000 each; and, in return, all profits would be split 50:50: 50% for Palmer, and 50% for Kember and Pierce and other band members. Significantly, this contract was only with Kember and Pierce, meaning Spacemen 3 as a legal and financial entity would, in essence, constitute only the two of them together with Palmer. In addition, Palmer became Spacemen 3's manager.

1988
Around spring 1988 Kember was using his 4-track recorder to develop his ideas and several songs for the next album.

Recording for Spacemen 3's third studio album, Playing with Fire, started in June 1988. Palmer, booked ARK Studios in Cornwall for a month, though these sessions were not particularly productive. ARK Studios only had 8-track facilities and some of Spacemen 3's recordings were accidentally wiped by the in-house sound engineer. Rough demos were managed for Kember's "Honey" and Pierce's "Lord Can You Hear Me?". They still did not have a drummer at this point.

New bassist Will Carruthers made his first live appearance with Spacemen 3 at London Dingwalls on 20 June, where they were supported by My Bloody Valentine. It was after this gig that a confrontation occurred between Kember, Pierce and his girlfriend Kate Radley. Tired of Radley's persistent presence around the band of late – at recording sessions, touring and backstage at gigs – Kember enforced an agreed 'no girls on the bus' policy and barred Radley from boarding the tour van, leaving Pierce and Radley to find their own way home.

Recording for Playing with Fire recommenced despite a deteriorating relationship between Kember and Pierce; they returned to VHF Studios, outside Rugby, where they had recorded The Perfect Prescription. Of the eventual tracks on Playing with Fire, six were Kember's compositions, whilst only three were Pierce's. For the recording, individual parts were recorded separately, which meant band members did not have to be present at the same time.

On 19 August, Spacemen 3 gave an unusual live performance. Palmer had booked them to provide 'An Evening of Contemporary Sitar Music' in the foyer of the Waterman's Art Centre in Brentford, London, to act as a prelude to a screening of the film Wings of Desire. Kember, Pierce and Carruthers were joined by Rugby musician Steve Evans. They played a 45-minute jam, based around a single chord strummed by Evans, featuring riffs from some of the songs from their as yet unreleased Playing with Fire material. This performance was recorded and was later released, in 1990, as Dreamweapon. The crowd assembled for the film was not impressed, and, according to Pat Fish, one of the patrons remarked to the other: "To think that Elvis died for this!"

After initial plans to use drummers from The Weather Prophets and Thee Hypnotics for the recording of Playing with Fire, a permanent drummer was recruited in late August: Jonny Mattock. Despite this, he does not appear on Playing with Fire – a drum machine was used on all of the songs and no drummer is credited on the album. Mattock had been playing in a Northampton band called The Apple Creation. He was recommended by future Spacemen 3 guitarist Mark Refoy. Mattock made his live debut on 24 August at a gig at the Riverside in Hammersmith, London, and contributed to the new album. The new rhythm section of Carruthers and Mattock would remain constant for the rest of Spacemen 3's existence.

In summer 1988, Spacemen 3 managed to obtain a two-album deal with independent label, Fire Records. At a gig on 15 November 1988, advertised as 'Sonic Boom and Jason of Spacemen 3', only Kember and Carruthers performed.

The single "Revolution" was released in November 1988. The title track was a powerful, anthemic "mind-melting crunch". "'Revolution' was the chest-tearing noise that propelled them from complete obscurity to the cultosphere of young indie rock godz" (Jack Barron, NME, 29/7/1989). The single peaked in the top 10 of the indie charts, representing Spacemen 3's highest chart position yet, and was voted by radio listeners for inclusion in John Peel's end-of-year Festive Fifty. Awarded Single of the Week by the Melody Maker, it was extremely well received by the music press whose general attitude towards the band changed at this juncture:

"['Revolution'] is one of the best records released by an independent band this year. Adjectives that come to mind are unrelenting, punishing, psychedelic. The razor-blade riffs lead you into a sonic underworld of alienation, desolation and raw power... [This] band are one of the most interesting around."

Spacemen 3 "became the indie phenomenon of late 1988" (Erik Morse). They were receiving more media attention and got their first cover story in Melody Maker 19 November 1988 issue. Kember participated in many interviews, which provided controversy and journalistic focus on his drug-taking habits and his forthright views on recreational drug use. On one occasion, Kember invited his interviewer to accompany him as he collected his methadone prescription. Kember was regularly described in the music papers, incorrectly, as the "leader" of Spacemen 3, although he had not helped in this portrayal: in the Melody Maker article referred to above, Kember had stated, "This band is my design and the rest are totally into it."

Completion of the Playing with Fire album was delayed due to recording delays and a dispute about song-writing credits, which resulted in a physical altercation. Palmer mediated to resolve the feud. Palmer finally managed to obtain a compromise with Kember conceding split song-writing credits for 'Suicide'.

Sonic Boom solo project
In late 1988, Peter Kember was already working on new material for post Playing with Fire. His productivity meant he had a surfeit of songs, and he advised his bandmates of his intention to produce a solo album. New indie label Silvertone Records offered Kember a generous one-off album deal which he accepted. Kember finished recordings for his debut solo album and single in March 1989, prior to the commencement of Spacemen 3's European tour. Other members of Spacemen 3, including Pierce, as well as other musicians, had contributed sessions. Release of Kember's solo album (Spectrum) and single – under the moniker of Kember's alias, Sonic Boom – were put on hold in order to avoid a marketing clash with Playing with Fire.

1989: Playing with Fire album release and tour
Spacemen 3's eagerly awaited Playing with Fire album was finally released on 27 February 1989. The album's front cover sleeve bore the slogan, "Purity, Love, Suicide, Accuracy, Revolution". Playing with Fire was Spacemen 3's first record to chart and one of the breakthrough indie albums of the year. Within weeks of its release, it was No. 1 in both the NME and Melody Maker indie charts. It was "their most critically and commercially successful album". Reviews were extremely positive and the album garnered wide critical acclaim.

"It is a curious, brave, intriguing record, quite unlike anything that you're likely to hear elsewhere. And it's no mere novelty; more, I reckon, a minor triumph. 8½/10."

"An early contender for album of the year."

"Playing with Fire, an extraordinary record, is the last thing we expected. Spacemen 3 have taken a courageous gamble in giving us this hymnal hologram instead of rocking out. They've done guitars before. Their earlier records are great. But this one is a vortex of vacuums, a mirage, a hallucinatory hypnosis, and as such is wilfully indulgent, defiantly grandiose... [It is] a major coup."

"Spacemen 3 have kicked out the aimless jams, opted for colour, space and sensuality, and come up with the last word in English psychedelia."

With the exception of "Revolution" and "Suicide", the other songs on the album were mellower and softer than Spacemen 3's previous work, continuing the development of their previous album. "Playing with Fire... shows another side of Spacemen 3 – a slower, melancholic, blissfully refined pop band" (Ron Rom, Sounds). The band "created glazed, liquid songs with subtle arrangements and sheer reveling in aural joys...[Playing with Fire is] a feast of sound".

The Playing with Fire album was distributed in the United States on Bomp! Records, the label of Greg Shaw, who paid $10,000 for the rights. Spacemen 3 were popular in America and a prospective US tour was planned to start in September 1989. Greg Shaw organised the tour.

In February–March 1989, Spacemen 3 undertook a four-week UK tour comprising 21 dates, coinciding with the new album's release. Comments from gig reviews included:

"Each ditty drives along a tidal wave of filthy sound, an effortless drone featuring the crispest slices of guitar sound since The Stooges… Spacemen 3 are better at this carbon monoxide garage trip than a thousand overrated US geetah schmucks. Weird, wonderful, frightening and out of their sheds."

"Tonight the Spacies play an absolute stormer... firmly establishing the Spacemen as one of the great rock experiences currently available to us. ...their full array of throbbings, pulsings, yowlings, reverbs, triple echoes and sheer whiplash volume."

At the start of the UK tour Kate Radley was again travelling in the tour van, thus causing tension between Kember and Pierce. After several gigs, Kember told Pierce this could not continue. For the rest of the UK dates Pierce and Radley, now living in a new flat together, made their own way to gigs.

The UK tour was shortly followed by an extensive and gruelling four-week tour of continental Europe in April–May 1989. This incorporated 22 dates across the Netherlands, France, Belgium, Denmark, Sweden, Germany, Switzerland, Hungary, Austria and Italy. (Radley was not present on this tour). Setlists remained more or less consistent around this period. For the purposes of live performances, Spacemen 3 played their more powerful or heavier – and therefore mostly older – songs, featuring little from Playing with Fire; although the odd softer song was played occasionally. Sets typically ended with the song "Suicide" which could last up to 45 minutes.

1989
At the beginning of 1989 Spacemen 3 had been one of the "hottest indie bands in England" (Erik Morse) and were gaining the attention of major US record labels.

Spacemen 3 used the short break between the UK and European tours in spring 1989 as an opportunity to record a new single. Two songs were recorded, at VHF Studios: "Hypnotized", a new song by Pierce, who had recently acquired his own 4-track recorder; and "Just To See You Smile", by Kember. However, Kember accused Pierce of copying his sounds.

Whilst Spacemen 3 were on tour, Palmer prepared the new single for release. Without consulting Kember or Pierce, Palmer mastered the tracks, had the sleeve artwork designed, and selected "Hypnotized" for the A-side. When Kember found out he was furious; however, Palmer refused to postpone the pressing of the single. A resulting feud permanently damaged Kember and Palmer's working relationship.

In June, Spacemen 3 played ten UK gigs. Initially, Pierce was making his own way to these dates, but when he instead used the tour van there was a bad atmosphere between the two men.

The single "Hypnotized" was released on 3 July 1989. It was their "most anticipated release yet" (Erik Morse) and immediately charted inside the top 10 of the NME and Melody Maker indie charts. It was Sounds Single of the Week. After two weeks, Hypnotized reached No. 1 on the Melody Maker indie chart, and No. 2 on the NME indie chart (second only to The Stone Roses' "She Bangs The Drums"). It was voted No. 33 in John Peel's end of year Festive Fifty.

A third guitarist, Mark Refoy, had been recruited at the beginning of summer 1989, to play on later live dates and work on the next album. Refoy had been a friend of the band for several years, and had contributed to Kember's solo album. Refoy made his first live performance with Spacemen 3 at their Rugby 'homecoming' gig on 20 July.

On 23 July, Spacemen 3 played their biggest headlining gig at The Town & Country Club, London, a 2,000-capacity venue. On 22 August, they played a warm-up gig at Subterranea, London, for the Reading Festival, their first festival gig. Spacemen 3 played at the Reading Festival on 25 August 1989. This would transpire to be their last ever live performance.

At the beginning of September 1989, Spacemen 3 were about to undertake a substantial tour of the United States. The tour schedule had been finalised and they were due to be in America for the rest of the year, playing about 50 gigs. The band had grievances with Palmer, resulting in a meeting with no resolution or compromise. In an interview in 1991, Kember described Palmer as "the most devious guy I've ever had the misfortune to meet".

Kember and Pierce dismissed Palmer a few days after the meeting; however, Palmer was still one third of Spacemen 3. Additionally, he had already incurred at least £10,000 in recording expenses for the next album, and he stopped backing the imminent US tour, which resulted in a waste of resources.

The official explanation at the time – and that reported in the UK music press – was that the US tour had been cancelled because they had not been able to obtain work permits due to the drug convictions of band members. However, it has since transpired that this was not the case: work permits had been obtained for the band, albeit with difficulty.

Recording for Spacemen 3's fourth studio album, Recurring, had commenced at the beginning of August 1989, again at VHF Studios. According to Mark Refoy, Kember and Pierce rarely appeared at the studio at the same time and there was "quite a tense atmosphere" between them, particular over accusations from Kember that Pierce had copied him.

Afterwards, the two were now estranged and working completely separately. They agreed to have separate sides of the album for their own songs, all of which they had written and composed individually. The other three band members – Carruthers, Mattock and Refoy – who all went on to join Spiritualized (Pierce's project), were called in to contribute sessions when required.

In late September, Kember made a solo performance at a gig supporting The Telescopes. Kember and Pierce agreed to be in the studio together to record a cover of Mudhoney's "When Tomorrow Hits", for a prospective split single with Mudhoney. When Kember heard Mudhoney's version of "Revolution", with altered lyrics, he was offended and this collaborative Sub Pop release was called off however. The recording of "When Tomorrow Hits" was the last occasion Kember and Pierce would work together. Disconsolate Will Carruthers left the band at this point, fed up with the discord and lack of remuneration.

Recording for the album proceeded slowly and was still ongoing in Autumn 1989, by which point Kember had used two to three times the amount of studio time as Pierce. According to band members, Kember's behaviour was becoming increasingly obsessive and erratic. He was regularly missing booked studio slots. In late October, Kember's debut solo single, "Angel" was released. It received a lukewarm reception.

On 14 November 1989, the four remaining Spacemen 3 band members met to discuss finishing the album and arranging future live dates. The meeting was unproductive. Reportedly, Kember and Pierce both said little. Jonny Mattock told Kember he was difficult to work with. Mattock and Mark Refoy, both peeved, left the meeting prematurely and effectively resigned from Spacemen 3. In December, Gerald Palmer attempted to mediate between his business partners, Kember and Pierce, meeting them individually because Pierce reportedly refused contact with Kember.

Dedicated record deal
During 1989, Gerald Palmer had been courting interest and offers from US major record labels. Palmer had been postponing a decision hoping the US tour would lever improved offers. Negotiations with Dedicated Records, a satellite label of BMG, had been ongoing for several months. The poor intra-band relations had remained secret for the sake of outward appearance. By October 1989, the latest offer from Dedicated was a five-album, multimillion-dollar deal, with a £60,000 advance. Palmer had expended £15,000 on legal fees, and because he had managed to negotiate out the standard Leaving Member Clause, Kember and Pierce were in a 'win-win situation'.

In December, the three met to arrange signing the Dedicated record deal. Pierce insisted that Kember sign an agreement stating that the two of them had equal rights to Spacemen 3, to mutually protect them by preventing either party potentially claiming ownership of the Spacemen 3 name should the other quit. Coerced by the attraction of his portion of the Dedicated advance, Kember signed it. Mattock claims Kember attacked Pierce in the street the next morning. At the beginning of 1990, Kember and Pierce attended the London offices of Dedicated separately to sign the record contract. A few days later, at a dinner (at the Paper Tiger Chinese restaurant in Lutterworth, Leicestershire) with Dedicated executives, Kember and Pierce were cordial with the other guests but didn't talk with one another. The pretence was kept up until the end; Palmer did not inform Dedicated about the band breaking up until March.

1990
In late 1989, Jason Pierce, dissatisfied with his mixes at VHF Studios, took his recordings for the Recurring album to Battery Studios, London. Assisted by engineer/producer Anjali Dutt, Pierce completed final remixes of his songs in January 1990. However, Peter Kember's side of the album was far from ready, and he resorted to calling on the help of Richard Formby, a producer. According to Formby, when he arrived, Kember's recording was only half done; some songs were incomplete, and two had to be re-recorded from scratch.

In January 1990, Kember's side project and debut solo album, Spectrum (Sonic Boom), was released. Recorded nearly a year previously, Kember had used the project as a vehicle for a group of melancholic themed songs, having decided to save his more upbeat work for Spacemen 3 and Recurring. The Spectrum album was advertised as being by the "founder member/leader of Spacemen 3".

Also in January, Pierce was developing ideas for forming a new band or side project of his own. He invited Spacemen 3 compatriots, Refoy, Carruthers and Mattock, to jam and rehearse with him at a small church hall and his flat. Initially it was informal, but this was the origin of Pierce's Spacemen 3 'splinter' band, Spiritualized, comprising all the same members as Spacemen 3 except for Kember. In February 1990, this new grouping recorded "Anyway That You Want Me". This was recorded at VHF Studios; the purpose of these sessions was kept secret from Kember who was still working there. Speaking in 1991, Pierce explained the purpose of starting Spiritualized:

It was so as though I could get back on the road again. Pete [Kember] was still doing tracks for Recurring, and it was a long way off Spacemen 3 touring again, so I wanted to do another tour. So, initially, it [Spiritualized] was set up as a means to get back on the road.

Kember continued on completing his Recurring material. His indecision and constant remixing was prolonging the recording of the album. Gerald Palmer was still funding the studio time, and warned Kember to finish. Eventually, intolerant of any more delays, Palmer attended VHF Studios. He seized Kember's tapes, carrying out a previous threat, and chose the final mixes for release. There were reportedly dozens of different mixes for each song.

In June 1990, Spiritualized released their debut single, "Anyway That You Want Me". This was a cover of a song by The Troggs which Spacemen 3 had demoed in 1988 during their Playing with Fire sessions. The single's cover sleeve, which had no text on it, controversially bore a sticker saying "Spacemen 3". Furthermore, adverts for the single featured the Spacemen 3 logo.

The release of the Spiritualized single was the first Kember had definite knowledge of the band's existence. The circumstances surrounding the single and its marketing prompted Kember to announce that he was leaving Spacemen 3 and that the band no longer existed. Kember, interviewed in 1991:

I was pretty peeved because the whole thing was done in total secrecy, and everyone involved was told not to tell me about it, which is quite different from my solo project which was all done totally in the open.

In the latter half of 1990, Pierce's new band, Spiritualized, toured around the UK. They performed songs from the then as yet unreleased Recurring, as well as new material. Spiritualized signed a record deal with Dedicated and recorded their debut album in winter 1990/91.

1991
In January 1991, the Spacemen 3 single Big City/Drive was released. Both songs from the double A-side single were from the soon-to-released Recurring. Kember and Pierce had been due to be at the studio for the mastering of the single, however Pierce did not attend. At that point the two had hardly spoken face to face in over six months. Kember decided to fade out several minutes of Pierce's song from the single, "Drive".

The last Spacemen 3 album, Recurring, was finally released in February 1991. Although the band had not officially disbanded, for all intents and purposes it was a posthumous release. The two sides of the album – one by Kember (A-side), the other by Pierce (B-side) – reflected the split between the band's two main personnel.

The songs on Recurring had been composed in 1989. It expanded on the sounds of the previous, Playing with Fire album. Musically, it was richer and lusher, but Kember and Pierce's respective halves of Recurring were distinctly different and presaged the solo material which they were already working on by the time of the album's release. Kember's side demonstrated his pop and ambient sensibilities; Pierce's side indicated his sympathy for gospel and blues music and his interest in lush production.

"Pierce's sound is more lyrical and dramatic, building songs into climaxes. Sonic Boom's lengthy textured pieces move horizontally – a rhythmic, hypnotic pulse from start to finish."

"What we have here, then, are two very fine solo mini-LPs bolted together under the same moniker. ....a swirling stasis of sound that overcomes you like fumes.... Jason's Spaceman sound is more desolate and grandiose than Sonic's."

"Recurring is a fine album. Laid back to the point of bed sores, its hushed vocals, pulsing backbeats and warm walls of sound infuse an introverted beauty with a keen r'n'r understanding. The two sides run on a similar vibe, although Jason's is a tad more conventional, riding on vocal atmospherics and a dreamtime feel, while Sonic's is sparser, pulling on a more disparate source of influences as shown on 'Big City', the LP's killer cut as well as the current fab single."

In 1991 Kember and Pierce were pursuing their musical careers with their own bands, Spectrum and Spiritualized respectively. The release of Recurring prompted renewed press speculation about the future of Spacemen 3. No official statement explained why, or confirmed whether, Spacemen 3 had broken up.

"I don't really see any problem anyway, if you buy Pete's album and you buy mine, you've got a Spacemen 3 album anyhow, by combining the two"

"They [Kember and Pierce] were very close friends – they started the band together, but musically and socially they drifted apart. There was never a specific incident – like in a lot of talented bands – there's just a lot of friction between them."

Band members' activities post Spacemen 3
Most members of Spacemen 3 have continued to produce music and record either collaboratively or in solo projects. Peter Kember (alias 'Sonic Boom') has had a solo career releasing music under the monikers Spectrum and E.A.R., and has also done production work for MGMT, Panda Bear, Dean & Britta and The Flowers of Hell. Jason Pierce (alias 'J. Spaceman') remains the leader and creative force, and only constant member, of the alternative band Spiritualized who have achieved significant critical acclaim and commercial success. Both Kember and Pierce continue to perform some Spacemen 3 songs live (e.g. "Transparent Radiation", "Revolution", "Suicide", "Set Me Free", "Che" and "Let Me Down Gently" [Kember]; and "Take Me to the Other Side", "Walkin' with Jesus", "Amen" and "Lord Can You Hear Me?" [Pierce]).

Will Carruthers, Jonny Mattock and Mark Refoy formed Spiritualized with Pierce in early 1990. Carruthers left the band after the first album in 1992; followed by Mattock and Refoy in 1994. Refoy then fronted Slipstream who released two albums. Refoy played guitar for the Pet Shop Boys on their live tour in 2007. Will Carruthers took a hiatus from the music industry after leaving Spiritualized; but subsequently has worked with Kember, recorded two solo albums as Freelovebabies, and has most recently toured with The Brian Jonestown Massacre. Carruthers, Mattock and Refoy have also collaborated on projects together.

After leaving Spacemen 3 in 1988, both Pete Bain and Sterling Roswell (aka Rosco) joined the neo-psychedelic band the Darkside who released several albums. Following the end of Darkside, Bain formed Alphastone, and has assisted Kember on some of the latter's solo projects. As of 2010 he provides vocals and guitar in The Urgz. Stewart Roswell (alias Sterling Roswell) released a solo album, The Psychedelic Ubik, in 2004.

In the early 1990s, early Spacemen 3 drummer Natty Brooker played bass under the alias Mr Ugly in a garage rock band The Guaranteed Ugly, with Gavin Wissen. They released two albums. Brooker provided cover artwork for Spacemen 3's Recurring album and early Spiritualized releases. Brooker died of cancer on Friday 18 April 2014.

A partial and unofficial 'reunion' of Spacemen 3 occurred on 15 July 2010 at a benefit gig dubbed 'A Reunion of Friends', organised for former Spacemen 3 drummer Natty Brooker (diagnosed with terminal cancer) at the Hoxton Bar and Grill in London where there was a retrospective exhibition of his artwork. Will Carruthers said of the event, "This is as close as you'll get to a Spacemen 3 reunion, trust me." The participants were: Peter Kember (keyboard/guitar/vocals); Will Carruthers (bass); Jonny Mattock (drums); Mark Refoy (guitar); Jason Holt (guitarist from Kember's touring Spectrum band); and guest appearances from Pat Fish (vocals), and Kevin Shields (guitar) of My Bloody Valentine. They played a 45-minute set comprising the songs 'Walkin' with Jesus', 'Revolution' and 'Suicide'.

Musical style and influences
Sonically, Spacemen 3's music was characterised by fuzzy and distorted electric guitars, stuttering tremolo effects and wah-wah, the employment of 'power chords' and simple riffs, harmonic overtones and drones, softly sung/spoken vocals, and sparse or monolithic drumming. Their earlier record releases were guitar 'heavy', sounding Stooges-esque and "a bit like a punked-up garage rock band"; whilst their later work was mostly sparser and softer with more textural techniques and augmented by organs, resulting in "their signature trance-like neo-psychedelia". Kember described it as "very hypnotic and minimal; every track has a drone all the way through it".

Spacemen 3 were adherents to the "minimal is maximal" philosophy of Alan Vega, singer for the American duo Suicide who were known for their ominously repetitive music. Kember has articulated the maxim: "One chord best, two chords cool, three chords okay, four chords average".

Spacemen 3 had the dictum "taking drugs to make music to take drugs to". Kember candidly admitted to his frequent drug taking—including cannabis, LSD, magic mushrooms, MDMA, amphetamine and cocaine—and being a former heroin addict. Much of Spacemen 3's music concerned documenting the drug experience and conveying the related feelings. In NME 2011 list, the '50 Druggiest Albums' of all time, Spacemen 3's Northampton Demos release, Taking Drugs to Make Music to Take Drugs To, was ranked No. 23.

The group took influence from The Stooges, The Velvet Underground, and The Rolling Stones. Additionally, various proto-punk and psychedelic bands influenced them.

Spacemen 3 recorded and performed numerous covers and re-workings of other bands' songs, particularly earlier on in their history, and this was indicative of their influences. The Spacemen 3 song "Suicide" was a clear acknowledgement of one of their influences: when performed live it was usually introduced as "this song is dedicated to Martin Rev and Alan Vega – Suicide".

Kember was also interested in drone music and everyday ambient sounds such as those created by electric razors, washing machines, lawnmowers, planes, motor engines and passing cars.

Their musical style has been described as neo-psychedelia, space rock,  psychedelic rock,  alternative rock, garage rock and blues rock.

Other musician contributions at studio session recordings

 * Violin – Owen John. † §
 * Cello – Josephine Wiggs (of The Perfect Disaster) . ‡
 * Saxophone – Pat Fish (of The Jazz Butcher) . §
 * Saxophone – Alex Green (of The Jazz Butcher) . † §
 * Trumpet – Mick Manning (of The Jazz Butcher) . †
 * Flute – Pat Fish (of The Jazz Butcher) . §
 * Guitars/keyboards – Richard Formby (of The Jazz Butcher and Spectrum) .. §

† The Perfect Prescription ||  § Recurring  ||  ‡ "Girl On Fire" (demo) ||

Legacy
"Spacemen 3 were one of the most revolutionary UK guitar bands" (Ian Edmond, Record Collector). They produced "some of the most visceral and psychedelic music of all time...and set a sonic template that influenced a generation, inspiring countless bands" (Julian Woolsey, Rock Edition). Writing in spring 1991, just after the band had split, Vox Stephen Dalton referred to Spacemen 3 as "one of the most influential underground bands of the last decade".

"Amen" is used as the theme song for the Vice show "Abandoned".

In 1998, a tribute album to Spacemen 3 was released by the Rocket Girl label. A Tribute to Spacemen 3 included covers by bands such as Mogwai, Low, Bowery Electric and Bardo Pond. The album liner notes stated: "There are so many current bands who draw their influences from Spacemen 3 that now seems an appropriate time to show tribute to this underrated band."

In 2004, US journalist Erik Morse's biography of the band's life and work, Spacemen 3 & The Birth of Spiritualized, was published.

Studio albums
Live albums
 * Performance (Glass) 1988 [recorded at Melkweg gig, Amsterdam, 1988] – UK Indie no. 18
 * Dreamweapon (Cheree) 1990 ['An Evening of Contemporary Sitar Music' performance at Watermans Art Centre, Brentford, London, 1988]
 * Live in Europe 1989 (Space Age) / Spacemen Are Go! (Bomp!) 1995 [recorded during 1989 European tour]

Compilation albums
 * Translucent Flashbacks – The Glass Singles (Fire) 1995 [First three singles]

Singles & EPs
 * "Walkin' with Jesus" (Glass) 1986 – UK Indie no. 29
 * "Transparent Radiation" (Glass) 1987 – UK Indie no. 29
 * "Take Me to the Other Side" (Glass) 1988
 * "Revolution" (Fire) 1988 – UK Indie no. 8
 * (untitled) aka "Threebie 3" (Fierce) 1989 [Special limited edition, mail order offer with Playing with Fire album. Live recording: performances at Melkweg gig, Amsterdam, 1988, excluded from Performance album]
 * "Hypnotized" (Fire) 1989 – UK No. 85, UK Indie no. 1
 * "Big City" (Fire) 1991 – UK No. 88

Special re-release albums
 * Playing with Fire (Space Age) 1999 [Playing with Fire plus alternate versions etc. from same sessions; double CD]
 * Forged Prescriptions (Space Age) 2004 [Perfect Prescription alternate mixes plus alternate versions etc. from same sessions; double CD]

Unofficial albums
 * Taking Drugs to Make Music to Take Drugs To (Father Yod) 1990 ['Northampton Demos', 1986]
 * Losing Touch with Your Mind 1991 [A collection of alternate versions and rare releases]
 * For All the Fucked Up Children of This World We Give You Spacemen 3 1995 [Early demos, 1984]
 * Revolution or Heroin (Fierce) 1995 [Live bootleg – University of London Union gig, c. 1988]
 * How the Blues Should've Turned Out 2005 [Limited edition, numbered double CD of previously unreleased demos, alternate versions, etc.]

Notes re: releases since band disbanded

In the two decades following the break-up of Spacemen 3, a large amount of previously unreleased recordings has been released, adding significantly to the Spacemen 3 canon. This material includes: live recordings; demos; earlier iterations of certain songs; alternate versions of many songs; some unfinished work; and some entirely previously unreleased songs. These releases have been both official and unofficial, and some have been issued by the Kember/Palmer-affiliated label Space Age Recordings.

Losing Touch with Your Mind, an unofficial release of 1991, was a compilation of alternate song versions and rare releases. The 1993 re-release of Dreamweapon on the Sympathy for the Record Industry label – which included the intriguing live 44-minute Eastern-inspired drone music performance at the Watermans Art Centre, Brentford, London, of August 1988 – was augmented with a previously unreleased recording of a jam.

1995 saw the unofficial release of the band's first demo tape: For All the Fucked Up Children of This World We Give You Spacemen 3. Dating to 1984, this provided an interesting insight into the band's earliest work and "rougher" sound. These recordings pre-dated the other early demos previously made available on the 1990 unofficial, Father Yod release entitled Taking Drugs to Make Music to Take Drugs To.

The 1994 re-release of the Taking Drugs to Make Music to Take Drugs To (Northampton Demos) album included several previously unreleased alternate song versions and other bonus tracks.

Two live albums were released in 1995: Live in Europe 1989 (also released in 1995 as Spacemen Are Go! on the Bomp! label, but without 'Take Me to the Other Side' and an alternate take of 'Suicide') which represented the first release of the band's live work from their lengthy 1989 contintental tour; and Revolution or Heroin, a bootleg of performances from the band's 1988 gig at the University of London Students Union. The former has been described as "far better than the more ragged earlier Spacemen 3 live album, 1988's Performance".

In 1999, Spacemen 3's third studio album, Playing with Fire, was given a special, 10th-anniversary re-release. This official double disc release comprised all the original recordings together with previously unreleased alternate versions, demos and covers (e.g. The Perfect Disaster's "Girl on Fire" and The Troggs' "Anyway That You Want Me") from the same studio sessions. This re-release has been described as the "definitive" version of the Playing with Fire album.

In 2004, Spacemen 3's second studio album, The Perfect Prescription, was also given the special re-release treatment. The double disc official release, entitled Forged Prescriptions, comprised alternate mixes of the original album tracks together with previously unreleased alternate versions, demos and covers (e.g. The Spades' "We Sell Soul" and The Troggs' "I Want You") from the same studio sessions. Kember's liner notes explain that the alternative mixes represent the more multi-layered versions which he and Pierce agreed not to use because they would be unable to satisfactorily reproduce their sound live.

A bootleg called the Out of It Sessions comprises demo recordings of early iterations of songs from The Perfect Prescription album.

In 2005, Kember produced and released his own limited edition, double disc album, How the Blues Should've Turned Out. This wholly comprised previously unreleased material, including alternate versions, rough demos, unfinished work etc.

General references

 * Record Collector magazine, Issue 285, May 2003 – Spacemen 3 feature.
 * Outer Limits (Spacemen 3 fan magazine), Issues 1 & 2, 1991 (Two-part article re: early history of Spacemen 3).
 * Outer Limits (Spacemen 3 fan magazine), Issues 1 & 2, 1991 (Two-part article re: early history of Spacemen 3).

title: Spacemen 3


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Credit
''This article was originally based on material from the infoAnarchy wiki. Update as needed.''

title: Talk:Newsreader


text:
Juvenile

Juvenile may refer to:

In general

 * Juvenile status, or minor (law), prior to adulthood
 * Juvenile (organism)

Music

 * Juvenile (rapper) (born 1975), stage name of American rapper Terius Gray
 * Juveniles, a 2020 studio album by the band Kingswood
 * "The Juvenile", a song by Ace of Base

Film

 * Juvenile (2000 film), Japanese film
 * Juvenile (2017 film), U.S. film

Sports

 * Juvenile (greyhounds), a greyhound competition
 * A two-year-old horse in horse racing terminology

Other

 * Juvenile particles, a type of volcanic ejecta

title: Juvenile