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ACID-MOD ZOMBIES IN CROMBIES . . .(Originally posted on www.myspace.com/edwardball blog 2/11/08)

"What's really helping us is House Music and Rap. They're bending the whole previous perception of what's right and wrong about structure and where everything (in mixes) should be placed". KEVIN SHIELDS circa 1989.

And Stuart from Glasgow ;

"Saturday night at Atlantis and the lights went down at midnight like they always did. The volume cranked up, the strobe began to flicker and the massive synth line of Love Corporations 'Palatial' came chiming out of the speakers. The place exploded and there it was - everything I'd ever wanted in one perfect moment. The cheer was louder than any of the records played that night. It was like watching Morrissey or Joey Ramone walk on stage, like Rock and Roll had finally arrived. For once I was part of the gang". © STUART BLACKWOOD.

'Palatial' - My Death, My Rebirth. The whole concept of the guitar band in the late 'eighties had become painfully dull, yawningly formulaic, in need of a sharp kick up the jacksy. High Street AciieeeeedHouse was contemporary Clownsville, but as Kevin says, the real pioneers in this area gave us all a chance to reconsider how to make our own music, to create our very genuine renaissance to challenge the works of '66 and '67. My personal ambition was to change the generic House sound to create (along with Bill Drummond's KLF) a more ambient sound - namely Chill Out.

for Love Corp stuff, apart from the obvious names (Kraftwerk, Eno etc) the biggest influence of all for me was John Carpenter's 'Halloween' films and his self-composed/performed soundtracks. My L'Orange Mechanik's 'Poems' of 1989, recorded at the same time as 'E For Edward' and 'Tones', was a homage to those 'Halloween' themes. The album was conceived as a way to get shot of a bunch of Creation Books titles the distributors couldn't shift. I suggested we re-package them with specially recorded lps for Rough Trade to distribute. I did the Edgar Allan Poe book 'Poems', and within two months all surplus book stocks had gone.

In hindsight, Carpenter's Michael Myers and I seem to have an awful lot in common - we both started out in 1978, had off-years around '84 and '87, really kicking in with a vengeance around 1988 ('Beat Torture: The Return Of Edward Ball' - I'm even holding a noose on the front cover for Chrissakes!). Both seemingly indestructible, year after year, sequel after sequel.

And when it comes to Head Tilting At Slight Angle Cuteness I could give the great lummock a run for his money, as my 'Love Is Blue' video will testify. I could tilt 'til the cows came home or at least 'til I could damage the Top 75, whichever came soonest. Would the real "Boogie" man please stand up.

So to all intents and purposes Haddonfield's very own House Mod and I have been haranguing and distressing dissolute teenagers, skivers, slackers and general flotsam for 30 or so years. AND he's the only semi-mythical creature out there with more Myspaces than me. CHECK THIS OUT!

So where was I? Oh yeah, 1990. At the studio for the 'Palatial' re-mixes, House club star Danny Rampling implored me to play the 3-note arpeggio motif - the bit at the front in non la-di-da speak. That was the final piece of the jigsaw, the fait accompli to my own album version. The mix of 'Palatial' that's up at least twice on YouTube at the moment, is not the Rampling mix. Marvellous in its own way, it's the version I developed with the studio engineer to make up the numbers for different formats etc. it's not the one we've all known to come and love. The classic Rampling "money-shot" mix is up here.

Love Corporation - Palatial II - Creation Records - 1990

My overall vision in 1991 was a sort of cross between progressive Mod and Punk - "Monk" if you will. Thus I'd record Love Corp piano stuff thinking the great Thelonious was guiding my fingers to all the right notes (a micro-second after I was hitting all the wrong ones) - all first takes complete with fluffs and mistakes.

And it weren't for nothing that we all wore target shirts at Creation house. We'd never be seen wearing such things before or since, these tacky garments generally considered by all to be the height of naffness. At this time though, they seemed oddly contemporary. The Guv'nor sported a khaki target affair and Bobby Gillespie had one in black and white. I favoured the more "street" hoodie with classic bullseye. Noggins or Bobbins? Hard to say, the acid and the ecstasy I was ingesting fairly regularly had shot my personal sartorial critical facilities to fuck by this time, so less said . . .

1, 2, Eddie's coming for you. 3, 4, Better lock your door . . .

Weatherall's Bells. Andy Weatherall realised the full potential of 'Give Me Some Love' by taking my main piarno phrase and changing its sound to those ominous clangourous bells. The whole effect akin to a post-modernist aesthetic spreading like a house-fire through John Lydon's Death Disco. The version currently up on YouTube is the more breakbeat-ish mix which we edited down to single format. The genre-defining Give Me Some Love can also be found here.

GET OUT OF THE HOUSE! Within eighteen months though, our work here had been done. It was time to move on again . . .

The Love Corporation - Gimme Some Love

Give Me Some Love on Youtube is the edited version of the Side Two 12" - the definitive version is here. Video directed by Douglas Hart, featuring Karen Parker, who contributed vocals to the Jesus and Mary Chain and the Teenage Filmstars.

GIVE ME SOME LOVE. 1991. 7" edit. Promo directed by Douglas Hart

DISCOGRAPHY

TONES (FEB 1990) LP (CRELP 056) & CD Creation Records (CRECD 056) Fleshtones / Monumental / Lovetones / Tones Of Incorporation / World / Palatial.

LOVERS (FEB 1991)

LP (CRELP 068) & CD Creation Records (CRECD 068) 1991 Love / Warm / Crystal / Sun / Happy / Nice / Lovers / Smile

INTELLIGENTSIA (NOV 1994)

LP (CRELP 116) & CD Creation Records (CRECD 116) Translucent / Don't Fight It, Flaunt It / Twilight In Babylon / Cathedrals Of Glitter / And Then We'll Have World Peace / Unconditional Love's Going Out Of Fashion / The Majesty Of Melancholia / Beware The Tranquil Trap / Mind Gangsters / Your Mama Don't Dance And Your Daddy Don't Acid House / What Price Art? / Translucence

DANCE STANCE (JUNE 1997)

LP (CRELP 116) & CD Creation Records (CRECD 116) Translucent / Don't Fight It, Flaunt It / Twilight In Babylon / Cathedrals Of Glitter / And Then We'll Have World Peace / Unconditional Love's Going Out Of Fashion / The Majesty Of Melancholia / Beware The Tranquil Trap / Mind Gangsters / Your Mama Don't Dance And Your Daddy Don't Acid House / What Price Art? / Translucence

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