A 30-year layoff
hasn’t dimmed the Mancunian post-punkers’ enthusiasm or talent.




This past summer, while thumbing through an issue of Uncut one night, I noticed a very short piece about a band called The
Distractions. I had to read it twice to make sure it was the same band I was
thinking of and that I wasn’t imagining things. Blessed with an excruciatingly
limited discography and no members who went on to big things, The Distractions
were obscure even in their native England.
But to a small but rabid group of fans, this Manchester
quintet was considered one of the great lost bands of the New Wave era. As
recently as last year, I looked for news about them online and found very
little, which led me to wonder whatever happened to the band members.


What a difference a year makes. This item in Uncut said
that a new album by The Distractions was imminent — more than three decades
after the last one! I was stunned.


For the uninitiated… The Distractions were part of the late
’70s post-punk scene in Northern England.
After a few singles and the wonderfully titled EP You’re Not Going Out
Dressed Like That,
the band released their one proper album, Nobody’s
in 1980. The disc featured 14 songs and covered a broad musical
spectrum. “Waiting for Lorraine,”
the opener, was an angry song about unrequited love in the form of an
unreturned phone call, a theme revisited later on the album, literally, in the
track “Still it Doesn’t Ring.” Other highlights include “Looking
for a Ghost,” which UK journalist
David Quantick once aptly described as
“the greatest sleepwalking nightmare ballad ever,” and a rocking anthem of
independence titled “Untitled.” Most of the tunes on Nobody’s
were written by guitarist Steve Perrin, some in collaboration with
singer Mike Finney. But a couple were penned by second guitarist Adrian Wright.
The Distractions were rounded out by a rhythm section that may have had the
best names in all of rock history: bassist Pip Nicholls and drummer Alec


Nobody’s Perfect was loved by almost everyone who
heard it — but unfortunately, few people did! There are various theories as to
why The Distractions never made it, ranging from the fact that a little band
called U2 was signed by the same label (Island Records) around the same time; to,
as another UK journalist, Ian Cranna
once wrote, “bands fronted by overweight and bespectacled singers were not
the stuff of which legends were made.” Whatever the case, The Distractions
weren’t long for this world and Nobody’s Perfect remains one of the
ultimate “cult” albums of the post-punk period. Ironically, the
band’s best known song didn’t even appear on the album. The wonderful single
“Time Goes By So Slow,” released in late 1979 by the tastemakers at
Factory Records and a popular track on college radio here in the states, was
their (relative) moment in the sun, an incredibly sad lyric married to an
infectious melody.


Unlike some stories in rock and roll (say, that of The
Tourists, an English band who came up around the same time as The Distractions
and had very marginal success but whose singer was one Annie Lennox), this tale
doesn’t have a happy ending — at least in the sense that the band members did
not go on to achieve greater success after their breakup. None of the
Distractions ever became a household name and most of them currently have day
jobs. In this case, the happy ending is simply that three decades and change
after Nobody’s Perfect, they’re still alive and well, and indeed they
finally released their sophomore set, The End of the Pier, in late


The band’s current lineup finds Finney and Perrin joined by
Nick Halliwell, Granite
Shore guitarist,
owner of Occultation Recordings and catalyst for the reunion; bassist Arash
Torabi of The June Brides; and drummer Mike Kellie, whose extensive resume
includes stints with both The Only Ones and Spooky Tooth.


In contrast to Nobody’s Perfect, The End of the Pier, while
still a Distractions record, is a more concise, unified album. There are only
10 songs this time around. Also unlike Nobody’s Perfect, the subject
matter of these songs isn’t quite as varied. Throughout End of the Pier, there’s
a sense that time is short; indeed, the first line on the album is “We’re
running out of time.” (Incidentally, Finney sings the hell out of that
song, “I Don’t Have Time,” in a voice that recalls World Party leader
Karl Wallinger.)  This theme is echoed in
tracks like “Too Late to Change” and “The Last Song” which,
appropriately, closes the disc. Even the title of the album can be taken as a
reference to time running out. These days, it seems, time doesn’t go by so


The Distractions celebrated the release of The End of the
with exactly two live dates, in the Manchester
borough of Salford. This may seem
strange but the fact is, it’s miraculous that these dates happened at all. The
band members no longer live in Manchester
these days; rather, they’re spread throughout England,
and Perrin is based in Australia. So
it was no small feat for them to come together for these gigs. This writer
lives in America and wasn’t lucky enough to attend either of the Salford dates
— but I was lucky enough to be the one to write about them on these
shores, a result of seeing that short piece in Uncut and then tracking
the unassuming Mike Finney down online. For this piece, I spoke with Finney,
Perrin and Halliwell, all of whom were great interviews. [Pictured in the
photo above, L-R: Perrin, Finney and Halliwell.]



The Distractions: The Summer I Met You by OccultationUK




BLURT: Tell me a
little about what each of you was up to during “the 30-year break” —
either musically or otherwise.


STEVE PERRIN (SP): It was actually
two 15-year breaks as we played together for a while in the mid-1990s. Apart
from that, my only involvement in music was briefly working for an independent
record label in Italy in the late
’80s. Otherwise, I’ve spent more time writing academic papers and a PhD thesis
than I have writing songs. It’s good to be writing songs again.


MIKE FINNEY (MF): I had a band
called the Secret Seven straight after The Distractions in 1983, but it was
short-lived. [Later that year], I recorded a vocal track for the first Art Of
Noise single. It was originally called “Close to The Edge,” but came
out as “Close to the Edit.” 
I’m the Edit!

     I was [also] in a band called The First
Circle, with Alex [Sidebottom] as drummer and some of Mancunian band Dr Filth.
Sort of country-rock, as was the vogue in the mid-‘80s. Then I stopped singing
until Steve and I restarted The Distractions in ’95, stopped again and
restarted in 2010. In the meantime, I am currently employed as an International
Trade consultant for the Croda Chemical Group. A global company but UK headquartered.



Nick, you’re credited
with getting The Distractions back together even though you weren’t a member of
the original band. Tell me a bit about how that happened — how you got Steve
and Mike to agree to another album and perhaps what The Distractions meant to
you in the first place.


Distractions have been one of my favourite bands since 1978; beautifully
crafted songs and one of the all-time great singers. I wrote something about
them on the Granite
Shore website, Mike
contacted me [and] then put me in touch with Steve. I was bemoaning the fact
that one of the finest English singers of our generation had made so few
records and Steve said, “You’ve got a label. When it makes you a million,
stick him in a studio.”  I suggested
I could spare a few hundred quid straight away [and] asked him if he’d write a
couple of songs. [Steve] conferred with Mike, then got back to me saying, “I’ll
be in the UK in June!” So I
booked a studio. At some point along the way, the two of them told me it’d be a
Distractions record – that had to come from them rather than from me. We
recorded the Come Home EP
in Liverpool in two days in June 2010,
having met for the first time at the studio. Hearing Mike sing the song I’d
written for it was a very special moment.

        The next logical step was an album.
Steve wrote about half of it and sent the demos to me, I chipped in with a song
(Wise”), then [we] came up with a few more between us. It was
important to have something cohesive, so Steve and I worked together closely. I
tried to pick up on the themes he’d established in his songs.



Tell me how The
Distractions first came together and also a bit about what the music scene in Manchester was like during the mid to late ‘70s.


Mike and I met on a college course and he kept
singing, so I suggested that we form a band in an attempt
to shut him up. That worked — but only briefly. We were messing around for a
while but when punk started to happen, it gave us an outlet as a number of
small clubs started to put on punk nights.

        It was a very small scene in Manchester, though — I would guess no more than 100
people to start with [and] very incestuous. We found a bass player because Pip
applied too late for the job with Buzzcocks.  So Pete Shelley passed
on [his] phone number to us.


MF: Steve and I met at college
in 1975 in Stockport. We were on the
same course on day release. We used to go to the pub afterwards and I would
sing along to the jukebox – Buddy Holly, Roxy Music, Elvis, whatever was
playing — and Steve said we should start a band. He says it was just to shut
me up but I think it was because he could see the girls in the pub swooning.



Mike, who are some of
the vocalists who you count as inspirations or personal favorites?


MF: It’s quite a mix, really. My
very early childhood favorites were Elvis, Bing Crosby and Dean Martin,
followed by John Lennon (“This Boy” is still a favourite). Then
somebody played me Otis Redding, Wilson Pickett, Aretha, Sam & Dave, Levi
Stubbs [and] Sam Cooke and I knew what they meant.



On the new album, The
End of the Pier
, several of the songs deal with aging, the past and/or a
sense of time running out. Coincidence or not?

We finished recording Nobody’s Perfect on my 23rd birthday so all
the material on there was written between the ages of 20 and 22. When I started
writing songs for The End of the Pier, the one thing I knew for sure was
that I couldn’t pretend to be 22. Having said that, I wasn’t initially sure
what the album was going to be about. Most of the songs came from musical ideas
and a couple of them started out with completely different sets of lyrics. Then
I had a conversation with Nick about Mike’s voice in which one of us — I can’t
remember who — said that if we were going to record him at his best, we had to
do it now as the voice changes due to bodily developments. That seemed to spark
something off and all this stuff started pouring out.

Also, it was a conscious decision to
make an album with a coherent theme as Nobody’s Perfect doesn’t have
that; it’s just a collection of songs we had at the time.


MF: We’re older and time is not
getting any longer.





How were the recent
gigs in Salford?


MF: Fab! Thoroughly enjoyed the
gigs. It was great to see so many friends, a lot of whom I hadn’t seen for 30
years [and] also seeing Steve as I only see him once a year.  My 10-year-old son was wearing my silver
jacket that I hadn’t worn since playing [New York City
club] Hurrah! in 1980. He got onstage to prove it! Both my sons got to see me
do what I love most and I never thought they would, so [that was] a huge bonus.

        Apart from those few ’95 gigs, we
hadn’t played since 1980. We did “Time Goes By So Slow,”
“Waiting for Lorraine,” “Leave You to Dream,” “It
Doesn’t Bother Me” and “Valerie” together for the first time in
32 years. It was a good feeling. Joni Mitchell was half right: Whilst you don’t
know what you’ve got till it’s gone, you don’t really know until you
have it restored.


NH:  Everyone I’ve spoken to has been very
complimentary and it feels like an achievement in retrospect. I’ve been mixing
the recordings and we’re astonishingly tight considering we only had one short
rehearsal the day before. The current line-up has one hell of a rhythm section
in Arash Torabi and Mike Kellie, Steve and I have an uncannily shared sense of
timing and Mike was on jaw-dropping form.



What are the other
three former Distractions (Pip, Alec and Adrian)
up to these days? Also, is it true that Adrian
was the writer of “Time Goes By So Slow?”

SP: Yes, Adrian
wrote “Time Goes By So Slow,” but whoever designed the label [of the single]
got the credits the wrong way round and we’ve been trying to sort that out for
years. He’s not involved in music anymore.

        Pip continues to do solo stuff which
can be heard on MySpace. Alec leads the Republic of Swing
samba band, which is a serious live proposition.


MF:  I haven’t seen Pip for 15 or 16 years but I
believe that [he] is living in Warrington
(between Manchester and Liverpool). I haven’t seen Ade since way back in the ‘80s,
but I spoke to him briefly in ’95 when we had a get-together to record [some
songs and do] three or four gigs. Three songs that came out on the Occultation Black Velvet EP were from that
time. He was contacted again in 2010. Whilst he still didn’t want to be in the
band, he sent copies of some live recordings, which we enjoyed hearing again.



One of my favorites
from Nobody’s Perfect is the opening track, “Waiting for Lorraine.” If you would, tell me a bit about the
inspiration for that or any memories you associate with it.

In Manchester, the early punk
scene was closely tied [in] with the gay scene largely due to the fact that
only gay clubs would let in unconventionally dressed individuals. If I remember
correctly, I had three consecutive girlfriends who decided after a relatively
short time in my company that they preferred women. This left me rather
confused but at least I got a song out of it.



Any plans for the
immediate future — either as The Distractions or individually?


We’ve tentatively talked about a third — and probably final — album.
It has a working title and I think I know what the subject matter is but
nothing is actually written yet. I’m guessing that Nick will make a Granite Shore album first on which I’m
hoping to do some backing vocals.


MF: No plans individually, but
I’ll be happy to do some more with the boys if [they] are available.

        Neil Storey, the man behind Hidden
Masters, was the press officer at Island Records all those years ago. Me and
Steve have known him since 1979 and he’s been a fan and friend for a long time.
He plans to release a retrospective of The Distractions next year with all the
old records and some unreleased stuff he’s found in the Universal vaults. I
can’t wait to hear them!


NH: As far as The Distractions
go, it’s up to Steve and Mike though I’d love to do another album. I’m now
working on a Granite Shore LP, I’d also like to do some more producing and
there’s Occultation Recordings to run. We’re reissuing the Wild Swans album, The Coldest Winter For A Hundred Years,
next year, with a vinyl version at long last, and there are a few other
projects in the pipeline.



What was it like
recording and performing together again after more than 30 years?


MF: The recording seemed very
natural. After Steve left in 1980, well…it was never really quite right when he
wasn’t there, so we just picked up where we left it.


SP: It felt completely normal. It’s
the rest of life that feels pretty weird!





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