The Psychedelic Furs Shed
Despite what you may think, the Psychedelic Furs aren't really that psychedelic. Their roots are noble enough, early influences being such greats as the Seeds, the Doors, the Stooges, the Velvet Underground and the 13th Floor Elevators. In this age of power fucking pop and neo- conservatism, one wonders why a group would want to name themselves the Psychedelic Furs.
"We're into the heavy side of psychedelic music, the side with the really heavy beat," said vocalist Richard Butler, between sips of Jim Beam. "We're into things with a good beat. Given you're a band called the Psychedelic Furs, people obviously think you're going to be psychedelic. We are psychedelic in a lot of ways, but we're not going to go around sticking flowers down the barrels of guns at Kent State University and all that shit."
Their live presentation is psychedelic. Projected on a screen behind them are swirling patterns of bright colors, a la the cover of the Velvet Underground's first album. Bassist Tim Butler looks like the young John Cale on that very album. They even do a song called "Sister Europe" and have been compared to the Velvets. Is this fair?
"I'm not worried about being compared to the Velvet Underground," Richard said. "It's not a bad comparison, but it's not very accurate, either. I think people use comparisons as an easy way of describing something to someone. It's an obvious thing to do. If I'm going to see a band I haven't heard yet, I'd appreciate that sort of thing from one of my friends. Really, I wouldn't want anyone to read that Underground, because it's not true."
He is right. There are elements of the Furs' sound that could be compared to the Velvets, but Richard Butler sounds more like a cross between David Bowie and John Lydon. A cross to bear, to be sure, but it could be worse. Just how did the whole new wave movement affect the Psychedelic Furs?
"There were bands in England when we started out in 1977 with names like the Razorblades, stupid sorts of names... Well, I thought they were stupid, anyway. The thing about 'destroy' and 'smash things up' was not something I was into at all. It's not a very constructive way of going about things. We just sort of listened to the punk thing because it had energy, and mixed it with the psychedelic thing. That was the starting point.
"The main thing that punk did when it came along," Richard continued, "was that bands like the Sex Pistols weren't so much creating a new sound, but rather, breaking down barriers in the business, and making it so more bands could be adventurous. It was getting pretty stale at that time, but now there's more imaginative bands around now like Magazine.”
Well, Richard, you don't mention Magazine just because both groups shared producer Martin Hannett, do you?
“Oh noooo! I don't care who he has done. He's produced John Cooper Clarke. John Cooper Clarke is like...the Manchester Bob Dylan meets Joy Division!"
If you think the Furs' tunes were penned by one person, you're mistaken. The album sleeve states that "All songs written and arranged by the Psychedelic Furs." F-f-fabulous. Guitarists John Ashton and Roger Morris, saxophonist Duncan Kilburn, drummer Vince Ely as well as Richard and Tim Butler are partners in this melodic crime. Democracy lives! Nevertheless, someone has to be the spokesman, so Richard might as well be the one to explain why the American and English editions of the album differ.
"It wasn't remixed, if that's what you're thinking. I've heard the Japanese pressing, and it's different as well. It hasn't been remixed...hey! They might've done it behind our backs! I don't trust anybody!" Richard laughed.
The Furs have been touring the States to packed houses (if small ones). How did they like the Land of the Free?
"I think it's great!" Richard enthused. "I'd like to get my girlfriend to move over, then I'd live here. I think people have got their ears a bit more open over here. In England you get more happening quickly, but it's all trends. The music papers are what's happening in England-they dictate the fashions-not the radio. The radio is very middle of the road in England. What tends to happen is that the papers blow up everything like new bands from Manchester, so the Manchester bands are really hip for a month. Then there's the bands from Liverpool. Then there's the ska revival, which is followed by the soul revival. You just get really pissed off because it's really stupid. Over in England you get people coming down to the gigs who don't really like you, and I can't understand why they bother turning out at all. You get reviewers who hate you before they ever see you coming down.
"What happened with us is that writers came down from the New Musical Express, Melody Maker and Sounds who would say, 'Yeah, they're great!' As soon as we'd signed with CBS, they said we had sold out. The idea of being in a rock band isn't to sit in a little room somewhere, saying your own little things to yourself. It's to reach as many people as possible. If they don't like it-that's fine. But the idea is to get as many people as you can, then have them judge it. That's what I like about America-the people are willing to give you a chance."
The group was planning to record their second album in mid-November, but the date has to be pushed back due to tour commitments. When they do record, the producer just may by David Bowie. But, as Richard explained, "David Bowie can't produce for us for another few months because he's busy with Elephant Man in New York. Now, if he's really into it he'll come to London and do it with us. If he insists on producing it in New York, we'll probably tell him to forget it. If Bowie won't do it, we'll work with John Anthony. It's getting more complicated as time passes, so who knows what will happen?"