Torrent Prefab Sprout 2013

Jun 6, 2018 - Aug 13, 2013 - Second Source: Torrent #301210. Runs a little fast. Click here for Prefab Sprout's November 7, 1985 show at Cardiff.

Prefab Sprout rose to fame in an era of indulgence and eye–watering studio budgets. These days, things are a little different.

“A lot of what goes on in a studio is on a sub–molecular level,” says Paddy McAloon. “The sound bashing off the walls, the same old instruments that everyone uses, but being played in a real live atmosphere. I still think things from the ’50s and ’60s are the best–sounding records. If recording is done well, it will have that unique stamp. You listen to a Peggy Lee or a Frank Sinatra or a Beach Boys record, where they’re done in what I assume to be rooms with well–designed acoustics, they have a sound.” After over 30 years trading as Prefab Sprout — previously the songwriter and leader of a four–piece band, he now uses the name in effect as a shop front for his solo career — McAloon knows what he likes to hear in the recording studio. Coming up through the indie world of the early ‘80s, when the best acts from small labels would quickly be snapped up by the major record companies, he subsequently enjoyed the generous production budgets of the era and made albums in top–flight studios on both sides of the Atlantic, before latterly settling into a more homespun recording approach. “Y’know, the big studios that we were in, maybe to some degree we took for granted because we were young and foolish and all of that business,” admits the 56–year–old in his gentle north–eastern English burr.

“When I look at it now — and this isn’t just old man’s talk — I’ve thought about where it’s all gone. Everything has gone into trying to recreate those sounds within the box.” The latest Prefab Sprout album, Crimson/Red, is a characteristically lush record, brimming with lovely, artful songs, recorded at McAloon’s home in County Durham. Fascinatingly, the singer’s working setup might have been frozen in the ’90s, centred as it is around an Atari STE 1040 running C–Lab Creator–Notator and an array of outboard sound modules (more of which later).

His recorded results were subsequently tidied up and mixed by Calum Malcolm (the Blue Nile, Simple Minds). “I wish I was more hi–tech,” says McAloon. “Sometimes I do ache to make a beautiful–sounding Steely Dan–style record like in the old days.

But it’s not everything. So I kind of cut my cloth accordingly.” Never one for operating in an orthodox way, Paddy McAloon has always followed a highly individual path. Since Prefab Sprout’s emergence in 1982 — the band comprising the singer/guitarist along with his brother Martin on bass, co–vocalist Wendy Smith and drummer Neil Conti — he has displayed a uniquely skewed approach to music. Debut album Swoon showcased his angular arrangements and cryptic lyrics to memorable effect. This first outing was recorded at Palladium Studios in Edinburgh and co–produced with David Brewis (of Kitchenware Records labelmates the Kane Gang). Paddy remembers the experience as an intensely steep learning curve. “Well, we had aspirations,” he says, “and we didn’t really know how to do it, nor did we have too much time, combined with songs that had no ear at all to commerciality.

I think there’s a couple of songs on there, ‘Cruel’ and ‘Couldn’t Bear To Be Special’, which could have been done as kind of more middle–of–the–road ballads if you were of a bent to do it. But most of the others, there’s lots of odd chords and angles and strange things going on.

Really, it was our first time in a studio, and I was into being as intensely yourself as you could be. A little bit different, as it were, to other people. And I think it reflects it.” Like many debut albums, Swoon was effectively the sound of a band bashing out their live set in the recording studio, with some basic sonic experimentation with guitars and keyboards going on in the overdubs. “All time told,” Paddy remembers, “it couldn’t possibly have taken more than four weeks. We nailed, in that haphazard, slapdash fashion, the drums and the bass in day one, for all the songs.

Then we did overdubs on top of that. But I kind of don’t sing it right. I didn’t know how to sing in the studio.

Didn’t know how to sing full stop, if I’m being frank with you.” Others didn’t agree, of course, as proven by the fact that Swoon was picked up by CBS Records and, upon its release, attracted gushing reviews. For its successor, the major label hooked Prefab Sprout up with Thomas Dolby, the synth–pop solo artist who was then branching out into production.

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As well as overseeing the band’s second album, Steve McQueen, released in 1985, Dolby effectively became the fifth member of the group, augmenting their sound with creamy digital keyboard washes. “I’d read in a magazine somewhere that he was working with Michael Jackson, and I thought, ‘That’s good enough for me,’ Paddy laughs. “I don’t know whether that was actually true he’d met Michael Jackson.