THE LA’S-THE LA’S.

dereksmusicblog ♦ July 2, 2011 ♦ Leave a comment

THE LA’S-THE LA’S.

Usually, after signing their first record deal, bands are desperate to record their debut album and see if for sale in record shops. For them, it’s a sign that they “made it,” that they’ve “arrived.” Sometimes, this works against a band, as the initial recordings are hurried, and their debut album isn’t as good as it should be. In this article, I’ll tell you about a group whose lead singer, wouldn’t settle for anything other than perfection. This lead to their debut album, and only album, being recorded several times, using several producers. It’s a story that sometimes, almost descends into farce. However, when you hear the album, you realize that this pursuit of perfection was worthwhile. The group are The La’s and the album is their debut The La’s, released in November 1990.

The La’s were formed in Liverpool in 1984 by Mike Badger. He was joined shortly after by Lee Mavers, who would be the singer and rhythm guitarist. In 1986, bassist John Power joined the band. It was at this time, that founder Mike Badger left the group. This set a pattern for the band, as during the band’s lifetime, many members joined and left the group. 

After various record labels wanted to sign The La’s, they decided to sign with Go! Discs. They released three singles before their debut album was released. They were Way Out in 1987, There She Goes in 1988 and Timeless Melody in 1989. None of these singles were particularly successful, with Timeless Melody the most successful, reaching number fifty-seven in the UK singles charts.

The La’s started recording their debut album in July 1987, at Matrix Studios in London. Former Smiths producer John Porter was enlisted to produce the album. A problem quickly arose. Lee Maver didn’t trust technology. This was a major problem, one that would cause the problems in the future. As a result, the recordings were cancelled.

March 1988, saw the band return to the studios. A new producer was hired in John Leckie. Leckie had previously worked with Pink Floyd and John Lennon, so was used to working with strong personalities. They headed for Jam Studios in Oxfordshire. The studio was an old school house, and band and producer lived there for three weeks. While there, the band recorded two sessions. Leckie later said that he had never heard acoustic guitars and vocals singing in harmony like that. The sound was fresh and strong. However, Mavers was a hard taskmaster. He wasn’t happy with the rest of the band. They were either playing and singing too fast, or too slow. John Leckie was frustrated. He wanted desperately to capture the band’s sound on tape, in a way that did them justice. 

One day, Mavers told the band and producer that he had a new song. He started playing There She Goes. Straight away, everyone was smitten. It was apparent to everyone in the room that Mavers had written a pop classic. All they had to do was record the song. This was easier said than done. Eventually, the session was scrapped.

The La’s third attempt at recording their debut album was at with Bob Andrews in Wokingham and Jeremy Allom in Liverpool. After nine fruitless months, the sessions were cancelled. Go! Discs supremo, Andy MacDonald, decided the best course of action was that the band head to Devon with producer Mike Hedges. This lead to the group heading to Devon in April 1989. The group stayed at MacDonald’s parents house. This suited Mavers perfectly. He was keen to produce an authentic sound on the album, and one way of doing this, was by using vintage instruments and equipment. Analogue equipment was used, the band settled in to a much quieter and low key setting. Work progressed, recordings were made. This was good, until more than half way through the recording Mavers starting finding fault with the recordings. For Mavers, the album was hugely important, as a perfectionist, nothing less would do. Other members of the band were impressed with the recording, and thought that this was “the” version of the album. 

Christmas 1989 saw members of the group Chris Sharrock and John Power head to Hawaii on holiday. On their return, a hug surprise awaited them. Lee Mavers had decided against releasing the album. Why? According to Ian Grimble who mixed the session, Mavers explanation was that the position of the earth had changed, the magnetic poll had changed. Mavers believed that this would mean the magnetic particles on the tape had altered. This also lead to Chris Sharrock and Barry Sutton, the guitarist, leaving the group.

After this Peter “Cammy” Camell joined the group as guitarist, and Neil Mavers, Lee’s brother, on drums. The album wasn’t released. It seemed The La’s were going nowhere. Andy MacDonald was exasperated. In desperation, and in an attempt to get an album finally released, he called in Steve Lillywhite to produce the album. Previously, he’d worked with U2 and The Rolling Stones, so surely he could at last get The La’s to record an album. Lillywhite and the group headed to the Eden Studios in London. All went well for about a month. After that, Lillywhite started to experience similar problems to his predecessors in the producers chair. Eventually, the sessions broke down, without the album being completed, Andy MacDonald asked Lillywhite to complete the album. This he did. Since then, Steve Lillywhite has said he tried to ensure that the album was completed according to Lee Mavers vision and ideas. Mavers wasn’t happy with the album, and criticized the album on its release. 

That was the only album The La’s ever released. Since then, they’ve split up and reformed innumerable times. Many members have joined, and left the band, during the various reunions. Lee Mavers currently lives quietly, and isn’t involved in the music industry. That is a great shame, because he is a mercurial, maverick, genius, one of the few left in the music industry. When you listen to the album, you too, will hear this genius at work, and want him to return to the fold and write and record many more wonderful songs.

The La’s opens with Son of A Gun. A guitar strums, and when Mavers sings, he sounds just a bit like Michael Stipe of REM. His voice is strong, he carries the lyrics well. The arrangement is quite simple, just Mavers backed by a guitar, and other members of the group singing tight vocal harmonies. Although, it’s a short song, almost blink and you’ll miss it, it’s a good start to the album.

I Can’t Sleep has a bigger, fuller and louder sound. Electric guitars are loud and proud, right at the front of the mix. Behind them Mavers can be heard singing in the background. When his vocal enters the mix, it’s strong and loud, he strains, sings the lyrics with almost a discordant passion. It’s a rocky sound, with the band playing tightly. The lyrics have a surreal quality, and could they be about narcotic indulgence? Is the pipe dream about a crack pipe? It’s a good track, very different to the opening track.

When you hear the next track, Timeless Melody, you’re hearing one of the best tracks on the album. Both Mavers’ vocal and the rest of the band combine brilliantly. Guitars chime at the start of the track, the tempo is mid-paced. Mavers sings within himself, his voice clear. Midway through the track, the guitars are unleashed. This takes the track to a new level. The playing is exquisite, loud, always in control. On this track, the arrangement is perfect. Lillywhite has brought out the best in the band, ensuring the guitars and vocals unite in perfect harmony. 

On this album no two tracks sound the same. Liberty Ship has nothing in common with Timeless Melody. The sound is totally different. It has a real retro sound, and has a much more gentle sound. It’s merely acoustic guitars and Mavers singing, with the rest of the band harmonizing. In the background someone whistles. It’s a pleasant track, showing the band’s versatility.

Lee Mavers’ masterpiece is next, it’s his magnus opus, There She Goes. This is a timeless pop classic, one of the best songs written in past forty years. There She Goes is a song I never tire of hearing. It’s also a controversial song. Listen to the lyrics and you’ll hear “there she blows, there she blows again, pulsing through my vein,” which is meant to be a reference to the feeling you get, when you inject heroin. Regardless of whether this is, or isn’t the case, the song is a seminal one, quite truly, a musical masterpiece. As the song starts the guitars chime brightly, the mood is bright and upbeat. This mood remains when Mavers sings. As he sings the song, it’s as if he realizes that this is his big moment, his Warholian moment, his fifteen minutes of fame. Everything about the track is perfect. The lyrics, Mavers vocal and the band’s performance. Some credit must be given to Steve Lillywhite for getting this song on tape, and producing this classic song.

After the pop perfection of There She Goes, it’s very hard to follow-up such a moment of genius. Anything else is an anti climax. However, The La’s try hard with Doledrum. The sound and feel has more in common with Liberty Ship, than There She Goes. The song is an uptempo one, primarily guitars and Mavers singing. Mavers voice is very different, his accent more mid-Atlantic than Merseyside. Worryingly, I thought I heard a Jagger-esque nasal whine. Thankfully, that aberration was merely, momentarily. I like this side of The La’s, they carry it off well. Not many bands could do that. The reason they manage to do so, is that Mavers has a good voice and the band are good musicians. 

Straight away, when you here Feeling, it brings to mind another Liverpool group, The Beatles. When you here the track, you’ll be forced to agree. The guitars and vocal owe much to The Beatles. Guitars jangle, like much of The Beatles early work, and the way Mavers vocal sits in the mix is the other reason for the comparison. The  more I listen to the track, the more I see the similarities. Feeling is a great track, it has a full, retro sound. It’s as if The La’s are paying homage to their city’s most famous sons.

Way Out starts with jangling guitars, and Mavers voice sounds almost angry, he sounds as if he’s nearly sneering as he sings the lyrics. That said, it’s another great track. There is some great guitar playing on the track, a fantastic solo after a minute and a half. From the start, the song is loud, the sound big. This never changes. It’s a track long on melody and has hooks a plenty. Throughout the track the band are on great form, they give their all, and in the process, produce one of the album’s best tracks.

The next song I.O.U., sees the style change again. It’s another track that has its roots in the past, and has a very retro sound. From the start, and the appearance of the jangling guitars, the retro sound is apparent. Mavers sings the song simply. His voice is clear, but almost deliberately flat, to get over the impact of the lyrics. The lyrics are bathed in pathos, and Mavers delivers them perfectly. I.O.U. benefits from a minimalist arrangement, which allows the song to shine. There are no frills, no effects added to jazz up the sound. It’s very much the sound that you’d have heard if you’d been in the studio when the song was recorded. 

Freedom Song begins with guitar, then a surprise awaits the listener. Mavers doesn’t sing the song in his usual style. Instead, he half-sings, half-speaks the lyrics, lyrics which seem personal to him. There is an almost continental sound to the arrangement, which relies heavily on guitar. The song has an infectious quality, it draws you in, quickly you’re hooked. You find yourself singing the lyrics, and tapping your foot. Although very different to other tracks, it’s a great song, one you’ll listen to time and time again.

Failure has a very different sound and style. Straight away, the sound is big, loud and glorious. The La’s unleash their musical arsenal. Guitars are loud and proud, drums come to the forefront, pounded to within an inch of their life, for almost the first time on the album. Mavers joins in the near chaos, his vocal loud, nearly straining, accompanied by handclaps. Too soon, the track ends, and you’re left smiling, bathing in the memory of a couple of magical moments of full on, rock ‘n’ roll.

The La’s ends with a beautiful song Looking Glass. It could almost be a second cousin to There She Goes, so good it is. Mavers voice sounds as if he’s doubtful, questioning something, his future maybe, unsure of where he’s going, and the future of his group. The lyrics are thoughtful, among the best on the album. This song is enigmatic, a word that could be used to describe the maverick genius of Lee Mavers. A fitting song to end a brilliant album.

That is the story of The La’s and their one and only album The La’s. It’s a brilliant album, the work of Lee Mavers, a musical maverick, one who has been touched by genius. They were a group who promised so much, and sadly all they delivered was one album, a brilliant album at that. I’m always saddened that they never fulfilled their potential, that they never went on to bigger and better things. Yes, the group reformed several times, but they never again recorded another album. I’ve always wondered what would have become of them, would they have bettered this album, and would Lee Mavers have written another song as good as There She Goes. We’ll never know. Maybe having produced such a great album, and written such a seminal song, anything else they produced would have a pale imitation. What they’ve left us with is a masterpiece of an album, and in There She Goes, a song that is one of the best ever written. When you think about it, that’s not a bad legacy to leave behind. Standout Tracks: I Can’t Sleep, There She Goes, Feeling and Looking Glass.

THE LA’S-THE LA’S.