SUCCESS FOR THE MUSIC CLUB THAT'S HIT THE RIGHT NOTE
Eric’s Club in Liverpool was this week voted New Musical Express Club of the Year. Alison Maitland traces the club’s success story.
Peter Fulwell was just a social psychology lecturer until be discovered Eric's. Roger Eagle was a disc jockey. Now they run what is arguably the most interesting music club in England.
Eric's in Mathew Street grew out of the New Cavern and the Revolution Club. It all started in October, 1976, when Roger and former partner Ken Testi hired the club for occasional gigs. They were a success and in May this year Roger and Peter Fulwell took over the dub.
In their lively crowded little office, the phone rings incessantly. Bands looking for a booking, inquiries about the next gig. While I was there, half-a-dozen people phoned to ask when the Sex Pistols were playing. It is a sign of Eric’s popularity that people automatically assume the Pistols will appear there when they come to Merseyside.
As Eric's regulars rush in and out, the two impresarios keep up a constant witty exchange, even on the phone.
Somewhat against their will, Eric's has gained a reputation as a punk club. In fact, all kinds of music is played. Next year, they are planning monthly folk events, and Roger says that some of the happiest eights at Eric's have featured reggae bards.
"When we started, punk was the most conspicuous form of music and we concentrated on it," he explained. "But while punk fashion will continue to develop, it’s been a long time since a new band came on the scene with a good contribution to make.”
What about New Wave, the broader type of music which has developed around punk?
“It’s just a deodorised term designed to make the music acceptable to record companies,” said Peter dismissively.
Roger was not so sure. But they agreed that terminology was irrelevant to the artiste, the musician.
“It’s used for marketing a neat package,” Peter went on. “The trouble is that type-casting limits you straight away. The more positive aspects of what punk symbolises have been lost in tabloid sensationalism.”
Those positive aspects are the music’s greater energy and accessibility. In the early seventies when money was the only way to technical expertise in music, many young groups were frightened off.
“Now people are realising that inspiration has nothing to do with money,” Roger said, “although money does help later. If you exclude people because they need money then they just develop their own thing.”
Few groups portray that better than the Desperate Bicycles. [Desperate Bicycles played their first gig, at Eric's, on New Year's Eve 1977, supported by Sinister]
Peter first heard them on John Peel’s late night programme and told Roger. Roger hurried out to buy their single.
“I go by intuition,” he said. “There’s something about them that appeals. I love it.”
The Desperate Bicycles formed in London in March this year to record and release a single on their own label. They felt that with a record company they would be told what to do, but on their own they would be in control of their music.
Desperate Bicycles - Handlebars
Owning only a bass guitar with amplifier, they hired a studio and equipment for three hours at a rental of £4 an hour. They managed to record and press 500 copies and sleeves for only £153, making a big saving by putting both tracks on one side. The catchline at the close of the songs, “Smokescreen” and “Handlebars”, told potential music makers:
“It was easy, it was cheap, go and do it.”
The single sold 1500 copies.
Now the band comprises Roger Stephens, bass guitarist, his brother Nicky. who plays guitar and keyboards, Danny Wigley, vocals and keyboards, and one of the youngest drummers around, 13-years-old Dave Papworth. Dave joined them before their second single. "The Medium was Tedium/Don't Back the Front," 1,000 copies of which were sold within a week of release.
Danny, a writer of some experience, composed the first songs, but now they all contribute. Their songs have a lot more word power than those of most groups.
Encouragingly, the Desperate Bicycles have found people very helpful. There seems to be a lot of support for the idea that it is possible to believe to yourself without waiting for someone to give you a pile of money.
At Eric's that financial backing Is not important either. Yes, big names appear like The Stranglers. The Clash and lan Dury. But there is also a Thursday night spot for new bands to try their luck.
"Eric's is the only club where a band can play without worrying about the impression it makes," said Roger.
With the help of Merseyside Visual Communications Unit, members of the audience operate the cameras so the bands can see themselves perform. The emphasis is on participation by everyone. Every five weeks the best bands reappear at a "climax show," cosponsored by a record company on the lookout for talent.
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