Picture caption - Lee Mavers: The La's poet
(geddit, la'?)
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PUBLICATION - 'NME' or New Musical Express
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ORIGIN - UK
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DATE OF PUBLICATION - 15 April, 1995
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SUBJECT - The La's
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TITLE - THERE HE'S GONE
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AUTHOR - Paul Moody
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CONTENT - Religion, music as a force, spirituality,
the place of things..
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PHOTO - No photo credits given.
Simple as.
When Lee Mavers talks, in that cracked-up Mersey drawl of his, he
talks.
For almost three hours he sits there, guitar never more than an
arm's length away, delivering a seemingly never-ending monologue which
veers from the fantastical to the bizarre, from the oddball to the downright
mad-eyed crazy, all the while interspersed with short acoustic snatches
of songs that fly into his head and then straight out again. And they're
all, he vows, from what will one day become known as The Second La's Album
and, according to Lee, the only real La's album there's ever been.
It's been a long five years since Lee Mavers did an interview and
it feels almost as though he's using this long, strange afternoon as an
exorcism, letting the ghosts come whizzing out of the cupboard in an endless
stream of thoughts and words, ideas and grand schemes And there's little
you can do but sit there trying desperately to take it all in and wonder
if this is really the same man who built an image around never saying anything,
the
same golden-haired beat prophet credited as being indisputably the greatest
Mersey songsmith since Lennon and McCartney. And, stranger still, if the
endless riddles and rhymes and near messianic tone he adopts for his pronouncements
are a fiction or just the sound of a man right on the edge of stark raving
genius.
"How long's it gonna take before The La's release a new record?
As long as it takes, because that's how long it takes..."
THE LA'S first surfaced in the bleak late-'80s, when The Stone Roses
were still in eyeliner. They signed to Go! Discs in a flurry of interest
and released the scratchy, brutally Rolling Stones influenced 'Way Out'
in October '87 which received some positive radio play but was treated
pretty much as a retro fixated anomaly. The singer looked sort of weird,
arrogant in a Beatles-in-Hamburg way and notable for a honeycomb bouffant
just like the one Roger Daltrey had when the rest of The Who called him
'Gloria'. But the general consensus was that that was pretty much it.
And then, just over a year later, came 'There She Goes'. The video,
shot on a hand-held camera in Liverpool sidestreets, had the band scampering
up and down weed-infested back alleys with their bashed-up drum kit like
a home movie Help!, but the song was something else altogether -
a stone cold classic of pop brevity. Rumours about it being an ode to heroin
(thanks to the line "There she goes, pulsing through my vein")
really
were missing the point. This was simply a masterful display of songwriting.
By the time of its subsequent re-release in October '90 and inevitable
chart placing (it reached Number 13), several things had come to light
about these cagey, dope-obsessed La's. They were as fiercely protective
over the sound of their records, and as ill-disposed toward studio technology,
as to be Luddites and, secondly, they had a singer who was so disinterested
in cheap press and the clinging demands of the media as to induce instant
cardiac arrest for their beleaguered press officers.
Not a word would be spoken onstage. In interview, particularly in
a notorious NME trip to New York in September '91, Lee Mavers would
have to be cajoled into saying anything, forever telling his inquisitors
to feel the message in the music, to soak up the vibes. Nothing else was
important.
And, following the acrimony that surrounded the recording of their
rapturously received debut album, The La's simply shrugged their shoulders
and went underground. Go! Discs half heartedly released 'Feelin" as a single
from the album in February '91, but such an effortless celebration of good
times couldn't have been less well timed. The La's simply weren't interested.
Rumours came and went about Mavers' flirtations with hard drugs
and the ructions within the group as a consequence. There was talk of collaborations
with Edgar Summertyme from equally '60s- obsessed combo The Stairs, and
stories that Mavers had made it known locally that he wouldn't record another
note until he'd had the chance to re-record the first album in exactly
the way he wanted. There was even, bizarrely, the story that the band had
been put on a boat by its exasperated record company and ordered not to
leave until they'd recorded a new set of songs.
The only real public display of such prevarication came with the
news, after three years in exile, that bassist John Power - always Mavers'
right-hand man - had tired of the wait and formed his own band Cast. But
the others, drummer Neil, Cammy and new recruit Lee, almost like disciples,
kept their blind faith, safe in the knowledge that one day Lee Mavers would
come out of hiding and tell his long, sprawling story for himself.
Article caption - Lee Mavers is a man possessed,
but by what is not entirely certain,
as PAUL MOODY discovers.
FIRST INTRODUCTIONS are bizarre. Contacted through friends of friends
- and delighted by the news that Lee Mavers has intimated that he's keen
to talk - we're guided through the heart of Liverpool by La's intermediary
Barry (guitarist in Oasis- approved rockers Small) until we end up at a
disused industrial estate and home to The La's rehearsal rooms.
Lee's already sitting there, clutching his guitar to his chest like
a machine gun as the band sit silently around him. As you're getting over
the initial shock (he looks not a day less angelic than he did five years
ago) you're just as overwhelmed by the room itself. It's instantly recognisable
from photos as the old La's rehearsal room, a shrine to Hendrix, The Who
and The Beatles, right down to a big cardboard cut-out of Jimi in one corner
and the battered drum kit in the other that starred in the 'There She Goes'
video. It's been untouched, in the long eight years since The La's started
playing gigs and remains, as Lee once pointed out, the only room in the
world where the music the band plays actually comes out sounding the way
it does in his head.
Before there's even a chance for the briefest of introductions, however,
he's up on the tiny stage, banging out a riff as the others, seemingly
used to these wordless prompts, shuffle up after him and begin a long sprawling
jam. After five or so minutes the drums rolling along a bashed up late-'60s
groove, the guitars churning out a 'White Album' era chord progression,
he starts singing, rasping out the lyrics in a mantra, like a 'Cold Turkey'
period Lennon, dry throated, desperate: "I'm never giving up, I'm never
gonna stop!" Mavers jigs around from foot to foot as he sings, forcing
the band into gear change after gear change.
Next thing, he's given up on it and is back sitting on the sofa,
explaining ten to the dozen what his inspirations are, free wheeling, intent
on getting his message over...
"Y'see that's what it is, Ia', just the three chords turning. That's
all you need. We'll be playing sets that'll last for two hours or four
hours or however long we want to. Simple as. There's no beginning and no
end, it'll just keep moving in a permanent flow. But it won't be long before
we do it. We needed a rest because of what we'd found. Now we've rested
and we're headed back, because it's calling (slight pause). Before
it was all nonsense, now it's beginning to make one sense.."
And before you can even try and pin him down to the specifics of
quite how, and why, he wants to achieve any of this he's picked up the
acoustic guitar by his side and is strumming out another new song, staring
off into the middle distance while the band sit around him, soberly taking
in every new pearl of wisdom.
When it's suggested that it sounds like one of those early '70s Townshend
songs, when fame and high living had turned his songs into musical egg-shells,
it's almost as if he hardly even hears, far off somewhere in the middle
of a dream.
"No Ia'... I think it sounds like a tank, near the pyramids, in Egypt
somewhere... a Nazi tank with these weird symbols on the side of it, y'know...
it's gonna sound like a tank... a panzer division!" And then he turns into
a human beatbox as he hears the song, fully-formed, in his head at deafening
volume.
"TCH-TCH-BOOM! TCH TCH-BOOM! TCH-TCH BOOM!"
Has it served any purpose being away for so long?
"It gets clearer and it gets vaguer (pause). Before every dawn there's
a night, before every calm there's a storm. It's like, the closer you get
to perfection the closer you get to imperfection, simple as. The closer
you are to God, then the closer you are to temptation. The La's is a personal
trip for the world!" he declares, and suddenly he's excited, tripping over
his words...
"It's about records, because after you're gone that's all that remains,
y'know. A song is never written by anyone it's just caught in the net.
I don't write all these songs, I just catch them. I can't believe no-one's
got them before me. And then people hear the records and then learn from
them. It's such a perfect thing. It's spirit and matter. Spirit matters.
One soul, soul nation!"
The weird thing is, if you can just negotiate your way past all the
nonsense, Lee Mavers' scrambled message is crystal clear. His theme is
that there's a spirit in The La's music that's not so much rooted in the
'60s but in the depths of time, immune to any concepts of current musical
trends or the decrees of fashion (if Lee Mavers could name a single song
by Blur it would be a miracle). He hardly seems aware that The Stone Roses
have been away and come back and, now that they have, barely feels the
need to talk about them. In the larger scheme of things a short spell away
hardly matters ("Look at James Brown and Bob Marley, they were playing
for years before anyone really accepted them... it takes years").
More startling, as the afternoon creeps on, is that Lee sees The
La's as being part of an until now secret world history. In all seriousness
(and with a conviction not seen outside Robert Wilson's Illuminatus
trilogy
or recent Brett Anderson interviews) he explains that The La's have had
their namesakes way back in time, in the philosophies of the Oo-Gla Oo-Gla
tribe of American Indians ("It's like the Oo-Gla Oo-Gla tribe. Everyone
had a piece of the cake or no-one had a piece of the cake. And we're baking
it!") and, even more fantastically, in that ultimately resurrected soul,
Lazarus. And all this whilst the band enthuse around him, as convinced
as he is by the beautiful simplicity of it all.
Left to right - ' Lee ', Cammy, Neil Mavers,
Lee Mavers.
"Lazarus, La's-arus, La's. He directed light. And the light comes
from the water. It keeps you alive, la. And the pool is where we have to
be. The Liver-Pool. The Mississippi, the Mersey-sippi. In history all the
maddest scientists were the best ones and they all stayed close to the
water."
Hold on. Is some divine force telling you what to do then?
"I dunno. People recognise us, because we've recognised what we have
to do. We've been suckered into our responsibilities because we became
aware of them, y'know what I'm saying? We've got more responsibility,
but responsibility is whatever you want... and this is what we want!"
He pauses, intent on getting the message home. Spirituality is the
key. Music is the current through which it travels. And these things are
getting so lost in the whirl of technology it's getting to the point where
music is losing its meaning altogether.
"It's like when we've been recording in here," Lee exclaims, looking
around this shrine to rock classicism. "The best sound we ever got was
when we put an old dictaphone on top of the piano and just blasted out
the songs at full volume. The sound quality was amazin'! No distortion
or anything! You just don't need all that technology."
Why can't you just record The La's songs here then, on four- track,
or release the stuff you recorded on the dictaphone?
"We will do, we will... it's coming. But we lost the dictaphone
somewhere didn't we, in Hull or somewhere..."
THESE POOR beautiful La's. Whilst the world swims away on a tide
of studio trickery and an endless barrage of hype, Lee Mavers remains patron
saint of some hitherto lost mythical higher ground, steeped in the power
of music to overcome pretty much anything.
In five years interviewing musicians I've never seen or heard anything
like these spellbinding, quasi-religious exhortations to see some inner
light. It's not even the question of his being a pop star: it's the impression
you get that Lee Mavers is somewhere way beyond all that, either a genuine,
spell-binding prophet or, potentially, a latter-day Syd Barrett or BrianJones,
squandering his genius on too much acid and too little productivity.
As he's winding down from one last sprawling anecdote, which ends
with him reminiscing about the sour times of the first album ("Ah... there's
been plenty of weekends scrambling my brains since then") the Future Sound
Of London come on in the background, and he's suddenly bobbing up and down
furiously on the sofa, faster and faster until he's in danger of picking
up too much speed and catapulting straight into next week.
Does he think he's anywhere near madness?
"I dunno... I'm no nearer than anyone else, la'... you just have
to follow your own destiny. But don't be confused by the finger that points
to the light - see the light and you'll see that the light is the finger
that points to you..."
And then the beat messiah gets sidetracked from his latest biblical
proclamation and is distracted by the music, back deep in reverie.
"I just see colours when I hear music. Listen to this! It sounds
like 1968 or somethin', y'know what I mean, even though it's dead modern.
It's just got a connection to something that's gone before, a feel.
"Listen to those drums... it's like a tank... TCH-BOOM! TCH-BOOM!
That's what it's gonna be like when we play, like a tank..."
He turns those crystal blue eyes on you and you realise that this
tortured La-cissus has the key to everything inside his head if only he
could find the lock, if only the world would understand that dictaphones
are the only thing to hear The La's music on and that soul is the only
thing music thrives on.
Mesmerising, la'. Simple as.
PAUL MOODY.
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