The Passions had their roots in the London squat rock scene of the mid 70’s. Guitarist and soon to be lead singer Barbara Grogan and Drummer Richard Williams had been in the Derelicts, a band that probably played more benefits than paying gigs and the high spot of their career was appearing on the cover of International Times the underground paper for trendy Trotskyists.
The Passions started out in a similar vein formed around the two Derelicts, bassist Claire Bidwell, a guitarist who soon left and a singer Mitch Baker. Soon to join on guitar was ex 101ers guitarist Clive Timperley now looking more like a member of Kraftwerk than the moustachioed hippy of Joe Strummer’s band.
Their first single, sung by Barker is something of a classic in the genre that would soon be labelled ‘indie’. Unfortunately for the singer he broke his leg and took a bit of time out. The band decided they liked the sound of Grogan’s voice and Baker was history.
Their first album, Michael and Miranda was resident on my turntable for the first year of the new decade. Jangly guitars and ethereal vocals were a new sound but soon everyone from the Au Pairs to the Cocteau Twins were exploring similar noises. Lyrically there was some pretty hardcore feminism, paranoia and other negative mental health states, relationships and an accident with a pedal bike. At the time I thought it was great but now it seems the sound of the squat, some of it just seems dingy but that was my life at the time so perhaps its more about me than the band.
When the band emerged on vinyl again there had been several small but significant changes. Bidwell had left, she was a good player but also rooted in the lesbian/anarchist/lefty scene (she joined a more hardcore punk band). Her replacement was the more generic David Algar who could sing and play guitar a bit if needed. The band had also shifted from the Fiction record label to Polydor.
And Timperley had an Echoplex device. To be fair, it sounds like he was using it on the début album on occasions but this time he was turning it up to 11. Combined with a bit more effort in the production department the band now had a newish sound, they sounded like an 80’s band !
The apex of the new sound was their single ‘I’m in Love with a German Filmstar’ written about Rodent, a Clash and Sex Pistols Roadie who also acted in German Films. It’s the sort of mildly aspirational lyric that the 80’s loved, combined with shimmering guitarwork which will forever be getting the Passions into playlists with A Flock of Seagulls and Altered Images.
The latest LP Thirty Thousand Feet over China was a big shimmering chunk of vinyl which I bought out of respect for their debut. It’s not even as if the songs are that different, some had even been written by Bidwell before her departure, but the first record had a start black and white cover and the follow up was an impressionistic splash of colour, it seemed to reflect the change in the band over the space of one short year.
1981 was a busy one for the band as finding they had a hit on their hands, they had to capitalise on it as much as possible playing everywhere they could. One such place was Trent Polytechnic where I caught them playing angsty feminist songs to a gaggle of rugby players trying to form human pyramids in front of the stage. It was a bit of a sad spectacle, they didn’t want to be there, and the crowd only knew one song of theirs. They had entered into their ‘Tour Till We Crack’ phase which finished off Timperley who left as a result of ‘serious political differences’ .
He was replaced by Kevin Armstrong a seriously professional guitarist who would go on to play with Iggy Pop and Bowie among others. More significant was the recruitment of a keyboard player. To be a band with just guitars in the 80’s was, with a few significant exceptions, career suicide,the band were moving with the times, there was a final album, which I’ve never listened properly to but what I have heard sounds more conventional 80’s rock.
And that was it for the Passions, like the Only Ones they were known for one song which has risen to the point of being iconic although they had plenty of other songs equally good, I suspect ‘Filmstar’ made them as much money as all their other songs put together.
Amazingly that was the pretty much the end of their musical careers (apart from Armstrong). Timperley and Williams are now retired which is a sobering thought. The latter appeared on ‘Never mind the Buzzcocks’ a popular music/quiz format part of which is where an ex pop ‘star’ appears in an ID line-up. The panel failed to identify him, at the time he was apparently curating the bands material for another compilation which should be a good afternoons work. Barbara Grogan collaborated on an album with French experimentalist Hector Zazou nearly 15 years after the split, it’s a good use of her voice and you wonder why she hasn’t done more of this sort of thing.
Just a couple of bars of Timperley’s guitar intro and its 1981 all over again.