However you can tell we were grasping for something vaguely resembling a meaningful lyric which was totally against how we usually wrote. I’m just not sure how I lost sight of my exotic boast of our lyrics being an “action painting of 200 television channels“. The lyrics of the first album never made sense, but just sounded brilliant when you heard them, like a glorious stream of consciousness with a neon pink glow. They always looked great written down or scrawled on a T-Shirt because they painted such colourful visions in the listeners head.  It was so hard to recapture that vision on the “difficult” second album and the cliche is right. The first album was so pure, so focused, the songs all so brilliantly similar, that it was an elegant minimalist masterpiece  even though I say so myself. Critics might say that it is in fact ludicrously similar and all the tracks sound the same because we had no other ideas. How wrong they were. I’m sticking with genius of clarity myself. The songs were like a stripped down rock and roll racing car. And I cannot tell you how difficult it was to come up with another set of songs in the same vein! We were trapped by our own genius tunnel vision. How to progress but not lose the simplistic essence of the early material? To ponder this dilemma with more insight we would go to the Spanish wine merchants shop across the road and buy bottles of San Miguel beers for lunch, secure in the knowledge that another day of inspiration would surely come.


Deg came in later but nothing clicked and we didn’t come up with any more lyrics or ideas although the “I’ll be your Hoover Groover Baby” line was surely one of his catch phrases. I wonder what that was about? As far as I recall there is no version or recording with Degs vocals on it so this recording languished with its Neal X guide vocal conjuring up what might be. We kept coming back to it, but for some reason back then we just could not find a way to finish it and so the cassette stayed in the box.  Shame, a great track and what fun this might have been to play live.

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Unknown demo: “Whore of Babylon”


Well, here we go with a classic 192 Sputty beat and another cool lick from X. X just riffs and solos over the bass synth groove. This sounds like an SSS experiment camp demo backing track waiting for a lyric and a top line tune, so hence the temporary song title Whore of Babylon. This was one of the band names we had toyed with in the early days. I used to have a beautiful glossy black Fender precision bass with a white maple neck which I bought from a music shop in Brixton in the latter days of Generation X. It represented all the excitement and “made it- ness” of buying a guitar, using record company money instead of having to save up for months. I used it on the band’s final album Kiss Me Deadly and my most successful single Dancing with Myself. And I had painted the biblical phrase “The Whores on Babylon” in script along the top face of the guitar.  It was one of my favourite basses for its big dub reggae sound.  Sadly some passing junky (and there were a lot of those) broke into Magenta’s Pindock mews house and stole it and I never saw it again.  


I know this demo has surfaced before on the internet but it’s fun to listen to Mr X just rocking free and imagine where it might have gone.