“Paint It Black” may be pretty obvious, but it’s not “Satisfaction” is it? Or, I don’t know, “Brown Sugar.”ĭoing the Television song seems like it would have been pretty difficult to replicate on guitar. But I think they were a bit less obvious at the time. He sort of got into them, as weeks went on, because I was always playing the tapes and stuff in the van. He never liked the Doors when we started out.
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It’s probably because Mac had that kind of lower voice, similar to Jim Morrison-ish. Then you included some more widely-known things-“Paint it Black” and the Doors song. I love all that stuff, I love all that garage stuff, all the Nuggets and Pebbles and that sorts of stuff, and I loved all of the British psych stuff as well, people like Tomorrow and people like that, Tintern Abbey’s “Vacuum Cleaner,” all that stuff is just what I presented. The Modern Lovers aren’t covered that often, and the one from Pebbles was pretty obscure as well. I’m more about what I like to do-taking it forward with my own ideas, really.
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To really sit down and learn how to play other people’s songs, I’m I’m not really interested. We weren’t good enough musicians to do that. We couldn’t get it to sound right, basically. I can’t remember if it was “After All” or “All the Madmen”-it was off The Man Who Sold the World, I think. Mac threw one up he wanted to do a Bowie one, and we did rehearse it. It was based on my record collection really. So we came up with this idea: Should we support ourselves and do the cover set? And that’s when it got recorded for this Swedish radio thing. But afterwards, we were going to do another tour, and all the support bands we used were crap-we hated them. The Bunnymen, we were at the height of our hipness and we’re doing a load of cover versions in this little tiny cafe in the middle of Liverpool. So we had to learn all these songs, and I just suggested songs to do, and then we did it. We just sort of made it up as we went along. We just never bothered to learn anybody else’s song, except maybe the odd Velvets song or something like that, and we played that pretty bad. It was kind of a challenge really, because we weren’t the sort of band that sat around playing “Smoke on the Water” or whatever. So we said we’d do it but we’ll just do cover versions. They were opening a bar on Bold Street, which is in the center of Liverpool, and we sort of felt obliged to do it. We’re always trying to find things to do that were a bit different. I heard it years ago, but I haven’t heard it lately.Ĭan you recall the occasion when it was recorded? I heard “Action Woman.” We did “Action Woman” at one point, that was on Pebbles, I think as a secret track. I’ve only heard the odd track that’s been on reissues and things like that. But this is taken from the proper tapes and everything, so it should be all right.Ĭan you tell the difference? Have you heard this new version? I haven’t actually got one, but I know that it’s around, because it was recorded for the radio, so it has reasonable quality. I think there’s probably a bootleg floating around. It’s not been on vinyl before this, right? CDs just look so crap, don’t they? I just find it’s more of an artistic item than an mp3. It’s the whole thing of having an album that looks great and you have all the large art work. I go to second-hand shops Amoeba and all the usual places. Whenever I buy a new record, it’s vinyl every time. I went through the whole CD thing but never really stopped buying vinyl, or picking up vinyl on tours and stuff like that.
What do you make of It’s All Live Now being voted for vinyl release on the Run Out Grooves label? Guitarist and band co-founder Will Sergeant wrote liner notes for the package he also spoke to The Vinyl District about the project, the Bowie song they left off of it, what else the Bunnymen are up to, and some of his other interests, from electronic music to visual art. Recorded for Swedish radio from a show in April 1983, It’s All Live Now is largely an album of well-chosen covers of the Modern Lovers, Velvet Underground, Rolling Stones, Dylan, The Doors, Lou Reed, Television, and a garage band from the 1960s called The Litter. It’s only the second offering from Run Out Groove after MC5’s The Motor City Five earlier this year. Run Out Groove, the label that presses vinyl reissues at the demand of customers who vote on the titles, is issuing It’s All Live Now, an album that first appeared in a 2001 box set, as a free-standing title on vinyl for the first time. A three-decades-old live show of cover songs from Echo & the Bunnymen, never officially released on its own, gets a lavish vinyl reissue this Spring.
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