The whatmusic.com interview...
The most important sound in the … Read Full Bio ↴The whatmusic.com interview...
The most important sound in the history of Oval Records might have been the clunk of the cassette that dropped through the letterbox of our basement office in Clapham, South London, in the Autumn of 1981. I went to see who had dropped it off, but he had already gone back up the front steps and into the street.
There was a note in the packet telling us the band was called Direct Drive, and this was their demo in search of a record deal. In those days, cassette demos came in by post on a daily basis, most of them by rock groups inspired by one or more of the current heroes Talking Heads, the B-52s and Elvis Costello.
Gordon [Nelki, Oval's co-director] and I stopped whatever we were doing to play the cassette, and one thing was clear straight away: this band had not been listening to any of the above. The music sounded like it was following Earth Wind and Fire or Kool and the Gang, in the new style of British dance music that was being called Jazz Funk by those in the know. The vocalist had a high, near-falsetto voice, and the arrangements were very adventurous, full of spaces for instrumental solos and rhythmic punches. In particular, we liked the drive and melody of 'Don't Depend on Me'. To us, the demo sounded good enough to release exactly as it was, but we needed to check it out with the people who would have to sell the record if we put it out.
These days, there are around 30 shops in Soho alone selling nothing but dance music, and many more across the rest of London; back then, there was just a handful in the whole city, and one of them was Record Corner, about a mile away in Balham. I called the shop's manager Dave Hastings and he said we'd better come to play it to dance specialist Carl, who said it sounded fine and if we decided to release it he'd place an order for 25. Next stop was City Sounds in Holborn, where the guy behind the counter said he'd buy 50. Later, I found out this was Mick Clark, who soon afterwards joined the A&R department at Virgin.
With 75 sales in the bag, we phoned the group's contact number and found the drummer, Pete Quinton. We asked him how come he had chosen to bring the tape to Oval. He said he'd looked in the Yellow Pages and we were the closest company to where he lived. He confirmed that the band was up for a discussion with us about releasing the record, so we fixed a meeting with all six members where we explained the deal we'd release all three tracks on a 12" single and publish the songs.
And then there was a bit of a delay. I don't remember how long, maybe a couple of weeks. We seemed in danger of losing the momentum there's a sense of adrenalin that can build when things follow naturally, but which can get totally lost if people start wondering if there might be a better this or that around a corner. We began to get phone calls from the keyboard player, Paul Hardcastle, who was getting frustrated by the slow decision-taking processes in a democratic six-piece band. Before coming to Oval, they had shopped the demo around the rest of the business, and nobody else had been interested. As far as Paul was concerned, we were the only choice left. Paul told us that he had given an ultimatum to the other five, 'if you don't want to do this deal with Oval, I'm leaving the band.' There was something about Paul, you knew he wasn't bluffing. They came, we signed, and we put the record out.
As we got to know Paul better, he told us how he had joined the band. He had come into some insurance money after a bad crash on his motorbike, and had bought a keyboard at the music equipment and hi-fi shop where he worked on King's Road in Chelsea. He taught himself to play it by trial and error and reading the manual, and three months later answered an ad in the Melody Maker for a band looking for a keyboard player. Although he had never played with other musicians before, somehow he bluffed his way in.
Vocalist Derek Green was recruited around the same time, and the six-piece rehearsed a few times before recording the three songs that were sent to us. It's still hard to believe that those confident and complicated keyboard arrangements were by somebody who had only been playing for three months. Listening now, twenty years later, the quality of musicianship in the whole band is outstanding guitarist Robert Williams plays lovely fluid lines and bass player Mick Ward was among the best British musicians to perfect the slapping style that the Family Stone's Larry Graham had introduced a few years earlier. Pete Quinton provided the rhythmic fulcrum on drums, and percussionist Bones Hammond added flowing syncopations.
Convinced that 'Don't Depend on Me' was the favourite for radio play, we made it the A-side and stuck the other two songs on the B-side. The band - particularly Paul - liked 'Time Machine'’ but it started with at least a minute of instrumental intro before the vocal started, which was against every radio principle we knew. Pete Quinton designed the band's logo for the front cover. We did the radio promotion ourselves, posting copies to any producer or DJ who might play it and quite a few who almost certainly never would. We were ignored by every daytime radio producer at Radio One, but John Peel played the A-side several times, surprising given his preference for much edgier music than this. Even more surprising, Robbie Vincent at BBC Radio London chose 'Time Machine' as the side to play, long intro and all. Over and over. This was the heyday of pirate radio, when most of the people who ran the stations were into exactly this kind of music, and they all played 'Time Machine.' Record Business, a rival to the long running trade paper Music Week, published a Disco Music Top 50; the single entered at #21 in the week ending 18th Jan 1982 and hovered in and out of the top 20 for the next two months.
At this time Oval split its distribution between Spartan and Rough Trade. Spartan had been formed by a couple of ex-major label salesmen to help small labels have pop hits, and they did well with the first few singles by UB40 on Graduate Records, a small label based in the Midlands. Rough Trade specialised in groups which weren't looking for pop chart success. Oval's releases tended to fall between the cracks, being neither commercial enough for Spartan nor quirky enough for Rough Trade. We found a third distributor, Greyhound Records, which specialised in importing dance records from the USA, for whom we were a natural addition to their range.
One of the trickiest things to get right was pressing up the correct number of records, keeping up with demand without getting left with too much overstock. Three different factories made labels, sleeves and vinyl, and the pressing plant would not start a run until we had delivered enough labels and sleeves to match the order. One undelivered telephone message in any one of the three factories could take a couple of weeks to untangle. Having started with a conservative first pressing of 1,000 copies, it took us about six weeks to catch up with the demand for 'Time Machine.' Most people found it easier to buy the song on compilation cassettes of jazz funk being sold in London markets every Saturday, but we still sold over 5,000 12" copies.
Listening to the music now, it feels like the band would have built up a following if they had been out playing live. But Oval did not have the resources to provide them with tour support to let them all give up their day jobs and go out on the road. We needed to make another record. Capital Radio offered a live session for the band, who played two songs from the first single and a new one, 'Time's Running Out.' We took the 16-track tape to Eel Pie Studios in Soho where engineer Mike Pela remixed the new song for release as a single, combined with a ballad, 'I'm The One.'
This time we thought we had a real chance of radio play. We pressed a radio-friendly 7" and to make sure we were better prepared to meet demand this time around, we ordered 2,000 12" singles. But radio was not nearly so enthusiastic, and we did not even sell all of the first pressing. Listen to 'I'm The One,' and let me know if you understand why that was not some kind of a hit? Derek's singing is impeccable, the words are spot on, and the band plays like a dream.
The two Direct Drive singles were consecutive releases on Oval, followed immediately by two more from the spin-off group formed by Paul and Derek, First Light. They took the name from the studio in Penge where the first single had been recorded. I don't remember exactly what happened to force the split, or maybe we were never told. For a while, we remained on good terms with both parties and Pete Quinton designed the First Light logo. But after we turned down the results of a new formation of Direct Drive featuring vocalist Alvin Brown, the group decided to go out on its own, and with vocalist Helen Rogers released a couple of singles on Polydor, making the lower reaches of the national chart with 'Anything'.
We had every expectation that First Light would be commercially successful - a singer with a great voice with good songs, combined with a wizard musician who had a gleam in his eye and a feel for the future. Paul's decision to revive 'Horse with No Name' confounded the purists and achieved our first play on daytime Radio One when a producer commissioned a 'live session.' This was a euphemism for a tape copy of the record, which was supplied to meet Musician's Union requirements for a specified number of 'sessions' per day on Radio One. When Gordon heard the First Light single one morning played back-to-back with 'Just an Illusion' by Imagination, the UK's best-selling black act at the time, his heart sank. Where every sound on the Imagination record rammed home its intention, the sound of First Light was lighter, more innocent. In a flash, he knew our record didn't stand a chance.
Among the follow-up songs we recorded was 'She's a Mystery,' full of melodic hooks which floated over an easy-going groove. Derek had his doubts that our promotion could do it justice, and thought they might benefit from having a more experienced producer. We didn't argue. If the group wanted a company with more clout, we would go and try to find one. We shopped around. Our former adviser Mick Clark had his hands full at Virgin with Loose Ends and I-Level. Ashley Newton at Island had as many black music acts as he could hope to get onto British radio, which was still not making these artists welcome. Roger Ames, the MD at London Records, did not usually initiate A&R signings anymore, but somehow we managed to get his attention long enough to sign the duo, although he would be the first to admit that he never had enough time afterwards to concentrate on figuring out what to do with it.
While all these discussions were going on, Paul had been playing around with an idea for an instrumental, which he sent to us on tape. It sounded OK, but so what? Who played instrumentals on the radio? If Paul was pissed off with us, he didn't show it. But he persevered, asking if we minded if he sent the tape to Solar, one of the leading pirate stations. We didn't mind, but it needed a title in case they played it: 'A.M.,' sticking to the concept of the project's name. A week or two later, Paul called to report that the track was getting played on Solar. Two weeks later, it was in the top ten tracks most-requested by listeners to the station. All the other nine were released records already in the national top 50. Week by week the instrumental climbed into the top 3. Finally First Light's record label woke up to the realisation that it might be a good idea to release this track.
By now we were on the brink of signing the group to London, but Roger Ames confirmed that it would not interfere with London's plans if this instrumental came out in the meantime. On the B-side were two vocal tracks featuring Derek, the new 'I Don't Care' and a revisit of 'Time Machine.'
Mainstream radio paid no attention, but the pirates played 'A.M.' like it was their signature tune. Even though this time we knew there would be plenty of interest, we still had trouble keeping up with demand. The 12" single sold over 13,000 copies, more than the sales of the other three singles combined.
For reasons I've now forgotten, when we finally signed to London and started discussing what to do first, 'She's a Mystery' was set aside and a new song, 'Explain the Reasons,' was chosen for the single. It was our idea to suggest Steve Levene as producer, after hearing his work on the first Culture Club single; but before we could get in the studio with him, 'Do You Really Want to Hurt Me?' came out and suddenly Steve was the producer everybody wanted. Not until three months later did Steve finally have time for First Light.
To my amazement and embarrassment, Steve did most of the programming himself, with Paul sat beside him in the control room. By the time the A-side was finally finished, we had gone way past the budget, and Paul volunteered to knock off an instrumental B-side at a cheaper studio. Sticking to the theme, we called it 'Daybreak.' Despite the more professional sound of 'Explain the Reasons' and London's experienced promotion team, Radio One wasn't interested, but every pirate radio station across the country jumped onto 'Daybreak.' The single sold over 20,000 copies and the group made the pop chart for the first time.
A different producer, Bob Carter, was assigned to do the next single, 'Wish You Were Here', and again Paul volunteered to provide the B-side. Observing that it was costing £500 a day to record, he pointed out that if he had his own home studio, he could record half of any album for a fraction of what it would cost in a commercial studio. We put the idea to Roger, who turned it down flat. "They need a producer." Gordon came out of the meeting seething with anger and suggested we help pay for Paul's studio as his publisher. Paul was fine with that, so we came up with a few thousand pounds, Paul put up the rest himself, and he finally had his own music-making factory at home.
When we started discussing the release of the second single at London's office, the A&R man asked us not to put an instrumental on the B-side this time.
"Why not?" we asked, 'A.M.' and 'Daybreak' proved that radio DJs liked instrumentals"
"Exactly. First Light is a vocal group, and we don't want to give DJs a chance to play the wrong side again."
It was a logic that baffled me then, and it still does. A compromise was agreed whereby Paul recorded another instrumental 'Stop the Clock' in a completely different style, almost reggae, so he could not be accused of appealing to the jazz funk DJs. But they played it anyway, and although Radio One ignored the A-side again, the record slipped into the bottom of the national chart for a token couple of weeks. Oval Records had released four singles by Direct Drive and First Light in a little over 12 months. At London, First Light managed to release only two more in 18 months, most of that time spent waiting around for producers to become available. Beside himself with frustration, Paul broke away and formed his own Fast Forward label to put out singles he recorded at home. He immediately made #41 on the national chart with a revival of D-Train's 'You're The One For Me' and was back there again a few months later, in a one-off deal with Bluebird Records, with an instrumental, 'Rain Forest,' which went on to become a Top 5 R&B hit in the States.
In April 1985, having signed to Chrysalis, Paul was sitting on top of the world, with '19' at #1 in 13 countries. In many ways, '19' was the record that made the public aware of the concept of sampling; everybody who heard the record realised that the commentator's voice was somehow being manipulated into that famous stutter 'N-N-Nineteen.' Not only did Paul provide Oval Music with our biggest hit, but he taught us a lot: among other things, that it's not simply a matter of having talent, it's what you do with it. It's been a privilege to be part of his story.
As far as the UK is concerned, Paul may have apparently disappeared, but he has been one of Britain's most consistent sellers in Japan and the US, with a series of Contemporary Jazz albums (as the Jazzmasters and under his own name), each of which stayed on the Billboard Chart for two years.
Derek Green had a brief shot at a solo career but then settled into the role of being one of the top session singers in the country, preferring to stand just outside the spotlight. We lost contact with the other members of Direct Drive apart from Pete Quinton, who turned out to be an excellent songwriter in his own right. We spent a couple of years trying to get covers of his songs, and he has gone on to make a living writing music for television. Pete, if we never properly thanked you for dropping that cassette through our letter box, this seems like a good time and place to do it.
Charlie Gillett, Oval Records and Music June 2001
Oval Records would like to thank those who helped the story start, especially Robbie Vincent, Solar Radio and the all the other UK pirate stations, and obviously the guys from Direct Drive & First Light.
Whatmusic.com would like to thank those who brought the story up to date: Charlie Gillett, Gordon & Andra Nelki, Paul Hardcastle, Pete Quinton, Paul Sexton, Noel Summerville and special thanks to Jody Gillett for putting us all in touch!
The most important sound in the … Read Full Bio ↴The whatmusic.com interview...
The most important sound in the history of Oval Records might have been the clunk of the cassette that dropped through the letterbox of our basement office in Clapham, South London, in the Autumn of 1981. I went to see who had dropped it off, but he had already gone back up the front steps and into the street.
There was a note in the packet telling us the band was called Direct Drive, and this was their demo in search of a record deal. In those days, cassette demos came in by post on a daily basis, most of them by rock groups inspired by one or more of the current heroes Talking Heads, the B-52s and Elvis Costello.
Gordon [Nelki, Oval's co-director] and I stopped whatever we were doing to play the cassette, and one thing was clear straight away: this band had not been listening to any of the above. The music sounded like it was following Earth Wind and Fire or Kool and the Gang, in the new style of British dance music that was being called Jazz Funk by those in the know. The vocalist had a high, near-falsetto voice, and the arrangements were very adventurous, full of spaces for instrumental solos and rhythmic punches. In particular, we liked the drive and melody of 'Don't Depend on Me'. To us, the demo sounded good enough to release exactly as it was, but we needed to check it out with the people who would have to sell the record if we put it out.
These days, there are around 30 shops in Soho alone selling nothing but dance music, and many more across the rest of London; back then, there was just a handful in the whole city, and one of them was Record Corner, about a mile away in Balham. I called the shop's manager Dave Hastings and he said we'd better come to play it to dance specialist Carl, who said it sounded fine and if we decided to release it he'd place an order for 25. Next stop was City Sounds in Holborn, where the guy behind the counter said he'd buy 50. Later, I found out this was Mick Clark, who soon afterwards joined the A&R department at Virgin.
With 75 sales in the bag, we phoned the group's contact number and found the drummer, Pete Quinton. We asked him how come he had chosen to bring the tape to Oval. He said he'd looked in the Yellow Pages and we were the closest company to where he lived. He confirmed that the band was up for a discussion with us about releasing the record, so we fixed a meeting with all six members where we explained the deal we'd release all three tracks on a 12" single and publish the songs.
And then there was a bit of a delay. I don't remember how long, maybe a couple of weeks. We seemed in danger of losing the momentum there's a sense of adrenalin that can build when things follow naturally, but which can get totally lost if people start wondering if there might be a better this or that around a corner. We began to get phone calls from the keyboard player, Paul Hardcastle, who was getting frustrated by the slow decision-taking processes in a democratic six-piece band. Before coming to Oval, they had shopped the demo around the rest of the business, and nobody else had been interested. As far as Paul was concerned, we were the only choice left. Paul told us that he had given an ultimatum to the other five, 'if you don't want to do this deal with Oval, I'm leaving the band.' There was something about Paul, you knew he wasn't bluffing. They came, we signed, and we put the record out.
As we got to know Paul better, he told us how he had joined the band. He had come into some insurance money after a bad crash on his motorbike, and had bought a keyboard at the music equipment and hi-fi shop where he worked on King's Road in Chelsea. He taught himself to play it by trial and error and reading the manual, and three months later answered an ad in the Melody Maker for a band looking for a keyboard player. Although he had never played with other musicians before, somehow he bluffed his way in.
Vocalist Derek Green was recruited around the same time, and the six-piece rehearsed a few times before recording the three songs that were sent to us. It's still hard to believe that those confident and complicated keyboard arrangements were by somebody who had only been playing for three months. Listening now, twenty years later, the quality of musicianship in the whole band is outstanding guitarist Robert Williams plays lovely fluid lines and bass player Mick Ward was among the best British musicians to perfect the slapping style that the Family Stone's Larry Graham had introduced a few years earlier. Pete Quinton provided the rhythmic fulcrum on drums, and percussionist Bones Hammond added flowing syncopations.
Convinced that 'Don't Depend on Me' was the favourite for radio play, we made it the A-side and stuck the other two songs on the B-side. The band - particularly Paul - liked 'Time Machine'’ but it started with at least a minute of instrumental intro before the vocal started, which was against every radio principle we knew. Pete Quinton designed the band's logo for the front cover. We did the radio promotion ourselves, posting copies to any producer or DJ who might play it and quite a few who almost certainly never would. We were ignored by every daytime radio producer at Radio One, but John Peel played the A-side several times, surprising given his preference for much edgier music than this. Even more surprising, Robbie Vincent at BBC Radio London chose 'Time Machine' as the side to play, long intro and all. Over and over. This was the heyday of pirate radio, when most of the people who ran the stations were into exactly this kind of music, and they all played 'Time Machine.' Record Business, a rival to the long running trade paper Music Week, published a Disco Music Top 50; the single entered at #21 in the week ending 18th Jan 1982 and hovered in and out of the top 20 for the next two months.
At this time Oval split its distribution between Spartan and Rough Trade. Spartan had been formed by a couple of ex-major label salesmen to help small labels have pop hits, and they did well with the first few singles by UB40 on Graduate Records, a small label based in the Midlands. Rough Trade specialised in groups which weren't looking for pop chart success. Oval's releases tended to fall between the cracks, being neither commercial enough for Spartan nor quirky enough for Rough Trade. We found a third distributor, Greyhound Records, which specialised in importing dance records from the USA, for whom we were a natural addition to their range.
One of the trickiest things to get right was pressing up the correct number of records, keeping up with demand without getting left with too much overstock. Three different factories made labels, sleeves and vinyl, and the pressing plant would not start a run until we had delivered enough labels and sleeves to match the order. One undelivered telephone message in any one of the three factories could take a couple of weeks to untangle. Having started with a conservative first pressing of 1,000 copies, it took us about six weeks to catch up with the demand for 'Time Machine.' Most people found it easier to buy the song on compilation cassettes of jazz funk being sold in London markets every Saturday, but we still sold over 5,000 12" copies.
Listening to the music now, it feels like the band would have built up a following if they had been out playing live. But Oval did not have the resources to provide them with tour support to let them all give up their day jobs and go out on the road. We needed to make another record. Capital Radio offered a live session for the band, who played two songs from the first single and a new one, 'Time's Running Out.' We took the 16-track tape to Eel Pie Studios in Soho where engineer Mike Pela remixed the new song for release as a single, combined with a ballad, 'I'm The One.'
This time we thought we had a real chance of radio play. We pressed a radio-friendly 7" and to make sure we were better prepared to meet demand this time around, we ordered 2,000 12" singles. But radio was not nearly so enthusiastic, and we did not even sell all of the first pressing. Listen to 'I'm The One,' and let me know if you understand why that was not some kind of a hit? Derek's singing is impeccable, the words are spot on, and the band plays like a dream.
The two Direct Drive singles were consecutive releases on Oval, followed immediately by two more from the spin-off group formed by Paul and Derek, First Light. They took the name from the studio in Penge where the first single had been recorded. I don't remember exactly what happened to force the split, or maybe we were never told. For a while, we remained on good terms with both parties and Pete Quinton designed the First Light logo. But after we turned down the results of a new formation of Direct Drive featuring vocalist Alvin Brown, the group decided to go out on its own, and with vocalist Helen Rogers released a couple of singles on Polydor, making the lower reaches of the national chart with 'Anything'.
We had every expectation that First Light would be commercially successful - a singer with a great voice with good songs, combined with a wizard musician who had a gleam in his eye and a feel for the future. Paul's decision to revive 'Horse with No Name' confounded the purists and achieved our first play on daytime Radio One when a producer commissioned a 'live session.' This was a euphemism for a tape copy of the record, which was supplied to meet Musician's Union requirements for a specified number of 'sessions' per day on Radio One. When Gordon heard the First Light single one morning played back-to-back with 'Just an Illusion' by Imagination, the UK's best-selling black act at the time, his heart sank. Where every sound on the Imagination record rammed home its intention, the sound of First Light was lighter, more innocent. In a flash, he knew our record didn't stand a chance.
Among the follow-up songs we recorded was 'She's a Mystery,' full of melodic hooks which floated over an easy-going groove. Derek had his doubts that our promotion could do it justice, and thought they might benefit from having a more experienced producer. We didn't argue. If the group wanted a company with more clout, we would go and try to find one. We shopped around. Our former adviser Mick Clark had his hands full at Virgin with Loose Ends and I-Level. Ashley Newton at Island had as many black music acts as he could hope to get onto British radio, which was still not making these artists welcome. Roger Ames, the MD at London Records, did not usually initiate A&R signings anymore, but somehow we managed to get his attention long enough to sign the duo, although he would be the first to admit that he never had enough time afterwards to concentrate on figuring out what to do with it.
While all these discussions were going on, Paul had been playing around with an idea for an instrumental, which he sent to us on tape. It sounded OK, but so what? Who played instrumentals on the radio? If Paul was pissed off with us, he didn't show it. But he persevered, asking if we minded if he sent the tape to Solar, one of the leading pirate stations. We didn't mind, but it needed a title in case they played it: 'A.M.,' sticking to the concept of the project's name. A week or two later, Paul called to report that the track was getting played on Solar. Two weeks later, it was in the top ten tracks most-requested by listeners to the station. All the other nine were released records already in the national top 50. Week by week the instrumental climbed into the top 3. Finally First Light's record label woke up to the realisation that it might be a good idea to release this track.
By now we were on the brink of signing the group to London, but Roger Ames confirmed that it would not interfere with London's plans if this instrumental came out in the meantime. On the B-side were two vocal tracks featuring Derek, the new 'I Don't Care' and a revisit of 'Time Machine.'
Mainstream radio paid no attention, but the pirates played 'A.M.' like it was their signature tune. Even though this time we knew there would be plenty of interest, we still had trouble keeping up with demand. The 12" single sold over 13,000 copies, more than the sales of the other three singles combined.
For reasons I've now forgotten, when we finally signed to London and started discussing what to do first, 'She's a Mystery' was set aside and a new song, 'Explain the Reasons,' was chosen for the single. It was our idea to suggest Steve Levene as producer, after hearing his work on the first Culture Club single; but before we could get in the studio with him, 'Do You Really Want to Hurt Me?' came out and suddenly Steve was the producer everybody wanted. Not until three months later did Steve finally have time for First Light.
To my amazement and embarrassment, Steve did most of the programming himself, with Paul sat beside him in the control room. By the time the A-side was finally finished, we had gone way past the budget, and Paul volunteered to knock off an instrumental B-side at a cheaper studio. Sticking to the theme, we called it 'Daybreak.' Despite the more professional sound of 'Explain the Reasons' and London's experienced promotion team, Radio One wasn't interested, but every pirate radio station across the country jumped onto 'Daybreak.' The single sold over 20,000 copies and the group made the pop chart for the first time.
A different producer, Bob Carter, was assigned to do the next single, 'Wish You Were Here', and again Paul volunteered to provide the B-side. Observing that it was costing £500 a day to record, he pointed out that if he had his own home studio, he could record half of any album for a fraction of what it would cost in a commercial studio. We put the idea to Roger, who turned it down flat. "They need a producer." Gordon came out of the meeting seething with anger and suggested we help pay for Paul's studio as his publisher. Paul was fine with that, so we came up with a few thousand pounds, Paul put up the rest himself, and he finally had his own music-making factory at home.
When we started discussing the release of the second single at London's office, the A&R man asked us not to put an instrumental on the B-side this time.
"Why not?" we asked, 'A.M.' and 'Daybreak' proved that radio DJs liked instrumentals"
"Exactly. First Light is a vocal group, and we don't want to give DJs a chance to play the wrong side again."
It was a logic that baffled me then, and it still does. A compromise was agreed whereby Paul recorded another instrumental 'Stop the Clock' in a completely different style, almost reggae, so he could not be accused of appealing to the jazz funk DJs. But they played it anyway, and although Radio One ignored the A-side again, the record slipped into the bottom of the national chart for a token couple of weeks. Oval Records had released four singles by Direct Drive and First Light in a little over 12 months. At London, First Light managed to release only two more in 18 months, most of that time spent waiting around for producers to become available. Beside himself with frustration, Paul broke away and formed his own Fast Forward label to put out singles he recorded at home. He immediately made #41 on the national chart with a revival of D-Train's 'You're The One For Me' and was back there again a few months later, in a one-off deal with Bluebird Records, with an instrumental, 'Rain Forest,' which went on to become a Top 5 R&B hit in the States.
In April 1985, having signed to Chrysalis, Paul was sitting on top of the world, with '19' at #1 in 13 countries. In many ways, '19' was the record that made the public aware of the concept of sampling; everybody who heard the record realised that the commentator's voice was somehow being manipulated into that famous stutter 'N-N-Nineteen.' Not only did Paul provide Oval Music with our biggest hit, but he taught us a lot: among other things, that it's not simply a matter of having talent, it's what you do with it. It's been a privilege to be part of his story.
As far as the UK is concerned, Paul may have apparently disappeared, but he has been one of Britain's most consistent sellers in Japan and the US, with a series of Contemporary Jazz albums (as the Jazzmasters and under his own name), each of which stayed on the Billboard Chart for two years.
Derek Green had a brief shot at a solo career but then settled into the role of being one of the top session singers in the country, preferring to stand just outside the spotlight. We lost contact with the other members of Direct Drive apart from Pete Quinton, who turned out to be an excellent songwriter in his own right. We spent a couple of years trying to get covers of his songs, and he has gone on to make a living writing music for television. Pete, if we never properly thanked you for dropping that cassette through our letter box, this seems like a good time and place to do it.
Charlie Gillett, Oval Records and Music June 2001
Oval Records would like to thank those who helped the story start, especially Robbie Vincent, Solar Radio and the all the other UK pirate stations, and obviously the guys from Direct Drive & First Light.
Whatmusic.com would like to thank those who brought the story up to date: Charlie Gillett, Gordon & Andra Nelki, Paul Hardcastle, Pete Quinton, Paul Sexton, Noel Summerville and special thanks to Jody Gillett for putting us all in touch!
Time Machine
Direct Drive Lyrics
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2 days ago kids วันเวลาดีดีที่เคยผ่าน ความทรงจำดีดีที่เลยผ่าน นาฬิกาในใจย้อน…
2z 출발선에 서서 신발끈을 묶고 힘차게 발을 굴러 어디로 가는지 뭘 하려는…
40meter-P I do this shit from the guts, you know? Make 'em…
40meterP feat. Hatsune Miku 得意げに呟いた 心配ないからと 人の少ないホームで ヘタクソに強がった 唐突に鳴り響く 僕を呼ぶ別れの音 見慣れたその…
4Count Lookin back at photographs of you and me . I was…
5$Shake If I had a time machine I would go back, talk…
a.Stray You're begging me to stay My trust has been betrayed You tal…
Accept The hands keep on turning, the pendulum just swings Prisoner…
Adult Cinema Everyday I wish for a time machine Take me back to…
AGSUNTA Dinadala mo ako sa ibang mundo ′Di na kita mabubura dito…
Ai Otsuka 未来へ ワープ そこは step by step 未来へ ワープ そこで step down あれを忘れさせ それさえ…
Aira Mitsuki lalala... つまずけばいつも君 支えてくれる 成功か 失敗かを 誰が決めるの? 平和な世の中story アル…
Alex Key My momma gave me my first car when I was…
Alice Nine Aruitekita boku no michi wa jaridarake de Me wo tojitemo sot…
Alicia Keys Fear of what's in the mirror, yeah So much to be…
Alienare Why can’t I stop time? It runs and it runs out Another…
Alma We were hanging out at different scenes I was never into…
Amanda Ghost Your voice echoes as I hear you say you love…
Amy Kuney Verse 1: Look, I?ve built a time machine To take us back…
androp 気づいたら僕は夢の中で 不安と不満は くしゃくしゃにして 嫌気がさしたら夢の中へ アンドロメダから月の裏へ 叶えたいコ…
Anna Graceman Look around, Remember everything you have now but don´t forg…
Antiqcool In a land where happy ever after Is nothing but a…
April 시간아 멈춰라 그대로 멈춰라 Ah ah ah ah, ah ah ah ah…
Area21 If I had a time machine I would go back, do…
ARHEX Broken promises Oh they just haunt me I'm locked inside Thes…
Asterline 捨てられなかった 壊れた時計は知ってるの どんな日の自分の ため息も涙も 何度も迷って たたかおうって だけど いつも…
Auquid Time flows through me Rain goes to sea Now I've got key We…
Autoheart Every now and then I think of you I think of…
Axxis Hear the clock as time goes by We're born, we live,…
Barbra I remember when my voice was never heard Many listened but…
Baumann When I was young When I had fun Life was so simple Nothing…
Beggar's Opera Inside my time machine Where we can dream, hm hm Away from…
Ben Eales I wish I had a time machine For the day I…
Big K.R.I.T. [Hook] In my time machine, yea I ride, clean Marinate the …
Black Sabbath Oh what are you gonna do When there's a part of…
Blake/e/e/e Grilled cheese Time machine Grilled cheese Time machine Your…
Blossom I am light years away And I won't turn around In my…
Brandon Well not too long ago I was right here, you…
Britta Persson When I run into you at concerts and bars We talk…
Brother Sittin' here starin' at the pictures that you're takin' off …
Bulimic Orgy (feat. Mile) หากว่ามี TIme Machine ได้จริง จะย้อนไปยังวันที่ยังสวยงาม ก่อ…
Bunny Phyoe ငယ္ငယ္တုန္းက ျဖဴစင္ ဘာမွမသိတဲ့အ႐ြယ္ ကေလးဘ၀ေလးကို ျမင္ေယာင္ရင…
Burning by Desire The time machine will sooth my pain, With no regrets, to…
BZN Time machine (J. Veerman/J. Keizer/J. Tuijp) In my ding-…
Call Me No One Another golden moment gone Another day I run away Inside a…
Chad Peralta And I looked back upon my back Through my book of…
Chara Kabe ni kakareta moji Yogensha no rakugaki ne Kiechimae! Onn…
Cherish Alexander Be here now Wandering where there is no path It’s just anoth…
Chloe Adams We were almost perfect With the key word being ′almost' And …
Chris Cox Time Machine (Zeitmaschine) Time Machine (Zeitmaschine) Wir…
Chris Holsten Leave And put it in a past life please On a map…
Click Five Oh what mess You've got the best of my heart It…
CMC$ If I had a time machine I would go back, talk…
COIN Running from the suburbs, skipping heartbeats Living by our …
Cracker Sonny step right up into the time machine we'll set the…
Craig Connelly Every moment leaves a stain Something deep we can′t always e…
Craig Connelly & Tara Louise Every moment leaves a stain Something deep we can't alw…
D.A. I said tell me what your thinking, all my thoughts…
D.A. Wallach Yesterday is today, tomorrow is tonight What right feel wron…
D.A.N. I said tell me what your thinking, all my thoughts…
Daisy the Great Are you listening to the Clocks in this house? They are grow…
Dan and Andy Step in the Time Machine Close up your eyes and dream (You…
Daniel Gale-Hayes If I have understood correctly Velocity equals the distance …
David J Caron We got a time machine, sea of time submarine Leap like…
David Ray I see you, Your bare feet on the floor, Sand in my…
December Days Looking back had never felt so rough, like taking a…
Denseboy You wish you could change The things that you've said Go bac…
Devon Allman Come with me let's take a ride Through the best years…
Diamond Pistols Rich Brian Ayy Don′t know what to do with these memories I need that…
Dick Davis Time machine, fuck yeah! Wouldn't that be nice Yesterday, to…
Do As Infinity どこで 誰と いつに 聴いてたもの 今となれば 遠い想い出だけど それはまるでタイムマシーンのような感じ 歌を聴けば あ…
Dominik A. Hecker Hold on tight To memories like a fading light Could I reigni…
Don Johnson Big Band The lights of Helsinki, familiar and dormant A horizontal h…
Dreampark Jump into your time machine Promise me your last goodbye We …
Dreams Shadow Титры набирают ход Звук виниловых пластинок Еле еле слышно с…
Drey-C Grilled cheese Time machine Grilled cheese Time machine Your…
Earth Wind & Fire I remember when my voice was never heard Many listened but…
Emme Lentino Let's travel in a time machine... Back to a time,…
Example I may have been away, seeing the world But stick with…
Fabio Guerra Cuanto apuestas a que yo te espero? No vale na’ mi…
Firewing Inside my secrets beneath my pride I pray for you and…
Foushee Solo driving But I got eyes on me Running the race Could you…
Frank Ocean Get on my bike and ima fly through time Until I'm…
Frank Turner I'ma gonna build myself a time machine On particle physics a…
Frankie Chavez The greatest blessing I will never get to see* Every moment…
Free Tempo Feat. Another Side Hello. I see you in the sky. I can't escape I…
Fumiya Fujii 君に初めて会った時 髪の先までくぎづけさ 目と目が合った あの瞬間だった 天使がいたのさそこに 君と初めて話した時 な…
Gary Wright Baby baby, maybe we should get a way tonight Baby baby,…
Ghaliaa Alll the memories That bring me back to life Wish I could…
Girl's Generation(소녀시대) [Jessica] Itsumo yori sukoshi hiroi heya tadahitori It's ove…
giuk Whoa 복원 복원 복원 (whoa) 절대 척도 초점 우리는 어디에 간절한 시간역행 지각은 it's oka…
Goodnight Wembley In my young days Was discovering Now I've stumbled onto some…
Grafton Primary No words describe my feeling My feet are dancing with the…
Grand Funk Railroad Well a hey there baby do you want to make the…
GVIN I need a time machine To fix all of the times…
Gystere Until the end of times I'll try to rewind To be with…
H.P. Lovecraft Ride upon the time machine It only costs a dime, it's…
Halos This song is a time machine This song is a time…
Harry (はりーP) feat. 初音ミク 得意げに呟いた 心配ないからと 人の少ないホームで ヘタクソに強がった 唐突に鳴り響く 僕を呼ぶ別れの音 見慣れたその…
Heaven Hell Oh what are you gonna do When there's a part of…
Heaven & Hell (Black Sabbath DIO) Oh what are you gonna do When there's a part of…
Heavenly [INTRO] I' m lost in a sphere what am I doing here the…
Hi-5 Let's dance in the funky town and you'll make your heart…
I Ya Toyah If I were you And you were me Would you believe The things…
Illslick I need a time machine I need a time machine อยากมี time…
Impedance There was a time we had not noticed the things…
Imperial Jade Lazy cat, he's up a tree 1865, Do you remember me? A…
Ingrid Michaelson You lit the fire Then drank the water You slammed that door …
Ironware Voices crying for help, voices of time They will remain in…
J-Izzy Ty bop no ty Ohh, it's Raydy baby Intuitions in my mind I…
Jamaram Verse 1: There ain't nobody home today But I'm gonna be ok…
Jamillions I hurt you bad, then I let you go I put…
Jana Horn There's no way to prove I've changed No time will …
Jared I've been thinkin' bout you Since that day we met We had…
Jason Chen In my head I’m going back to all the little…
Jason | www.Marvin-Vibez.in Ayo This is for the Heart broken people People who wanna ri…
Jeffrey & Jack Lewis Have you seen my time machine? It's black And white it's…
Jeffrey Lewis Have you seen my time machine? It's black and white…
Jin What if you knew then, what you know now? Or what…
jin-guitar.com What if you knew then what you know now? And what…
Joe Brooks She left me in japan I left her in madrid She never…
Josh Northwood Plug me into the machine Time will send me travelling Catch…
K.E.I [feat. Zele] Let's dance in the funky town and you'll make your heart…
Kashena Sampson TIME McCHINE Could you help me build a time machine I'd like…
Kashitaro Ito 得意げに呟いた 心配ないからと 人の少ないホームで ヘタクソに強がった 唐突に鳴り響く 僕を呼ぶ別れの音 見慣れたその…
Kevin Hearn Walking through the old school hall See the photos on the…
Killer I want to travel in time To see the past and…
Knox I would have never walked into that house If I had…
KQT She's straight outta the early 2000's And doesn't mean a thi…
Leo.Root 得意げに呟いた 心配ないからと 人の少ないホームで ヘタクソに強がった 唐突に鳴り響く 僕を呼ぶ別れの音 見慣れたその…
Logic I built a time machine for you But, you always died,…
Louis C.K. I'm lost in a time machine All alone with a…
Luca Damon I've gambled I've lost Out and about 'Till the break of dawn…
Lungz Time machine yeah Niggas talking 'bout they make the moves …
Luvabstract Her hat was green St. Pablo logo Oh no It's not you It's…
lyrical school 笑っちゃった それめっちゃ面白い ヤバい Area分けされた city 風切る we are pretty 届かない …
M-Project feat. Krystal Let's dance in the funky town and you'll make your heart…
Maneki-kecak ねえ、未来の僕は元気ですか? 僕が夢見たような明日は来ますか? 頑張りすぎて逃げ出したりしてませんか? ねえ、未来の僕は…
Marcus Alexander Where would you go if you could travel back in…
Marene This week flew fast I've only just begun to know you As…
Mark Wilkinson So if you want to fly You and I can fly…
Mark Wills If I could invent a time machine I'd go back and…
matt-solo Come step in my music time machine Put the headphones on…
Matthew Sweet Time machine, let me into the future Ready to forget the…
Max Parker The regret that came when I had made those choices It…
Mew Suppasit การเวลาเนิ่นนานเท่าไหร่ไม่รู้ แต่ฉันยังอยู่ที่เดิมที่เราอยู่…
Mick Softley Well, hey there baby, do you want to make the…
Midnight Fusic Three weeks since we last spoke And I've got lots to…
Miracle Musical Look Oh, look at what you've done now to me Dead tired…
mj apanay Starin' at stars Watching the moon Hoping that one day they'…
mj apanay feat. aren park Staring at stars Watching the moon Hoping that one day they'…
Monster Magnet Darling, let me dry up all your tears How about Luna…
Move Let's dance in the funky town and you'll make your…
Mr. Armtone ド派手なメイクをしてたロックスターでさえ 月日が経ってみりゃジェントルマン 時が苦痛ってのを 洗い流すなら タイムマシー…
Mr. Popular There she is again The woman who tried to destroy me Using…
Mudbison Skeletons are loud Embarrassed but proud And it's a fact Tha…
Muni Long Yeah, yeah Oh, ooh Ooh, uh Yeah, yeah Oh yeah Eventually th…
Musketeers เอ้ ออกเดินทาง สู่ความเวิ้งว้าง เห็นดวงดาวพร่างพราวทอแสงรำไร…
Natsumiii Starin' at stars Watching the moon Hoping that one day …
New New Girlfriend In the woods near my house Lives a man who's about To…
nickasaur! Do you remember when we were kids Cardboard boxes took us…
Nikki & Rich (TRISTÃO) Mano ta vendendo aqui na vila lembra que contei a…
Nitch You can try just to feel what is bright In any sense In my a…
Nyoy Volante I'll take care of your heart I promised you But when I…
Olivia Rudeen Honey let's drive down the same street With that old Waylon…
OnlyOneOf 불 꺼진 방 나 홀로 들어오기 싫든 좋든 집 말고는 갈…
OnlyOneOf (온리원오브) 불 꺼진 방 나 홀로 들어오기 싫든 좋든 집 말고는…
Orion Song Found our pictures in the back of my closet Our hair…
osamuraisan 巻き戻せる様な時間があるなら 君はいつを願うかな 君のことだから、笑って 「今が一番だ」って言ってくれるかな 君が笑う…
P. Milray I do this shit from the guts, you know? Make 'em…
Painted Shield I missed you baby Before I met you I felt your…
Palace Winter I want to go back in time To when your hair…
Patrick Rosal Our minds were insync Our levels were the same But our timin…
Paul Griggs I want a time machine to go back where I've…
Peter Baumann When I was young When I had fun Life was so simple Nothing…
PLASUI PLASUI คิดถึงวันก่อนก่อนที่ผ่านมาแล้วนั้น ยังจำและจดถึงวันเก่าเก่า …
Pot Plant House Party I really need something to set my mind at ease, There's…
professor and the madman Gotta throw my cell phone out Gotta put my laptop down Can…
raf and o Let's dance in the funky town and you'll make your heart…
Range | www.Marvin-Vibez.in Ayo This is for the Heart broken people People who wanna ri…
Readymade FC My mother is a time machine Putting ballads on my knees Al…
Ride Waste no more energy No more time Step into the…
Rinôçérôse I got this feeling everybody they know, I'm the last, secret…
Robyn (Hey) Hey, what did I do? Can't believe the fit I just…
Rock 'N' Roll Monkey And The Robots Yeah life right now a little boring Lordy lordy Wanna fast f…
Roger! I gotta get back to 2016 and warn everyone of the…
S & L I took a time jump machine To fly in space and…
S.P.O.C.K I'm lost in a time machine All alone with a…
S3RL vs M-Project Feat. Krystal Hey five year old girl in mom's dress and high…
S3RL Vs. M-Project Let's dance in the funky town and you'll make your heart…
seed of freedom Now it's 2014 I haven't lost my time Years are gone…
Seo In Guk (서인국) Ayo This is for the Heart broken people People who wanna ri…
Seven O'Clock 우울할 때 꺼내드는건 어릴 적의 사진들 기분이 좋아지는건 어떤 이유였을까 이유였나 한숨만 돌리고 나면 지난…
Shades Apart Trembling hands- drop the needle down In seconds you're here…
Shelly Fairchild It was July and we were 17 Nothin' goin' on at…
Shinhwa [신화] Yo~ babbun iljong jjamne manan chinguya, cham pangapguna, ni…
ShinHwa 신화 Yo 바쁜 일정 짬내 만난 친구야 참 반갑구나 니 아들도 몰라보게 컸구나 부모님…
Shinhwa신화 Yo~ babbun iljong jjamne manan chinguya, cham pangapguna, ni…
Silicon Dream Turn on maximum power! "This is the voice of the time…
Six Part Invention "Time Machine" do you remember how it felt like? I still…
Sixty Miles หากว่ามี TIme Machine ได้จริง จะย้อนไปยังวันที่ยังสวยงาม ก่อ…
SmileR feat. Hatsune Miku 得意げに呟いた 心配ないからと 人の少ないホームで ヘタクソに強がった 唐突に鳴り響く 僕を呼ぶ別れの音 見慣れたその…
Smoke Dza feat. Numbers & Corey Gunz Yesterday's today, tomorrow's tonight What's right feels wro…
Smoke DZA feat. Numbers & Cory Gunz Yesterday′s today, tomorrow's tonight What′s right feels wro…
SNOOPKING ตื่นเช้าขึ้นมากับแสงวันใหม่ กับห้องเดิมเดิมที่มีเพียงฉัน ยัง…
SNSD(少女時代) [Jessica] Itsumo yori sukoshi hiroi heya tadahitori It's ov…
Sonyeoshidae소녀시대 (Shojojidai少女時代) a.k.a Girls' Generation걸스 제네레이션 I'm lost in a time machine All alone with a…
SPLAY いつもひとりでいて 別に淋しくなかった 温かい部屋でぼくは ぼくの世界を創った 母は優しくってね 父は無口な人でね ぼく…
Starflyer 59 Those pictures, they cause me to think About my life…
State Champs So many plans we made were washed away So many memories…
Steve Modana The time is passing by so fast I wish that we…
Stray Bromham The time has come at last Let's go explore the p…
Stupid Kids Wish I could take this all the way back And if…
Styles P I do this shit from the guts, you know? Make 'em…
Sweatshop Union Couldn't find a way to live for today Now I live…
Swinem Protobeat Hmmm I wish I had a Time Machine So you…
T-Pain Yeah, yeah, yeah Tebunan, Pedalofogus, from the planet Teleg…
T-Pain [www.musikaki.blogspot.com] Yeah, yeah, yeah Tebunan, Pedalofogus, from the planet Tele…
T.B Rollin' up that gas in my time machine How you got…
t.o.d. I said tell me what your thinking, all my thoughts…
Tarang Joseph If I had a time machine I'd go back to that…
Tempalay 愛情も海を散歩したり 神様も裸になればまぁ同じ肌の匂い あの世のこと想像したりしたのでしょう GO!3つカウントして…
Ten To Ten Ήρθα απ'το μέλλον ταξίδεψα πίσω στο χρόνο με Time Machine Κά…
Tex Taiwan If only, if only, I was a flying pony If only,…
That Handsome Devil I understand you hate me, there's so much that I…
The Amazing Kill-O-Watts Let's dance in the funky town and you'll make your heart…
The Cats Now do not stay away too long in time and…
The Click 5 Oh what mess You've got the best of my heart It…
The Click Five Oh what mess You've got the best of my heart It…
The Cog Is Dead It isn't easy watching you fade away To see you growing…
The Johnnies I can look at the parts I can look at the…
The Tazers I’m gonna go back in time And change the course of…
The Vagary The light outside Makes me look away I wanna drive off To de…
The Winery Dogs Everything in place Resting in this hole I dug Time keeping …
Thumlock Time machine Take me when I've never been When levitation …
Thuy Vi I'm sitting on the floor of my living room Just trying…
Tourette Roulette And it feels like I am stuck in a daydream Or…
T‐Pain Yeah, yeah, yeah Tebunan, Pedalofogus, from the planet Teleg…
U-know 눈을 떠 움직여 (no) 세상은 달라져 (go) 빛과 같은 속도로 (go) Ah…
V.A. Let's dance in the funky town and you'll make your heart…
Various Artists Do you remember how it felt like? I still remember how…
Vincent Bones I've been Waiting for you To walk Through my door again Thi…
Viva Brother My darling told me She was on her way She said she'll…
Vivian So many things, went wrong in my life Sometimes I wish…
VIXX 다락 한구석에 먼지 가득 덮어쓴 작고 낡은 라디오 음악 소리 속에 선명하게…
Vonne In my hands I hold your sanity I hold the silver key to…
Waterflame This is a time machine Warning Here is one question, I hope…
We Still Dream Go! A few breaths, a few left, What's next, you tell me. We…
Werq the World I need a time machine So it ain't just a…
Wes Fowler The way you wrapped your arms around me You knew that…
Willow Yeah Baby, if I had a time machine I'd go back to…
X-erz Ήρθα απ'το μέλλον ταξίδεψα πίσω στο χρόνο με Time Machine Κά…
Xavier Sorrow Right now I been feeling empty Low low low like my…
Yktr a.k.a. *-Teris I'm lost in a time machine All alone with a…
Yui Horie Can't stop! Can't stop! Can't stop! Can't stop! Can't stop! …
«rinôçérôse» I got this feeling everybody they know, I'm the last, secret…
ลูกหว้า พิจิกา ไม่ได้เจอความรู้สึกนี้ ไม่ได้ฟีลแบบนี้ มานานสักกี่ปีก็ไม่แน่…
あルカP feat. 初音ミク 得意げに呟いた 心配ないからと 人の少ないホームで ヘタクソに強がった 唐突に鳴り響く 僕を呼ぶ別れの音 見慣れたその…
ミラクルミュージカル Look Oh, look at what you′ve done now to me Dead tired…
堀江由衣 Can't stop! Can't stop! Can't stop! Can't stop! Can't stop! …
少女時代 いつもより少し広い部屋ただ一人 It's over, guess it's over 2人で創り上げたストーリーも虚しく…
빅스 (VIXX) 다락 한구석에 먼지 가득 덮어쓴 작고 낡은 라디오 음악 소리 속에 선명하게…
서인국 Ayo This is for the Heart broken people People who wanna ri…
소녀시대 いつもより少し広い部屋ただ一人 It′s over, guess it's over 2人で創り上げたストーリーも虚しく…
신화 Yo 바쁜 일정 짬내 만난 친구야 참 반갑구나 니 아들도 몰라보게 컸구나 부모님…
온리원오브 불 꺼진 방 나 홀로 들어오기 싫든 좋든 집 말고는…
유노윤호 (U-Know) 눈을 떠 움직여 (no) 세상은 달라져 (go) 빛과 같은 속도로 (go) Ah…
Grand Funk Railroad Well a-hey there baby, do you want to make the…
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