The original line-up was Miles Hunt (whose uncle Bill Hunt was keyboard player with Wizzard), Malcolm Treece, Rob "The Bass Thing" Jones (d. 1993) and Martin Gilks (d. 2006). The group originated from an earlier collaboration with group members of Pop Will Eat Itself (aka PWEI), called From Eden, which had Miles Hunt on the drums.
In 1990, Martin Bell (aka, Fiddlie), an accomplished fiddle and banjo instrumentalist, joined the band and Paul Clifford replaced Rob Jones on the bass after Jones left the band.
The band initially split on July 14, 1994 at the Phoenix Festival near Stratford-on-Avon, with Miles Hunt forming Vent 414 and Malc Treece, Martin Gilks and Paul Clifford teaming up with ex-Eat frontman, Ange Dolittle, to form We Know Where You Live.
Following the split of Vent 414, Miles Hunt took to touring an acoustic solo show performing old favourites and new material. During this period, he toured and released an album under banner of The Miles Hunt Club, featuring Stuart Quinnel and Andres Karu (who would later featuring in subsequent line-ups of The Wonder Stuff) as well as Michael Ferentino fom the Amazing Meet Project.
The band later reformed for a few live tours from 2000 onwards including a sell out 5 night residency at The Forum, London. For this incarnation, Stuart Quinnel took over on bass from Paul Clifford.
Their first new album for over a decade, Escape From Rubbish Island, was released in September 2004. The line-up for this album was Hunt and Treece plus Andres Karu and Mark McCarthy (formally of Radical Dance Faction).
This line-up (plus Erica Nockalls on violin) continued into 2006 with the release of their new album Suspended By Stars.
Scheduled for 2011 is a tour supporting The Levellers for which the line up has changed again, with Andres Karu being replaced on drums by ex-Pop Will Eat Itself member Fuzz Townshend.
Astley In The Noose
The Wonder Stuff Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
He hasn′t got a use
But he's trying
Trying to be someone
Trying to take like a man if you can
Sing an old song
Well, I get back to the rope
And if you must sing
Sing an oldie
But sing it quickly
Oh spare me
Don′t beg, don't beg
I wouldn't kill you even if you paid me
Don′t beg, don′t beg
I wouldn't kill you even if you paid me
Oh, Astley, it′s the truth
My patience's at its roof
It′s at its ceiling
It's just this feeling
That given half a choice
A life without your voice seems more appealing
Don′t beg, don't beg
I wouldn't kill you even if you paid me
Don′t beg, don′t beg
I wouldn't kill you even if you paid me
But don′t take this to heart
It's all to do with art and entertainment
I sing this lament
But from you and from your peers
It′s abuse to both me ears
I rest my case here
Don't beg, don′t beg
I wouldn't kill you even if you paid me
Don't beg, don′t beg
I wouldn′t kill you even if you paid me
Don't beg, don′t beg
I wouldn't kill you even if you paid me
Don′t beg, don't beg
I wouldn′t kill you even if you paid me
(Did anybody like it)
(Do you think it might offend him)
(Who cares)
The Wonder Stuff's song Astley In The Noose tells the story of an individual named Astley who is seemingly in a desperate position. The lyrics describe Astley as being in a noose, which is symbolic of being in a very precarious and dangerous situation. The first few lines suggest that Astley feels useless and is trying to find a way to be important or make a name for himself. The lyrics "trying to take like a man if you can" emphasize that Astley is trying to be tough and brave, even though he knows he is in a vulnerable position.
Further on in the song, the lyrics express the singer's frustration with Astley's situation. The lines "My patience's at its roof, it's at its ceiling, it's just this feeling" suggest that the singer is annoyed and impatient with Astley and feels like his predicament is getting to be too much. The lyrics also imply that the singer believes Astley's voice is something he could do without, as he says "A life without your voice seems more appealing." Throughout the song, the repeated refrain "Don't beg, don't beg, I wouldn't kill you even if you paid me" suggests that Astley is begging for his life, and the singer is trying to convey that he doesn't have any ill intentions towards him.
Line by Line Meaning
Oh, Astley in the noose
Astley is in a difficult situation, possibly metaphorically represented by being in a noose
He hasn't got a use
Astley does not have a clear purpose or value
But he's trying
Despite this lack of purpose, Astley is making an effort
Trying to be someone
Astley is striving to establish his identity and status
Trying to take like a man if you can
Astley is attempting to deal with his challenges in a mature and self-sufficient way
Sing an old song
The singer advises Astley to perform a familiar or classic tune
Well, I get back to the rope
The singer returns to the metaphor of the noose or difficult situation
Wash your mouth out with soap
The artist is exasperated with Astley's efforts and urges him to clean up his act
And if you must sing
The artist acknowledges that Astley is a singer but suggests he should be careful
Sing an oldie
The artist repeats the advice to perform a classic or familiar tune
But sing it quickly
The singer desires to end or move on from Astley's performance
Oh spare me
The artist is tired of Astley's efforts and wishes for relief or a break
Don't beg, don't beg
The singer insists that Astley should not plead or request leniency
I wouldn't kill you even if you paid me
The singer emphasizes that they are not out to harm Astley, even if he annoys them
Oh, Astley, it's the truth
The singer reveals that they are being honest with Astley
My patience's at its roof
The artist's level of tolerance has reached its limit
It's at its ceiling
The artist's patience cannot be stretched any further
It's just this feeling
The singer is explaining their emotional reaction to Astley's performance
That given half a choice
The singer is considering a hypothetical situation
A life without your voice seems more appealing
The artist implies that they would prefer Astley not to sing at all
But don't take this to heart
The artist is trying to soften the blow of their criticism
It's all to do with art and entertainment
The artist is suggesting that their criticism is related to Astley's profession as a performer
I sing this lament
The singer expresses this criticism in the form of a melancholic song
But from you and from your peers
The artist is pointing out that Astley is not the only one to blame
It's abuse to both me ears
The singer emphasizes that Astley's singing is unpleasant to them
I rest my case here
The singer has made their point and concludes their argument
Did anybody like it
The singer questions if anyone enjoyed Astley's performance
Do you think it might offend him
The artist is curious if their criticism might upset Astley
Who cares
The artist dismisses the possibility of upsetting Astley and does not seem to care
Writer(s): Martin Richard Gilks, Miles Stephen Hunt, Malcolm Roy Treece, Robert Jones
Contributed by Josiah F. Suggest a correction in the comments below.