When we played in Liverpool recently I saw this guy that looked like Andy Weatherall, going nuts in the front row. I probably should. He used to smoke neat hash joints, take heroin and drink a lot, so studio sessions would be quite drug fuelled on his part. So we sound funky, but really weird! While recording To Each in New York, the band went to lots of Latin gigs, absorbed American black music and bought the percussion instruments behind another giant leap.
Lucinda, Skipscada and fan favourite Knife Slits Water feature in setlists to this day, and the album was their second indie No. She came to see us in New York, came back to Manchester to see Jez and ended up doing the vocals. With Sextet barely in the racks, ACR shapeshifted again: to minimal, slightly jazzy, precision-cast funk. So in we were playing whole sets of unreleased stuff that ended up on the third album.
We were thinking about writing great songs. We ended up with three vocoders. It was us setting out to do something but ending up with something else, which is very ACR. A mid-period classic: at the height of Madchester and acid house, ACR embrace electronica. The Jon Dasilva-remixed 27 Forever was another dancefloor smash.
They came to hear what we were doing and we played them Manik , really loud, showing the uncommercial side of ACR. We wanted to see their faces. I think that track made them drop us [laughter]. It was a relief, really. After Rob died [who died in , aged 46], we spent several years not really doing anything and then Soul Jazz asked us to do a compilation [Early, ] and play a gig at Electrowerkz in London.
In , both bands toured together — and probably influenced each other. The Quietus. CS1 maint: discouraged parameter link. The Graveyard and the Ballroom To Each Early Hidden categories: CS1 maint: discouraged parameter Articles with short description Short description is different from Wikidata Articles with hAudio microformats Album articles lacking alt text for covers AC with 0 elements.
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