Larks in the Park was a wonderful annual festival organised by the Liverpool music community every August bank holiday. It started in 1980 but I think this is the first one I reviewed.
It took place in Sefton Park, the venue for the 1982 Bunnymen gig that I also reviewed.
I’ve still got the programme for the 1984 Larks (the year after this one), which includes a helpful history of the festival. This tells me that Frankie made one of their first public appearances at the 1982 Larks. “Those who were there,” it says, “will remember their outrageous clothes and a brilliant live version of Relax done twice because everyone wanted more.” (I assume I was there – I lived across the road from Sefton Park, in the Lark Lane area – but my memory is pretty hazy about anything I haven’t got written down.)
The 1984 programme notes also give some more detail about Frankie’s 1983 appearance. “To top it all Frankie Goes To Hollywood had just finished recording Relax and had come back to Liverpool. After the previous year’s performance they were invited back but recording commitments made the whole thing touch and go right up until they arrived, minus Paul Rutherford and minus the Leather Pets. Numbers 28 immediately offered their instruments and Frankie played.”
Frankie apart, this reminds me how many good bands were around in Liverpool at that time. The 1983 Larks also included an early appearance by the Farm. (And yes, they did send me a tape. But that’s for another day.)
LARKS IN THE PARK
Sefton Park, Liverpool
Melody Maker, September 10, 1983
FIFTEEN groups from Liverpool, playing free over the August Bank Holiday in the great (Victorian domesticated) outdoors - what better way to dispel the messy "festival" image?
The holiday atmosphere of "Larks" (now in its fourth year) has always been something for the community: attracting curious music-loving locals as much as the dedicated followers of "the scene". It's an extension of the normal function of the park on any sunny Sunday - "Bring a picnic" urged the posters - and that's probably the reason for its success. There are as many children and dogs as bizarre hairstyles, mingling in appreciative relaxation.
That's the mood, too, in which the music is heard, and that's what decides the choice of bands. So if the line-up doesn't equate exactly with the 15 best groups in Liverpool (though some of the best are there), it at least reflects the wide range of music being made in the area - wider than most people would think.
In terms of impact, they fall roughly into three (overlapping) groups. There are the contenders, like Lalabambam and Numbers 28, with the right basslines and the right voices to send them in the right direction, and enough ideas of their own to get them there.
Then there are the crowd pleasers - who will probably however never pull their own crowds outside an event like this - mainstream and musicianly, like System 22, Always The Now, or Dark Continent. There are specialists in this category. Malfunktion threaten to "put you in a disco mood", which is quite an alarming proposition at five o'clock in the afternoon. Bad To The Bone appeared last on a chilly Sunday, announcing that it was "time for some shitkicking r'n'b," and did a fine job of getting rid of the stragglers.
The Outer Limits had a similar effect on a hungry crowd the following day, but to be fair their rockabilly sounds a lot more convincing when they're busking in Liverpool's shopping centre.
This still leaves a good proportion who can't be overlooked so quickly. Some of my favourite Liverpool groups are among them, and they're all favourites for the same reason - because they're not the same. They don't sound like "Liverpool groups". There's still individuality around if people will listen to it.
Three proud combos on Saturday's bill didn't get justice from the sound, but anyone who's seen them before knows they're good. Ex Post Facto have proved themselves already though their epic magnificence needs a more intense concentration of - and from - listeners. The other two groups do actually still disclose their geography, continuing the passionate young men with guitars theme, but it does them no harm: they do it with an honest lack of self-indulgence and both have a political edge and some strong songs that make what they say worth listening to.
The High Five in fact have two of theirs out on a single soon (on Liverpool's Probe Plus label), and I'd love to say the same about The Farm without much delay: there are some gems in their set, like the haunting "Somewhere" (send us a tape lads!).
Sunday began with Malchix, an intriguing mixture whose dynamics veer towards heavy metal at times but whose style is quite individual. Last time I saw them they had a mere electric violin; this time they have the Liverpool Chamber Orchestra! And the strings are as integral to the sound as the guitars or anything else.
Best group of that day are the equally individual Reverb Brothers, who have, as well as their very own juke box, style and wit and more genuine songs than anyone else playing on the bill. Each one stands up to be counted and I wasn't the only person I caught humming along to them.
If the Reverb Brothers are perfect for the radio, a wise programmer would probably think twice about one of Monday's groups, the infamous Frankie Goes To Hollywood. Coming from London, they left behind part of the group and the more extreme manifestation of their image, but it still wasn't exactly family entertainment. Theirs are songs in search of a 12 inch dance mix. They belong in the clubs, but what kind of clubs is probably best left unsaid. Their dirty talk charmed the more excitable members of the audience. Their wonderful eccentricity charmed the others.
Undoubtedly the best group, though, was The Room. The inspiring confidence of their sound proved as potent here as in the darkness of the clubs, sweeping across the open spaces to impress itself upon the indifferent in a richness of sound that's uncluttered and perfectly focussed.
After all, individuality won the day (or days) and even though innovation was no criterion originality still got in. It's reassuring to remember, every time I hear a record that makes me cringe "Oh no, not another 'Liverpool sound'" that there's still plenty of choice. All it needs now is for more Merseyside musicians to remember it too, to realise that they don't have to sound like that - and for ears outside Sefton Park to understand that most of them don't.
Frankie play Relax in 1983
Here’s a brilliant clip of Frankie on The Tube earlier the same year. They knew how to make an impact.
Its refreshing to be reminded that individuality was a thing as we all suffocate in homogenization. Great (& delightfully 80s) article!
Great to be reminded of these occasions, Penny. I am sure Dave Jackson will be pleased that you single out The Room. They really did make their mark in a crowded field (or in this case park). Still one of my favourites from this period and it was good to see the reformed version - with three original members - perform earlier this year. Thanks for posting your review.