Shotgun City
A track from the 1988 Habit debut album 'Medicine Man'
I first met the boys who became the band Habit when we were all at Art school. Our mutual friend, the celebrated artist Sam Burford introduced me to Andy, Nick and Mick when they were studying art at Brighton. Sam and I had met in North London when we were both at Hornsey College of Art, and it was music which established our friendship. When we went down to Brighton with Sam to meet them, they were all vibed up, beginning to work on what was to be Habit.
Andy Carroll, Nick Amour (his adopted stage name) and Mick Martin were the core of the band. Mick's brother, Vince Clarke was already famous for his hits with Depeche Mode, and became even more so soon after with Yazoo, and later Erasure. Vince had a great work ethic, and was always producing hit songs. He supported the band early on to certain extent, for example lending us top flight keyboards.
The Habit boys had heard some recordings I'd made, simple multi tracks using the facilities at Hornsey College. They were impressed apparently by the sonic quality I managed to impart in my Art of Noise, Laurie Anderson-influenced recordings, so they invited me to join them to collaborate, and that begat a writing scene which was great fun. We worked in Andy's family home in Willesden, the same road where the Rolling Stones used to work before they were famous.
All but one of the songs on Habit's debut album Medicine Man are co-writes between me and the band. I was chuffed that my work helped them get a really good advance from Virgin, £120,000 up front. As a co-writer, I didn't get in on the recording deal, so had to wait for royalties to show up before I saw any financial benefits from the many months of work. Their manager was pretty cutthroat, as was the entire music industry - I had to threaten to sue Virgin records to put my name as writer on the initial releases as they started to get air play - but I toured with the band in their first year post-deal, often working their live shows, playing the audio desk, mixing each track live, because I knew what they had to sound like.
Despite not having the support and attention that the signed up band enjoyed, Habit opened the door to the music Industry. I didn't suffer anywhere near what the boys were put through just from being in the spotlight, in high-profile magazines, fêted in upper echelons and for a couple of years, marketed by a big label.
Working with Habit gave me many benefits, putting me in touch with musicians, many of whom were already well known for their work and whose playing you heard on the radio and on albums. Wesley McGoogan playing the Saxophone on Hazel O'Connor's "Will You" hit, and Gordon the guitarist who added the great power of that musical instrument along with sensitive soul and blues .
Habit didn't last too long, but their music has lasted and their fans still exist worldwide. I'm hugely proud of the contributions I made, and really happy to have maintained friendships from that time. Their biggest hit, Lucy, still pays me to this day.
This Pleasureland version of Shotgun City is not only timely and appropriately describing the contemporary situation that Sweden finds itself in, it is also to be found in Japan and many other wealthy, well-organised nations who suffer gang warfare as a daily fact of life. It is also a wonderfully refreshed version of a passionate song, produced by Prince's drummer Bobby Z at Paisley Park studios. If there is one recording session at which I would love to have been present, it's this one.
As for the band, Nick was always proud of the work, and quite rightly so. Shotgun city with its passion and soul harmonies works wonders with his strong voice, and the Pleasureland singer is top-notch.
Andy has always been more complicated in his responses, and far more self-critical. I've always appreciated his honesty. As such, he confessed to never really appreciating the 1988 version of Shotgun City because of its mixed messages - is it celebrating gang warfare, or painting a horrific picture of pain and death?
Mick was always more concerned technically about the sounds and production of each song the band wrote, and if it was clean and clear and crisp, had balance, and stood up against the best quality recordings, he was generally quite pleased. Mick is difficult to get hold of these days, but I strongly suspect that he would accept the Swedish version on that basis.
As for me, the piano part in Shotgun City is excellent, and this new version remains truly faithful to the original. I know, because I wrote that part, and it really swings the song.
Deek Deekster, June 2024.
