Between 1981 and 1989 Dave and Barbara released a series of high quality 7" singles on their own Broken Records label, some in conjunction with Stiff Records. Here is a list of the singles.

In 1980, Dave Stewart (who had spent the last 12 years playing in one band or
another) decided to try some solo recordings. The first step in this direction
was an experimental version of the old Jimmy Ruffin Tamla Motown classic, 'What
Becomes Of The Broken Hearted', the traditional rhythm section sounds stripped
away and replaced by a huge, buzzing synth bass line and a gadget called a 'Claptrap'
which uttered small, explosive sounds not unlike someone stamping on a packet
of crisps. The arrangement completed, various vocalists were approached; Julie
Driscoll, Robert Wyatt and Green Gartside (then with Scritti Politti) all turned
down the job, but a call to ex-Zombie Colin Blunstone (who was actually suggested
by Barbara Gaskin) turned up trumps. The single, backed up by the Dave Stewart
original 'There Is No Reward', became a hit in the UK in 1981 on Dave's own
Broken Records label (the name derived from the 'A' side) distributed by Stiff
Records, launching the unsuspecting keyboardist on an eccentric solo career.
The original sleeve (depicted on left) had to be withdrawn when a company who
claimed it infringed their logo threatened legal action! Well, you know what
they say - where there's a hit, there's a writ.
Having sold
nearly 250,000 copies of his debut single in 1981, Dave Stewart invited Barbara
Gaskin to sing on a quirky but musically intriguing arrangement of the old Lesley
Gore teen lament 'It's My Party'. A few big record companies were approached,
but made all the usual noises about the track being 'uncommerciaI'. Undeterred,
Dave did a deal with the independent Stiff Records, who released the record on
Dave's own Broken label. The single, released in autumn 1981, sold faster than
Stiff could press copies, at one point selling 40,000 in a day. The eventual tally
was over 750,000 in the UK, where it stayed at number one for four weeks, and
well over a million when it became a hit worldwide . . . . not bad for an 'uncommercial'
single! Though Dave & Barbara have since progressed to more sophisticated
material, the all-synth arrangement, sonic/harmonic invention and fresh, unmistakeably
English vocal style mark this track out as a quiet 80's pop landmark, and the
beginning of the original and highly distinctive Stewart/Gaskin sound. 'B' side
is a strong but eccentric Dave Stewart ditty 'Waiting In the Wings', which the
duo still feature in their live set.
('A' & 'B' SIDES BOTH AVAILABLE ON CD ALBUMS - see 'CD
Releases')
This song appears on the albums: 'Up
From The Dark', 'Broken
Records -The Singles' & 'Selected
Tracks'.
Inspired
by an R & R rumble record waxed in the 50's by Marty Wilde (Kim's dad - one
of the original British rockers), this track features an unlikely guest cameo
by Robert Plant. This unplanned collaboration occurred when a chance encounter
with the Led Zeppelin lead singer in Trident Studios revealed Dave Stewart &
Robert Plant's mutual affection for the song. On hearing that Dave & Barbara
were recording a version, Plant volunteered to play the part of the evil gang
leader and utter the immortal line 'Johnny - stand up and fight, boy!'. The session
ended in amicable confusion with Stewart audibly wondering whether Plant's delivery
sounded too much like Deputy Dawg, whereupon Plant remembered an urgent appointment
elsewhere. Backed up by 'The Hamburger Song', a cheerful D.S. rocker with nonsense
lyrics.
Recording
songs from the soundtracks of Walt Disney cartoon films may not be desperately
hip, but this colourful feline extravaganza was Dave Stewart's choice for a follow-up
to 'It's My Party'. (Others thought otherwise, and the more conventional 'Johnny
Rocco' was given that honour.) Although the song itself is a little twee, the
musicality of the arrangement, and the controlled build-up from spacy, chiming
beginning to thunderous playout (with Barbara's vocal leading the ever-changing
dynamics) makes it worth a listen 13 years further on. The 'B' side, a blistering
attack on talentless 'record company' bands which has subsequently been re-worked
and introduced into Stewart/Gaskin's live set, is worth the price of the single
alone. (Actually, can anyone remember what singles used to cost? Three shillings
and fourpence ha'penny? 11 guineas? 4 new pounds?)
An all-time Stewart/Gaskin favourite. It is impossible to hear this song without
smiling - whether it be at fond memories of rainy Sunday afternoons spent watching
the old Bing Crosby film (A Connecticut Yankee At The Court Of King Arthur, from
whose soundtrack the song came) on black and white TV, the deceptively childish
lyrics which conceal a deep Zen wisdom, the incredibly detailed musical arrangement
with its ever-shifting harmonies, sounds and textures, or the sunny, radiant vocal
performance by Barbara Gaskin, the corners of your mouth will be drawn upwards
by invisible strings when you listen to 'Busy Doing Nothing'. And when you're
done smiling, have a quiet sniffle at the beautiful, spacy 'B' side, written (like
all Stewart/Gaskin 'B' sides) by Dave.
In the early
'80s, Thomas Dolby (then known simply as 'Tom', was a regular football-playing
colleague of Dave and Barbara's. (Barbara, alarmed at the effect it was having
on her leg muscles, has since given up the game, but Dave remains up for a kickabout.)
Being a little guy, Tom was a regular target for Dave's (6'2") catalogue of cynical
body checks and illegal shoulder charges, but the Brazilian skill with which the
young Dolby evaded the taller man's clumsy challenges proved to be second only
to his ability to fashion a great pop song. In most cases, Dolby's recordings
of his own songs are so superbly and imaginatively executed that it would be silly
(as with some Beatles and Beach Boys tracks) to attempt a cover, but 'Leipzig'
was arguably an exception. Originally appearing as a 'B' side to an early Dolby
single produced by Andy Partridge, 'Leipzig' sounded like a great song in embryo
- the backing was minimal, the overall mood dark and introspective. Dave &
Barbara's version of the song is, by contrast, expansive and technicoloured, with
a big, rolling beat adorned by electronic percussion, twinkling keyboards, and
cartoony sound effects. The chorus remains one of the great pop anthems of the
80's, and engendered two characters (Henry & James) who have subsequently
appeared in another Stewart/Gaskin song.
Six singles
along, the Stewart/Gaskin sound had matured. Barbara's studio technique and confidence
had blossomed, along with her ability to embue a lyric with emotional subtlety.
Once again, the duo chose a Tamla Motown song as their starting point, but this
imaginative arrangement, with its colourful sounds and luscious backing vocals,
shows the old song in a new light. This track was particularly popular in Japan,
where Dave & Barbara were advised to include it in their live set. Doing so
posed certain technical difficulties (ie, three people trying to play the parts
of eight or nine), but the end result, which incorporated a long instrumental
workout called 'A World Of Difference', was well received.
If nothing
else, this record shows that a cover version can be so much more than a dutiful
plod through the original. Many artists have had a bash at 'The Locomotion', but
none have brought such a wealth of fresh musical ideas, sounds and new harmonies
to the arrangement. This was Dave & Barbara's last vinyl single, but its charm,
musical interest and sense of fun have ensured its longevity. 'B' side is the
simple, sweet ballad 'Make Me Promises', a perfect vehicle for Barbara's breathy
vocals and Dave's lyrical keyboards.
Go back to Dave Stewart & Barbara Gaskin's home page .
Or go forward to find out more about Dave and Barb.