Sexta-feira 25 Set 2009, 17h:07
(Previous NWoBHM Band of the Week)
Anyone who's been keeping an eye on what I've been listening to recently probably saw this selection coming. Trespass' entire recorded works during the NWOBHM movement are (almost all*) currently available as part of the castle/sanctuary collection one of these days: the trespass anthology, and there's a surprising amount of material that at the time didn't get released, as well as a write-up of the band's history more informative than mine will ever be. However, the band didn't release a lot of stuff during the 1979-83 period, so I shall be able to cover it very quickly with any luck.
Trespass (Mark Sutcliffe - Vocals and Guitar, Paul Sutcliffe - Drums, Dave Crawte - Guitar, Richard Penny - Bass) made a name for themselves in October 1979 with their debut single one of these days. The single sold very well considering it's lack of promotion or not and reached number 3 in Sounds magazine's chart (not to be confused with the official UK singles chart). A-side one of these days (youtube) starts with a slow guitar led intro before morphing into more of a mid-tempo track with Paul Sutcliffe's average but well intentioned vocals, slightly reminiscent of Mark Knopfler. Trespass didn't come close to amtching the speed or aggression of some of the nwobhm bands that would surface a year or two later at the movement's height, but in so many ways One Of These Days, performed by a band who only played their first gig 7 months prior to the single's release embodies the nwobhm in all its good intentioned, poorly produced naivety and sheer desire to rock. The b-side bloody moon (unfortunately unavailable on youtube, it seems) is a tiny bit faster paced, but a near equal for the a-side.
The band had written loads of songs and were eager to capitalise on the success of their debut. They recruited a new dedicated singer, having heard that the influential DJ Neal Kay didn't like Paul's vocal, and had the interest of major label EMI (who signed iron maiden around this time and were behind the infamous metal for muthas compilation). A quick stint in the studio with new vocalist Steve Mills produced four tracks, of which two made it onto the sequel to Metal for Muthas - a re-recorded One Of These Days and stormchild (youtube). EMI looked kindly enough on the band after this and a session for the BBC's Friday Rock Show (during which Mills is reported to have had a bad cold and you can really hear it), the band were invited in to EMI's studios as a test run for a potential contract, just when it looked like things were going to happen in a big way for the band, however, EMI were bought out and management shuffled around, effectively forcing them to sideline the imminent acquisition of Trespass as an addition to the EMI roster.
Next Trespass courted Chrysalis with their then unreleased second single, the double a-side live it up/jealousy. However, it transpired that all they were interested in was trying to acquire the song live it up (youtube) as a potential track for michael schenker to record. The flip side of Live It Up was jealousy (youtube, obviously. By the time the single was released, again on the small Trial that the band had started on, it was almost a year after the debut single and the bassist position had become a rotating door, while Mills had been replaced already with Rob Eckland.
Trespass' recirding career petered out after the 1981 three track EP bright lights ep which although reaping some positive critical reviews failed to secure the band a stable future.
bright lights
the duel
man and machine
Two albums worth of previously unreleased material were released after the end of the 80s (originally as The Works), though it all dated back to the nwobhm era. It seems a version of the band has been resurrected for touring, or was resurrected at some point, but they don't release new studio works.
My final verdict on Trespass? It's difficult to say because more so than just about any other band to this point covered in this journal series Trespass didn't have a chance to properly develop. The Bright Lights EP is artistically much better than the early stuff, but the cultural significance of One Of These Days is very highly notable and the way it captured the moment toward the beginning of our favourite historical musical movement is a big draw. They never had the opportunity to develop enough to threaten the major successes of the period (eg. Maiden, saxon) and truthfully I don't think they ever would have ever quite reached those levels, but they're worth listening to and have belatedly released around two-albums worth of above average tracks.
* Edited: There are just one or two tracks as exceptions.