Ten years ago this week a heart attack ended Frank Tovey's life. To this day, Fad Gadget has still not achieved "household name" status but Tovey's music continues to have an influence both directly and indirectly on music across numerous genres and ages. This month Brainwashed is going to honor his work by tackling each Fad Gadget album.
For those who don't know thie history of Mute Records, Daniel Miller released a single under the guise of The Normal in October of 1978. He was just a young guy with enough money to record a couple songs, press a 7" single, and distribute from his bedroom. "TVOD/Warm Leatherette" was a hit and for months Miller was flooded with demo tapes from bands he had no interest in who wanted him to put out their records. It wasn't until the following year when he was introduced to Frank Tovey by graphic artist (and now noise artist) Edwin Pouncey (Savage Pencil, Pestrepeller) that Miller decided to release Mute 002."Back To Nature"/"The Box" by Fad Gadget appeared in September 1979, 11 months after Mute 001, and "Ricky's Hand" (coupled with a remix titled "Handshake") followed shortly in February, both produced with Daniel Miller. The punk ethic was being marketed for mass commercialization and Frank Tovey was the perfect marriage of energy and forward-minded technology, he had a fantastic stage presence, and, most importantly, wrote some excellent songs.
For a musical act, the key to transcending the "dated" label is to possess the talent for creating exceptional songs. Forget the technology Frank Tovey employed, and accept that his first two singles, "Back To Nature" and "Ricky's Hand" had the perfect elements: driving rhythm, catchy riff, and unapologetic, non-cliche lyrics. Following the two singles, Tovey expanded his studio lineup and recorded this debut album with the power team of Eric Radcliffe, John Fryer, and Daniel Miller. Although an expanded cast of characters included more traditional instrumentation such as live drums,bass, and guitar, the sound remained faithful to what was established with the first singles.
"Pedestrian" opens side A with a deceptively quiet introduction in the form of an interplay between guitar and a twinkling synth, turn it up loud enough to hear it and suddenly the monster synth sound and hurried rhythm crashes in. This is clearly an example of the energy that Frank channeled as Fad Gadget, and, for something so synthetic, it's sound resembles what could be imagined as live: as Frank almost trips over the lyrics a few times, simply to keep up with the energry of a fast moving song, ironically titled "Pedestrian." Without a gap, the noises from the song's end mutate into the opening for "State of the Nation," a slower tempo popular set opener with an eerie riff and a delicious live drum beat by Nick Cash. "Salt Lake City Sunday" returns to the uptempo feeling from the album opener, and it's a short tune poking fun at Mormons, of course,
"They march, the Latter Day Saints
Salt Lake's sick residents
They want you to repent
The want your ten percent"
It's kind of eerie how 22 years later people are still asking Mormons the same question, and especially now that Mitt Romney is scarily close to becoming a president, "can you leave my ancestors to rot in their graves?"
Another crowd favorite, "Coitus Interruptus" follows, and, if you were either lucky enough to see Fad Gadget live or are able to watch the video here (see 3:31), it becomes painfully clear even Bradford Cox owes his entire live schtick to Tovey!
I can't say I'm as excited about side B. While I enjoy the opener, "Newsreel" and the closer, "Arch of the Aorta," it doesn't have as much soul as the first side. "The Box" was needlessly re-recorded for the album, as it loses all of the power and intensity of the version that graced the B-side of the debut single. "Insecticide" is an fun, tweaky, noisy tune, with squelchy, distorted vocals; and it seems to be an odd choice for a single A-side, as it was coupled with swingy, horn-blaring "Fireside Favourite," (as Side AA of the single) from the end of the first side. Given the 7" didn't come with a classic picture sleeve, it could have easily been a record label choice, but "Coitus Interruptus" would have clearly made a better hit single.
It's important to note that while it wouldn't be uncommon to hear Fad Gadget music played in a set with Human League, Kraftwerk, or Gary Numan songs, however the sound is where the similarities end. Tovey's approach was different: he didn't incorporate technology in the same way. Frank Tovey used synthesizers because he found them to be his best resources as the one-man show he started out as. He didn't distance himself from his audiences by either assuming a the role of a robot nor an emotionless alien. As Fad Gadget, Tovey engaged with the people–hanging from rafters, leaping into the crowds, tar-and-feathering himself, shaving himself onstage, suffering head injuries, and bleeding–making a genuine show of his live performance. Additionally, his subject matter was clearly not a grim painting of a horrific science fiction future (note that his first single was titled "Back To Nature").
In a time where technology was making new forms of music possible, Frank Tovey chose to keep as much control over it, keeping it as human as possible. Those who still aren't convinced only need tolook at the cover for Fireside Favourites, it's not a display of technology, it's a photo of Frank singing live!
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