On the Street (Australia; 25 April 1990)

"My brain is a little scrambled, but you have to expect that after a while."

That's how Lene Lovich explains the way she answered the phone like I was a plumber who she called to fix the toilet about three years ago.

We finally establish that work in a completely different sewer and want to know where the wayward and witful surveyor of techno-goth classics such as Lucky Number, New Toy and Bird Song has been for the last year or six.

"It's been frustrating," she sighs in an accent which droops somewhere from mainland Europe between Yugoslavia and Essex. "I've been really close to despair and going crazy.

"I really enjoyed being on Stiff Records in the early days. But they were only concerned with the British charts and commercial success within that small market. They completely ignored anything else happening in the rest of the world. And then they started to ignore my artistic progression."

Actually they told Ms Lovich she could realize anything she liked, as long as it is a cover of a Motown song. And so a cold war began. She kept bringing in new songs. They kept saying no. When the company finally segregated into bankrupt heap, she found the chaos she needed to escape.

Of course, Lene wasn't completely submerged in the primeval slime of this time. You might remember a towering babble of a song she recorded with Nina Hagen, concering the plight of the animals in this human zoo of the world. Lene explains how that all came about.

"Nina came up to my house to record a demo of a completely different song, and she asked me if I was interested in writing a song about animal liberation. I'd always been sympathetic to the cause, but I'd never actually done anything about it.

"I think a lot of people are in that position. All I needed was information, and that's what Nina gave me. Then I was able to make an educated decision about it."

Since that collaboration, Lene has upheld the animal rights issue with a passion. She recently took part in the second Rock Against Fur show in New York, along with The Sugarcubes and Psychedelic Furs, and had a part in a film called "Meathead", along with Captain Sensible. According to Lene, the Captain plays a "demonic Ronald McDonald type of character".

She was cast in a stage show based on the life of Mata Hari, and completed the soundtrack to a musical based on Edgar Allan Poe's "The Fall of the House of Usher".

With long-time companion/collaborator Les Chappell (remember the bald buy in sunglasses from those old film clips?), Lene has also been raising two kids, Tarzana and Valhalla. If you think naming offspring like an Italian vine swinger and a Glebe cinema show Lene is a bit "cosmic", then you've just won yourself a Kewpie doll.

"I wasn't really that optimistic for a while there," she says. "I really did think the world was going to end in 1984. Then I just got this strong message that the world was going to carry on.

"I feel strongly about the whole reincarnation aspect of things. Apart from wanting it to be good for my children, I want it to be good for myself when I come back."

So you think you'll come back in another form?

"I'm not really sure about coming back as a worm or something like that! I think worms might come back as other worms..."

Lene then told me about regression experiments she went through. "I wanted to find out about anything in a recent life that might have been a musical influence on me."

She warned me against the idea. Apparently it's the most horrible memories that linger close to the surface, and you've got a 90 per cent chance of tuning into an absolute nightmare of a time. She locked into one particularly bad episode and just kept getting it on action replay.

"I think maybe we're not meant to remember much about our past lives. Although it's within us, it's on the back shelf. It's not good to dwell on the past. We're here for this life and we're supposed to be moving forward."

IGNORE [Talk of moving forward brings us nearly to the subject of Lene's new album, "March". The conquering glory of the returning queen? Not quite. "Rage" rattles along nicely with a fuel-injected drum pattern and all the right sequencers, but it has to do battles with lines such as "Got to make an effort for the innocent child, the shape of tomorrow is not so nice". Fine sentiments, but so is the American Constitution.]

"Nightshift" features those famous bat squeaks from the woman with vocal chords made of pure elastic, while "Hold on to Love", with its throbbing bass and ice-cool vocals, should be offered to Grace Jones immediately to provide Les and Lene with the budget for their next five albums.

Still, there's always that voice which can leap from whooping banshee to guttural wildcat in a single bound.

But the most pressing interview question must be saved for the last. What did Lene think of Tiffany's version of "I Think We're Alone Now"?

"Well, to be honest, I liked my version better, but perhaps I'm just being biased. It's a great song - I think anybody can do it."

Perhaps Tiff might have made a go at tackling "Bird Song" on the next record?

"Now that would be interesting!" Lene Lovich laughs. "Wouldn't that be fun?"

Beat Instrumental (about saxophone playing) (UK; Dec 1979-Jan 1980)

"Well, it sort of started as an accident really," says Stiff recording artist Lene Lovich when saxophone is introduced into the conversation. "I was at art school for a while and didn't really get on with the other students, so I was always making excuses to skip off. And in the end I found out I'd made friends with a lot of theatre people."
Eventually Lene was offered a chance to appear in a mixed media show by band-leader Bob Flag, whose acquaintance she'd made when the pair of them found themselves selling old clothes side by side in a London street market. "He was a sax player and he said he'd teach me just parrot fashion."

Lene wasn't a total novice with musical instruments, it transpires. "I'd learned a few chords on guitar and tried violin, but never with much success. I think a lot of people get put off because they start off on the wrong instrument," says Lene, emphasising that she only found true happiness once she discovered the joys of sax. "I couldn't really play so I bought one of these tune-a-day books, but I never got past that first page. I never did rehearse much. I'm just not into sitting in a room, I guess.

"I started out on alto but quickly changed to tenor - partly through lack of ability," Lene adds with a self-deprecating laugh. "Tenor's a much more all-round instrument, really good for rhythm. I really loved all the old soul stuff, Stax, Motown and so on, where the sax parts are just punctuation marks really."
Pretty soon, Lene was part of an all-girl cabaret act. "But it all collapsed after a few weeks. We had this booking on the Greek island of Rhodes but it took so long to get there, travelling overland, that the trumpeter just lost her lip.
"An additional complication was that the promoter had received this picture of me doing Oriental dance and so he expected me to do that as well as play and I wasn't prepared to do that any more.
"I did some more bits and pieces including more theatre shows but for most of it I felt like I wasn't really playing at all," says Lene of the dim period between starting and becoming her present, increasingly successful self.

Cut to instrument details section: "The guy that first taught me played a Selmer Mk 6 and was very adamant about it being the best sax in the world. At the time I had an alto that was an American Martin, but I switched to a Selmer 6 as advised and stuck to it. I just like the way the keys are laid out and the actual sound of this particular sax. I've never wanted to change."

Mouth-pieces are a source of constant experiment, says Lene. "I don't like it too close because I've built up a much tougher embouchure than I had when I started: I need something I can get more of an edge into."
Her current model's a Berg-Larson, "which isn't made anymore as far as I know. They do a stainless steel one and you can get a much harder sound, but this one does give you a little bit of mellowness as well.
"Every three months or so I try one of those plastic mouthpieces but I guess you get more power with metal. Perhaps if my technique was better I'd feel differently.
"Also, with the kind of gigs we play, there's always a chance of being knocked about when people climb onstage and so on. So in that sense I'd prefer plastic; you wouldn't get quite so much of a bang that way."

Amplification? "It's difficult to find a bug that'll give you a true sax sound. There was one bug I tried that had a little piece of chewing gum that you stuck onto the reed. Barcus Berry, I think. The problem is they're very easy to break if you like to move around onstage.
"With reeds, it's very important to pick one that suits your mouthpiece and your style of playing. I've ended up settling for Rice Royal.
"Reeds are a shocking price now, and they're so fragile. When I'm buying new reeds I always ask to choose them myself because a lot of times you'll ask for a 3 and end up with something more like a 4 or a 2. You can alter them with reed clippers but it's very hit or miss. You can also use very fine sandpaper on them but I usually end up making a mess if I try and adjust a reed that way.
"So I like to pick them out myself. I don't like it if a reed's got too many heavy lines. Also I like to see a good heart, a nice even moon shape and a nice even curve."

Getting a good sax sound in the studio can be a problem, Lene agrees. "It's difficult to get a good sound. And tone is much more important to me than technique - I'm not that much into a syrupy, romantic sound from a sax - I don't particularly like Stan Getz. Junior Walker stands out for putting feeling into his playing. For me, he combines tone and technique better than anybody.
"Modern studios, they have all these EQs and things so all I can hope for is to play a bit then go back and listen to it, and just keep trying until it's right."

General playing for Lene's very black and white: "I just like to go for a very natural sound or its complete opposite, say play alongside a synthesizer, for example. And then it doesn't matter if people realise there's a sax playing along or not.
"But when I want them to know it's sax, then I really want them to know," she says emphatically.

Albums discography (includes overview of "Stateless" releases)

"Stateless"

Scroll down for the story behind the different releases of "Stateless".

(Note: Lene's first album has obviously improved a lot when it was remixed not long after its original release. Because the original mix still has a certain charm of its own and there are some notable elements which are not there on the remix, these elements will be listed on a separate page soon.)

"Stateless" (first release)

1:
"Lucky Number"
"Sleeping Beauty"
"Home"
"Too Tender (To Touch)"
"Say When"

2:
"Tonight"
"Writing on the Wall"
"Telepathy"
"Momentary Breakdown"
"One in a 1,000,000"
"I Think We're Alone Now"


Guide vocals on "Sleeping Beauty", "Too Tender (To Touch)", "Say When", "Momentary Breakdown" (see below for the story behind the different "Stateless" releases).

Same cover as second release.

Grey labels for UK release (yellow labels for second UK release; see below).

For reasons of completeness, a very limited CDr edition of "Stateless" (first release), with the third release's running order (as originally intended), was released on Flex Music (see below) (2014).

Also released on 4-CD box set "Toy Box" (2023).



"Stateless" (second release)

1:
"Lucky Number" (single remix)
"Sleeping Beauty"
"Home"
"Too Tender (To Touch)"
"Say When" (difference in the mix to first release, on first instrumental break)

2:
"Tonight" (remix)
"Writing on the Wall" (remix)
"Telepathy" (remix)
"Momentary Breakdown" (remix)
"One in a 1,000,000"
"I Think We're Alone Now"


Remixed tracks: "Lucky Number" (remix for single release, prior to remixes of other tracks), "Tonight", "Writing on the Wall", "Telepathy", "Momentary Breakdown".
"Lucky Number": Re-recorded vocals (vocals on first release are not guide vocals). "Momentary Breakdown": Guide vocals replaced by proper vocals.

"Sleeping Beauty", "Home", "Too Tender (To Touch)", "Say When", "One in a 1,000,000", "I Think We're Alone Now" same as on first release (except the above-mentioned difference on "Say When").

Same cover as first release.

Yellow labels for UK release (grey labels for first UK release; see above).

Cover of "Stateless" (third release) used for some UK cassette editions (see below for the story behind the different "Stateless" releases).

Because an error had occurred at the pressing plant, a number of UK pressings were in fact "Stateless" (first release), despite the information on the sleeve designating them to be the second release.



"Stateless" (third release) (proper remix album)

1:
"Home" (remix)
"Sleeping Beauty" (remix)
"Lucky Number" (single remix)
"Too Tender (To Touch)" (remix)
"Say When" (remix)

2:
"Writing on the Wall" (remix)
"Telepathy" (remix)
"Momentary Breakdown" (remix)
"I Think We're Alone Now"
"One in a 1,000,000"
"Tonight" (remix)


Additional remixed tracks: "Home", "Sleeping Beauty", "Too Tender (To Touch)", "Say When".

"Sleeping Beauty", "Too Tender (To Touch)", "Say When": Guide vocals replaced by proper vocals.

"Lucky Number", "Writing on the Wall", "Telepathy", "Momentary Breakdown", "Tonight" same as on second release.
"I Think We're Alone Now", "One in a 1,000,000" same as on first and second releases.

Different cover than first and second releases.

French release: Initial pressings used the third release's running order of songs, but came with the first album cover (as used for the album's first and second releases). The third release's standard edition (with the different cover) was used for later pressings of the French release.

Remastered for the release on Flex Music (2014), with drop-out at the beginning of "Lucky Number" removed.

All CD releases of "Stateless" are the third release, no matter which cover or running order they have.

"Stateless":

"Lucky Number": Re-recording (first recording released on b-side of "I Think We're Alone Now" single; see singles discography).

Recorded in July and August 1978.

Credits:
(Additional information from interview with Lene in Look-In magazine, early 1979)
"I did play a little violin on the album. Also some tuned percussion - glockenspiel and tubular bells. That's the sort of music I like. You create that sound however you can get it - if it needs a teapot, then use a teapot. We tore apart a telephone and used the bell on some numbers."

(From original album credits, with additional information from Lene's liner notes of Japanese CD re-issue (2001))

Lene Lovich: vocals, saxophone, violin, tuned percussion, unearthly noises
Les Chappell: guitars, EMS synthesizer, percussions, backing vocals
Bobby Irwin: trap drums, percussion, backing vocals
Ron Francois: bass, percussion, backing vocals
Nick Plytas: keyboards (Hammond organ, piano)
Jeff Smith: Polyphonic synthesizer, solina
Don Snow: piano solo on "Too Tender" ("Stateless" third release)

Vic Young: bass on "I Think We're Alone Now"

A Stateless Production for Oval
 (From Lene's liner notes of Japanese CD re-issue (2001): "Produced by The Stateless for Oval")
Recorded at Pathway, Eden and Wessex Studios
Engineered: Pete Fox, Aldo Bocca, Roger Bechirian, Jeremy Green
Mixed: Roger Bechirian
Remix: Roger Bechirian (remixed tracks on second release and third release)
Post-production and remix on "Lucky Number" supervised by Dave Robinson
Cover photos: Brian Griffin
Design and cover art: Chris Morton
 First sleeve: Cover photos by Keith Collie. Inner photos by Glad Rocksoffski
Special thanks to Charlie Gillett, Gordon Nelki and Dave Robinson
An Oval Vision

First release:

UK; issued on red vinyl, picture disc, black vinyl; 06 Oct 1978

France; test pressing 05 Dec 1978 (not actual release date)

Germany

Japan; 1979

Second release:

UK; 20 Feb 1979; with limited edition on genuine black vinyl; replaced first release

Australia; April 1979; with limited edition on transparent pale green/yellow-ish vinyl

Belgium

Germany; replaced first release

Israel

Netherlands; with limited edition on transparent red vinyl

New Zealand

Portugal

Spain

Venezuela; 1982

Third release:

US; June 1979; with very limited edition on red/black marbled vinyl

Canada

France; see third release section above for specifications; possibly released prior to US release; replaced first release (second release was not released in France)

Germany; with limited editions on green transparent vinyl and turquois vinyl; replaced second release

Greece

Hong Kong

Italy

Mexico; 1981

Portugal; replaced second release

Scandinavia

South Africa

Spain; replaced second release

UK; 1983; replaced second release

Yugoslavia; 1980

"Stateless" (first release): Also very limited release on CDr, with the third release's running order (as originally intended). Flex Music release; 2014

"Stateless" (first release): Also released on 4-CD box set "Toy Box".

All other CD releases of "Stateless" are the third release, no matter which cover or running order they have.

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Story behind the different releases of "Stateless"

The first edition of Lene's first album, which was recorded in July and August 1978, was rush-released by Stiff Records on 06 October 1978 to coincide with the Be Stiff tour.

The mix did not turn out very well because of the record's hasty release, and there are guide vocals instead of proper vocals on some of the songs ("Sleeping Beauty", "Too Tender (To Touch)", "Say When", "Momentary Breakdown"; see above).

Mixing of the album likely took place in September 1978.

For the first and second releases, running order and sleeve have been decided by Dave Robinson (boss of Stiff Records). Running order and sleeve as intended by Lene would eventually be used for the third release (see also information below about the second French release).

(Some UK cassette editions of the second release, however, had the cover photo which would later be used for the third release.)

"I Think We're Alone Now" (recorded at Pathway Studios before Lene got signed with Stiff Records) is the actual demo that was recorded when Lene was with Oval Exiles (at the actual album recordings only some percussion has been added to that demo recording), which is the reason why there is a different bass player for this song than on the rest of the album.

When it was decided that "Lucky Number" would be released as a single, the track was remixed and re-sung around December 1978 (released on 26 January 1979).

It was around this occasion or shortly afterwards (around December 1978 and/or early 1979) that all but two songs of the album have been remixed.

"I Think We're Alone Now" and "One in a 1,000,000" have not been remixed since Lene considered these songs' mixings good enough as they are.

For the proper remix album ("Stateless" (third release)), see below.

Dave Robinson from Stiff Records, however, could not leave it alone. Instead of re-releasing the album with all remixed tracks, he put out a different edition of "Stateless" in February 1979, following the release of "Lucky Number" (but before that single became a success).

Apart from the single remix of "Lucky Number", only four additional remixes have been included for this second release ("Writing on the Wall", "Telepathy", "Momentary Breakdown", "Tonight"). On "Say When", there is a slight difference to the first release on the first instrumental break. This is likely a different mix from the original recording sessions.

Running order and album cover are the same as on the first release.

Perhaps Dave Robinson decided to put out this second release of "Stateless" at some point in the middle of remixing work and just grabbed the remixes that have already been finished, instead of waiting for the remixes of the remaining four tracks to be completed ("Sleeping Beauty", "Home", "Too Tender (To Touch)", "Say When").

Another possibility would be that all remixing had actually been completed by that time, but Dave Robinson did not use the remixes of these four tracks just at whim or random.

The proper remix album with all remixes, now with the running order and album cover that Lene had already intended for the original release, was released on Epic Records in America in June 1979 and subsequently in various other countries (in the UK not before 1983).

However, the remixed album might have been released in France earlier than in America (unconfirmed), albeit with the first album cover (but with the third release's standard running order of songs. "Stateless" (second release) was not released in France.

It was later replaced by the standard edition of "Stateless" (remix album) also in France (with the different cover).

Once again this reflects the general chaos of the release policy at Stiff Records.

The vocals for "Lucky Number" on the first release are apparently not guide vocals, as Lene remembers it to be the only song for which she actually "re-recorded" the vocals.

As for the songs which had only guide vocals on the original mix, there is some confusion whether the proper vocals for these songs had actually been recorded during the original sessions and remained unused in the overall chaos of the rushed release,

or if they were recorded during the remix work, in case they could not get recorded during the original recording sessions (more likely).

The remixed version of "Say When" has been released on single in the UK and some other countries (not in America) before the proper remix album came out (except maybe in France; see above).

All CD releases of "Stateless" are the third release (the proper remix album), no matter which cover or running order they have (with the exception of a very limited CDr edition of the first release on Flex Music).

One very noticeable mastering flaw on the remix of "Lucky Number" (drop-out at the beginning) was fixed when the remix album has been remastered by Jude Rawlins (formerly of Lene Lovich Band) for release on Flex Music (2014).

More confusion from Stiff Records:

For the second release and the proper remix album (which both came out in 1979), the editions of various (but not all) countries have the release year of "Stateless" (first release) printed on them ("1978").

The track durations stated on the label of some countries' editions inaccurately suggest them to be the first release, although they are actually the second release or the proper remix album (the remixes of "Lucky Number", "Sleeping Beauty", "Writing on the Wall" are notably shorter than the original mixes).

Because an error had occurred at the pressing plant, a number of UK pressings of "Stateless" (second release) were in fact "Stateless" (first release), despite the information on the sleeve designating them to be the second release.

The entry for "Stateless" on Discogs.com mentions that some songs have not been remixed but actually been re-recorded. This is inaccurate, as none of the songs are re-recordings. Like it is common with remixing, some newly-recorded elements have been added, and, as mentioned above, the guide vocals used for some tracks on the original mix have been replaced by proper vocals.

Also, the above-mentioned slight difference on "Say When" on the second release is most probably not the result of slight remixing (as stated on Discogs.com and elsewhere), but more likely a previously unused variation from the original sessions.

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"Flex"

1:
"Bird Song"
"What Will I Do Without You"
"Angels"
"The Night"
"You Can't Kill Me"

2:
"Egghead"
"Wonderful One"
"Monkey Talk"
"Joan"
"The Freeze"

"Monkey Talk": Re-recording (first version released on "Can't Start Dancin'" sampler album; see non-album tracks page).

Lene and Les Chappell decided to use a recording studio in Holland instead of England, mainly in order to make Dave Robinson stay away from the recording sessions.

Red margin on sleeve for US and Canada releases.

Different cover for US cassette release.

Recorded in August 1979.

Credits:
Lene: "We experimented constantly, using a lot of non-instruments."

(Original album credits)
Lene Lovich: - Voices; - Saxophones.
Les Chappell: - Guitars; - Synthesizer; - Other Voices.
Justin Hildreth: - Drums.
Mark Hayward-Chaplin: - Bass.
Dean Klevatt: Nick Plytas: - Keyboards
Additional voices: - Lene: Les: Justin: Mark: Dean: Roger: Chris Judge Smith.
Recorded at: Wisseloord Studios: Hilversum: Holland
Engineered by: Peter Bord
Produced by: Lene Lovich: Les Chappell: Roger Bechirian: Alan Winstanley.
Cover Art by: C . More . Tone
Photographs by: Brian Griffin
Thanks to: All the stiff people Guinness: for the cover location Bruce Kirkland, for being on the case.
An Oval Vision

(Additional information from Lene's liner notes for 2001 Japanese CD re-issue)
Lene Lovich: supersonic sounds
Les Chappell: programming
Recorded and mixed at Wisseloord Studios, Hilversum/Holland

UK; 18 Jan 1980

US; Feb 1980

Australia

Belgium

Canada

France

Germany; with limited editions on light green vinyl, transparent purple vinyl and maroon vinyl

Greece

Italy

Japan

Netherlands

New Zealand

Portugal

Scandinavia

South Africa

Spain

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"New Toy" (EP), "No Man's Land"

(Note: There are many rumours circulating around Lene's third album. One of these rumours is that Lene has remixed the album or re-recorded songs at the wish of her record company, in order to make the recordings more commercial,

or that the tracks on the "New Toy" EP reflect what Lene had in mind for the album, while the album itself does not.

All of this is totally wrong.

These misunderstandings mainly go back to liner notes of CD re-releases, from which one could gather only bits and pieces of this complicated story, but not the full information. In addition to this, liner notes or news items often tend to become elaborated by those who write them.

Also, these misunderstandings partly originate in the fact that Lene did not always tell every single detail about the story to interviewers (or because not everything she said was printed).

The above-mentioned unfounded statements about remixing or re-recording have also been made in an article on an early-1980s Stiff Records fanzine sheet, written by somebody who was not well informed because of the same reasons.

See "Mysteries and rumours about No Man's Land" page for information, based on various interviews.)

"New Toy"

1:
"New Toy"
"Savages"
"Special Star"

2:
"Never Never Land"

"Cat's Away"

"Details"

"Cat's Away": Different mix than on previously released b-side of "New Toy" single.

"Details": Re-recording (first version released on "Riding High" soundtrack album and on Japanese 6-track 12" EP "New Toy" (prior to actual "New Toy" EP and unrelated to it); see non-album tracks page and singles discography).

See also upcoming screen/soundtrack/acting overview for "Details" (first version - instrumental).

Originally recorded in order to be released as part of "No Man's Land". The decision to release this EP made room for more tracks on the album itself.

Recorded at Sound-Suite/London, late 1980 (perhaps continuing into early 1981).

Credits:
Lene Lovich: saxophone, trumpet
Les Chappell: guitar, synthesizer, programming
Jeff Smith: synthesizer
Mark Hayward-Chaplin: bass
Justin Hildreth: drums
Dean Klevatt: piano
Thomas Dolby: synthesizer on "New Toy" (perhaps also on other tracks, but unlikely)

This release is the actual "New Toy" EP. It is common misbelief that three other 12" EPs also called "New Toy" (see singles discography) are variations of this release, to which they are in fact NOT releated.

Those three EPs were released by local record labels without input from Lene or Stiff Records, while the actual "New Toy" EP (Epic Records, US, July 1981; also released in Canada and Australia) was an official new release of Lene's that came out for completely different reasons than these three others, and separate from the "New Toy" single release (see "'No Man's Land' Mysteries and Rumours" page).

-The Japanese six-track 12" EP "New Toy" (see entry for "New Toy" at singles discography) is not a variation of the actual "New Toy" EP, but a different format of the "New Toy" single release. It was released by the local record label just instead of putting out "New Toy" in usual 7" / 12" single format in Japan.

At the time of its release (spring 1981), there had been no plans yet for the actual "New Toy" EP on Epic Records in America (July 1981).

-The Australian limited six-track 12" EP "New Toy" (see entry for "New Toy" at singles discography) is not a variation of the actual "New Toy" EP, but a different format of the "New Toy" single release. It was the way how the local record label released the 12" single in Australia. 

At the time of its release (spring 1981), there had been no plans yet for the actual "New Toy" EP on Epic Records in America (July 1981; also released in Australia later in the same year).

-The French five-track 12" EP "New Toy" (see "Other releases" section at singles discography) was released by the local record label in France in late 1982 or 1983, and is also unrelated to the actual "New Toy" EP.

Also, these three releases are unrelated to one another.

US; July 1981

Australia

Canada

Also released in original running order on album "Flex...plus" (CD); 1991.

Also released on 4-CD box set "Toy Box" (not in orignal running order).

 

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"No Man's Land"

1:
"It's You, Only You (Mein Schmerz)"

"Blue Hotel"

"Faces"
"Walking Low"
"Special Star"

2:
"Sister Video"
"Maria"
"Savages"
"Rocky Road"

"It's You, Only You (Mein Schmerz)": Album mix (different to previously released 7" single mix; see singles discography).

"Blue Hotel": Original recording (different song than later written and recorded - but earlier released - same-titled song for Sanremo Festival performance; see singles discography).

"Special Star": Re-recording (first version released on "New Toy" EP).

"Savages": Different mix than on "New Toy" EP.

First intended running order:
side 1: "It's You, Only You (Mein Schmerz)" / "Maria" / "Savages" / "Walking Low" / "Special Star"
side 2: "Sister Video" / "Blue Hotel" / "Faces" / "Rocky Road"

Different cover for US and Canada releases.

First recordings at Sound-Suite/London, late 1980 (perhaps continuing into early 1981), followed by scattered recording and mixing sessions in 1981 (perhaps continuing into 1982).

Most CD releases of "No Man's Land" and compilations that include "Rocky Road" omit the instrumental part at the end of the song, except "Grandes Exitos" / "The Hong Kong Collection", "The Stiff Years Volume Two", "No Man's Land" (CDr / digital download on Flex Music), "No Man's Land" (Japanese release, 2014), "Toy Box" (4-CD box set).

Credits:
Voices: Lene Lovich, Les Chappell
Guitar: Les Chappell
Synthesizer: Les Chappell, Jeff Smith
Bass: Mark Hayward-Chaplin
Drums: Bogdan Wiczling, Justin Hildreth
Piano: Dean Klevatt
Saxophone & Trumpet: Lene Lovich

"Rocky Road": Thomas Dolby on synthesizer appears courtesy of Venice in Peril Records
"Sister Video": Jimmie O'Neill rhythm synthesizer and vocals

Recorded with:
Damian Korner, John Walls, Bryan Evans, Alvin Clark, Peter Rackham, Gordon Fordyce, Martin Rushent, Steve Nye
Recorded/mixed at:
Konk, Wessex, Good Earth, Sound Suite, Basing Street, Genetic, Air
Remixed by:
Bob Clearmountain with Lene Lovich, Les Chappell and Dick Wingate at the Power Station, New York

Photography: Les Chappell

(Additional information from Japanese LP release)
Recording engineers:
"Faces", "Walking Low", "Savages": Alvin Clarke, Peter Rackham [Sound-Suite]
"Blue Hotel": Gordon Fordyce [Good Earth]
"Special Star", "Maria": Martin Rushent [Genetic]
"It's You, Only You (Mein Schmerz)", "Sister Video", "Rocky Road": Steve Nye [Air]

Mixing engineers:
"Faces", "Walking Low", "Special Star": John Walls [Wessex]
"Blue Hotel", "Maria", "Savages", "Rocky Road": Damian Korner [Konk and Basing Street (?)]
"It's You, Only You (Mein Schmerz)", "Sister Video": Bryan Evans [Good Earth]

US; 29 Oct 1982

UK; 12 Nov 1982; with limited edition on clear vinyl

Australia

Belgium

Canada

Finland

France

Germany

Greece

Israel

Italy

Japan; 1983

Mexico

Netherlands

New Zealand

Portugal

Scandinavia

South Africa

Yugoslavia; 1983

See above for specifications about "Rocky Road" on CD releases.

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"March"

"Life"
"Wonderland"

"Nightshift"
"Hold on to Love"
"Rage"
"Natural Beauty"
"Make Believe"
"Shadow Walk"
"Vertigo"
"Sharman"

cassette

1: "Life" / "Wonderland" / "Nightshift" / "Hold on to Love" / "Rage"

2: "Natural Beauty" / "Make Believe" / "Shadow Walk" / "Vertigo" / "Sharman"

vinyl

1: "Life" / "Wonderland" / "Hold on to Love" / "Rage"

2: "Natural Beauty" / "Make Believe" / "Nightshift" / "Sharman"

"Wonderland": Original recording (different to previously released house-style re-recording; see singles discography).

In an attempt to produce the album, Lene and Les Chappell have made sort of work-in-progress demo recordings of "Nightshift", "Natural Beauty", "Shadow Walk", "Vertigo" with engineer Mike Thorne in New York around early April 1985. Certain elements recorded at these sessions have been used for the proper recordings at Lene's home.

Recorded at RPM Sound Studios (New York), spring 1985; Lene's home (Norfolk/England), around 1985-1987 (perhaps continuing into 1988).

Credits:
Produced by: Les Chappell and Lene Lovich
Executive Producers: Douglas Lichterman & Tom Milmore
Recorded at: H.O.M.E. Norfolk, England
Mixed at: The Country House, Suffolk, England
Assistant engineers: Mark Reynolds & Mark Gilbert

Lene Lovich: lead voice, saxophone, trumpet, violin
Les Chappell: voice, all other instruments

with Mark Chaplin, bass guitar on "Vertigo", "Sharman" and "Nightshift",
and Gavin Harrison, additional percussion on "Vertigo"

Art Direction by Patrick Roques
Photography by Joseph Astor

Our special thanks go to Douglas Lichterman for making this record a reality.
More thanks to Jeff and Nancy Campbell, Thomas Dolby,
Candice Hanson, Dan Mathews, Lauren and Kris Nelson,
Mary and Loz Netto, Jenny and Gordon Reid, Mike and Leona Sinclair,
David Solari, Marsha Vlasik, Bo Ban, Bryan Cronin,
and Nina Lichterman

This album is dedicated to Tarzana and Valhalla

[H.O.M.E. (Headquarters of Musical Evolution) - home studio of Lene Lovich and Les Chappell.
The Country House - studio of Lene's friend Mary Bird.
Jeff Campbell, Kris Nelson, ?  - members of band Tanz Waffen, who were Lene's tour band in America in 1988, 1989 and 1990 (and for one concert in 1987); they did also play their own set on these tours.
Dan Matthews - Peta executive
Douglas Lichterman - main executive of Pathfinder Records]

US; CD; Dec 1989

Australia; CD / vinyl

Canada; CD

Germany; CD; 1991

Greece; vinyl; 1990

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"Shadows and Dust"

"Ghost Story"
"Sanctuary"
"Shapeshifter"

"Remember"
"Gothica"
"Craze"
"The Insect Eater"
"Little Rivers"

"The Wicked Witch"

"Light"

"Shapeshifter": Album version (see singles discography for previously released fragmentary versions).

"The Insect Eater": Album recording (see below for demo recording on "Dracfest tape").

"The Wicked Witch": Lene's own version of previously released collaboration song with Latz (see singles and non-album tracks discographies).

The running order is different to the track listing on the sleeve because Lene decided to change the running order when the discs were already pressed. First intended (and actual) running order:
"Craze" / "Shapeshifter" / "Sanctuary" / "Remember" / "Gothica" / "Ghost Story" / "The Insect Eater" / "Little Rivers" / "The Wicked Witch" / "Light"

The album title was first mentioned in summer 2002. Previously mentioned titles have been "Gothica" (written on "Dracfest tape", September 1997; see below) and "13 Ghosts" (written on announcement for Brighton concert, May 1998).
In 1998, the album was said to contain thirteen songs (therefore "13 Ghosts"). In July 2002, Lene mentioned that they had nine songs for the album and want to record three more songs. In the end there was one more song - either "Ghost Story" (first heard at New York concert, 31 October 2003) or "Sanctuary" (unknown until album release).

("Dracfest tape": Privately distributed audio cassette (September 1997) which contains the studio versions (as released before) of the songs that she was to play at Dracfest (Whitby/England, 24 Sep 1997; Lene also played two other UK shows around this one).
Of the two songs which were not yet released, the cassette contains "The Wicked Witch" (Monitor Mix) (as properly released in March 2000; see singles discography and non-album tracks page) and "The Insect Eater" (demo recording). "The Wicked Witch" is inaccurately labelled "demo recording" on this cassette.)

Recorded at Lene's home, Norfolk/England, mid/late 1990s to 2002. Mixed at Mike Thorne's studio, New York.

Credits:
Produced by Lene Lovich and Les Chappell with Mike Thorne
Recorded in Norfolk, England
Additional recording at the Stereo Society, New York

   Lead vocal, voices, saxophone by Lene Lovich
   Music played by Les Chappell, backing vocals by Les Chappell
   Occasional bass and synthesizer by Mike Thorne

UK transfer and additional recording by James Rosenthal at the Stereo Society, New York

Mixed by Lene Lovich, Les Chappell and Mike Thorne at the Stereo Society, New York

Mastered by Joe Lambert at Classic Sound, New York

Photography by Les Chappell
Cover design by Michael Bulgrin
Alien sculpture by Will Wright (contact: sutregibbon@hotmail.com)

All songs written by Lene Lovich/Les Chappell except:
Track 07 by Heathcote Williams/Julian Standen/Max Reinsch/Lene Lovich/Les Chappell
Track 09 by Lene Lovich/Les Chappell and Bulgrin/Mennicken (Latz at www.bulgrin.de)
Track 03 - thanks for the loop Max and Simo at www.mezzowave.net

   All songs published by Homesongs (M.C.P.S.) 2004 except:
   Track 07 Homesongs (MCPS)/Williams/Standen/Reinsch
   Track 09 Homesongs (MCPS)/Edition Angry Fish Music-Freibank

Production coordination: Amy Caramente

Special thanks to Mike Thorne and Leila Shakkour

Thanks to Chris Good at the Blue Hotel (website: www.bluehotel.co.uk [now defunct])

Contact Lene Lovich: BM LENE LOVICH, London WC1N 3XX UK [now www.lenelovich.net]

[Max and Simo: Comical Brothers - provided the loop around which the music of "Shapeshifter" is based.]

13 Sep 2005 (12 Sep 2005 at record release concert)