"Flex" lyrics

Except where noted, all lyrics by Lene Lovich (music by Lene Lovich and Les Chappell; all saxophone lines by Lene Lovich).

"Bird Song"
"What Will I Do Without You"
"Angels"
"The Night"
"You Can't Kill Me"
"Egghead"
"Wonderful One"
"Monkey Talk"
"Joan"
"The Freeze"


"Bird Song"

a little bird told me you were untrue, even though I had faith in you, I believed the lying words of the sly little bird

so with the bird one day you flew away, I woke up too late, you had gone, fading on with the song of the hurting little bird
[chorus] still I watch the sky, still I wonder why, still I hope that I can carry on, if I can be strong, if you hear my song, you'll know that it was wrong to say goodbye
such a cold bird, so hard, captured your heart, does it matter I am falling apart? breaking fast as the flesh of a dead little bird
[chorus x2]

________________________________________________________________________________________________


"What Will I Do Without You"

Music and lyrics by Judge Smith.

I take disasters in my stride, they don't upset me, and those that mean me harm are sorry that they met me
[chorus] but what will I do without you, what will I, what will I do without you, hey, what will I do without you, what will I, what will I do without you, do without you?
if time and tide and life conspire to defeat me, I smile and carry on, I never let them beat me
[chorus]
and if my seven senses one by one should leave me, in the silent darkness I would be alright, believe me
[chorus]
if that dark angel raises bony hands to clutch me, I will not fear his sting if he decides to touch me
[chorus], oh no, but what will I without you, what will I, what will I do without you [x2], hey, what will I do without you, what will I, what will I do without you?

________________________________________________________________________________________________

"Angels"

[chorus] the angels are watching over me constantly they say, the angels are always close to me in every game I play, and if I win or lose, I know they'll see me through, the angels watch my every move
what?
confused and lost like there's no way out 'til I see a light shining from above, so I raise my head to salute the sky and I feel that light take my spirit high
[chorus]
I could close my mind to a lot of things, but tonight's a night for remembering, there's a place for me on the other side when they call my name for that final ride
[chorus]

________________________________________________________________________________________________

"The Night"

Music by Bob Gaudio; lyrics by Al Ruzicka, slightly adapted by Lene Lovich.

beware of their promise, believe what I say, before I go forever, be sure of what you say
so they paint a pretty picture, and they tell you that they need you, and they cover you with flowers, and they always keep you dreaming, they always keep you dreaming you won't have a lonely hour, if the day could last forever you might like your ivory tower
but the night begins to turn your head around and you know you're going to lose more than you found, yes, the night begins to turn head around, around
beware of their promise, believe what I say, before I, I go forever, be sure of what you say
for the words may come too easy if you don't believe I'm leaving, and goodbye may come too quickly if you really think they love you, if you really thought they loved you, you would give your love so sweetly, if the day could last forever you might fall in love completely
but the night begins to turn your head around and you know you're going to lose more than you found, yes, the night begins to turn head around, around

but the night begins to turn your head around and you know you're going to lose more than you found, yes, the night begins to turn head around

________________________________________________________________________________________________

"You Can't Kill Me"

Music and lyrics by Judge Smith.

you can't kill me [x4], you can blow me up with an atom bomb, but I'll be right back and it won't take long
I can't kill you [x4], if I shoot you down as a mean old man, you'll become a little baby in Japan, mou ichido
you can't kill me [x3]
the driver of a flesh machine is what you really are really bopshoowah*, and you can't stop a driver just by smashing up his car
we can't kill we [x4], since we'll both be here again dies irae*, we might as well try being friends, we cant kill we

(gobbledygook part, and "la 'illaha 'illallah Muhammad rasulu-llah" ("There is no god but God, and Muhammed is the messenger of God."))

(* words hardly discernible but they are correct, as Lene has written down these lyrics for the booklet of a 2001 Japanese CD re-release)

("mou ichido" (already there in Judge Smith's original demo recording): Japanese for "once again", "one more time";

"bopshoowah": ??? (probably some sort of in-joke);

"dies irae" (Latin for "day of wrath"): title of a Judge Smith song, added by Lene as a reference to him;

final part of the song: mixture of gobbledygook (the same words are already there in Judge Smith's original demo recording) and quote from the Quran (added by Lene; meaning: any kind of religious faith that leads to nowhere))

________________________________________________________________________________________________

"Egghead"

big wheels turning in my head oh, growing up is a deadly business, my head was light and airy, now my head is heavy as lead
getting older night and day, dear, wonder if we'll ever make it, I feel so insecure but my mind is activated
[chorus] counting fingers, don't be slow, paper heroes, we must know, looking smarter every day, ay egghead ayayay
idea eating intellect oh, can you hope to make the distance? I thought I knew quite a lot, but what an uphill climate this is
egghead [x4]
[chorus]

________________________________________________________________________________________________


"Wonderful One"

wonderful one, who are you, so perfect and precious to me, beauty in body and soul, all that I wish I could be
what do you say, time slips away, I am just floating from nowhere to nowhere it seems, hold back the pain, try to explain, you are the light in the/my* darkness, the light that I need
life is a struggle for one, make it double and two can survive, lean on me lovely, my shoulder is strong as my feeling inside
what do you say, time slips away, I am devoted and totally programmed to please, hold back the pain, try to explain, you are the reason for all this emotion I feel
[chorus] wonderful one, you're the song I sing, here is the home where my heart belongs
fate is unkind and at times we seem to be all out of place, yesterday's image has passed, but yet we may still find a trace
what do you say, time slips away, I am still hoping to unlock/open* the door to my dreams, hold back the pain, try to explain, you are the key to that ultimate answer I seek/you must believe me that moment of freedom is here*
[chorus x4]

(* alternative lyrics partly used in live performances)

________________________________________________________________________________________________


"Monkey Talk"

monkey see, monkey do, monkey want to talk to you, monkey got a lot to say, monkey must communicate

day is night, night is day, everything is cross-connected, it's a crazy cuckoo race, I am almost glad it's ending, men and monkeys all are we, swinging through eternity
monkey see, monkey do, monkey want to talk to you, monkey got a lot to say, monkey must communicate

played so hard* all the way, broken bodies soon will mend, there's no need for you to cry, this is just a game, my friend, men and monkeys all are we, swinging through eternity
[chorus] oh when the stars come tumbling down and we find our feet once more upon the ground, there's no time to mess around, oh there's such a lot to do, me and you

men and monkeys all are we, swinging through eternity

[chorus x2]

(* "live so hard" on first version (released on "Can't Start Dancin'" promo sampler album))

________________________________________________________________________________________________

"Joan"

Joan, are you listening to my voice, you can't escape, you have no choice, it's just as real as anything said outside your head, the voice inside you bites your mind, you can't ignore the words this time are twice as loud as the jealous crowd that makes you cry
[chorus] like Joan of Arc you must be brave and listen to your heart, imagination is essential to creative art, so look into your mind and use what you may find, the answer lies behind your eyes, it's not that far
Maria, Maria
Joan, it appears you've seen the light, you must allow a light to shine, ignore the normal boundary lines that keep you tied, the world is full of hate and fear, you must expect to shed some tears, but precious are the eyes that see the new ideas
[chorus]

________________________________________________________________________________________________


"The Freeze"

the icicles are forming in our eyes as we go, as we go, the lucky ducks are waving us goodbye, what a show, as we go
don't forget your name or the place from which you came, and the rest who still remain below
the best of us are taken by surprise, even so, even so, we can't avoid the ultimate device, what a blow, even so
high and higher, how far do we go? we can't expect to always see the sun shine, frozen, silent, waiting in the cold, this is the longest night of all
the instruments are beating with a sigh, yes, we know, yes, we know, it's time to close the door and say good night, time to go, yes, we know
all is cold tonight but the stars are shining bright, and one day we'll see the light I know
we can't expect to always see the sun shine, this is the longest night of all

"Stateless" lyrics

Except where noted, all lyrics by Lene Lovich (music by Lene Lovich and Les Chappell; all saxophone lines by Lene Lovich).

"Home"
"Sleeping Beauty"
"Lucky Number"
"Too Tender (To Touch)"
"Say When"
"Writing on the Wall"
"Telepathy"
"Momentary Breakdown"
"I Think We're Alone Now"
"One in a 1,000,000"
"Tonight"


"Home"

home is where the heart is, home is so remote, home is just emotion sticking in my throat
let's go to your place [x2]
home is where the heart is, home is so remote, home is just emotion sticking in my throat, home is hard to swallow, home is like a rock, home is good clean living, home is... I forgot
let's go to your place [x4]
home is so suspicious, home is close control, home is "will you miss us?", home is "I don't know..."
let's go to your place [x4]
home is aggravation, home is so much fuss, home is "mind your business", thank you very much
let's go to your place [x4]
I don't wanna go back, I don't wanna go back, I don't wanna go back anymore [x6 to fade]

________________________________________________________________________________________________

"Sleeping Beauty"

take me, make me, mould me, fold me, shape my body, you can improve me, rebuild a new me, heat up or cool me, but don't forget to wake me in time, you know I had a lot on my mind, these tired old eyes await a surprise, I wonder what the future will bring
fix me, mix me, re-arrange me, change my body, make it so pretty they can't resist me, queue up to kiss me, but don't forget to wake me in time, you know I got to be first in line, this sensitive child is changing her style, the ugly duck is starting to smile
[chorus] open up your eyes, you sleeping beauties must arise, you're shaping up just fine, so climb inside a brand new life
this twilight seems like an eternity, the changes I go through are hurting me, do we become what we deserve to be?
[chorus x2]*

(* original mix: chorus x4)

________________________________________________________________________________________________

"Lucky Number"

I never used to cry 'cause I was all alone, for me, myself and I is all I've ever known, I never felt the need to have a hand to hold, in everything I do I take complete control, that's where I'm coming from, my lucky number's one
I've everything I need to keep me satisfied, there's nothing you can do to make me change my mind, I'm having so much fun, my lucky number's one
ah ooh ah ooh, I, I, I-yI-yI*
I now detect an alien vibration here, there's something in the air besides the atmosphere, the object of the action is becoming clear, an imminent attack upon my heart I fear, the evidence is strong, my lucky number's wrong*
ah ooh ah ooh
something tells me my lucky number's gonna be changing soon, something tells me my lucky number's gonna be you
you certainly do have a strange effect on me, I never thought that I could feel the way I feel, now something in your eyes gives me a wild idea, I never want to be apart from you, my dear, I guess it must be true, my lucky number's two
this re-arrangement suits me, now I must confess the number one was dull and number two is best, I wanna stay with you, my lucky number's two
ah ooh ah ooh

number two [x5]

(* not on original recording (released on b-side of "I Think We're Alone Now" single))

________________________________________________________________________________________________

"Too Tender (To Touch)"

[chorus] too tender to touch, too fragile to lust, these misty eyes are just enough, a little sigh to guide the way, we don't need so very much
you and I together now, forever after only us, a staring smile, a frozen face, a photograph of lasting love that never knew a nicer place than tucked inside my pillowcase
[chorus]
my desire, all I need, romance until the end of time, the taste of love is bittersweet, my hungry heart is satisfied, to give myself to only you and be nobody else's fool
[chorus x2]

________________________________________________________________________________________________

"Say When"

Music and lyrics by Jimmie O'Neill.

well I'm all revved up and ready baby, you're a man, I'm a lady, better turn your eyes from this body of mine, I don't want you to be ahead of our time
[chorus] I'll say when to stop, hey I call the shots baby, I say when, say when [x2]
well you look plenty of good to me, yeah you got plenty of energy, and I know that you're big and strong, but I'll be the boss, so don't go wrong
[chorus]
one, two, three, four, five, six, seven, eight, nine, ten
well I'm all revved up and ready baby, baby baby baby baby*, you're a man, I'm a lady, lady lady lady lady*, better turn your eyes from this body of mine, mine mine mine mine*, I don't want you to be ahead of our time, time time time time*

[chorus]

un, deux, trois, quat', cinq, sechs, sieben, acht, neun, zehn

(* no repeats on original mix)

________________________________________________________________________________________________

"Writing on the Wall"

the writing's on the subway wall, I'm sorry that I never called, I never phoned or wrote to you, it's silly 'cause I wanted to, oh yes, the subway wall sadly seems to say it all, it's my mistake, I know that now, a bit too late to cry
you're somewhere else with someone else, and here am I, all by myself, an empty wall, an empty me, I'll write the things that should've been
I'll tell the world how much I care, and miss the one that isn't there
oh, the writing on the wall [x4]
the writing's on the subway wall, and give or take a year or so someone will come and rub it out, delete the words that hurt my heart, oh yes, there will remain a little hurt, a little stain, the memory can still be read upon the wall inside my head
oh, the writing on the wall, write on!, oh, the writing on the wall [x4 to fade]

________________________________________________________________________________________________

"Telepathy"

Music and lyrics by Jimmie O'Neill.

I know what you done, I saw you in my crystal, I saw you making love, I'm gonna get my pistol
telepathy's gonna be the death of me [x2]
I know what you done, before you even do it, don't tell me your story, I can see through it
telepathy's gonna be the death of me [x2]
love is really mutual trust, respect and understanding is a must, but my baby's mind is like a TV and everything I see makes a fool of me
I know what you done, yeah, you think I don't know, you been playing round with Mrs So-and-So
telepathy's gonna be the death of me [x2]
oh, those little lies right behind your eyes, I don't need no spies, with my ESP you're not fooling me, but oh, the jealousy
love is really mutual trust, respect and understanding is a must, but my baby's mind is like a TV, and everything I see makes a fool of me
I know what you done, I saw you in my crystal, I saw you making love, I'm gonna get my pistol
telepathy's gonna be the death of me [x4]
telepathy [x3]

________________________________________________________________________________________________

"Momentary Breakdown"

two strangers meet on a crowded street, eye to eye and their hearts skip a beat, within their minds they don't know what to say, so they just smile and go their separate ways
it's only a momentary breakdown, only a momentary breakdown
but as they walk they feel a glow inside, a blinding light invades their sterile lives, and suddenly their world begins to spin, they can't suppress the feelings deep within
it's more than a momentary breakdown, more than a momentary breakdown
and now the circuit is complete, at last there's someone just like me, I know that we were meant to be in everlasting harmony
so silently the crowd began to move, one by one 'til there was only two, and darkness fell upon the rebel pair, they close their eyes and there is no-one there

________________________________________________________________________________________________

"I Think We're Alone Now"

Music and lyrics by Ritchie Cordell.

"children behave", that's what they say when we're together, and "watch how you play", they don't understand and so we're
running just as fast as we can, holding on to one another's hand, trying to get away into the night and then you put your arms around me and we tumble to the ground and then you say

[chorus] I think we're alone now, there doesn't seem to be anyone around, I think we're alone now, the beating of our hearts is the only sound
look at the way we got to hide what we're doing, 'cause what would they say if they ever knew and so we're
running just as fast as we can, holding on to one another's hand, trying to get away into the night and then you put your arms around me and we tumble to the ground and then you say

[chorus]

I think we're alone now, alone now, there doesn't seem to be anyone around, I think we're alone now, alone now, the beating of our hearts is the only sound [x3]

________________________________________________________________________________________________

"One in a 1,000,000"

[chorus] there's just one in a million people who can make me feel so fine, there's just one in a million people who can fascinate my mind, there's just one in a million people who can wind me up inside, there's just one in a million people who can do it every time
tried to find a right connection, tried to find the one for me, I was looking for perfection, they could never guarantee, few of them could fit my plan, I could count them on my hand
[chorus]
stop and think about statistics, chances are we'd never meet, still I lived in hope that one day I would find the missing link, you're the one I've waited for, you're the one I can't ignore
[chorus]
we have something very special, we have something quite unique, it's a mutual vibration, we don't even have to speak, shh, now that I have found the best, how can I control myself?
[chorus]
oh, one in a million people who can make me feel so fine, there's just one in a million people who can fascinate my mind, there's just one in a million people who can wind me up inside, there's just one in a million people who can do it, do it, do it, do it, do it every time

________________________________________________________________________________________________

"Tonight"

Music and lyrics by Nick Lowe; lyrics slightly adapted by Lene Lovich.

what a fabulous night, look at the moon and stars all shining bright, it's a wonderful night alright, oh it's so heavenly, I could almost believe you could fall in love with me tonight
there's a place that I know, a secret place where I sometimes go, if you wanna know where we'll go there, so don't hesitate, 'cause although it ain't late we still can't afford to wait
[chorus] tonight, tonight there will be no sorrow, tonight tonight don't think about tomorrow, tonight we'll do what must be done, so we won't be the lonely ones, tonight, tonight how can we fail to fall, tonight, tonight is really magical, tonight we're just a boy and girl, the only people in the world

tonight
oh well, [chorus x3 to fade]

(original mix: no background vocals on first chorus)

Mudkiss (UK; 03/2013)

LENE LOVICH: THERE’S BEEN SOMETHING MISSING IN MY LIFE FOR A LONG TIME

Lene Lovich is a true original. Who could ever forget catching the first glimpse of her and her plaits as thick as a man’s wrist on Top of the Pops? Or seeing her live as part of the ultra-hip Stiff Records Tour with Wreckless Eric and Jona Lewie?
Famed for the quirky hit ‘Lucky Number’ back in 1979, Lene’s career has spawned five albums although it’s true that Lene never regained the momentum that came with that early success. However that could all be about to change now that she’s decided to slip back into her stage shoes and take herself on tour. The jewel in the crown is a headlining spot at the world’s premier punk rock festival, Rebellion in Blackpool which should, if the sea breezes are blowing in the right direction, introduce her to a whole new generation of fans. Before that happens though, Lene Lovich and her band are about to play the Dry Live in Manchester this coming Saturday 23rd March, and it’d be great if you could participate in the adventure – I know Mudkiss will be there!

-What made you want to become a performer?
LL: I don't really know, something inside me made me different from most people around me. Once the aliens told me they weren't coming back for me, I had to find a place to be where I could live and be happy which is what most of us try to do. I always believed that if I lived long enough I would find it. After a lot of trial and error, I ended up being a performer.

-Who or what do you consider to be your major influences?
LL: Soundwise - We had three records in our house, 'March Slav' by Tchaikovsky, 'Molasses' by Spike Jones and the soundtrack to the film 'South Pacific'. I played them countless times, especially when no one was around. Visually - There was no censorship, so I saw a lot of scary films as a child in Detroit. They fed my imagination. Later on, the list grows...

-What was working for Stiff Records like?
LL: Great fun at the beginning - total freedom, nobody told me what to do or how to look. It was pure joy after having had such a hard time at art school. I felt like I had finally found a place to be where people thought you were good and let you get on with it. I'm very grateful for those early days. It was hard work; everyone was pushed to the limit. Things happened fast. It was exciting to see that there could be success against all odds, thanks to the super talented people that worked there.

-What are your most and least favourite memories of those days?
LL: I loved being a part of the Be Stiff Tour 78. We travelled the UK by train, going to places most tours don't. It was an education and crazy fun. Sadly, the good times didn't last. The pressure to have a hit record was unbearable. They wanted to make all the artists cover a Motown song. I didn't see the point, as I didn't think I could do it better than the original recording. So I got locked in the Stiff dungeon. I wasn't the only one.

-You're best remembered for the huge hit single 'Lucky Number'. Do you feel that all your subsequent work is judged against it?
LL: Having a hit record is a blessing and a curse. It's a wonderful feeling to get recognition for a song that you created and performed in a totally original way, but there is always the need from the record company to do it again. And once you're in the public eye, the media and to some degree the audience think they know you and expect more of the same. I only know this with hindsight. I never planned a career; there was never a master plan, so I didn't really know where I was going. I still don't. It's unknown territory and that's what makes it interesting. I don't like being judged, especially by those who like to be negative. Lucky Number is still special, but it was only the beginning.

-Which of your work are you most proud of?
LL: My second album, Flex, is probably the most significant indicator of what I could achieve as an artist. I was unaware of forces gathering against me and just indulged myself in my creativity with wonderful contributions from my partner, Les Chappell and all the other great musicians around me. I couldn't say if it was the best album I'd ever made, I don't analyse my work. But it was more the realisation that I could do this.

-Your career has spanned four decades, in your opinion how has the music industry changed in that time?
LL: The music industry doesn't really interest me. It can sink or swim and it wouldn't make much difference to me. I am thankful that I was given a great deal of publicity in the old days, I think that's something that new artists struggle with. I have to admit that I'm not aware of what's happening now or what's been happening. I'd like to think that the developments in technology, the internet etc. might help people flesh out their ideas, but really, it's the ideas that matter and the opportunity to see if they work or not in the real world. You can only test your passion, your energy and your performance skills if you play live. I regret that there's not enough places left to play and not many new ones being created.

-As an artist that sells her music, what are your thoughts on illegal downloading?
LL: I'm in favour of people having access to music for free; it's educational and sometimes inspiring, but everything comes at a price. Technology is moving faster than we can deal with the effects. The way our society works is that you need to get paid in order to live. Until we figure out how to live a different way, it's going to mean that some people just won't be able to afford to spend the time trying to create music. I believe that it's not totally a bad thing for that to happen, and it may mean that fewer people will do it.

-Do you think it's easier or harder for women artists to work and be successful on their own terms in the music industry?
LL: I don't think anyone should be judged by what sex they are, artists are attractive for all kinds of reasons. I don't dwell on thinking of myself as a woman. I believe that you are what you are so just get on with it. It's more important to develop all the skills you can. Work hard and you might get somewhere.

-After a long period of dowdiness do you think it's time for pop stars to be more flamboyant?
LL: You have to do what is natural and what feels good. I believe in style more than fashion. You can get attention by wearing a costume, but it's superficial. It's more important for me to see what I can create for myself.

-How did the current band come together?
LL: I did a weird free jazz show with Jude Rawlins from Subterraneans in the spring of 2012. Shortly after we decided to work together. Jude plays guitar and is the driving force in the band. It wasn't really our kind of music, but we were both curious to see what might happen. We had a hard time finding any space for our voices amongst the constant throng of notes. And shortly after, probably out of disappointment and frustration, we decided to work together. The band is made up of great players and great personalities. Morgan King on drums, Lydia Fischer on bass, Kirsten Morrison on keyboards, and Jude on guitar of course.

-Are you excited to be playing your music on stage again?
LL: There's been something missing in my life for a long time. You can get satisfaction from writing a song, but until you play on stage, it doesn't really live. I've been waiting for a chance to feel that power of performance again.

-What are your thoughts and feeling about playing the Rebellion Punk Festival in Blackpool this coming August?
LL: It definitely sounds like our kind of event! I'm expecting it to be a lot of fun. Can't wait!

-How do you feel about the current political climate?
LL: I've stopped watching the news and only occasionally read a newspaper. I fear that a general depression is happening and we need to find a way out of it. There's a constant bombardment of negative messages that make us feel weak and hopeless. Time for a revolution I would say.

-What got you involved in animal rights?
LL: I had always been sympathetic, but couldn't make any changes in my life till I had enough information. It was Nina Hagen who helped me focus all my random thoughts into action. We wrote "Don't Kill the Animals" together and it changed my life.

-And finally what is your biggest hope for the future?
LL: I want the world to be a fair and fun place to be.

You can catch Lene Lovich live on the following dates and venues:
22nd March Brudenell Social Club, Leeds
23rd March Dry Live, Manchester
24th March Roadhouse, Birmingham
25th March Cavern, Exeter
19th April Star & Shadow Cinema, Newcastle
20th April Broadcast, Glasgow
21st April Voodoo Rooms, Edinburgh
24th April Cargo, London
11th May Wild At Heart, Germany
11th August Rebellion Festival, Blackpool

Interview by Phil King

Rock 'n Reel (UK; 2013)

"Probably the activity I'm most proud of was my collaboration with Nina Hagen on the song Don't Kill the Animals. We toured extensively in Europe and had a great time. It was the start of my dedication to animal rights and my firm belief that it's the next step in human evolution. I travelled across America to spread the word with PETA people and was glad to help raise the awareness.

"It took a while for old music-business wounds to heal; to recharge and regain confidence and for the 'brick walls' to become invisible again. My children have grown up and I feel it's time to connect with the other reasons for being in this world. I wasn't sure it could be done until I met Jude Rawlins, who convinced me to do it and do it now.

"Jude is the founder member of Subterraneans, and has taken time from his own projects to help me present my music. We put a great band together last July - Jude on guitar, Lydia Fischer on bass, Kirsten Morrison on keyboards, and Morgan King on drums. We're working together really well and having fun.

"People find it hard to believe, but I don't think too much about the way I look. It's something that's evolved through experiences, circumstances and necessity. Early influences were from the fantasy, science fiction, horror, and Western movies I saw as a child at the local cinema in Detroit. You could mix up images of the Gorgon Medusa, the Bride of Frankenstein and any of the Native American women from the Westerns - I always related more to the Indians than the cowboys - and it might resemble me on stage. And you can add a bit of Dusty Springfield for the eye make-up.

As well as planning a comeback tour, Lene says that she's "on a mission to prevent as many suicides as possible. I'm not talking about the terminally ill. It's those who are finding life impossible for emotional reasons that concern me. The world needs sensitive people. Somehow we have to find a way to survive amid the mountains of negativity that surround us."

No Man's Land Rumours and Mysteries

UPDATE COMING SOON

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 incorrect.

These misunderstandings mainly go back to liner notes of CD re-releases, which contained only bits and pieces of this complicated story but not the complete information, and have been taken too literally.

In addition to this, liner notes or news items often tend to get elaborated by those who write them.

Unfortunately, the contents of these liner notes seem to stick in many people's heads ever since those CDs have been released in the 1990s.

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 that she said was actually 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 for those same reasons.

The following is based on various interviews (mainly from 1981-1983).

The first part of this writing is an attempt to rectify the above-mentioned incomplete facts around "No Man's Land" and "New Toy"; the second part is the story of Lene's third album in general.

Lene and her partner Les Chappell had started to record their third album at Sound-Suite Studios (Islington Road, Camden, London) in late autumn 1980. These sessions were continued in early 1981 (not confirmed). "New Toy", the first single from the album sessions, was released in February 1981. According to a Stiff Records press announcement, "No Man's Land" was given a catalogue number, scheduled for release in late March 1981.

Stiff Records decided to prevent further work on the album when "New Toy" had only become a minor hit. Having become a more commercially orientated record company since Lene's last album "Flex", they could not see much hit potential in Lene's newest recordings. The postponed album, now with a new catalogue number, was expected to be out around September 1981.

However, it was clearly the fault of Stiff Records that "New Toy" did not sell better, despite massive radio airplay. The promotional release of the single has been played frequently on the radio, but it was released two weeks before the official single would be available. By the time it was finally in the shops, radio stations had already started to play the song less frequently.

After work on the album had been stopped by Stiff Records, Lene became ill and stopped working for awhile at doctor's advice. She used that time for introspection, of which she came out strong and confident, finding that there was nothing wrong about what she was doing. She was very determined not to compromise at all.

Stiff Records wanted Lene to change and record songs that were not recognisable as being hers, even down to taking on an anonymous singing style. Also, Dave Robinson (boss of Stiff Records) started to develop the idea that Lene should record a cover of a Motown song in order to have a hit record. Their policy would have been to force Lene to change by stopping her from recording.

Lene pointed out she wanted to stay true to herself and was having none of this.

To record the remaining songs and to do mixing work, Lene had to try and grab studio time whenever Dave Robinson was in good mood, which is why it was done at scattered sessions in different studios (1981).

It was in some ways an "acceptable compromise" how the album was finished and released.

Lene made clear in interviews that these compromises were "acceptable" in that she used them as means for everything to turn out the way she wanted it to be, that she would compromise only in terms of how to get there.

The way how she could persuade Dave Robinson to let her go to the studios was by working with his producers of the time.

However, Lene has pointed out (source: 1983 interview for Québec Rock magazine, plus other interviews) that she had used these producers just as engineers (assignated studio times were brief, and Dave Robinson was not aware - or interested - what exactly was going on there in the studios).

It is the reason why they are not credited as producers on the album's rear sleeve, but as "Recorded with ...".

Also, Lene had sent the finished tapes to Stiff Records, to no response; so she turned to Epic Records in America.

Epic Records pointed out that having recorded in different studios with different engineers resulted in an overall uneven sound for the album as a whole, so they wanted this to be fixed in order to make a release possible.

Lene was not aware there was a commitment for Stiff Records to finance this, as there was a contract between the two record companies that if Epic Records decided to release something, Stiff Records were obliged to finance the finishing of the product.

When Stiff Records sent Lene to New York to remix the album at Bob Clearmountain's studio, the record company hoped that he would take out all the "craziness".

Lene was worried about this at first, but when she and Les Chappell got to New York with their multi-track in late September 1982, working with Bob Clearmountain and his engineer Dick Wingate turned out very well.

Bob Clearmountain did not remove or add anything. The album is just as Lene had recorded it in England (source: 1983 interview for Music Sound Output magazine, plus other interviews).

Bob Clearmountain only provided better sound balance in order to make it appear as "one" record, so it would not be noticeable that the songs have been recorded in different studios with different engineers.

Lene has mentioned that she did not want the album to sound patchy; she wanted it to appear like "one positive impact".

She was so happy to work with Bob Clearmountain that she said he would use him again in the future.

As for the rumours that Dave Robinson wanted Lene to re-record tracks to make them sound more commercial:

"Savages" and "Special Star" were released on both the "New Toy" EP and the album. "Savages" on the EP was more experimental with its fragmented lyrics. There is no doubt that Stiff Records were happy about not having a sort of semi-instrumental track on the album.

Still, this was not the reason why the complete lyrics have been used for the album release (which has the same backing track as the EP release, while "Special Star" is a re-recording).

The different versions of these two songs were made because America, Canada and Australia (where the EP had been released) were important markets for Lene's records, so it would not make sense to release exactly the same recordings again on the album.

"Savages" was recorded with complete lyrics for an early 1981 BBC radio session (see below), and was played live always with complete lyrics (first time in 1981).

When Lene plays "Special Star" live, it was never played like the original recording from the "New Toy" EP, but always like the album re-recording.

Lene has explained that the initial recordings of these songs (as released on the "New Toy" EP) reflect how they were originally conceived, and that the album versions stand equal with the EP versions - not necessarily having developed these songs for the better, but taking them into different directions.

(When listening to the album re-recording of "Special Star", it is incomprehensible why some people make it out to be "more commercially appealing" than the original recording. Both versions are haunting and spacey in their own right.

What is actually more commercially appealing about the album recording is the sound quality, in having more of a hi-fi sound to it.)

In addition to this, people unsurprisingly tend to make up their own stories. About the fact that Lene has recorded a cover of "It's You, Only You (Mein Schmerz)" by Dutch band The Meteors (not the British band of the same name), they think she "somehow" must have done this because Dave Robinson wanted her to do a Motown cover.

Apart from the fact that the Meteors' songs are totally different to the Motown sound,

that particular song was already around at the above-mentioned initial recording sessions for "No Man's Land" (before they got stopped). Lene had asked the Meteors about covering that song when she invited them to be one of the opening acts for her autumn 1979 tour (when "Flex" was already recorded but prior to its release).

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Lene and Les Chappell did not have very much time to work on the songs for the first two albums. Some of the original songs on "Flex" have actually been written in the studio. Before recording sessions for the album started, they had only three original songs ready ("Monkey Talk", "Joan", "Bird Song"), plus tapes with many little bits of ideas recorded at home.

They decided to take more time for the third album, which they did after Lene came back from an extended visit at her family's place in America in the summer of 1980.

They visited producer Conny Plank's recording studio near Cologne in 1980. Contrary to what was written in the media, Lene did not go to Japan in 1980 to check out Japanese recording technology (her only visit to Japan was during her 1983 tour).

At one point in 1980 Lene wanted Ennio Morricone as (co-)producer for "No Man's Land", because of the different slant from which he would have taken everything into, but he was already booked well into the future.

Lene was very put off when she learned that The Cars' producer Roy Thomas Baker has claimed in some 1980 music paper that he's going to produce Lene's next album.

When further work on the work-in-progress album has been basically stopped by Stiff Records after the relatively poor sales of "New Toy" and Lene was having to grab time for scattered recording sessions (see above), Epic Records intended to release the song "New Toy" in America (where up to then it was available as an import).

The US release of the single was eventually withdrawn because Epic came to the conclusion that an extended release with more tracks would make more sense commercially.

It was decided to put out the six-track 12" EP "New Toy" with recordings from the "No Man's Land" sessions: "New Toy", "Savages", "Special Star", "Never Never Land", "Cat's Away", "Details". The EP was released in America in July 1981 (see albums discography). It also came out in Canada, and in Australia later in 1981.

(The Japanese six-track 12" EP "New Toy" (released in spring 1981) and two other 12" EP releases of the same title (released in Australia in spring 1981, and in France in late 1982/early 1983) are NOT releated to the actual "New Toy" EP. Also, these three releases are unrelated to one another. See specifications at singles discography.)

Epic Records may have financed mixing these tracks for the upcoming EP release. This is unconfirmed though; Lene may have finished mixing previously, before it was decided to release the EP. It is not unlikely that mixing these tracks just took place at the same occasion when "New Toy" and "Cat's Away" have been mixed for their upcoming release on the "New Toy" single (February 1981).

"Cat's Away" on the EP (different mix than on the "New Toy" single b-side) might be an up-till-then unused mix from these sessions.

The release of the "New Toy" EP made room for more tracks on the upcoming album itself. Obviously it would not make sense to release an album with mostly the same songs that were already available on the EP.

The songs that would be released on the "New Toy" EP, plus "Faces", "Walking Low", "Blue" (which became a single b-side), and "Savages" (the album version has the same backing track as the EP version) have been recorded during the initial album sessions at Sound-Suite Studios (late 1980, perhaps continuing into early 1981).

Most of the other tracks on the album have been around for the initial sessions, but have not yet been recorded by the time these sessions were stopped by Stiff Records.

The songs "Savages", "Rocky Road", "Maria" (along with "Details") were first heard as special radio session recordings for BBC host Richard Skinner's programme in March 1981. "Savages" from that radio session stands out with its haunting double-tracked vocals on the verses.

The decision to cover "It's You, Only You (Mein Schmerz)" was made in 1979.

Whether "Sister Video" has been around for the initial sessions is unconfirmed, but likely.

Both "Blue Hotel" and "O Seasons O Castles" did not yet exist during the initial sessions.

The album version of "Blue Hotel" was recorded around autumn 1981, in order to be performed at Sanremo song contest festival (Italy, late January 1982). The original song was a demo recording by the writer of the song, with dreadful English lyrics.

When the contest jury remarked that Lene had changed the original song too much for the performance at the festival , she recorded a different version that was musically closer to the songwriter's original demo.

This new recording, which became virtually a different song, was performed half-playback (vocals live) twice at the festival, and released on single in Italy in early 1982. It was also released in Germany in 1983.

"O Seasons O Castles" was recorded around early 1982, specially for the French television film "Rock", in which Lene plays a leading part.

It is unknown if Lene had considered this song to go on the album at some point. It became a single b-side in Australia and Germany in 1983.

(See upcoming page with information on all songs.)

Justin Hildreth, Lene's drummer since the recording sessions for "Flex", played drums on the songs from the initial sessions for "No Man's Land", and also at the above-mentioned BBC radio session.

He was not available for later recording sessions, which is why Fingerprintz drummer Bogdan Wiczling was playing drums for "It's You, Only You (Mein Schmerz)" and "Rocky Road".

Lene and Les Chappell preferred the sound of a drum machine for "Special Star", "Sister Video", "Maria" and "Blue Hotel".

Stiff Records were concerned that the word "no" in the album's title might put the audience off, so they asked Lene to explain the title on the sleeve, which is the reason why she would write the poem that is printed on the rear sleeve.

A concert in New York in September 1981 (part of a brief East Coast tour) was filmed for television by the production company of American band The Osmonds (they were the only people who wanted to put money into this).

Lene and Les Chappell took photos for the album cover at the Great Salt Lake Desert when going to the Osmonds' place in Utah to do editing work of the New York concert's filming.

Some film footage they had shot at the same occasion in the desert was used for brief scenes of the video for "Blue Hotel" in 1983.

The following credits are taken from the inner sleeve of the album's Japanese release (except the studios). See albums discography for more "No Man's Land" credits.

Apart from the initial sessions being confirmed to have taken place at Sound-Suite Studios, the other studios are listed on the album's rear sleeve but there is no specific information mentioned.

Following internet research for the engineers and studios, the locations of the individual recording and mixing sessions listed below are virtually confirmed (except where noted).

Recording engineers:
"Faces", "Walking Low", "Savages", "Blue", "New Toy", "Cat's Away", "Special Star" (from "New Toy" EP), "Never Never Land", "Details": Alvin Clarke, Peter Rackham (Sound-Suite)
"Special Star" (from "No Man's Land"), "Maria": Martin Rushent (Genetic)

"It's You, Only You (Mein Schmerz)", "Sister Video", "Rocky Road": Steve Nye (Air)

"Blue Hotel": Gordon Fordyce (Good Earth)

Mixing engineers:
"Faces", "Walking Low", "Special Star" (from "No Man's Land"): John Walls (Wessex)
"It's You, Only You (Mein Schmerz)", "Sister Video": Bryan Evans (Good Earth)
"Blue Hotel", "Maria", "Savages", "Rocky Road": Damian Korner (Konk ? / Basing Street ?)

Spinach Fizz (recipe by Lene from vegetarian cookbook)

-about a half to one pound of good fresh spinach (depending on how much you like it and the size of your pan)

-1 large onion - chopped

-1-2 cloves of garlic - chopped (optional)

-2 tablespoons oil (enough to cover the bottom of the pan)

-a little lemon juice (optional)

-pepper

You'll need a large diameter frying pan, as deep as possible, with a lid.

Wash the spinach well and pick out any dodgy bits, breaking up any extra large leaves - let it drain in a colander while you do the rest.

Put oil in the pan and let it get very hot. Test by flicking a drop of water off the end of your finger; it should sizzle immediately. Add chopped onions and keep stirring so they don't burn - when they begin to go soft add the garlic and cook until they start to become transparent.

Now comes the tricky bit. Transfer the semi drained spinach to the pan and cover immediately. You will hear a big 'FIZZ' which will then go quiet.

Cook one minute more and then serve with a squeeze of lemon.

Transcript for "The Collector"

"The Collector", a futuristic opera by Cerrone, with all lyrics by Lene Lovich, is based on an unpublished short story by Lene of the same title. The lyrics were written after Cerrone's music.

Cerrone first released an album called "The Collector" in 1985 (vinyl only at the time; CD release 2009), recorded in 1984. The tracks from that album's side 2 are not related to "The Collector" story.

A different album also called "The Collector" (released in 1988; CD and vinyl) contains the piece in its entirety. 

The side-long title track of the 1985 release is called "Evolution" on the 1988 album (different recording than the 1985 release).

Scroll down to the bottom of this page for the lyrics of the 1985 album's title track, which contains some extra lines that were not used for "Evolution".

After "The Collector" had been performed at the Trocadero esplanade in Paris in September 1988, a live recording of this performance was released later in 1988 (this release, titled "The Collector - Live Opera Futuriste" (CD only; also released on video cassette), has the same cover and artwork as the 1988 studio album).

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THE COLLECTOR


CHARACTERS

The Witness
I am the independant observer who verifies all. I put forward some philosophies and questions and recognize the constant search for truth, yet I am not affected by the quest. I am interested to watch and make comment, but do not seek to play the game.

Earthalien Chorus
We are "Earthaliens" from the planet "Earthalia". Those of us who took refuge here, called this planet "Earth" to remind them of home. As centuries pass, they still refer to all strangers and newcomers as "Aliens", for they themselves were once strange and new. We have come to announce a time of enlightenment and change. The dawn of a "New Age".

The Collector
I am the voice of Earthalia. I have been invested with all knowledge and power to show our earthbound people their true identity and realize their potential. I come to help them break their chains and guide them through the dark. When they are ready, I will take them home.

Woman
I represent all Earth women. The Collector takes me back in time. Through a series of flashbacks, I recall our true history. Although I still have many questions, I begin to realize who I really am.

Man
I represent all Earth men. I am filled with doubt and confusion. The Collector reveals to me the wonder of the real world, and I begin to sense a positive change.

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THE COLLECTOR PHILOSOPHY

A super race of alien beings is in peril, their precious world is dying. A new world must be found in order to survive. They search the universe for a new home, finally reaching Earth, their resources almost exhausted. It is far from ideal, but the only choice under the circumstances.

A few volunteer to carry on the search for a more suitable planet. The majority must wait on earth -stranded - until a better world can be found. As time goes by, the waiting aliens concentrate hard on survival. Many compromises must be made. The Future is more important than the past.

Centuries go by without communication from the search party, while generations here re-cycle and evolve. Life before Earth has been long forgotten. History has become based only on our Earthly experiences as we become more and more chained to this world. Even so, something of our original alien self still remains. Maybe that essence is what some people mean when they talk about the soul.

Now, at this stage of our evolution, natural and man-made disasters strike again and again. Many have become discontent with life on Earth. How ironic it is, that during our own restless generation the search-party has returned. The Collector has come to take us Home.

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THE WITNESS

The Witness
Every generation asks itself - who am I ?
Where did I come from ? Why am I here ?

Are we just skin and bone ?
Where is this thing called the Soul ?
Has anyone ever seen it ?

When we die - we're dead. That's it. Or is it not ?
How can something as full and complex as us, suddenly become nothing ?

What happens to all that energy and emotion ?

Did man evolve from the apes ?
Did life begin in the sea ?
Or have we always been here - just as we are today ?

So many questions. So much mystery.
It's about time we had some answers.

Don't you agree ?

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A NEW AGE
Part 1

Earthalien Chorus
A new age is dawning
The glory unfolds
A new world is calling
The voice of ........

The greatest world of all

The music within us
Is echoing strong
The future is singing
The song of .........

The greatest world of all

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EVOLUTION
Part 2

The Collector
Be calm - you will come to no harm - I am "The Collector". When our ancient world was dying some of us took refuge on this primitive earth, others scanned the stars in search of the ideal.
That journey was long and confused.
But now - I have returned - to take you home

Woman
Out of a world of chaos and turmoil we arrive
Hard as it seems we must try to keep alive
Hungry to breathe we struggle to reach
the atmosphere
Hoping at least - the future is on our side

Until the day - we fly away
There's no escape - in the game of life

Few search the sky for a new way of life while we abide
Waiting for rescue, waiting to see the light
Eyes turn aside as each day becomes a memory
Best to forget the past - the future looks bright

Until the day - we fly away
There's no escape - in the game of life
Excite your mind - time after time

Move on - sing a new song
Let the music change your life
Take a new song - turn the world round
Let the energy revive

Make something happen
Don't get upset
If the goal is out of reach

Never give over - keep moving on
Never give up on the dream

The Collector
Your stories of evolution amuse us
Do not think that mankind has descended from the apes
For the apes are still apes and always will be so
The harsh conditions of earth have dulled your senses
When you are re-united you will remember your true self

Woman
Centuries flash in curious dances we design
Strange how we change our style as time goes by
Only the soul remains, the rest we win or lose
Better to start again - the future looks fine

Until the day - we fly away
There's no escape - in the game of life
Excite your mind - time after time

The Collector
You are not the first
And you will not be the last...

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THE CIRCLE
Part 3

Woman
Starry eyes are open wide
As what you say
Turns the mind

Man
Is it real or fantasy
Can we believe
So much confusion

Together
Could it be we used to fly
The sky above
Looks very bright
Tonight

Earthalien Chorus
Somewhere in the dark there
Is a candle that wants to glow
In the heart there is a burning
As the memories start to flow

The Collector
It is our nature to move in circles
But the circle is not small in this great world
Make something great of all things and understand your own greatness
Do not accept your fate but learn to accept yourself
Think not of escape - but of freedom

Woman
Many minds have tried to find
A way to break
The chains of life

Man
Are you sure we can be free
Would man survive
A world of changes

Together
Suddenly we realize
The sky above
Is yours and mine
Tonight

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EARTHALIA
Part 4

Far away stars seem so familiar, as memories of home return

Earthalia glows, wonderful and radiant

Peace and contentment rest for a time with Man and Woman,
While they enjoy the vision of a perfect world.

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BREAK THE WALL
Part 5

Man
Wild are the dreams of a child

Earthalien Chorus
The channel - is open

Man
Soaring high

Earthalien Chorus
So precious - the moment

Man
Why do the dreams disappear from our lives

Earthalien Chorus
The channel - is closing

Man
Out of sight and mind

The Collector
From the day these earthly forms were borrowed
You have built around you a wall of pain and loss
Regain your vision - break down the wall

Man
Trying so hard to erase all the pain
from inside

Earthalien Chorus
The pressure - gets heavy

Man
Hold on tight

Earthalien Chorus
Remember - the message

Man
Finally leaving the tension and stress behind

Earthalien Chorus
Forever - and ever

Man
Out of sight and mind

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THE REAL WORLD
Part 6

Through the crack they have made in the wall, Man and Woman now see a very different world

A marvellous place of happiness and excitement

They watch, wide-eyed,
as The Collector shows
them all the thrills and
delights of the real world.

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LIGHT OF LOVE
Part 7

Man
Feelings so deep have entered my life
Taken control - they have opened up my eyes
Helped me to see a way through the dark
Made me believe how great we really are

The moment you found me something was changed
Inside and outside - they will never be the same
A new kind of love I now understand
Seems for me the first time I know who I am

Forever and always we hold in our heart
The beat of a dream - no one can stop

Light of love come into me
And make my life so clear to see
Fill me up so all can see
The light of love that shines in me.

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TRANSFORMATION
Part 8

Man has entered the light and the light has entered Man

He is surrounded by the welcoming spirit of Earthalia

All things seem possible

How good it feels, to be part of this great world

Life on Earth will never be the same

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THE DECISION
Part 9

Man
High are the stars in the sky
Overhead
One day we'll really be able to fly
Home again at last

The Collector
Many have called out to me
I have always answered that call

Man
There is no doubt in my mind
No regrets
One day the world will begin to return to the light
Home again at last

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UNITY, POWER AND THE PROMISE
Part 10

The Collector
Some are ready to receive
Others will take time
Even the most enlightened are trapped
I have come to release you

One by one
You have lost the sense of unity
And become slaves to your isolation
You have made yourselves seem weak

Each part is essential to the whole
Search your far memory
Recall that power
Sleeping within you all

I have kept the promise
And will continue to do so
When you have heard and understood
You will decide

I am "The Collector"

... "The Collector"

I will return

... return...

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THE GREATEST WORLD OF ALL
Part 11

Earthalien Chorus
A new age is dawning
The glory unfolds
A new world is calling
The voice of ....

The greatest world of all

The music within us
Is echoing strong
The future is singing
The song of ...

The greatest world of all


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MUSICIENS

Marc Cerrone - Charly Olins:
Synthetizer
(Emulator III - Emulator II + CD ROM - Dynacord Addone + Sampler - Sequenceur Macintosh + Performer 2.2 et 2.3 -Roland D 50 + PG 1 000 -Roland MKS 80 - PPG Wave 2 -Roland Jupiter 8 -OBXa -Minimoog -Akai 5 900 - DX 7 -Alesis HR 16)

Instruments acoustiques
(Timbales - Cymbales - Tubular Bells -Piano Steinway -Celesta -Drums and Percussions)

Steve Croes:
Synclavier

JJ "Art of Noise":
Courtesy of Chrysalis Records
FAIRLIGHT Serie 3

Paul Jackson:
Guitar

Jérémy Cerrone:
Sound Effect


INTERPRÈTES

Created, composed and produced by Marc Cerrone
Lyrics: Lene Lovich

The Collector: Bill Mitchell
Woman: Mary Hopkins
Man: Steve Overland
Earthalien Chorus: Choeurs de l'Opera de Paris

Arranged by Charly Olins

Based on a story by Lene Lovich

Opera de Paris Coral Arranged by Michel Ganot

Production and Publishing: N.A.C.
Collector - Earthalia - Trade Marks

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THE COLLECTOR (as released in 1985)

(spoken)-Be calm, you will come to no harm, I am The Collector
When your ancient world was dying
Some of us took refuge on this primitive earth
Others scanned the stars in search of the ideal
That journey was long and confused
But now I have returned to take you home!

Out of a world of chaos and turmoil we arrive
Hard as it seems we must try to keep alive
Hungry to breathe we struggle to reach the atmosphere
Hoping at least the future is on our side

Until the day we fly away there's no escape in the game of life

Few search the sky for a new way of life while we abide
Waiting for rescue, waiting to see the light
Eyes turn aside as each day becomes a memory
Best to forget the past, the future looks bright

chorus: Night falls on the planet when I take you to the flight
On the turning of the light years and the future's looking fine
There is no danger, only the mystery of the light you get to see
This is your moment, take it too hard, we are ready for the key ...hold on

Until the day we fly away there's no escape in the game of life
Excite your mind, time after time

chorus

(spoken)-As you see, your story of revolution amuses us...
Do not think that mankind has descended from the apes
For the apes are still apes and always will be so
The harsh conditions on earth have dulled your senses
When you are reunited you will remember your true self

Centuries flash in curious dances we design
Strange how we change or style as time goes by
Only the soul remains, the rest we win or lose
Better to start again, the future looks fine

Until the day we fly away there's no escape in the game of life
Excite your mind, time after time

chorus
-are you ready -excite your mind, time after time

(spoken) -you are no the first and you will not be the last
Those you call missing persons are among the collected, I accept you all
Many have called out to me, I have always answered that call
Do not be concerned, there is never need for force, the choice is yours
I am The Collector... The Collector... I will return...

Other recordings

See also singles discography, upcoming overview of unreleased material (including those recorded for radio/television sessions), upcoming screen/soundtracks/acting overview and upcoming guest appearances discography
(the singles discography and this non-album tracks overview include collaborations that have both Lene's and the other artist's name written on them, and therefore are not guest appearances).
Information on children's songs will be added soon.

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"Monkey Talk" (first version)

album "Can't Start Dancin'" (sampler)

Recorded specially for this album (shortly after "Stateless" was finished, but prior to its release).

UK; October 1978

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

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"Be Stiff" (studio recording)

"Be Stiff" (live) (The Entire Ensemble (vocals by Lene Lovich))

six-track 12" EP "Be Stiff" (promo sampler)

Cover of Devo song which gave the Be Stiff tour its name (see upcoming detailed overview of all songs).

"Be Stiff": Recorded around September or October 1978.
"Be Stiff" (live): Joint performance from the bands that participated on the Be Stiff tour, with lead singing by Lene. Recorded at Leeds University.

UK; early 1979

"Be Stiff" (studio recording): Also released on various CDs.

"Be Stiff" (live): Also released on 4-CD box set "Toy Box" (2023).
 

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"Lili Marleen"

German television programme "Bio's Bahnhof"

After having performed "Lucky Number" live on the show (at the time when the song was becoming a hit in the UK), Lene did a parrot-fashion performance of the first verse and chorus of the old German song "Lili Marleen" (host Alfred Biolek sings along with her towards the end of the performance).

08 March 1979

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"Details" (first version)

album "Riding High" (soundtrack)

See also upcoming screen/soundtracks/acting overview for "Details" (first version - instrumental) and upcoming detailed overview of all songs.

Not specially written for this film.

Unknown if specially recorded for the film (around late 1979-early 1980), or perhaps recorded during the "Flex" recording sessions (August 1979). Mixed on 11 February 1980.

"Riding High" filming date: autumn 1979. Film release: May 1981.

The audio quality of this album is of low standard. After the album had been first released (see below), "Details" (first version) was released in high standard quality on the Japanese six-track 12" EP "New Toy" (see singles discography) in spring 1981. This EP is NOT related to the actual "New Toy" EP (July 1981; see albums discography), which contains the re-recording of "Details".

first release (prior to film release):

France; "Superstar 80 - Riding High"; late 1980

UK & Europe; "Riding High"; on French record label; late 1980

second release:

UK; on UK record label; 1981

Argentina

Greece

Netherlands

Uruguay

Also released on six-track 12" EP "New Toy" (Japan; spring 1981 (prior to second release of "Riding High" album)) (Japanese EP unrelated to actual "New Toy" EP; see entry for "New Toy" at singles discography) and 4-CD box set "Toy Box" (2023).

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"My Success"

British television programme "Other Side of the Tracks"

Studio version of song from "Mata Hari" (see upcoming screen/soundtracks/acting section); recorded for video to the song, which was filmed specially for this programme.

Recorded and filmed in autumn 1982.

early 1983

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"Breaking the Rules"

album "Tuff Turf" (soundtrack; vinyl)

See upcoming detailed overview of all songs.

Recorded in 1984.

US; early 1985

Canada

Germany; "Love Fighters" (title for film and album)

Germany; "Tuff Turf"; CDr (unofficial); 2002

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"The Game of Seduction" (Soda Stereo)

Vocal track sung by Lene to "Juego de seducción" by Argentine band Soda Stereo. The backing track is the actual recording as released by Soda Stereo in 1985.

When Soda Stereo singer Gustavo Cerati came to visit England in 1986, he went to see Lene's musician friend Judge Smith (former member of the band Van der Graaf Generator), and eventually came to see Lene as well.

When Lene adapted the lyrics of this song to English at the band's request, her vocal track with the English lyrics was recorded in order to present a guide vocal.

Also circulating on the internet is a recording with Gustavo Cerati singing to the same backing track, using some of Lene's English lyrics adaption, while other parts of the lyrics are different because the band found that Lene did not include some of the ideas of the original Spanish recording.

English lyrics to another Soda Stereo song have been written by Judge Smith at the same occasion.

Lene's vocals recorded in early 1986.

unreleased; circulating on the internet

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"Don't Kill the Animals" (Rescue Version - album mix) (Lene Lovich, Nina Hagen)

"Supernature"

album "Animal Liberation" (sampler)

"Don't Kill the Animals": Produced by Lene Lovich, Les Chappell, Bill Liesegang, Karl Rucker, Nina Hagen.

Recorded prior to single version, but released after it (see singles discography).

"Supernature": Produced by Lene Lovich, Les Chappell.
Lene's own version of the Cerrone track for which she wrote lyrics in 1977.

Volume too low for CD album. Standard volume for vinyl album.

Recorded in 1986. Mastered in December 1986.

See also singles discography for "Don't Kill the Animals" (single recording).

US; vinyl / CD; 21 April 1987 or May 1987

Canada; vinyl

UK; vinyl

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"Don't Kill the Animals" (Rescue Version - video mix) (Lene Lovich, Nina Hagen)

one-track video cassette "Don't Kill the Animals"

Produced by Lene Lovich, Les Chappell, Bill Liesegang, Karl Rucker, Nina Hagen.

Recorded prior to single version, but released after it (see singles discography).

Recorded in 1986. Video filmed in 1987, or maybe 1988.

US; 1988

Also released on album "The Facts About R.N.A." (promo sampler ("R.N.A." = Rhino New Artists); CD) (US; 1990).

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"Wonderland" (Disconet Edit)

double 12" EP "Disconet Program Service - Volume 11 Program 9" (sampler)

Remixed by Steve von Blau.

"Wonderland" (single re-recording) (recorded in 1988 or early 1989) and this mix from it released prior to earlier-recorded album version (see also singles discography).

US; September 1989

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"Wonderland" (Alice's In Mix)

12" EP "Art of Mix Vol. 12" (promo sampler)

Remixed by James 007 Lee.

"Wonderland" (single re-recording) (recorded in 1988 or early 1989) and this mix from it released prior to earlier-recorded album version (see also singles discography).

US; October 1989

Also released on album "Art of Compilation 3" (promo and subscription sampler; CD) (US; 1990).

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"Don't Kill the Animals" ("'91 Mix" (inaccurate; see below)) (Lene Lovich, Nina Hagen)

"Rage" (Lene Lovich, Erasure)

album "Tame Yourself" (sampler)

"Don't Kill the Animals": Produced by JFT Hood. Mixed by Grant Showbiz, JFT Hood.

This version is not a new "mix" (as stated on the record), but a new recording (with no musical input from the original artists) for which all vocals have been taken from the original recording (as originally released on Rescue Version - video mix; see entry above). The reason why there is "'91 Mix" written on it is because the release of the finished album was postponed from 1990 to 1991.

"Rage": Produced by Vince Clarke, Andy Bell, Les Chappell, JFT Hood. Mixed by Grant Showbiz, JFT Hood.

Vocals by Lene Lovich and Andy Bell.

Recorded in early 1990.

See also singles discography for "Don't Kill the Animals" (single recording).

See entry for "March" at albums discography for "Rage" (original recording).

US; CD; late February 1991

Australia

Canada; CD

Europe; vinyl; autumn 1991

Germany; CD; autumn 1991

Japan; CD; 10 October 1991

Mexico; cassette

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"Don't Kill the Animals" ("Rescue Remix") (Lene Lovich, Nina Hagen)

"Rage" (Vitamitavegemix) (Lene Lovich, Erasure)

"Rage" (Dub) (Lene Lovich, Erasure)

six-track 12" EP "Tame Yourself - The Housebroken Dance Mixes" (promo sampler)

"Don't Kill the Animals": Remixed by JFT Hood. Extended version of "'91 Mix" (also inaccurate; see above).

"Rage" (Vitamitavegemix), "Rage" (Dub): Remixed by JFT Hood. Additional lyrics for Vitamitavegemix.

US; 1991

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"The Insect Eater" (demo recording)

cassette "Dracfest Tape"

Privately distributed audio cassette which contains the studio versions (as released before) of the songs that Lene was to play at Dracfest (Whitby/England, 24 September 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 2000; see singles discography) and "The Insect Eater" (demo recording) (see albums discography for album recording). "The Wicked Witch" is inaccurately labelled "demo recording" on this cassette.

September 1997

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"The Wicked Witch" (album mix) (Latz, Lene Lovich)

"Home" (Latz, Lene Lovich)

Latz

album "Twinnings" (CD)

Vocals and "additional construction" by Lene Lovich and Les Chappell.
"The Wicked Witch": Song title by Latz (inspired from film "The Wizard of Oz", 1939); lyrics by Lene Lovich.

"Home" previously released on Latz 10" EP "The Wicked Witch" (see singles discography and upcoming detailed overview of all songs).

See singles discography for "The Wicked Witch" (Monitor Mix) on Latz 10" EP.

"The Wicked Witch": Recorded in 1994. "Home": Recorded in 1995; mixed in late 1996.

Germany; 21 May 2002

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"Alpha Girls"

album "Others" (part of four-album compilation box set; CDr)

From Vicky Hawkins film "Mary Mutta and Her Alpha Girls" (privately distributed). First public showing of film in September 2005 (see also upcoming screen/soundtracks/acting overview).

Recorded in 2005.

January 2014

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album "Wild at Heart: Locked in the Dressing Room" (sampler; vinyl)

"Savages" (Lene Lovich Band)

Recorded some years before release.

See also singles discography for the song's online release.

Germany; early 2021

Juke (Australia; 11-12-1982)

Ms Lene Lovich is in her dressing room at London's Lyric Theatre where she appears nightly (for some 4 weeks) in the musical play about Mata Hari.

"I came to see a show at the same theatre at the beginning of the year in January; it was written by a friend of mine, Chris Judge Smith, and when I came to see it, I was having a lot of problems with my record company."

"I was really personally depressed, but I was excited to see music happening in an alternative way because unless you have a record out it's very difficult to perform live. It's the professional business and everybody has to be paid, people who do the lights, the band, and if you don't have the record out, it's impossible to do it."

"I was quite excited about the idea to do the music in the theatre situation. Actually, about four years ago I was talking to the same guy, Chris, how do you show somebody a story for a film if you have got an idea for it - how do you present it to somebody ? He told me that you write something called "treatment", showing me one he was commissioned to do about Mata Hari, but never realized. So it was a combination of events that led me to do something like this."

The play, authored by Lene, her faithful companion for many years, Les Chappell and old friend (from the days of art-studies, later founder-member of remarkable but ill-fated Van Der Graaf Generator) Chris Judge Smith, is factionalized account of one of this century's most intriguing persons. Mata, who had bursted upon Paris in 1905 with her unique oriental dance, on engagement in Berlin at the outbreak of First World War, returned to Paris only to be executed in the charge of espionage in 1917.

Lene, with her almost eccentric looks and fascinating way of performing, has been the only possible choice to bring to the stage life the enigma and mystery of Mata. But, the critics haven't thought so and not very good write-ups ensued.
She laughs genuine wholeheartedly: "On one hand it's true because on the night the press came, I was very ill, being sick the week before the opening and the first week of showing; I couldn't really sing well, even now my throat is not in the usual shape. They didn't get the best performance from me, I didn't have much energy to really give the part the real spark."

"And we were a little under-rehearsed because I had been telling my record company for nine months that we'd be doing the show. Of the only three weeks to rehearse, they sent me off to New York to finish the album for a week, so we really had only two weeks to get it right."

"Also, we have very strange critics, some said 'Why should a singer make a show about the dancer ?' But, why not ? Does it mean that I should only make a musical about singers ? And I do believe that they like to keep arts separate; that's not what I was hoping to achieve. I was hoping for some kind of communication even though I've always said that I wasn't an actress."

"I wanted to bring arts together, somehow, and in the show we have everything: puppets, music, little bit of dance, small amount of choreography ... I was hoping that the idea would work so that we could try and progress and do another one. Maybe we'll still be able to ..."

Any possibility that you put the songs from the stage production on the vinyl ?

"I'd like to but I don't think that I'll have any help from my record company. They've all come to see the show and I can only suggest and maybe they'll agree, it may happen. If it comes to it, we'd develop the songs a bit more, maybe give more information needed without the visual support."

"I think that the record company in here has changed in some way, maybe because of the circumstances that made them have different priorities. I don't think that my priorities have changed, but theirs have: for one, they are bigger company now, they employ more people, they have bigger overheads and they have become very successful with the singles here in Britain. And, that's where their emphasis really is; unless they can see that recording will be a hit-single, they are not interested."

"About two years ago, I started to record the new album, and couple of people came down and they weren't really happy about it because they couldn't see the hit-single. They have been waiting for me to change, they started not to like the way I look and they didn't even want to like the way I sang. What they were looking for, it was explained to me that they wanted to hear something coming from me that nobody would know that it was me. A song that could have been done by anybody, in other words. They were afraid that the public was tired of the way that I looked and the way that I sounded, and if I could do something more anonymous and more universal, I would have wider appeal."

To lose your identity and adopt a corporate image ?!

"Yes, that was the idea and it was put to me in many different ways, in many different versions by different people from the company. And all this time they've been waiting for me to change, but it doesn't work that way; they thought that if they stopped me from working I'd have to change eventually."

"In some ways you can say that what I've done now is some kind of a compromise, and if it is, it's acceptable to me. I like this record very much and they do too. It's very strange because some of the numbers are two years old, with the same backing tracks..."

"They sent me off to America to re-mix the album thinking that he (Bob Clearmountain who's worked with the Stones, Church, Roxy Music etc.) would take out all the craziness that they didn't like and he'd make it sound better. When we got there, he balanced it better for hi-fi freakos, made tracks sound more unifying because they were recorded in different studios, made them appear like one record. He hasn't changed much of the essence, it's still our album."

"I like everybody at Stiff and to have to go and look for another record company will be like running away from home," she smiles.
Les has come in during the conversation but, with his head buried in the papers, he utters not a single word.

The song that opens the new album, at the same time the new single "It's You, Only You (Mein Schmerz)" contains the leitmotif for Ennio Morricone's score for the spaghetti-western The Good, the Bad and the Ugly.

"That's the truth, and it's not my song; it's from the guys who used to be in a Dutch band called The Meteors, they are disbanded now. That riff was already in there when I picked it up, and I was glad that it was in there because I've always been a big fan of Ennio Morricone and I wouldn't mind people mentioning his name in connection with mine, even if they thought I'd stolen it."

Wouldn't the title of "No-Woman's-Land" have been better ?

"Yes, but it's traditional form of speech; Stiff didn't like it either ... the only thing they liked from the start was Les' picture of me for the cover. We decided to keep it in the family."

"Maybe all my problems are over now, or rather that is what I'd like to think," she adds as an after-thought. "It's become such a big problem for me that I'm happy to have an album out, at all."

"Sister Video (penned by J. O'Neill of Fingerprintz) is the most likeable offer of the nine, but Special Star and Rocky Road are more to the point, dealing with the coercion of the business."

"All my songs are autobiographical, very personal ... I wouldn't really like to say, I'd rather let the songs speak for themselves and to have more of the audience participation."

It's the most probable that this album will face the criticism of "not-a-big-change" after the two years lull.

"I haven't changed so much because you can only change by doing things. I'm the person who do things with feeling and intuition, doesn't plan it, I like things to happen naturally, I only learn by doing one thing at the time. The things that I learned from Flex were translated into this album, because there was nothing in between. It doesn't mean that the quality is any less..."

Dancey record without the commercial sea-songs of this season - it retails the definite Lene Lovich identity.

In 1979, Lene starred in the film "Cha Cha" with Herman Brood and Nina Hagen; following appearances in the Mata Hari play and recent screening of the French TV-movie "Rock". Is she going to pursue acting as a career ?

"Listen, if I didn't have so much trouble with the music industry, most probably I wouldn't be appearing in Mata Hari, nor doing the films. My first and foremost love is the music, so completely satisfying that I could be involved full time with no regrets."