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Marmalade label.“We recorded a fewtracks,” he says, “although it wasn’t like we were going to do a Graham Gouldman album. I think it was just the odd track. It’s a bit vague that period.What was I doing? I dunno.”


Nevertheless, it was through these auspices that Kevin Godley and Lol Creme finally found themselves preparing to hit “The Big Time.” The pair had spent the past several years studying for diplomas in graphic design; together, they designed the cardboard models which went out with such movies as The Railway Children and Cromwell. Godley later recollected, “Altogether, I think I must have spent about 11 years at art college. I just dug being a student. About that time I was working with Lol on various projects that were vaguely to do with music, and getting further away from painting and drawing all the time.


“We were writing ideas for shows like crazy, sort of multimedia things, which at that time was pretty avant-garde. So it was more a matter of deciding whether to go into that properly or whether to do art or whatever.” The decision was made for them when one commission, painting a mural on an office wall, introduced them to Kennedy Street Enterprises, the Manchester-based management structure that already handled Gouldman and sundry former Mindbenders.


Under their guidance, the duo started 42


recording the songs they were already composing. Godley recalls, “We were both at art college, Lol was in Birmingham and I was in Stoke, and we used to get together at weekends and write and record stuff. We used to get together at Graham’s house and record on his Revox. That was our first experience of the recording process. Seminal Godley and Creme stuff. ‘Seeing Things Green’, ‘Cowboys And Indians’, ‘Over And Above My Head’ and ‘One And One Make Love’ were recorded withWhirlwinds singers Phil Cohen and Malcolm Wagner on backing vocals. All done on a reel-to-reel Revox. Heady times. I wish I could unearth the tapes. But then again…”


Eric Stewart and Peter Tattersall at the Hotlegs era desk, circa 1970.


Marmalade


One day in ’68, Gouldman asked Godley to join himat a Marmalade session; Gomelsky took one listen to Godley’s ethereal falsetto, and promptly offered him and Creme a deal. It was, Godley laughs, the prelude to a nightmare.


“More than anything, I remember the life change. The scene is still vivid in my head. A three-hour drive, in a howling gale, from one life to another, leaving behind three years at Stoke On Trent College Of Art and heading for London, and a totally unknown future. I remember crying and


“A three-hour drive, in a howling gale, from one life to another, leaving behind Stoke On Trent College Of Art and heading for London and a totally unknown future. I remember crying and trying not to show it.”


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