SPACEMONKEY is the original Brighton,UK band and not to be confused with other bands with similar names.
Created to perform and release Paul Goodchilds songs and musical excursions, including Can't Stop Running, One More Shot & Come With Me (european smash hits).
Signed in America and Canada to MCA Records and Innervision Records through EMI and Virgin in Europe and the UK.
Goodchilds bands in Brighton include Dark Earth, The Satellites, Twilight Breed, The Singles, The Return (a mod style retro power pop outfit), finally culminating into The Spacemonkeys and then Spacemonkey , one of the first Brighton 80's synth new wave electro dance units.
The original line up consisted of Pete Thomas on guitar and backing chants, Tony Lethbridge on bass and backing vocals, Wayne Calcutt on drums and backing chants and Prof (aka Paul Constable) on keyboards and backing chants.
The band signed to Innervision Records alongside George Michaels Wham after impressing A & R men from several major labels.
Created to perform and release Paul Goodchilds songs and musical excursions, including Can't Stop Running, One More Shot & Come With Me (european smash hits).
Signed in America and Canada to MCA Records and Innervision Records through EMI and Virgin in Europe and the UK.
Goodchilds bands in Brighton include Dark Earth, The Satellites, Twilight Breed, The Singles, The Return (a mod style retro power pop outfit), finally culminating into The Spacemonkeys and then Spacemonkey , one of the first Brighton 80's synth new wave electro dance units.
The original line up consisted of Pete Thomas on guitar and backing chants, Tony Lethbridge on bass and backing vocals, Wayne Calcutt on drums and backing chants and Prof (aka Paul Constable) on keyboards and backing chants.
The band signed to Innervision Records alongside George Michaels Wham after impressing A & R men from several major labels.
Paul Goodchild had a very theatrical presentation using body make-up, high energy, Giorgio Moroder influenced electronic trancey space age riffs and rhythms. Other influences include :David Bowie, Marc Bolan, Iggy Pop, Mott the Hoople, Mick Ronson, William Orbit,Lou Reed, Prince, Afrika Bambaata.
Upon signing to InnerVision Records, but unknown by the band - lurking in the
small print was an option which mean't that the record label could drop any or all
members of the band if they should want. After going into Utopia studios with the bands choice of producer (Colin Thurston - whose track record included Iggy Pop during the 'China Girl' and 'Lust for Life', 'Passenger' Berlin period, plus Duran Durans first 3 albums). The band weren't happy with Colin Thurstons production of 'Can't stop Running' and 'On The Beam' and pretty soon a rift developed between the band and Thurston and his manager.
The result was that Colin Thurston and his manager phoned the record label and lay the blame squarely on the Spacemonkey band but advising InnerVision that the lead singer and writer Paul should be kept as he was the lynchpin of the band, writing and producing the bands demos as well as performing guitar, lead vocals and some keyboards. InnerVision decided to take this advice and utilized the option in the recording contract to drop the band as individuals - yet retaining Paul Goodchild.
This put immense strain on Goodchild and his band, some of the group insisting he should be dropped as well, yet, legally this would mean he was breaking all the terms of his Agreement.
During the next few weeks acrimony built up against Paul by the band. Paul had gone against his better judgement, as when choice of producer came up, he had put forward either Trevor Horn, or Giorgio Moroder as his personal choice of potential producer due to their programming skills. But he had let the bands choice of Thurston prevail as the band were very keen to be produced by a producer with strong Bowie/Iggy Pop (Berlin period) tracks to his name, plus the band had been very impressed with Thurstons Duran Duran credits under his belt.
Eventually Paul had a big argument with the South Molten Street based InnerVision records and stormed out of the offices telling the company to 'stuff it' and more explicit, derogatory remarks!
The company chased Paul down South Molten Street and persuaded Paul to stay with them and told him he could "keep one member" of the band with label boss Mark Dean calling him a 'baby' because he wanted a band as he had always formed actual bands to act as a vehicle for his song writing and regular live gigs and performances.
The band didn't realize he had stormed off the label and as they all lived in Brighton they put bad 'vibes' Paul's way and there was now 'bad blood' between some of them against their former song writer and front man Paul - even though he hadn't done anything.
Meanwhile the label suggested the "one member" they had said he could retain would be Peter Thomas as he was an "excellent" guitarist.
small print was an option which mean't that the record label could drop any or all
members of the band if they should want. After going into Utopia studios with the bands choice of producer (Colin Thurston - whose track record included Iggy Pop during the 'China Girl' and 'Lust for Life', 'Passenger' Berlin period, plus Duran Durans first 3 albums). The band weren't happy with Colin Thurstons production of 'Can't stop Running' and 'On The Beam' and pretty soon a rift developed between the band and Thurston and his manager.
The result was that Colin Thurston and his manager phoned the record label and lay the blame squarely on the Spacemonkey band but advising InnerVision that the lead singer and writer Paul should be kept as he was the lynchpin of the band, writing and producing the bands demos as well as performing guitar, lead vocals and some keyboards. InnerVision decided to take this advice and utilized the option in the recording contract to drop the band as individuals - yet retaining Paul Goodchild.
This put immense strain on Goodchild and his band, some of the group insisting he should be dropped as well, yet, legally this would mean he was breaking all the terms of his Agreement.
During the next few weeks acrimony built up against Paul by the band. Paul had gone against his better judgement, as when choice of producer came up, he had put forward either Trevor Horn, or Giorgio Moroder as his personal choice of potential producer due to their programming skills. But he had let the bands choice of Thurston prevail as the band were very keen to be produced by a producer with strong Bowie/Iggy Pop (Berlin period) tracks to his name, plus the band had been very impressed with Thurstons Duran Duran credits under his belt.
Eventually Paul had a big argument with the South Molten Street based InnerVision records and stormed out of the offices telling the company to 'stuff it' and more explicit, derogatory remarks!
The company chased Paul down South Molten Street and persuaded Paul to stay with them and told him he could "keep one member" of the band with label boss Mark Dean calling him a 'baby' because he wanted a band as he had always formed actual bands to act as a vehicle for his song writing and regular live gigs and performances.
The band didn't realize he had stormed off the label and as they all lived in Brighton they put bad 'vibes' Paul's way and there was now 'bad blood' between some of them against their former song writer and front man Paul - even though he hadn't done anything.
Meanwhile the label suggested the "one member" they had said he could retain would be Peter Thomas as he was an "excellent" guitarist.
S P A C M O N K E Y
So Peter and Paul stayed on under the name 'Spacemonkey' and the label promised them that they could use George Michaels entire 'Wham' band and brass section to replace the original Brighton band that the label had individually dropped.
Pete Thomas
In addition the company decided Georges 'Wham' producer- Steve brown would take over as producer.
Meanwhile several London music publishers including EMI's 'April Music', Virgin, Intersong and RCA Music all offered Paul publishing contracts and eventually Steve Kutner and Lucien Grainge secured the deal and gave Paul £15,000 for the rights to Goodchilds 'Spacemonkey' songs and worldwide rights 75% in Pauls favour. Paul chose them as he loved the idea that he was joining RCA Musics other writers which included Ricky Gervais, Mick Ronson (Bowies right hand man), and Lou Reed amongst a select few others.
Meanwhile Paul and Peter went into the studio and started work. George Michael with his new managers - Simon Napier Bell, Jazz Summers and publisher Dick Leahy and Brian Morrison in a major bid against InnerVision Records in the High Court, a case that many books address in detail more than can be detailed here. ('Spacemonkey' often being mentioned also). The Court Case George and his powerful teams against InnerVision altered music industry contractual structure and Peter and Paul recorded 'Can't Stop Running' and made a start on other tracks at Maison Rouge and Town House studios using the 'Wham' band with George Michaels initial producer the charming Steve Brown.
Pete Thomas
In addition the company decided Georges 'Wham' producer- Steve brown would take over as producer.
Meanwhile several London music publishers including EMI's 'April Music', Virgin, Intersong and RCA Music all offered Paul publishing contracts and eventually Steve Kutner and Lucien Grainge secured the deal and gave Paul £15,000 for the rights to Goodchilds 'Spacemonkey' songs and worldwide rights 75% in Pauls favour. Paul chose them as he loved the idea that he was joining RCA Musics other writers which included Ricky Gervais, Mick Ronson (Bowies right hand man), and Lou Reed amongst a select few others.
Meanwhile Paul and Peter went into the studio and started work. George Michael with his new managers - Simon Napier Bell, Jazz Summers and publisher Dick Leahy and Brian Morrison in a major bid against InnerVision Records in the High Court, a case that many books address in detail more than can be detailed here. ('Spacemonkey' often being mentioned also). The Court Case George and his powerful teams against InnerVision altered music industry contractual structure and Peter and Paul recorded 'Can't Stop Running' and made a start on other tracks at Maison Rouge and Town House studios using the 'Wham' band with George Michaels initial producer the charming Steve Brown.
Can't Stop Running was released and spent several weeks blasting out of Radio One and other European radio stations.
The duo (Paul Goodchild & Peter Thomas, with the entire Wham! band) first release was a major hit in Europe (Holland,Belgium etc) and shot up the UK British charts and was accompanied with its promotional video directed by the dynamic and imaginative top UK director Tim Pope (who had previously directed videos for The Cure & Siousxi & The Banshees.)
The video can be seen on You Tube & other online sources (myspace etc).
InnerVision took up the option to record the first Spacemonkey album (On The Beam) and work commenced on tracks 'Walking Through Wonderland', 'On The Beam' and 'Dark Ones An Angel', however money from InnerVision was slow coming through and their 'parent company' CBS were still busily active in the court case against InnerVision under the auspicious of Epic Records who would later win and inherit Georges 'Wham!' back catalogue with partner Andrew Ridgely.
Due to time and the lack of finances during this period (Peter Thomas had given up his job to pursue the musical talent he undoubtedly had), and Paul was the actual writer of all the songs had his publishing advance money to live on (as InnerVision would point out whenever it contractually became officially time to pay Paul and Pete).
The pair split and InnerVision took over Pauls day to day arrangements,finance and career decisions. Paul and Spacemonkey were now one, a solo project. Although unhappy as a solo artist- Paul persevered recording using 'Wham!'s musicians and recorded 7 or 8 different versions of his song 'On the Beam' with several different producers, yet Mark Dean wasn't happy with any of the versions feeling Goodchilds original version was best but couldn't be released as the thundering drum parts would make the needles on peoples record decks technically skip or 'jump' due to their power and intensity.
With the advent of cd's this has proved to be inaccurate and the original actually could indeed have been released with no technical problems.
InnerVision records had become slightly obsessed with 'On the Beam' and re-recording so many versions in a bid to obtain a version which surpassed Pauls original and which they would own the copyright on, but the song was very Giorgio Moroder, Bobby 'O', style programmed, synthesizer driven that without programming and dub style mixing a traditional producer simply wouldn't be able to emulate this production sound or technique.
However along the way Paul had met keyboard player and programmer Adrian Lee,who, while giving Paul a lift to Victoria Station in his car, had played a demo of his production work on his girlfriend Lorna Wrights track 'Police Woman' - Paul suddenly realized that the demo and Adrian Lees production was truly of the style Paul had been searching for. He asked for the tape so he could play it to InnerVision Records supremo Mark Dean the next day and although unimpressed on first listen, Paul persuaded his record label that Adrians production technique was ideal for the Spacemonkey project and at first reluctant, InnerVision eventually agreed to Pauls request, and even went as far as signing up Adrians partner Lorna Wright to an excusive recording contract, and offered Paul several hundred pounds as a "finders fee" (which Paul turned down) and Paul with Adrian at the helm delved into the top London recording studios at length to work on the 'On the Beam' album.
Upon completion several American major record labels met with Paul and a deal was clinched with MCA Records, with Paul turning down several other offers to be with MCA as Paul felt he connected well with Michael Rosenblatt head of MCAs New York East Coast offices.
The first two singles (12" and Club play) reached 26 and 39 in the USA official Billboard Charts. They were : 'Come With Me' - remixed by John Luongo and 'One More Shot' - remixed by Mark Kamins with the Latin Rascals who have worked with Bowie, Madonna, Arthur Baker, and the Pet Shop Boys to name but a few.
Another song - 'Can't Stop Running' had already been a European hit for Spacemonkey produced by Steve Brown (co-produced by Paul), reaching number one in several countries with Peter Thomas on guitar backing chantsplus the entire 'Wham!' band,
See : Tommy Eyres, Dean Estus etc on Facebook and other music sites. Also Adrian Lee (Keyboards and programming).
Singles : Can't Stop Running (InnerVision/CBS/Epic)
Come With Me (InnerVision/Priority/EMI/MCA USA
One More Shot (InnerVision/Virgin/MCA USA
Albums : On The Beam - (MCA USA,Canada)
'Razor Maid 9: The Dub Mix' ( feat Dub Mix of One More Shot)
'Razor Maid 10: The Very Best Of Razor Maid (feat Dub Mix of On The Beam)
'Dance, Dance, Dance' compilation EMI Records (feat Can't Stop Running)
'Stampend and Swingend' (feat Can't Stop Running)
'80's' Verantwoord' powered by Rob Stenders - Can't Stop Running
'Only The Night' 86 and The Interplanetary Dub Mix
Videos : 'Can't Stop Running' (European/UK version) directed by Tim Pope
'Come With Me' (UK version- Cucumber Productions)
'Come With Me' (US, MCA version) Tony Vanden Ende
'One More Shot' (UK/ European version) Andy Morahan and Eric Watson
Books : 'George Michael' - Bruce Dessau
'Wham!' Death Of A Supergroup - Johnny Rogan
'Expensive Habits - the Dark Side Of the Music Industry' - Simon Garfield
'Guiness Book Of Hit Singles' - Paul Gambaccini
Film : Quadraphenia (small part)
The duo (Paul Goodchild & Peter Thomas, with the entire Wham! band) first release was a major hit in Europe (Holland,Belgium etc) and shot up the UK British charts and was accompanied with its promotional video directed by the dynamic and imaginative top UK director Tim Pope (who had previously directed videos for The Cure & Siousxi & The Banshees.)
The video can be seen on You Tube & other online sources (myspace etc).
InnerVision took up the option to record the first Spacemonkey album (On The Beam) and work commenced on tracks 'Walking Through Wonderland', 'On The Beam' and 'Dark Ones An Angel', however money from InnerVision was slow coming through and their 'parent company' CBS were still busily active in the court case against InnerVision under the auspicious of Epic Records who would later win and inherit Georges 'Wham!' back catalogue with partner Andrew Ridgely.
Due to time and the lack of finances during this period (Peter Thomas had given up his job to pursue the musical talent he undoubtedly had), and Paul was the actual writer of all the songs had his publishing advance money to live on (as InnerVision would point out whenever it contractually became officially time to pay Paul and Pete).
The pair split and InnerVision took over Pauls day to day arrangements,finance and career decisions. Paul and Spacemonkey were now one, a solo project. Although unhappy as a solo artist- Paul persevered recording using 'Wham!'s musicians and recorded 7 or 8 different versions of his song 'On the Beam' with several different producers, yet Mark Dean wasn't happy with any of the versions feeling Goodchilds original version was best but couldn't be released as the thundering drum parts would make the needles on peoples record decks technically skip or 'jump' due to their power and intensity.
With the advent of cd's this has proved to be inaccurate and the original actually could indeed have been released with no technical problems.
InnerVision records had become slightly obsessed with 'On the Beam' and re-recording so many versions in a bid to obtain a version which surpassed Pauls original and which they would own the copyright on, but the song was very Giorgio Moroder, Bobby 'O', style programmed, synthesizer driven that without programming and dub style mixing a traditional producer simply wouldn't be able to emulate this production sound or technique.
However along the way Paul had met keyboard player and programmer Adrian Lee,who, while giving Paul a lift to Victoria Station in his car, had played a demo of his production work on his girlfriend Lorna Wrights track 'Police Woman' - Paul suddenly realized that the demo and Adrian Lees production was truly of the style Paul had been searching for. He asked for the tape so he could play it to InnerVision Records supremo Mark Dean the next day and although unimpressed on first listen, Paul persuaded his record label that Adrians production technique was ideal for the Spacemonkey project and at first reluctant, InnerVision eventually agreed to Pauls request, and even went as far as signing up Adrians partner Lorna Wright to an excusive recording contract, and offered Paul several hundred pounds as a "finders fee" (which Paul turned down) and Paul with Adrian at the helm delved into the top London recording studios at length to work on the 'On the Beam' album.
Upon completion several American major record labels met with Paul and a deal was clinched with MCA Records, with Paul turning down several other offers to be with MCA as Paul felt he connected well with Michael Rosenblatt head of MCAs New York East Coast offices.
The first two singles (12" and Club play) reached 26 and 39 in the USA official Billboard Charts. They were : 'Come With Me' - remixed by John Luongo and 'One More Shot' - remixed by Mark Kamins with the Latin Rascals who have worked with Bowie, Madonna, Arthur Baker, and the Pet Shop Boys to name but a few.
Another song - 'Can't Stop Running' had already been a European hit for Spacemonkey produced by Steve Brown (co-produced by Paul), reaching number one in several countries with Peter Thomas on guitar backing chantsplus the entire 'Wham!' band,
See : Tommy Eyres, Dean Estus etc on Facebook and other music sites. Also Adrian Lee (Keyboards and programming).
Singles : Can't Stop Running (InnerVision/CBS/Epic)
Come With Me (InnerVision/Priority/EMI/MCA USA
One More Shot (InnerVision/Virgin/MCA USA
Albums : On The Beam - (MCA USA,Canada)
'Razor Maid 9: The Dub Mix' ( feat Dub Mix of One More Shot)
'Razor Maid 10: The Very Best Of Razor Maid (feat Dub Mix of On The Beam)
'Dance, Dance, Dance' compilation EMI Records (feat Can't Stop Running)
'Stampend and Swingend' (feat Can't Stop Running)
'80's' Verantwoord' powered by Rob Stenders - Can't Stop Running
'Only The Night' 86 and The Interplanetary Dub Mix
Videos : 'Can't Stop Running' (European/UK version) directed by Tim Pope
'Come With Me' (UK version- Cucumber Productions)
'Come With Me' (US, MCA version) Tony Vanden Ende
'One More Shot' (UK/ European version) Andy Morahan and Eric Watson
Books : 'George Michael' - Bruce Dessau
'Wham!' Death Of A Supergroup - Johnny Rogan
'Expensive Habits - the Dark Side Of the Music Industry' - Simon Garfield
'Guiness Book Of Hit Singles' - Paul Gambaccini
Film : Quadraphenia (small part)