An all new digitally remastered disc featuring previously unreleased material.

England Made Me was originally released in 1991 by the legendary label, Factory Records.

LTM has faithfully remastered this disc featuring the original ten tracks plus remixes of singles, B-sides and even a previously unheard mix of Send Me Over.

Available from Darla Records (US) and LTM (UK).

All songs ©1991 Factory Records FACD 210 Cath Carroll / Sim Lister Copyright Control. Except "Too Good To Live" Cath Carroll / Vince Lawrence Copyright Control.

Personnel:

Cath Carroll: lead and backing vocals.

Sim Lister: drums and keyboard programming, sax.

Mark Brydon: drums and keyboard programming, guitar.

Antenor Soares Gandra Neto: guitar. Dirceu Simoes de Mideiros: drums. Oswaldinho da Cuica: triangle, cuica, tamborim and percussion. Silvano Michelino: congas. Dave Howard: backing vocals. Colin Elliot: triangle, congas. Valerie James: backing vocals. Vincente da Paula Silva: piano, counting and percussion director. Ian Davies: guitar. Balto da Silva: percussion. Fred Penteado: percussion. Jorqinho Cebion: percussion. Jonathan Quarmby: piano and organ solo.. Barry Harden: bass. Alan Savage: drums. Sharon and Jacqui McKoy: backing vocals. Pete Beachill: trombone. Steve Albini: anxious chicken guitar. Santiago Durango: deep cow guitar. Malcolm Connell: backing vocals. Vince Lawrence: keyboards, drum machine.

Recorded at: FON Studios, Sheffield by Mark Brydon, Sim Lister and Alan Fisch. Cardan Studios, Sao Paulo by Joao Carlos Mendonca, Vasconcelos Neto, Sergio Kenji Okuda, Fabio Rigobelo and Ana Lucia Carvalho E Silva Faria. Blackwing Studios, London by John Fryer and Eric Radcliffe. CRC, The Chicago Recording Company, Chicago by Steve Albini. Christiane Mathan: art direction and design. Julian Broad: photography.

Thanks to Colonel Keller and Cowboy. Hahnville, Louisiana.

Paid for in Manchester by: Factory Communications Ltd.

Digitally remastered at Couderay Music Group May 2002 by Kerry Kelekovich for LTM Publishing.

 

Cath Carroll was born in Bristol and raised in Swansea, Ipswich and finally, her family hometown of Manchester. In 1979 she joined forces with fellow Mancunian Liz Naylor to form the band Glass Animals in addition to co-editing the infamously vitriolic City Fun fanzine. Although the city then boasted an embarrassment of musical riches - Joy Division, New Order, Factory, Magazine, Buzzcocks - City's Fun's whining pages were loathe to admit this. Only The Fall, The Smiths and Ludus seem ever to have been singled out for praise, with Cath and Liz even managing the latter wayward band for a brief period in 1982/83. In 1980 the Glass Animals changed their name to the Gay Animals and, having worn out their welcome in the north of England, moved to London in 1984. They immediately broke up. Here Cath embarked on a dual career, writing for the New Musical Express (as Myrna Minkoff) and fronting her band Miaow. The group released their first single, Belle Vue, on their own Venus label in 1985, and in early 1987 their recording When It All Comes Down brought them to the attention of Tony Wilson at Factory. Despite City Fun having made a career out of carping about Factory, the celebrated label released the song as a single and went on to release another, Break the Code. During this time the band were also rewarded with two Peel sessions and appearances on several high-profile compilations, including the seminal C86. Cath also recorded extensively with The Hit Parade, for releases in England and Japan. Sadly Miaow were destined never to complete their planned Factory album debut, and after several lineup changes finally parted company in 1988. Cath started work on her solo album debut for Factory, England Made Me, in June 1988, and over the next year various sessions were recorded in Sheffield, Sao Paolo, London and Chicago. The title, incidentally, was inspired by the Graham Greene novel about middle-class life during the Depressed 1930s, and the songs largely co-written with Sim Lister. Towards the end of the recording schedule she went to Chicago to record with Steven Albini, whom she had met while working for Big Black's British label, Blast First. Together they contributed a version of King Creole to the NME compilation The Last Temptation of Elvis. Albini and fellow ex-Big Black member, Santiago Durango, also contributed to the track Train You're On, from EMM. In late 1989, Cath relocated to Chicago and EMM was finally released in June 1991. The set was acclaimed as a sinister collection of moody dance and bizarre bossa nova, and is particularly effective on dance orientated cuts such as Send Me Over, Subtitled and the single Moves Like You. After the collapse of Factory in November 1992 the relative expense of the project (including photo sessions with Robert Mapplethorpe) was cited as a factor in the label's demise, but in truth the album's high budget was only one of a series is fiscal indiscretions by Factory. Cath's status as an indie cult figure was affirmed by DC band Unrest, who included the quirky tribute Cath Carroll on their 1993 4AD album Perfect Teeth. Main man Mark Robinson's appreciation lead to two singles for his TeenBeat label, My Cold Heart and Bad Star, as well as the second Cath Carroll solo album, True Crime Motel, released in 1995. In 1994 Cath began recording with Kerry Kelekovich, a Chicago-based musician and engineer whom she married in 1996. TCM marked a return to guitars, and the album was a critical success, with the word noir frequently aired in describing the shadowy lyrical undertow and understated vocal delivery. However, personnel changes and family health problems meant that touring to promote the set was problematic, and instead Cath and Kerry concentrated on recording a new album. This became the eponymous Cath Carroll, which appeared in 2000. The pair's first real collaboration, both contributed equally to the writing, while Kerry handled most of the playing. The album appeared on their own Lilypad label (via Chicago-based Heart and Soul), and was described by one reviewer as a blend of Astrud Gilberto and Roxy Music, and by another as a shadowy corner of the adult pop universe. Cath and Kerry are currently working on a new album, The Gondoliers of Ghost Lake, to be released in 2002. In tandem with her musical career, Cath continues to write prose. Her teenage memoir Les Gray's Erection chronicles the horrors of solitary fandom during the teenybop 1970s, and appeared in the anthology Girls, Girls, Girls. In 2000 her critical discography of Tom Waits was published in the UK, while she also contributes reviews to a number of magazines. -James Nice

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Discography

Bio

FAC 315 - invitation card

(inside) for Cath Carroll's Ronnie Scott's showcase to celebrate the release of EMM. Accompanied the England Made Me promotional package.

Cath Carroll fitfully stumbles on a unbeatable way to charm birds out of trees. And now, just as I'd almost forgotten Cath Carroll, these pensive, languid lullabies come drifting by. 'England Made Me' is truly ravishing.

- Melody Maker

It has taken forever, but the lonely Stockport girl who portioned out her heart between Manhattan Transfer and Suicide finally stalks among us in her own image. 'Beast' signaled it, 'England Made Me', her flawlessly scary debut LP proves it.

- Select

Carroll deserves plenty of second looks. Stick around. She's going to be very good.

- London Evening Standard

Like the work of Depeche Mode and Marianne Faithful, her work is a discerning blend of intelligence and emotion.

- Dickerson Music

The hard-core Sade has arrived.

-Sam King Sounds

Moves Like You Tonight I caught a glimpse of something I thought I could not replace And I know something's been missing since the last time I saw your face...I saw someone who Moves like you and it's all that I can Do to keep my feet on the ground or Stop myself from taking hold and Asking, why so cold?...You know it's you If that's what comes of wishful thinking I wish the ground would open up and swallow your ghost and as for me, I'm already sinking...I saw someone who Moves like you and it's all that I can Do to keep my feet on the ground or Stop myself from taking hold and Asking, why so cold?...You know it's you Moves like you and it's all that I can do To stop myself from taking home and saying, Angel And saying, Angel, I'll walk you home. I'll walk you home, but home's so far away. Unforgettable Oh how can you be so senselessly sweet You've corrupted me with your decency And now you think the answer must be To hammer the feelings back into me Oh my bad ways have come home And they're beckoning me on Come on, old friend Unforgettable, strangers are Unforgettable There's something missing in me So your answer is running in front of cars And I find my solace in bar after bar And sometimes I wish that the answer would be That you could beat the feelings back into me Oh my bad ways have come home And they're beckoning me on Come on, old friend Unforgettable, strangers are Unforgettable There's something missing in me There's something missing in me But you won't see We just go blindly on the more you give, the less I take And I'm laughing in all the wrong places Laughing in all the wrong places Watching You Oh, you daddy made good, and now you're making better like they hoped you would You're harnessed to ambition in the family tradition Meanwhile I just watch your world go by Aimlessly hanging around the dirt track Watching the sweat run down your wet back Maybe I should apologise to you For all those liberties I've taken without asking you I'd like to call it lucid dreaming But it's not-so-sleepy scheming meanwhile I just watch your world go by Aimlessly hanging around the dirt track Watching the sweat run down your wet back And if you should awake in the middle of the night And there's something you don't understand-understand It feels like fingers running down your spine you thought you were alone They might be mine For in my dreams -I'm Aimlessly hanging around the dirt track Watching the sweat run down your wet back Beast on the Streets of New York You lead- I'll follow Met him standing in a doorway Sheltering from the summer rain at Night he slips in to his holster He's a policeman rides the F train And so There we go No one need know Where we go You lead, I'll follow (I was a beast on the streets of New York) I lost track of time and place Just wandering from street to street and No, I don't know what possessed me, I guess I must have caught the worst of the heat And so There we go No one need know Where we go You lead, I'll follow Two a.m., bound for Hoboken Woke the man to buy a subway token A friend was talking I couldn't hear I just watched him As he disappeared You lead- I'll follow Where are those Puerto Rican boys who are just dyin' to meet me? Next Time (He's Mine) All I know for sure about him Is that I'm wasting my time Months go by, oh Why am I still Missing something that can't be mine? When he smiles that broken smile Somehow I feel so sure inside Though he wants someone else this time Next time, he's mine. Even when he's right next to me He seems a lifetime away How do I get the message through that We weren't born to stay that way When he smiles that broken smile Somehow I feel so sure inside Though he wants someone else this time Next time, he's mine. He's mine ( he doesn't know it) Send Me Over And it's out of my hands- Don't know what it is, don't know how to get it I don't know what you call it But I know that you've got it But you weren't meant to stay so Who's the lucky woman who gets loved your way You send me over So far I can't find my way home You send me Over Oh and I'd surrender all my time and money To be sent back over to your world honey Oh and I'd surrender all my time and money To be sent back over to your world honey You send me over So far I can't find my way home You send me Over I read, 'the sleeper is the ruler of an unknown land land' But I've been here so long that I should know where I stand There's nothing I can do, I can't find my home or get closer to you You send me over So far I can't find my way home You send me Over Train You're On My prayers travel with you When you're away I know the saints hear me And I pray they'll Bless the train you're on they'll Bless the ground you walk on Bless the train you're on Oh they'll light the way for you Someone's watching over you To Close Your Eyes Forever Tarmacadam's melting down on Ferdinand Street And your soft heart has put me to shame You once said that there is no line between thought and deed So you might say, I've been thinking again Here's the hand that Bribed The Sandman So you want the truth without tears But can't you see what's happening here? Or do you think that you'd feel better if I close your eyes forever, my dear? Here's the hand that Bribed The Sandman If you cry long enough you know that I'll agree But you know that's it's the truth we see Glimpsed like something underwater turning ten fathoms deep And swimming after you and me Here's the hand that Bribed The Sandman To close your eyes forever.

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England Made Me is an album of multiple influences and directions, reflecting the fact that it was recorded in places as diverse as Sheffield, Sao Paulo, London and Chicago. As a result it's a strange, beguiling collection of slightly melancholic electro-dance and spooked bosa-nova pop; dancing in the dark with the ghosts of post-punk or flying down to Rio with razor blades and safety pins for wings. Standout tracks are the more dance-oriented tracks like Send Me Over, Subtitled and the fabulous opener Moves Like You which sound like typically fine early '90s 'dance' tunes, from a time when it seemed there were real adventurous trips being taken in that genre, before it all imploded into tedious formula. Whatever. Best of all however is the frankly scary Train You're On. Recorded in Chicago with Steve Albini and ex-Big Black guitarist Santiago Durango, this is one stormy fiesta freakout, full of whistles and jumping, clattering beats punctuated by Durango's fierce guitar. Imagine a Mardi Gras float festooned in garlands of razor-wire and poppies populated by an early A Certain Ratio and you'd be close, but still a million miles away.

It's really that good.

Carroll is in imperious form on 'Moves Like You', 'Send Me Over' and 'Watching You', giving Electribe 101's Billie Ray Martin a run for her money. Even though 'Train You're On' and 'Next Time (He's Mine)' are just too busy with ideas, 'Subtitled' adopts South American rhythms far more intelligently. Add together some punchy remixes and we have a forgotten gem of an album on our hands.