PURSON welcomes you to Desire’s Magic Theatre… a technicolour trip through the mind’s eye of songstress / vocalist / guitarist Rosalie Cunningham, whose signature approach to her craft stands boldly centre- stage, blending progressive dexterity and cabaret romp into a compelling, multi-faceted rock ‘n’ roll show.
Desire’s Magic Theatre draws inspiration from the rock operas of the late sixties and early seventies; musically, visually and lyrically, it touches on a variety of realms, including folk, prog, psychedelic, gothic & classic rock, making telling use of classical instruments and complex arrangements, and fully exploring the outer limits of reel to reel tape.
Says Cunningham: “Desire’s Magic Theatre has turned out to be everything I’d imagined and more! My world has been so consumed by it that I’ve barely been able to reflect on what it has become: a technicolour variety show, a playful display of the musical whims only briefly hinted at in our previous work; a psychedelic rock opera dedicated to our good friends Sarge Pepper and Zig Stardust.”
PURSON – Cunningham, George Hudson (guitars), Samuel Robinson (keyboards), Justin Smith (bass), Raphael Mura (drums) – have recently returned from a six-week tour of North America Special Guesting with GHOST, following on from a stint on the Kiss Kruise IV plus a sold-out Los Angeles debut at the notorious Viper Room.
Desire’s Magic Theatre is set for release on March 25th 2016 under the Spinefarm / Machine Elf banner, supported by a headline UK tour plus selected European shows; summer festivals and visits to Australia and Japan will follow.
UK HEADLINE TOUR DATES
March 09 Bristol, THE LOUISIANA
March 10 Nottingham, ROCK CITY
March 11 Norwich, WATERFRONT STUDIO
March 12 Milton Keynes, THE CRAUFURD ARMS
March 16 London, 100 CLUB
March 24 Exeter, THE CAVERN CLUB
March 25 Plymouth, THE JUNCTION
March 26 Southampton, JOINERS
March 27 Brighton, THE HOPE & RUIN
March 30 Birmingham, THE SUNFLOWER LOUNGE
March 31 Manchester, NIGHT & DAY
April 01 Glasgow, AUDIO
April 02 Leeds, THE BRUDENELL
Named after a demon and fronted by the bewitching Rosalie Cunningham, PURSON is the latest psychedelic proto-doom band with a mesmerizing female vocalist to cast a spell over everyone who hears them.
With elements of ’70s progressive and heavy rock, PURSON is in league with BLOOD CEREMONY and JEX THOTH, conjuring visions of Hammer horror and pagan rituals. What sets them apart are the incredibly catchy pop-like arrangements inspired by former bassist and founding member Ed Turner and Cunningham‘s borderline obsessive love of The Beatles. It only took a couple of songs on Soundcloud / Facebook to capture the attention of illustrious Rise Above Records and DARKTHRONE’s Fenriz, one of metal’s favorite arbiters of taste, made them band of the week!
Furthermore with a UK tour and the release of their new EP “In The Meantime” only a few weeks away, it is time for a gentle reminder… Tickets are available online through several ticket websites and most likely from the venues themselves. They are selling fast so snap them up now or regret it later!
A first taste of the EP is already available with the song ‘Danse Macabre’. Stated the band on its’ Facebook page: “Ladies and gentlemen, boys and girls, children of all ages… We proudly present to you ‘Danse Macabre’ the first track to be taken from our forthcoming Extended Player ‘In The Meantime’. We hope you all enjoy…“
Hype, Retro wave, back to the roots – whatever one might name the ongoing tendency towards low-fi productions, vintage equipment and a pleasant way of reducing music to the essentials. Lessening their own possibilities, so to speak, many a band maybe finds a more immediate approach to its own skills. Among those PURSON seem to stick out, not so much concerning the fact that the band is led by a woman – the, both incredibly young and talented Rosalie Cunningham – but far more with their sound. Specially this kind of genre holds many female musicians and names such as BLOOD CEREMONY, JEX THOTH, JESS AND THE ANCIENT ONES, SPIDERS, ROYAL THUNDER and many more come to mind. All of those are associated with the Rock/Metal scene, while PURSON seem to inhabit their own alcove, full of 60s vibes and bright colours.
To talk about a current matter at first: You have just been on the road supporting ASTRA, but had to cancel quite a few dates, among them your participation at this years’ ROADBURN in Tilburg. Do you want to tell the reason(s) for this?
We had a wonderful time on the road with ASTRA and would have loved to have joined them on the rest of the tour but we simply couldn’t afford it. With van hire, hotels and everything, we would have lost so much money.
PURSON (l.t.r.): Samuel Shove – Organ, Mellotron, Wurlitzer, Justin Smith – Bass, Rosalie Cunningham – Vocals, Lead Guitar, Jack Hobbs – Drums, George Hudson – Guitars, Backing Vocals – Courtesy of Ester Segarra
Are there any plans so far to tour outside the UK in the near future?
We have a few things on the horizon but once again, that depends on how much we will be paid for the gigs. If we can’t cover our costs, we won’t be able to tour.
PURSON seems to be a band with a strong virtual concept – is this just my personal impression or do you actually plan in things like stage clothes, vinyl-colour ect?
We wear the same clothes on stage as we do off stage. We love to dress up, myself and Sam especially, and it’s part of the fun of being in a band for us. We get to live out our wildest wardrobe dreams as part of the job description! I think it’s important for the visual side to reflect the world we create with our music. The vinyl colour isn’t much to do with us… it’s something that Rise Above like to do.
Do you collect records and what do you think about this, let me call it, policy of Rise Above to publish things as very strictly limited editions that sell out so fast, most people won’t even be able to pre-order upcoming releases?!
I know that this policy upsets a lot of people and I have to agree, it doesn’t make much sense to me. I am not an avid collector, I have what I need. I am not concerned about having first pressings or a certain colour of vinyl. The music itself is far more important to me.
The Heavy Metal-scene has changed quite a bit during the last… I don’t know ten (?) years. There’s the heck of a lot of vintage sounding bands around right now. Do you think a band like PURSON could’ve been around ten years ago?
I was pretty much a child 10 years ago so I can’t say exactly. I have also never been involved in the heavy metal scene. I have liked certain heavy bands but have never considered myself part of any scene associated with it.
At best (or earliest) the 70s have been present in Heavy metal/hardrock music pretty much, but the 60s never seemed to be much of an issue – cept for HENDRIX – your sound (e.g. “Leaning On A Bear”) seems to have more of a 60s (pop) vibe than it’s common for bands outside the Garage-Punk-scene. How important is that period for you?
Debut album, “The Circle And The Blue Door” released 29th April 2013
This period is especially important for me in terms of songwriting. I was into 60’s pop before I was into anything heavier or prog. Bands like THE BEATLES, THE MOVE, THE SMALL FACES, THE KINKS and a lot of obscure pop psych bands are more of an influence for me and I will always appreciate a well crafted pop song more than any riff. I suppose that is what sets us apart from the other vintage sounding bands around.
There are two aspects about your music that might (judged from my experience as a record dealer) make it not that easy to sell your records to the average metal or even rock-fan; groove and female lead vocals in combination. A couple of buyers have already turned the single down when I recommended it to them. One reasoning it would be “too funky”.In my personal opinion the amount of shuffle is what makes the song cool. I love the short stop on the bass drum and hihhat during the chorus. Would you consider Purson as being “funkier” than the average metal or rock band? And did soul music or jazz have any sort of influence on any individual in the band?
Haha, I’ve never thought of us as funky but I suppose compared to classic metal we are. We like to play with a bit of swing and groove which I think is quite typical of rock music… I mean BLACK SABBATH! They definitely have a jazzy feel sometimes, especially early stuff. I think the jazz influence comes more from things like that and other jazz-rock and prog rather than jazz itself, which I don’t really listen to.
Rosie Cunningham – Courtesy of Ester Segarra
(to Rosalie) You been referring to yourself as a ‘control freak’ several times. How far do you take that? And is that habit only related to music?
I’m pretty chilled out with everything else actually. The first album was made under very difficult circumstances and I was determined for it to turn out the way I had planned and so I did become a control freak there. I don’t compromise at all with my music. I do have a tendency to want to do everything myself but I’m slowly learning that it’s not how a band works…
Thanks a lot for this Interview – if there is anything else you want to send out into the universe, feel free to do so right now!
June Millington, born April 14, 1948 and her sister Jean Millington, born May 25, 1950, both in Manila, Philippines started making music in their childhood years, playing a rather traditional island instrument: the ukulele. The two are most renowned for founding Fany, one of the very first all-female Rockbands to be signed by a major record label, but this part of Rock history was still several steps away. Upon moving to Sacramento, California in 1961 they got touch with the contemporary folk sounds. Music is what kept their spirit high, being surrounded by strangers in a strange country. Thus they began performing as an acoustic duo in High School.
Jean & June performing with their acoustic bass and guitar
Having put aside acoustic instruments, their first band prior to Fanny was called The Svelts, featuring drummer Brie Berry, who temporary left but would later join Fanny. In 1968 by guitarist Addie Clement (former member of the California Girls) and drummer Alice de Buhr, who had moved from Mason City, Iowa to California at the age of seventeen in search of the proverbial fame and fortune. The four girls toured around the west in a pimped bus, mainly playing cover versions. Later on in 1968 Addie and Alice pursued their own vision and formed the all-girl band Wild Honey. Without anyone have seen OR heard them, Wild Honey got signed to WB subsidiary Reprise Records. In search for a keyboarder, Wild Honey had to face quite a struggle, as in the late 60s most girls would prefer the piano or church-organ over a Rockband – finally at the backstage area of the Whisky-a-Go-Go, June came in touch with Kim Fowley. He had an artist agent called Musicians’ Referral Service. A sort of agency that helps people finding each other. He helped Nickey Barclay find the musicians of Wild Honey, as he would later do for his most famous find The Runaways.
The Svelts
Over several lineup shifts and changes, Wild Honey had June on guitar and Nickey rejoined after touring with the Joe Cocker Band, pretty much on advice of Mr. Cocker himself. The release of the first album was imminent and arouse the question of a new name – by the four musicians themselves, by their producer Richard Perry, by their label and by their management, the Blue peacock Company. Everyone agreed upon it ought to be a woman’s name, something short, memorable and at once feminine and bold. After considering a series of suggestions the band settled on the name Fanny, and the rest was history.
Fanny Reprise Promo
Admired and promoted by fellow musicians and so-to-speak scene makers like George Harrison, David Bowie, Deep Purple, The Rolling Stones, The Who, The Kinks, Rod Stewart, Ringo Starr, Harry Nilsson, Rodney Bingenheimer and Kim Fowley – even before their self titled debut was published – the media wasn’t too much interested in Fanny, accusing them for trying too hard. By now they had become one of the favourite bands to play at Whisky-a-Go-Go – they were booked there so often that it was effectively a residency for them. Despite all criticism, Fanny would stand their ground and pave way for many all-girl groups to come in the cause of history. Finally with their second output, 1971’s ‘Charity Ball’ was well-received by both critics and the public, it’s title track hit the singles charts in the US, peaking at number 40 on the Billboard singles charts in November, and Fanny toured extensively to support the breakthrough.
FANNY playing at Whiskey-a-Go-Go
1972 and 1973 saw the publication of Fanny albums three – ‘Fanny Hill’ – and four – ‘Mother’s Pride’, produced by Todd Rundgren – working their way to become a respected live act and kicking doors open for female musicians, Fanny was no longer laughed at. They even passed the rock-cred “test of fire” by having one of their singles, Young and Dumb, banned by BBC Radio 1 (and by being banned from playing live at the Albert Hall – for being “too provocative”!). Living up to the expectations of being both women and rock musicians took its toll and Fanny and caused a temporary brake-up, resulting in both Alice and June. Alice was replaced by Brie Berry, former drummer of The Svelts while June’s shoes were filled by none other than Patti Quatro, best known as a member of The Pleasure Seekers with her sisters Suzi, Nancy and Arlene. This new line-up recorded the final Fanny album with the meaningful title ‘Rock And Roll Survivors’, published via Casablanca Records. The single ‘Butter Boy’ entered the Billboard singles charts in February, 1975 at number 29 – but by than Fanny had disbanded. A final effort in the spring of that very year found sisters June and Jean together again, accompanied by June’s friend Patti Macheta on percussion and vocals and Wendy Haas, wife of Martin Mull and an old friend of the original Fanny band members, on keyboards and vocals.
At the end of their career, Fanny discontinued the use of the band name and referred to themselves as the L.A. All-Stars. Refusing to act as Fanny again, the band even turned down a possible deal with Arista Records in early 1976.
Formed in 1962 Goldie And The Gingerbreads were the first all-female rock band signed to a major record label. The quartet of Ginger Bianco, Margo Lewis, Carol MacDonald and Goldie Zelkowitz (later known as Genya Ravan) were among the first to break into this male domain. Signed to Atlantic Records in 1964 by visionary Ahmet Ertegun, the group toured throughout Europe with The Rolling Stones, The Kinks, The Yardbirds, and The Hollies, among others. Their first single, “Can’t you Hear My Heartbeat?,” enjoyed weeks at the top of the charts in the UK in 1965 before Hermans’s Hermits recorded their version for the American market.
Goldie and The Gingerbreads blazed the trail for countless of female musicians including the Go-Gos, the Bangles, The Runaways, and Luscious Jackson. Over time, the group has been immortalized in various rock music anthologies and most recently in The Rolling Stone Book of Women In Rock (Random House, 1997). Fellar musicians and journalist gave their appreciation for these ladies that paved the way for generations to come.
“Ginger is one of the best female drummers in America!” -Teen Trend,1966
“They’re great!” -Ringo Starr
“They’re Fab!” -Brian Jones
The band broke up over the course of 1967 and 1968 mainly due to Genya Ravan’s strong personality and forceful leadership of the band, Frustration about making little profit from their record releases may also have been an issue. On November 13, 1997, the Gingerbreads performed once more to mark their 30th anniversary and to commemorate the release of The Rolling Stone Book of Women in Rock. Accompanying Genya, Ginger and Margo was Debby Hastings on bass and Diane Scanlon on guitar. Shortly afterwards, on February 3, 1998, Goldie And The Gingerbreads were presented with a Touchstone Award from NY based Women in Music, presented to each member of the group by music legend Ahmet Ertegun.
Photo by Peter Brenchley
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