And now for an example of how it is that the casting of stone principle worked where Felt songs and instrumentals were concerned.

It was during the production of the string version of "Sunlight" that the principle was demonstrated in a most forceful way.

As forum followers may well be aware, Mr. Deebank's bass line to this song is both convoluted and highly melodic like his guitar writing. But when it was actually played against the other parts in Woodbine studios of Royal Leaminton Spa, and Mr. John Rivers said that there was a wrong note in the bass part, a court of enquiry was held. This is how the enquiry went (and I am quite confident that my memory serves me well, because it was told me in order to serve as an anecdotal basis that was in support of a certain technical principle during a music lesson, the latter of which I shall naturally not give details of; so I can give assurance that what was imparted to me is being accurately conveyed).

Mr Rivers stated that one note in the bass line was incorrect; that it sounded wrong. Because of the great power of the hitherto disclosed principle that Felt followed, Mr. Hayward immediately pounced on JR's declaration and began to fiercely argue that the note was correct. But JR persisted and insisited that it was wrong. LH then retorted, "very well I'll just ask our expert." He then turned to MD and asked, "is the note all right?" MD, stated that it was merely a major sixth interval relevant to the tonal root and that he had employed that particular pitch class event for added colour at that particular point in the song.

Without a single split second passing between MD's last phonetic utterance, LH turned back to JR and practically shouted, "that's it, our expert says that it is correct." The finality and force used by LH was a clear indication of how sacrosant this principle was to MD and LH. They may have been far away from each other where many issues were concerned, but where this particular principle was concerned, they were completely unified. It is also of interest to note that despite their incessant warring, they did actually respect each other and were together on more issues and policies than the unsuspecting member of the public might think. And I am sure that they must still have a mutual respect for each other, despite their many differences.

And so it was that despite the fact that JR continued to argue for a few seconds more, he was finally beaten down by an increasingly ferocious LH, who simply realised that his colleague knew exactly what he was talking about, and took the answer purely on faith without ever understanding the true nature of the technical answer that was given him.

These ferocious outbursts were frequent in the studio. They occurred between band members often enough, but where the music was concerned, their was usually unity between LH and MD, and between them they exercised an authority that NOBODY could ever hope to usurp. I am sure that all readers will join me in a collective - "thank heavens."

I wish I could say more , but the computer says no.

Relevant to Felt's disciplined writing method are other highly rigorous working practices that impinged on their ability to do what they did best anywhere and at anytime. An example willl now ensue. Please note however, that where certain details are concerned in this particular anecdote, memory has somewhat faded. Nevertheless, the principle will not be degraded in any way.

After performing in a concert somewhere in London, Felt were approached in the dressing room by someone in the music business who was involved with a club in another part of London. While at the Felt concert it had come to his attention that the support band at the other club had pulled out at short notice. He found his way into the dressing room and boldly asked if Felt would go straight to the club and fill in for the other band. This was agreed to and the four of them packed their own equipment into their hired Transit van (Shirley Van Hire was the name of the company that Felt hired their vans from; Shirley being quite a good area in Birmingham), and drove to the club together with the man who had asked them, and a journalist from Melody Maker who had been talking to Felt when this unusual turn of events transpired. With LH at the wheel, the six of them arrived and the two passengers watched the ensuing events unravel before their eyes.

Within minutes the four Felters had removed all of the equipment from the van - no roadies - Felt did all their own roadie work. They carried it into the club and straight onto the stage, setting it up without pause, right in front of a full house of punters (it was already late in the evening by that time). Next came the instruments out of the cases to be tuned. 15 minutes later, the band was anounced and a half-hour set followed.

The Melody Maker journalist later commented to the band how impressed he was with the way Felt had handled the entire situation. It must have been far more impressive to witness first-hand than to read anything that I am able to write about it. But this is another indication of just how disciplined they were. Both MD and LH had, and undoubtedly still have, personalities that like to see things stripped of all that is superfluous and unnecessary. Economy and efficiency are very much the order of the day with both of them. They remind me very much of the S.A.S. which often works in small platoons of four: a very highly skilled group who know not only themselves very well, but also their equipment, and each other.

Felt would make their sound recordings in much the same manner. They would not even hire a van for such an event. During the making of "Strangel Idols Pattern", Mr. D would go on the bus each day; although he did allow himself the luxury of a taxi to carry his equipment on the first and last days.

Sorry for the abrupt ending, but time is up.

I mentioned the other day that MD and LH had a certain respect for each other. This should be commented on.

I am not saying that the two of them like each other. I do not believe for a single moment that they would get on at all these days. But nevertheless, there was an artistic integrity that they are both very much in possession of, and it is this particular aspect of their personalities that was, and undoubtedly still is, the reason for the mutual respect between them. I know from long ago that MD admires LH's poetic prowess; he always thought very well of the latter's lyrics. It is wrong to hold the widely held belief that MD never listened to LH's words. He had full familiarity with them. Indeed, can we believe that someone who is so musically competent would go for 5 years without ever listening to the words in his own compositions (it is yet again another Felt myth)? And we all know the admiration held by LH about MD's musical ability.

It is interesting to note, though, that in the days when this most dynamic duo led the world in Indie Art Pop, they actually used to regularly socialise with each other. I remember MD explaining to me about specific social exploits that the two of them would engage in. They would often go to public drinking places in Birmingham city centre, as well as Indie nights at certain night clubs and discuss all things relevant to music, and of course, Felt. LH once said to MD that he was the only person who he could go out with. This may surprise Felters, but the fact is that MD was the only one who LH could get on with in a social kind of way. I just thought that I would mention it.

Proceed to the "New Post" for a mini Moz/little Loz fact combined.