Bring on the Dancing Horses: A Retrospective of Echo & the Bunnymen
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If you are looking for the quintessential 1980s modern rock act, you can go no further than Echo and the Bunnymen. They had new wave melodies and dark wave rhythms, were grounded in a tradition of UK pop forged by their Liverpool descendants, and had a vocal sound that defined the modern genres of the early ‘80s.
Though they haven’t released a full album of new material in ten years, they are going strong with tours and re-releases of their albums, now at a count of thirteen. It was their 1980s output that defined their career, issuing a series of albums and a collection of singles that found its way to the record players of seemingly anyone that embraced the new wave sound of England. However, they are a remarkable act in that their output has remained consistently strong all the way through their career. And while their sound has been relatively unchanged, it’s undeniable that they’ve found a groove and continue to release songs that are as listenable as their early stuff, though in a more polished and mature form.
The Playlist
“Rescue”
“All that Jazz”
“Do It Clean”
“The Puppet”
“Show of Strength”
“A Promise”
“The Cutter”
“Back of Love”
“In Bluer Skies”
“Never Stop”
“Silver”
“The Killing Moon”
“Seven Seas”
“Bring on the Dancing Horses”
“Bedbugs and Ballyhoo”
“Lips Like Sugar”
“New Direction”
“Enlighten Me”
“Freaks Dwell”
“Don’t Let It Get You Down”
“I Want to Be There – When You Come”
“Nothing Lasts Forever”
“Rust”
“Morning Sun”
“It’s Alright”
“Buried Alive”
“Everybody Knows”
“Stormy Weather”
“In the Margins”
“Of A Life”
“Proxy”
“Constantinople”
“Lovers On the Run”
“Market Town”
“How Far?”
Personally, I was admittedly only ever a casual fan of the band, despite their elevated stature among my favourite genres as a young teen. I loved their sound, and consider many of their top tracks to be defining contributions of the post-punk era, yet I’ve never fully warmed up to them. Let’s explore their discography, and while we celebrate their musical growth and achievements, maybe we’ll crack open a fuller appreciation (for me at least) for this act with such a memorable and unique name.
“Rescue”; “All that Jazz”; “Do It Clean” \ Crocodiles (1980)
“The Puppet” \ non-album single (1980)
Echo & The Bunnymen was formed in October 1978 within the musical hotbed of Liverpool, England. Ian McCulloch (vocals), Will Sergeant (guitar), and Les Pattinson (bass) chose the name from among several suggested by a friend. Ian had previously been in a band, Crucial Three, with Julian Cope and Pete Wylie. Wylie left, playing in several acts along with Cope and Pete Burns (Dead or Alive) before finding success as Wah! McColloch and Cope were also in an act, A Shallow Madness, that became The Teardrop Explodes after Ian departed.
Using a drum machine (oft rumoured to be ‘Echo’), the trio released their first single, “The Pictures on My Wall” on local indie label, Zoo Records. Though it didn’t chart, it built attention for the trio, leading to recordings for the John Peel show on BBC. They were then signed by WEA’s subsidiary label, Korova (named for the Milk Bar in the film, A Clockwork Orange), and encouraged to get a drummer. They added Trinidadian born, Peter de Freitas, in September 1979 after meeting him after a show at the infamous Eric’s in Liverpool.
The debut album, Crocodiles, was released in July 1980 and included the previously released debut single. The next single, issued in conjunction with the LP, was “Rescue,” which got them to #62 on the UK singles chart. The album was a strong example of the burgeoning post-punk sound and found an audience, reaching the top twenty in the UK album chart.
From the start, the Bunnymen’s signature sound was established, with dark, moody rhythms and brooding melodies. “Rescue” featured angular, piercing guitar over quick strumming, a thick bassline, thundering drums, and a catchy, melodic chorus. “Do It Clean” was not included in the UK vinyl release but was in the US as well as the UK cassette. It was a fantastic tune and could have fit perfectly on an LP by The Teardrop Explodes, showing the ties to their local brethren. “All that Jazz” was a consummate dark wave track, with rhythms that fit perfectly into the scene being established by contemporaries like Siouxsie & The Banshees or Modern English. The dark tones were offset by bright melodies and an accessible pop sensibility, tying into the long Liverpool tradition going back to The Beatles and Gerry & The Pacemakers.
Crocodiles was produced by Zoo Records’ founders, Bill Drummond and David Balfe. They had been in the band, Big in Japan, along with Holly Johnson (Frankie Goes to Hollywood), Budgie (Siouxsie & The Banshees), and Ian Broudie. Drummond would later form the band, KLF, while Balfe eventually played in their label’s top act, The Teardrop Explodes. Ian Broudie also produced the song, “Rescue,” and after a distinguished producing career would go on to have success of his own as the act, Lightning Seeds.
An early pic of Echo & the Bunnymen (L to R): Pete de Freitas, Les Pattinson, Ian McCulloch, and Will Sergeant
Riding on the attention the album was garnering, the Bunnymen released a non-album single, “The Puppet,” in October of 1980. “Do It Clean” was the B-side to make it quite the 7” to pick up. Surprisingly, given its irresistible pop hooks, “The Puppet” didn’t chart. It was, however, the best example of the band’s early edginess and punk inspirations. They then issued the album’s title track, “Crocodiles,” which managed to crack the UK top forty.
“Show of Strength”; “A Promise” \ Heaven Up Here (1981)
After extensive touring, including their first jaunts to North America and Australia, Echo & the Bunnymen recorded and released their second LP, Heaven Up Here, in the spring of ’81. It reached the top ten in the UK album chart and continued to develop their distinctive sound.
Only one single was issued in the UK, “A Promise,” which came up short of the top forty. However, it’s echoey, expansive sound and smooth delivery was a development from the first album, giving indication of where the band’s sound was headed. “Over the Wall” was issued as a single in Australia but failed to chart.
“Show of Strength” was another strong example of the band’s blend of deep, dark rhythms and angular guitars (some comparable to contemporary U2’s sound). McCulloch’s booming, rich voice became a signature element of the Bunnymen’s sound. As new wave bands cropped up around the UK and North America, many would draw inspiration from the likes of McCulloch or Jim Kerr of Simple Minds to capture that ‘UK sound.’
“The Cutter”; “Back of Love”; “In Bluer Skies” \ Porcupine (1983)
“Never Stop” \ non-album single (1983)
After a year of touring, the Bunnymen returned in early ’83 with their third LP, Porcupine. Relations between the band, rarely smooth, were reportedly more fractious as they struggled to come up with material. This was not helped when the label, WEA, was unhappy with the first cut, pushing the band to re-record the entire album. Produced by Ian Broudie, the band also brought in Indian artist, Shankar, to provide strings. This added an exotic twist to several songs.
The album covers almost always featured a picture of the band in an exotic location. For Porcupine, the band was photographed next to Gullfoss waterfall in Iceland. The setting has been described by many as suitable to the Bunnymen’s cold veneer both musically and in character.
The album was a success, reaching #2 in the UK album chart. The first single, “The Back of Love,” reached the UK top twenty while the second, “The Cutter,” brought the band its first UK top ten. In the summer they also released a non-album single, “Never Stop,” which also reached the top twenty.
The album opened with Shankar’s strings to introduce the track, “The Cutter.” Paired with a strong bassline and crescendo chorus featuring by piano and horn-like keyboards, it all gave the song an epic, exotic feel. It was a continuing evolution of their expanded sound that foretold the upcoming success of their next LP.
“The Back of Love,” the next track, returned the band back to its punkier roots with a driving bass and staccato guitar line. It also had dramatic turns emphasized again by the eastern style strings and keyboards. The album was consistent, with deeper tracks such as, “In Bluer Skies,” showing the band mixing catchy dance rhythms with off-kilter, edgy sounds.
“Never Stop” was the most dance-friendly version of Echo & the Bunnymen to date. With de Frietas adding xylophone and conga to the track, there was again a sonic largeness, with echoey piano in the break offset by Sergeant’s sharp guitar work. Riding a rolling bassline and quick beat, the song was accessible and catchy.
“Silver”; “The Killing Moon”; “Seven Seas” \ Ocean Rain (1984)
The culmination of Echo & the Bunnymen’s evolution to a more dramatic style came with the release of the lead single for their next LP. Issued in January 1984, eight months ahead of the album, “The Killing Moon” became the band’s signature song and one of the all-time classics of the post-punk era. Epic, sweeping, dramatic, wonderfully crafted, and featuring Ian McCulloch’s most consummate vocal performance, the song was an instant classic. Surprisingly, it only reached #9 on the UK singles chart, but did give the band the only Gold single of their career, showing its sales were more substantial.
The album’s other two singles were also issued well in advance of the LP, Ocean Rain. “Silver” reached the UK top forty while “Seven Seas” cracked the top twenty. The album, issued in August, reached the top ten in the UK. With it’s “la, la la…” lyrics, “Silver” showed the Bunnymen at their most pop incarnation yet, but still accented by eastern flair in the guitar and strings. “Seven Seas” exhibited some of the sweeping feel of “The Killing Moon” and, if it hadn’t been on the same LP, might have become the album’s sensation.
Ocean Rain presented the band at their artist peak. It had all the elements they had refined through their first three albums while reaching new heights both in their sonic limits and in the quality of their songwriting. The album is considered one of the top entries of the modern rock era.
Like most post-punk acts, this band seemed made for black and white. L to R: Les, Will, Ian, and Pete.
“Bring on the Dancing Horses” \ Songs to Learn and Sing (1985)
The Bunnymen’s tumultuous internal dynamics were still at play despite their artistic and commercial achievements and a growing audience for their tours. At the end of 1984, they fired their manager, Bill Drummond, replacing him with Mick Hancock. They spent 1985 touring before entering the studio to start on their next LP. Dissatisfied with the early work with producers Ian Broudie and Clive Langer, they turned to Laurie Latham with whom they completed a few songs in Brussels.
One of the songs in those recordings was initially titled, “Jimmy Brown” but was ultimately changed to, “Bring on the Dancing Horses.” It was written and recorded for inclusion the John Hughes film, Pretty in Pink, set for release in ‘86. The Bunnymen issued it as a single in October ’85 and it came up just short of the UK top twenty, a surprising result given the quality and catchiness of the song. Perhaps the most synth-heavy track of theirs yet, its danceable, easygoing pace rode a wonderful pop groove that had elements of their epic-ness while being grounded in an undeniable catchiness. Perhaps if it had been released after the immense success of the movie it would have fared better commercially.
The track was also included in the compilation album, Songs to Learn and Sing, issued the next month in November. It is one of the greatest compilations of the post-punk period. While the Bunnymen had excellent albums, their singles truly stood apart as an exemplary collection of tracks. To have them all together in one release created one of the most impeccable albums of the 1980s. Featuring all of their singles to date except for “Pictures on My Wall,” “Crocodiles,” and “Over the Wall,” while adding “Do It Clean” (which should have been a single), the album was a celebration of everything Echo & The Bunnymen had to offer. This was the album I owned and it was a cherished addition to my collection. It’s no mistake that every track from the compilation has been included in this playlist.
In January 1986, after a drug infused New Year’s in New Orleans, Pete de Freitas announced his departure from the band. Haircut One Hundred’s Blair Cunningham covered the spring tour in the US, but was replaced by ABC’s David Palmer as they returned to recording the next album.
The success and career defining nature of Songs to Learn and Sing have, for me, made everything that came after seem like extra – despite two-thirds of their output still to come. I was well aware the band continued on and had success – in 1987, “Lips Like Sugar” was inescapable on the radio – but I never paid as much attention to them thereafter. And though successful with the next LP, it marked the start of the band’s most tumultuous period (which is saying something) and the start of their relegation, as was the case for most early ‘80s new wave bands, to the sidelines of the musical universe.
“Bedbugs and Ballyhoo”; “Lips Like Sugar”; “New Direction” \ Echo & The Bunnymen (1987)
While David Palmer played on the recording of the first run through their next LP, de Freitas returned in late ’86 and the band decided to re-record everything with him. The self-titled LP was released in mid-1987, almost three years after Ocean Rain. It equalled that album’s #4 peak in the UK album chart and was their most successful release in the US, though still fell short of the top forty.
The first single was, “The Game,” followed by “Lips Like Sugar” and then “Bedbugs and Ballyhoo.” In Toronto, where local alternative radio station CFNY had been championing the Bunnymen since the start, the album was a mainstay, placing at #9 in the year-end chart. As noted, “Lips Like Sugar” was the song I most remember, but “The Game” charted higher in the UK. However, the two singles only cracked the top forty, leaving just “The Cutter” and “The Killing Moon” as their only top ten singles.
The album was their most accessible to date, mixing their signature sound with more straight ahead pop structures. There was an abundance of hooks compared to albums prior. Whether it was the staccato rhythms of “Bedbugs and Ballyhoo” or the catchy chorus of, “New Direction,” the album turned the ear repeatedly. And while not as epically structured as “The Killing Moon,” “Lips Like Sugar” still had a big, booming sound around an irrepressible, hooky chorus. Perhaps it was the smoother pop mixes that led both critics and the band to consider the album a lesser effort. Indeed, there was quite the distance between a song like, “All My Life” and that of “The Puppet.”
In 1988, the Bunnymen again looked to build their profile through a marquee soundtrack, this time offering a cover of The Doors’, “People Are Strange,” for the 1987 vampire flick, The Lost Boys. Their take was straight-up, failing to put their own distinctive stamp on the track. Of note, Ray Manzarak from The Doors reprised his role on the keys. While reaching the top forty in the UK, the single was widely considered a disappointment from the band by critics.
The late 1980s marked a change in modern rock with a shift back to guitars rather than synths. While New Order and Depeche Mode were breaking through, the zeitgeist was being driven more by the likes of The Smiths, The Cure, and The Cult. It might have seemed a good time for the Bunnymen, who had always leaned on guitars more than synths, to catch fire, but instead they fell away much the same as the rest of the new wave acts. If they didn’t update their sound, the future looked uncertain.
“Enlighten Me”; “Freaks Dwell” \ Reverberation (1990)
It was not to be. Relations among the Bunnymen had never been smooth, with McCulloch especially known for being difficult. As the band’s success grew and booze and drugs took their usual toll, the recording of the past few albums had been increasingly problematic. After the departure and return of de Freitas, changing of managers and producers, and now facing critical adversity, the band splintered.
Despite successful tours of North America in 1987 and ’88, including a co-headlining stint with New Order (and with Gene Loves Jezebel as opener) and a swing through Japan, McCullough announced the band was breaking up. The others, however, had no such plans and decided to continue on without him. After auditioning and inviting several others to join the band, eventually Irish vocalist Noel Burke was brought on. They also promoted touring keyboardist, Jake Brockman, to a full-time member.
The brief, ill-fated Bunnymen line-up without Ian McCulloch, L to R: Jake Brockman, Les Pattinson, Noel Burke, Damon Reece, and Will Sergeant.
More adversity arrived when Pete died in a motorcycle accident in June 1989. Replaced by Damon Reece, the quintet now only had two original members, Will Sergeant and Les Pattinson. In this milieu of grief and a line-up overhaul, not to mention the loss of a key songwriter and their signature vocal sound, this new version of Echo & the Bunnymen had a steep hill to climb as they entered the 1990s.
Working with renowned producer, Geoff Emerick, the next album was Reverberation. A little psychedelic, pop-infused, but grounded in the band’s signature guitar and bass sounds, the album was a solid and catchy affair. It was very much in step with the current scene, linking sonically to the likes of Liverpools acts, Lightning Seeds (their former producer, Ian Broudie’s act), The Real People, or the psych-Madchester vibes of Stone Roses or The Charlatans.
Given the line-up overhaul for this LP, not surprisingly it was the first to not feature a picture of the band.
As a huge fan of that era’s music and particularly attuned to its psych-pop styles, I quite like the album. The lead single, “Enlighten Me,” was a fantastic, catchy tune and I remember it catching my ear on the radio – though I don’t even know if I was aware it was Echo & the Bunnymen. To me, it sounded more like a song by The Teardrop Explodes!
The LP was full of great little pop tunes with catchy turns, such as “Gone, Gone, Gone,” “Cut & Dried,” and “Freaks Dwell.” However, neither the single nor the album charted well. It appeared, regardless the quality of the music, that it was irrefutably (and unsurprisingly) not a “Bunnymen album,” and thus rejected by fans. Two more singles over the next few years also failed to click and the Bunnymen decided to call it quits. Like to so many other 1980s bands the 1990s were inhospitable terrain.
Meanwhile, Ian McCulloch had enjoyed some solo success, in particular with his 1989 album, Candleland. I also recall his contribution to the fantastic Leonard Cohen tribute album, I’m Your Fan: The Songs of Leonard Cohen, released in 1991. His version of, “Hey That’s No Way to Say Goodbye,” was spirited while staying true to the original.
“Don’t Let It Get You Down”; “I Want to Be There – When You Come”; “Nothing Lasts Forever” \ Evergreen (1997)
Now a trio, the exotic pics of the band return to the album cover
The death of Echo & The Bunnymen was short-lived. Ian and Will started working together again in 1994, at first under a new name, but when Les rejoined them it made more sense to return to their traditional name. Now just a trio employing hired hands on the drums, the restored Bunnymen recorded, Evergreen, their seventh LP. Released in 1997, the seven year gap was the longest of the band’s career between LPs, though was a full ten years since the last one with McCulloch.
In the era of Britpop, there was never a better time for the embrace of Echo & the Bunnymen. Gone were the days of their darker, edgier, post-punk sound. This was a smoother, more pop-oriented Bunnymen. The album was solid but not outstanding, but did have well-crafted gems such as “Nothing Lasts Forever,” the LP’s first single which cracked the UK top ten. “Don’t Let It Get You Down” and “I Want to Be There (When You Come)” followed as singles but didn’t chart as highly. The album gave the band their fifth top ten in the UK, but was largely ignored in North America.
“Rust”; “Morning Sun” \ What Are You Going to Do with Your Life? (1999)
“It’s Alright”; “Buried Alive”; “Everybody Knows” \ Flowers (2001)
“Stormy Weather”; “In the Margins”; “Of A Life” \ Siberia (2005)
“Proxy” \ The Fountain (2009)
“Constantinople”; “Lovers On the Run”; “Market Town” \ Meteorites (2014)
“How Far?” \ The Stars, The Oceans & The Moon (2018)
A detailed run through of the band’s ensuing six albums over the next twenty years is not necessary, mostly because the band has run in a familiar, if not eminently consistent and satisfying, groove. Of note, Les Pattinson played bass on one track on the next LP, 1999’s What Are You Going to Do with Your Life?, but otherwise stepped away from the band to tend to his ailing mother and has never returned. This left the Bunnymen as just McCulloch and Sergeant along with a stable roster of hired players for their frequent tours and recording since the turn of the century.
So, let’s talk about their live shows. McCulloch is notoriously inconsistent as a performer, often coming across as uninterested or grumpy during shows. I have heard from more than a few people that their shows were often disappointing. I don’t know if this was the case in their ‘80s heyday, but that has certainly been the message I’ve heard over their past several tours. Regardless, I decided I needed to strike them off the bucket list and saw their Bring on the Dancing Horses tour in 2024. It was not bad, but certainly wasn’t great. As advertised, Ian was grumpy and often unintelligible. Sergeant played on his own, well to the side of the stage and away from the rest of the band. There was not much performance to the show and the songs were played competently. Other than obvious fan faves like “The Killing Moon,” “Lips Like Sugar,” and “Severn Seas,” the audience was not very enthused. I’m glad I saw them, but will not venture out for them again.
While they failed to play all of that wonderful compilation album for which the tour was named, and indeed it was still great to hear the old faves, I wouldn’t have minded hearing more of the recent stuff. Along with their return LP, Evergreen, Flowers from 2001 and Siberia from 2005 were stellar LPs. The six selections on this playlist from those two LPs are all fantastic, polished, consummate Bunnymen tracks. Do they excite in the same way their earlier releases did? Of course not. How could they as they approach their fiftieth year? But Ian and Will are excellent song writers that can fashion great melodies and brooding rhythms. And in the studio at least, Ian can deliver his signature vocal as well as ever.
The Fountain (2009) and Meteorites (2014) were not as high a quality but still have their worthwhile entries (“Proxy” sounds like an homage to mid-‘70s Roxy Music). Meteorites was their last LP of completely new material. The Stars, The Oceans & The Moon (2018), only had two new original tracks mixed with ‘transformed’ versions of fourteen songs from their discography. Some of these new takes were interesting, but for the most part incited regret they didn’t just leave the originals alone. “How Far?” was one of the new tracks and offered another strong addition to their legacy of expansive, darkly tinted, yet catchy tunes.
Such is the dilemma for the Bunnymen. They are entrenched in a sound they have not escaped and only evolved in incremental ways since their 1980 debut. They could experiment and try something bold and different – for them at least – but there hasn’t been much evidence that’s within them. They have perfected their groove and run nicely within it. Whether there will be more new music to come is an open question. This recent tour, with its focus on their early hits, suggests more a band settled into its veteran status.
And then there were two… Ian McCulloch and Will Sergeant have continued to carry the Bunnymen banner well into the twenty-first century
Admittedly, while I have always been a fan of Echo & the Bunnymen, I have never been too enthusiastic for them. I only ever bought that one compilation LP, it took forty years for me to get around to seeing them live, and I’ve put off writing this profile of one of the giants of my favourite genre until almost seven years of writing this blog. I truly enjoy their music and love their sound, but something about it has always left me short of swooning. My appetite for them is limited.
Yet, it is undeniable they have been one of the few consistently successful and enduring acts of the post-punk era. They have a large and loyal following of fans, as they have earned. They must be ranked as one of the pre-eminent bands of their era and genre – both groundbreaking and influential with their unique, yet consummate, sound of the early new wave period. Whether exploring their singles or deep tracks, there is a treasure trove of music to explore, so get to it, and I hope they warm your heart a little more than they have mine.
