“She's My Man” was actually the more definitive dub track and “Teenage Thunder” was the same track but the sequencer accidentally played it backwards. They were all at exactly the same speed, 192 beats per minute. Again the Dub effects were created due to the limitations of the Portastudio only allowing either the vocal echos or guitar echos at any one time.
See how fate takes a hand, just when you think its all hopeless?
Finally, we had the sound.
To play in the dub effects live we needed a girl. A very glamorous Jayne Mansfield type girl. Except one of the rules in my little red book said that she would never appear in the photos of the band lineup. No Transvision Vamps in here thanks very much.
Yana, Martins partner in YAYA got the job because, well just because she happened to be there and she was tall and shapely, the massive blonde beehive and 50’s movie star make-up came later, as did her ability to play keyboards....
ACE the Japanese girl who worked in the shop during the week became the onstage roadie, a job she was totally unsuited for as she had 2" fingernails. Everybody was now in place and we assembled the cast of extras from the people hanging around us at the time. It was that easy because they already had the look.
‘Amazon woman’ or Amo becomes tour manager, with no experience whatsoever apart from the fact that she had worked as a PA to an accountant. All the assembled crew would all be called the Ultravixens. Another genius visual idea and press time bomb.
Next rule in the red book was only have tall women as crew, so Jessica another girl from that scene became the offstage sound mixer. Qualifications? Um, tall, wild and owning the right record collection. Business suicide, but it was all these unconventional elements that made the band what it was.
