Hello - Steve Watts here... Harpsichords, by their very nature, are not very aggressive instruments.

Although more distant relatives to the guitar than the piano (the strings are plucked rather than hit), they have about as much in common with Jimi Hendrix as Andrex Toilet Tissue has with Semtex. I guess you could blame Mal for "Heart Of Our Time". He went ahead and did something really daft, like dying, and then expected me to take up the reigns as Demon co-composer with Dave Hill. Not an easy pair of boots to fill, especially at the tender young age of 20. I'd been writing my own music for a few years prior to joining Demon. A lot of it was much heavier and more progressive (you'll hear some of it reworked for the new DDR album) but (like me) my material never really seemed to fit this band and I appear to have spent most of my time whilst working on "Heart Of Our Time", seemingly setting out to prove it whilst at the same time, trying to prove myself a worthy successor to Mal. No pressure then. Since "British Standard Approved" in fact, I had had aspirations for the band to change its name and attempt to become the next Pink Floyd - hey, I was young and ambitious...why not? but quite how I expected our motley crew of geeks, reprobates and drop- outs from Stoke-on-Trent and Staffordshire to do this was anyone's guess... but that was my goal. In many respects that particular "Adolescent Fantasy" is still alive and kicking. Dave also went out of his way to convince me it was also his, by constantly referring to Floyd albums throughout the creation of our own ("this is going to be our "Dark Side Of The Moon"" etc.); and constantly quoted them as an excuse to keep the name "Demon" (I always heavily suspected he preferred to jump out of coffins covered in latex). The path to enlightenment is indeed littered with the corpses of gullibility. Ah nostalgia! It's a bittersweet mistress. Give people what they want and they wallow in it forever...throw a spanner in the works (or a harpsichord in the mix) and you fuck-up the dials on the time machine! Heavy Metal Heather must have been wetting her knickers in anticipation of slagging this one off. "Heart Of Our Time" is a sadly maligned album. It's always described as "the weakest" or "the one in between where we were trying to see if we could continue as a band". On initial listens it has no cohesive whole, and rather presents itself as an odd collection of songs and experiments. The pop rock of Dave's catchy title track rubs shoulders with political commentary and personal introspection ("Crossfire" and "Genius?"), ambient soundscapes and vocal sampling (John Waterhouse's then

girlfriend Joy Mitchel on "Expressing The Heart"), driving hard - rock ("Walk In Your Own Light" and "High Climber"), a piano-ballad; epic-synth soundtrack, and a waltz with that harpsichord. For me, the last three tracks of the album perhaps some it up best; I once saw "Heart" described as an optimistically "up" album. I wouldn't describe it like that at all - listening to it today, it sounds dark, melancholic and lost...even the "up" bits: like someone has decided to go searching for something in the dark. "Grown Ups", "Summit" and "One Small Step" epitomise this journey perfectly. Originally titled "In The Hands Of The Grown Ups" (or "Grown-Up" on some prints of the album), "Grown Ups" sounds like a lullaby playing in a Grimm's Fairy Tale. The children talking during the introduction are Dave's, recorded on a tape deck in his living room (as is the South African news footage at the end of "Expressing The Heart"). The song revolves around a programmed music box motif, then Piano, which was I think recorded in one take on Amazons Steinway Grand, complete with squeaky stool. The strange echoe'y dropout at the end of the middle section is a rather botched attempt to cover-up a particularly loud squeak that would have otherwise ruined the take. Mike, myself, and Johnny Waterhouse (who's guitar was also completely out of tune with the piano), wanted to do it again; but lack of time (i.e. money) won out. Another, not-too convincing, Pink Floyd analogy was reeled out by Dave, as he tried to convince us that "That's what THEY would have done!" The song is however, heavily influenced by Pink Floyd, particularly "The Final Cut" album and Dave Gilmour's song "From Out Of The Blue" from his second solo release; the giveaway being the sudden big aggressive band entry in the last verse to emphasise the emotional shift in the lyrics. It's also the first time (and last), that I ever wrote a song around a complete set of Dave's finished lyrics. My favourite bit is "Did anyone hear who fired the first shot?" and the powerful sudden drop to the next line: "Who licked the first wound was the last one to drop" Wonderful lyrics. Although I had no full idea what they were about at the time, we did discuss an idea to make a promotional video that included children/lovers in some post-apocalyptic world. Listening to it today I think its simple premise is that we as adults are simple, eternal children still playing with toy-guns in a big playground... we simply need to evolve and grow-up. It's one of Dave's best lyrical pieces and certainly one of his best vocal performances, perfectly highlighting his range of styles. I still love the

way it suddenly ends, and cross fades into the sound effects of "Summit". "Summit" was a showcase for my evolving synthesizer productions. It's unashamedly influenced by Japanese synth-maestro Kitaro and was originally intended as part of a suite of instrumentals for my, later to be aborted, post-Demon album "Words Are Often Almost Useless". "Summit" opens with the main theme from "Expressing The Heart", that was itself inspired by the opening of a weird 1980's children?s TV program called "Chocky's Children", based on the Sci-Fi novel by John Wyndham. (see http://www.youtube.com/user/grassdabbers?feature=mhee) It's a sad and mournful piece that works well but seems strangely out of place here. It caused much controversy (and hilarity) with certain former band members. Arguments ensued over the volume level of the big choir that kicks in at the end: "what do you want to do...scare the shit out of people?" fumed an incredulous John Wright...err - well yes. Also overhearing one of my deeply personal "Words" pieces being sarcastically described as sounding like "An Anniversary Waltz" was not appealing, so to get my own back, I enlisted programmer extraordinaire Steve Parry Thomas to embed a secret message in computer code. Even this was influenced by Pink Floyd: it's a version of the backwards message in "Empty Spaces" from "The Wall" and was originally intended to be embedded in the intro to "Genius?" for which "Summit" was also intended to be part of. I had to fight like mad to get the code included at all (though admittedly I kept my real motives and the real secret message behind the "Behind It All There's So Much More" opening screen well hidden). Ironically, when it was eventually found and the message was cracked, my intended "victim" apparently, really enjoyed the attention. Sorry Chris. Still...I think it worked well as a little bit of "theatre", and I was really pleased that Steve PT eventually got the credit he deserved (albeit a year late and on the wrong album). It's certainly gained a great deal of attention from both press and computer hackers over the years, and as far as I'm aware (although the band appear to be completely ignorant of this), we were the first band ever, to include a computer program embedded in an album... Doh! It's "Genius?" innit?! So...back to Harpsichords. "One Small Step", originally called "Pictures", developed from my initial opening keyboard theme. It was never really intended for Demon at all, we

both just liked it. It's quite a unique song in many respects and as with the previous two tracks, caused quite a bit of controversy. 1) Its in 3/4 and sounds like we're all dancing around a Maypole. Not very Heavy Metal, unless you can visualise yourself chugging away at several pints of Snake Bite whilst watching it. It also has weird phrasing. Dave's beautiful "Standing alone at the end with the Sun" section, suddenly shifts into 12/4 time. 2) It has romantic violins that sweep through the second chorus, playing the "Grown-Ups" music-box motif. The first time that Demon really used this style of orchestration to full effect. There's an awful mistake while I'm playing this towards the end that somehow got left in and still makes me cringe. 3) It has that bloody Harpsichord (which for some reason also makes a guest appearance in the middle section of "Crossfire") and very little guitar (apart from "crash-chords" at the end and some fantastic Mike Oldfield inspired acoustic playing from John). We had one of our famous "Spinal Tap" arguments over one chord he had to play that he insisted wasn't "IN THE RIGHT SCALE!!" I do though, vehemently still agree with him about the quality of the album cover! I absolutely love it when the band comes finally crashing in; it reminds me of that final scene in "The Wicker Man"; except this one has naked hairy bikers in it. Sorry...I meant to edit that bit out... ...where's that butt-plug?... ...The last three songs of "Heart Of Our Time" throw a spanner in the spokes of the Demon cannon as certain songs from "Spaced Out Monkey" would do almost two decades later. Interestingly (and you can also include BSA in this), neither were particuarly popular. Oh well ... you wallow in your ever-decreasing mire of nostalgia or you fuck with the formula and see what happens. I prefer the latter. It's supposed to be "Progressive"...isn't it? "Heart Of Our Time" is a portrait of what happens when two creative people are "standing in the shadow at the opening night" and highlights the problems that happen when two horses attempt to drag the same cart in different directions; issues that would escalate during the writing and recording of "Taking The World By Storm" and my very least favourite Demon album "Breakout". "Heart" does it's best to be "up", but it has running through it, an underlying melancholy that totally subdues it and along with it's sometimes lack-luster production, refuses to allow it to shine.

A bit of a depressed "Billy Smart's Circus" that's overdone the Prozac. In my opinion - a bit of a lost classic. I've uploaded "Grown Ups; Summit and One Small Step" to You Tube at: http://www.youtube.com/user/TheDemonolaters?feature=mhee I'll be including original Demon demos; tour photographs; music scores; lyrics; and other memorabilia in the future Demon Archive Room accessible only via the DDR.com - Central Control Panel. As ever...enjoy. Steve Watts 11 : 07 : 2011 Next Transmission: 11 : 08 : 2011 P.S: Sorry to overdo the analogies in this one; but whilst in danger of overegging the point, I'll leave you with this last image: Over in the left corner: Mozart on Harpsichord. Over on the right: Jimi Hendrix on guitar. Round One.