GHOSTS IN THE WINDOW AND SAVILLE ROW FLARES “Coming Home” is a fundamentally flawed song.

Nothing so wrong in that I guess… it was written by a fundamentally flawed person and nothing so bad in that, if you come from the perspective that we are all of us to a degree… fundamentally flawed. To get around (or rather ignore) this precept, we indulge ourselves in all sorts of pleasurable distractions which after a while begin to dull (if they don’t kill us first) with the repetition of a rather repetitive houseguest who simply won’t get the hint and leave. Shopping; collecting; sex; food; holidays; drugs; partners; families; God; picking a fight; pretending to be someone else; living in another time… rampaging around the country-side wreaking havoc … wearing flares… any indulgence that detracts from coming to terms with who and what we actually are… or rather… what we’re not… … which is perfect. There’s no such thing as a perfect song for example (although I’m often told there is by less-than-perfect human beings); there’s so much subjectivity to a persons perspective of the world that we’ve begun to kid ourselves into believing in fundamentals which are themselves flawed fundamentally … for example: “everyone loves The Beatles”… … they don’t. It’s just that icons such as these and our perspectives of them, have become so intrinsically engrained in our social consciousness that it’s almost impossible not to believe in them. Our fundamental pre-conceptions are fundamentally flawed. So…if our foundations are flawed and we can’t admit it what do we do? We lie. Problem is, between our conscious and sub-conscious selves, there’s a whole grey-area of nagging doubt that just won’t let us off the hook. We can ignore it for a while…years in fact, but eventually, one day… our pigeons come home to roost (God! I hate that…what a fucking stupid expression!!) ... anyway… … my point is, is that “Coming Home” is a fundamentally flawed song written by fundamentally flawed people in a fundamentally flawed state of being whilst holding on to a dream which is fundamentally (philosophically at least), built on lies…hmmm… that’s a bit heavy isn’t it? No…? Ok then… let’s try this…

… “Demon” is a fundamentally flawed concept occupied by fundamentally flawed people in a fundamentally flawed state of being whilst holding on to a dream which is fundamentally (philosophically at least), built on lies … hmmm…that really is heavy man, and terribly cynical. I’d like to think that it wasn’t this way… of course… it isn’t…is it… There’s undeniably a lot of love and care and soul that went in to producing those classic Demon songs such as “Time Has Come” and the like, and I’m sure there is still an urge to profess emotion and devotion in equal measure. Fans and band-members come and go, but deep down I’m sure they still retain whatever pleasure they originally derived when first discovering the bands music, and for some, I’m sure that this has grown over the years to become something deeper and longer lasting. But, behind it all…there’s so much more…just look at The Beatles. Being in a “Rock n’ Roll Band” is fraught with complexities. Individual ego’s all vying for attention in a business that is itself notoriously and fundamentally corrupt (i.e.: built upon deception and lies). The more I listen to “Coming Home”, the more deceptive it appears. On the surface, it’s a simple enough romantic invocation – a love song, supported by often dangerously, mawkish lyrics, and simple chord structures. On a deeper level, the music is tinged with anger, sadness… grief even, which often contrasts sharply with sentiments that don’t really seem to fit. The song reminds me of the melancholic, Gothic Romanticism of the early and mid 19th Century. It reminds me of Emily Bronte’s “Wuthering Heights” (1847) and Mary Shelly’s “Frankenstein” (1818) and like these two young female authors, there’s a darkness to this song that belies its outward simplicity. The lone, lost traveller returning home to find a candle still burning in the window of his home is classic romantic imagery; are the lyrics referring to someone still alive and close, or dead and lost? Or in some psychologically altered state, which has taken them away from their normal perceptions: their fundamental state of “home”? “A cold wind blows, but inside I feel the warm glow I hold the pen in trembling hand A stranger in a foreign land” You can almost see the monster staring through the window at Elizabeth or hear the wind howling over the moors as Cathy’s ghost cries “Heathcliff!”

(Actually I wouldn’t mind being haunted by Kate Bush…but there you go…) Talking of Sci-Fi and Gothic Horror, anyone seen the 1956 sci-fi classic “Forbidden Planet”? Well for us film nerds in the know; it’s a modern take on William Shakespeare’s play “The Tempest”. Here, as in “Forbidden Planet”, a magician tries desperately to protect himself and all that he loves (including his virginal daughter who’s receiving lots of attention from the local young dudes who’ve just turned up in their (space) ship) by releasing a monster (which turns out to be a monstrous version of himself created by his own sub-consciousness); to destroy anything that would interfere with his contrived vision of a “perfect world” (which he himself has created albeit with good intensions) through the use of magic, subterfuge and lies. When he finally realises what he’s done, and that his out of control “Idmonster” (the basic-instinct part of his personality that seeks to avoid pain) is instead now destroying all that he loves, he denunciates his magic and leaves the stage, thus restoring everything (including himself) to it’s rightful (if fundamentally flawed) state. Now THAT is heavy man. I wrote “Coming Home” (and incidentally most of the vocal melody lines as well Neil), whilst Dave of course wrote the lyrics and juggled the vocal lines to fit them. The song was pieced together in my head in similar fashion to “Time Has Come”, that is, toing and froing from work, starting with the developing chord structure and melody lines. The arrangement came last, and although I’ve learnt to live with it, the final result never lived up to its potential. In the recording process, “Coming Home” was left until last and was very rushed (although I did spend an awful lot of time getting the atmospheric DX7 synthesizer pad perfected with engineer (and bass guitarist for this album) Keith Andrews). To be honest, apart from the DX7 pad, I did no prior arranging for the keyboards what- so- ever (pretty much true for the entire album) and ended up making the entire thing up in the studio. Dave originally wanted me to arrange the song completely devoid of the band – the whole track just being vocals and keyboards. I think (as I did then) this went beyond simple artistic aesthetics… this would be the last song on which we would ever work together. Stubbornly, and perhaps in retrospect wrongly, I insisted that the band be included (as this would also be the last song on which I would work with the band), thus I guess giving me an excuse not to work on a song that just included Dave and myself. Perhaps if we’d have been able to have some real dialogue together by that point, “Coming Home” could have achieved real epic status but unfortunately this was not the case. The recording was rushed and the arrangement literally thrown together at the last minute, and to these ears,

it sounds like it. The band when they do play, sound awkward and uncomfortable (at least until the rockier and more familiar territory of the end section); apart from the beautifully played harmonics at the beginning, the main acoustic guitar part doesn’t work for me at all and the bass and drums often feel intrusive. The “10cc – I’m Not In Love” vocal pad that gives the song it’s lush, romantic characteristic is a pre-set sound I quickly grabbed from a Yamaha SY77 Synthesizer that was lying around the studio, and by sheer chance, worked well against that cold haunting DX7 soundscape, inspired by Brian Eno’s and Daniel Lanois’s, brilliant and beautiful “Apollo: Atmospheres and Soundtracks” album from 1983. It would be interesting to re-mix this track. I think this was certainly an occasion where Dave was right and my stubbornness got in the way. Weirdly the guitar gives the song a “lonesome cowboy sitting around a campfire” vibe, which conceptionally at least, fits the lyrics if not the song overall, and those big guitars just sound out of place... as if they belong to a different band, one that’s being left behind. I think the end band section does work. It’s pure “Yes”, and was inspired by a section from the epic track “Awaken” from their 1977 “Going For The One” album. I envisaged Steve Howe playing a guitar solo over the shifting key-changes. John felt less-than confident and flatly refused to do it – which is why it sounds like it does today, somehow unfinished.

The very end synthesizer outro was meant to have an extended instrumental section which slowly faded to nothing; a final gesture of farewell, as our Romantic hero disappears back over the moors/into the sunset/up in the spaceship/ up his own rectum (delete as appropriate); this was however considered a serious over-indulgence and thwarted by Dave. It’s interesting to note also, that the fade-out on the 2001 CD re-master is even quicker than that on the vinyl version… maybe they couldn’t wait for me to blast-off quickly enough…

Ps (An Interlude) Whilst digging out interesting stuff for the future DDR-Demon Archive Room, I came across a review of one of our gigs from the “Taking The World By Storm” period. The reviewer is extremely rude about the support band

and also refers to their “infernal keyboards”. Whilst re-viewing Demon he goes on to say, quote: “The material from the new album was flawlessly performed and very well written but belongs in a different age. Sometimes too lightweight for their own good, and with often overpowering semi-prog rock keyboards from Steve Watts that render John Waterhouse and the Anonymous One’s (?) (presumably Steve Brooks) guitars, to supporting roles. Demon are playing by-gone music effortlessly and with panache. However, it doesn’t matter how well you write it or perform it; a hand-tailored pair of Saville Road flares are STILL a pair of flares…” It became apparent whilst reading this that what this particular “IdMonster” appeared to miss, was his own contrived prejudice towards Progressive Rock music, and keyboard players in rock bands who refuse to follow the traditional (very typical in that period at least) role, of supporting player to the guitarists. It was always my intention for the keyboards to be of EQUAL importance – although live, Dave always annoyingly insisted on telling every out-front engineer that they generally acted as “padding” and that the guitars should be dominant and “up front” which is why most of the time you could never, or barely, hear them.* *(This further both served to perpetrate the myth that this was true and to emphasise and endorse the notion (along with the epithet “Demon” obviously) that we were fundamentally a “NWOB Heavy Metal” band – and of course, this has been generally been opted for and reflected by the bands choice of image, album and live output ever since, although I do think, the excellent and bold “Spaced Out Monkey”, is a brave exception. This does however, strangely contradict the reviewers comments regarding my keyboards at the gig he reviewed (and of course the vast majority of the songs and albums on which I was involved)… maybe I got lucky at the particular gig he reviewed? Perhaps the sound-engineer was prejudiced? Perhaps deep down, Demon were, and could have been, so much more? Fundamentals are tricky things. “Coming Home” is a farewell; a farewell to Demon, and to a creative partnership that lasted for seven years. It’s also a lament for what could have been…. different; but of course had it been, these songs and albums would never have existed in the first place. Whatever your opinion, it’s certainly flawed thinking to regard giving birth to creativity as something fundamentally idealic… … it’s not…

It’s fucking hard work; it’s bloody; it’s messy; and it’s very often extremely painful… just like real life… it’s certainly not a pair of dated Saville Row Flares; or for that matter, the indulgent journalism of an ill-informed turd… … no matter how much you polish it.

Pps: The End Just after that very last high piano echo of “Coming Home”, Dave wanted to sing these lyrics: “And in the end, the love you take Is equal to the love you make” Unfortunately The Beatles got there first… which is a pity, as I think it would have made a wonderful way to finally close the door. For a while at least.

I've uploaded the original vinyl version of "Coming Home" with an accompanying collection of cuttings and photographs from the upcoming DDR – Demon Archive Room to You Tube at: A re-mastered synthesizer composition "SLAUGHTER AND CONSUMPTION" at: and you can listen to "An Ending (Ascent)" by Brian Eno and Daniel Lanois at: As ever…enjoy! Steve Watts 11 : 10 : 2011 Next Transmission: 11 : 11 : 2011