Kit Hain: School For Spies

Kit Thain: School For Spies album

Track selections
from
School For Spies
Notes by Kit Hain

After The Darkness
A bit of wishful thinking, this one, I was definitly needing some of that Hope in the Dawn.  Some of the lyric inspired by the picture on the front of the old Tate and Lyle's Golden syrup can.  There's a lion lying down with a lamb or something, with the words the bitter shall bring forhth sweeteness.  Rememberance of childhood idylls complete with  Peanut Butter and Syrup sandwiches.  When we were recording this one we were thinking how nice  harpsichord would be on it, but we'd need a REAL keyboard player.  It so happened ex-musical parter Julian Marshall was in New York so he come along to play.  We hired him, but I don't know if he actually ever got paid.

Fallen Angel
Ooh.  Creepy this one.  Kit takes on the persona of angry Lucifer cast out of Heaven.  I shudder to think where I was at!  Not one of my fave vocal performances.  In general I was trying to sound stronger than I think my voice was capable of (force grown, perhaps?)  Roger Daltrey did this one far more justice!

Fire In His Eyes
The fairground/circus tratment was inherent in the writing of this song.  The keyboard riff is the first thing I came up with and that inspired the imagery.  We recorded the whole album in New York (which is step one, I guess, on how I come to live here now!)  Yes, that is  Mr. Mike Thorne shouting his head off in the bridge.  This never actually made it onto the album: it was released first as a single which flopped.  As the record company felt we needed another uptempo on the album, this one was ousted.

Too Far Too Soon
I'd just arrived in New York City to start work on the second album with Mike Thorne.  I  was staying at his and Leila's place.  Alone one Spring afternoon,  I sat at their somewhat honky tonk upright and wrote this.  Straight from the gut.  After the Aaron relationship broke up, I was in Lonesome Limbo Hell for a few confusing and intense years when all I seemed to  manage were the odd one-nighters and/or unrequiters.  This was about one of those. Usually the vocals were the somewhat painstaking last stage of recording.  In this case, though, we kept the guide vocal that I sang when the  band was putting down the backing track; couldn't improve on it.

Wild Ones Dance
God knows where all these shifting time signatures came from.  It was hell for the musicians to play!  When I wrote it (another Basement Song) it all seemed quite natural.  I'd recently watched Polansky's Vampires Ball for the umpteenth time and kept imaginging all these 'Wild Ones' rounding the corner and being invisible in the  mirror.  While watching from the shadows, I  think this is how I was feeling a lot of that time: self-conscious and outside of life.  The wildness came out in the music.