I was the lead singer and chief songwriter for the band 'LIFT' from 1997 to 2003.
It was a great time to be making music and a satisfying moment of my musical and creative life.
We produced 6 CDs throughout our career - a mixture of EPs and full albums with a couple of reunions in more recent years.
Read about our story below, written by RN Smith.
It was a great time to be making music and a satisfying moment of my musical and creative life.
We produced 6 CDs throughout our career - a mixture of EPs and full albums with a couple of reunions in more recent years.
Read about our story below, written by RN Smith.
The story of LIFT - written by RN Smith
Setting The Scene
The Black Country and Birmingham regions of the United Kingdom have had a rich tradition for musical creativity over the last 60 years. Ever since the emergence of the likes of Moody Blues in 1964 and the short-lived Beat Boom, UK Midlands artistes have thrived through various popular music-eras, and the 2020s global scene of YouTube, Bandcamp and Spotify features a healthy contingent of creators from the area.
To tell the story of LIFT, we must first gain a cultural context. The mid-1990s was a time of renaissance in English popular music where guitars, dance acts, soul and electronica were spawning a whole new generation of musicians influenced by the popular culture of the time. We are, of course referencing the media phenomenon of Britpop where the 1960s were reflected on as a magical era, as defined in pop-language by Oasis, Blur, Pulp, The Verve, Supergrass and the like.
To tell the story of LIFT, we must first gain a cultural context. The mid-1990s was a time of renaissance in English popular music where guitars, dance acts, soul and electronica were spawning a whole new generation of musicians influenced by the popular culture of the time. We are, of course referencing the media phenomenon of Britpop where the 1960s were reflected on as a magical era, as defined in pop-language by Oasis, Blur, Pulp, The Verve, Supergrass and the like.
NME (New Musical Express) Magazine 1997
Simultaneously, the UK media were splashing newspaper and magazine front covers with “Rule Britannia!” in an attempt to swell national pride. This was also the time when the internet was a technological miracle - already incubated but yet to take over modern daily life.
Indeed, the mid-1990s were what we would now dub the last of the Global Society before “The Net” changed everything. Mobile phones were just becoming essential everyday tools for the common citizen in society and not just for elite and high-commerce individuals, as in the 'Yuppie' era of the 80s.
Dance music in 1995 was mobilised in a manner not seen previously with acts such as Prodigy, Daft Punk and Chemical Brothers scoring high with sales and cultural impact. ‘Trainspotting’ was the out-of-nowhere cinematic hit in Britain in 1996 spotlighting the seedier realities confronting Generation X, those born between 1965 and 1980 now aged between 15 and 30, with a stunning soundtrack and standout performances by its stars.
Indeed, for a brief period between 1994 and 1996, British youth felt the last gasp of a cultural maelstrom that began in the Sixties with The Beatles and the Mini-Skirt, The Pill and the abolition of National Service and then phased in-and-out with regularity ever since.
Mid-nineties Britain was what many commentators now view as a final ‘hurrah’. Beyond the end of that decade and the cultural shock of an internet driven society from hereon in, little in the form of cultural revolution has ever again threatened the commercial and mental standpoint of British popular culture or indeed the Global status-quo.
Politics factored into the short-lived British euphoria when Labour won the general election in the UK in May 1997 heralding an end to an 18-year residence by the Conservatives. A ‘New Britain’ was promised - whether it was ever actually delivered is up for debate as we look back now.
Indeed, the mid-1990s were what we would now dub the last of the Global Society before “The Net” changed everything. Mobile phones were just becoming essential everyday tools for the common citizen in society and not just for elite and high-commerce individuals, as in the 'Yuppie' era of the 80s.
Dance music in 1995 was mobilised in a manner not seen previously with acts such as Prodigy, Daft Punk and Chemical Brothers scoring high with sales and cultural impact. ‘Trainspotting’ was the out-of-nowhere cinematic hit in Britain in 1996 spotlighting the seedier realities confronting Generation X, those born between 1965 and 1980 now aged between 15 and 30, with a stunning soundtrack and standout performances by its stars.
Indeed, for a brief period between 1994 and 1996, British youth felt the last gasp of a cultural maelstrom that began in the Sixties with The Beatles and the Mini-Skirt, The Pill and the abolition of National Service and then phased in-and-out with regularity ever since.
Mid-nineties Britain was what many commentators now view as a final ‘hurrah’. Beyond the end of that decade and the cultural shock of an internet driven society from hereon in, little in the form of cultural revolution has ever again threatened the commercial and mental standpoint of British popular culture or indeed the Global status-quo.
Politics factored into the short-lived British euphoria when Labour won the general election in the UK in May 1997 heralding an end to an 18-year residence by the Conservatives. A ‘New Britain’ was promised - whether it was ever actually delivered is up for debate as we look back now.
Alex Vann
Alex Vann was in his mid-twenties in 1995 and felt the wind of change blowing. A songwriter since the age of 15 when he first felt the thrill of the possibilities a guitar could give via an after-school class, he had in the intervening ten years developed a talent both as a musical performer and writer, a journey that had taken him via several local UK Midlands bands such as Showground, Love Street and Rich Without Money. Bands with original material contributed by Alex but somehow lacking in the “Next Step” ability to proceed forwards to wider public awareness beyond local gigs and demos.
A Rich Without Money poster from 1995
Fortuitously, the journey did give Alex the “10,000 hours” he needed to master his skills in songwriting and playing, becoming a particularly gifted acoustic guitar player influenced by Ralph McTell, The Beatles and many other guitar-oriented rock and pop acts of the era and in the decades before. Key to Alex’s talents were his ear for melody and a sensitivity in his lyrics that were showcased via his body of demo cassettes and CDs leading to a later output of original albums in the 2000s and beyond.
LIFT - Come Together
LIFT were born by a confluence of Black Country musicians brought together by Alex’s search for new outfit that could take his aspirations further. In 1996 Alex published two collections of compositions entitled “Ten Tall Tales”: volumes 1 & 2. Eager to showcase these and other songs in a band format, he enlisted his friend, guitarist Andy “Chas” Bayliss, bassist Sean Coll, keyboardist Mark Drew and – eventually - drummer Dan Clark (who replaced two previous short-lived incumbents).
All members were previously familiar to Alex through social and musical activity. Chas was a good friend of Alex’s father Max, a teacher and artist (see the separate page about him), and had much experience in local rock outfits Bodycount and Sahara Darc and had briefly participated in the last embers of Rich Without Money, a band Alex helmed in 1994/1995. Sean was the bassist in Alex’s previous outfits Love Street and Rich Without Money and therefore a known, safe pair of hands. Drummer Dan, also gifted in multiple other instruments such as trumpet and guitar / bass, was last to join in 1997.
All members were previously familiar to Alex through social and musical activity. Chas was a good friend of Alex’s father Max, a teacher and artist (see the separate page about him), and had much experience in local rock outfits Bodycount and Sahara Darc and had briefly participated in the last embers of Rich Without Money, a band Alex helmed in 1994/1995. Sean was the bassist in Alex’s previous outfits Love Street and Rich Without Money and therefore a known, safe pair of hands. Drummer Dan, also gifted in multiple other instruments such as trumpet and guitar / bass, was last to join in 1997.
Bodycount with Andy ‘Chas’ Bayliss second from right
|
Sahara Darc (Andy ‘Chas Bayliss’ second from right)
|
Influences
All bands ride on their individual influences being combined into a greater whole and in the case of LIFT this was an eclectic mix that undoubtedly benefitted them. Whilst Alex wore his Beatles influence on his sleeve, he also reflected the work of Ralph McTell, the UK folk musician who had greatly impacted on Alex’s musical development. Alex also took in the modern progressive sounds of It Bites which combined musicality with pure song craft.
Meanwhile, Andy Bayliss came more from a Rock perspective with Rush, Mansun, Slayer in his toolbox in addition to Rave Music of the 80s and 90s. On the rhythm section, Sean Coll traced his roots back to Bruce Foxton of the excellent The Jam, whilst Dan Clark could trace his heritage through a classical as well as pop journey.
Meanwhile, Andy Bayliss came more from a Rock perspective with Rush, Mansun, Slayer in his toolbox in addition to Rave Music of the 80s and 90s. On the rhythm section, Sean Coll traced his roots back to Bruce Foxton of the excellent The Jam, whilst Dan Clark could trace his heritage through a classical as well as pop journey.
LIFT - the early days
As with all amateur musicians starting out, alternative income was a necessity for LIFT and all four men had to balance the desire of climbing the musical ladder with the priorities of earning a living. Alex himself had made the decision in 1992 to quit a succession of dead end office jobs and return to full time education to focus on achieving an undergraduate degree in art and design at the University of Wolverhampton.
By 1996, Alex had successfully graduated and set up a successful business in creative arts and media. He combined his professional career with the “elevation” of LIFT, hopeful that music would provide his future career path.
Personnel took some time to establish within LIFT. A teenage female drummer showed raw talent but no commitment and was quickly succeeded by Jans Hussain, who worked with the band for about a year before leaving. Mark Drew left the LIFT elevator around the same time after having added keys.
By 1996, Alex had successfully graduated and set up a successful business in creative arts and media. He combined his professional career with the “elevation” of LIFT, hopeful that music would provide his future career path.
Personnel took some time to establish within LIFT. A teenage female drummer showed raw talent but no commitment and was quickly succeeded by Jans Hussain, who worked with the band for about a year before leaving. Mark Drew left the LIFT elevator around the same time after having added keys.
LIFT (version 1, L-R): Andy Bayliss, Sean Coll, Alex Vann, Jans Hussain, Mark Drew
Things get moving - Four Storeys 1997
Arts Council England funding was available in late 1990’s Britain for aspirational creatives to apply for project support and LIFT attempted twice, with their second attempt being successful, albeit under a different name ('RISE') to circumvent application rules! In a case of foreshadowing, look out for the word 'RISE' again in our end story! The subterfuge worked and consequently gave birth to the “Four Storeys” EP of November 1997, crafted at Workshop recording studios in Redditch. This was the first awakening of the LIFT manifesto and provided a more-than-advantageous gateway over the next couple of years to those intrigued by this new outfit.
LIFT and RISE branding side by side
|
Four Storeys EP cover
|
Four Storeys Recording Weekend
Songs Brand New Day and Magic All Around heralded LIFT’s arrival with uplifting melodies and arrangements coupled with a driven guitar sound, echoing the influence of the New Zealand visionaries Crowded House. However, the menu was not all blue skies and vivid colours. The track Can’t See The Sun checked into the Psychedelic Motel for a cautionary tale about the perils of drug addiction. To complete the set, the fourth song, Mary, drew upon the Elvis Costello school of lyricism in highlighting the issue of mental health. So, lyrically LIFT was not all bubble-gum pop. They could also take you to the darker aspects of human life.
Four Storeys CD Photoshoot
The EP cover artwork features the band engaging in some playful high jinks on an inflatable bouncy castle. As a visual riddle, a ninth hand in one of the photos provides a ‘see-if-you-can-see-it’ moment of fun for the four-piece band. A further puzzle was to be found on the CD tray-card where listeners were invited to decode a list of symbols - a translation in icon-based typefaces of a statement in German language. To complete the multi-media package, the German statement came from a found sound on a random long wave radio overdubbed onto the chaotic ending of Can’t See The Sun. The £50 cash prize was awarded to fan of the band David Kinghorn who successfully managed to decipher the connection.
Four Storeys artwork
The Four Storeys sleeve artwork (outer)
The Four Storeys sleeve artwork (inner)
|
The Four Storeys tray-card with coded message - can you work it out?
|
Under Your Skin - 1998
Having introduced themselves via live performances and the Four Storeys EP at the start of 1998, LIFT then proceeded to continue their in-concert march across various Midlands UK venues, garnering local press and nascent internet coverage. Musical comparisons were further drawn with the likes of prog-rock outfit Marillion, It Bites/Francis Dunnery and the venerable Yes.
The 90s phenomenon of ‘Battle Of The Bands’ saw LIFT win the prize of studio time in a local studio called Ice House Studios in 1998 with producer Paul Hodson. The feel of this EP, Under Your Skin, another four tracker, saw an acoustic bed employ a string augmentation scored by the band’s drummer, Dan Clark, with young music students employed as the string section. Under Your Skin includes the lauded songs Please Let Me In and Nothing Is Easy.
Alex Vann, recording vocals for the Under Your Skin EP
|
Chas, recording guitar Under Your Skin EP
|
Sean Coll, recording bass guitar for the Under Your Skin EP
|
Dan Clark with the string players, recording Under Your Skin EP
(L-R) Caroline Makepeace, Melanie Lofting, David Pierce, Helen Phillips
|
If the death knells of Brit Pop had been forewarned in 1996 and 1997, the game most was almost certainly up by 1998 as dance and boy-band acts vied with the likes of Shania Twain and Cher for a confused pop hierarchy in the UK charts.
For amateur outfits like LIFT, invested in guitar-music, this prognosis was not a great, but LIFT chose to pursue their own path regardless.
For amateur outfits like LIFT, invested in guitar-music, this prognosis was not a great, but LIFT chose to pursue their own path regardless.
Under Your Skin artwork
|
|
Everything Within - 1998
In the spirit of ongoing expansion, LIFT purchased their own PA system to enable them to play venues in their own showcases rather than rely on local promoters with limited availability of bookings and competition with a multitude of other acts.
LIFT performing at The Shed in Brierley Hill, 1998
LIFT performing at The Rock Garden, London
|
Chas performing at The Shed in Brierley Hill, 1998
|
Additionally, the band built a recording studio in the loft of Andy Bayliss’s house in Stourbridge and this facilitated the birth of the band’s first long-playing compact disc “Everything Within”, issued in May 1999, with 5 new studio tracks augmented by three live recordings designed to showcase the act’s live firepower. As a sampler, from my contemporary ears of 2026, this is a hard-to-beat representation of prime-era LIFT and is most likely the one item most people would need to reference to gain a full taste of LIFT music in its prime.
Everything Within artwork
|
|
Songs that came to define LIFT are included here – the angular Nothing Is Easy once again makes an appearance, this time in a full electric band setting; Everything Within radiates a melodic glow; In The Winking Of An Eye is commanding and Shall I Pretend a masterwork in arrangement and subtlety.
If you’re after a sense of how powerful the line-up weas at this time, your palette will be whetted by the live soundboard grabs of Parallel Roads, Parts of Me and Buy a Dream, all taken from an incendiary summer 1998 appearance at legendary 90s Black Country venue The Shed, a regular haunt for LIFT.
If you’re after a sense of how powerful the line-up weas at this time, your palette will be whetted by the live soundboard grabs of Parallel Roads, Parts of Me and Buy a Dream, all taken from an incendiary summer 1998 appearance at legendary 90s Black Country venue The Shed, a regular haunt for LIFT.
Falling From Grace - 1999
Alex’s songwriting flourished during this late-90s period and in a sense, this ensured that LIFT were able to maintain a release momentum that few other amateur bands could. The EP tradition continued in late 1999 with a third extended player “Falling From Grace”. Indeed, much of LIFT’s song output continues to inform Alex’s solo live work to this very day, such was its prolificacy. And for good reason, as the quality of songs such as The Man Inside and Falling From Grace cannot be questioned.
Falling From Grace artwork
Things go South
Meanwhile, life on the live gig circuit saw LIFT continue to gain ground. Word on the band had reached Zack Rise, from London management company Sharpe Music, who waxed lyrical about the band’s potential to be wider known and gain mainstream success.
The correspondence also established a link to producer Peter Lorentz. It was Lorentz, who’s previous work included the British punk band The Vibrators, who guided LIFT’s 1999 re-recording of the first track from their first EP Four Storeys, Brand New Day at Nu Groove Studios in London.
The correspondence also established a link to producer Peter Lorentz. It was Lorentz, who’s previous work included the British punk band The Vibrators, who guided LIFT’s 1999 re-recording of the first track from their first EP Four Storeys, Brand New Day at Nu Groove Studios in London.
However, alarm bells rang when the band were persuaded to contribute to the project financially then subsequently saw little in the way of the promised follow-on promotion upon the single’s release. Added to the apathy of the promotional team was some uninspired sleeve artwork imposed upon LIFT for the single’s release and a lack of sympathetic production from Lorentz.
The final piece in the management discussion involved LIFT being offered a derisory contract that according to the band’s solicitors was “full of holes”. To add insult to injury, a communication to the band from the Musicians Union advised LIFT to steer clear of Zack Rise who had been blacklisted by them.
For young bands, there is often a finite lifespan where initial progress becomes flatline, where achievement slows and routine takes over from motivation. It has been suggested that three years is a timescale for this to occur. Without the spark of a major positive event or inspirational change in trajectory, it is hard for enthusiasm to be maintained and often musicians can become disillusioned, and focus returns to family and career commitments outside of the band.
Whilst regular gigs and independently funded recordings had sustained the band, the next rung of the ladder was fraught with misfortune and the unsavoury chapter with Sharpe Music led to tensions within the band.
For young bands, there is often a finite lifespan where initial progress becomes flatline, where achievement slows and routine takes over from motivation. It has been suggested that three years is a timescale for this to occur. Without the spark of a major positive event or inspirational change in trajectory, it is hard for enthusiasm to be maintained and often musicians can become disillusioned, and focus returns to family and career commitments outside of the band.
Whilst regular gigs and independently funded recordings had sustained the band, the next rung of the ladder was fraught with misfortune and the unsavoury chapter with Sharpe Music led to tensions within the band.
The Sharpe Music artwork for Brand New Day
Angels & Gargolyes - 2000
The band announced their dissolution to fans in May 2000, signing off with their compilation “Angels & Gargoyles” highlighting their various releases over the previous three years together with a few brand new tracks. A newsletter was produced explaining the band's decision.
After the highly-motivated ambition to progress in the music business, it was a shocking and disappointing conclusion. The one saving grace was that they had built a body of recorded work for posterity, and their efforts were appreciated by the many who heard and saw them between 1997 and 2000.
After the highly-motivated ambition to progress in the music business, it was a shocking and disappointing conclusion. The one saving grace was that they had built a body of recorded work for posterity, and their efforts were appreciated by the many who heard and saw them between 1997 and 2000.
|
|
Reunions - 2003 and beyond
Endless Street
In 2003 the band reconvened to complete two recordings they had started at the end of the 90s but had never finished: Endless Street and I Know You. The artwork features Alex's then wife Rachel's hand - which had also appeared as the mystery 9th hand on the front cover of their first EP : Four Storeys.
|
|
Two subsequent reunions involving music performance occurred. The first at Alex Vann’s 40th birthday celebrations at The Newhampton Inn, Wolverhampton in December 2009 when LIFT performed their Four Storeys EP and the second for a Guardian Labs / Viejo Wines advertising campaign in 2018, for which the band was filmed reuniting at Dan Clark’s house in order to reminisce and recreate the cover photo of the Four Storeys EP. This again involved the hire of the obligatory bouncy castle and Rachel Vann’s unexpected ninth hand, and an evening performance of the 4 songs from the band's debut EP in front of a specially invited audience. Watch the video below.
The band members remain good friends and the musical legacy of LIFT now lies in their studio work and video footage, together with the flame of LIFT being kept alive by Alex Vann’s regular readings of LIFT songs in his solo appearances across the UK Midlands.
For a band for whom song was king, the 1990s was probably the perfect era for them to exist and revive traditional song values. Whilst LIFT’s output may have proved problematic for some promotors and journalists to categorise into a single genre, on reflection this may add to their strength as an enjoyable distillation of the pop/rock music that had gone before whilst innovating with their own unique approach.
LIFT personnel:
Alex Vann – Guitars, vocals, song composition
Andrew “Chas” Bayliss – Lead guitar, backing vocals
Sean Coll – Bass Guitar
Dan Clark – Drums, backing vocals and other occasional instrumentation
Selected Discography:
Four Storeys (EP) - 1997
Under Your Skin (EP) - 1998
Everything Within (Album CD) - 1999
Falling From Grace (EP) - 1999
Angels & Gargoyles (Album Compilation CD) – 2000
Endless Street (Reunion EP) - 2003
For a band for whom song was king, the 1990s was probably the perfect era for them to exist and revive traditional song values. Whilst LIFT’s output may have proved problematic for some promotors and journalists to categorise into a single genre, on reflection this may add to their strength as an enjoyable distillation of the pop/rock music that had gone before whilst innovating with their own unique approach.
LIFT personnel:
Alex Vann – Guitars, vocals, song composition
Andrew “Chas” Bayliss – Lead guitar, backing vocals
Sean Coll – Bass Guitar
Dan Clark – Drums, backing vocals and other occasional instrumentation
Selected Discography:
Four Storeys (EP) - 1997
Under Your Skin (EP) - 1998
Everything Within (Album CD) - 1999
Falling From Grace (EP) - 1999
Angels & Gargoyles (Album Compilation CD) – 2000
Endless Street (Reunion EP) - 2003
LINKS
‘LIFT – the band of the people’ Facebook page: https://www.facebook.com/liftband90s
LIFT playlist on Alex Vann’s YouTube Channel: https://bit.ly/4uEOAmt
LIFT music to stream / download from Alex Vann's BandCamp site: alexvann.bandcamp.com/music
‘LIFT – the band of the people’ Facebook page: https://www.facebook.com/liftband90s
LIFT playlist on Alex Vann’s YouTube Channel: https://bit.ly/4uEOAmt
LIFT music to stream / download from Alex Vann's BandCamp site: alexvann.bandcamp.com/music