Biography
Despite abundant links to influential figures and consistently favorable comparisons that held up whether accurate or strained, along with backing from notable supporters, Random Hold never capitalized enough on those advantages to establish lasting presence. In their brief run the group issued an album hinting at considerable potential. Much like This Heat, Random Hold aligned most closely with the rich post-punk category spanning the late 1970s and early 1980s, yet an absence of punk connections kept them apart from the more experimental wing of rock. David Rhodes and David Ferguson formed a band after crossing paths at a 1976 performance by 801, the fleeting side project featuring Phil Manzanera and Brian Eno. Ferguson’s scant musical ability and only passing familiarity with guitar posed a major obstacle. Even so the pair rehearsed and lined up several modest shows toward the close of 1976. Calling themselves Manscheinen to signal their mutual fascination with Krautrock, they refined their songs until they recruited additional players to complete the lineup. Former Glitter Band drummer Pete Phipps participated briefly, after which the founding duo brought in Simon Ainley, who had recently performed guitar and vocals alongside Phil Manzanera. At that juncture the group adopted the name Random Hold. The trio cut a demo and resumed live appearances, among them an ill-fated support slot for Adam & the Ants. Lacking a drummer and favoring a non-confrontational style, they faced projectiles of spit and full glasses of beer that forced them from the stage. Days afterward the band contacted longtime advocate Bill MacCormick, another musician who had worked with both Manzanera and Eno; he joined on bass and supplied financial assistance. Seeking a drummer, they placed an advertisement in Melody Maker and secured Richard Marcangelo long enough to record a second demo that drew little label or radio interest. Marcangelo departed shortly after the session—he would later play with Vibraphonic and Cinerama—and another ad produced David Leach, who stayed on a steadier footing. A substantial Melody Maker profile of the still-developing ensemble sparked sudden label interest and a competitive bidding process. Unlike several acts they were frequently likened to at the time, including This Heat, the Pop Group, and Cabaret Voltaire, Random Hold openly aimed for commercial success and broad sales. Polydor presented the strongest offer, leading to a partnership. The members then indulged in an equipment-buying spree that cluttered the stage. Before entering the studio for their debut, they attracted Peter Gabriel’s attention; he invited them to rehearse at his home and expressed interest in producing the record, yet his packed calendar ruled that out. Health concerns prompted Leach’s departure, with Pete Phipps returning on drums. Around the same period Ainley was dismissed, leaving Rhodes and MacCormick to handle vocals. Although the timing seemed coincidental, the shifts stemmed from internal decisions rather than label pressure. Working with Peter Hammill of Van Der Graaf Generator, the band amassed enough material for two albums. Polydor issued the single “Etceteraville,” which made little impression. A thirteen-date tour supporting XTC followed, coinciding with the release of the five-song Avalanche EP that again met largely indifferent reviews. Several months later the group opened for the enthusiastic Gabriel on his U.K. dates. That tour aligned with the appearance of The View From Here, a full-length drawn from the Hammill sessions. While reviews leaned positive, Polydor dropped the band soon after their return. Undeterred, Random Hold continued shaping fresh songs honed onstage. Management arranged U.S. distribution, and in late spring the band joined Gabriel for North American dates. Passport, the new American distributor, offered funding for a subsequent club tour across the States, yet the group declined and returned home with plans to revisit the country before year’s end. Back in the U.K., MacCormick received an informal dismissal. Resentful of his physical and financial investment, he reclaimed a substantial sum that nearly drained the band’s account and left them crippled. Rhodes departed to join Peter Gabriel, and the remaining members disbanded. Ferguson attempted to revive Random Hold without success; a new configuration surfaced in 1982 with Burn the Buildings on RCA. Predictably the album generated even less attention than its predecessor, after which Ferguson moved on to the short-lived Nine Ways to Win and work in film music. Years afterward two archival collections appeared on CD: an expanded two-disc edition of The View From Here and Over View, both rich in previously unreleased material.
Albums