The Cranes are an ever-evolving musical experience. Their sound is as unique as it is dynamic, pushing the envelope and moving the sonic landscape forward. Their story is as is that of hard-working musicians who experiment, create, and share their talent with the world.
alison shaw
The voice behind the Cranes is Alison Jane Shaw. Known for her distinct singing, Alison also plays bass and a bit of guitar for the band. Alison has been the focal point of media and fan attention since the band's inception. Speaking on this topic, Ms. Shaw said, "Oh, that? They [the rest of the band] laugh at me. That kind of thing I do get a bit embarrassed about. But when it's someone [a fan] reacting to a song, be it the lyrics or the music, then we really appreciate it. It's why we carry on."
Although Alison's musical interested started when she was young, it was not till much later, when she returned to her hometown of Portsmouth, that she discovered that her brother shared her musical tastes and interests. The result was a sibling collaboration to make their own music, with Jim writing and recording the music and Alison writing and singing the lyrics.
Alison's voice proved to be distinct in its child-like sound, as it reflects the same qualities that are in her everyday speech. According to her, "The first two songs we did my voice sounded as it does now, but then I went through an awkward phase. . . this is really early on . . you can't accept your own voice, and you try and find something else . . . but you just end up with what you've got, what come's out naturally."
In writing the lyrics, Alison has said that, "they're mostly personal stories. Fragments of things that happen. Sometimes you'll connect a certain melody to the way you felt when such and such happened - and the two things will just collide and give you a certain feeling." In 1998, Alison became an author when a compilation of her lyrics, Til the Stars Shine, was published.
Alison currently resides in Southsea, England, near the ocean. She is a skilled linguist (reflecting her University studies), fluent in French and Spanish, as well as her native English. Her French ability is often showcased by interviews on and in French media. Additionally, La Tragédie D'Oreste et Électre was a French spoken-word album. Her liking of Mexico has also helped to draw the band there for several one-off shows and accompanying vacations. When asked about her favorite songs to perform, Alison has mentioned Adrift, Angel Bell, and Far Away.
In describing how the music is created, Alison has responded in the following manner:
"The music comes first. Jim will start something and play it to me, and I sometimes get an idea straight away. You'll get a thought, and it might seem a bit nonsensical, but you use it as a starting point, work around it."
"I keep a diary sporadically, just jot things down that mean something to me. On tour, I really try to keep a diary, because its a precious time, really. And I'm really aware that when you're happy, things rush by so quickly that it's gone almost before you can take it all in. And I think that's what we try to do musically, to try to capture an impression of a time or a relationship or a feeling that you had."
On a interesting note, VOX magazine listed Alison as #13 on their list of The 20 Most Wanted Women of 1998.
In another piece of interesting information, the band Levitation, who were present during a Cranes interview during the early 1990s, cleared up that question we have all been asking ourselves, by stating that, "Alison doesn't sing when she orgasms."
jim shaw
The Cranes creative musical genius is none other than the mild mannered Jim Shaw. The brother of singer Alison, Jim composes the Cranes songs in addition to playing drums, guitar, and occasionally singing (although he is too shy to sing live). The group has been Jim's primary vehicle for exploring his ongoing musical experiment for over the past decade.
When Alison left the University and moved back to Portsmouth, she found that Jim had gotten a guitar and a drum kit, and had been teaching himself how to play. This, combined with the siblings sharing of common musical tastes, allowed the two to form their own group - the Cranes. (Although Jim and Alison have both an older brother and an older sister but they are not involved in the group, as they "do grown-up proper jobs and things.") The brother-sister family dynamic often gets forgotten by people. According to Alison, when she and Jim argue, "people get a big shock," but, "it doesn't seem like a big deal to us to shout at each other for a couple of minutes then it is gone."
With regards to his musical influeces, Jim has said the following:
"I think for me it's in the same way your personality is shaped at an early age. Musically, I'm influenced from everything. I remember at age 5 or 6 going to the cinema and before the films they played classical music. The cinemas in England were quite grandiose, kind of spooky old buildings and I tied in immediately to certain textures and things with classical music. I think the instrumentation of an orchestra is pretty damn good. My mum used to play Mozart and later I was putting it on myself.
When I first started buying records and getting into music...it was punk rock.
Aside from influence, I think the most important thing is the inspiration. What gives me inspiration is very often, almost totally, when I see a band live and when I see them put so much into it, it inspires me to do the same."
Regarding Jim's writing style, Alison described it as, "I can't really say how Jim writes things. He's like a law unto himself. He just kind of disappears for a while, goes a bit odd, and turns up a few days later with some songs."
Of the songs resulting from this process, Adoration is singled out by Jim as one of his favorite to play live.
When not on tour, Jim is a prolific composer and producer. For example, he wrote over 75 individual pieces of music for Loved. Currently, he is working on arranging compositions for his unreleased classical music album. Jim is also involved in recording, mixing, and producing songs for (and with) up-and-coming bands in the local scene. In fact, Jim has stated that if he were not making music, he would have no clue about what to do with himself.
In person, Jim is a laid-back person who is very personable. When I accompanied the band during part of their 1997 U.S. tour, Jim was always willing to talk and hang-out — even offering to buy me a drink. However, when it comes to success, Jim is very clear and unwaivering. To him success is defined as continuing what you are doing with integrity.
paul smith
Paul Smith has been associated with the Cranes, in various roles, for the better part of the last decade. Starting as a guitar and equipment tech, he gradually emerged from the shadows. During the 1997 Population Four tour, he was often onstage, playing additional guitar and keyboard parts. After the tour, which saw the departure of drummer Manu Ros, and then later long-time guitarist Mark Francombe, Paul established himself as a core member of the band, handling guitar, bass, and keyboard parts.
Paul is an easy-going guy who, at least once, was impressively protective of his band, especially Alison. At a show in Phoenix in 1997, a fan jumped up on stage to sing "with" Alison. Needless to say, Paul was up there before the fan was and "escorted" him off the stage.
To the benefit of Cranes fans worldwide, Paul is the primary point of contact and source on information for the group and its activities. He posts information and answers fan questions on the Cranes Fan Forum WWW Board. He also frequently communicates with fans via email. Taking this interaction one step further, Paul has represented the band during web chats.
In 1999, Paul opened up a website for his own side projects, Pure Evil. His first release, titled 'Blood' can be found and listenend to at this site (it is quite good site, as Paul has definite talent in designing websites). We encourage you to take a look and listen.
In 2002, Paul semi-released his solo album, Pure. It was a limited release to a few people for an initial reaction. Click here to view further information about the album.
jon callendar
Jon Callender joined the Cranes as drummer in 1999, after the departure of Manu Ros. He is currently both a member of the Cranes and his own group, Vex. Jon has said that he has "thoroughly enjoyed himself since joining the Cranes," and that they are "a very cool bunch of people to be with who collectively make beautiful music and have hearts of gold." In a recent letter to starblood.org, he has said that the band cannot wait to start playing live shows again.
Jon's first band, Complex, was a "romantic/goth mixture." According to Jon, the band was "crap" and never made any records. In 1989 he formed a new group called Amazing Windmills. The sound of this group was a bit different, "like Echo and the Bunnymen with a sort of Loyd Cole meets Formula 1 engine style vocal." Jon moved on to form Velcro in 1994. After releasing their first single, "Heidelberg Speedmaster" (produced by Terry Bickers (House of Love)), the band was sued by the company that produces velcro and was forced to change its name to Vex.
Vex released 2 more EPs and followed with their LP "Frontiers and New Technologies" in 1998. These works were produced by Fulton Dingley (Kula Shaker) and Ken Gardner (Blackwing/Levitation). The band continued making records, with the "Milk Series" EPs and the "Environmental" LP coming out in 1999 (released through Delerium/Ohm records) and are available in Europe via Pinnacle and Cargo distribution. Although Jon is the Cranes drummer, he continues his work with Vex. Their new album, "King Tempo," will be commercially released in 2001 and is currently available via the Vex website.
Jon has a passion for producing music and is also interested in small TV and film projects.
mark francombe
Mark Francombe was a continuous member of the Cranes between 1990 and 1999. Brought on at the same time as Matt Cope, Mark played a range of instruments, including bass, guitar, and keyboards. At the time, Mark had extensive experience playing with other local bands in the Portsmouth scene. According to Jim, Mark was a better musician than Matt because he had more experience. Because of this, Mark often improvised on stage, playing bits that he wanted, enriching the Cranes live show. To this end, his live performances, especially during Starblood, are not easily forgotten - a fact that I'm sure his guitar will verify (as to the fact that he was beating it with a wrench, something to that end)!
Now living in Norway, Mark is pursuing his computer based education and career. His graphic design skills are well known to fans, as he designed the Population 4 cover art, the EP Collection 1 and 2 liner, and the Can't Get Free artwork. Mark also designed the cover to the lyric book. Complimenting his graphic design work, Mark has also directed several of the Cranes videos, including Inescapable, I Hope, Tomorrow's Tears, Adoration, and Everywhere.
Mark has been part of several other musical adventures. In the late 1980s, he was in the Portsmouth band Uncle Ian, who, ironically, played the same local circut as another small Portsmouth band, the Cranes. In the mid-to-late 1990s, Mark worked with other entities. One was called Eardrum, that has since dissolved. (Note: There is another band named Eardrum, not including Mark, which exists). Another project was called GOD.COM. Although this project has also folded, go here to hear their song Butterfly. Currently, he is working on a solo project called Woman, described as a performance piece. In addition, according to Mark, he has, "been experimenting alot with my guitar playing since arriving in Norway, I now use a guitar that is half a bass and half a guitar. and a guitar with only 3 strings. I am using new tunings and basically starting again. After a while of producing only music on computers I have now reverted back to guitar music, but with a totally new and experimental way of playing, involving live looping, and very long delays. The sound is raw/harsh, hypnotic, and actually slightly bluesy/jazzy!!"
Although Mark is not currently part of the band, if the Cranes came calling, asking him to play on a full-fledged tour, Mark leaves open the possiblility of returning for live Cranes shows.
manu ros
Manu Ros joined the Cranes in 1996 to play drums. Jim Shaw, who had been the drummer for the Cranes' first decade, moved to guitar, thus facilitating the need for a drummer. Manu was recruited out of France. He toured with the 1997 Population 4 show and several one-off gigs at festivals after that. However, according to Alison, "he's a bit temperamental... he wasn't sure what he wanted to do after the tour ended this summer, but he ended up coming to Mexico with us." Eventaully, Manu left the Cranes (being replaced by Jon Callender).
Having met Manu on several occasions, I found him thoroughly entertaining, fully embracing the life on the road lifestyle. Yes, he was crazy, and very often consumed with alcoholic spirits. But he never turned away from a fan, especially those of the female persuasion. And, on an interesting footnote, he was not phased about urinating on the outside of the venue, nor was shy about 'exposing himself' to everybody and anybody who happened to be around at the time.
matt cope
Added to the Cranes line up when a second guitarist was needed in the early days, Matt Cope played with the band between 1990 and 1996. Although his experience was limited when he started playing with the band, as he was part of the local Portsmouth scene but had been first exposed to a guitar only seven months before starting with the Cranes, he quickly assimilated into the group, adding the needed live guitar power needed on tour.
It was during these early gigs that Matt made a sound impression upon the band and an unlucky venue owner. According to Alison, Matt was the primary reason the Cranes (inadvertently) destroyed a dressing room. It had something to do with the fact that Matt got horribly drunk and got sick - all over the the place.
During his time with the band, some of his favorite bands were the Young Gods and the Cure. The opportunity to tour with the Cure was an especially exciting time for Matt, as he was an avid collector of Cure records and the opportunity to play with some of his heros was a dream come true. He had this to say about the effect and influence of the Cure tour on the Cranes:
"the cure tour was the inspiration for "forever" and hence the title of the album was named partly after a cure song which we all played in dublin with them, and because we were all so happy at that time."
In 1996 Matt left the group, on good terms. He moved to New Zealand for a spell and then returned to the U.K. to pursue his own online retail music shop, Blistering Barnacles. Since then, Matt has fallen off the radar screen. However, he was seen in February 2000 backstage at a Cranes gig.
Of his experience in the Cranes, Matt had this to say:
"incidentally, my favourite cranes album is forever which i think would be hard to be topped, but this also has other values to me apart from musical quality. the fact that all of them are great to play live and it was written from the inspiration of the cure tour are also reasons why out of all the experiences i've had in my life, few of them come as close to playing adrift on stage."
