Picture by Clare Muller, used for many interviews, used here too.. browse to Band Photos to view photo full size.

PUBLICATION - RECORD MIRROR ORIGIN - UK DATE OF PUBLICATION - unknown  SUBJECT - The La's, musical influences.. TITLE - ' ..here we go.. ' AUTHOR - Lestyn George CONTENT - Dissatisfaction with their album.. PHOTO - Clare Muller

In the two years since the original release of The La's' 'There She Goes', a whole generation of young groups from the dancefloor and rockier climes have risen to steal their thunder. Few, however, have matched the critical acclaim heaped on the band's eponymous debut album - which they openly despise - or the respect given to the band's songwriter Lee Mavers.

Unsurprisingly, the fabled Big Time has yet to have its effect on this amiable quartet, apart from exuberant bassist John Power signing off the dole for fear of being recognised by the eagle-eyed DSS and lanky guitarist Cammy having enough cash to pay his parking fines.

However, a more pressing matter commands their attention at the moment, namely whether Power, who has suffered a seven stitch gash across a hand, will be fit for the start of their imminent tour.

"Did you see I was in the papers with this," laughs Power, waving the offending item in the air. "Half a page in the Daily Mirror about me having a fight with someone in Stuttgart and getting 20 stitches put in my hand. I've never even been there! It happened in Oslo; seven stitches when I dropped a glass bottle." Fresh air and careful attention should heal the wound soon enough.

Mavers and Power gesture towards the small bank of equipment which will be the heart of their own recording studio when completed before the year is out.

"All this is going to make sure that we don't make the same mistakes again," says Mavers sombrely. "There's no authenticity to the stuff we've done so far. It's sad 'cause our demo sounds miles better."

To the untutored ear, the songs on the legendary first recording are rougher, the poppy swirl of 'There She Goes' given a gutsier rendition than the finished product. There are no drastic differences, but enough to suggest that their complaints about the album are borne from frustration, rather than a need for a novel selling angle.

Mavers pauses from demonstrating the finer points on his air guitar and exclaims, "The songs seem to have so much more character, more depth, more charm than anything on the LP. Listen la' !"

Unlike many of their contemporaries, The La's are more than willing to cite their musical influences from the past. They talk enthusiastically about the time they used to nick records from Woolies and Mavers proudly declares his first purchase to be 'Wig Wam Bam' by The Sweet, while Power rather shamefacedly admits to have once been the proud owner of a Ken Dodd
single. Mention The Beatles, however, and you're likely to receive a curt "we're not into Merseybeat y'know" from Mavers. "The Beatles aren't even in my top five," he elaborates. "There's Captain Beefheart, James Brown, Bo Diddley, Chuck Berry and The Who; you'll hear all those influences in our music. I could go on about Beefheart all day; he had an amazing feel to his records, this weird discordant blues stuff. He's pretty crap now; paints a lot; off his head, like.

"Bo Diddley's first album is essential, James Brown's 'Greatest Hits' is unlike anything else and get any f***ing thing you can by Chuck Berry. As for The Who, all you need is the first side of 'Meaty, Beaty, Big And Bouncy'."

"The Stones were a big influence on me," adds Power. "Hendrix, Led Zep III. There used to be loads of kids in Liverpool into Pink Floyd about five, six years ago. The whole hippy thing kicked off ages ago round here, people started to grow their hair long and then the Mancs tuned into us. They started nicking our phrases, copying what we used to wear. I had the saddest pair of semi-flares in 1985."

Choosing their current faves, Mavers and Power show a healthy interest in Deee-Lite, Black Box and The E-Zee Posse, a respect for The Farm's melodic prowess ("catchy as f*** ") without sparing the rod for fellow 'Top Of The Pops'ters EMF. "It's ever so [stands knock- kneed and slouching] isn't it." poses Mavers.

"You're absolutely smashing!" croons Power ironically.

"That guitarist's got a face like an elephant hasn't he," Mavers grins in response.

As for their own future, Mavers and Power demonstrate a convincing combination of laddish enthusiasm and single-minded determination.

They've been around a few years and have been in the spotlight before, but this time they're unlikely to be blinded by the light.