FLASHBACK
Hey Mandy won’t you come out and touch me
Hey babe, won’t you ride on high
It’s getting harder to see the sunshine
You make love right through my eyes

It’s not the same without you
We can’t make the same heat without you
It’s just a fading memory
You stay away from our kind

Waking up in a wasted body
The slightest fear had ‘sturbed my fears
I feel low and I need a good friend
To help me laden through these years

It’s not the same without you
We can’t make the same heat without you
It’s just a fading memory
You stay away from our kind

Hey Mandy won’t you come out and touch me
Hey babe, won’t you ride on high
It’s getting harder to see the sunshine
You make love right through my eyes

It’s not the same without you
We can’t make the same heat without you
It’s just a fading memory
You stay away from our kind

Words by Simon Miller and George Davies. Copyright (c) Explicit Music/Pok Songs 1982.

Words by Simon Miller and George Davies.
Music by George Davies, Simon Miller and Ken Staple.
Recorded and produced by Ian Dent at Daylight Recording Studios, Honiton, Spring 1985.

Performers:

Ken Staple – vocals
George Davies – guitars

Facts:

• This song is in fact Flashback Part 1, Flashback Part 2 being a song called Hard Times that was played by Wud, and Flashback Part 3 being the original lyrics to Flashback Part 1 with new music.
• The words written by Simon were initially “Hey Judas won’t you come out and touch me”. George at that time felt uncomfortable with the religious connotations and changed “Judas” to “Mandy” and a couple of small things.
• These lyrics were a perfect fit for the original melody of the vocal line.
• The form and structure of the solo were Simon’s, and came from a few moments of inspiration during a Fooog Dinboffin and the Release jam session which, fortunately, was recorded.
• Ken’s contribution to the writing of this song was the harmony vocal in the final chorus. Small, but splendid.
• The various tempo changes caused Ian the engineer a few difficulties, but he managed to press all the right buttons at the right time, so credit is due for his work.
• Ken’s performance is again admirably restrained.
• Guitars used on this song were the same Westone Paduak as used in That’s No Way to Pay a Bodyguard and Ken’s Flambeau acoustic, of which he was very proud indeed.
• The distortion comes from Simon’s ancient MXR Distortion pedal, which was borrowed for the day. It was mustard yellow and had just two knobs. As dirt pedals go it was the business, although it sounds rather odd plugged straight into the desk via a pre-amp.
• This song subsequently evolved and gathered extra writers and performers. It became part of the sets of Laughing Sun, The Addled Eggs, The Subterraineans and Rough Terrain.