Importance Score: 45 / 100 🔵
Lightning Seeds Frontman Ian Broudie Recalls Unexpected Fame and Enduring Musical Journey
Liverpool’s own Ian Broudie, the creative force behind The Lightning Seeds, vividly remembers the surreal moment of his first public recognition. It was the summer of 1989, shortly after the nascent band’s debut performance on Top Of The Pops with “Pure” – a track he initially considered unfinished and unsuitable for release. Broudie, then 66, recounts in his distinctive Scouse accent how, after a day’s work at his modest recording studio in Liverpool, he popped into a nearby late-night store for provisions. “Two women were working there, and one remarked, ‘Are you the guy who sings that song?’,” Ian shares. “Then she declared to her colleague, ‘It’s him – and he appears really [expletive deleted] dishevelled in person’.” This anecdote marks the beginning of his journey from studio craftsman to pop icon.
The Accidental Hit: “Pure”
Just weeks prior to this encounter, “Pure” was poised to receive its inaugural daytime broadcast on Steve Wright In The Afternoon, reaching an audience of 7.5 million listeners. “I was at my apartment in Liverpool, tuned into Radio 1, still somewhat incredulous that it was actually happening,” the affable singer and guitarist reminisces. “My song commenced playing, and then abruptly halfway through, Steve halted the record and exclaimed, ‘Wait a minute, what’s this? Who is this? The Lightning Seeds? I’ve never encountered them before.’ I assumed that was the end of it, a cruel prank at my expense. However, he then announced, ‘This is incredible! I’m going to play it again’.” And indeed, he repeated the track twice, effectively igniting Ian’s musical career. The captivatingly catchy single ascended into the Top 20 charts, a position he believes “would have been even higher had we possessed a record label” at the time.
From “Pure” to “Three Lions”: Enduring Success
Years later, Broudie achieved further fame as co-writer of “Three Lions” with Frank Skinner and David Baddiel in 1996. This iconic anthem, encapsulating the hopes and disappointments of English football enthusiasts within a vibrant 3 minutes and 44 seconds of pop perfection, has topped the charts on three separate occasions and sold over 1.5 million copies. Despite this monumental success, Ian maintains that “Pure” holds a special place in his heart, declaring, “It transformed my existence. It remains the pinnacle of my achievements.”
Near Miss: The Song That Almost Wasn’t
The creation of “Pure” was almost accidental. While producing Liverpool-based indie group The Pale Fountains, Broudie caught the attention of the late Dick Leahy, described as a “charming music industry rogue,” who, impressed by his production abilities, requested some of Broudie’s own compositions. Broudie eventually recorded four tracks, including “Pure”. “I felt it was slightly embarrassing. It was a home recording and lyrically verbose. I suggested discarding it, but the sound engineer was fond of it.” The engineer included the unmixed track on a demo tape sent to Leahy. Leahy was so enthusiastic about “Pure” that he pressed 200 singles for distribution to radio stations and nightclubs. Before Steve Wright, renowned DJ John Peel championed the song. Subsequently, Ian received a call from LA DJ Rodney Bingenheimer, reporting that “Pure” was the most requested song in California. “I assumed it was a joke. I told him, ‘That’s impossible, the record isn’t released in America’.” However, Bingenheimer had acquired a copy during a London visit from Rough Trade in Ladbroke Grove and initiated the radio airplay wave that propelled the song into the American Top 40 after MCA signed The Lightning Seeds.
Turbulent Tours and TV Troubles
Following the burgeoning success, Ian was invited to perform “Pure” on a German television program with The Lightning Seeds, except at this point, no band formally existed. He hurriedly assembled a makeshift lineup featuring his girlfriend Becky on keyboards and friends Lloyd and Chris on bass and drums. On their final evening in Germany, Lloyd and Chris indulged in the nightlife of Hamburg’s Reeperbahn, treating hostesses to drinks, only to face an exorbitant bill upon attempting to leave. Lloyd contacted Ian, explaining Chris was being held at knifepoint pending payment. Broudie contacted the police, and an armed unit stormed the club – only to discover Chris enjoying drinks with the hostesses. Displeased, the police informed Broudie that The Lightning Seeds were no longer welcome in Germany. Despite this incident, the actual Lightning Seeds returned to Germany eight years later in 1997 for a televised live concert that ended disastrously. “It was intended to elevate our profile significantly there. There were 10,000 attendees at the concerts and thousands more watching on television. We took to the stage and activated our in-ear monitors, but instead of sound, we were met with a deafening blast of white noise. It was unplayable, so we simply left the stage. We were effectively expelled from the country and haven’t been invited back.”
Liverpool Roots and Musical Influences
Born in Penny Lane, close to John Lennon’s childhood home, Broudie notes that his early talents were limited to football and guitar. Alongside Liverpool’s prevalent musical influences like Bowie and Bill Shankly, Ian was exposed to his father’s preferred music – Sinatra and Nat King Cole. “I didn’t initially grasp Sinatra. To me, he seemed like an older gentleman, and I didn’t appreciate his artistry until later, when I viewed a performance of him singing ‘It Was A Very Good Year’.” His personal musical awakening came with the glam rock era, citing Bowie, Bolan, and Slade. “Then I purchased the first Ramones’ album,” he adds. “That was a pivotal moment. I realised I would never emulate David Bowie, who seemed godlike to me, but perhaps I could be the guitarist in the Ramones… We performed a show with Bowie in 1995, yet I never introduced myself. I regret that, but I felt at a loss for words. I wished to collaborate on a song with him, but that felt presumptuous.”
Early Bands and Encounters
At age 15, while exploring Liverpool City Centre, Ian stumbled upon the Liverpool School of Language, Music, Dream and Pun, describing it as “warehouse-like,” where avant-garde theatre director Ken Campbell was staging a play titled Illuminatus. “I ventured inside and encountered Bill Drummond, the stage manager, and by day’s end, I was cast in the play as a guitarist in the bar scene. Bill and Jayne Casey subsequently invited me to join their punk band, Big In Japan, and I entered a realm I’ve never departed.” Big In Japan debuted at Liverpool venue Eric’s, with attendees including Pete Burns and Julian Cope. Despite playing few gigs and releasing only half a single, Big In Japan’s alumni went on to form influential bands, including Drummond (KLF), Holly Johnson (Frankie Goes To Hollywood), and Pete ‘Budgie’ Clarke (Siouxie & The Banshees). He recalls performing at Wigan Casino and travelling to Middlesbrough to see the Sex Pistols in August 1977.
London Calling and Early Collaborations
In 1978, Broudie and Budgie acquired £12 train tickets to London Euston, seeking musical opportunities in the capital. Their plan was rudimentary. “We were stranded at Euston station for an extended period,” he recalls. “We had no idea where to go. Then we noticed a poster for The Clash at the Music Machine, now Koko’s. We had previously assisted in unloading their equipment at Eric’s, so we went there, and The Clash guitarist Mick Jones granted us entry. That evening, Budgie met members of The Slits and decided to remain in London. I mentioned this in my autobiography and received a text from him offering apologies. The Specials were the support act, and that tour marked my first meeting with Terry Hall” – the Specials’ singer who became a close friend and songwriting partner of Ian’s. “Sense,” a song they co-wrote, remains one of Broudie’s personal favourites. Deaf School vocalist Steve Allen provided accommodation in his spare room in Kilburn. They soon established a band but Broudie has negative memories of that period – “Exploitation was rife; it occurred to me repeatedly; I even had an American manager who stole all my earnings.”
Return to Liverpool and Renewed Focus
Returning to Liverpool with diminished aspirations, Ian transitioned into producing for fellow musicians, including Echo & The Bunnymen, and The Fall. “I was a songwriter redirected into production. It required five years to realign my path.” Following the breakthrough of “Pure”, he achieved further chart success during the Britpop era with hits like “Change”, “Perfect”, “Lucky You” and “Life Of Riley”, inspired by his son, which became the Match Of The Day ‘Goal Of The Month’ theme song. Riley later became The Lightning Seeds’ guitarist and manager. “After our Coventry performance, Terry commented to him, ‘I’m relieved that went well. I admire your father, but he can be challenging.’ I retorted ‘You are Terry Hall, and you’re describing me as difficult!’” Ian acknowledges his perfectionism. “I become overly fixated on details. It’s both my greatest flaw and my greatest strength.”
Platinum Success and Musical Re-engagement
The Lightning Seeds’ third album, 1994’s Jollification, achieved platinum certification. “I was captivated by De La Soul’s drum loops but questioned whether songs could be built effectively around them. So, I enlisted Simon Rogers from The Fall, a musical genius, to co-produce Jollification. He incorporated loops extensively. Some songs ended up in unsuitable keys for live performance, requiring key adjustments.” To date, The Lightning Seeds have sold over eight million albums. By 2000, that chapter of the band concluded, and Ian’s friend Nathan McGough, manager of Happy Mondays, approached him to produce The Coral. “I rediscovered my early passion by working with unsigned bands, The Coral and The Zutons. Both subsequently achieved hit records. I gained considerable insight from them. It reinvigorated my love for musical creation.” He pauses and reflects, “I attained a hit record before mastering singing or even forming a band; I was primarily a producer, arguably the unconventional approach. I am still striving to compose a song that fully satisfies me. However, I am incredibly fortunate. I’ve been pursuing my passion since the age of 16.”