ALBUM OF THE DAY: Sex & Misery-Voice of the Beehive

-the third studio album from UK-based alternative rock band Voice of the Beehive, which consisted at that point of founding members Melissa Brooke Belland and Tracey Bryn. https://youtube.com/playlist?list=PLK5vBUJITx5Kqb832NfQo9MXsUvXNjKJP

Its production and release delayed due to personal and professional difficulties, the album was first distributed by East West Records in early 1996, almost five years after their previous studio effort, Honey Lingers. With just two of four released singles barely breaking onto the charts, the album was considered a critical and commercial disappointment and proved to be Voice of the Beehive's final recording. None of the tracks from Sex & Misery appear on the group's Best Of compilation, issued the following year by their original label, London Records.

The group featured Californian lead vocalist sisters Tracey Bryn and Melissa Brooke Belland (daughters of The Four Preps singer Bruce Belland). They teamed with British musicians Mike Jones, Martin Brett, Mark Bedford and Daniel Woodgate, the latter two of whom were former members of Madness. Bedford left after making formative contributions to the band and did not feature again, while Woodgate stayed for most of the band's main period of activity. The band took their name from the Greek meaning of the name Melissa, meaning honey bee.

The working title Disastrous Relationships, Disillusionment, Depression & Death serves for a concise description of the turbulent circumstances under which Voice of the Beehive composed Sex & Misery. In the months following the release of their second album, Melissa Brooke Belland and Tracey Bryn, along with bandmates Martin Brett and Mike Jones, grew increasingly frustrated with London Records' inability and refusal to promote and market their music. The label's intrusive management practices and interference with various elements of production also contributed to mounting tension and conflict in its dealings with the group. Additionally, Bryn and Belland were both going through painful breakups of their respective long-term relationships and coping with the death of several close friends around this time. Even though the process of crafting a new album had tentatively been initiated, the group resolved to negotiate a release from their contract and seek out a record deal elsewhere.

Drummer Daniel Woodgate had departed the band in 1992, to return to his former position with Madness and, while trying to find a new label, Brett and Jones also went their separate ways, leaving Belland and Bryn as Voice of the Beehive's only remaining members. The pair eventually signed a contract with East West Records and, assisted by producer Peter-John Vettese, resumed work on the album. Having recently endured so much loss and hardship, Bryn and Belland wanted to reinvent their image; consequently, Sex & Misery marked a departure in certain respects from their established musical style. With the album already long since completed, the first single, "Angel Come Down", was released in the UK on August 1, 1995 in order to gauge response to Voice of the Beehive's new sound. However, East West did not secure adequate publicity or circulation to reach beyond the group's fanbase, so when the song inevitably failed to gain traction, the label determined that the album was not viable and pulled it from the release slate.

Once again confounded by a record label's lack of support and loss of interest, Belland and Bryn relocated from London to their native Los Angeles in pursuit of other opportunities. East West finally did decide to release Sex & Misery in the UK a couple of months later on February 12, 1996, where it received scant notice. Another Warner Music subsidiary, Discovery Records, picked up the album and released it in the US on April 16 of that same year. The single "Scary Kisses," which was closer to the group's original sound, caught on at a few prominent Top 40 radio stations and became a modest hit, but Discovery neglected to capitalise on its success, neither releasing a corresponding music video nor booking Voice of the Beehive on high-profile gigs or a concert tour. As a direct result, Sex & Misery quickly lost its momentum, and soon thereafter the label opted to end its contract with the group.

Review by:RYM

It's a shame the music business and the buying public didn't turn Voice of the Beehive into massive stars.

Unfortunately for the band, 1996's "Sex & Misery" seems to have been one of those albums snake bitten from its inception. A series of business, personal and personnel issues saw work on the album repeatedly delayed. In fact, the album's working title was "Disastrous Relationships, Disillusionment, Depression & Death". On the business front, the band grew increasing frustrated with London Records which they saw as being unwilling to support them. Trying to escape their recording contract proved a long and painful experience. Simultaneously, on the personal front both Belland and Byrn were dealing with nasty breakups (check out the bitter 'Playing House' and the disturbing 'I'm Still In Love'). By the time it was completed and released, five years had gone by since the release of their previously album. Along with the extended delay went the ability to employee their band - bassist Martin Brent, guitarist Mike Jones, and drummer Daniel Woodgate (who returned to Madness) all handed in their notices, leaving Voice of the Beehive a duo built around Bryn and sister Belland. The extended break also cost the group much of their audience. Adding to their problems, having finally gotten out of their contract with London and signed with EastWest Records, they discovered their new label was no more supportive. The company floated a "test" CD single, but when it failed to sell, the company dropped Voice of the Beehive and pulling the plug on the album.

- 1996's 'Angel Come Down' b/w 'Inconsistencies' and 'Cartoon City' (EastWest catalog number YZ 973CD) # 86 UK pop charts

EastWest subsequently changed direction and released the album in the UK. but offered virtually no promotional support. Warner Brother's Discovery imprint released the album in the States, but again did little to support the collection, or the band and quickly dropped them from its record roster.

Produced by Peter-John Vettese, 'Sex & Money" is one of those "what-if" albums. Given the background circumstance in which it was recorded, the fact Belland and Bryn were able to complete an album was nothing short of miraculous. The fact so many of these songs were so good was even more remarkable. For goodness sakes, Belland's liner notes laid it out in black and white: "While the days of "Honey Lingers" were bright and sweet, what followed was tinged with sadness both professionally and personally. After successfully extracting ourselves for out old record collection, my sister and I decided to make a go of it alone. This album is the result. Sing in grief at the loss of our innocence and band and in celebration of our independent, each note was a labor of love." Yeah, with the exceptions of 'Scary Kisses, and 'So Hard', much of the outgoing playfulness that characterized their two earlier releases was gone, replaced by darker themes ('Playing House' and 'Moon of Dust'). Still the sisters remained gifted songwriters - virtually each of these eleven tracks reflecting a memorable, radio-friendly melody. The album also found them reaching out to some interesting collaborators, including Zodiac Mindwarp ('Love Locked Inside') and XTC's Andy Partridge ('Blue In Paradise'). And how do you pick out favorites given so many winners ?

Personnel:

Melissa Brooke Belland - lead and backing vocals

Tracey Bryn - lead and backing vocals

Jolyon Dixon - guitar

Mark "Tufty" Evans - recording engineer and mixer, guitar

Jon Kelly - recording engineer and mixer ("Angel Come Down")

Caroline Lavelle - cello ("Angel Come Down")

Tom Lord-Alge - recording engineer and mixer ("Scary Kisses" and "New Day")

Keith More - guitar

Stuart Ross - drums

Steve Sidelnyk - percussion ("Angel Come Down")

Peter-John Vettese - producer, keyboards

John Wakefield - bass