Radioactive Sparrow: Brooce Boyes Solo Collection Bnaal Emon Pip (1982)

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A very confused period of transition delivers probably Radioactive Sparrow’s least inspired and most unrewarding album. Delusions of professionalism and seriousness briefly led to composition on the part of Brooce Boyes, desperate to emulate his rocker-now-accountant brother who, while a student, had played in a covers band that once even played to an audience of 2,000. Supposedly. He was a dull fella (Brooce’s brother), by and large, but fair go he did save Bargefoot one night at a party at Bridgend Rugby club where the two Sparrow guitarists had gone in Boyes’s hope of encharming one Claire Raymond, a ‘strawberry blonde’ who lived at Ewenny Pottery and for whom brooce had a fixation. His fixation was ordinary – Ms. Raymond’s outward appearance was generally in line with what mainstream entertainment touted as being ‘attractive female.’ He penned a song for her, featured here as ‘Working Girl’, hilariously so-titled in apparent ignorance of that term’s argot connotations, which makes for a wicked irony given the overt would-be sweetness with which Brooce delivers his vocal.

Anyway, at this party, Claire Raymond had come along with her best friend, a girl whose name escapes me now, with whom Bargefoot was expected to dance as gooseberried court-stooge while Boyes utterly botched his chance to canoodle and cloy. The dancing exercise did, however, raise the ire of one Paul Bevington, notoriously violent Bridgend ‘Maffo’ boy, who approached Bargefoot after said dance and blurted, ‘You’re tall and you’re ugly.’ To which Bargefoot replied with some flat attempt at witticism. The writing was definitely on the wall, Bargefoot was Maffo toast as per oft-touted chilling Bridgend tales, were it not for the timely arrival of Brooce’s now-fully-accountant brother who whisked them to safety in his golden Capri (gold like his 1976 Les Paul Standard that Bargefoot was later unable to buy for a mere 200 quid). The episode is now embedded in a time of misguided adolescence wherein Boyes famously made his woefully ill-fated attempt to train Bargefoot in the drudgery of mainstream rock covers. The Motors’ ‘Dancing the Night Away’ was the ultimate boggy cringe in a proposed set-list that included ‘Message In A Bottle’ whose riff Bill was persistently incapable of repeating flawlessly again and again, driving Boyes to eventually accept defeat, lamenting, ‘Why don’t we just call it “More Kak from Radioactive Sparrow?”’ His rhetorical question became the imperative for subsequent, glorious developments for the band.

Boyes never scored with the strawb-flooze, but this album retrospectively bears witness to such shambolic times of early 1982, the year that would later spawn Radioactive Sparrow’s first true Kak album, Will & Dr. Edwards, coming next on Kakutopia’s weekly album post!


1)     Abortion 2,000

2)     Taking the Michael

3)     Bowman’s Capsule

4)     Like A Ship Becalmed (Bargefoot)

5)     Working Girl

6)     World Goes Crazy (82)

7)     Will Big ‘N’ Bouncy

8)     Pardon Me (While I Go For A Crap)

9)     Talk To Dai About Caroline (Bargefoot & Cox)

10)  Schlonggg

11)  Absolute Bollocks & Exhibit A


Brooce Boyes – lead vocals and lead guitar
Bill Bargefoot – Bass, guitar and vocals

Dai Cox – drums and bass

Recorded in the Hut during spring and early summer of 1982. ‘Produced’ by Brooce Boyes.



Written by Gustav Thomas

November 2, 2009 at 11:44 am

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