Back in the mid-1980s, sisters Tracey Bryn and Melissa Brooke Belland left their native California for London, which was then awash with a convergence of post-punk and indie guitar bands.
The sisters’ arrival brought a few rays of sunshine to the UK, and when they enlisted the former rhythm section of Madness (bassist Mark Bedford and drummer Daniel ‘Woody’ Woodgate) along with two other UK musicians, the mix of a solid music base with irresistible jangly-guitar melodies and perfectly in-sync harmonies was too good for the UK charts to resist.
Released in 1988, Let it Bee was more than just another high-achieving indie-pop album, however. Playing shrewdly with the bittersweet side of love, songs such as Beat of Love (“Nothing is stronger than boys and their eyes, and it’s worse when you know he’s a liar”), Sorrow Floats, I Say Nothing and Don’t Call Me Baby (“You said forever and then you went and changed your plans, you said someday I’d understand, but I still wonder”) swing as much like a pendulum as a scythe.
Chart success didn’t last, sadly, and in taking three years to release a follow-up, 1991′s Honey Lingers, the band more or less sealed their fate.
‘I am back in the workplace full-time and it is unbearable. Managers have become mistrustful’
Beauty & the Beast review: On the way home, younger audience members re-enact scenes. There’s no higher recommendation
Matt Cooper: I’m an only child. I’ve always been conscious of not having brothers or sisters
A Dublin scam: After more than 10 years in New York, nothing like this had ever happened to me
For all of that, almost 35 years later – the main celebrations start next year – Let It Bee still vibrates and (yes, mea culpa) stings in all the right places.