Back in the day bands really did get together via the ad columns of national music magazines!
A 1986 call to arms in Melody Maker by Islington based Guy Chadwick resulted in Terry Bickers (guitar), Chris Groothuizen (bass) and Andrea Heukamp (guitar and vocals) coming together with Chadwick himself (guitar and vocals) and long term friend Pete Evans (drums) to form a new musical force named; named for an Anais Nin novel ‘A Spy In The House Of Love’.
Emerging from Bicker’s Camberwell squat, the band’s reputation began to spread over the next three years and under the tutelage of Alan McGee they progressed from playing a local disused jeans warehouse to headlining the Creation Records all day festival at London’s Town and Country Club.
With accolades proclaiming them as a band “to rival U2” ten a penny the band duly edged towards the seemingly inevitable implosion. Tales of excessive drug use and internal friction in a band at the height of their fame were well documented in the music press of the time and when Bickers was abandoned at a service station on the M5 following an infamous incident on their tour bus it seemed that was the end of the band.
Tales of the band’s demise proved premature however as Bickers was replaced by Simon Walker on a new album tour that culminated in a sold out gig at the Royal Albert Hall. Unfortunately, despite constant touring over the next few years the commercial success that had appeared assured by their early career continued to evade House of Love whilst the rise of grunge and the Madchester scene appeared to sideline the band in the eyes of the public. With various members drifting away to other projects Chadwick finally decided to announce the demise of House of Love in late 1993.
Chadwick, Bickers and Evans were reconciled in 2003 and began to tour as House of Love once more.
Years after the infamous incident on the tour bus it emerged that Bickers had been literally ejected from the band after chanting “breadhead” at Chadwick and setting fire to cash on the tour bus in protest at the perceived increasingly commercialisation of the band.
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