This week a conversation with Scottish singer and guitarist Laurie Cuffe, whose career started with The Cuban Heels.

There is a myth that when Johnny & the Self Abusers split, two bands were formed, one being The Cuban Heels, the other being Simple Minds. The Cuban Heels, though, had already been in existence for a year or so at this point, although John Milarky did join their ranks from J&TSA.

The band’s debut single was released on independent label Housewives Choice Records in Spring 1978, a double A-side consisting of a frenetic cover of Petula Clark’s international hit Downtown and a self-penned number Smok Walk.

A string of singles and an album followed in the early 1980s but the lifespan of the band was relatively short with Laurie going on to feature in the line-ups of a number of other bands, including The Saints, One O’Clock Gang and, in recent years, The Véloniños, along with Davie Duncan, Kenny McLellan and Shug Jamieson.

In 2019, The Cuban Heels were represented in the highly recommended Big Gold Dreams: A Story Of Scottish Independent Music boxset. That same year, The Cuban Heels were featured in the Spirit of Punk 2019 – RIG Arts exhibition held at Greenock’s Beacon Arts Centre, while Laurie was interviewed for Punching Above Our Weight, a documentary that examined the 1970/80s music scene in the Inverclyde area.

After an absence of decades, the band took to the stage together again to perform two shows: the first at the Beacon Arts Centre to coincide with the exhibition, the second at Glasgow’s O2 Academy.

Can you remember when you first decided that you wanted to become involved in music?

My parents got me a guitar when I was around 12 and I got serious about playing around 14 or 15, listening to bands like Thin Lizzy and The Sensational Alex Harvey Band. My older brothers were big music fans so there was quite a mix of records lying around. Lots of Beatles and Stones (mostly Stones) but also Bob Dylan, folky stuff like the Incredible String Band and Pentangle and I remember loads of Chess label singles including Chuck Berry and Howling Wolf.

Chuck Berry and The Incredible String Band! That really is quite a mix!

The first Dr Feelgood album ‘Down By The Jetty’ had a huge effect on me, especially Wilko Johnson’s guitar style. A real lightbulb moment was hearing the Damned’s ‘New Rose’ on the John Peel show. The first Ramones album and then the first Clash album made it seem like something you could attempt yourself.

So, when and where did the Cuban Heels start and what was your first live show?

We started off in Greenock around ’76 as a three piece. I think the first gig was playing at a mate’s birthday party. I remember doing a cover of Chuck Berry’s ‘Oh Carol’. Suits and skinny ties, trying to look like the Jam!

What was the music scene in the Greenock area like when you started out? Were you aware of Thomas Leer and Robert Rental over in neighbouring Port Glasgow?

We weren’t aware of them. The music scene at the time revolved around a gig called the Victorian Carriage. It seemed to be mostly bands doing Steely Dan covers. I recall a lot of versions of ‘Haitian Divorce’. We were more aware of what we didn’t want to be like. One great exception was Chou Pahrot, who were from Paisley. They were a kind of weird hippy/punk, instrumental, Captain Beefheart mash up. Ahead of their time, really good guys and very encouraging to us.

How true is the story of the guy behind the Housewives Choice label being a millionaire who worked part time in an Edinburgh music shop?

Well, he seemed like a millionaire to us as we had fuck-all! His name was Mel Benton. I think his wife came from the landed gentry. I seem to remember they had a big flat in Edinburgh’s New Town. There was a thriving punk scene in Edinburgh based in Cockburn Street. We used to play a pub there called The Wig and Pen.

The band made a cameo on BBC drama Just A Boy’s Game, how did that come about and what did you make of the play?

Scouts from the film company saw us playing at the aforementioned Victorian Carriage. It was shot in Greenock, and our bit was filmed in a bar called The Norseman which is still there. The play was very much ‘of its time’. Looking back it all seemed very bleak. Greenock looks like Gdansk.

After a gap of a few years, your second single Walk On Water appeared on Cuba Libre, which was your drummer Ali Mackenzie’s label, wasn’t it?

Yes. Ali liked the business side of things. He put out early Shakin’ Pyramids and James King & The Lone Wolves releases too.

The Cuban Heels’ sound had moved on significantly since the early days. Who would you say was influencing you at this point?

I remember listening to Talking Heads a lot. I was impressed by Teardrop Explodes and Echo & The Bunnymen. There was a lot of good stuff happening then.

By the time of the release of the Work Our Way to Heaven album, things must have been looking good for the band, Peel sessions, live concerts on Radio 1, working with in demand producers like John Leckie – what would be the highlights of your time as a Cuban Heel?

Working with John Leckie in the Manor Studio in Oxfordshire was amazing. Recording Peel sessions at the BBC was a great experience. We played great places in London like The Marquee, Hope & Anchor, Rock Garden, Dingwalls and The Vortex. I have equally fond memories of iconic Glasgow gigs like The Burns Howff, Amphora, Mars Bar, and the student union at Glasgow Tech was always a good gig for us.

Yeah, I think next to the Apollo that was the best venue in Glasgow in the late 1970s.

We did a support slot with the Stranglers at the Apollo too, and it’s nice to have played that stage.

Being a Nico fan, I’m curious about the time you acted as her backing band for some songs in Edinburgh in 1981.

I remember we did ‘All Tomorrow’s Parties’, ‘Waiting For The Man’, ‘Femme Fatale’ and a version of Bowie’s ‘Heroes’. The gig was at the Nite Club in Edinburgh. We worked out the songs beforehand and had a rehearsal with her on the afternoon of the gig. I remember us going through ‘All Tomorrow’s Parties’ and she pointed and shouted ‘Play!’, when she wanted me to do a guitar break. I’m pretty sure she was in the midst of heroin addiction at the time, but she was still an imposing presence. Her voice was as great as ever.

Later you played with The Saints, how did you enjoy that experience?

Touring Australia was great fun. It was a carefree time – quite liberating to be just the hired guitar player.

And more recently you’ve played with and released music as part of The Véloniños, how would you describe this band’s music?

I suppose it’s kind of ‘modern/retro’. New songs but with a 50’s and 60’s instrumental feel.

Can we expect more Véloniños shows when things (hopefully) return to normal? Or maybe even a second album?

I really hope both of those things happen. I enjoy working on the guitar parts and recording the songs but playing live is my favourite thing!

2019 saw a brief live return for The Cuban Heels, any plans for more shows with them?

I’ve been writing songs with John Milarky, and we’d been talking about doing some small gigs before Covid hit the fan. Hopefully, that will happen before too long. Another Heels gig would be great.

Definitely. Thanks for talking, Laurie.

For more on The Véloniños click here.

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