Biog

Kevin McDermott

The Kevin McDermott Timeline

 

Marco Rossi, KMO's esteemed guitarist eloquently and in his own unique style describes the journey from the mid 80s to 2000.

 

Marco's Biog

 

At the start there, in scenic Maryhill, Glasgow, Kevin McDermott nurtured a nascent talent and grew a songbook.

 

A Lone Gunman at first – as seen on The Tube in 1984 and in the front room belonging to the bloke in Florida who won a competition to have Kevin come visit, play a set and eat all his seafood – Kevin saw the world, heard the word of Satan, stopped battering his younger brother Jim and persuaded him to do some battering of his own in a purely Drums sense. Jim brought Steph Greer to the feast. Steph cradled a bass and sang high. A rasta percussionist called Chris came and went – often simultaneously. A demo tape was proffered to London`s arbiters of taste. Island Records rolled out a tatty red carpet.

 

A criminally – unsung album, Mother Nature`s Kitchen (Island, 1989), was assembled chock - full o’ classy Dylan– meets– Lennon toons, with Pretenders/Paul McCartney guitarist Robbie McIntosh joining Kevin, Jim and Steph on the factory floor. Robbie in turn handed the baton to Marco Rossi. Marco owned a guitar and sang high II.

 

A year of non-stop touring ensued.

  • Steph was arrested in Los Angeles for crashing a car which he hadn’t been driving.
  • Jim flooded the entire floor of a hotel in Denver.
  • Kevin clogged the drains of a hotel in St. Louis.
  • Marco had a cinematic nervous breakdown in a shower in New York.

 

KMO returned to Britain in 1990 to find that Island had changed the locks on the doors. As if by magic, a host of terrifying Official Bodies Demanding Monies appeared in a puff of Brimstone. From being favourably compared to White Album-era Beatles, KMO now faced an Apple Records-style financial nightmare of Hieronymous Bosch proportions.

 

Lesser souls would have caved in, bared their throats and signed away the will to live. Kevin McDermott, however, is made of considerably sterner stuff. Against literally all the odds and some other hitherto undiscovered sods, the unreasonably brilliant Bedazzled(Thirteen Records, 1991) was released, revealing ensemble strengths which threw Jimi Hendrix, The Buzzcocks, The Who, The Byrds and the Small Faces into the equation. This wasn’t Retro – this was BETTERO. A gently surreal 20 – minute video captures the band at this remove, Steadfastly moving sideways into an area outside fashion, above compartmentalisation and Beyond Belief.

 

Nevertheless, Kevin was still forced to surrender his house and retreat in the shape of a rhombus to a makeshift bed on a sofa, which is where circumstances decreed he had to ride out much of the 90’s. A beleaguered, punchy yet cynically reflective mini album, The Last Supper (Iona 1994), was largely written from this uncomfortably rarefied standpoint. Kevin was ritually sacrificed by his band in the video for Day In A Goldmine. Iona Records used the ‘profits’ to fund a stringent programme of bagpipe-related disease research, and Marco left the band under a cloud caused by his own legendary fart on the set of the aforementioned video, only to be lured cautiously back with offerings of pasta.

 

In 1997, four freshly-grown men called KMO released For Those In Peril From The Sea (Tula, 1997), songs as lean as bone, but as deep as eyes, allied to terse, focused, diamond-hard performances.

 

There’s a compilation – Fair And Whole (Tula, 1998) – a contentious overview of KMO 1989 – 94 to bring you up to strength (For Those In Peril should be heard in it’s entirety – if you don’t own it, you have no excuse).

 

Cue soft focus, wobbly camera-work with wind-chime accompaniment….we’re back in time….BEDAZZLED, instead of being criminally cut down in its prime by those financial institutions with a sense of foresight and timing akin to a heavy investor in Betamax video recorders, is available to one and all as opposed to just the tenacious hardcore who bought theirs and sent it top ten in the Music Week independent chart in the first week of release before ‘THE MAN’ closed down the operation preventing a re-press. This re-issue exists to satisfy the vociferous demands of those who were either unable to get their hands on it first time round, those who have learned of its (non) existence after falling under the spell of subsequent albums and as a rare treat for those brave enough to venture forth unaccompanied.

 

This album should be considered contemporary. A song-driven work of genius. Add to this ‘Orphans’, an eight-track ‘B’ feature comprising new material, previously un-released nuggets, throw some guest appearances into the mix, and everybody’s smiling.

 

Like I said …..this isn’t retro….its BETTERO.

 

KMO. The future is unknown – but it can’t be as unknown as the past.

 

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Marco also wrote what could be termed a KMO tour diary called Bedraggled. Part 1 and 2 have surfaced and we now have the complete Bedraggled diary. Enjoy the journey below.

 

Bedraggled Part I

 

Bedraggled Part II

 

Bedraggled Part III

 

Bedraggled Part IV

 

Bedraggled Part V