The Method Actors -

The Method Actors were an American New Wave band from Athens, Ga., that released two albums and assorted shortplayers between 1980 and 1983 on Press Records (US) and Armageddon (UK).

Members: Vic Varney (vocals, guitar, bass), David Gamble (drums, vocals, 1979-82), Michael Richmond (guitar, bass, 1982-83), Robert Schmid (drums, 1982-83), Stan Satin (saxophone, percussion, vocals, 1982-83)

Background

The Method Actors formed in Athens, Georgia, during the late Seventies when guitarist–singer Vic Varney and drummer–singer David Gamble moved from the Tone-Tones into a guitar-and-drums duo. Varney had settled in Athens after study at the University of London and used a Cobb Street house as a rehearsal base. Gamble shared the Tone-Tones link before the pair built a two-person stage act around voice, guitar, drums, and percussion.

The Method Actors made their concert debut on Halloween in Athens during the final quarter of the Seventies. Peter Dyer of Armageddon encountered the duo in Athens while he pursued Pylon, a group tied to Varney through management and promotion work. The contact led Varney and Gamble to London, where the Method Actors recorded early Armageddon material around Little Venice and built a release sequence between the American Press orbit and the British Armageddon schedule.

This Is It

The Method Actors released their first shortplayer, This Is It, during 1980 on Armageddon Records.

The single presents the original duo in a three-title program. The A-side carries a long-form statement, while the flipside places two compact titles in sequence. Armageddon issued the seven-inch as AS 006.

“The Method” surges through open-tuned jangle, jagged breaks, cymbal spill, and call-response jabs. “Bleeding” needles a repeated bass figure under dub-echoed sung phrases.

A. “The Method” (5:14)
B1. “Can’t Act” (1:40)
B2. “Bleeding” (3:39)

Rhythms of You

The Method Actors released the EP Rhythms of You during 1981 on Armageddon Records.

The EP expands the duo format across seven titles, with Gamble’s drums and Varney’s detuned guitar carrying the full arrangement space. Ex-Vibrators bassist Pat Collier produced the record between the second Soft Boys album and Robin Hitchcock’s solo debut. Curtis Knapp photographed the duo in stark monochrome. Armageddon issued the ten-inch EP as AEP 12005.

“Distortion” jitters between a motorik drone and a jump-and-jangle shout. “Dancing Underneath” hammers jangle into a shouted loop. “No Condition” drives through choogling guitar, droll singspeak, and wailing replies. “She” slows into a smouldering twang pattern with a howled group section. “You” splinters around squawking lines, jangly propulsion, and fragmentary sung phrases. “My Time” darts through odd change-ups and fervent shouts.

A1. “Distortion” (6:14)
A2. “Privilege” (1:58)
A3. “Dancing Underneath” (4:41)

B1. “No Condition” (4:39)
B2. “She” (4:30)
B3. “You” (3:59)
B4. “My Time” (1:45)

Sessions occurred during 1981 with producer Pat Collier. The sleeve credits Curtis Knapp photography.

“Round World”

The Method Actors released the single Round World during 1981 on Armageddon Records.

The single draws from the same Armageddon-era London and broadcast activity that surrounded Rhythms of You and Little Figures. “E-Y-E” reappears on the flipside after its role in the group’s early EP sequence.

A. “Round World”
B. “E-Y-E”

The Method Actors released the EP Dancing Underneath in October 1981 on DB Recs, configured from four Rhythms of You titles and the added “E-Y-E.” The program places the title piece at the head of side one and reserves the second side for the long added title and the short closing track.

Commotion

The Method Actors released the twelve-inch single Commotion during 1981 on Press Records.

The single isolates “Commotion” from the early album-period repertoire and pairs it with “Bleeding,” a title already present on the first Armageddon shortplayer. Press issued the twelve-inch under the P2004 catalog number.

A. “Commotion (Dance Mix)”
B. “Bleeding”

Little Figures

The Method Actors released their debut album, Little Figures, during 1981 on Armageddon Records.

The original Armageddon double album collects the duo’s London-era studio output in a seventeen-title program. The later US Press edition reduces the sequence to ten titles and controls the tracklist below. Varney’s credits span voice, bass, guitar, production, arrangement, and sundry sound; Gamble remains on voice, drums, and percussion. Junius Deane adds steel drums.

“Commotion” barrels through a locomotive line and angled guitar interjections. “E-Y-E” splinters across shifting syncopation with overdubbed replies. “Bleeding” needles dub-echoed phrases around a taut repeated figure. “I’m in the Mood For Love” lingers on an eerie bass underpinning before a hammy boatmen chant breaks in. “Rang-A-Tang” jolts around party-chant phrasing and steel-pan clang. “Halloween” clatters through bright metallic accents. “Ask Dana” thwacks through an insistent pattern.

A1. “Bleeding” (4:42)
A2. “Rang-a-Tang” (4:25)
A3. “Commotion” (4:50)
A4. “Strictly Gossip” (2:25)
A5. “I’m in the Mood for Love” (3:11)

B1. “Hi-Hi-Whoopee” (3:19)
B2. “E-Y-E” (5:10)
B3. “Halloween” (3:35)
B4. “Ask Dana” (4:53)
B5. “Repetition” (2:30)

Sessions occurred during the Armageddon period in London, where Peter Woolliscroft produced and engineered material with Varney.

Little Figures appeared in a sleeve designed by The Method Actors, with a Nanette Consovoy painting, Ruth Wolf photography, and an inner Curtis Knapp image.

Rang-a-Tang

The Method Actors released “Rang-a-Tang” as a 1982 Press single.

The single extends the Little Figures material into the American Press sequence. “Big Red Brain” appears as the non-album flipside and gives the single a separate place in the group’s early-eighties discography.

A. “Rang-a-Tang”
B. “Big Red Brain”

After Little Figures, the Method Actors moved from the Varney–Gamble duo into a four-piece lineup. Michael Richmond joined from Love Tractor during the touring period, and Varney shifted into the bass role. Robert Schmid arrived after work with The Swimming Pool Q’s, while Stan Satin entered the lineup on reeds, percussion, and voice.

Live in a Room!

The Method Actors released the live mini-album Live in a Room! during the early-eighties Press Records period.

The release documents the expanded stage lineup after Gamble’s departure. The program combines earlier duo material with new quartet titles, and the 688 Club tape places Richmond, Schmid, and Satin inside Varney’s revised band format.

A1. “Eye” (4:20) – Varney
A2. “(Or Is It That You) Never Lost It” (4:22) – Satin
A3. “Another World” (4:00) – Varney

B1. “Detective” (4:49) – Varney
B2. “No Condition” (3:13) – Varney
B3. “The Method” (4:59) – Varney

The Method Actors taped Live in a Room! at 688 Club in Atlanta. Press issued the record as a six-title live mini-album.

Richmond retained his Love Tractor connection during the expanded Method Actors period. Schmid brought an Atlanta new-wave link from The Swimming Pool Q’s, and Satin added a reed-and-percussion role before the final studio album.

Luxury

The Method Actors released their second studio album, Luxury, during 1983 on Press Records.

Luxury presents the final quartet lineup with Varney, Richmond, Schmid, and Satin. The program contains seven originals and a cover of The Velvet Underground and Nico (“All Tomorrow’s Parties”). Richmond and Satin share selected co-writes within the album sequence.

“You, the International Language” coils around an eerie beat. “The Problem” lingers on a haunted phrase. “Another World” slips from mostly instrumental passages into a chanted section. “All Tomorrow’s Parties” drives its cover through a jagged rock pattern. “Beating on a Drum” pounds beneath eerie electronics and reed tones around unearthly sung text. “House on Fire” chants a garbled phrase in a spooky pattern.

A1. “Beating on a Drum”
A2. “House on Fire”
A3. “Detective”
A4. “Luxury”

B1. “You, the International Language”
B2. “The Problem”
B3. “Another World”
B4. “All Tomorrow’s Parties” – Lou Reed

Press issued Luxury as the group’s final original album. The record closes the documented Method Actors studio sequence after the duo EPs, the Armageddon double album, and the live Press release.

Postlude

The Method Actors ended after Luxury. Varney formed the Athens-based Go Van Go, which remained active through the mid-Eighties. Richmond continued his Love Tractor activity around the same period. Schmid’s Method Actors role followed his work with The Swimming Pool Q’s, while Satin remained tied to Atlanta music activity after the quartet phase.

Discography: