(Haskins), Owen P. Jones, Rolo McGinty, Alice Thompson, Paul Mulreany, Alex Green, Richard Formby, Kizzy O'Callaghan, Curtis E. Johnson and Peter Crouch.

The purpose of the device was to dub the contents of one cassette to another; however, Fish discovered that the microphone channel remained open, so that he could add multiple parts with each pass.

[4] In August / September 1982, Fish and several friends and collaborators began recording the first Jazz Butcher album at Starforce Studio in Clapham.

This was co-produced by Fish and Barker (under the pseudonym Lionel Brando); contributors included Eider, McGinty, Silver, Alice Thompson, Ian Sturgess, Louis Leroi and engineer Martin K.

"[4] In early 1984, Fish and Thompson recorded a number of cover songs, mostly by Lou Reed, John Cale and Kevin Ayers in what would be known as the “Cak Bag” sessions.

The summer of 1983 found Fish and Eider back in the studio with McGinty and Thompson (who had now formed The Woodentops), joined by Kevin Haskins on drums.

Eider’s guitar style had also strengthened since Bath of Bacon, becoming less "ornamental" and more of an “essential element” to the Jazz Butcher’s sound of that time.

[4] The album shares its title with the first Sherlock Holmes short story, and features a memorable cover by comic artist Hunt Emerson.

1985 was also a prolific time for the band in the studio, releasing the singles "Real Men", "The Human Jungle", as well as the live album Hamburg (credited to The Jazz Butcher and his Sikkorskis from Hell).

Glass released The Gift of Music, which compiled many of the band's singles and b-sides, including a re-recording of "Partytime", which was a staple of their live performances.

The extensive touring had honed the band’s skills, but according to Fish, they were also exhausted and went into the studio with "a scanty armful of tunes", many ideas having already been released as singles.

[2] On 22 November 1986, after a show in Zurich, Switzerland, personal tensions, alcohol and exhaustion boiled over into a physical fight between Fish and Eider, resulting in the lead guitarist quitting the band.

[14] Soon afterwards, Fish's contract with Glass Records expired[4] but not before the release of Big Questions - The Gift of Music Volume 2, another compilation of singles and b-sides.

The success of Bloody Nonsense and Distressed Gentlefolk, especially in America, led Eider to sign as a solo artist to the Jazz Butcher’s US distributor, Big Time Records.

[4] "The Jazz Butcher is one of the most brilliant incisive pop writers that Britain has produced since the glory days of Ray Davies and Pete Townshend" - Alan McGee, co-founder of Creation Records.

Alex Green on saxophone rounded out the core of the studio group, with other friends and musicians making contributions, including Sonic Boom of Spacemen 3, bassist Laurence O'Keefe and members of the Perfect Disaster.

[16] Pat considered shedding the "Jazz Butcher" moniker, wishing to put some distance between the new outfit and some of the sillier material of his Glass Records days.

[19] Paul Mulreany was added to the live line-up, and with Fish fronting a new band on a new label, the JBC spent most of 1988 touring Europe, the US and Canada.

The song "Line of Death", for example, incorporated middle eastern influence, disco, heavy metal and a nod to Ennio Morricone's ""The Good, the Bad and the Ugly".

While the band agreed they would perform only one or two songs, "...we get down there to KCRW and meet Deirdre O'Donoghue and she's a real fan and she kept winding us up," recounted Fish, "we ended up doing 12 or 13".

"She's on Drugs" enjoyed airplay on college radio, and a video for "Girl-Go" aired on MTV's alternative music showcase '120 minutes' in America.

This third incarnation of the JBC toured the United States (which resulted in the live release, Western Family), and in January 1993 went chose Richard Formby's Woodhouse Studios to record what would become Waiting For the Love Bus.

"[29] Unlike its predecessor, most of whose tracks clocked in at over six minutes, Waiting For The Love Bus is composed mostly of short, straightforward pop tunes.

Alan McGee had begun to see the result of operations being handled by Sony accountants and marketing managers, and how it was affecting less commercial artists on the Creation label.

Tim Harries and Jonny Mattock were brought in as the rhythm section, with Formby on guitar, and contributions from Owen Jones and Sonic Boom.

This set, with extensive liner notes by Fish, contained the albums Bath of Bacon, A Scandal in Bohemia, Sex & Travel, and Distressed Gentlefolk.

Contributors included Max Eider, Dave Morgan, Tim Harries, Stevie Gordon, Joe Woolley, Simon Taylor, and Peter Crouch.

Performers included Joe Turner, Tim Keegan, Pete Astor, Rolo McGinty, Bid of the Monochrome Set, Peter Crouch, Sumishta Brahm, and Dave Morgan.

His literary references include Arthur Conan Doyle, Christopher Isherwood, John Keats, Flann O'Brien, Thomas Pynchon, Hans Stefan Santesson, St. Francis of Assisi, and the Book of Common Prayer.

There are many pop culture references found in the Jazz Butcher's music; TV shows such as The Human Jungle, movies such as Blood From the Mummy's Tomb, celebrities (Shirley MacLaine, Peter Lorre, Edie Sedgwick), musicians (Alice Cooper, Lionel Richie, Lemmy, David Bowie, Prince, Brian Wilson), and political figures (Margaret Thatcher, Olof Palme, Dan Quayle, Oliver North).