RED LORRY YELLOW LORRY

“Oh who gave us this today. Will see tomorrow fade away.“

Formed in the shadowed streets of Leeds in 1981, Red Lorry Yellow Lorry carved their name into the annals of Post-Punk with a sound that was raw, relentless, and haunting. Led by Chris Reed’s cavernous vocals and the angular, droning guitars of Dave ‘Wolfie’ Wolfenden, their music pulsed with a dark energy—a hypnotic collision of Punk, Post-Punk, and Industrial, leaving an indelible mark on the underground scene.

Their albums 'Talk About the Weather' (1985), 'Paint Your Wagon' (1986), and 'Blow' (1989) became anthems for those who craved something sharper, something darker. Singles like ‘Monkeys on Juice’ and ‘Spinning Round’ burned bright on the indie charts, while their uncompromising, grinding sound echoed in the hearts of fans from New York to Berlin.

Wolfie’s guitar work, draped in shadow and distortion, remains a cornerstone of the band's legacy—one that transcends time and genre, leaving an influence that lingers in the depths of Alternative Rock.

Now, as Red Lorry Yellow Lorry return with their long-awaited new album ‘Strange Kind Of Paradise’, we catch up with Dave ‘Wolfie’ Wolfenden. In this conversation, we’ll explore the band's journey—from their early days shaping an unforgettable sound to the present, as they continue to push the boundaries of their craft. Diving into the making of the album, the evolution of their music, and the enduring impact of the Lorries’ dark, hypnotic riffs.

Hello Wolfie, on behalf of Peek-A-Boo, thanks so much for taking the time to chat with us. It's a real pleasure to have the chance to dive into your journey and the new album. It was 1982 when you joined Red Lorry Yellow Lorry—a different musical era. It must have been a magical moment, joining a band that was beginning to define its own unique sound. Looking back, what stands out for you most from those early days? What was it like becoming part of something that was starting to make such an impact?

It’s always good to meet like minded individuals, particularly ones that you felt could work together in a band. That’s always inspiring. They walked it like they talked to it. I recognise that straight away they were very serious about forging ahead and trying to make no one else seemed to be doing at the time. There was a lot of common ground … energy, attention to detail and playing gigs as if our lives depended on it.

1985’s ‘Talk About the Weather’ marked the debut album of Red Lorry Yellow Lorry. Given your key role in bringing it to life, what was the creative alchemy in its making like?

It was a collaborative process. All the songs were worked out in a lot of detail as back in the day about 75% of the time was spent working on drum samples and getting into triggering time! So all the guitar parts were already worked out. The first album for a lot of bands is the easiest. You’ve been playing the songs for awhile live so you know how they go. We were just trying to capture the power an atmosphere on tape. There were no computers back then.

As a guitarist, what first sparked your interest in playing the guitar? Were there any particular bands or guitarists that inspired you early on, or perhaps even shaped your approach to the instrument?

Two of the first singles I bought as a child were ‘You Really Got Me’ and ‘Spirit In The Sky’. They both sounded dangerous. I didn’t know why as a kid later on I learned that this was the sound of fuzz. In my teen years, I liked rock stuff. Two bands that stood out for me were The Sensational Alex Harvey Band and Groundhogs. I guess The Sensational Alex Harvey Band in some ways were the progenitors of Punk which I came to love. Tony McPhee was the guitarist in The Groundhogs. The way he bent and shaped his guitar sounds on ‘Split’ still sounds incredible. Like a UK Hendrix. Later I saw John Mackay in The Banshees, and I thought “how does he do that?” It inspired me to delve deeper and my Post-Punk journey had begun.

Do you have a favorite brand or type of guitar that you gravitate towards?

That’s a good question… Not an expensive one! A good guitarist can make a cheap guitar sound great. I always think that it’s something you have to tame. There are plenty of guitarists with expensive guitars who don’t sound good. It always comes down to the approach, what is that you want to say? It’s a bit like the end of the day. I play Epiphone guitars, I guess they are mid-priced. With a bit of work and customisation there as good as a Gibson.

The name, Red Lorry Yellow Lorry, comes from a tongue twister—a fun and playful choice for a band that’s anything but conventional. Part of the appeal was to make the band feel a little mysterious and challenging. And that’s certainly worked. I can imagine you’ve probably been asked about the name countless times, but allow me to ask one more. Imagine a movie is being made where the two main characters are a red and a yellow lorry. Which of your favorite actors or actresses would you see behind the wheel of each lorry, and what of your favorite songs would you like blasting through the speakers as they tear down the road?

Ha ha… One driver will be Dennis Hopper and the song would be ‘Chance’. The other would be Hope Sandoval singing ‘Heaven’. That will complete the circle. Beauty versus intensity.

In the '80s, many bands embraced the Goth label, due to the darker, introspective elements of their music and visual style. Red Lorry Yellow Lorry, however, at that time always rejected it, seeing yourselves more as Post-Punk or Alternative Rock. Given how the Goth scene has embraced your music over the years, has your view on it changed?

That’s a good question, Goths were attracted to the band but if you wanted to sell more records you would call yourself Sex Lorry Death Lorry! Really, we want the music to stand up by itself without being part of a movement. But you shouldn’t bite the hand that feeds you. I think too many bands think that if they get a drum machine and rewrite the riff to ‘Bela Lugosi’s Dead’ then they’ll get an instant following. It doesn’t work like that. At the end of the day, quality of music should determine whether you can sleep at night.

After the release of ‘Talk About the Weather’ in 1985, Red Lorry Yellow Lorry continued to evolve with albums such as ‘Paint Your Wagon’ (1986), ‘Nothing Wrong’ (1988), ‘Blow’ (1989), and ‘Blasting Off’ (1992). Following ‘Blasting Off’, the band took a break, with no new releases or performances during that time. It wasn’t until 2006 that Red Lorry Yellow Lorry reunited and began playing and performing for fans again. Though you never really quit, what sparked the reunion? Am I correct that music is like a microbe to you—something that can never truly be stopped?

Right, it can’t be stopped unless you want to or through something like ill health. I think most real musicians don’t have a choice. It’s what they do. It’s what defines them. It’s what makes you happiest. I’ve never found anything better personally. Do it till you drop.

Throughout your career, you’ve had the chance to collaborate with a range of talented artists. Looking back, who have been some of the most memorable collaborators or projects for you?

It’s been an interesting life, really I’ve done everything I wanted to. I’m lucky I know that. One of the most fun projects was playing with kid Congo doing a set of Cramps and Gun Club songs. That was a real blast. I always love The Gun Club. It was fun playing with The Mission, really because of the scale. They were one of the biggest bands in Europe at the time. Pink pop 65,000 people Wembley Arena sold out. Those things don’t happen every day. I’m currently playing with The Rose Of Avalanche and enjoying that.

Over the years, Red Lorry Yellow Lorry has played numerous times in Belgium, especially in the early days. What’s your personal feel of our small country? Any particular memories or places that stand out from your visits?

I must like it, I spent a lot of time there. My ex long-term partner of 25 years, is Flemish. At the early shows, we figured “yes there is life outside the UK“. I always loved Brussels, I have many happy memories of it.

And now, finally, after last year’s Driving Black EP, we’re graced with the much-anticipated new album, ‘Strange Kind of Paradise’. A really impressive record. Completely drawn into it. Please, tell us more about the album!

The recording process starting in 2016, we’d done the vocals and guitars. Chris then couldn’t commit to the process due to personal reasons. Then Covid happened everyone was locked down. During this period Ding (Simon 'Ding' Archer - Bass, Synths) used the downtime at a studio to finish it. After Covid, give me a memory stick of the mixes and we thought “yeah … this deserves to be released and not be locked away on a computer hard drive“. All credit goes to Ding, he believed in it and stuck with it when a lot of people wouldn’t have. It would’ve been easier to leave it unfinished, but that didn’t sit right with either of us.

Wolfie, once again, thank you so much for taking the time to chat with us. On behalf of Peek-A-Boo magazine, we truly appreciate you sharing your insights and stories. Here’s to the continued journey of Red Lorry Yellow Lorry and to many more incredible moments in the future. Before we wrap up, is there anything else you’d like to say to your fans, any famous last words?

I just hope that they like the new album. It’s a full stop at the end of a long career, and solid body of work. It’s sad that we won’t be able to do any live shows due to Chris being too unwell to perform. It wouldn’t feel right to do it without him. To each and every Lorries fan, thank you for keeping the faith.

• Red Lorry Yellow Lorry | Official Website
• Red Lorry Yellow Lorry | Facebook Fan Club

Hayley CLX
21/07/2025