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Michael Dempsey

Michael Stephen Dempsey (born 29 November 1958) is an English musician, composer, and best known as the founding and original for the rock band from 1976 to 1979, as well as for his subsequent tenure with the band The Associates in the early 1980s. Born in , (now , ), Dempsey moved with his family to , , , as a child, where he attended Notre Dame Middle School and later St. Wilfrid's Catholic School. There, he met future frontman and drummer Laurence "Lol" Tolhurst, with whom he formed the band Malice in 1976 before renaming it Easy later that year; Porl Thompson soon joined on guitar. The group signed with in 1978, shortening their name to , and Dempsey contributed bass to their debut album (1979), including singles like "Boys Don't Cry" and "Jumping Someone Else's Train," which helped establish the band's early punk-influenced sound. He also co-wrote several tracks with Smith and Tolhurst during this period and participated in the band's initial UK tours. Dempsey departed The Cure at the end of 1979 amid creative differences, shortly after the release of their debut, and was replaced by Simon Gallup. He then joined Scottish new wave duo The Associates as their live bassist in 1980, supporting Billy Mackenzie and Alan Rankine on tours and contributing to albums like The Affectionate Punch (1980) and Sulk (1982), during which the band achieved cult success with hits such as "Party Fears Two" and "Club Country." After leaving The Associates in 1982, Dempsey played with other acts including The Lotus Eaters and Presence, and in the 1990s, he shifted focus to session work, audio restoration, remastering, and media consultancy. In addition to his band career, Dempsey has composed original music for television and film, notably scoring the animated children's series PB Bear and Friends (1998) and the short film (2000), while also contributing to soundtracks for projects like (2011) and (1998).

Early life

Birth and family background

Michael Stephen Dempsey was born on 29 November 1958 in , (now , ). He was the son of British parents Nancy and William Dempsey. The family spent Dempsey's early childhood in before relocating to Salfords in , , in 1961. In 1970, the Dempseys moved again to , , where Michael would develop his English identity. This relocation laid the groundwork for his future musical pursuits in the region.

Education and early musical influences

Michael Dempsey attended Notre Dame Middle School in , , where he first met fellow students and Laurence "Lol" Tolhurst around 1972. These early encounters fostered a shared interest in music, leading to informal jamming sessions that laid the groundwork for their collaborative efforts. At , Dempsey, Smith, and Tolhurst formed their first band, , in 1972, with Dempsey contributing on guitar alongside Smith's piano and Tolhurst's percussion. The group performed covers of artists like , , and Alex Harvey during school rehearsals, marking Dempsey's initial foray into live music within a casual, school-based setting. Following the completion of , Dempsey continued his education at St. Wilfrid's Catholic in from 1972 to 1976, where the trio's musical activities intensified amid the shifting landscape of British youth culture. By early 1976, while still at St. Wilfrid's, evolved into the more structured band Malice, incorporating additional members and focusing on original material; transitioned from guitar to to better suit the group's lineup needs. This change reflected the band's growing seriousness, culminating in their debut performance at the school hall on December 20, 1976, despite logistical challenges like an unprepared vocalist. Malice further developed into Easy Cure by mid-1977, as , Smith, Tolhurst, and guitarist Porl Thompson refined their sound through rehearsals and local gigs, solidifying 's role on . Dempsey's early musical journey was profoundly shaped by the and scenes emerging across the in the 1970s, with bands like The Stranglers, , and providing key inspirations for Easy Cure's energetic, minimalistic style. While acknowledging the raw energy of punk acts like the , Dempsey and his schoolmates sought a distinct path, blending these influences with their prior exposure to and to create a sound that emphasized atmosphere over outright aggression. This period of experimentation at school not only honed their skills but also built the foundational friendships that propelled their transition from amateur ensemble to professional outfit.

Musical career

Time with The Cure

Michael Dempsey joined The Cure as its founding bassist when the band, originally known as Easy Cure, officially renamed itself in early 1978 following the departure of guitarist Porl Thompson. Formed in 1976 with schoolmates Robert Smith and Lol Tolhurst, the trio solidified its lineup and identity under the new name, signing to Fiction Records later that year. Dempsey's bass work featured prominently on the band's debut single, "Killing an Arab," released in December 1978, which drew inspiration from Albert Camus's The Stranger and marked The Cure's entry into the post-punk scene; the B-side, "10:15 Saturday Night," also showcased his rhythmic contributions. Dempsey played a key role in the recording of the debut album , released in May 1979, providing bass across all tracks and co-writing songs such as "Object" and "It's Not You" alongside Smith and Tolhurst. During the album sessions, he delivered lead vocals and bass on the Jimi Hendrix cover "," a track included on the U.S. version of the follow-up compilation in 1980, highlighting his versatile contributions to the band's early sound. The album's pop-inflected style reflected Dempsey's preference for accessible, upbeat material, contrasting with Smith's emerging interest in darker themes. Tensions arose from differing visions for the band's direction, with Dempsey favoring poppier arrangements while Smith pushed toward more atmospheric and gothic elements, exacerbated by the strain of intensive touring. These creative and personal conflicts led to Dempsey's departure in November 1979, after which replaced him on bass. He briefly reunited with the original for the 1986 music video of "," appearing as shadowy figures behind child actors to evoke the band's early days.

Involvement with The Associates

Following his departure from The Cure at the end of 1979, Michael Dempsey joined The Associates as a session in late 1979, initially contributing to live performances and early recordings for the Scottish duo of and , who were also signed to . Dempsey became a full band member from 1980 to 1983, providing a solid rhythmic foundation that helped shape The Associates' evolving and sound, characterized by experimental arrangements and Mackenzie's soaring vocals. His bass lines added depth to their studio work during this period, blending melodic precision with the duo's tendencies. On the 1981 album Fourth Drawer Down, Dempsey's bass performances featured prominently, including on tracks such as "Q Quarters," where his driving lines supported the song's tense, atmospheric build, and "Kitchen Person," contributing to its quirky, syncopated groove. Dempsey played a key role on the band's breakthrough 1982 album Sulk, delivering bass on hit singles like "Party Fears Two," with its slinky, memorable riff that underscored Mackenzie's falsetto, and "Club Country," where his contributions enhanced the track's elegant, lounge-inflected pop edge. These performances helped elevate Sulk to commercial and critical acclaim, peaking at No. 10 on the UK Albums Chart. Dempsey departed The Associates in 1983 amid internal tensions following 's success, including exhaustive touring schedules and the band's shift toward a more pop-oriented direction, which led to Rankine's exit as well. After Mackenzie's death in 1997, Dempsey took on an unofficial role as archivist for The Associates' material, overseeing remastering and deluxe reissues, such as the 2016 BMG editions of and , which included previously unreleased tracks and restored audio from original tapes.

Period with The Lotus Eaters

Michael Dempsey joined The Lotus Eaters in 1983 as their bassist, replacing Bill Wills after the band's initial lineup changes during the early scene in . The group, known for their understated jangly pop influenced by 1960s acts like , drew associations with movement through their elegant style and melodic sound, though their music emphasized melancholic introspection over synth-heavy extravagance. Dempsey contributed bass lines to the band's debut album, No Sense of Sin, released in May 1984 on , including on the lead single "," which peaked at number 15 on the and became one of the most played songs on British radio that year. The album itself peaked at No. 96 on the , with the single marking the band's commercial highlight through its blend of soaring vocals and atmospheric arrangements. During this period, participated in tours and promotional activities across the to support the album, alongside vocalist Peter Coyle, guitarist Jeremy Kelly, keyboardist Stephen Emmer, and drummer Steve Crease, helping to solidify the band's presence in the mid-1980s landscape. Following his departure around 1985 amid lineup shifts and the band's waning activity, transitioned to other projects, leaving behind a concise but impactful stint with the outfit.

Later projects and collaborations

Following his departure from The Lotus Eaters in 1985, Michael Dempsey transitioned toward more sporadic session work and collaborations, emphasizing behind-the-scenes contributions over full-time band commitments. This shift allowed him to explore diverse roles in performance, composition, and production while maintaining connections to his roots. In the late , Dempsey served as a session and touring for , notably appearing on bass in the music video for their 1982 single "Avalon," though played on the studio recording. During the 1990s, joined Presence, a short-lived rock band co-founded by former drummer and singer Gary Biddles, contributing bass and co-writing tracks for their 1992 album Inside. The group drew on Tolhurst's legacy but pursued a broader sound, with making guest appearances amid his evolving freelance career. In the 2000s, collaborated again with Tolhurst in , an American project led by vocalist Cindy Levinson, where he provided bass, keyboards, and string arrangements for their 2009 album . The band toured in 2009 and 2010, blending original material with -inspired songs to connect with international audiences. Dempsey also ventured into composition for children's media during this period, scoring the animated TV series PB Bear and Friends in the late 1990s and providing music for the short animated film Swan Song in 1992. These works highlighted his versatility in creating accessible, narrative-driven soundtracks outside rock contexts. In 2008, Dempsey produced and participated in performances of Pink Floyd's Atom Heart Mother at London's Cadogan Hall, assembled by composer Ron Geesin as a tribute project featuring orchestral elements. This involvement marked a rare foray into progressive rock reinterpretation. Dempsey founded MDM Media, his audio production and restoration company, in the 1990s, serving clients including and on archival and session projects. He continues session bass work, focusing on restoration and behind-the-scenes support rather than live performance.

Legacy

Recognition and induction

Michael Dempsey was inducted into the Rock and Roll Hall of Fame in 2019 as a founding member of , recognizing his contributions to the band's early sound during their formation in 1976. The ceremony, held at in , honored ten past and present members of the group, with Dempsey joining , , and others onstage following an introduction by of . Dempsey's bass playing on The Cure's debut album Three Imaginary Boys (1979) has been acknowledged for its role in pioneering the sparse, rhythmic techniques that defined the late 1970s scene, particularly evident in tracks like "," where his looping provides an enduring, hypnotic foundation. This style, blending punk energy with emerging elements, helped establish The Cure's initial identity amid the era's DIY ethos. In a 2016 interview with Electricity Club, Dempsey reflected on his foundational role in , describing the band's early days as a period of intense touring. He emphasized the experimental nature of their origins, noting how the group operated "on the edges of lots of things" while forging an original path in . This impact is underscored by ongoing appreciation in music retrospectives, where his contributions are credited with bridging punk's raw aggression to the more textured sound of 1980s .

Archival and production work

Following the death of The Associates' frontman in 1997, Dempsey assumed the role of the band's archivist, overseeing the curation and preservation of unreleased material, historical documentation, and memorabilia. In this capacity, he has managed the release of rare tracks and archival content through various platforms, including the band's official website and dedicated compilations. Dempsey founded MDM Media, his own company specializing in audio production, digital restoration, remastering, licensing, and media content consultancy for music projects. The firm has served major clients such as Warner Music Group, Universal Music Group, and V2 Records, focusing on preservation and enhancement of historical recordings. His archival efforts extended to reissues and compilations for early bands, including significant input on retrospectives for The Cure and The Associates. For The Associates, Dempsey supervised and produced deluxe 2CD editions of albums like The Affectionate Punch (2016), Fourth Drawer Down (2016), and Sulk (2016) via BMG, incorporating remastered tracks from original tapes at 92 kHz/48-bit resolution, previously unreleased songs such as "Grecian 2000" and the John Leckie-produced "Australia," and 28-page booklets with unseen photos and liner notes. He also handled earlier V2 Records reissues of Associates material in 2000 and produced the compilation The Very Best of the Associates to introduce the band's work to new audiences. For The Cure, Dempsey contributed to the deluxe editions of Three Imaginary Boys (2004) and Seventeen Seconds, providing archival insights and supporting the inclusion of early recordings from his tenure with the band. In the and , Dempsey earned credits on select releases, primarily through his oversight of these projects, which emphasized high-fidelity remastering and bonus content to preserve the original artistic intent amid challenges like lost master tapes and experimental recording techniques.

Discography

With

Dempsey contributed bass guitar to The Cure's debut single, "" b/w "10:15 Saturday Night," released in December 1978 on Small Wonder Records. The A-side, inspired by Albert Camus's novel , marked the band's first official release, with Dempsey co-writing both tracks alongside and . The band's debut album, , released on 8 May 1979 by , features Dempsey playing bass on all 12 tracks, providing the rhythmic foundation for the sound characterized by sparse arrangements and angular melodies. Notably, he took lead vocals on the album's cover of Jimi Hendrix's "," a track recorded during the same sessions at in . In early 1980, shortly after Dempsey's departure from the band, a promotional single pairing "10:15 Saturday Night" with "Foxy Lady" was issued, featuring his original bass and vocal performance on the latter track, which had been recorded in 1979. This rare release, limited to approximately 50-100 copies, highlighted early material from the Three Imaginary Boys era.

With The Associates

Michael Dempsey served as the for The Associates from 1980 to 1982, contributing to their experimental and recordings during a pivotal period of label transition and creative expansion. His earliest significant recording with the band appeared on the 1981 compilation album , a collection of singles released on Situation Two, where Dempsey played bass across all tracks, including "Tell Me Easter's on Friday," "White Car in ," and "Q Quarters," helping to define the album's eclectic, angular sound. Dempsey's bass work featured prominently on the follow-up studio album (1982), issued by Situation Two, where he provided the foundational grooves for key tracks such as the hit single "," alongside "Club Country" and "White Car in ," employing precise, jazz-inflected lines amid the album's lush, orchestral arrangements produced by . Among the selected singles bearing Dempsey's bass contributions, "Tell Me Easter's on Friday" (1981) showcased his driving rhythm in the track's tense, minimalist structure, while "Party Fears Two" (1982) highlighted his melodic interplay with Billy Mackenzie's soaring vocals and Alan Rankine's multi-instrumental layers, contributing to its chart success and enduring status as a post-punk classic.

Other selected credits

Beyond his primary band affiliations, Michael Dempsey contributed bass to The ' debut album No Sense of Sin (1984), performing on all tracks. He also played bass on the band's breakthrough single "" (1983), which reached number 28 on the . In the , Dempsey provided bass for the band Presence on their album Inside (1992), reuniting with former Cure drummer . He further contributed bass to Levinhurst's album (2009), a project also featuring Tolhurst. Dempsey served as touring bassist for in the mid-1980s, including live performances supporting their album (1982), though he did not appear on studio recordings. In 2008, he acted as and participated in live performances of Ron Geesin's orchestral rendition of Pink Floyd's at London's . As a composer, Dempsey created the soundtrack for the children's animated series PB Bear and Friends (1998). He also scored the short animated film (1992).

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