Rise of The Super Furry Animals. Ric Rawlins

and make the scene.

      Anhrefn were one of the most inspirational groups around – proactive, subversive, almost Dadaist in their sense of humour. What’s more, they offered an alternative to what could sometimes seem like counter-productively negative politics.

      ‘A lot of Welsh culture was defined by being anti-English in the 1970s,’ says Gruff today. ‘We’re talking about countries that were once at war, so the atrocities were endless, and the conditions that the Welsh people were expected to live in for centuries after those wars were horrendous. But that’s not an excuse to feel animosity for the English people or the English language – it’s about finding the positives in yourself and getting on with your neighbours. People are tied by blood, family, habits, collective TV viewing … and punk bands like Anhrefn were challenging people to be proud of their own identities without disparaging other people’s right to have one.’

      When Gruff saw the posters, for him it was a no-brainer to attend Mwyn’s meetings. The discussion group became known as Pop Positif, and it was here that Gruff and Rhodri were to meet the George Martin of their careers – a man whose production skills would tower over the coming decade of Welsh indie coolness. Gorwel Owen was ten years older than Ffa Coffi Pawb, and considerably more musically advanced. He’d dabbled with house music since 1983, and had a reputation as a maverick producer.

      At the meeting, Gorwel flipped Gruff and Rhodri a pound for their cassette, and phoned them back the next day. ‘Come to my studio tomorrow at noon. Bring your guitars.’

      Gorwel was on a whole new level. For a start, he knew how to work drum machines – which in the age of New Order appeared to be the future of rock and roll. However, he was also a focused man with a no-nonsense attitude. ‘He made sure we didn’t perceive the studio as an extension of our social life,’ says Gruff of his first experience with the producer. ‘It was very studious. For a while we were scared to swear in front of him – we didn’t want to disrespect him, but he was very encouraging.’

      For his part, Gorwel was aware that he’d met a sharp bunch of minds. ‘It’s quite rare for a group to be both exceptional songwriters and to have a really open approach to experimenting with recording,’ he says now.

      Their first recordings were broadcast almost immediately as a session on BBC Radio Cymru. This wasn’t quite as momentous an achievement as it might sound: at the time, anyone who’d recorded a decent-quality Welsh-language demo could reasonably expect to have it broadcast, thanks to the variety of media set up to keep the language flowing (and the relatively few bands that were taking advantage of it).

      During the summer of 1988, Ffa Coffi Pawb evolved into the line-up that was to last the rest of its lifetime. There was Rhodri Puw on guitar, Dewi Emlyn on bass, Gruff singing and Dafydd Ieuan on drums: Gruff had stayed in touch with Daf since their time sharing drum classes at the youth club. After being reunited, the two became musical allies and moved in together.

       FURRY FILE: DAF

      BORN – Bangor, 1969

      CHILDHOOD SUPERPOWER – Flying, swimming

      CHILDHOOD SUPERWEAKNESS – Not being able to fly or swim

      CLASSROOM DISASTER – ‘Sneaking off to school at five years old in my paisley pyjamas, ’cos I thought I looked like Gary Glitter’

      CHILDHOOD VICTORY – ‘Realising that a man-made, invisible, supernatural, totalitarian being, that demanded to be praised lest it condemn you to eternal torture in hell, was a bag of shite’

      TEEN REBEL ICON – Ffred Ffrancis, Welsh Language Activist

      TEEN GROOMING TIP – Tooth brushing

      GEEKY PASSION: Pigs (‘I wanted to breed them and make money’)

      FIRST SONGWRITING ATTEMPT – ‘Llanaelhaearn Lleddf (Blues)’,1979

      BEACH BOYS VALHALLA – ‘Till I Die’

      LIFE WISDOM: ‘Don’t be a cunt’ – Jim Jeffries

      As the eighties gave way to the nineties, Ffa Coffi Pawb’s songwriting continued to blossom: Rhodri was inspired by the early work of Happy Mondays and the Stone Roses, while Gruff and Daf began thinking about the craft of pop music, reasoning that every great tune should kick off with a memorable hook.

      Gorwel remembers a philosophy that they adopted at this time: ‘I recall them saying that “the studio is just a vehicle for the songs”. That’s very true, of course, but they also understood that the opposite was true: that songs can be vehicles for experimenting.’

      The experimenting was paying off too: for one matter, Gruff finally resolved the dilemma of which way round to play the guitar. Trained left-handed, but in possession of only a right, he simply flipped the guitar upside-down.

      As 1991 dawned, the runway for Ffa Coffi Pawb was clear for take-off. Not only had they settled on a ‘fab four’ line-up and started writing great songs, but they had an occasional harmonica player too: the Wildest Man in North Wales. From the beginning, Rhys Ifans had a strong belief that he was going to be a professional actor; but of all the musicians he dabbled with, he was undoubtedly the most rock ’n’ roll.

      One winter’s afternoon, the band had just finished soundchecking at a small club in Porthmadog when Rhys and Rhodri went outside to see what the crowds were like.

      ‘Crikey,’ said Rhodri. ‘The only thing missing is tumbleweed. I guess we’ll be playing to the sound engineer again.’

      ‘There, there, Rhodri,’ said Rhys, slurping a cocktail with a twinkle in his eye. ‘It just so happens that I know precisely where to get a massive crowd from. You go back inside and set up with the band, and I’ll be back in five minutes with an audience.’

      ‘Five minutes?’

      ‘Five minutes,’ winked Rhys.

      He jogged down the street to a crossroads, then stopped and looked around, smelling the wind for signs of life. Suddenly a cheer resonated from a bar called The Headless Ram. Rhys swung through the door and coughed loudly.

      ‘Good afternoon, ladies!’ he said, silencing a roomful of leather-bound men. He cleared his throat and started again.

      ‘Word has it … that there is a rather good biker rock band playing just round the corner at the club tonight. The best biker band in North Wales, in fact!’

      The bikers stared at him. One of them folded his arms.

      ‘And apparently it’s free beer too. I’ll be going now.’ He grinned and slowly began to crab-walk out again.

      That night, Ffa Coffi Pawb performed their pop music to a gang of confused, hairy men. As the final notes rang out to reveal an eerie silence, it became apparent that some sort of reconciliatory gesture was required. Rhys stepped up to the microphone. ‘Would anybody like to buy a tape?’

      

      ‘It’s ten past three in the morning, this is Radio Cymru and that was Ffa Coffi Pawb! Now we’ve got something a little bit different for you, a new band from Pembrokeshire. They’re only fifteen years old and this is their first ever session. One word of warning, though: I’ve got a sneaky feeling the lyrics to this one are in English … do you think we can get away with it? Put it this way: it’s the middle of the night, so if you don’t tell the BBC, I won’t. Let’s have it for Gorky’s Zygotic Mynci.’

      Before 1991, Welsh bands had relatively few choices regarding who to sign with. The biggest contender was the major label Sain, which had put out some decent folk albums in the 1970s but was by now deemed deeply uncool. As Gruff explains, ‘They’d got into Aled Jones and choirs, sheep farmers singing