Miss B. Haven:

Miss B. Haven was a Danish rock band that existed during 1986-1997.

Group members
• Lise Cabble, song, songwriter
• Mette Mathiesen, drums, songwriter
• Anne Vig Forest, guitar
• Lene Eriksen, bass
• Minna Grooss, keyboard

Miss B. Haven is a Danish band that was formed in the summer of 1986 and dissolved in 1997. Among the most known songs include: Coco, Suzanne, For Summer, wait till we meet again. With roots planted in such diverse genres as Danish pop, country and punk, Miss B. Haven's music an exciting cocktail where Lise Cabbles cool seductive voice is the cherry that completes the phrase. Miss B. Haven is an important part of Danish music history and is also the band that makes up with rock music's image of women as mere eye-catcher in a band. The members are still active as composers and lyricists. Lise Cabble and Mette Mathiesen has blah. written for the Eurovision Song Contest, where in 1995 they won with the song from Mols to Skagen, voiced by Aud Wilken.

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The inspiration from punk environment came very naturally that Miss B. Haven was an offshoot of the band Clinic Q, formerly known as Band YT in the late 70s. Clinic Q consisted in 1981 of Suzanne Unruh, Gitte Trier, Dorte Kopp-Rasmussen and Lise Cabble who lived in a commune in Vesterbro. The band released the LP Aye late 1982 on CBS, but changed soon after the crew, for what would later come to be called Miss B. Haven.
Lead singer and guitarist Lise Cabble commented in 1984 contemporary music:
Of course you can feel bad inside the head, without smashing the guitar or throw the pants. I think the new rockgroups which are top draws is much grabbing. People know that I do not fall down crying or throwing me out of the scene. It is about to express some things with his music. I would feel very artificial, if I were to give me something.

Miss B. Haven's first album in 1987 was also marked by originality, as the Danish rock scene at the time starved after. Miss B. Haven sounds like nothing else in Denmark, were the words of Sven Rasmussen and Lise Cabble: The voice is simply unique in Danish rock.

Ebbe Ross Anderson (Newspaper, Berlingske Tidende) you have to close Lise in, when she in number Close me Ind sings: So let me in because I want you.
People were questioning the through-melancholy love texts were Lise Cabbles explanation that she wrote one about unrequited love, because it was a much stronger sense than happy.
The record was well received by all reviewers and not least among the shoppers audience. Songs like Coco and the somewhat more vicious version of Dolly Parton's Jolene highlighted as particularly joyful crude and heartless. The interplay between the musicians and the intense drive of the music was something that fell in the critics' tastes.
Miss B. Haven toured the Danish rock festivals with great success and Roskilde was particularly successful. The girls seemed almost surprised by the response in the festival tent where people were crammed to hear them and even sang along to the tracks. Pessimism from punk was not completely shrugged yet. The look hung also still know when Lise Cabble ironically noted that they were paid to stay away from the sun, so they could continue to be pale rock musicians.
The black image was a cliché that was hard to shake off. Drummer Mette Mathiesen said in their defense that: We're not sure, but we can be mad and coarse. It is most anything inside that makes us go crazy.
The members, who in their limited spare time liked to ride the bike and watch video said they were wildly fascinated by pirates:
Perhaps because they were so disrespectful and indifferent to authority. Our motto is: "Fewer sailor stripes and several pirates".

Miss B. Haven had done their victims through time. They had almost lived like bag ladies, collected bottles and acted as street singers. When they called themselves Lulu Long Drink & the cocktails. Asked if the music was to live on, they replied:

We have not always been able to. But we made it, we would -and we are not dependent on a fixed hire to finance the repayment of the car, TV and washing machine. When we meet old school friends who once were full of 'go', so they tell that they are in the office or in the bank. Often they expressed that they are what they are, simply because that is safe and provides a fixed salary. It is good if they are happy. This problem occurs if you want to be animal tamer and do not get it because you might not dare to take the plunge.

Prices rained down over the band in 1988. Music magazine MM readers chose Miss B. Haven as this year's new band and Lise Year singer seamlessly overtook Sanne Salomonsen. Lise received an award from DJBFA, and the band also got Carlsberg scholarship.
In December 1987 the group started with the difficult sequel, which should be a bit more rocket according to the members. Plans stood at the French festival Le Printemps De Bourges in the spring, album releases and numerous television shows in the same country, a video for MTV, Midtfyns- and Roskilde Festival, the Faroe Islands and finally plate release in August 1988.
The reception of the plate was mixed and the reviewers found it too predictable and perhaps a bit of smiling? For what Lise Cabble found that she really does not smiled on the record cover, but hissed! The songs were, however, once the audience takes with catchy melodies and singable lyrics. Special Suzanne (no not the with Souvinirs) was a repeat on the radio. After the release left keyboardist Lotte Brondum band and was replaced by Karin Elbeck in 1989 who participated at various live events.
The recording sessions had been a pressure of time despite the fact that it only took half a year to record relative to the forriges 3 years. There had been some disagreements between the band and producer, as the band wanted more autonomy. In the mix was however time for a little philosophizing of Miss B. Haven's importance as a purely female band.

Bassplayer, Lene Eriksen:
And I think that we as a pure girl band plays an important role. Just the fact that there are four girls and play rock, without needing to be topless or something ...

Guitarist, Anne Vig forest:
I remember the first time I saw a girl playing the guitar. It was Unknown Gender. And absolutely fantastic. For the first time it was as if you were playing - a completely different feeling. Otherwise, there were only boys to look up to.

The numbers Suzanne and Sirens inspired a few alternative recipes for the matronly rock mama.

Miss B. Haven made himself even really good on stage, the sandy Hugh Atwool from Warner Brothers when he heard them. In 1989 the rumor that abroad was interested in the Danish band a reality. The contract on the release of a plate was signed, and now lacked just finding a producer. First you had the tour go to France with the band Les Ablettes and February to London and record. There were group live gigs at prominent venues like the Marquee Club, Dingwall and Borderline.
Between recording sessions the band made their own TV show on TV2 and toured Danish prisons and visited Germany, Holland and England.
D. May 21, 1990 were issued as final Nobody's Angel produced by Duncan Bridgeman (prod. By Transvision Vamp) and former The Electric Light Orchestra frontman and Travellin Wilburys member, Jeff Lynne. Jeff Lynne soon discovered the girls' obstinacy, when it came to the mix of numbers:
If you wanna interfere all the time, why don't you produce it yourselves? Although he originally just should have produced two tracks, he was, after all, so excited for the girls that he took a third with.
Lene Eriksen remembers their first meeting:
Before we knew it he was standing in our rehearsal room in a basement in central Copenhagen ... and met up with an entirely due technicians, managers, bodyguards, so half stood out in the yard. Second, there was not even a chair in our bombed practicing, so Jeff had to sit on the floor!

The new international sound reaped acclaim from home, plate described as powerful, homogeneous and immaculate. The policy noted that the band's expression had changed:
One listens in other words in vain for the sortrandede and creaking, rusty and rough that caused Miss B. Haven's music to a piece of raw and flapping cloth against your body.
However, as also shown, then it was more of an adjustment to the new style, when we now had been accustomed to the old Danish editions. Jakob Lambertsen, Jyllands Posten, had no doubts:
Super producers Jeff Lynne and Duncan Bridgeman have not only contributed by name, but certainly also of benefit. Not only is tightened, but also conjured, so the effect can very easily be of a similar nature, as when Sepp Piontek transformed the Danish national football team to a world-class team.
The rest of the year, Miss B. Haven recorded two videos for the tracks Making love in the snow and Coco and participated as always at the Roskilde Festival and festivals in Freiburg, Germany and Belfort, France. In autumn tour visited the bla. lawn in Tivoli.

The international breakthrough was slow in coming, but it did not stop Miss B. Haven. With an extra ballast and experience they issued in August it completed Danish Middle hearts and spades after receiving a contract with Medley Records. The band toured for this record release Midtfyns- festival procession TV show on Holmen for DR and starred in the elevator.
With Minna Grooss on the keyboard, which had been full fifth member of the band after'flere year bejlen' soundstage seemed even more complete and balanced. The plate was something of a darling of the band, and recording was also gone smoothly. The number We don't worry was written as a tribute to the plate. Producer Andy Piercy created a more relaxed atmosphere and were of girls compared with a counselor.
Mette Mathiesen on the band's internal affairs:
Occasionally, we also too much of each other. We argue, we are evil against each other, and can be some real little buggers. Otherwise, it is not spiritual. But the good thing is overweight and we have basically together. Our common placenta. It can not just run away from.
About plate said Lise Cabble:
It is very ourselves. Well, it was exciting to work with Jeff Lynne and Duncan Bridgeman, but you do not discuss so much with the guys.
Miss B. Haven would only concentrate on the music now, as they had had enough of Warners bureaucracy and kontornusseri. Between hearts and spades were presented on a tour in September around in Denmark and at the Roskilde Festival in 92. What action to be taken, they could not say, except that they would stop releasing records. Mette Mathiesen exclaimed enthusiastically:
Yes, it's just so cool to make records. It is a very affirmative experience. When you stand there and is finished, it is a rush - a very very big rush.

Lise Cabble explained about songwriting phase:
I always start with the music, and I'll sing something for nothing black or some words in English, and I do the English text. The Danish word often comes closest that I try to imitate the sounds in the English language. Well, I hate texts, where you can hear that the pressure is located in the wrong places in relation to the song.
The band began to become more acclaimed for their musical abilities among the reviewers, something which they otherwise had harsh criticism for -'Kvinder can just not spille'. Jyllands Posten wrote:
Guitarist Anne Vig forest gets better and better. Growing from plate to plate, and she has with Middle hearts and spades reached its climax. She treats her guitar, so you get joyous goose bumps.

A quality label of Mette Mathiesen's abilities were also bluntly as she put the drum track on all the tracks in the recording of Jeff Lynne solo project The Armchair Theatre from 1990.

After Roskilde festival procession Miss B Haven a video for the song till summer to be included in the S Torben Jensen's new film as a touch. Christian Lyngby stood for their next video: Where do we do the thing. D. December 1 released single Late in the summer in favor of AIDS Foundation on the occasion of World AIDS Day, single release was accompanied by a concert at the Jazz House the same day.
The English version of Between Hearts and Spades now simply called Miss B. Haven was launched in 1993 in Germany, Holland, Belgium, Sweden and Norway. Miss B. Haven did not go unaffected through unplugged period, when they went to Germany on a promotional tour in February 1993 in a somewhat smaller electric mode. In March they contributed Love is all along with several Danish musicians in a tribute to Lars Muhl with plate From all of us.

Like the first album was Suk & finery three years along the way. The delay was due to dissatisfaction with the mix of the songs, so it ended up Lise wrote some brand new. Maybe that was part of Miss B Haven's record buyers over time dropped from, the fact was that the plate sold fewer copies than the previous. The quality, however, was not impaired. The record was praised for its depth, særprægethed, ingenuity and compelling universe and received the award for best rock album from the Danish Arts Foundation. Jyllands Posten and Berlingske Tidende appointed as the group's best ever, and policy wrote devotedly that with the number witch had the band:
built a fabulous girl-popslot of sharp, sweet and sublime appreciative tones that ends in a huge shower. So long story as a bridal veil. So naglende as sleepless nights. And so marvelous that it was voluntarily drown themselves in the strong substance Miss B. Haven again and again.
Lise Cabble explained plate title:
It does not mean that our texts also honeyed. They must not be nauseating, but realistic. You can get caught and get really sticky sugar finery. And with the new title, we would say that the danger is always lurking, when life otherwise look very best.

Suk & finery played heavily on the symbolism of the bees and the flowers. It created a delightfully world that you could not help but get lost in, and it floated also with associations in notifier Kim Scot from the Freedom News:
Creaking and affectionately snuffling like a gradually something kind old mistress leaning Miss'en back in silk cushions slightly fragrant sex. She puncture-filled chocolate with his tongue, sucking the filling in themselves and sipping a glass of passion fruit juice dripped with hot slung honey drops. She sighs in the night and brands on these small arrows can still cause pain in the left side of the chest.

In 1995, Miss B. Haven contract with the American label IRS and changed its name to Marta Marta. Miss B. Haven-name gave for some intimate performances that were not particularly appropriate abroad.
Lise, Mette and manager Ernst Jorgensen (It's Magic) went to Los Angeles to genindsynge individual tracks for the new CD and get remixed some, which David Tickle took care of.
In the fall left Anne Vig forest band and was replaced by Margrethe Björklund.
After a small break in the spring of 1996 Miss B. Haven transformed into theater band when they wrote the music for the show Danish chronicle of the Royal Theatre with Tim and Gorden as they traveled around with in three months. However, it was mainly comedy team, which here was top draws, had the band true.
The low sales figures on Suk & finery, ca. 15.000 copies, and Anne Vig forest departure for theological studies led to Miss B. Haven in 1997 disintegrated. Everyone wanted to try something new, and the magic was gone.

Miss B. Haven was back on the charts with murmurs.
The CDs consisted of a collection of the best tracks, single releases, live recordings and not before unreleased demo recordings.
The good sales figures conscious that they were not forgotten in the Danish population. This might be an incentive for a possible. Recovery of the band? Lise and Mette believes, however, that they all have evolved in different directions so that it would be a problem at all to agree on a style of music. It would probably be completely different than Miss B. Haven, if successful. Back then the style naturally by itself.
The publication also gave rise to remember.
Lise Cabble and Mette Mathiesen says:
We were probably underground, receiving once icing, and in this way was palatable.
About their black image they explain:
It was probably because we came from the outskirts of punk environment where you had to be sour, and think life was crap. We played most of spite and opposed the audience. For we were fucking enough to show them that we did not care if they did not like us.
Hence came the real surprise to us that we were so popular with Miss B. Haven. People began to sing along to the concerts, and we started to smile a little, for it was as cool that they liked our songs. Although we later began to smile and walk in colorful clothes, relax, we are not predicate. A time where we were interviewed for Everything for the ladies, we popped all up in colorful clothes, which was completely random. Yet acted headed on our black image. To support it, all the images in black and white.
Although Miss B. Haven did not appeal to men's perception of feminiteten that big bosoms and blond hair, they had a group of male fans who followed them around on tour and bought teddy bears to them.
The band has never liked the term'kvindeband', but still think it has had a justification, when they think of all the snide remarks that male journalists have given them on the road. They highlight the somewhat stronger female role models, they had back then compared to today, where the music industry forms the women for the most salable expression. Then you are back to blonde-look from the 80s.
Lise Cabbles comment to this is: Poor girls. Do damned have a dull life.