Following tours with The Cult, New Order, and the Smiths as Drummer with Factory Records band Lavolta Lakota Mike Simmi left to form BFG in Summer 1985. Joined by BJ Williams on vocals , Keith Lambert on Bass , and Acky On Guitar. At this time BFG also worked with Andy Clegg of the Chameleons. BFG immediatly began to make a name for themselves basing the BFG sound around a thumping bass line and screaming guitars. On hearing the early demos , Joy Division and New Order bassist Pete Hook invited the band to support New Order On their Summer 1986 Tour. This tour coincided with BFG's first release The 12" single "Paris"c/w "Amelia". The limited edition sold out within 1st week of release and was quickly hailed as a "goth" classic BFG's first Headlining show in home town Manchester was with the Stone Roses as support and even at this early stage were being compared with Joy Division for the intensity of their live performance. Also the band were starting to gain the reputation of being seen as "difficult" as far as the press were concerned. During the late 80's the Band completed very few interviews and even today still refuse to play by the media's rules. The line up changed for the next 2 E.P.s with Steve Craig Replacing B.J. Williams and Paul Batheram replacing Acky on Guitar. Also at this time Guy Hatton, who would later join the Utah Saints was asked to join BFG. Western Sky E.P. and Higher Than Heaven........is was recorded with the new line up with Mick Mercer from Melody Maker stating " The Greatest Indie Single Of The Year Is BFG's Higher Than Heaven" The Album Fathoms was released in 1988 and this led to BFG gaining a fanatical following in Germany and West Coast America. This culminated in BFG playing at the Loreley Stadium , on the Banks of The River Rhine, in front of 15,000 German fans, the only time that BFG were "officially" caught on Video .............well worth tracking down if you can. The Original BFG line up reformed in 1989 and recorded what many feel was the definitive BFG album. Blue was released in 1990 and with its mixture of loops and driving guitars mixed with B.J. Williams vocals, always threatening to explode, it set the musical agenda that the like's of Rammstien have since followed. The Band Finally Called It A Day 1991...........UNTIL Last Year The Band Reformed And Have Started Recording A New Album Due For Release 2008   The McKinney ideology is simple: a lust for power. The pain of a woman in torment. The rapid pulse of exultation, the knife edge of tragedy. The lyricism of British pop crushed beneath an American steamroller of pulsating rock. What is McKinney front girl Marc Ash running from? What drives her on? Why does she have such a strange name? Why do so many of the songs mix that relentless, primal beat with lyrics of self-lacerating pain When feisty, raven-haired singer Marc Ash and producer Mike Simii met in 2002, they were on completely the same plane - in both senses of the word. Sat next to each other on a flight to New York, the two Mancunians quickly discovered that they had much in common - owning the same records, housing the same burning ambitions and driven by the same dark musical forces. Swapping mobile numbers and vowing to hook up at a later date, little did either of them know that their chance meeting was the start of something very special. Back in Britain a few weeks later, Ash and Simii met up as previously agreed. Starting to write songs and collate ideas, the pair realised that the other was the missing link in both of their lives - there was a shared mentality that verged on telepathy. The songs produced during these initial sessions housed the vocal stylings and tune sensibility of early Blondie, with knowing winks to Siouxsie And The Banshees and Gang Of Four. Sensing they were on to something big, mates Danny P (fresh from working with Strokes producer Gordon Raphael) and Richy Thorn (bass) were swift to join the team. Whilst rehearsing in a Nottingham studio a few weeks later, Ash and Simii were gatecrashed by an obnoxious, spiky-haired, punk answering only to Zero. Awed by his raucous, guitar-slinging talent, over copious beers he was invited to come and rehearse with the rest of the band the following day. It soon became obvious that the lead guitarist was the final piece in the jigsaw. McKinney was born This final addition to the line-up caused more than a few problems for a lyricist who was, is, always on the edge. Within hours of the first rehearsal there was a monumental clash of egos. A series of thunderous shouting matches erupted, furniture was thrown and the pair had to be physically separated. However, Zero's musical compatibility with the band was undeniable. Upon joining full time he moved in with Danny and Richy and agreed to put his differences with Ash to one side for the good of the band. However, as anyone who's witnessed the McKinney live experience will attest, there's a tension between the pair that still occasionally spills over - with explosive results. In summer 2003 McKinney disappeared to Manchester to finally record the tunes penned by the Ash/Simii songwriting partnership. The sessions proved extremely fruitful, with the band producing a clutch of ballsy, fuzzy, pop-rock tracks - each with a razor-sharp edge. These songs have gone on to form the basis of their debut album 'Me Me Me'. And it rocks. Loads. The floodgates open with the slinky pop flourishes of 'Mess It Up', followed by a swirling, stargazing pop-rock gem in the form of 'Everyday'. Meanwhile in 'Surreal' the band have a bona-fide rock-anthem in waiting, full of screeching BRMC-esque guitars, pounding drums and seductive vocals. As Rick Martin of NME put it: " No-one will matter more". On hearing these tunes, you'll have no choice but to wholeheartedly agree.: