Be My Light...

When I was in my early to mid-20's I used to DJ (in the loosest sense of the word) in a club in East Kilbride called Crystal's on a Thursday night. It was termed a Rock Club but was more of an Indie Club. I would play the perennial rock tunes - Ace Of Spades, Born To Be Wild etc - in the first hour before the indie tunes kicked in. It was at the height of Britpop so a large part of the choons were from the likes of Oasis, Blur, Elastica, Sleeper etc...Not sure how it transpired in the first place but do recall it was a huge amount of fun - chaotic fun, but most definitely fun.

Robert Fields, who I DJ'd for, also put on live bands on some of these nights. Some were local bands, some bigger names such as The Bhundu Boys and His Latest Flame. One of the bands I recall, largely because I was such a fan was Gene. Incorrectly dubbed as Smiths copyists, Gene were such a great band in their own right. Gene had a tougher sound than The Smiths drawing not only from the fey tradition of British indie-pop, but also from the three-chord raunch of The Faces, the working-class punk of The Jam and the soulful stomp of Motown.

From memory they played Crystal's sometime in '94/'95 and they were terrific. Their success was short lived but they did produce some great singles and a decent couple of albums, alongside their very own Hatful Of Hollow - To See The Lights which includes the beautiful For The Dead and the ever wonderful Be My Light, Be My Guide.

A band who never quite got the recognition they deserved who, in my humble opinion, deserve to be remembered for being so much more than Smiths copyists.

No Regrets

Yesterday's post was about The Jam, a band I never got to see live as I was too young. Today's post is about a band that I adore who I could have/should have seen live but for some unknown reason didn't. 

It is June 1983 and I am under my covers, headphones in (as I shared a bedroom with my older brother), listening to John Peel. I can't recall what he played that night, with the exclusion of one band. That night he played What Difference Does It Make, Reel Around The Fountain, Miserable Lie and Handsome Devil. I had never heard anything like The Smiths before and this first Peel session was a game changer. Next day at school it was the main talking point for all the like minded souls who had been listening to Peel the night before. I had found my new band to obsess over, as I had done previously with The Specials and The Jam. Suddenly, The Smiths were everywhere - TV shows, radio, the music weeklies. The Smiths were now the most important band around. 

I was still a tad too young to get into over 18's venues in '85 but by the time they hit The Barrowland for the final time I was already going to see bands live on a regular basis. To this day I have no idea why I didn't go - for years it was always a regret, but nowadays I prefer to focus on how fortunate I have been to have seen all the wonderful bands I have seen. I have seen Morrissey and Marr many times over the years and it is always a joy to hear those Smiths tunes played live. 

Those early sessions captured the essence of the band and tend to be what I listen to when I put The Smiths on. This year saw the 40th anniversary of Hatful Of Hollow, which includes tarcks from that Peel session. Although technically a compilation there is a reason why this album holds such a special place in the hearts of Smiths fans. It is a glorious record that is so much more than just another compilation. 

The Mod Corner

I was thirteen when The Jam split up - I couldn't get my young head around the most popular band in Britain splitting up at the height of their success. When I heard the first Style Council single it began to make sense. The first Jam album I remember getting as a Christmas gift was All Mod Cons - can't recall if it was when it came out in '78 or a year later, but do remember the joy of tearing the wrapping paper off and lovingly coveting this beautiful piece of vinyl. For the next couple of years I still listened to them but was now firmly obsessed by the 2 Tone movement, especially The Specials.

All this changed when I arrived at secondary school - one of my earliest memories was the Mod Corner. This was a group of guys a few years older who had parkas with Jam logos/patches on them who were the epitome of cool. Daily I would walk past, too nervous to approach them. By this time I was rekindling my love of all things Weller/Foxton/Buckler related. I was never a Mod per se, but loved all the music and the clothing. Sta-press were the trousers of the day and we were very fortunate in East Kilbride that we had a shop called Rig Out where you could literally rig yourself out in the latest Mod gear. 

Fast forward to '82 and the crushing news that The Jam had split up - to say I was gutted is quite the understatement. At thirteen, I thought my life had literally ended. I recall all the singles were re-released and all charted in the same week. Every time you turned on the radio you would hear The Jam. 

I was too young to see them live - and didn't have cooler, older friends to take me. I have been fortunate to see Weller live many times over the years, and can't really regret not seeing The Jam as it was an age thing. 

Six albums in five years, some truly great 7" singles and 4 number one hits - all by your early 20's - is quite astonishing. I still listen regularly to The Jam, but that time in the early 80's still holds such special memories, despite never getting close to the Mod Corner...

Lost 80's

Gary Crowley has given us two box sets of wonderful lost 80's tracks featuring lesser known acts like The Suede Crocodiles, Friends Again and Working Week alongside less well known tracks from the likes of Elvis Costello, Madness and The Undertones.

The selection of tracks from the DJ and broadcaster is spot on, introducing people to 80's tracks that have become overlooked or simply forgotten in the midst of time. As a child of the 80's a fair number of these tracks bring back great memories of growing up in that time.

Both sets are full of truly inspiring moments and the essence of the real spirit of innovation that infused so much of the decade's music, all chosen by a true music fan. A view of the 80s from a different perspective that works like a dream. The first set in particular serves as a timely reminder of the plethora of talent which was emerging from Scotland at the time, some of whom went on to become household names - Bluebells, Altered Images etc.

Both sets have lovingly written booklets that compliment the music and make you want to listen to the tracks within. For fans of 80's music from just outside the mainstream these are both essential box sets that are particularly great for a Saturday night home disco, if you are so inclined...

Springsteen and Carver

For me, Raymond Carver is one of the most important American writers of the twentieth century. His stories often depict the struggles of everyday people without ever speaking down to them. Like Chekhov before him he imbued them with the dignity they richly deserved. Springsteen's Nebraska features characters that could have come straight out of a Carver short story, people trying to get by, making the most of the hand they've been dealt. 

In the title song Springsteen tries to explain why people act in a certain way even though they are aware of the consequences. He quotes the words of the teenage murderer who suggests that the situation someone finds themself in might be the reason why they carry out certain actions and might not necessarily be by choice. It’s a journey that takes us deep inside the minds of people who are struggling to survive in a world that has left them behind.

Springsteen makes no judgement - he leaves that to the listener whilst at the same time forcing us to confront the inherent darkness that exists within society. Like Carver's characters who have done bad things you are left to look at what brought them to that place and then make your own mind up about the reasons behind their actions.

This is song writing of the highest quality that elevates Springsteen above most of his contemporaries and demonstrates what an incredible storyteller he is.

Nebraska, the album, is a masterpiece - showcasing the emotional power of his song writing like no other Springsteen album.

**Looks like the Springsteen video has been taken down...here's The Cash Brothers with wonderful Nebraska instead **

 

Ally's Tartan Army

Nostalgia is a powerful drug, especially the older you get. When you are young, you are developing your sense of self. The things we do, the people we know, the shows we watch, and so on all have an effect on who we are. In a way, those things become part of us in a way that few things do after the fact. So when you go back to something from your childhood it's like rediscovering a part of yourself that you missed.

I was transported back to 1978 when chatting to someone in work last week. We were talking about music and TV from back then and somehow got onto talking about Scotland's World Cup tune from said year. You know the tongue in cheek one when we were going to The Argentine to lift the trophy, whilst gently mocking our Southern neighbours who failed to qualify. The song captures the spirit and pride of Scottish football fans who all rallied behind the national team. The chorus highlights the (misguided) faith and optimism of the fans. It was an anthem and was known and sung by pretty much the entire population of Scotland. The song's infectious energy and uplifting message brought everyone together and reminded us all of what truly mattered - our love for the great game and pride in our nation.

I remember the song being played constantly around the house and today it still resonates with football enthusiasts and serves as a testament to the indomitable spirit of sportsmanship and the camaraderie shared amongst fans.

It goes without saying that we didn't bring the trophy back but, like so many others, I feel an overwhelming sense of nostalgia and pride when I hear Ally's Tartan Army. Innocent times when we were all united. It brings back so many memories of the 9 year old me running around in my Scotland top and kicking a football whenever I could. All the time, without realising, developing my sense of self and forming a memory I would look nostalgically back on over 45 years later.

 

JuJu

JuJu was one of the first albums I ever bought, from a  long departed department store in Glasgow called Lewis's. Not that I knew it at the time but it was an album that shaped the future of post punk and laid the groundwork for the emerging goth scene. For me this is the most complete and consistent Banshees album. Juju sees Siouxsie and the Banshees operating in a squalid wall of sound dominated by tribal drum and swirling guitars, all topped off with Siouxsie's unique fractured vocals. Siouxsie and company took things to an entirely new level of darkness on Juju, the upfront intensity of Juju probably isn't matched anywhere else in the catalogue of Siouxsie and the Banshees. Thanks to its killer singles, unrelenting force, and invigorating dynamics, Juju is a post-punk classic. 

Original Banshees guitarist John McKay and drummer Kenny Morris had left following the release of the group’s second album, Join Hands, in 1979, but Sioux, and bassist Steve Severin found pedigree replacements in ex-Slits/Big In Japan drummer Budgie and former Magazine guitarist John McGeoch. The new-look Banshees rapidly developed almost supernatural chemistry. On their own, Juju’s hits showed that The Banshees were now leagues ahead of most of their contemporaries. The heady Arabian Nights featured an impassioned Sioux lyric commenting on the oppression of women in the Middle East while the mesmeric Spellbound was simply an unstoppable whirling dervish propelled by Budgie’s relentless drums and McGeoch’s frenzied acoustic guitar. However, the rest of Juju was equally satisfying and richly deserves its exalted reputation in the post-punk pantheon. 

Fear Of Music

Even though most people see Remain In Light as their masterpiece, Fear Of Music was the album that really got me into the group. You can already see them moving into the dense, atmospheric style of Remain in Light, with producer Brian Eno's influence becoming more prominent, but their pop sensibilities are as strong as ever. Fear Of Music represents a sudden maturation of the Talking Heads sound, supplementing the frenetic, punkish vibe of their first two albums with the more eclectic style for which they would become best known. On Eno's second collaboration with the Talking Heads, he encouraged them to expand their musical horizons further, and, although a fairly traditional verse-chorus-verse-chorus structure is still in place, this album is the beginning of the band's musical experimentation. For me this is their masterpiece; every song works seamlessly with the others and shows a band that's not afraid of taking risks. 

The way the drums, guitar, and bass all interlock to create the rhythms rather than any one instrument taking over is brilliant. It moves further into strange soundscapes than it's predecessor, while maintaining polished pop credentials. The lyrics are that of a man who is at odds with his environment, somewhat estranged from normality. The music is sharp post-punk guitar driven, yet also has many ethereal moments where you'll drift away on shimmering chords of bliss. 

The opening track I Zimbra demonstrated right away the band's departure from their previously spare, angular style into something more world-music inspired. With nonsensical lyrics and African-themed rhythms this song set the tone for the musically diverse tracks that follow. The playfulness and irreverence of the opener is swiftly replaced with frustration on Mind which serves as a reflection on how impossible it was to get through to people sometimes. The album also contains of their most seminal songs, the insanely catchy Life During Wartime and one of my personal favourite Heads tracks, the beautiful Heaven with its gorgeously understated arrangement. 

I love every aspect of the album, from the minimal cover art, David Byrne's manic vocals, the rhythms, the guitars and the predominantly one word song titles. So filled of musical genius and tension this is one album I never tire of listening to. Creative and energetic, a bit mindless. Lots of fun and my favourite by The Heads. 

The Pretenders

Chrissie Hynde may well be my favourite female vocalist. The way she glides and soars round a vocal line is simply sublime, never more evident than on their eponymous debut. An original hybrid of rock, punk and new wave, with a little bit of funk and reggae thrown in for good measure this 1979 classic introduced the world to the unique vocals of Chrissie. Combining blunt honesty with an inner vulnerability she smashed all the old stereotypes and marked a new era in female singers, making it cool for independent women to make music that was sexy because it wasn't sexual.

It's a deep, rewarding record, whose primary virtue is its sheer energy, it moves faster and harder than most rock records, delivering an endless series of melodies, hooks, and infectious rhythms in its 12 songs. Having James Honeyman Scott throwing inventive riffs behind almost every song certainly helped, as did the undeniable power of Martin Chambers and Pete Farndon as a rhythm team. All the chemistry was in perfect coordination here. 

Infectious, groundbreaking, spirited, conventional and new, The Pretenders self titled debut stands as a landmark rock n roll album that helped drag the underground of 1970's punk kicking and screaming into the overground. 

The Pretenders introduced us to Chrissie Hynde and it immediately catapulted her to the upper echelon of lead singers. Her style was forceful, feminine, distinct and warned everybody that she could kick your ass if she had to, the sense of a great rock star apparent simply in her breath and moan and exhalation. 

Over 40 years later the album still sounds awesome, and has aged unbelievably well. Few albums, let alone debuts, are ever this astonishingly addictive.

Kilimanjaro

If you are only going to make two albums make them as good as the two released in the early 80's from The Teardrop Explodes. Last night I listened to Kilimanjaro for the first time in a while and it sounded every bit as vibrant and original as I remember it. Hard now to believe that both U2 and Duran Duran apparently considered The Teardrop Explodes as their own real competition. Cope wasn't even then your typical pop star but pop star he was briefly although if you delve into his lyrics they certainly weren't about Girls On Film or Karma Chameleons. 

Kilimanjaro was wildly ambitious, shiny and polished, choc full of unforgettable tunes including a certain track that catapulted them into the Top 10 and into our living rooms through TOTP. Reward sounded awesome then and still does so today, a stampede of Northern Soul energy that needs to be played at full volume.

The Teardrops had an innate gift for for a poppy hook and captivating melody that set them apart from some of their contemporaries. The genesis of Kilimanjaro was troubled with large amounts of LSD being consumed, making it all the more amazing that something as perfectly formed emerged from those recording sessions. It is an album that finds the band at the top of their game, a band that could have had it all which appears to be the last thing Cope wanted. 

You can hear the influence of The Teardrops on so many bands in recent years, from The Killers to Blur and The Libertines. Kilimanjaro remains timeless and listening to it again it's apparent why it spent 35 weeks on the charts.