It’s a proper old style bootleg – but a good quality one – from in the crowd rather than the soundboard.
And you get to hear said crowd go mental when Jim intros certain songs, or hear how raucous the applause is when certain songs end. Most of the setlist sparks rapturous applause and reactions, to be fair.
It’s great to hear a recording of 70 Cities As Love Brings The Fall from that time. It was on the setlist through the latter part of 1982 – from the summer onwards, but I don’t recall hearing too many recordings of it.
I started listening to it last night but did my usual and started to drift off during King Is White And In The Crowd and came round during Celebrate (the mention of “she rag doll” brought me round, I’m assuming – me obviously thinking “Hey, I’m not with Jim, being his rag doll. Oh, bugger!” Lol).
Also lovely to hear an early appearance of Someone Somewhere (In Summertime), introed by Jim under its WIP title of “Summer Song”. The song was all put complete. Not sure if the repeating of the first verse for the second verse was because at that point Jim hadn’t written the second verse, or that he just made the faux pas he sometimes did (even once fully written and previously performing both different verses) of just mistakenly repeating the first verse.
The gig was just a few days after Jim’s 23rd birthday, and his voice was just sounding sooo amazing. I absolutely ADORE the way he was sounding at that point in time. There was a real richness to his tone at that point. It’s probably why I fell asleep in all honesty – just his gorgeous voice serenading me to sleep.
I will pick it up from King Is White this evening and listen to the rest of the gig.
And I just noticed the rest of the setlist. An encore of Promised You A Miracle – no surprise there, but also one for 70 Cities?! Wow! I mean, it’s a real vocal challenge for Jim at the START of the gig, let alone at the END of it! Bloody hell!
I honestly can’t imagine what I would have been like being able to see them (him!) then. I think anyone around me would have run the risk of slipping on my drool. Lol – I think I need to find an appropriate gif…
Anyway! Before I end up drowning in a pool of my own drool thinking about Jim at this gig, I better go!
I started listening to the Bitter Sweet Symphony experimental offshoot – or “curveball” (if you will) of the main weekly “Are You Not Entertained?” podcast last night and thoroughly enjoyed it. Let me explain…
I confess that it isn’t something I listen to regularly (the AYNE podcast) as, well….I’m not majorly into sport, and certainly NOT football, so unless they talk more about the sport I can get a handle on, or like (cricket, snooker, darts, strongman events, curling, figure skating – I admit that is a crazy mixed bag…but I like what I like! Lol) … I’m gonna be kind of all-at-sea listening in regularly.
Jim has been on the show a couple of times, so when he highlights that fact, I’ll tune in.
At the start of the New Year, Jim posted on SM FB to talk about Billy Sloan and informed us fans of the offshoot to the AYNE podcast in which hosts Roger and Grant had interviewed Billy with a view of having a regular feature that explores the marriage of sport and music in people’s lives. Billy agreed to be their first guest. And what, with Billy being Billy – as with some Scots who, give them a subject they can get their laughing gear around and they’ll talk the leg off an iron chair about it – Roger and Grant really got their money’s worth with Billy! And a life of brilliant anecdotes they felt unable to cut and truncate. The whole interview so worthy of airtime, they decided to air the whole thing but break it up into two parts.
Billy and I at Oran Mor after the Caezar gig in 2018. Photo taken by my good friend, Ronnie McGhie
I listened to part one last night. And I am really looking forward to hearing part two tonight.
The first thing that made me just think “eeeeh!” was hearing that Billy started out his journalistic career just down the road…like LITERALLY just down the road in Springburn! Springburn had a local rag (the Springburn Times – I’ve no idea if it still exists, I’ll assume not, but I’ll look into it) and so he started out with them and sister local rag the Bishopbriggs Times.
It’s a small world!
The first part of the podcast was 55 minutes. The second part is coming in at 1 hour 45 minutes. I mean, strap yourselves in, peeps! Lol. But, it’s gonna be some ride. Just listening to first part last night and hearing the story of his afternoon hanging out with Muhammad Ali in London was just…crazy stuff.
P.S. Don’t forget Billy still is very much right in the throng of things and is still very much the authority on music here in Scotland and in Glasgow in particular and has his own weekly show on BBC Radio Scotland on Saturday nights at 10pm GMT.
Regular visitors to the blog will be able tell how much graphics and the visual arts feature here and in my life in general. I’m a bit of an amateur artist and love creating my own visual interpretations and I also like to draw and paint (even if I am not very good at it). One aspect of art that has featured heavily as a focal point for me personally is album artwork.
In my latest interview in the “Priptona Talks” series, I spoke to Stuart Crouch of eponymously named Stuart Crouch Creative about his career as a graphic designer and of his work with Simple Minds as their current graphic art designer.
What made you interested in graphic design? At school I wasn’t really sure what graphic design was but I liked painting and drawing, creating stuff. I was very into music and would make my own mix tapes and draw the covers – copying the logos and graphics from Smash Hits.
How did you start out? We didn’t have a 6th year at my school but my art teacher let a bunch of us take our O Levels a year early so we could then take our A levels in the 5th. My plan was to then go to art college but for a number of reasons I ended up skipping that and joined the art department at Barclays Bank as an apprentice. From there I went to an company in Covent Garden who specialised in movie video covers and then onto an agency called Peacock. This would have been the early 90s and that was my introduction to album cover design.
Is there anyone else’s work that was a particular influence in pursuing a career in graphic design? I would buy albums just for their artwork, my idol was Malcolm Garrett although he was then known by his company name – Assorted Images. His work was everywhere in the 80s – I would walk into a record shop, pick out the sleeves I liked and then check the credits and it was always Malcolm. That’s who I wanted to be and that’s what I wanted to do.
Who are your influences or other artists you admire (not necessarily in the graphic design field)? Kate Bush has been a big influence on me. She puts as much creativity into the visual side of her work as her music, not only her videos but her artwork, stage sets, everything. It’s that attitude to work and attention to detail that I admire.
Do you work or create in other mediums, or in other areas of the creative arts? I used to be in a band, I think that’s true of a lot of people in the music industry – lots of frustrated musicians around. If you’d heard my lyrics you’d see why I ended up as a graphic designer!
How did you start out with doing graphics for Simple Minds? They had a new management team, who I’d worked with previously on Simply Red, and they needed a poster for the 5×5 Tour. That led to designing the album of that tour and they’ve stuck with me ever since.
What is your favourite work you have produced for SM? Tricky one, I think the Celebrate album cover. Their Claddagh (heart / hands symbol) had been perhaps a little overused by that point and I wanted to try something different. I had a photo of Jim Morrison’s bust from his grave, at Père Lachaise – Paris, and it was covered in graffiti (photo below) – I thought it made a cool image – a mix of classic and punk. I sent it to their management team and suggested we use the stone bust from Empires and Dance with their song titles scribbled on but treated like an art piece in a gallery. We created a 3D model of the head (photo above) based on that one photo and commissioned a lettering artist (Ruth Rowland) to hand write all the song titles. I don’t think the band were convinced by the concept at first but had enough faith in me to see it through and they loved the finished image. When their 40th anniversary came along I thought – shit, what do I do now! That Celebrate image would have been ideal – but it was already done. So then I hit on the idea of the badges in a heart shape and I think that does the same job but in a different way, nostalgic but new.
The concepts for designs – esp. with the Simple Minds albums – are you given free licence to do whatever you feel suits? Or are you given a basic conceptual idea? Do the band themselves have much input? Each album or project is different, sometimes the artist has a clear idea what they want, sometimes it’s a blank slate but it usually ends up somewhere in the middle. One of us will start with the germ of an idea and we’ll play with it until it sticks. Jim is an absolute dream to work with – he won’t dictate how you do it but he’ll suggest moods and themes to help get you there. You want the design to feel like a natural extension of the music so the writer’s input is invaluable.
As the visual designer for the Doctor Who audio/visual output (Blu-ray/DVDs/Books/Audiobooks) – I have to ask – WHO is your favourite Doctor? That’s easy – it’s always Tom Baker for me. He was The Doctor when I was growing up, which maybe gives him an unfair advantage, but no story was ever boring or under-par when Tom was in it.
What would be your best piece of advice for someone wanting to work or gain employment in the graphic design field? It’s a very different industry now, you no longer have to work for a big agency to be taken seriously and social media means it’s easier to get your work out there and be seen. The downside is that there’s so much more competition because of that. If you want to get into music graphics my advice would be to approach up-and-coming bands or artists and ask to work with them. I get the appeal of aiming straight for the big guns but that’s trickier, you’ll have a lot more freedom with someone new, a chance to create looks and identities that young kids will be drawing on their pencil cases. Musicians are a pretty loyal bunch so there’s every chance they’ll take you with them on their journey. It will probably mean working for free at first but it gives you a chance to develop your skills and create a portfolio.
Are there artists, be they in the entertainment field (bands, musicians, actors, writers, etc) or other visual artists, that you’d like to work with or collaborate with? Duran Duran – if you’re listening, I’m waiting for your call!
Lastly – do you have a favourite colour? Not really, but if you put a knife to my throat I’d go for dark blue.
My thanks to Stuart for his time for the interview.
In the canon of Simple Minds work, some songs get forgotten about…lost…overshadowed or under-appreciated.
In making a choice for this week’s MMM, I wanted to choose a track that was topical. I was thinking about the weather and the time of year and with it being “Blue Monday” today, I thought this neglected gem needed a bit of a highlight.
Several months back, I acquired some posters. I recently got a couple up on the walls, which meant removing other SM memorabilia off my walls to make them fit. Today those things were placed back up on the walls with some of the other posters making their debut on my bedroom walls.
Also my amazing prize that I won from the Echo Lab from buying raffle tickets to win a drumhead signed by Cherisse (with a signed photo also) arrived today. I’m yet to put that on the wall though, as I will need to get a suitable frame so I can display it.