Waxing Lyrical On The Airwaves

This is probably going to be the biggest aspect of the whole Sons And Fascination/Sister Feelings Call celebration, from my own personal viewpoint, than anything else I could have imagined. (Bar the band announcing some last minute gig going on in Glasgow for it. Settle down! I’ve heard NOTHING – I’m just dreaming!)

What are you guys doing next Wednesday night, September 15th? I ask because, well, (and now this feels really real typing this out and I am really starting to shit bricks!) I’m going to be on the radio! 😱😱😱

My friend, Ronnie McGhie – radio presenter extraordinaire – wanted to do something special for his radio show to celebrate the 40th anniversary of SAF/SFC and so he asked ME if I wanted to be involved!

I think I just about bit his hand off with enthusiasm to be honest. Lol. Being asked to talk about SAF/SFC? What a doddle, eh? Except it’s going out live on air and I am kind of bricking it but I am dead, dead excited! And I am sure Ronnie will keep me in check – he’s the pro!

And it really is going to be a big celebration of the albums. I’ll be choosing SIX TRACKS to play from the Sons/Sister albums – and there’ll be something else going on on the show as well, but I best keep schtum about that for now.

So…next Wednesday evening – September 15th at 8pm BST, tune in to Pulse 98.4. You can tune in from anywhere around the world by going to their website pulseonair.co.uk – but of course, if you’re local around Glasgow, you can tune in the old fashioned way too and set the dial to 98.4 FM.

A friend said when I told her that I was crapping myself about being live on radio “take a Valium” – said in jest. I’m not sure it’ll help…but I might cave in and take some kind of Dutch courage. Haha! We’ll see.

Minds Music Monday – Careful In Career – SAF/SFC 40th Anniversary Celebration

The first thing I love about this song is…the two keyboard notes that intro it – sitting on top of another single note. Then the subtle building of the tempo with the kick drum beats. Then the snare comes in with the bass guitar quickly following. Then there’s Charlie Burchill…wailing guitar maestro. 

Then…the pièce de résistance … Jim Kerr and that incredibly nuanced vocal performance of his. The way he just … elongates the lyrics and adds another layer of depth to them as a result. I find it almost chilling but sonically delicious.

It was one of the earlier songs written for the Sons/Sister albums right at the beginning of 1981. It was recorded as a demo (listen above) and had the working title of “Check Out”.

After the demo recording in February, it quickly got put on the setlist for a live performance that was captured at Tiffany’s in Glasgow on March 1st, 1981 (listen HERE). The one and only time that the song was ever performed live. Why it never made any kind of return to the setlist for 2012’s 5×5 Live tour remains completely perplexing to me. I guess it was simply the case that with a tracklisting as extensive as there is from the Sons And Fascination/Sister Feelings Call albums – something had to miss the cut. I think it would have been a perfect fit for Jim’s voice now and I’d have loved to have heard him do those long, protracted vocalisations of the words. To quote the song, “It’s a shame.”

At the demo stage the lyrics weren’t much more than the repetition of the words “careful”, “career” and  “take care”, with some strange sounding whoops and hollers and unearthly drawn out calls of “walk”. Still wonderfully atmospheric and definitely worth a listen, if for nothing else than to appreciate just what the song progressed into. 

I’m including an interview with Jim in this post. One he did for Radio One with Richard Skinner (not Kid Jensen as the wording at the end of the clip suggests) – almost 40 years to the day, in fact. Jim mentions that they’ll be playing the Futurama gig the following night so that dates the interview as September 5th, 1981.

In it, Jim talks about the “trance” musical theme that the Sons/Sister albums seem to end up developing over their recording. No stronger example of this than a track like Careful In Career.

I think the thing that astounds me is when Skinner says to Jim “I’m surprised at your longevity.” The band had been going less than four years by this point. FOUR YEARS! And Richard Skinner is talking about being SURPRISED at the band’s longevity?! Well, here we are, 40 years to the day still talking about what a phenomenal body of work the Sons And Fascination/Sister Feelings Call albums are. Not only that but also that there is new music from Simple Minds in the bag and set to be released some time in the near future! Now THERE’S longevity for you, Richard Skinner!

Richard Skinner sounds like all he takes from the albums is darkness and gloom and a Joy Division-esque “dystopia”. But there is rarely a track like that on Sons/Sister for me. I think it really is only the end tracks on Sister Feelings Call – League Of Nations and Careful In Career that give off that kind of dark atmosphere. 

But even within something like Careful In Career you have lines like “performance or ecstasy” and “I’ve come so far already” – positive affirmations rather than anything negative that lines like “It’s a shame to go away/It’s a shame to die already” bring with them. I find such beauty in how dark it is, actually. I guess it’s that point Jim was making in that interview extract I added to my Seeing Out The Angel post, when he spoke of the inspiration for the song, the reading of the short story that sparked the lyrics and of the “beauty in fear”. 

And so here we are in the present day with just one week to go before the anniversary date of September 12th (coincidentally it will be my eldest brother’s 63rd birthday), with just one song left to post about – Sweat In Bullet, released as the final single from the album in…well, it says on Dream Giver that the single was released in November, 1981, but I recently read a Virgin press release from the time seeming to state that the single was released in October 23rd, 1981. Either way, there is no need for me to wait until these dates and so I’ll be wrapping up my track-by-track celebration of Sons And Fascination/Sister Feelings Call with a Minds Music Monday finale that will be “rolling and tumbling” in celebration! 

On a final personal note, the art piece I did for Careful In Career (pictured above) remains one of my favourite pieces. I love the photo of Jim (I still have no idea who the photographer is – or whether it is even an actual photograph or a still image from a video) and I love how I set out the topography of the lyrics. The colour blending too. I rarely actually give myself any esteem for my work but for a change I am going to here. I’ll make an exception of usually shitting all over my own work by saying that my Careful In Career piece is the kitties whiskers!

It has been a short MMM this week again – but believe me, we’ll be going out with a bang! And I have some pretty exciting news to come in the next week with further Sons/Sister celebration news. Stay tuned, peeps!

Caught In A Moment

I know I wax lyrical about Virginia Turbett’s photos – but this is why. Apart from every single photo she has ever taken of Mr James Kerr, esq. There are so many other photos of hers I love. And perhaps even above all the ones she has taken of Jim and Simple Minds – this is my very favourite. XTC’s Colin Moulding in a look of both concentration AND consternation.

Whenever Jim wants to do one of his “you think songwriting is easy?” posts? He should just show this photo of Colin Moulding for everyone to see. It’s stunning!

I received my own copy of it today and I am so very happy. One Kerr may just have to go! (For a temporary period of time anyway.)

Minds Music Monday (On A Wednesday) – League Of Nations – SAF/SFC 40th Anniversary Celebration

It’s very curious to read that League Of Nations was worked on in the early recording sessions of the Sons/Sister albums because it really does sound so incomplete! And especially given that as soon as they go on tour for the album – the first leg of the tour within the UK –  they are performing it live and Jim has added extra lyrics to it. 

Lines like, (If I am hearing them correctly) “When the link comes, you’re gonna know when the link comes”, “Tangled lodge had a thousand lodgers, here comes the judge singing law and order” and then I am not sure whether he says the word “caliphate” or “counterfeit” – but there’s a line “caliphate/counterfeit judge, caliphate/counterfeit lawyer – here comes the judge singing law and order”. I mean, it would make the most sense to be “caliphate” – as a Caliph (or various spellings thereof – Calif, Kalif, Khalif) is a Muslim ruler and a caliphate their area of jurisdiction, office and/or region, which then makes sense of the line “here comes the judge singing law and order” – a call to prayer at a mosque? Or perhaps he wasn’t meaning it like that. 

Yeah, tell me again when Jim Kerr started to get political with his lyrics? 1989? 1988? 1985? PISH! This is 1981, people! And take a listen to Citizen (Dance of Youth) from 1979’s Real To Real Cacophony (as just one example) for further proof of how long Jim had been weaving the political into his lyrics.

I also think that despite the lyrics being printed as “relief” – he definitely sings “repeat”. It just doesn’t have the intonation of “relief” in how he vocalises it. It’s not how it sounds to me anyway.

Musically, I like the sparsity of it. It’s heavy in atmosphere. I really like Charlie’s guitar work on it when performing it live and I like Kenny’s drumming on it during the live performances too. And others wax lyrical about “Big Dan’s” bass work better than I seem to. 

It certainly works much better as a live track than it does as a studio recording album track. It was a great decision to put the live version recorded from the Hammersmith Odeon gig on September 25th, 1981, as a track on the Sweat In Bullet 7” double gatefold and 12” extended remix singles.

Other than that – there’s not much else to discuss with this track.

So, other than the original album version and the official live version that features on the Sweat In Bullet single – there are only two other live versions I’ve heard. One from the Futurama gig at Bingley Hall in Stafford on September 6th (listen HERE), and the other from the gig at the Royal Court Theatre, Liverpool on September 22nd (listen HERE). By the time the tour moves on to Canada and Australia, the song has been booted off the setlist, never to reappear.

This one really is a short and sweet post. I wish I had more to talk about with League Of Nations, but this is pretty much it. 

But I would like to hear what any of you reading this think of it. Do you like the track? Do you think it is a weak link in an otherwise exemplary body of work from a phenomenal young group of musicians who, at the time, should have already been strong in the consciousness of every music lover on the planet? Do you prefer the live version to the album version? Or vice versa? Would you like to see it back on the setlist, even? Post in the comments.

Minds Music Monday – Wonderful In Young Life – SAF/SFC 40th Anniversary Celebration

I’ve written about this song so much – when I actually COULD write about it! When I could somehow manage to express all that it means to me. 

The first time I heard it I was probably only about four weeks into my fandom. It brought me to tears the very first time. I had not heard a Simple Minds song this beautiful ever before.

It’s not a slow song. It’s very up tempo with a driving beat and bassline and also with a soaring, wailing guitar all over it – but despite that beat and pulse and incredible guitar – despite the pace of it, it is also soft and tender. It has a HUGE heart. It’s sweet. And it encapsulates everything I had wished that life was going to be like for me, except it wasn’t. Not much of it anyway. I had glimpses of it, perhaps, not in the way THIS was. Not in the way Jim had written about it, sings of it and expresses it. 

So, I was just sitting here at my PC, looking at a blank page on the screen and wondering what more there is to write about this most beautiful and poignant of songs. And here I am, already off and away trying to express again all that it means to me and why I am so enamoured with it. 

The bible (Dream Giver Redux) has next to no information about it, other than what I had read on the dedicated (but sparse) page about it…which is either more recent info that has come to light, or this info had passed me by previously. The info being that in its early days, Wonderful In Young Life went by the title of “What Goes?” Strange that I don’t remember having read that before. And also a rather strange title for the song. Thankfully only a working title.

And…so this is the extent of information we have on it. 

The only thing else I have to talk about is the exchange I had with Jim about it a few years back. The band were on the North American leg of their Walk Between Worlds Tour of 2018. They were in Toronto, and Jim had posted about the early days of Simple Minds touring Canada. I’ll post the excerpt below.

I tried to be a little flippant and funny on the tail of that reply. I had said “Is that a “no” to you didn’t know to my praying for the day it gets an airing…or… 😔” and then I got into a bit of a slanging match with someone who felt it rude that Jim had given me a monosyllabic response.

Oh, I had forgotten about him posting my artwork on Charlie the following day! It brought me to tears seeing that. God, I am such a soppy old fool! I was so proud of that photo. I took it in Colchester at the last Grandslam concert I attended, so it was a full, 100% Priptona work and I was so happy. And then even more over the moon that Jim used it for the follow up post about the Toronto gig. Happy days. Happy memories.

Looking back on it, I like to think it was perhaps his way of softening the blow to that reply about Wonderful In Young Life he gave me in the day’s previous post. But I like to read all kinds of daft stuff into everything. You can view that post HERE

Getting back to the song itself.

There are little things in my head that make me think of it. Snippets of things from my memories of recent years. Standing at the local bus stop in Oz when I was back home with my mum in 2015/16 and seeing the local swallows flying about in the sky. Also in Aix-Les-Bains for the Musilac festival in 2018. The football World Cup was on at the time and as I took an evening wander into the town centre to find a place to eat, “a crowded swallow skies” appeared in front of me. Just as I walked down a side street. It was a very warm night and I walked by a house that had all its windows open. I could hear that the occupants were watching the football and as I crossed the road, suddenly around 20 swifts (rather than actual swallows) came screeching by. Swifts are always a sign of summer for me. I would always see them in the skies around Luton in the summer months – dazzling me with their aerobatics and making their shrill “banshee” call as their flew around, circling ever higher, then plummeting and dive-bombing some prey (such small birds, their main fayre is various insects). Those swifts at Aix-Les-Bains that night felt a marker to me that maybe I had made the right decision to travel all the way to the French Alps to see the band I love perform at probably the most incredible music festival I have ever been to. 

Oh, and I was meant to be getting back to the song!

It is everything I would have loved my young life to be. It’s beautiful, bright and sunny. I see … a picnic going on. A group of friends, a mix of girls and guys, all looking so happy and relaxed. Drinking (not necessarily alcohol, but probably wine and beer, I guess), eating snacks and sandwiches. Joking and laughing. Just so joyful and happy. And Jim is there amongst them. And I would just want to plant myself in a spot right next to him. Just to be sitting there by his side, watching him interact with the others around him. Watching him smile, laugh and joke – to be eating and drinking as well. Life looks beautiful. He looks beautiful. 

It is such a different image to how it sounds to the images he was viewing when he was composing it on those cold, bleak, desolate Canadian roads. Perhaps to get himself out of that gloom of those moments he painted those beautiful pictures for himself?


As for that “live airing” I asked him about? Well, back in the mists of time, Wonderful In Young Life appears to have been performed live. Just once. The gig was at Rock City in Nottingham. The date – September 17th, 1981. That first short UK leg of the Sons And Fascination Tour was barely a month long and the band then went off to Canada and Australia to perform to rapturous crowds. Perhaps it wasn’t even performed live? It’s on the setlist, but perhaps it was merely “outro” music as the gig came to an end?

I do wonder, as Theme For Great Cities is listed as being performed on the same tour – but it’s just intro music that the band walk out on stage to. You can hear that at the recorded gig of theirs at the Musicians Club in Sydney. (Link to the gig HERE)

So there is the strong possibility the song has actually NEVER been played live at all. Again, had it been being used as “outro” music – you would have expected to be mentioned elsewhere on setlists for the is tour? Who knows?

I am happy to report that in recent times I can enjoy it for the beautiful, driving, pulsing, gorgeous, tender, uplifting, joyous song it is.

Forever I will be “singing memories”. 

A final thought on Wonderful In Young Life is from a friend, who says of it: The song’s poignancy lies in its breathy final words: Here she comes, wonderful. In young life.

Minds Music Monday (On A Wednesday!) – 20th Century Promised Land – SAF/SFC 40th Anniversary Celebration

As “the speed of light is moving on“ and we are now less than three weeks away from the anniversary of the release date of Sons And Fascination/Sister Feelings Call, I still have “something to prove and much to present” (to paraphrase the song being highlighted today). So, today I present a special midweek edition of Minds Music Monday!

It’s a mystery, this track. A track from the Sister Feelings Call album that has never been played live, has hardly ever been talked about by Jim or any of the other band members, but is a firm favourite amongst the “diehard” set.

There are lines within the lyrics that Jim didn’t write himself. Lines that are from a play by Bertholt Brecht called the Life of Galileo – Andrea: Unhappy the land that has no heroes. Galileo: No. Unhappy the land that needs heroes.

Reading the synopsis of the Life of Galileo – those words are at a pivotal end point of the play. Andrea is one of Galileo’s former pupils and he sees Galileo’s actions on the replication of the telescope, and of his celestial discoveries, as well as his defiance to the Roman Catholic church as acts of heroism. “Unhappy the land that has no heroes.” – ie: Italy is an unhappy land for not seeing Galieo’s actions as heroic. Galileo counters this notion with “No. Unhappy the land that needs heroes.” – ie: Galileo does not see himself as a hero and Italy’s happiness (nor any other country for that matter) as a nation should not hinge upon having heroes.

One wonders how Jim got exposed to the Life of Galileo? Another question I would love to ask him, but there is little opportunity for such things these days. I lament.

Perhaps he obtained a copy of this from somewhere? A book of a selection of Brecht’s work was re-published in 1980, the play having first been published in 1955. The book is called “Brecht – Selected Plays Five – Life of Galileo, Mother Courage and her Children”. 

It is obviously something that he ruminated on, for he’d used the lines previously in the demo of Life In Oils – a Simple Minds song that never advanced beyond its demo recording in early 1981, much to John Leckie’s consternation (mine also, it has to be said). The lines certainly must have resonated strongly enough to transfer their use onto 20th Century Promised Land.

So…what is the song about? It’s rather ambiguous in tone. And I have spent time dissecting it with a few other fans in the past. Is it about war? Or the consequences of war? The general tumult we find ourselves in during the late 20th century? Europe was still in quite a bit of upheaval during the early 1980s. Conflict in Afghanistan with the U.S.S.R. Berlin is still divided by the wall. Communism is the oppressor of many in Eastern Europe. Nicolae Ceaușescu is firmly in control in Romania. 

Jim may have used some Brecht lines, yes, but all the other words in the song – all he has written have deep potency to them as well. Just read the lyrics! Take them in. It may not be immediately apparent what his lyrics are conveying – and of course they are open to interpretation and people will interpret different meanings – but there is no denying their power to make you think and ponder. 

THIS IS WHY I LOVE JIM KERR AS A LYRICIST! He’d be somewhat flippant and dismissive of the words he’s written in this song “They’re just words. I don’t really know where they come from…” etc, etc. Almost as if he is embarrassed to admit his own intelligence. Probably due to fear of looking “pretentious” or up his own arse. Well, fuck that!

Anyway…the lyrics. Read them!


Stories came like the wind,
Joining every bridge in the world.
Ringing out footsteps,
Calling out steel-heels.
I give voice,
I give breath,
Count out evenings and stars.
How fast can these things move on,
Taking roots back to yourself,
And the reason for fear was moving on,
And on.
Some time,
Great times,
Troubled time,
Fire for the times,
Ringing out footsteps,
Calling out steel-heels.
Promised land,
Great times in commotion.
Here comes every day,
It only lasts an hour,
Unhappy the land that has no heroes,
No! Unhappy the land that needs heroes.

And the reason for fear was moving on,
The speed of light was moving on.
Don’t cry,
Tears are only wasted water.
Some say God only loves the proud,
Be damned on luck,
But not disheartened,
Nothing to prove,
And nothing to present.
I give voice,
I give breath,
Catching wind in my hand,
My hand.

Some times,
Great times,
Troubled time,
Catching wind in my hand.
My hand,
Some times,
Great times,
Troubled times,
Fire for the times,
Ringing out footsteps,
Calling out steel-heels.

Promised land,
Great times in commotion,
Here comes every day,
It only lasts an hour,
Unhappy the land that has no heroes,
No! Unhappy the land that needs heroes.

I’ll call you out,
I’ll scream you out,
And I don’t care if you’re afraid,
When city sounds invade the air.

Catch the wind in their hands,
Promised land.
Catch the wind in their hands,
Promised land.
Promised land.
Promised land.
Great times in commotion.


Those words are just so wonderful! Both clear and yet opaque, both relevant and yet timeless. And that quintessential element of the truly great when it comes to Simple Minds songs – the “dark light”. That kind of dour centre, the deep aspect that ultimately lifts and becomes bright. Hope. Present within lines like “don’t cry – tears are only wasted water” and “be damned on luck but not disheartened” and “the reason for fear was moving on”. And there is also something ultimately uplifting in the lines “catching wind in my hand/catch the wind in their hands”, and “great times in commotion”. A statement that says “be in the moment, be present, and enjoy what life gives you…if you can.”

He’s as sharp as a tack, that boy. A sharp intellect. A great mind.

As for the musicality of the song? Well, it seems reading up about it on Dream Giver that not even the band members quite know how they arrived at it, with Charlie Burchill quoted as saying, “We stumbled across those chords. It wasn’t just the chords that made the whole thing, it was a combination of the chords, what the bass was doing, what I was doing. As soon as we hit it everybody went ‘Right, that’s it,’ and we had to work in reverse and figure out what we’d done – we didn’t have a clue what had happened.”

Rhythm is always integral to Simple Minds songs, and this is no exception. Such a short, sweet melody from Mick, but underpinned by a subtler Forbes bassline than usual. The time signature of it too. It’s in 4/4, which is a standard time signature for the majority of popular songs. But it doesn’t sound like a regular 4/4 time signature to me? Perhaps Brian plays it on the back beat? Whatever it is, I love it. Actually – I just counted it and what he does is play the snare on beat one of the first four bars and beat three of the next four bars. From my limited exposure to drumming – that would fuck me up! Charlie’s guitar riffs are wonderful too.

And there is Jim and that vocal performance. He just sells everything perfectly on Sons And Fascination/Sister Feelings Call. Just…everything. The nuances to his voice, the way he articulates and enunciates words. Perfection. 

The song has never been performed live, which is a shame, but I guess it is inevitable with a catalogue as rich as Simple Minds’ that not every song in their catalogue could or would get a live airing. Surprising it never got a look in even during the 5×5 Live Tour? Perhaps then it might have been considered briefly? Who knows? There is just such a wealth of riches to mine from the Sons/Sister albums. 

So all I have to offer in terms of listening experience is the track as it appears on the album. (Which album that is is dependent upon whether you have the Canadian version or not.)

It appeared on the B-Side of the Sweat In Bullet single, appearing on all formats – the lone 7” single – the double pack gatefold 7”, as well as the 12” single. 

This song is special and sounds very unambiguous to the uninitiated, but try to explain to someone what it’s about and the realisation of its ambiguity dawns. Any lyricist that can deliver that is just perfect in my eyes. If you’d like to share your theories on the song’s meaning, or your interpretation of it, please leave a comment. I’d love to hear your thoughts.

Grace Jones – Autumn Leaves

I was thinking upon the recent talk of Grace Jones. All things swilling around in my head. Jim mentioning her again in a recent post “You have to be a bastard to make it”, exampling a quote from her “Like a shark. I only move forward. Never backwards, darling!” And of the erroneous eBay listing of Real To Real Cacophony attributed to her and of Simple Minds songs one wished she’d have covered.

I couldn’t sleep last night. It was warm and I cannot sleep without some kind of cover on me. But my summer duvet was far too warm last night, so ensued an endless tussle of me covering myself and then flinging the duvet back off me 10 minutes later. And on and on it went into the wee hours.

In those wee hours I decided to reach for my iPod Touch and listen to some Grace. I listened to all of the Warm Leatherette album (having had Scar in my head and thinking on that JG Ballard connection I link is between the two songs), then selected tracks from Nightclubbing. Finally, I looked through her earlier catalogue and the tracklist of Fame, her second album and noticed Autumn Leaves on the tracklist. What? THE Autumn Leaves? The one that mum wanted played at her funeral? Aye, the very one.

I had to play it. And of course, Grace being Grace, she was true to the original, singing it in French (with just a line or two in English midway through). It was as beautiful as her rendition of La Vie En Rose is. I wish I had known of it years ago, around the time I’d listen to Island Life – borrowing it constantly on cassette tape from the local library, until I could afford to buy a copy of it myself. (Libraries were great for more than just books!) I played Island Life so much. And mum would love listening to it with me. I think had she’d known Grace recorded Autumn Leaves, she’d have loved her version as much as she loved Nat King Cole’s.

I try hard not to have regrets, or at least not dwell upon the endless, countless regrets I have. To paraphrase, “Regrets. I have a few. But then again…TOO MANY to mention!” One that looms large over me is not being in a clear state of mind to have remembered mum’s wish to have Autumn Leaves played at her funeral. The most painful aspect of it is remembering it just 24 hours after her funeral took place. I let her down, even in death. It’s a big cross to bear. I try to give myself a break by telling myself I had just lost my mum, in the middle of a house-move to the other end of the country, and try and give myself some slack. But I also think endlessly – “You had one job! And you couldn’t even get that right, you stupid cunt”.

I’d have played Grace’s version as well as Nat’s. I’m sure mum would have loved it.

Here’s to mum and to Grace…

Minds Music Monday – Theme For Great Cities – SAF/SFC 40th Anniversary Celebration

It is by far the most revered Simple Minds instrumental in their canon. The band have never been one to shy away from putting an instrumental track (or three) on an album. From 1979’s Real To Real Cacophony having instrumentals ‘Cacophony’, ‘Film Theme’ and (the wonderfully off-the-wall and magic mushroom influenced) ‘Veldt’ on it, right up to 2002’s Cry with instrumental ‘The Floating World’, there have been some fabulous SM non-vocal tracks. My personal favourites include: Kant Kino, Somebody Up There Likes You, Shake Off The Ghosts, A Brass Band In African Chimes and Year Of The Dragon (I also have a soft spot for The Floating World – a rarity as Cry, along with Live In The City of Light are the Simple Minds albums I play the least – no reason needed to elaborate further).

I think we can all agree that Jim absolutely made the right choice not to force upon ‘Theme’ some lyrics and a vocal. It is perfect as it is. And the title he gave the track is all the input from him it ever needed. He sells it perfectly.

A further quote from Jim, appearing on the Dream Giver site, quotes him as saying, “One of the best moves I ever made was not to sing on Theme For Great Cities. I remember walking around with that in Glasgow on my new Sony Walkman thinking this is fucking perfect!” Amen to that, Jim!

Initially it was used for “intro” music on the Sons And Fascination tour and never was performed live until more recent years. Starting on – as coincidence would have it – The Floating World tour of 2002. And it’s been a fairly regular sight on the setlist since then. It was the opening number of the second half of the set on the 40 Years Of Hits Tour of 2020 (giving Jim an extra five minutes to down his lemon zinger) – until the Coronavirus pandemic stopped the tour in its tracks in Copenhagen.

There have also been several remixes recorded as well. A Moby Mix from 2012 which is…meh. The ‘91 Mix I’m not exactly enamoured with either – if you’re not familiar with it, listen HERE. And there is a couple of other mixes from the late 1990s – the Fila Brazilia Mix (also an alternate mix of it and an edited version too) and probably the only mix I actually like of all of them – the Fluke’s Atlantis Mix – there is also a Nissn Remix from 2009 – but that is my LEAST favourite of them all, tied with the gutless Moby Mix.

But who needs remixes of something that is absolutely PERFECT just as it is? Theme For Great Cities doesn’t need messing with! Jim knew that. Others should take heed! Stop it with your remixes! Leave it the fuck alone! Don’t mess with perfection, brother! Enjoy for what it is – one of the best instrumentals ever recorded. The YouTube link is further below. Take the extra five minutes and fifty seconds when you have read this post to play it and enjoy it. Play it loud! Use headphones/earphones if you need to and just…get transported to scenes from Blade Runner…see time-lapse footage of dark night cityscapes dazzle before your eyes. View the cover of the Sons And Fascination album (even though the track is on Sister Feelings Call – it’s not “dead wood”! Nothing on Sister Feelings Call is … with maybe one exception – but we’ll discuss that in a future post) and just…enjoy the ride.

I’ll leave the rest of it to Jim…

Jim Kerr on Simple Minds’ Facebook page, August 12th, 2017.

EDIT: There is a typo at the end of the text above. I am usually meticulous with making sure there are no typos with the these things, but this one slipped by. The last sentence SHOULD read “It might well have played a part in that.” “It” rather than “I”. Apologies if it led to any confusion.


An exchange between me and Jim in response to the post above.