Another piece of memorabilia recently gained from eBay trawls was this. I’ve seen several photos from … I’m guessing the same photoshoot – before, but never this particular photo. And it’s a genuine vintage promotional photographic print. In stellar condition it was too!
I’m very happy with this. Yes I am!
The photographer is Paul Canty – hence the watermark.
I love it when Charlie tries to look all “mean ass” in promo photos. Lol
Jim’s trying out his prowling cat moves.
They are bunched up so close, you can see Charlie’s foot wedged under Jim’s thigh.
“So when I thought Charlie’s guitar in ‘Angel’ sounded like church bells…” – writes Adam Sweeting, having just been given an explanation by Jim of the ideas behind the song. You can read a full extract of that below.
I’d be intrigued to know what the book of short stories was. I thought for a few minutes about asking Derek Forbes if he’d remember it. Even went to Twitter in further contemplation of conjuring up the gumption to ask him…but I can’t. Best to let sleeping dogs lie. And I guess if Jim had remembered it, he’d have mentioned its name or the author back then during the interview. Maybe someone could find out or shed some light on it?
Anyway, let us ‘push on’.
UPDATE: A regular visitor and reader of this blog – Scott, contacted me about who he thinks the author of the short stories might be and which short story it is! And I think he just may be right. He read on Dream Giver about Jim mentioning Philip K Dick. Well of course I remember that too because of Jim’s reply to me (when I quizzed him about having read sci-fi) about “growing out of things…like drugs, alcohol, hair dye and jodhpurs”. But I didn’t make the connection when compiling this post. A book of short stories of Dick’s is titled “A Handful Of Darkness”. Released originally in 1955, it contains a short story called “Upon The Dull Earth” (that even sounds like a line Jim would use in a song!) – a link to the plot of the story HERE – I think Scott came up trumps with this! Where would I be without him?
The original working title for the song was “Petrocello” – a word entirely made up it would seem. A portmanteau of the words “petronella” and “Limoncello”, perhaps? Or maybe of “petronella” and “uccello”? A portmanteau of those two words could translate as “dancing birds”. For “petronella” is a style of Scottish folk dance while “uccello” is the Italian word for bird. That would be lovely if it was a combination of those two. I’m always trying to put romantic connotations to everything.
Again it was one of the songs that Mick gave to Jim to listen to on cassette and obviously he could hear such potential in all the pieces. I guess had Mick not heard the potential in the music himself first, he’d have not passed it on to Jim to pass his lugholes over it.
I can’t claim to know about music or its structure and complexities (or otherwise) and what it is to describe something as “melody” as opposed to labelling it an “arpeggio” – but what I do know is those chords, those notes from Mick MacNeil’s synths are some of the most beautiful pieces of musical notation you will ever hear. And that Adam Sweeting is right, that Charlie’s guitar chords do sound like church bells.
As it started life as one of Mick’s workings, it may have initially been going to remain an instrumental. Who knows at what point during recording proceedings Jim was ready to provide lyrics? He seemed quite the procrastinator back then – leaving lyrical input until pressed to provide it. Then again ‘Angel’ was seemingly one of the earlier tunes to be formed so maybe it was a rare time in which Jim was ready with lyrics fairly early on but he just delayed putting them across in the studio? All supposition by me.
The song had a brief run of being in the live set during the opening part of the Sons And Fascination tour in Aug/Sept of 1981, performed just a handful of times before leaving the set altogether. Never to reappear again until 2006 on the Black and White tour. And not on a set list again since.
The only live recording of it that exists from those handful of 1981 shows is from the Royal Court in Liverpool on September 22nd. It’s performed in Edinburgh on the opening night of the tour on August 28th – it doesn’t seem to go too well.
The next two shows, it’s off the set list – the reason for the Bingley Hall absence I guess would be to how ill Jim was on the night. The next gig in Nottingham, was the one and only time that Wonderful In Young Life was performed. Ironed out, perhaps? It was then back in the set until the final gig of this first short leg of the tour at the Hammersmith Odeon in London on September 25th. A total (potentially – as some set list information is unavailable) of seven shows that it was performed at. Amazing then that there is even one recording to exist of it. I’m sure that given that the gig was recorded for the specific purpose of putting out some live content, that a recording of it being performed at Hammersmith must exist somewhere in a vault.
It was a fairly prominent feature in 2006, particularly during the first part pf the year as the band tour around Europe. It makes its last appearance during the opening gig of the Australian leg of the tour in May. There are several live versions to be heard. The pedant in me couldn’t really stick with any of them. I am terrible for that. I love lyrics as they are. As they’ve been written and intended to be heard in the first place and when that doesn’t happen I find it annoying. Yes! I know. There is the excuse that the band hadn’t actually performed the song 25 years by that point – I could give them a break! But my counter argument would be one – they would have given themselves time to rehearse before going on tour. Also, the element about it that leaves me disappointed has nothing to do with the music. It’s being played very well from the examples of performances I had heard. My gripe is with Jim and the lyrics. The version I can listen to that plays furthest along in the tour is in Rome on March 19th. Some six weeks into the tour. It’s the 34th performance of the song.
I will say no more of it because I know where he’d tell me to stick it – esp. after given a critique of something some 15 years after the fact, but I can’t help being a pedantic c*** about these things.
All I know is that as a track to end an album with? Very few match it for statement and feeling, to summerise and sum up all that has passed in the album that has just been experienced. The melody. The “church bells”. The amazing bassline. The underplayed drum beat. The beautiful backing vocal. It’s exquisite. As delicate and as haunting as the angels it is depicting. That daydream, vision, visitation – whatever it was that Jim experienced as a child certainly left its mark on him. And all these years later it still lives on and will live on eternally in the mindset of Simple Minds fans. Those angels are with all of us. For many of us they feel like guardians. Guardians of the thoughts and feelings we hold so very precious. If what Jim experienced was indeed “a vision”, then it was definitely meant to be. They wanted to be seen, and they wanted Jim to see them.
What an absolutely sublime piece of work to finish an album on.
Photograph of Jim by Virginia Turbett
Angel wings vector graphics: Bastian Schwind
Additional source information: simpleminds.org
Sharing the things that make/made me most happy. This is how it started. I titled this “And Then It Continued…” but this is really how it started.
I loved this “artwork” so much. And I couldn’t believe that he liked it as much as I did. For that I will be forever grateful. I wish it would have got printed in the Heart Of The Crowd book. It was all I wanted in there. Just the piece. Not even any words. But for want of the photo of it being printed – the words had to suffice.
Does he still have his copy on a wall? I can only ever hope. Or lie to myself that yes, it’ll be there. Somewhere.
I know my copy is still on my bedroom wall. And always will be. All the days of my life. It’ll be going nowhere. And I guess that’s the thing.
That I get to share lovely photos that Virginia took of him. In all the many wonderful things that have happened in the past seven – YES SEVEN – years of my Simple Minds fandom, few have been more wonderful to me than becoming friends with Virginia.
Not only is she one of the best photographers ever, she’s a fabulous lady to know. I regard her as one of my dearest friends. And I can only hope she thinks likewise of me.
As much a celebration for me being a Minds fan for seven years today than it is in honour of His Kerrness’s birthday, I share these photos.
I have all four in my collection. The one of him smiling away with the rest of the boys behind him, near Duddingston Loch, within Holyrood Park in Edinburgh, taken in 1981 is a firm favourite. I don’t think there has ever been a man with a more beautiful smile. (Fuck, I talk such mush!) It’s on permanent display on my wall. The others are on rotation as part of my absurd collection of others (never taken an official count but it currently stands at around 160 photos – approximately).
Bass. That Forbes bass. It’s the linchpin to the Simple Minds sound at that time. Those basslines are one of the things that distinguished them from others and made them stand out. And what a bassline that starts the title track to Sons And Fascination.
I don’t really know what the sound is that accompanies that bass – something percussive? A hard synth tone? Some kind of sound like a “thwack” to try and explain it in an onomatopoeic way.
Jim talks about them having repetitive loops and riffs during this time and not so much melody. The melody comes later, by his reckoning. But for me, the melody is already there. To me, loops and riffs CAN have melody too. And Mick’s synth work on this track is melodious. A shining synth melody, twinned with an understated guitar riff. A short and bright riff.
Those opening lines! “Summer rains are here / savaged beauty life / falling here from grace” – knockout punch! Sorry, Jim Kerr, but that is abstract poetry right there! Almost a haiku – but at 5/5/5 syllables. All his lines in rhythm. 5/5/5 – 5/5/6 – 5/5/5 -2/2/2 – 2/2/2 – 5/5/5 – 5/5/6 – 5/5/6 – 2/2/2 – 2/2/2 – 5/5/5 – 5/6/6 – 5/5/6 – 2/2/2 – 2/2/2 (numbers representing the syllables per line of the song)
Let’s talk about it. Let’s talk about what is fast becoming my final wish. To ask Jim about certain lines in this song. I don’t really know why it has been such a point of focus for me but that almost choral set of lines? The “ma son / warm land / semi monde” lines have fascinated me all these years. Especially the last of the set of three.
I read an interview. I’ve read so many early interviews. I never remember where I get what quote from where. But I remember Jim talking about his Da. About how, for a working class man, for a guy that was a builder’s labourer, he was “cultured”. But it was something he didn’t shout about or boast about. A man’s man! But he liked to be knowledgable and he liked reading and he liked the theatre. And he liked music, of course. Jim has memories of his dad taking him to Govanhill library as a wee boy to join the library and get his library card.
I think Jim became quite the “chip off the old block” insomuch as he loved his pals and his football and being a guy – your typical Glasgow boy. But something more was always calling. The desire for knowledge and a thirst for learning, for travel and of being “cultured” ensured he wasn’t going to be just another Glasgow boy. That a different path was laid out for him.
In this interview he had talked about seeing shows at the Citizens Theatre. He just vaguely brushed upon it, so I have no real clear reference of what he saw there and when. As far as I am aware, the Citizens was a serious playhouse. Not a place where you’d go and watch a pantomime or see a comedy performer.
Researching up on it – yes – it’s PROPER theatre! Where you’d see the likes of Shakespeare and Beckett. Ibsen and Brecht. And …. Noel Coward.
And so, it was in 1977, right in the middle of the UK punk explosion – where a group of Southside boys got together and made a racket under the rather lewd name of Johnny And The Self Abusers – a play Noel Coward had written in the 1920s, made its theatrical debut at the Citizens Theatre in the Gorbals.
Did the boy in the punk band go to “the Citz” to watch a play about 1920s “high society” nobs? Well, only he knows. Lord knows I have tried to ask him! Perhaps for some reason I can’t quite fathom he’s ashamed to confirm it? Or, conversely, he doesn’t want to admit to a denial? Either he’ll appear terribly “un-punk” for having been to such a play in 1977 or he’ll feel a let down for not appearing quite as “cultured” as he has alluded to in the past.
In the grand scheme of things, it matters very little. I have just always had an intrigue about the use of the term in the song and wondered if that (the play) was some vague spark that caused its usage.
It’s strange how some things can connect in ways you never expect. The Citizens has had its share of theatrical acting alumni come through its doors. One such talent was Pierce Brosnan, who had a stint plying his craft at the theatre around the time. He had a role in Semi Monde. And he (Brosnan) was my very first crush. There’s just something about those dark-haired, blue-eyed, Catholic, celtic boys, eh? They give me the “sucker punch”.
So, let’s just pretend that the inspiration for the use of the term was down to that – him actually seeing the play – rather than he just banged some French girl and she perhaps shouted it out in the throes of passion and he liked the sound of it and used it.
Can I be that French girl?!
Jim has recurring themes. A recurrence happens in the song Book Of Brilliant Things – “thank you for the voice, the eyes, and the memories shine”. But very similar lines are used (and as for as I am concerned, used superiorly) in Sons And Fascination – “thank you for the voice / thank you for the eyes / thank you for the good times”. They are used more emphatically in SAF.
He paints such a collage of things in the song. Of nature. Of a metropolis. Of motorcades: “golden guns and cars / styles and motorcades” and celebrations: “parades are leaving town”. I see 8mm film – images in my head of the things he sings about. Almost like a Pathé News reel.
It’s the cohesion of the album. It’s European travelogue. It’s a reflection of life in this point in time. It’s cinematic without being pompous. It’s a window. And it is still a reflection of what is influencing them musically but now also so very much their own! Their own voice! Their own image. Their stamp. Their mark! And, it’s indelible. For as much as it paints the picture of the now in 1981 – the Europe of 1981 – it has become timeless.
The song had the original working title of Sulphate. And it was one of those tracks Mick had worked on. One of the ones he had given to Jim on cassette. One of the ones that Jim fell in love with in his walks around Glasgow.
I absolutely adore Sons And Fascination. I’m so glad they worked with everything. That all the songs felt too precious to ditch anything and throw anything away. And I know it was done from the perspective of “wiping the slate clean”. But what a way to wipe the slate clean. What a way to blank a canvas!
Had they not done what they had done with Sons And Fascination/Sister Feelings Call we may never have ended up with the album we got with New Gold Dream. And this is why I will forever hold Sons And Fascination in such esteem.
Inked on my skin.
I have a number of live versions as favourites. One is one that was recorded in San Francisco in November, 1981, specially for Billy Sloan’s show in Radio Clyde and aired in July, 1982, the night before a gig they had at Tiffany’s.
Another live favourite is a more up tempo version recorded from an FM broadcast, a Tiffany’s gig from December, 1981.
And we can’t leave it without a link to the album version. Masterful.
One final extra, if you’re interested in learning any more about it – links follow to a program on STV that aired a few years back about The Citizens.