It’s the 18th of November, 1982 and Mel Gaynor is making his live debut for Simple Minds as they play to a raucous home crowd at Tiffany’s in the “Dear Green Place”. Mel’s an accomplished drummer, no question there! But he’s still learning the SM repertoire of songs. Of course he’s familiar enough with what’s on New Gold Dream – it’s his drumming on about 70% of the album’s output. But as for the rest of the Simple Minds catalogue? He had to learn pretty quick!
Mike Ogletree was touring with them through all of 1982 and for whatever reason (he just didn’t quite fit? Who knows? All I know is I have grown a huge amount of respect for Mike over the past six months or so listening to all these bootlegs) they parted ways. I think Mike will always have a subtleness in his playing that Mel lacks (or perhaps just doesn’t use as often – he’s a hitter). And well, I guess Simple Minds probably wouldn’t have sounded QUITE so bombastic on Sparkle In The Rain and Once Upon A Time without Mel behind the kit. It’s an interesting supposition to ponder how things might have progressed with Mike there.
Speaking of Once Upon A Time and the sessions around it (and the reason behind this whole MMM post) – take a listen to this version of Sweat In Bullet from Mel’s debut gig. Is it just me…or does it sound like he’s about to start off playing Don’t You (Forget About Me)? I was genuinely perplexed when the song starts, it’s only when Jim intros it as Sweat In Bullet did I have any idea of what it’s actually meant to be! Lol. Just two nights later at Newcastle and Mel has the rhythm of the song sussed and it’s sounding more like it should. By far one of, if not THE funkiest track Simple Minds have ever produced.
Let me know what you guys think. Do you hear the hallmarks of Mel’s “Don’t You” intro on it?
I’d love to know more about when and where this video of Love Song was done (ie: which music program, which country and when – 1981 is all I got)! Answers on a postcard.
At least I know a tad more about the Hear Here appearance and thank fuck they were allowed to perform live! I’ve never got music shows that have bands on and then don’t let them play live. What is the bloody point of having them on if they don’t play live?!
Anyway, enjoy these two in a bit more clarity than before.
In a small village called Little Chalfont, in the Buckinghamshire countryside near the town of Amersham…. five band members and a producer that they (the band) admit to having slight reservations about (they wanted Todd Rundgren but he only worked out of Sigma Sound in New York and Virgin deemed the idea too expensive to hire him, then it was proposed they use Martin Rushent but he was unavailable, or Steve Lillywhite but he was deemed too expensive also at that point in time) enter a recording studio and started to record what would be, for me, quite possibly their most remarkable album(s). There may have been trepidation to start with. And it may have continued to be fraught with indecision, but what sprang forth from it, in hindsight, is…wondrous!
Steve Hillage sounded the least authoritarian producer you could wish for, which one could argue wasn’t what a still fledgeling Simple Minds needed at that point – their three album recording history with John Leckie meant that it was an entirely unknown dynamic for the boys when they entered Farmyard Studios with “old Cabbage Head” to record their 4th and 5th albums. They sounded as if they needed the discipline that Hillage lacked giving them – at the time – but it also released something profound too. Perhaps a modicum of freedom that they needed? Yes, it meant they were indecisive about which songs to work on, but wow! I mean, talk about spoilt for choice when you feel your hands are tied and say “we’ll take them all in!”
Perhaps this is why we’ll never see a Sons And Fascination/Sister Feelings Call boxset? Do we have it all already? Well…I can’t imagine that is true! Just last night on the Dream Giver site I read about demos that were recorded at CaVa Studios in Glasgow. And when I interviewed Jaine Henderson a couple of years back she had told me that initially Love Song was offered to her by Jim to perform and record. Imagine it! What would be their biggest hit of the time – until Promised You A Miracle is released 12 months later – might not have even been a Simple Minds hit! Jaine wasn’t persuaded. She wasn’t a singer or performer.
I’m guessing those CaVa demos are what ended up on the Silver Box set that Virgin brought out in 2004? There are demo versions of Love Song, The American, Careful In Career and Sweat In Bullet on there – as well as (dare I mention it?) the forgotten Life In Oils – which fell somewhere between the tracks of Empires And Dance and Sons/Sister. Already too much new stuff they were working on as the Sons/Sister sessions started, it got ditched, much to mine and John Leckie’s consternation.
They nearly called him (Leckie) back into the studio, they ended up so directionless with Hillage – but would we have ended up with what now feels like such a rich tapestry? The album needed to formulate and end up shaped in the way it was. A bulging overspill of creative energy. A band oozing with an abundance that sees them on the cusp of something grand. You can feel it. You can almost taste it! With long hindsight, and even with its (SUBTLE) imperfections both Jim and Charlie value it for the creative tour de force it was.
For your listening pleasure – a fantastic recording of them made in San Fransisco while they were on tour. Recorded by Frank Gallagher, no less, and aired exclusively on Billy Sloan’s radio show for Clyde Radio back in July, 1982. I’m assuming the recording was made the previous November as they played San Fransisco on November 7th, 1981. They didn’t tour the U.S. again until 1983 and SAF was no longer on the the setlist by then.
Art & Talk has been busy leading up to Easter and gave us TWO gigs from the Floating World Tour of 2002 to enjoy over the weekend period.
One is a 10 track FM Broadcast from Amsterdam. The other, from 10 days later, is a full setlist gig at a winery in California.
I haven’t listened to either of them yet, but will do in the days to come. I’ve had another task at hand, which has had me going over gigs from my favourite period – forever stuck in 1982. Lol
I guess there’s trepidation for me, as I start to hear conflicting things from the fanbase for gigs around this era. Early SM gigs are pretty much universally lauded, as much as they are now (with only a small contingent of sour puss’s brandishing all the same old tired-out drivel “the band ain’t the band any more. They’re like a tribute act these days” ya da fucking ya da), but during this kinda of middling period, they seem a bit more hit and miss. But I won’t know unless I listen to them myself! One man’s meat is another man’s poison…as the saying goes.
Not much new content from the band performed with this tour – we only hear Spaceface from the first gig, and One Step Closer is added for the second. It smacks of not being TOO assured of your new output to only have a couple of newbies in your setlist.
Anyways, enough waffling – get your lugholes round them!
The plus side is, you can win a Priptona print! Just leave a comment on this blog post (you can leave comments at the bottom of the post), or if you’re on Facebook or Instagram, check out my pages there (priptonaweird on IG or look for “Priptona Art” on Facebook) by 4pm GMT, Monday April 5th.
You could win one of these (the choice of print is entirely yours)…