Announced last night, Simple Minds are to play at the Musilac Festival at Aix-Les-Bains in 2022. They play on Friday, July 8th.
I have already been contemplating it and already been looking tentatively at flights to the nearest European destinations. Grenoble would be ssoooo handy – but Easyjet only fly there from Edinburgh in the winter months. Next handy is Lyon, with flights from Edinburgh to Lyon (no flights to/from Lyon from Glasgow) twice a week on Wednesdays and Saturdays. So it would be fly in on Wednesday, leave on Saturday. Okay, fair enough. Means I’m there two days early. Not bad. And perhaps getting to Aix from Lyon would be easier than travelling from Geneva?
Geneva is the best option for flights. Flights are daily between Edinburgh and Geneva – but then there are two coaches to take to get to Aix from there. One to Chambery, then from there to Aix. It was a long day’s travel! I didn’t get into Aix the last time until about 7pm I think it was. Or maybe 7.30? But it’s summer and there’s plenty of daylight.
It seems to be a quicker, more straightforward journey from Lyon to Aix.
From what I can see so far of the line-up, it’s not exactly the killer lineup it was the last time I went. Not only were SM on the bill but so was Depeche Mode and The Stranglers! This time I see Sum 41 and Dropkick Murphys on the bill with. Neither band is one I am into and I am only vaguely familiar with Sum 41. I know one song of theirs but I can’t even remember what it’s called….
Are Simple Minds the headline act? Probably not. Why have they been put on the bill with these two bands? Where the hell is the connection? The day before Skunk Anansie are on the bill. I wish SM and SA were on the bill the same day!
And I have no idea if my friend Françoise would be going again.
As much as I am sitting here mulling all this over, contemplating it, the less inclined I am to seriously consider it. Too much to weigh up. The logistics. The cost. Accommodation. The festival bill.
It is a fantastically organised festival. I had a great time – all things considered. Aix-Les-Bain is a lovely place. And if I got to spend time with Françoise again, that would be lovely. And…it’s the day before Jim’s birthday. I could kid myself I get to spend his birthday (almost) with him. Sad fucker that I am!
I’ll keep an eye out on the Musilac site, social media, etc, to see who else ends up on Friday’s bill. I’m interested….but…we’ll see.
Ghost Dancer (aka Stuart Greaves) has shared another gem of a bootleg, this time of SM some seven months into the New Gold Dream tour of ‘82/‘83 – midway through the North American leg of the tour in April/May of 1983.
Playing the Ritchie’s Club in New Orleans, Louisiana. Recorded by a member of the crowd – hearing audible bits like the guy telling the girl next to him to stop talking to him as he’s recording the show. Lol (You tell her, pal!) The recording is a good one coming from the crowd as it does. Some people obviously managed to sneak in some great recording equipment to these gigs. Mates who were working as road crew on the night or some such? No idea how they did it, but kudos for doing so.
As for the band themselves and the gig? Well, as you’d expect by now, we hear all of the New Gold Dream album (Somebody Up There Likes You as their walk-on intro music), plus stonking versions of I travel, Celebrate, The American and Love Song. There’s a little of the set lost (changing the tape over in the recorder, I’m guessing?) where the ending of Hunter And The Hunted cuts off and we return about a third of the way through Promised You A Miracle.
It feels as though Jim is going through the motions a little bit at times. He wavers a little, especially towards to tail end of the set. There’s a bit of banter that happens. I’m guessing fans are asking for certain songs to be played. At one point Jim says “Naw. It’s too old.” But usually it is just “Thank you.” And an intro of the next song. I guess I am odd to miss that Jim, right? The one who never seemed overly engaging with the crowd? I guess I miss …. the intensity. Can one miss what they never truly experienced? I do love the ease of engaging “older statesman” Jim now though. He knows how to get the fans in a frenzy still, just with less “whirling dervish” manoeuvres and brooding frontman intensity and more “banter” and acknowledgement of the crowd.
Having said all that…if that was young Jim on an “off night”…imagine him when he was fully up for it?! ERMAGERRRRRD! I’d say he was 70/30 that night. 70 on, 30 off. Or there abouts.
Anyway, it is definitely a gig I’d listen to again.
There’s a break for me now in the gigs I have coming up. I’ll be in Edinburgh at the end of the month for my birthday treat of seeing a touring production of Disney’s Beauty and the Beast – making it my sixth time seeing the show and the first time seeing it since the last show I saw in Milton Keynes in 2012.
I have a couple of Warm Digits gigs in November – once again heading to Edinburgh to see them and then a few nights later back here in Glasgow.
After that, I have two shows book for December. Warm Digits once again, this time in Newcastle…but that has a question mark over for now. Then two nights later on Dec 18th, I’ve booked to see Memes at McChuills.
Then in January, a Celtic Connections gig and then The Stranglers at the O2 Academy. Nothing for February – as far as I am aware… but in all honesty, your guess is as good as mine. I didn’t even remember I booked The Stranglers gig until a couple of weeks back when I was sorting out my email account.
And then…March! Which I had been discussing last night and today with my gig buddy and partner-in-crime, Birdy.
Over the past 24 hours I have sorted flights to Paris (goddamn gotta fly to and back from Edinburgh as flights from/to Glasgow don’t run as frequently as they do from Auld Reekie) and sorted out a place to stay right near the venue. And by ‘eck – WHAT A VENUE! I am allowing myself some mild excitement once again. This will probably be my only venture to see SM outside of the UK next year. I have thoroughly kissed goodbye to Taormina and I am only tentatively contemplating a return to Dublin now (I have a ticket for the Dublin gig though). I’m not relishing the idea of a flight with Ryanair …. but I may consider other options to get there. We’ll see. If not then we have… Paris, Aberdeen, Glasgow, Leeds, Newcastle…(Dublin?)…Blenheim Palace….Edinburgh.
Paris will be the first Simple Minds gig, almost two years to the day since I saw them in Copenhagen. I am lamenting there is now only one day between Paris and Bordeaux as it now means Bordeaux cannot happen for us. With it being during the week and only a day in between it just isn’t working out now. Bordeaux was a pricey mistake anyway, goddamnit!
In the meantime….check out the Paris venue! La Seine Musicale…beautiful!
Last night’s gig for me was as highly anticipated as the Scritti Politti gig was just a couple of weeks back. It has been somewhat of a slow burn in relative terms, my love for Field Music. Meandering through other channels. Initially coming via getting into Warm Digits – whom I first got to be aware of by listening to Paul Smith from Maximo Park presenting a show on BBC 6 Music about bands and music from the North East of England (Newcastle, Sunderland, and the general vicinity). He played a track from Warm Digits on the show and I immediately sought them out and have been a solid fan ever since. I don’t remember him playing any Field Music on that same show, but I’m sure he must have done. Anyway, as a consequence of my love for Warm Digits, my love has also grown for Field Music, solidified further by seeing them perform the whole of the Making A New World album at Kelvingrove Art Gallery and Museum in January 2020. (Ah, pre-Covid days! Remember those?)
I have been suffering from a gammy knee for about the past week or so. I honestly don’t know what’s brought it on but my right knee feels in a constant state of dislocation. Like it just wants to crack back into place all the time. And if I try and walk at any kind of pace when it feels like this, my leg feels like it is going to buckle from under me from the knee down. It righted itself a couple of days ago, only for me to stretch my leg out in bed on Wednesday night for it to go out of alignment again. Friday’s forecast had been looking iffy for most of the week, but by midday yesterday it seemed as though from around 5pm onwards the skies would be relatively clear and dry so I decided to get the train in and walk to St Luke’s from Queen Street. BAD IDEA! Just as we (the OH accompanied me into the city) got into Gallowgate, my knee gave an almighty crack and went from under me. Determined not to miss the gig, I hobbled past the Morrisons, precariously crossed the road and made it around the corner to Bain Street where I sat my butt down on one of the stone blocks outside St Luke’s.
Despite my pain and worry that I’d round the corner and already see a queue as long as your arm outside, I was about the first person to be queuing up. Only one other couple were outside, seated on one of the other stone blocks. Doors were opening at 7pm and it was already 6.35pm. Something made me double check with one of the security personnel at the door what the time the gig was due to finish. I took just a cursory glance at the relevant info for the gig posted by the promoters earlier in the afternoon and something had me recalling that it said “Finish: 10pm” – I had booked a cab to collect me at 11pm – thinking the gig would end between 10.30-10.45 as most gigs do. The security guy confirmed that the gig was ending at 10pm so I called the cab firm and altered my collection time to 10.15.
I got myself positioned front and centre once the doors were open, thankful to be at the barrier so I could at least stand on my dodgy leg without too much discomfort. Sadly the support act had to pull out of the gig earlier in the day. I was really looking forward to seeing Galaxians who I have also had exposure to from them being label mates of both Warm Digits and Field Music. I recommend you check out the talent Memphis Industries have on their excellent label. Galaxians had suffered a broken down van the night before in Aberdeen and then yesterday their drummer was experiencing Covid symptoms so they had to pull out of the Glasgow gig.
UPDATE: Drummer Matt has tested positive for Covid, so the rest of their tour is postponed. Sad news. I hope Matt has only a mild case and will be fully recovered soon.
At short notice local act, Raveloe, stepped in. Kim Grant played a solo set last night. Usually accompanied by a drummer and bassist, I’m guessing that at such short notice she had to play solo. I enjoyed her set. She has a lovely voice. She finished the set with the band’s latest single New House.
Some dismantling and resetting of mics, some tuning of guitars, etc and it was all set for Field Music by 8.30pm. Then it was 8.35. Then 8.40 and I am starting to think “Should I have altered my taxi pick up to 10.30?”, but just before 8.45pm the band arrived on stage. The Glasgow crowd at St Luke’s always incredibly welcoming.
The set started with a track from their latest album Flat White Moon called Do Me A Favour. Next up was Disappointed, which I just love the ending of.
At this point in proceedings, I am starting to feel rather fraudulent and a horrible “fair weather” fan for although I could make out some of the tracks from Flat White Moon and I recognised Disappointed and knew Money Is A Memory from Making A New World, other tracks performed were fairly alien to me. I wasn’t alone – and Peter Brewis could feel it from the crowd too. That the crowd were largely unfamiliar with most of the material on offer. It has given me the extra impetus to continue to listen to them regularly and stop being so fair weathered!
Continuing on with the bad fan fair weathered nature, I recorded a song to share for my review and had to search through tracks to get the name of it. The song is called I’m Glad and is from their 2016 album, Commontime, the same album Disappointed appears on.
David and Peter Brewis take turns in the drum and guitar parts, alternating in lead vocal parts also as a result. They had foam muffs on their mics as a way of adding a layer of protection for when they were swapping around. David’s muff was red, Peter’s was blue. Every time they swapped over, they had to make sure they took their muffs with them.
All the swapping and retuning instruments meant that banter ensued – especially between the brothers. David initially goading Peter, having snide little digs at him, but Peter gave back as good as he got. Brotherly love, eh? I hope it was all tongue-in-cheek banter and things are all fine between the Brewis brothers. They are both such lovely guys, with a fantastic sense of humour and always wonderfully engaging with the crowd.
I have to give a special mention to Liz Corney who is absolutely fantastic with them. A great keyboardist and always so happy and in her element on the stage. She’s absolutely fab. She was like sunshine last night.
The drumming – I honestly don’t know who I love more with the drumming parts – David or Peter. David whacks the shit out of the drums, but Peter has a bit more finesse. I honestly can’t decide. They’re both so good! From what I remember of talking to them both after the Kelvingrove gig, I’m sure David told me that Peter taught him the drums. So I guess on that basis, Peter should win the battle of Brewis brothers drummers.
As much as I was saying before that I am unfamiliar with a lot of Field Music’s…music, I could tell that they performed several other tracks from Flat White Moon, including No Pressure, Meant To Be and Not When You’re In Love.
I found myself keeping an eye on the time, worried that I had booked my cab home too early. But as we got to around 9.45, Peter declares that they have just two songs in the set to go. Lots of sighs from the crowd who have been loving every tune. And rightly so! Just because the majority of us weren’t overly familiar with the material, it didn’t mean we were any less appreciative of it.
The set ended with the lead single of the Flat White Moon album – Orion From The Street, reproduced perfectly live, and where Liz truly came out to shine. Beautiful!
All the music was top class and this band is stellar live. The reason I kept on clock watching was because I didn’t want the gig to end at 10pm! I really didn’t! I’d have happily stayed on until 11pm to watch them.
But after a single song encore, the gig was over at 10pm sharp! A few minutes to try and get my now totally screwed legs working, put my mask back on and slowly shuffle on out the front doors. A short wait for 10.15pm to tick over and right on cue my taxi arrived and I was home at 10.30pm – which just blows my mind! I had only ever experienced that joy just the once in Luton when Ruts DC came to play the Hat Factory in March, 2018. It was bliss! Usually great gigs by big names meant trips to Cambridge, or London, or perhaps if you were lucky, Milton Keynes or Bedford, or St Albans, Watford or Hemel Hempstead.
Glasgow is just…such a gem! It really is. And what gigs this city gets! I love it! The only thing that would have made this night better was that there had been nothing wrong with my leg. Other than that, it was a perfect evening. I thoroughly enjoyed every single moment of it. Field Music are top notch!
My birthday month started yesterday. And yes, I DO consider the whole of October my “birthday month”. Lol. Not that I actually go celebrating my birthday EVERY day in October. It’s just that once October begins I am then allowed to declare to anyone who cares that “it’s my birthday this month/at the end of the month”.
Well…by coincidence of the date, the birthday month started with a nice celebration! And the joy of seeing Craig Hill for the first time in….I honestly don’t know when. “Hunners” of years. Lol. He rarely would come down to England to do gigs, but when he would do, I’d make a point to go and see him.
It should have been happening last March at Oran Mor but then Covid had other ideas! But at last, last night I was quite literally “Pumped” to be seeing Craig again.
And he didnae disappoint. From the moment he hit that stage. Arriving in a style you’d thoroughly expect him to. Dancing about, twirling round in his colour coordinated kilt.
Audience participation is high at a Craig Hill gig, so be prepared! And nowhere is really safe. But if you’re up for the banter, you’ll get it at a Craig Hill gig – and some banter! Boom boom! His style of comedy is sssoooo up my street! Lol
Comedy gig faux pas NUMBER ONE happened right on cue last night with poor Chris (we didn’t learn his name until much later on) – arriving to the FRONT ROW right as Craig is still doing his opening sing-song intro. I clocked him walking down the CENTRE AISLE, just as Craig clocked him – his eyes lit up like Chris arrived from the lap of the gods. All the gay pick-up innuendo lines in the song just kept coming from there…aimed squarely at Chris, filled with winks and lip licks and kisses blown and kilt thrusts and all sorts.
“Are you a gay man?” asks Craig. “Naw”, says Chris. “You will be the night!”, retorts Craig – with a wink and a lick of the lips. “I could hear his sphincter tightening then.” Lol
He makes a note of the ladies in the front row who have all settled nicely but are all sitting there with their jaikets still oan. One of them was laughing particularly enthusiastically. “I see why yer havenae taken yer jaiket aff noo. It’s ta moap up the pish.”
He asked one of the jaiketed ladies their name and she said “Margaret”. “Ah knew you’d have a name like that! Where ya fae, Margaret?” “Cambuslang”, she says. And he’s off with the innuendo again, referring to it as “camp-u-slang”. Margaret calls out “Cam Bus Lang!” And then he’s like “Aye! Listen to the attitude on her. IT’S A JOKE, MARGARET!” Which for the rest of the night meant he kept referring to Cambuslang as “CAM BUS LANG!” and saying it really emphatically.
He sniffed out a gay…actually there was a couple there (a gay couple, I mean…not a couple of gays. Though there was that too….). James, the barber from East Kilbride, and his partner Jimmy (just in case you had any illusion to the name James and variations there of NOT being possibly the most popular male name in all of Scotland…living proof last night!) – who was the social pariah of the room for daring to admit he came fae England! But…Durham, so far enough north to be somewhat let off the hook for DARING to cross Hadrian’s Wall. Lol
He noticed some people up in the dress circle. A couple of people sitting over to the side as if they were in a royal box. He asked the lady of the pair her name – Norma, it was. He had a field day with that. Then says “Where ya fae, Norma?” “Stornaway”, she says. “Whaaaa? Did you travel doon the day?” “Yes”, she says. “Did you travel all the way fae Stornaway to see me?” “Aye.” “Stalker!” “Did you come with someone?” “Aye. My son.” So then he gets his sights set on the son, whose name is Gary. Turns out Gary is quite shy and isnae good wit the banter but of course Craig was loving that. Comedy gold!
There was an interval for 15 minutes and in the second half Craig did a more broader sweep of the crowd, wanting to know where people travelled from. He mentioned Milngavie at one point and then asked if anyone was in fae Milngavie. One person braved a response. “What’s your name? And depending on your reply we’ll know if yer really fae Milngavie.” “Lyn” “Aye, you WORK in Milngavie, you don’t LIVE in Milngavie.” Lol
Then he spies a young kid over our side of the audience, a few rows ahead of us. “How old are you?” “Sixteen”. “Well, yer getting an education the night! Is that yer maw and da wit ya?” “Aye”, says Da. “Where ya fae?” Da answers “Possil.” Kid chimes in “Just him. Am no fae there.” Craig is like “Ooh, family break up. This’ll be interesting.” “So, Da fae Possil, what’s yer name?” “Davey”. “And what ya do, Davey?” “Sell drugs.” I’m reckoning from living doon the road fae Possil, Davey was just being full-on honest. Lol.
He keeps asking if there are other gays in or if there are any lesbians. There was Angela the dinner lady fae Castlemilk in. “Well, naw spotted dick for you, Angela.” “Are ya here wit anyone, Angela?” “A friend.” “Ooh, you could hear the quotation marks around that. ‘A friend’. She’s got the toys.” Lol
Asking if anyone else came further afield than England, a male voice calls out “She’s fae Poland!” A lady a couple of rows in front of us had been pointed out by her bloke (I’m guessing). “Poland. Wow. What’s yer name, lovey? Yer gonna have one of them names, aren’t ya? Come on, tell us yer name.” “Zuza.” “Whaaa? Say again?” She repeats it. “Naw. It just sounds like ‘Susan’ to me. Whaaa?” She repeats and spells it. “Aye. okay. So, Zzzzuza, where ya fae noo?” “Prestwick.” “Are you just moving ta places round the world starting wit ‘P’?” Lol
The final bit of banter of the night and he returns to Chris. Talking about how the song “Yes Sir, I Can Boogie” has been hijacked by the fitba fans when it was owned by the gays. So he challenged Chris to a dance-off. They’d dance to the song and if Chris’s moves were good enough, then the fitba fans were allowed to continue to use the song.
Chris had the moves, I gotta say. He gave as good as he got anyway and was mighty brave to get up there and dance in front of hunners of folk.
Such a fab, fab night. I bloody love Craig. I really do. I was so glad it was the first comedy gig back. To be back out there enjoying stuff like this, and I really couldn’t have asked for better starts to the return of these kind of things. A fabulous music gig and a fantastic comedy gig in the space of one week! Just like old times. Long may it continue – safely and wonderfully!
No footage from last night, but here is a video from years back just to show the calibre of last night’s show.
The last gig I went to prior to this was March 10th, 2020. The “two gigs in one night” show of Simple Minds at Store Vega in Copenhagen. My last gig SHOULD have been two days later seeing King Creosote at the Royal Concert Hall in Glasgow on March 12th but the return flight home from Copenhagen ended up so delayed I missed the gig. And my first gig back SHOULD have been John Grant on September 9th at Barrowland Ballroom, but I was attending the gig alone and was too anxious about it to attend.
So…it has been a long time between gigs! Esp. for me as I am these days as I now attend gigs on a fairly regular basis.
I was still very anxious about last night. All through the day I was wondering if I should be going and questioning whether I even WANTED to go! Speaking of weather – I love Glasgow but fuck me! The weather is ssoooo unpredictable here! I was worried that we’d get pissed upon getting there, so we booked a cab mid afternoon, only for it to be basking in sunshine when the driver collected us at around 5.40pm. We were at St Luke’s 10 minutes later.
There was going to be a bit of a wait. The doors weren’t opening until 7pm. Thankfully the weather stayed dry for the queue outside. But dry also tends to mean flipping cold at this time of year. I wanted to travel as light as possible, so I had no big coat with me to keep me warm. I was freezing!
Once the doors opened, we got in fairly quickly. It was a bit of clamour to get in. A loose queue had formed outside and we were fourth (and fifth) in the queue, but were third (and fourth) to be let in as the guy ahead of us was refused entry for not having a mask. He had his vaccine passport with him – but “no mask, no entry” was also the policy. So he had to go off and buy one to be allowed entry later on.
It was a bit of a wait before support act Alexis Taylor started his set. I wasn’t sure of set timings and I don’t think Alexis started his set until 8.15pm, allowing enough time for the checks at the door to be done and for the punters to gain entry. He played the set either completely solo or with fellow Hot Chip (and Scritti Politti) band member Robert Smoughton (aka Grovesnor). It was a short set but very good. Taylor has a great voice and a really nice style of guitar playing. A nice mix of synths and Mellotron played through the tracks as well. He complimented what was to come with the SP set very well.
A short reset of the stage setup and then the main affair were on shortly after 9pm.
The crowd were very receptive as Green and Co hit the stage. This gig had been hotly anticipated by all who came to see it.
We started things off with a little rusty but by no means unenjoyable rendition of The Sweetest Girl. Several other hits and SP faves were performed in the lead up to the main event – the playing of the whole of Cupid And Psyche 85. A fabulous rendition of “Oh Patti (Don’t Feel Sorry For Loverboy)”, also great versions of Day Late And A Dollar Short and Skank Bloc Bologna as well as my favourites from the pre-Cupid And Psyche set – The Boom Boom Bap and Trentavious White.
Then with a call of “Are we ready? Right, let’s go” from Green…in comes The Word Girl. At the end of the song…well, the place was in raptures. Before that, even. The Glasgow crowd don’t disappoint in terms of getting behind people they love. And Green was certainly feeling the love last night. I think he was quite overwhelmed by the reception he was getting.
You can always feel how much of a very scary thing it is for him to be up there on that stage still. But he’s so deflective and self-effacing with it. He is such a sweet man and such an incredible performer, you cannae help but be swept by the emotion of it. But all in a very positive way. The music is so funky and uplifting and joyous and there was just such a buzz in the crowd and so much positivity around.
And on and on we went through the rest of the album. Fabulous versions of Absolute (see snippet above) and Perfect Way. The cheers and gratitude displayed by the crowd just built and built after each song.
Then comes Wood Beez (Pray Like Aretha Franklin) and you can’t help but be gobsmacked by how incredibly like the album version they get it. Green’s voice is … magic. There’s no other superlative for it! The man is 66 years old! For one, he doesn’t LOOK 66 – he’s aged incredibly well – but also vocally, to have that voice. To be able to replicate your voice on record from nearly 40 years ago is nothing short of astounding!
The crowd were singing along to Wood Beez – I’ll give it to the Glaswegians, they can hold a tune when it comes to crowd singing. It was quite beautiful really. That same crowd went MENTAL at the end of Wood Beez. They…WE…(I was in the crowd too, duh!) were sssooo appreciative of hearing it and the way it was performed.
Final track of the night was Hypnotize and Green was sounding like he could sing all night.
The crowd gave a final incredible round of applause and appreciation to Green Gartside, Rhodri Marsden, Dicky Moore and Robert Smoughton for a great performance.
Just a few minutes of waiting. A begging crowd asking for more received a single song encore. Alexis Taylor joined the band on stage. I had my suspicions and hopes for what was about to happen – and I wasn’t disappointed. As soon as Green started his intro of it with “The song we’re going to do was originally recorded by Chic”, I knew what was coming and grabbed my phone out from its holder. I had rued not recording this when seeing Green Gartside and Alexis Taylor at Bedford Esquires back in 2017, so I was NOT going to miss it this time. It was beautiful the last time and it was just as beautiful this time. At Last I Am Free – true to Robert Wyatt’s rendition of it. Stunning!
Any negatives to report from the night? Only slight niggles. A bit of reverb that could have been sorted better. The guitars were maybe a little too low in the mix. Green’s vocal also a little too lost in the mix sometimes. Some stupid c***s deciding to have a natter midway through Alexis Taylor’s set. Grrr! And another short chat during the main Scritti Politti set – which is just fucking outrageous! But honestly…minor bugbears – nothing to take away the overall enjoyment of the gig.
For all the anxiety I was feeling prior to the gig, I am so thankful I pushed myself to go and get out there and enjoy it, because it was wonderful. I could not have wished for a better gig to return to.
*Crappy sound quality of clips is down to my crappy phone. Records great video but shit sound with it unfortunately.
Dream Giver Redux (aka simpleminds.org) has had some updates – including some photos sent in from a lady in Brisbane. There was talk of SM performing in Brisbane for the first time in 1981 – I don’t doubt that. There was space in the calendar in 1981 for them to have played Brissie between their Gold Coast gig on Charlie’s birthday and their next penciled in gig on Dec 1st in Newcastle.
But the photos she sent in? They definitely come from 1982 by my reckoning. The way Jim and Charlie are dressed and look. It’s signature 1982 – Jim’s haircut and his clothes are definitely then.
My pedantry aside, the photos are great. I love these kind of photos! Ones taken crudely from people sneaking in cameras. Those were the days, eh? Don’t get me wrong – I love the pro photos! God knows I love the pro photos! But these amateur photos make the things feel more real.
Geez I wish I’d had been born in 1960 instead of 1970!
Update page with the photos on it can be viewed HERE
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.
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.
The song was written at the beginning of 1981 in Edinburgh after a conversation between Jim and John Leckie in which Leckie thought Jim should try his hand at writing a more “traditional” love song. Kerr’s is anything but traditional. In fact, I am firmly of the belief that it is anything BUT a love song. More on that to come.
It started life out as a rough demo. In fact it started life not destined to be a Simple Minds song at all. For Jim was going to gift the song to Jaine Henderson to record. Jaine’s brother, David, former sound engineer of the band (and behind-the-scenes extra member) was running the Hellfire Club, a social rehearsal space and recording studio, located down a small lane just off Derby Street right by where the old CaVa Studio was (with access also via Bentick Street).
Jim and Charlie arrived at the Hellfire Club one night in the winter of 1981. Charlie recorded the basic musical parts, using a drum machine, bass and guitar and Jim recorded a guide vocal for Jaine to record along to. EDIT: For clarity – the original recording that Jaine was involved in took place at the original Hellfire Club location on Carnarvon St. They relocated to the Derby Street site some months later.
With some reluctance, and nervous to try a recording of the vocal in front of Kerr and Burchill, they left the club, leaving Jaine to record her vocal with David at the mixing desk. Not convinced by the outcome (though sounding musically very good – sparse and electronic), and with no ambition to be a singer, for Jaine the idea fell flat. Jim then asked Jaine if Simple Minds could go ahead and record the song themselves. Of course! Jaine had no qualms with that at all.
When discussing it with Jaine back in 2019 when I interviewed her, she said the version she was working on was quite minimalist and stripped back, compared to how it ended up sounding on the single and album. The idea was for it to have a Grace Jones vibe to the sound and vocal. Now THAT is something I’d love to hear! Grace Jones doing a Simple Minds song! Imagine that?! That would be amazing!
There is a demo tape listed on record on the Dream Giver site (see image above). Five songs were recorded at CaVa in February – Valentine’s Day, in fact! The American, Life In Oils, “Twenty One” (working title for Sweat In Bullet), “Checkout” (working title for Careful In Career), and Love Song. These demos eventually get released officially on the Virgin Records produced Silver Box in 2004. CLICK TO HEAR ‘LOVE SONG’ DEMO
Just two weeks later, Love Song is performed for the first time at their gig at Tiffany’s in Glasgow, on March 1st, 1981. CLICK TO LISTEN
And so, more than anything, Love Song is a song about ambition, and a desire for “greatness” – as Jim puts it. Very much not a traditional love song in the “boy meets girl, boy gets girl” sense of it – or even of the unrequited sort “boy meets girl, but boy will never get girl”. It’s neither of those. It’s Jim’s love of success and winners – and of that desire for greatness. The love of ambition. “Ambition in motion!”
Some of the music journalists at the time couldn’t seem to help but give rather disparaging or back-handed praise to SAF/SFC – accusing the promotions department at Virgin Records of “over-hyping” the marketing of Simple Minds. Ouch! (See excerpt of article from The Face further below)
And this idea that the clubs played them to death but they got the cold shoulder from radio – well, perhaps commercial radio and “prime time” radio snubbed them for a time, but the right radio DJs gave them exposure. The likes of John Peel and David Jensen really championed them here in the UK. And I am sure other radio stations around the world would have been playing them! Certainly stations in Canada and Australia did. The right DJ’s who realised there is much depth to “rhythm” as there is to “melody”. One should not be exclusive to or cancel out the other. Why can’t rhythm BE melodic? And vice versa? Is it me that still has no grasp on what exactly melody is? Do I grapple with the basic concept of it?
Speaking of the record company and their hand in things…can we discuss the video made for Love Song?
It is ssooo deliciously bad – it’s good. It’s great! And it has such a hedonistic air to it. The Minds boys act like a right bunch of neds (Scottish term – look it up!) in the video. Well, perhaps Jim is the only one that actually “behaves” himself in the video, though he’s a bit of a shit to the woman in the lift, like “Here, WENCH! Take ma claes and look after ‘em. I’ll be back for ‘em later.” Lol
Let’s pretend we’re storyboarding it here:
You guys rock up to the nightclub (not before you arrive later by yourself, Jim. Always running late, Kerr, fuck sake!)
Jim, you get on the decks and do some DJing.
Kenny, you hit the dancefloor with a couple of dolls
Charlie, you try muscling in on a game of backgammon(!) and get into a punch-up
Derek, you try and chat up some guy’s burd
Mick, you sit at this businessman’s table and as his dinner is served, slap him across the face with his fish supper
Now, Jim, you come and take a seat (on your haunches!) and sing the song to camera for a bit
Mick – punch the businessman’s lights out
Derek, spike the guy’s drink and get into a punch-up with his friend – another bloke piles in and, Kenny, you come help out Derek
You guys have been acting like right jerks so now people are wanting to leave the nightclub to get away from you – but…hello!
What’s going on at the entrance to the nightclub? Is there some kind of forcefield in place at the door?
Derek, Kenny – have a sit down, guys. Just wait for Jim to finish singing
Mick, “Aye, ‘mon Jim, we want outta here”
Where the fuck has Charlie gone?!
Nightclub patrons “Aw, man! We’re gonna be trapped here forever! Who are these dudes? What have they done to us?!”
Jim – “Time to go, boys! Follow me. Play it COOL AS FUCK! Straight through, lads. Straight through. Watch the burds!”
The two burds at the back “Aye, those guys were well fit. Why didnae not take us wit ‘em? We want ‘em.”
Me too, ladies. Me too. Well…the guy at the front, anyway. As far as I am concerned he’s the coolest of the cool. But…I get why you dolls were dancing with Kenny. I’d have probably not said no myself! Good old “Consolation Kenny” – sorry, Mr Hyslop. You get bonus points for being a drummer.
Sometimes I think it was lucky I was only 11 years old at the time! And living on the other side of the world! Or perhaps it was THEY who were lucky? Lol
It’s a preposterous concept for a video and yet, it is probably my favourite of all the Simple Minds videos due to its absurdity.
As discussed in a previous post – the video was recorded in a nightclub that was located at the Kensington Roof Garden that was then being leased by Virgin Records.
The talk of the musical approach to Love Song being a subtler one – opposed to how the sound is with I Travel and Empires And Dance is a curious one. I honestly don’t hear any kind of “softening” myself – not with the direct comparison to Love Song To I Travel. And yes, there are softer, calmer pieces like This Earth That You Walk Upon and Seeing Out The Angel – but then there is the ball-breaker that is Boys From Brazil – and how is that “subtler” to anything that is on Empires And Dance?
Listen to that jarring synth coda at the beginning of the song. It almost sits outside of the rest of the song’s structure and plays off kilter to the rest of the song’s rhythm. But there is so much more propulsion to it and funk to it compared to how it sounded as a demo. And Jim has refined and played around with the lyrics a bit. The whole thing became much more streamline. And its placement on the album’s tracklisting is perfect. I am referring to the UK release when I say this, as it is the track that opens Side Two, or the B-Side to the album. Curiously, the albums’ tracklistings are completely reset for the Canadian releases of the albums and Love Song is the opening track for Sons And Fascination’s Canadian print.
As much as it was making a buzz, especially in the nightclubs of the UK and Europe, its sales were (of the time)… mediocre at best in most places around the world. Just sitting outside the UK Top 40 at number 47 – it was, however, their best chart placing of all their singles so far. In Sweden, it broke into the Top 20, reaching number 16. But the best result came from some 12,000 miles away in Australia in which the single broke into the ARIA chart at an impressive number 9 – giving them their first gold record and Top 10 hit! THANK YOU, COUNTRY OF MY BIRTH for having exquisite taste!
Below is a review of Love Song from November, 1981, printed in Australian music magazine Roadrunner – published by an expat Scot, Donald Robertson. It may even be Donald himself that gave the review. No one is credited as giving the review, though when it comes to the album reviews written in the magazine a couple of pages later, credits to the reviewers are given. It may just be the interviewer of the corresponding piece that appeared with Jim – Ruthvven Martinus – as he is the reviewer of the album that appears in those couple of pages behind the Love Song review.
The boys certainly did promote the single quite heavily. Really gave it a push, appearing on music programs over Europe to “perform” the song (quotation marks as sadly most television appearances would be a lip-synching mime to the single or album track. Nothing I’m sure that ever sat well with the band. They would have always wanted to perform it live, I am sure).
There are three different appearances you can watch on YouTube – one is of them on German music program Szene. They are on such a tiny platform. All crammed on it, jostling for some space. Jim plays it wonderfully nonchalant as the album version gets the full musical intro treatment. But once the song gets going, there’s little room for him to perform his wonderful “prowling panther” style lunging moves – and he and Derek almost bump into each other at one point, which results in a bit of a sideways glance and a bit of chuckle between them. VIEW THE VIDEO HERE
The second clip I love to watch is still from a mystery source. No one can really agree where this clip comes from. What TV program aired it. Or even perhaps if the band recorded it in a nightclub somewhere. It’s certainly from 1981 – the clothes and the style of the band sit right within that look – and the fact that Kenny Hyslop is with them on drum duties (they he was still with them early in 1982) would very much keep inline with being 1981. They look as though they’ve had a rough few days. Jim looks the worst for wear – but still by far the hottest and sexist guy around right at that point. Just look at him! The clothes, the moves…he’s just the whole goddamn package right there! And well, the rest of the guys are doing their best to look pretty cool beside him. VIEW MYSTERY NO.2 CLIP HERE
Finally … we return to Oz and to Countdown. Countdown is, of course, Australia’s answer to Top Of The Pops. Anyone who was anyone, even Oz and Kiwi bands – or the international groups and artists that actually decided to tough out the grueling travel times to get half-way around the world, appeared on Countdown. And so with a band like Simple Minds in the country, and Love Song already making such a buzz and sailing up the charts, they HAD to appear! Look at them all! Charlie’s fucking WRECKED! Kenny’s got a tan that any modern day West End Glasgow hipster would be proud of! Derek’s almost in salute to Sir Les Paterson with what looks like a bloody STRING VEST on. Mick also seems to have a bit of a tan – but is his usual understated self. AND THEN THERE IS JIM FUCKING KERR! Head to toe in black (before Charlie took over with that look and made it “standard issue” Burchill) – complete with sunglasses – indoors (I’m sure in an exercise to conceal just how fucking shattered and/or off his tits he is), with this bloody bright, yellow satchell bag that I read on this lady’s blog from loooong ago, that he picked up in a shop in Sydney for the princely sum of $A8.00. I’m not sure what that would equate to in today’s money, or what it equated to him splashing out on it in pounds (given what I imagine the rate of exchange was then – perhaps about £3.00-4.00) but I’m assuming it would be about £20 today. Who knows what delights were in this bag? He told me “sherbet straws” once. I always took it to be code – hence the glasses, eh, Jim?
The most recent uploading of the video to YT sees Greedy Smith of Mental As Anything introducing Simple Minds. Greedy sounds well into them, giving them due praise for being a fantastic live band.
And here we are some 40 years later with the reputation of theirs of being a stellar live band firmly in tact. My tally of seeing them 23 times, to date, in my seven years of Simple Minds fandom (with many more booked to come!) I hope pays some testament to the calibre of performance they achieve to this day.
The song has been a fairly constant site on the setlist over the years. With only the short lull of it not appearing on the setlist during the Street Fighting Years tour of 1989/1990. So, there are many, many live versions that are available to hear. But for finality, it seems apt to share the final time (to date) that it performed live by the band. My recording of them performing in Copenhagen at the Store Vega in March 10th, 2020.
There have also been several remixes made over the years. Beginning with an extended 12” version that was released simultaneously with the release of the 7” version in 1981. There was a remix that was produced in 1992 to appear on the Glittering Prize ‘81/‘92 best of compilation as well as the Themes Volume 5 release. This version was mixed by Charlie and Gregg Jackman. It doesn’t bear too marked a difference from the original album version but I love the subtle remix treatment it has been given. I play this version often.
I shall leave the final words to Jim – featured below. They were written out by Paul Morley and appeared as part of an article that was in the New Musical Express on October 3rd, 1981. Morley wrote the piece out as through a “stream of consciousness” internal dialogue from Jim’s mind. You can read the full article HERE
The amazing and brilliant Dream Giver Redux – it really is the Simple Minds bible and an endless source of information.
Wikipedia – for certain other information on tracklistings and release dates as well as chart positioning information.
Lost Glasgow – more detailed information on the exact location of the Hellfire Club.
Lol-Z on YouTube – for the clip of David Henderson and Jacquie Bradley (and the other ladies from Sophisticated Boom Boom, as well as Clare Grogan) at the Hellfire Club.
Lastly but most importantly – big thanks to Jaine and David Henderson – you can find out more information on the Hellfire Club by visiting the dedicated Facebook page – HERE
One final little extra note is about the image just above. It’s to do with a post that Jim posted on the triggers he uses to remind him of where in the setlist he is during a show. A “visualisation” technique – something he talked about again only recently when posted about watching the drama series Queen’s Gambit. Anyhow – these short bits of notation will spark visual indicators – and you can see the one in the list for Love Song is – the Hellfire Club. All these years down the line and it still sparks the memory.
Thank you for reading this mammoth labour of love.