Little drummer girl…before you embarrass yourself further!
I’ve posted this on SMO…but in case he misses it (as if he’s going to see it here! Pffft!)
***I’m currently playing catch up listening to last night’s Billy Sloan Show on BBC Radio Scotland and he just played 70 Cities As Love Brings The Fall.
And, seeing as I am meeting tight lips and closed (Simple) minds about Sons And Fascination and Semi-Monde, I might as well go out on a limb and see how far I get asking you about my other quizzical line that I just love hearing every time it plays.
“When the other side of midnight calls / remind me I’m glad to be here”. I always find that curiously downbeat for you, Jim. Because it’s not saying “I’m glad to be here” but “REMIND ME I’m glad to be here”. That’s a very different connotation. That portrays…I dunno…heaven forbid should I say it? … Cynicism!?
It always conjures up a post-gig scene for me. A quiet after show soiree and you not being particularly interested in being there.
I mean…most of the lyrics in the song are pretty left field anyway (I mean…who cries from the right eye first?…I’m not taking a shot, I adore your lyrics. I think you know that by now…if you don’t then…well…erm…🥴🥴🥴) but that line has always stuck out in particular for some reason for me.
Anyway…just thinking out loud. As you were, Mr Kerr.***
(It’s a REALLY old one, that lyric piece. Made at mum’s. That’s her clock.)
- Cherisse in rehearsals for Kelly Jones tour
- Sir talks writing songs and Govanhill library
“No news is good news” the old saying goes. In that case, Simple Minds HQ is positively drowning in good news! Lol
Just the one post this week from The Mister after last Sunday’s “I’ve woken up thinking about gigging” exciting little fluttering bit of info.
This week’s post had him talking about golden tickets and how luck sometimes falls your way. And how a knew piece of potential SM magic found its way to being formed.
Jim Kerr – do you EVER have a “bad day”? One where you’ve just…had enough? You feel a bit sorry for yourself? Stay in bed under the covers? No…of course you don’t.
Cherisse is currently in rehearsals with Kelly Jones. Oh, I could do with a lesson from her right about now! I am losing what little semblance of faith I had in myself.
Won’t bore you with the details…but let’s just say I am feeling disillusioned again and Aunt Fanny is shouting louder than ever. She’s a f***ing bitch, but I can’t help feeling she has a point!
I KNOW IT WILL TAKE TIME! I just wish I could have some faith in my ability to actually get somewhere with it. I want to believe that in two years time I’ll be drumming with some kind of competency. But…no. I’m not sure I believe it.
Anyway…I’ve ended up making this about me.
No news is good news! Convince me…
P.S. Book cover shared is the one he shared from my having asked him what the first book he borrowed from the library was. Was he taking liberties? I am never sure when it comes to Mr Kerr. He’s a cagey (and snarky!) bugger.
Just for the hell of it, I decided on a revamped Sweat In Bullet. Though, to be honest, the original is still one of the best ones I made…
It’s quite manic the way it starts then sounds traditional rock. Almost pub rock. Post punk. But “poppy”. I love that little “doo wop” bit too. The magic of a song that sounds catchy and upbeat, but if you take note of the lyrics…there’s a slightly different story going on. But we’re looking for life beyond those potentially boring “teen angst” years. Adulthood has dawned. “You’re running home before the morning light. There is a new age that has just begun.” Leave the angst behind, Ruby.
Life In A Day:
Synth washed opening but still steeped in post punk. It does wear its influences boldly this song. Already those more industrial sounds are there. It’s in the atmosphere conjured up by Jim’s lyrics. I always say that Factory is like a lyrical LS Lowry painting – Life In A Day is its predecessor. Some days I really enjoy listening to Life In A Day…other times it leaves me feeling a little despondent, and I am unsure as to why that is.
This has always been the weakest track on the album, for me. I’ve never really taken to it. This to me is the track that sounds most “Boomtown Rats”. The one I think of first when I am reminded of Jim’s feelings when he first heard the album being played back once they got their hands on the final cut. That feeling of “Oh, we’ve fucked up with this. This isn’t us! This is the Boomtown Rats!”
All For You:
In 2014, when I started my exploration of the Simple Minds back catalogue, this song really made me sit up and take notice. The first one on the album that I truly went “ooh, now…THIS is interesting!” over. I know Jim has a soft spot for Someone, but I do for All For You. Had this track not piqued my interest when exploring the SM back catalogue a second time over, then…well, I would probably NOT be doing this post, or even running this blog!
The title could not be more aptly applied to a song. I mean, that title sells it perfectly. Starting with a quiet yet low rumbling slow drum beat and cracked jagged guitar riff…it’s wonderfully atmospheric and moody. It conjures up a similar feeling in mood to one gets from Riders On The Storm. A dark, oppressive and gloomy rain-washed street. The genius of adding violin to it…I mean, who came up with that? Charlie? Well, if he did, he cursed it subsequently through the years from having to continue to play it when performing the song, while never feeling he had the true virtuosity for it. From the moment it starts, it just feels on a different level to any of the other songs on the album. And unlike most other tracks on the album in which they didn’t quite capture their live sound right, or John Leckie didn’t quite capture their essence – it worked for Pleasantly Disturbed. If anyone you meet ever dismisses early Simple Minds as a serious musical force of nature, play them Pleasantly Disturbed. And if they’re still not convinced, then they are beyond salvation. Pity them.
I suffered such a love/hate thing with this song. I used to abhor it! For a long time I would skip it entirely. Then when out in Oz and getting into the habit of listening to SM on shuffle mode each night, it played a few times and I was roused to semi-consciousness to listen to it. Too tired to grab the iPod and find the skip button, but awake enough for the song to filter through, a change of heart started to happen. Things actually ended up turning on its head and I went from utter intolerance of the track to absolutely falling head over heels for it! I couldn’t get enough of it! It became a constant earworm. It was stuck in my head for WEEKS. And I played it over and over! Lol. The title of it, once again, became so apt. Jim is a master at this stuff, he really is. For of course, the song had been previously known by the title Cocteau Twins, until Jim decided to tweak the lyrics and retitle it. Having read up about Cocteau Twins and its beginnings…Les Enfant Terribles… oh how it makes some weird sense of why I had this love/hate grapple. Knowing its history, I find the song strangely alluring and ever so sexy. It may have been “tidied up” but the words pertaining to “the game” are still there.
What a riff. So simple but so full of intent. Speaking of songs that are sexy. I do find this sexy too. Seriously, if I had been of their age, I’d have fancied Jim from day one. I’m still not quite sure exactly what I am meant to make of the “Chelsea Girl”. Is she a prick tease? Or a floozy? Answers on a postcard…
I find Wasteland a wonderfully obscure Kerr lyric. A song I am not really sure I know much of what it’s actually about. Looking at the lyrics I have no real clue. God I love you, Jim Kerr. You are a puzzle! The songs may feel like puzzles to solve to you…sometimes I think you pass them directly on to us! “Solve that one, peeps! Try and work out what I’m telling you here.”
Also a curious one. Seems as if it was a much meatier thing when it was called Sweet Things. I am going to assume by how the lyrics read, it is a look at the life one has laid out for them and a defiant rejection of it. “Can you hear me, can you see. I don’t want this destiny.”
After All For You and Pleasantly Disturbed, this is a song I really fell in love with quite quickly. I love the drama of it and despite the title and the tone of this song, there’s an element of fun to it. And I just love the way it ends. All the layers of Jim’s vocals clashing and sounding cacophonous and him singing alternates of “it wasn’t me/it was me”…then with that final trio of shouts of “IT WAS ME” and then it just comes to a halt.
A LITTLE NOD TO THE B SIDES
Over all as an album, it’s a good debut. It’s solid. And yes, I somewhat played Devil’s advocate asking Bruce Findlay if he felt that some songs were “too old”. It doesn’t quite hit the mark in some elements. And they probably weren’t captured quite at their full potential the first time round with John Leckie, but they and he quickly made up for it. And Real To Real Cacophony is by no means faultless either, but it improves upon a good stepping stone.
The album certainly has a maturity to it. I mean, heck, the average age of the band at this point is 20. TWENTY! They’re babies! Jim and Charlie are actually still only 19 upon its release. If I do that “compare them to U2” baloney and compare Life In A Day to Boy – the maturity of Jim’s songwriting over Bono’s is just chalk and cheese for me. While on Boy (even just the album titles reveal all you need to know!), Bono is writing about The Electric Co and Stories For Boys, Jim’s writing about the daily grind of city life, murder, drug use, mind games between young adults, conquests (or lack thereof). It’s young men, not boys.
Don’t get me wrong! I’m not dissing Boy. I love Boy. You can’t knock I Will Follow, and I love An Cat Dubh and Into The Heart, A Day Without Me and Shadows And Tall Trees contains my favourite line in the entire album “Mrs Brown’s washing is always the same”. Boy will always have a soft spot in my heart, because I grew up with it. My brother had a copy from 1980, so it has been with me since I was 10 years old.
Life In A Day never bowled me over completely, but there are gems contained within it. It probably didn’t feel that way at the time, and thank god Simple Minds came into being at a time that they did and with Bruce as their mentor and ultimately manager because he was never going to abandon them. They were given the time to evolve artistically and become truly great. They held such promise and it was there for all to see. Life In A Day, though not perfect, showcases, with a bit of “hit and miss” what Simple Minds were capable of. Their tender and tenuous beginnings. It’s an album strong enough to enjoy from start to finish. The only track I used to skip was No Cure, and I ended up falling in love with it.
Give it a listen today. Have a bit of a nostalgia trip and say “Happy Anniversary Life In A Day!”
About 8 hours of work, spread over the past two days. I’m sure it’s shit. I’ll probably end up hating it because I overcooked it. Anyways.
I love Murder Story. Stay tuned tomorrow for my silly little LIAD anniversary post. Wish I could tell you I’m posting an interview with Jim on here…but alas, no. Never gonna happen 😦