Minds Music Monday – Sons And Fascination (Song) – SAF/SFC 40th Anniversary Celebration

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”.

Pierce Brosnan on stage at The Citizens Theatre in Glasgow. Click the photo for more images of thespians treading the boards at the Citz.

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.

Gigs, Glam and Boy Bands

A couple of things to highlight from recent days. One is an interview (well, part one of an interview said Neil Saint in reply to a comment left on the FB post) with Kenny Hyslop about his days in Slik. You can listen to the interview by clicking HERE

UPDATE: There is a part two of Kenny’s interview with Neil Saint in which he talks about his time with SM. You can listen to that HERE

Kenny with Jim – the grapple is real, my friends! Oooh la la!

I’m still yet to listen to it myself, but will do imminently. And I will link to part two when it airs.

The other is this (linked below)! A rare 1979 bootleg of the Minds playing a gig at Orebro University in Sweden. It was on November 1st, 1979. I have just turned nine years old the day before and Real To Real Cacophony is about to be released.

I don’t think this is a full set on this bootleg, but it’s more extensive than what I’ve been exposed to from this gig previously. There’s a good blend of tracks from Life In A Day and Real To Real. Premonition is a bit of a cut up job and Jim fluffs on lyrics several times throughout. Nerves getting the better of him, I guess. Fluffing only in the sense that lyrics end up out of order – and I am far too much of a pedant not to notice. In amongst the album tracks there’s also Here Comes The Fool and their cover of White Light/White Heat getting an airing.

I started listening to it last night and had to stop before hearing WL/WH and Chelsea Girl.

Obviously it isn’t the best bootleg going as far as sound quality is concerned. It has its moments though, and I am always appreciative of there being bootlegs from so early on to listen to. Jim even has a go at engaging with the crowd! Which I find amazing for that period, because he rarely utters a word at this point in time. And when he does talk, he sounds as nervous as hell!

Cherisse Osei – BBC Radio 5 Live Interview For Drumathon Live

As highlighted on Cherisse’s social media accounts as well as the Simple Minds social media accounts, Cherisse took part in Drumathon Live last night.

The Drumathon is a 264 hour non-stop drumming session, featuring drummers from all different bands from all around the globe. It’s all for charity, raising funds for the NHS and mental health charities, including the Anna Freud National Centre for Children and Families, UK Trauma Council, Mind, NHS Charities Together, and Child Bereavement UK.

Yesterday morning, Cherisse was interviewed for BBC Radio 5 Live about the Drumathon. She also performed a little snippet of Alive And Kicking during the interview.

Mel Gaynor will also be taking part with his drumming slot taking place between 10am and 10pm on Thursday, May 20th.

You can tune into the live stream and donate by visiting drumathon.live

You can hear Cherisse’s interview below.

Minds Music Monday – The American – 40th Anniversary

Released in May, 1981 – while the band are still busily recording the Sons And Fascination/Sister Feelings Call albums, the first of the singles of the album is rushed out.

But as “rush jobs” go, it has been a mainstay in the Simple Minds live set…well, since even BEFORE it was recorded in the studio and released as a single.

Well, so the Dream Giver site says but when I look at setlists from the March tour I see Sweat In Bullet on the setlist and not The American. Also there is a mention on the page about the March ‘81 tour that Careful In Career and Love Song had been written earlier in the year and already getting live airings. Which makes The American an odd choice for a first release single. Why not Sweat In Bullet or Love Song? I guess the desire to give a thirsty public something completely fresh and new won out (though you’d have thought only the small-ish contingent of die hard Minds fans would be the only ones familiar with the new tracks from the March setlist?).

Anyway, I suppose I’m splitting hairs. The point remains that the single is braw (“very good” for the non Scots reading this). And if only Simple Minds would give their still incredibly thirsty fanbase new material like this these days – and this quickly! No such luck. It’s all such a corporatocracy now. Music as “commodity”. No. We release singles as one new song tagged on to a “best of” album. Yet ANOTHER “best of” album. Sorry, but, yeah. I never like to criticise the band much but, one “new” song attached to a “best of” album, and a whole tour based around that?! Well, in retrospect, maybe a pandemic was just what this band needed to get a bomb up its arse and think about just WHAT their fanbase wants or DESERVES.

I’m sure Jim will not be best pleased with what I have written just above. But then again, he probably doesn’t give two shits, which is how things have felt this past year in the Simple Minds fandom, to be honest. YES! He keeps talking about new material and a new album, but then it gets handed over to record company fucking bureaucratic red tape shit. FUCK! JUST GIVE US SOMETHING TO LOOK FORWARD TO BEYOND PROMISES! JESUS CHRIST!

Hey ho. I guess the Minds story will come to an end soon enough anyway, so why does it matter?

*shrugs*

ANYWAY! The American! Let’s celebrate The American. The rush job of a single that still has the fanbase singing their lungs out to this day. I can’t be begrudging ANOTHER “hits” tour when I have so much love for songs like The American now, can I? It has appeared on many a tour over the years, with short rests during the Street Fighting Years and Real Life tours and just the odd absence from there.

There is a demo version of the song that got a release on the 2004 mega compilation, Silver Box. It’s all pretty much there. The final studio release was refined and honed.

I find the 12” extended version of the song much better than the album version. The album version is great too, just…a bit short. Still, I guess everything that appeared on Sons And Fascination/Sister Feelings Call was pushing for space. So much so that the LEAD single from the sessions doesn’t even get put on the lead album but on its twinned “sister extra”.

The 12” also gets a highlight on the wonderful Themes sets – on Volume 1 of the releases. As well as that, in the late nineties, there is an “Interference Mix” of the song released. It remains a solid favourite of mine of the Simple Minds remixes that have been produced.

The earliest live appearance I can find on a bootleg is at the Futurama 3 gig at Bingley Hall in Stafford on Sept. 6th, 1981. The infamous one where Jim is “as crook as Rookwood”, as we say in Oz (ie: feeling very unwell). It’s audible, to the point where it sounds to me that Jim sings “here comes the meds” during the second run of the “chorus”. There is a lot of dead air where he normally would be singing. And Derek gives the sign off at the end of the song for the end of the gig. I guess Jim is off puking again by this point?

Another favourite involves “early days” footage of the band on French TV performing it live. Jim is partly clothed in my favourite combo, in his riding boots and baggy white troosers. (And in a fairly figure-hugging white t-shirt as well – his chest looks frigging awesome! OMG!) He also does some wrapping of the mic cord around his elbow and he just makes shapes and is just the sexiest thing alive! Beautiful! He’s beautiful.

But I digress!

The most “recent” (some recent to my ears anyway) versions I have really enjoyed have been the live acoustic version (not the studio version on the Acoustic album – that never really sat well with me for some reason) but also the version I heard from the Good News From The Next World tour. It was a return of the song on the setlist after an absence of some eight years. I heard a version of it from the gig at the Royal Concert Hall in Glasgow on 10th September, 1995. Jim actually sings all the BV lines! The “across a curved earth / Nassau club days / in collective fame / the eventful workouts” lines. I nearly lost my shit hearing it for the first time. It was late at night but inwardly I was shouting, “HE’S DOING THE LINES! HE’S DOING THE LINES!” Lol. I was ssooo happy!

In light of what I said earlier in this post, The American is one song I would be happy to keep on the setlist. It is a firm favourite of mine at gigs and one I am guaranteed to dance and sing along to. But I would be absolutely OVER THE MOON if more tracks from Sons And Fascination/Sister Feelings Call were performed. The only tracks with almost concrete affirmation to stay on the setlist are, The American, Love Song and Theme For Great Cities. The only other track I’ve had the privilege of hearing performed live in front of me from the albums is This Earth That You Walk Upon. I’d love to hear Sweat In Bullet or Sons And Fascination itself, or Seeing Out The Angel or In Trance As Mission. Anything really.

Speaking of “rush jobs” – the cover! Malcolm Garrett was given just 48 hours to come up with something for the cover of the single – his first design for Simple Minds. His time at the cover design helm for the band saw a number of iconic covers produced, the pinnacle of these, for many, being New Gold Dream (81-82-83-84). But the start of the working relationship with Assorted iMaGes the band had was through the first work of The American. The cover holds personal significance for me, given how Malcolm collected the images together and how I make my own art.

Overall, the 12” version as well as many live versions are my favourites of The American, so for this week’s Minds Music Monday, let’s say happy (almost!) 40th anniversary to the AMERI-AMERI-AMERI-AMEREE-AMERICAAAN!

Minds Music Monday – Sons And Fascination/Sister Feelings Call – Recording Begins

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!”

📸 Rupert Hine with Andy Scarth at Farmyard Studios
– curtesy of ruperthine.com

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.

Enjoy!

Source material from simpleminds.org and ruperthine.com

Minds Music Monday – Floating World Duo

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!

Quality Is Key

There’s been a recent newcomer on YouTube, uploading SM bootlegs. Some I really enjoyed as they were of a fairly decent quality – others …. not so great.

The most recent upload I was really excited to see was another from the tail end of 1982 – my all time favourite period for listening to them live.

I started to tune in last night but I quickly stopped, disappointed that the quality of the audio just WASN’T there.

They had shared the upload on one of the SM fan group pages with a cheeky “Art & Talk who???” comment. Lol

Well, if you’re going to be full of bravado about it, then honestly, A&T has nothing to fear because A&T uploads QUALITY!

I’ll even delve into periods of the band I am not so enamoured with because I know the sound quality of the bootleg will be “to a standard”. It is why I listened to the Glastonbury set a few nights ago. As much as I love the Good News From The Next World album, and as great as the band was live at the time, there is an element of Jim’s singing voice at that period that grates on me. I don’t really know what it is – I just don’t like the way he sounds at that point. It’s mostly to do with word annunciations and nuances in pronunciations of words – kind of “American mid-west crooner” kind of style. Or more … over-emphasised “blues man”. It just sounds false and kind of protracted and laboured. It wasn’t so pronounced at the Glastonbury gig so I did enjoy it but other gigs from the time, his voice just gets on my tits and I have to stop listening (sorry, Jim!).

So, yes, the quality of A&T’s uploads means I *will* listen to things I normally wouldn’t. Not always. Some I still haven’t dabbled in – but I’ll get around to it.

Of course there are some points in the history of the band’s bootlegs in which it will be nigh on impossible to have quality recordings. Unless they actually had made recordings for radio, etc, and they were professionally recorded, there is going to be little quality around.

And still, for my own level of interest in wanting to listen to bootlegs – quality is key. It is why I shied away from dabbling into bootlegs for so long. One) the general poor quality of recordings, and two) I wasn’t overly into live music when I first got into the band. That has changed massively since being a SM fan and now I really enjoy the live music experience. And I actually find the bootleg experience to be a much better (and truer) representation of what it is like being at a gig than a more professionally recorded thing with full production techniques and “in studio ‘enhancements’” and overdubs made to them.

I want to hear the crowd! Yes, I hate having some bloke being a pub singer right next to me and wailing over the top so I end up hearing much more of them than I do of Jim! But I’d prefer that than to no crowd noise at all and Jim’s voice sounding perfectly audible … almost as if he had gone and recorded his voice in a studio 🤨🤔🤔

If you’re going to give me a live album – make it LIVE. Don’t fiddle with it! Give me the imperfections and the crowd noise.

Still, one wonders exactly HOW MUCH is *live* at the gigs these days. Well, not much at the moment in good old Covid World.

But I digress.

Bootlegs – they need to be of a certain standard. They can still have the crowd and the punters talking and singing and you can hear the cheers and the screams and that makes you feel a part of it. And the band still sounds full and strong, and you can hear Jim’s patter between songs and he always sounds amazing and emotive, sometimes even breathless, and on the VERY ODD occasion, off key – but it all adds to the magic.

So, you provide the quality and I’ll keep on listening – capiche?!

How (Why) I Fell In Love With Jim

For the past two nights I’ve listened to the latest Art&Talk upload of the soundboard of SM at Glastonbury in 1995.

Hearing a crowd as big as that singing and chanting Minds songs – it’s amazing – and it really does make me wish I was part of some of that history. At the moment it feels like that is all that’s left to grasp on to. Jim is always espousing that the band are always looking forward and never going backwards – there isn’t much choice for the fans right now but to look back.

After listening to the Glastonbury set, and hearing that chanting crowd fade out, and thinking of my past years as a fan, and pondering recent events and forever questioning stuff….I wanted to go back again. I just wanted to hear Jim talk rather than sing. To hear some of … the “real” Jim Kerr.

There are certain things that had me “fall in love” with him – perhaps it’s too strong a term for it – but to get “enamoured” by him, infatuated, mesmerised… to adore him.

Watching very early Simple Minds footage was a starting point. Seeing how very different he was when the band started. He had a real quirk. He certainly wasn’t like your typical “rock star” early on. His awkwardness was quite visible. But for me, that made him all the more mesmerising. I was awestruck by seeing how he was back then. I’ll never forget how truly jaw-dropping it was to see the Hurrah’s footage the first time. That “THIS IS JIM KERR?!” moment. It was the first trigger.

The more I explored, the more I was bowled over by the songwriting – the lyrics. I buried myself in learning them. Reading the lines as he sang. Gravitating to certain songs, and within those – favourite lines. Absolutely falling in love with his writing style and the words and how he’d convey them and sing them…the nuances in his delivery. And those elements are strongest during Empires And Dance, Sons and Fascination/Sister Feelings Call, New Gold Dream and to a lesser degree, Real To Real Cacophony. Real To Real still has very strong lyrical content that I love, as does Life In A Day – but vocally he isn’t quite there yet – though I still very much appreciate the nuances.

Out of immersing myself in the lyrics, I could feel the influences of Bowie and Burroughs, and probably to a lesser degree Lou Reed and Bryan Ferry.

The love of the lyrics had me wanting to share favourite lines but I wasn’t sure how I was going to do that. I didn’t want to merely type them out and then talk about them. I wanted to do something more. Something that expressed how much of an impact they were making upon me. That I was kind of living THROUGH them. That they were changing me. Altering my perception of things. That I was learning and falling in love with them. That I WAS in love them – and as a consequence, falling in love with him. Being awestruck by a man so young writing so amazingly and expressing it in a way that was different to the way others did. It took YEARS for any ego in Jim to be evident. I guess it had to come to the fore eventually.

But that aspect is of Jim the showman. A young man learning his craft who comes of age. After a while the stage persona seemed very different from the man off stage. And watching videos of him being interviewed in the early days, it just compounded the things I was feeling. The early performance videos certainly played their part, but I think the interviews played an even BIGGER part. Because there, the vulnerability shows – esp. visually if he is struggling and the stutter and facial ticks are still present. That quirks in him instead of being a turn-off, were much more a turn-on. A mark of “oh, he really is just ‘one of us’, he just happens to be smart and eloquent (despite the stutter) and beautiful with it.”

And so the “art” evolved from wanting to express the way I felt about the lyrics. That I was listening to them and taking them in but also that…this young, beautiful man was writing them – he had to become the centrepiece of the “art”.

And the more early interviews I watched, the more I fell for the man as well as the words.

And then to be sharing them and have him in the present day take notice of them and appreciate them? Acknowledgement from him was the final nail in the coffin.

That your heart is already bursting with love for someone, albeit in a retrograde kind of sense, and then in the present moment, the man who was once that young, idealistic man acknowledges (inadvertently on his part, for sure) your….infatuation of him. I don’t think I was really prepared for that. And I guess I really did lose my marbles. Because IT FELT AMAZING! It felt reciprocated! Like…he got it! He got what I was feeling.

So…the interview from 1984 with Billy Sloan – it was one particular thing that really just…yeah. It allowed for “time travel”. To really feel what Jim was like then. He’s confident and bold and bolshy, but also there is still him trying to keep himself grounded. Just little things too. Something as silly as his laugh. Just, the way he talks about the guy in the crowd in Cork with the glasses and the way he bursts out laughing – it just makes my heart burst! And how he talks of Glasgow and how he sees the future of Glasgow – like a little soothsayer. And he’s a wonderful idealist. He really DOES believe the words of Promised You A Miracle, that “everything is possible”. And you can’t help but be swept up in that! As “glass half empty” as my tendencies are – I ADORE him for his optimism. His gleaming, shining idealistic nature. These are the things that have me in love with him! He has so much faith, so much belief…not just self-belief – but he wants it for EVERYONE.

If you’ve never heard this interview, just listen to it. Listen to him. (I’ve linked to it below.)

I go back to this interview on the odd occasion. I can’t tell you how many times I listened to it in the early days of my fandom. Especially during my time out in Australia with my mum during 2015/16. The latter months of my time there, I would listen it almost nightly. I went through a point where…I dunno…I went through one of those stupid points where I thought I’d pissed him off and that “things were coming to an end” and I just listened to this interview almost every night. It and episodes of Cabin Pressure (the BBC Radio 4 comedy starring Stephanie Cole, Roger Allam, Benedict Cumberbatch, and writer of the series, John Finnemore) were my nightly kind of wind down.

Some nights I’d be in tears having listened to it…just awed by him. Chanting under my breath as I was listening “he’s just so beautiful. I love him.” It’s silly! It’s really silly, I know!

And there was this element with the art that while the Jim of now was appreciating it that I could dream that it would mean the Jim of the past – that young idealist, that he would love them too – because in all honesty, I don’t think I fell in love with 2016 Jim, I fell in love with early 1980s Jim. Because I love the words of that young Jim. That one that felt like he was part OF something. The one that wanted people WITH him. The one who expressed faith and wanted to SHARE the spoils. The one who said “the prize is the race itself”. Not the one who feels APART FROM things. Not the one who, despite trying to stay grounded, inevitably got caught up in the ego and status of it all.

I want to believe there is some of that Jim still present in today’s Jim…but it doesn’t feel very evident right now.

I don’t know why I am still pining to talk to Jim. To converse with him, to feel a kinship, to have what feels like a friendship with him. I used to be convinced that the young Jim wouldn’t look at me twice. And that may be very true in a sexual attraction sense – I am all the things he seems to not show any attraction to at all, short, fat, needy, emotional, unsure of myself, socially inept, weak … pathetic. Not an Amazonian beauty – just some silly, stupid bint. Full of self-loathing and with the constant need to be liked.

He is all things I am not. Of course there is sexual attraction there. I dunno. I really don’t know what I am writing or what I am trying to say here. I think I am just trying to do something with this blog. Trying to get out of this writer’s block I have again.

The band. The music. For me personally, it’s all down to Jim. He very quickly became my focal point. Him and his lyrics and how he expresses himself. I guess there was something a bit “outsider” I saw in him. That thing that Mick MacNeil described as him looking like he should have been in “special school”. Lol.

He has…a presence. He’s charismatic and an enigma in the same breath. Exudes cool and nervousness in equal measure. It makes him human. He feels tangible yet so intangible at same time. He’s a paradox. And it makes him endlessly fascinating! So…I obsess over him because he never stops being enigmatic. I never tire of pondering him…being drawn to him. Awestruck and mesmerised by him. And just….so in love with him.

Minds Music Monday – Vitriolic Jim in Vrendenburg, 1982

As I said yesterday in my Sunday Waffle Vlog post, I went looking through the Art & Talk YouTube channel for something else to listen to, having been enjoying his more recent offerings.

I gazed upon the one below and thought “well, it’s only a few weeks prior to one of my most favoured gigs – one that helped to cement my uber SM fandom – Rockpalast in Cologne” so to me it had the strong potential of being a goodun’.

I was NOT disappointed! Right from the get go! Changeling – Jim just spits venom and vitriol. God I bloody LOVE IT when he performs like this. I find it absolutely as sexy as fuck! It’s just so…visceral and guttural and just….I just want to lick him from head to toe!

Then Thirty Frames and the switching of the lines – Jack comes back earlier than normal. Lol. But then, almost in a way angry at himself mabbies for fluffing up and putting the lines in the wrong place, he follows it with a “fuck you, Jack!” Lol

Premonition next and a fab version. Sweat In Bullet also. Then early outings for Promised You A Miracle – already been out as a single and FINALLY, Simple Minds score strong chart positions with a single. King Is White And In The Crowd follows, and Jim continues to spit venom with the “Wire them up! Fire them up!” lines.

The wonderful pairing (still being paired together to this day) of I Travel and Celebrate. I’m not sure I’ve ever heard a crap version of Celebrate. JIM – I WANT TO BE YOUR RAG DOLL!!! Jesus fucking christ this man is so fucking sexy! Ermaaaaageeeerd! Had I actually been around for these gigs in 1982 – I think I’d have melted in a puddle most nights.

Then what is always my favourite at gigs – The American. Then finally, a fabulous version of Room – a shame it fades out towards the end….but we probably got 80-85% of the song.

Let’s move away from me concentrating on Jim’s performance and my…stirrings and talk about the quality of the recording and the rest of the band performance. The band – all tight AF. A really good turn from Mike O on the drums. The more I get exposed to Mike’s performances, the more I am coming round to appreciate him. Derek and Charlie both solid as ever. Mick was probably great too – but some of the keyboards got lost in the mix. Other than that, the sound quality is pretty ace. I mean, I proper recording as I guess it was recorded for a radio station as this version of the gig was recorded off Dutch radio by a fan. Jim sounds very strong and clear – hence all the visceral sounding stuff coming to the fore soundwise.

I really loved this gig. I found adrenaline pumping – if for no other reason than Jim’s vocal performance and his absolute SEX GOD appeal! Be still my beating ovaries! GODDAMN!!

Enjoy! Happy MMM…

The Anchoress On Front Row

Catherine Anne Davies – aka The Anchoress was a guest on BBC Radio 4’s Front Row programme on Tuesday night. In case you missed it, you can listen here. This will remain a permalink of her interview.

I listened in live and it was very good. She was very eloquent, esp. when giving her response to the arts funding boost offered in the latest budget. A mere piss in the ocean. Then again, they dared only give NHS nursing staff a MEAGRE 1% pay rise. Oh, all that money saved from leaving the EU was going to go STRAIGHT into the NHS. Was it just…

Anyway, the wait is nearly over! The Art of Losing is out on Friday, and the Q and A with Pete Paphedis for Rough Trade will happen on Friday evening as well. This is going to be some album launch!

In the meantime, here is the Front Row interview for your lugholes to enjoy.