Hello, hello, hello! This looks nice, eh?!
I had a hoard of memorabilia come in this week and in amongst it was this article, written by Graeme Thomson, none other! Featuring in The Guardian on February 24th, 2012, just as the 5×5 Live tour is getting under way.
We know how I feel about that. Goddamn! I was out by just over two years. I will forever rue it!
Some of the discussion that takes place between Graeme, Jim and Charlie during the interview for this article features in the Themes For Great Cities book.
I thought I’d scan the article and post it here. Just as a little taster of what’s to come next week.
A footnote (and a chance for me to be a pedantic pr*ck); the inset photo of Jim is from 1980. October, in fact. It’s one from the Tavistock Square session. The same session the photo on the book’s cover comes from.
A post on SMOG from G Man about 5×5 Live and setlists and favourites and what not has me maudlin today. Forever lamenting I missed that tour.
The photo he used for it – a montage of screenshots from an interview of the period looked like a piece of Kristen Whitehead’s montage work. Aye, it was.
The third photo – top right. His expression reminded me so much of a photo from Virginia of him from many years before. Same expression. Much how I feel about missing out on 5×5 Live.
Such is life…
Long overdue to have got myself a copy to scan and share this article. Damn pissed that the long coveted photo of them on the sinking Titanic is – one: cropped and two: crap quality.
I love that other photo of them taken when they had one of their TOTP appearances. Jim with a tambourine in hand is always a winner.
Might have a go at some tidying up work on it later – a la “Mr Tambourine Man” banner artwork you may catch on here if you hang about for long enough.
Again – click on images to get increased image viewing options on the bottom right of each page.
You can’t escape it. The thing that hits you when your first hear this song is Charlie’s pedal affected riff that makes it sound for all the world like a cow has entered the recording studio to add a repetitive “mooooo” to the music. It’s a bit of an “in joke” in amongst the Simple Minds fanbase, but we love it all the same!
Oh, and…the backbeat. The “holy backbeat”. The drumming is awesome!
There isn’t a lot of information on the song on Dream Giver, which means it remains one of Simple Minds’ most elusive songs. I mean…what the heck is it about actually? The lyrics are Jim at his most ambiguous.
“He wants the world screams everything” – men are petulant and demanding?
“She’s a country feel for life” – women are mysterious and a frontier to be explored and possibly tamed?
“Follows in love, love brings the fall” – it’ll only end in tears? Love makes fools of us all?
I guess this is a prime example of what I was talking about in last week’s MMM about songs not really having to be about anything at all.
I have long talked about two lines in the song being the most either enigmatic, or the most poignant.
The first of the two is the line, “first tear forms in the right eye / this is the eye that’s crying first” – it is SUCH an ambiguous, perplexing line. It’s always induced a head scratch and a pondering in me. I have never been conscious of my tears falling at different points from different eyes. I find it such a strange and curious notion.
When I was reading the Alasdair Gray novel, Lanark, last year, I happened upon a passage of the book which read as follows…
“I must be a very cold selfish kind of person. If Mum died I honestly don’t think I’d feel much about it. I can’t think of anyone, Dad, Ruth, Robert Coulter, whose death would much upset or change me. Yet when reading a poem by Poe last week, Thou wast that all to me, love, for which my soul did pine, etc., I felt a very poignant strong sense of loss and wept six tears, four with the left eye, two with the right. Mum isn’t going to die of course but this coldness of mine is a bit alarming.”
Gray would have probably written those words in the late nineteen seventies, if not earlier. He had been writing the novel since he was 20 years old. Lanark was first published in February, 1981. Had Jim actually read a copy upon release? I know he likes to devour his books and seemingly during that early period, Charlie was an even more voracious reader than Jim. Did those words in the book spark something within Jim and result in that line in the song?
If you remember from last week and the excerpts from interviews I shared when posting about In Trance As Mission, Jim said that inspiration came from all kinds of places.
“More and more ‘image’ is important for bands now,” Kerr enthuses, “as opposed to the sound of jumping up and down. You can be inspired by various actors, playwrights, books, documentaries and magazines – the whole thing. It’s just opened up and inspiration now is coming from everywhere, as opposed to what was rock standards.” (Jim talking with Ian Cranna for New Sounds New Styles magazine printed in the December 1981 issue.)
The other line is one I find quite downcast and melancholy from Jim, on the surface, but it ends up shining and giving hope like many of the lines he has written does.
“When the other side of midnight calls / remind me I’m glad to be here.”
I can interpret it either one of two ways, dependent upon my mood. The melancholic way – “another day is gone and I need a reminder that I am here and life is meant to be enjoyed”. Or the uplifting way “after midnight, it’s a new day. Give me that kick that it’s great to be alive”. There’s an element of doubt in it, “REMIND me I’m glad to be here”. If you are to derive true positivity from it, you shouldn’t need a REMINDER of being “glad to be here”, should you? But then I guess it begs the question, what is “here”? Here in this moment? Here on earth? Here, existing? Here, with you?
Yes, I do over-analyse as you can see. But it’s about learning. Getting to the heart and meaning of the song – if there is indeed meant to be one.
There is also a bone of contention I have with some of the words printed for the lyrics. I am sure that during the second verse that he doesn’t merely repeat the same line over again but splits it up accordingly “breath is in, breath is out / I’m not saying anything, I’ve said too much – breath is in, breath is out / I’m not seeing anything, I’ve seen too much.” That’s certainly how I hear it on the studio version anyway.
Now let’s talk about sparsity. I love the space that Jim’s obfuscatory lyrics give to the music of the songs. But also, especially for this song, the words almost act as another instrument. His voice and his words. He has said numerous times that he’s not a musician – because he doesn’t play an instrument. But you use your voice, Jim! THAT is your instrument and back in the early days of Simple Minds more so, and particularly during this period, coinciding with your words, you really DID use it that way. The nuances, the way you used your voice to manipulate the delivery of words. Your accent coming through some, the protracted delivery of others. All of that is using your voice as an instrument. Okay, it’s not opera. You’re no Pavarotti. But for me, 70 Cities is a prime example of your voice needing to be there. I love the song so much but I don’t listen to the instrumental version of Sound In 70 Cities because….it feels like nothing without your voice and words in it. Something is lost on Sound In 70 Cities without Jim there. I don’t think it was ever meant to be heard just as an instrumental anyway. It’s a “filler” for the Sister Feelings Call album. Rather crazy that at the end of so much creativity during those sessions that the release of two albums means the second ends up with not enough time filled on it!
Speaking of sparsity…
It has hardly appeared on the setlist through the years. It was there for a time on the final leg of the Sons And Fascination tour as well as the early leg of the New Gold Dream tour of 1982, but after that, not a zip. Not until 30 years elapses and they’re on the 5×5 Live tour. It’s a mainstay for the sets on that tour, with just the odd omission here and there when the setlist is reduced for festival slots and suchlike. But then nothing again since 2012.
It is an absolute marathon of a song to perform live vocally though. You have the ability to overdub and merge vocal parts in the studio so the way the vocal parts are layered in the studio is incredibly hard for Jim to replicate live. Live versions required vocal backing harmonies from other band members (namely Forbes and MacNeil in the early runs, then Grimes and Gillespie latterly, I am guessing) to not make it such a vocal slog for Jim. Even with that help, it’s a rather tricky affair.
Getting into the bootlegs as I have done recently I was in raptures hearing live versions of 70 Cities from the 1982 gigs. Firstly from Tiffany’s in Glasgow on July 14th (performed TWICE in one night – the second being even more lively than the first, which you wouldn’t expect at a gig – as a result the second is favoured by me over the first), then at the Hacienda in Manchester a few days later. There is also one from when they played Coasters in Edinburgh in September ‘82 available to hear on YT, and finally one from Toronto in November of ‘82 – which is probably my favourite along with the second of the two performances at Tiffany’s.
Of the modern versions, there’s a cracking one from Cologne in 2012. And I can’t talk of the modern day ones without mentioning the version on the 5×5 Live album – Jim audibly expressing his love for his home away from home, Sicily, rolling off a bunch of town names in his most poetic of “Glasgow Italiano” accents. It’s hard not to smile listening to it, swept up in the sheer joy in his voice. As much as I enjoy that version, Cologne wins out because there is great video footage that accompanies it and Jim is AS HOT AS FUCKING FUCK on that tour. Jesus! I’ll regret not being this kind of SM fan at that point every day of my life. The memories other fans have. And the stories they have of meeting him and him just…going for a drink with them or just…hanging around for a bit. Not just rushing off. It sounded amazing. IN MY DREAMS!
Of course I am amazed and happy with all that I have experienced – but I’ll always dream of more. I’ll always want more! I can’t help it.
You’ll find links to all the versions mentioned below – with my two favourites viewable within the post.
Gallus in Glasgow, July 1982 (Vers. One at 53sec, Vers. Two at 1:25:10) – https://youtu.be/i0Brp4ucqik
Heady Hacienda (not the best sound), July 1982 – https://youtu.be/7E74uyEbfzY
Elegant in Edinburgh, Sept 1982 (Marked start point in description box) – https://youtu.be/CaZxk4Uf0sY
Sentimentally Sunny in Sicily 2012 – https://youtu.be/hGVwhMcR4m0
When a song…and indeed a WHOLE ALBUM starts with the line “for just one moment in time I hear the holy backbeat” – then you know you’re in for something very special.
The band were convinced of its merit as the opening track to the album, but Steve Hillage took a bit of convincing. He felt it was “a bit long, but in retrospect, it’s so emphatically strong in putting across the overall vibe on the whole record. It’s a really good first track.” He was won round to the band’s way of thinking.
The title of the song could sound like a corny dad pun heard out of context but it instantly conveys the mood and tone of the song – movement, travel, open spaces, passages through time, the learning experience through exploration, through travelling.
Jim, back then, would seem quite dismissive of his lyrics in some ways. He said he hated the notion of his words being deemed poetry and dreaded the idea of people taking them out of context and away from the music. “My words go with the music.” They do indeed. But even a title – as the very first thing you hear or see, and unavoidably taken out of context initially, provides some notion of what the song is about.
Obviously songs don’t have to be about anything in particular. And maybe some Simple Minds songs feel like that to some people. Jim’s writing style was certainly ambiguous most of the time in the early days. And esp. during the Sons And Fascination period.
Jim also talks about the desire for “greatness”. He wants to matter in this world. He wants his life to have meaning and purpose. He wants his life to matter. Any person with a modicum of feeling that they want to feel like their existence on earth MEANS SOMETHING can understand and appreciate that.
The second verse to the song can sound pretentious as a result but he is just expressing that feeling in the lyrics – “for just one moment in time I want to walk where it is, sustain a stature in life”.
And then there is talk of the process of writing on the road. The hours of travel between cities, towns and venues and how it gives him the chance for “down time” and time to think and create. The monotony of the drive and the motion giving him time to sit and write. Looking out the window of the mini van or tour bus, time to collect his thoughts and just be quiet and insular for a time. Time to “recharge”, but also time to create.
He talks about every line being “a painting”. That every line to a song has a different story within it.
Below is an excerpt from an article printed in Melody Maker on March 27th, 1982. The band are “moving on”, telling Adam Sweeting “just what is going on”. They’re still touring the SAF/SFC albums but are changing direction. Promised You A Miracle has just been recorded. They’re on tour in France.
“I see a town by the track / can’t see the road for the tears.” Upon reading that excerpt way back when I did the first time, it brought that line to life for me. To read that he, Jim Kerr, of all people, is as overwhelmed by the music he helps to create as any of us. I just found that incredibly emotional. And I always think of that every time he sings that line of the song. Even though he is actually talking about the beautiful music of Seeing Out The Angel in the article, in my mind’s eye I see him on the coach looking out the window, hearing the music and feeling and looking overwhelmed…and beautiful. As beautiful as the words and music themselves.
I can’t see my words for my tears…
Before I continue on with the lyrics and the Kerr fanaticism…let’s talk about the amazing musicality of the song. The opening – Derek Forbes by far has to be one of the best bass players on the planet. He just nails the opening visual of the song’s intent, its mood, with a rhythm of movement. Then understated, soft staccato drums from Brian. The time signature is in 9/8 – and I love this most about Simple Minds. They’re not afraid at all by experimentation and don’t stick to the regular time signature of most songs, the regular 4/4, 4/8 or 8/8 time signatures. No. I can see why they’d get the “art rock” schtick at times – but they are sooo above that. It’s never contrived. Never formulaic. It’s organic…and it shows. You hear it in the life of the music.
Simple, long notes from Mick encapsulate smooth lines of long highway roads and Charlie’s beautiful high wailing riffs seem to denote frames of images | this house | that shop | this bare tree | that run down car | while still instilling the movement of travel…”you gotta move on”.
And because Jim’s words are so fragmented in this song, it gives space for the music to breathe.
Back to that “holy backbeat”…
There are also visions of dreams and how they can be a positive life force. “In dream a dream a / courage of dreams.” And it certainly won’t be the last time Jim will talk about the positivity of dreams. The positivity also enforced by an almost violent note “something crashing into my life / something crashing against the white rocks.”
It has been, from the first time I heard it, my favourite opening track on any Simple Minds album. I Travel is, of course, also fabulous. Other favourites are Up On The Catwalk, Moscow Underground and Blindfolded. But the love I have for Sons And Fascination/Sister Feelings Call starts at the beginning…from the get go…track one.
Among the favourite versions of the song I have are, of course, the album version, but also a live session version performed for the Kid Jensen radio show on Radio One in February, 1982.
Also I wanted to share the contrast of the thirty years of space between performances. In Trance As Mission was never performed live again after 1982 until it FINALLY reemerged into the setlist in 2009. The first of the two comes from Newcastle in November, 1982. The second nearly a full 30 years later, also from Newcastle, the 5×5 Live gig on July 8th, 2012. The day before a certain someone’s 53rd birthday. Fifty-three and FLAMING HOT! 🔥🔥
In the latest edition of Rolling Stone magazine, they have gone over the 500 Greatest Albums Of All Time. There is now a new, revised list from the magazine. The first list was published in 2003. In 2012, they revised this list. We’ve now had this second revision.
I went through the whole list, praying I would see New Gold Dream (if nothing else in the Simple Minds canon) on it. Nope! Not a sausage.
I then went and looked at the original 2003 thinking they may have been on that – but no. Okay, then perhaps they made the 2012 revision. Nada!
There are albums I love on there. Several Bowie albums (though I don’t agree with their placements in the lists), my favourite Bjork albums, albums by The Police, Tracy Chapman’s debut…and many others that were worthy of their placement.
And then there are weird omissions from the revisions, strange additions and list placement reshuffles that leave me perplexed.
An example: Hole’s Live Through This from 1994. It is an album I loved at the time, and when the original “500 Greatest Albums” list was compiled in 2003, I might have agreed with its placing of number 466. But now, not really. And I am certainly perplexed by not only it still being on the list in 2020 – but its high repositioning at number 106! What the fook?!
Okay…so New Gold Dream has never been on the list. I genuinely think it’s a crime.
There were a few personal Top 10s from renowned musicians. One of them being U2’s The Edge. I gave his list a keek and … nothing! I thought, “Come on! It’s the inspiration for The Unforgettable Fire! You guys wax lyrical about it! You still play it before gigs! Why is it not in your top 10?” I am miffed!
I know music is subjective and lists mean nothing in the grand scheme of things. But I was genuinely disheartened not to see New Gold Dream even at number 500.
There’s no accounting for taste.
Almost 30 years after the previous Mr Sex-On-Legs footage from Brussels (taps aff tits oot beauty interview) – here he is still being SEXY AF! My still my exploding ovaries…
I’d already be losing my shit, being in raptures being at a 5×5 gig – but at the 3 minute 30 second mark…if he was that close to me, his sweat falling on me…I swear I’d orgasm! He is just pure sex! God, I adore you, Jim Kerr! 🔥🔥🔥🔥🔥
I will never stop dreaming of being your rag doll, you Adonis! ❤️❤️
A lovely 30 minute chunk of Simple Minds recorded in Dublin in March, 2012. Really nicely done. Fine video work, Trevor. Thank you so much for filming it and taking the care to add better audio. Excellent work!
For those of us who missed the tour, this is as near to a TARDIS as we’ll get.
Geez, how I’d love there to be another 5×5 style tour. I know it won’t happen. I guess Jim thinks he’s just too past it for that stuff now. The more time moves on, the more gutted I am that my diehard fandom didn’t take in 2006, for had it done so, I know I’d have been at as many 5×5 shows as I could have afforded to be at on that tour.
“Regrets. I’ve had a few, but then again….PROBABLY JUST THIS ONE!”