In an exercise in tidying up this godforsaken blog, I will be shifting all the “Waffle” video blog posts (aka Vlogs) to a centralised page link. You should now see a page header called “Vlog Posts” in the menu. That’s where any new posts can be viewed. I may notify of a new post, if any go there.
The vlogs are something I want to come away from doing. And I certainly don’t want the main area of the blog full of vlog postings, hence I will be shifting them over there.
So…there you go.
Here’s hoping for some kind of return to “normal”. Whatever “normal” means when it comes to me and this absolute embarrassment of a blog.
If you ever had any interest in the video waffles, or more amazing still, if you ever took the time to WATCH any of them, I thank you.
When you consider the tracks on the album that have just gone by – the thumping drum and bass monster of Boys From Brazil and the pre-techno genre Euro dance beat of Love Song – there is a calming and stillness to This Earth. A soft rim shot (that’s what that particular percussive sound is called in the pro world) and slow haunting reverb guitar start the track off before Mick comes in with simple but gorgeous synth melody. It feels as if a magic carpet has arrived to take you on a meditative ride.
Soft little hushed tones from Jim accompany the music before he comes in with a pondering set of questions – “What’s your name? What’s your nation?” There is now – after the rush of the previous two album tracks – a definite “sense of order / sense of speed” – at least a reduction of speed to the more tranquil and more….meditative.
More fragmented lyrics still “shakes his hand / turns away / turns his back and walks away”. Jim seems to have recurring themes in his lyrics. Quite a bit of hand shaking and walking into, out of, or generally around spaces. There’s a lot of walking. I guess it is reflective of how much of a walker (yes, that’s “waLker” lol) he is. Some elements of songwriting, no matter how much you feel are not a reflection of you personally can’t help but be a mirror.
Reading up about it, it was initially an instrumental and was released as an instrumental only version on the B-side of Love Song. Jim added the vocal at the latter stages of the album recording. Probably having walked around Glasgow for days on end listening to the track god knows how many times on his(?) or Brian’s(?) Walkman. Each time I hear it I think of the reply I had from him about listening to music while walking (or jogging as the post he had written had alluded to) around Glasgow. I’ll include it below as it is a piece of “conversation” I cherish. I cherish all the interactions I’ve ever had with Jim and I despair the thought of it being past tense now. “All things must pass”, I guess. I feel as if I have been in mourning twice in recent years. Losing my mum at the end of 2019 and then…well…
I have probably highlighted this bit of conversation several times over already, but here goes…
I used to think that was a ridiculous kind of bravado to claim that. To say “no birdsong could compete”. But he is right. No birdsong can. But the birds aren’t trying to compete with Mick MacNeil’s or Charlie Burchill’s genius. They’re just the males in the species competing with each other for “top bird”. To get the best females. I pretty much think Mick had that part covered as well – without trying. Cheekbones you could cut yourself on.
For me, this song has Charlie Burchill’s best guitar solo. By far. It almost sounds off key. But that makes it stand out. And it’s haunting. Like his guitar is weeping. It is so beautiful. And then to match it to Jim’s lyrics after the solo ends – “screaming edge of light / shines so, shines so hard”. Those lines exactly encapsulate what Charlie has just produced with his guitar.
I had my “heavenly moment” with this song. The Walk Between Worlds tour of 2018 and it starting at the Barrowland Ballroom in Glasgow. We were just a few songs into the show. The songs that you’d expect to get things under way. The ones the early diehards love – I Travel, Celebrate, Love Song… and then…THEN came the B-side to Love Song in lyrical form. As soon as the jangling guitar, the soft percussive beat and synth melody began, I almost fell to my knees in raptures! There was talk of surprises being on the setlist leading up to the tour. Unexpected things that would keep the diehards happy. And of course by this time I was one of those diehards.
I had never expected much from the promise of surprises. I know sometimes that Jim says one thing and means another. I was cynical enough to keep my expectations in check for fear of disappointment. This one floored me. I was ssooo happy! I just wanted to shut myself off from everything else that was happening around me. I closed my eyes and just let the whole thing wash over me. To just let it soak into my skin and try to keep myself in the moment.
I don’t actually recall much of how the song actually sounded on the night. I remember Jim and Catherine sharing vocal duties on it. I remember feeling blissful hearing the music and anticipating Charlie’s solo which was just about note perfect from my vague memory of it. The memory is vague because I suffer from a kind of sensory and emotional “overload”. When things are very special or mean a lot to me, it overwhelms me and plays havoc with my memory recall. I have the worst memory as is – but when it is a special thing, a moment that I REALLY WANT TO REMEMBER – then that is guaranteed to be the thing I remember least – or worse still can’t recall at all. A lot of things I wipe from memory completely. Thankfully in these modern times with Smartphones being rather ubiquitous, there is not much need for me to have to rely on my memory recall – thank god! But it would still be lovely to be able to recall it first-hand from my own memory bank. To feel all the things I felt that night as the song was playing rather than the vagueness of knowing it meant the world to me to hear it being performed and wanting to savour the moment.
I know this is not the most information rich post about this song. There’s never really been much said of it. Never much talk about it. It’s quiet and sparse and glorious. Understated. Simple and beautiful. Mick MacNeil at his very best. Charlie Burchill at his very best also. And Jim Kerr at his most lyrically enigmatic. Quiet and sparse – but also expansive. Cinematic. “Worldwide on the widest screen” – latter lyrics that also sum up the atmosphere of This Earth That You Walk Upon. This whole planet is home to us. This big blue planet that we really should be taking much better care of but never will. Humans by nature are just far too greedy and selfish. Even those who otherwise appear altruistic still have these awful human foibles. We all do. Sadly it is also what makes us human. We don’t seem to be able to learn and change what makes us the worst example of humanity.
But alas, I digress some. For I am sure This Earth That You Walk Upon is just meant to be enjoyed as a reflection of all that is good and joyous about this world. The vastness of it. The nature of it. A soundtrack to the world, of our place in it and of nature.
I’ll offer two versions here. The album version with the lyrics and a version of it from the Walk Between Worlds Tour in 2018.
There is a path that leads me here to this post. A path that was an unexpected but wonderful stroll. The stroll continues, still. I’m not sure how much of this I can explain. Best to keep it a bit cryptic and vague. We love ambiguity – ain’t that right, Jim?
Suffice it to say one thing led to another.
There is a Sons And Fascination link here. Or should that be “Sons And Fascist Nations”? An explanation of that in due course.
A couple of my most prized possessions in my Simple Minds collection are copies of albums produced for the overseas market. One album released for the U.S. market via Stiff Records was titled Themes For Great Cities and was a compilation of tracks from Real To Real Cacophony (Premonition) to several tracks from Sons And Fascination/Sister Feelings Call. The other is a version of the Sons And Fascination album released by Virgin Records for the Central American market.
There are patterns on the cover. The artwork by the one and only Mr Malcolm Garrett, with photography by Peter Anderson. You can see shapes and a figure. I could see a figure on these covers.
Then there is the reissue of I Travel by Virgin Records in 1983 which bares a photo of Jim, taken by graphic designer Garry Mouat, on stage in motion as if marching. “In central Europe men are marching” always springs to mind seeing that cover. What I never really took in is what appears in the overlay of the photo of Jim and I didn’t see it properly until Malcolm was kind enough to show me this…
I did see that something was overlaid on the photo of Jim but what I didn’t know was that it was a variation on the figure seen on the Stiff Records “Themes” release and Mexican version of SAF.
I also missed the very obvious figure on the Sweat In Bullet sleeve art. Mostly due to the fact the figure has the head of a photo of Elizabeth Taylor.
And so…why did I alter the title of the album to “Sons And Fascist Nations” earlier, I hear you ask? Well, here’s the thing. In talking to Malcolm about the album cover photoshoot with Sheila Rock and asking him about the cars, we got to talking about other art relevant to the Sons And Fascination period. He told me about certain things that inspired some of the cover art. This included him telling me about the image above and that it was inspired by similar figures like it that had appeared in a book he had seen. The book in question is called “Mostra Della Rivoluzione Fascista”. Issued in 1932 to be a compendium to an exhibition on Fascist propaganda – a “celebration” of the 10th anniversary of Mussolini’s march on Rome. Seemingly exhibited in a building erected specifically for this solitary purpose – also known as the “Mostra Della Rivoluzione Fascista”. The exhibition proved so popular that it extended beyond its initial intended six month run and ran for two years. It was seen by almost 4 million visitors by its close towards the end of 1934.
You can view selected pages of the book by clicking HERE
I will state here Malcolm’s initial reluctance to have me write and publish this post and he had approval of this before posting. And I do understand the reluctance. You wouldn’t want to be seen condoning Fascism! But it’s about art and the aesthetic and not the political. Well, that is how I see it. This post nor we as individuals are condoning Fascism! But when it came to the use of the “Marching Men” (as they have come to be called during our conversations) and the line in I Travel “in central Europe men are marching” (long since changed by Jim since he now always sings “all over men are marching”). It conjured up the exact imagery used on the Virgin released I Travel cover.
I missed the image of the Marching Man on the Sweat In Bullet cover, yes, and I don’t see the link quite as obviously as with I Travel but listening over some of the lyrics then… it could be “ambition in motion” or to “grow in size” or to “grow more / take more” that makes it fit?
Either way, all four covers featuring the Marching Men are striking and impressive. And they certainly make a statement.
Another short point – as I was researching to do other posts that were SAF/SFC themed, I shared an article from New Sounds New Styles printed in 1981. Ian Cranna interviewed Jim for the piece. Check out the magazine layout! Guess who was behind the layout of New Sounds New Styles? Yes! You got it!
By this point, the band had only appeared on the back cover of their albums. On Life In A Day they were on the back cover and also on the back of Empires And Dance. Inner sleeves too. But only the inner sleeve of Real To Real Cacophony. Not up to this point on the FRONT COVER of an album. Not until Sons And Fascination. They were reluctant and the images of them are somewhat obscured but the images reflect the movement and motion of the music contained within. The “travelogue” musical sensibility of the album. It was a masterstroke. Perfectly encapsulating the audiovisual.
I find the whole aspect of the cover art for the Sons And Fascination/Sister Feelings Call albums and singles…erm…fascinating. And if I do then I thought others would too.
Below are a couple of YouTube clips showing footage of the Mostra Della Rivoluzione Fascista, including a modern day (in Italian) look back at the exhibition as well as footage from the time of a visit to the exhibition from Mussolini himself!
A massive thank you to Malcolm Garrett for allowing me to tell the story of the Marching Men images and what inspired them into being.
Normal service for MMM will resume next week, but until then I’d like to share a special gift from my mate Baggers. Kant Kino is one of my favourite, if not my MOST FAVOURITE, Simple Minds instrumental. Only problem is, it’s so short!
“No probs. I’ll sort it!”, said Baggers to me and lo! He sent this (audio link below) to me not long after. A few days before my birthday in 2017 as a gift. He called it the “Tantrum Remix”. Lol
So, in lieu of being prepared for another Sons And Fascination/Sister Feelings Call themed post for this week, I am sharing this lovely extended version of Kant Kino.
I missed the chance to check the building out in 2019. I had it all planned out; going to Germany with Ruth, seeing The Stranglers and making my way to selected spots around Berlin. A pilgrimage that never got to take place.
Taking a break in the usual proceedings with Minds Music Monday this week. The focus has been (and will continue to be for the weeks to come) tracks from Sons And Fascination/Sister Feelings Call as we approach the 40th anniversary of its release in September.
If you’re already tired of getting out to the pub, going and meeting up with friends and once again socialising and enjoying the sun – then you can read up on the previous weeks MMM’s by clicking on the song titles and the link.
This week’s MMM is a bit of a sick joke of a choice for us Glasgow residents (I have to stop myself from saying “us Glaswegians” because obviously I am not Glaswegian, just a mere resident of this amazing city) – as we are still in the strictest lockdown in the whole of the UK and that my friends means NAE TRAVEL for us.
So! Enjoy your freedoms, other UKers and if you find yourself at a loose end, then do check out my previous SAF/SFC themed posts.
Au revoir! (I ain’t going nowhere.)
P.S. I hope to have more to come to do with I Travel and Sons And Fascination during the week – something that involves a kind of collaborative thing with one Malcolm Garrett – finger’s crossed. Stay tuned! 🤞🏻🤞🏻
I listened to this last night (see link at the end of post). Wow! OMG – the Swedish crowd at this place LOOOOVE them! They just love them! It’s on a par with listening to a Glasgow gig for audience reception.
It’s a gig recorded from the crowd so the quality varies. Jim is not always super clear but the sound from the music is good enough. It would be fab if there was a better quality version of this gig out there somewhere. But in lieu of that, to have this one is enough.
Only the fifth airing of Someone Somewhere In Summertime and the crowd just absolutely love it already!
Just…the reactions from the crowd. This really makes the whole gig. The reception songs like Sweat In Bullet, Promised You A Miracle, I Travel and, in particular, Sons And Fascination get are just wonderful.
And the crowd sings along too! I wanted to cry tears of joy when Jim intros Sons And Fascination and the crowd are already chanting “Semi Monde!” before the song even starts! I love this crowd. I could imagine being in the throng and feeling like I was in amongst “my people” – you know what I mean?
And I really love this version of Room as well. I love it when Room has a little bit of the Velvets Rock N Roll in the middle of it. I almost wish they’d have covered it properly.
I know this is the “DUH!” statement coming up but – I LOVE JIM! I really, really love Jim.
I’ll confess that my initial interest in this gig was purely because it was on the day of this gig that Jim wrote the lyrics to New Gold Dream (the song) … and I just have this lasting image in my head…
He supposedly had the words come to him while he was in the bath. Before the gig? After the gig? I’ve no idea but…I just enjoy the imagery it conjures up in my head of this…ADONIS…languishing in a bath and then…
In mind’s eye, it’s a GLORIOUS image! There’s not a towel to be seen. 😜🤓❤️
Anyway, forgive my ogling perversion. The link to the YT clip of the gig is below. It really is a good’un. Not so much for sound quality – but for atmosphere – it’s definitely a new favourite.
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