Any excuse will do…
Any excuse will do…
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
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!
It is with some level of trepidation that I explore live output from Simple Minds in 1995. Mostly just to do with my silly hang up about Jim’s style of singing during that period.
But with yet ANOTHER new upload from Art&Talk (YouTuber of eternal mystery…), I felt almost duty bound to take the plunge and listen to the gig uploaded. That namely – a gig from the Good News From The Next World tour of them at the Royal Concert Hall on September 10th, 1995.
We start things off with a pretty stellar version of She’s A River. Full version, and so new still (although already several months old) that Jim ACTUALLY REMEMBERS the words! 😱😱😱😘😜
Then into a bit of a curveball for the period and into Up On The Catwalk. Quite enjoyed that too.
From early on you get a real feel for the atmosphere of the gig. You can also sense how much live production techniques have refined and changed over the past 15 years (up to 1995) as everything sounds pretty crystal clear – from Jim’s breathlessness to the crowd going apeshit when he asks of them “everything okay?” – the only thing that gets lost in the mix at times is the crowd singing along, which isn’t an entirely bad thing IMHO.
See The Lights was also great. But then, for me, the highlight. The jaw-drop moment. The one that almost had me throwing myself out of bed and doing cartwheels on the bedroom floor – The American. But not just ANY OLD VERSION of the song but one in which Jim actually SANG THE BV LINES! The “across a curved earth, Nassau club days, in collective fame, the eventful work-outs” – I nearly wet myself with excitement! I mean…he NEVER sang those lines live that I have ever been aware of – before or since! In the early days he’d do the “here comes the flag, I’m walking in the black” lines and also do “hand shake, this world, here comes the flag” lines – but never those BV lines!
I wanted to be able to up jump back in time, crawl through some kind of wormhole and just kiss him all over and shag his brains out! Lol – fuck! Goddamn!!!
I’d sell my fucking eyeballs off if he sang those lines again. I’d even be happy with the “hand shake, this world, here comes the flag” lines these days!
I think this will now – singularly – be my favourite live version of The American … EVER! And if you told me that THAT was going to happen from listening to this gig, I’d have never believed you!
I grinned like a Cheshire cat through the whole song. In actual fact, I was mostly like THIS through it (and grinning like a loon when I allowed myself to close my mouth a little. Lol)
But after the joy of The American came the mixed bag of Big Sleep. Great that Jim (again!) was great with the lyrics (he was on a roll at this gig) – but he was veering into the singing style that grates on me a little too much with this version. But! Having said that it wasn’t the complete turn off from some versions of it I have heard. Also…it was short. Literally half the length the song usually is – particularly live. I suppose that was probably a good thing.
Back on the up again with a cracking version of Great Leap Forward. A decent enough version of SSIS (not sure Mark Schulman quite had the feel of the drumming on that right, but perhaps I am being pernickety?) sandwiched between a pretty cracking Hypnotised.
Let There Be Love from that period had us ‘coming’ “like an ocean” twice! Lol (Don’t mind if I do, Jim. Fucking Tsunami, I reckon, if you ever … erm … “came” near me like that! Lol – Noah would need the ark! And then some …😂😂😂😂)
Belfast Child? Did it work at that point, played like that? Hmmm, jury’s out. I liked the line change “peace is raging through the Emerald Isle” of the time. It still took a few more years to get there from that point – but it did get there in the end.
Back to Jim being the “blues crooner” during the medley of Roadhouse Blues and into Waterfront. I can’t be too dismissive of him for that. Given the choice between Jims Morrison and Kerr and which one has the more sex appeal for me – THERE IS ABSOLUTELY NO FUCKING CONTEST – sorry Mr Morrison. I appreciate the sex appeal you exuded, I do…but, you are not the Jim for me (though I am pretty sure I’d have had a hard time saying no to you had I ever found myself in your presence).
The crowd interaction, Jim talking to the punters…still extolling lovingly of Glasgow.
We then go into Love Song and as much as I am enjoying this gig, sleep is starting to take hold of me. I start to fall into a dwam and Love Song and it’s slight medley into Glory begin to elude me as I fall deeper in. I barely hear the beginnings of Alive And Kicking and am almost fully asleep by the time the song ends. The rapturous applause by the crowd is what rouses me back from my ever deepening dwam.
I am fully awake once more for the encore which begins with And The Band Played On. Everything performed from the Good News album gets a solid thumbs up from me.
And…knowing that we were into the encore and with it yet to make an appearance, I was dreading the inevitable appearance of Don’t You (Forget About Me). And…there she blows! Penultimate song of the night! Never as bad a thing to endure when you’re in amongst the crowd and you let yourself get caught up in the sing-a-long, nostalgia-trip-fest – but other than that, I derive very little enjoyment from it these days. God, I’d have LOVED the 5×5 Live Tour (and I bet they bloody LOVED having a tour that the song didn’t have to be part of since 1985!) – a whole tour in which you NEVER had to endure DYFAM – what a dream! I know! It sounds like I hate the song. I don’t! What I hate is how overplayed it is! What I hate is knowing I’ll have to hear it at every single Simple Minds gig I ever attend for all the rest of my days. What I hate is…pretending that I really enjoy hearing it at every damned gig and feeling implored to sing “la la las” for five fucking minutes while Jim takes a few minutes break from singing.
Final song is…the final song I ever heard being performed live… Sanctify Yourself. Again…upon reflection – I’d have LOVED 5×5 Live because with no DYFAM also comes no Alive And Kicking and no Sanctify Yourself. I’d have to double check it, but I am pretty sure these three songs have either been the final three songs or within the final five songs (in a slightly altered and reversed order) of the set at EVERY SM gig I’ve been to – and that’s 22 of them (23 if you count that I actually attended both shows at Copenhagen).
I’m sorry to say it, but I stopped listening. Tiredness was taking over and my patience was wearing thin so…I switched off.
BUT! I really enjoyed the gig, and apart from most likely skipping the final two tracks (if I had been there, I might have pissed off home a bit early, at least I could catch the 75 back home before everyone else needing it piled on 👍🏻👍🏻👍🏻), I’d definitely listen to it again. And…THE AMERICAN! THE AMERICAN was fab!
For MMM this week, enjoy the Good News from 1995!
A “new” recording from Art & Talk was dropped late on Monday night. A true bootleg, recorded from within the crowd. For a bootleg, the quality is absolutely AMAZING!
They open with Waterfront. Jim intros it with “this is Barrowland, this is Christmas, you’re Glasgow and this is Waterfront.” Later on in the song, Jim says “this song is about Glasgow. There’s something about Glasgow, and other cities like Glasgow. People say Glasgow gets you down but I believe in Glasgow things are gonna turn around and go UP”.
That vision. That faith he has in the city it just feels sssooo contagious and beautiful. Even though in latter years he’s talked about it being all monochrome and that he and Charlie wanted to get out – not so much because they hated Glasgow – nothing like it – but that there was just a big old world out there to see and they wanted to see it. It was Wanderlust. And Glasgow is definitely not monochrome any more.
The love he has for Glasgow is so palpable in this.
Then on to The American. “Tonight’s a special night. It’s the first night of this new venue. The best venue. And this song is called…The American.” LISTEN TO THAT CROWD GO MENTAL!
The real special treat? Hearing White Hot Day. As it started to play I was thinking “what is this? It must be something off Sparkle, right? Or is it? Perhaps a different start to East At Easter? Maybe a different start to Book Of Brilliant Things? No… what is it?” And then Mick’s keyboards and Charlie’s guitar riff kick in and wow! “IT’S WHITE HOT DAY! OH MY GOD!”
Just beautiful! And Jim sings with such passion! The energy is astounding! It’s 3am when I’m listening and I just want to fling myself out of bed and just dance and scream and sing at the top of my lungs. Lol
Track of the track, it just builds and builds.
Up On The Catwalk – Jim changing the words to say “Get out of Glasgow, go up to Brixton”. I love those little things.
The intros of the songs are just so lovely. Promised You A Miracle and then Someone Somewhere In Summertime. During PYAM, he says, “I spoke to some people today. People who traveled from London and Birmingham and Manchester. People who traveled from France and Belgium. And I asked them ‘why’d you come to Glasgow?’ Do you know what they said? They said they’d heard it was the best audience in the world. (Crowd cheers) I’ve told you that before but you don’t believe me. And you’re right not believe me because I’m biased.”
Someone Somewhere In Summertime intro “for this next one, you’re gonna have to use your imagination. It’s cold outside but this is called…”
The interaction Jim has with the crowd throughout this gig is just so amazing. Even 12 months prior to this he seemed to struggle to be this engaging with the crowd. You could see and sense him slowly getting more comfortable during the New Gold Dream tour but I think the festivals in Europe during the spring and summer of 1983 really helped out with that. At least in part. A culmination of New Gold Dream being so well received, the band being so tight and on it, Mel joining – I think he gave Jim an added backbone of support. You can really feel that point Jim made when talking of Mel when he first joined the band. He said of him “with Mel behind me I feel 10 feet tall.” You can hear it!
Speaking of New Gold Dream – this version of the song is OUT OF THIS WORLD!
Finally, the fun of Love Song. Dedicating it to all the people who traveled to see them at Barras, and for all the local Glaswegians. And I loved the alternating line of “Scotland’s a boyfriend.”
An amazing, wonderful gig. I’ll stop waxing lyrical and let you enjoy it for yourself.
Thanks to Art & Talk for the upload – he promises a second night for us shortly…
P.S. Jim – I adore you, you beautiful man! Thank you for being the most amazing frontman ever! ❤️❤️
I started listening to this one last night. And even compared to Aberdeen – which they played the following night – WOW! Jesus! This gig is just BRAW! Mel is just playing like a demon!
I had been lamenting some, over what was Mike’s last gig with them a few weeks prior (Nov. 7th in Toronto), having listened to it a short while ago…but then you hear Mel again and it all makes sense. I can very much hear from this gig why Jim would say stuff like “with Mel behind me, I feel 10 feet tall”.
The band are tight, Jim is just so impassioned and “up”! I think the version of I Travel on this bootleg is the best (in terms of band performance and Jim’s vocal delivery – rather than of sound quality) I’ve ever heard. Certainly of the ones I’ve heard from the New Gold Dream tour of ‘82/‘83 at least. A real braw version of Celebrate too.
But the thing that really got hold of me most was Mel’s drumming. I mean, yes, in some ways. esp compared to Mike or Brian, Mel is quite a showman in terms of licks and fills – but it is those very licks and fills that are making this gig sound so frigging amazing! And I can hear from that…from the attitude and bombast and level of musicianship he brought in at that time why Jim’s confidence seemed to soar as a consequence. I don’t think it’s any accident that connection between Mel’s coming into the band full time, his playing and Jim’s growing level of confidence and strengthening connection with the crowd.
I listened up to the end of Colours Fly And Catherine Wheel and then stopped. I wanted to savour the rest for tonight – as tempted as I was to have Hunter And The Hunted play. I was starting to drift off into sleep and I didn’t want to miss parts of the gig.
It is a strange kind of thing to be laying in bed, listening to a gig that’s nearly 40 years old and just quietly cheering and silently mouthing “this is fucking AWESOME! Listen to them! Oh, Jim! You are just so frigging HOT AF! God, I adore you!” And then I stop listening and lay there waiting for sleep to envelop me, chanting “please let me dream of him, please let me dream of him!”
I rarely ever do. And if I do…it’s never of me in the crowd at a gig in 1982. I wish I could have lucid dreams! Or actually could control or pilot what I dream about! I’d be in 1982 – or even 1981 – every night of the week! Lol. Hanging out backstage, being a wallflower, praying Jim would take even a modicum of notice of me, only to see him make his escape with some Amazonian brunette on his arm and wish for all the world that I was taller, slimmer and much more beautiful than I am.
Anyway…”to be or not to be” – the rest of the gig awaits the night.
I started listening to a new bootleg last night (new to me, at least!) of Simple Minds in Melbourne on the New Gold Dream tour of 1982. It’s their second night in Melbourne (having performed the previous night at the Latrobe University campus) and their fourth night on the Australian leg of the tour.
It seemed to start out well enough. They started (or at least the bootleg started) out with Love Song. They then went into Colours Fly. Jim was trying to keep his voice real low but would give up and would end up screeching. He sounded a bit off and was delivering bum notes here and there.
Given the subject matter of his latest post, I feel a bit pernickety for bringing up his vocal performance – esp. from a gig that’s nearly 40 years old. But…just humour me. I wasn’t around for these things the first time and even though it’s a retrospective critique, these gigs are heard with fresh ears – my fresh ears! I never really took a HUGE amount of interest in bootlegs, (just as a side note, WHY ARE bootlegs called “bootlegs”? I must look that up!) I could never understand why anyone bothered with them because they invariably sounded shit. Either the recording was shit, or the band was crap…or both.
Perhaps it is purely through the now almost completely dead live music scene do I find myself now exploring these recordings more? A combination of that, and of “newer” unearthed gigs being shared on YouTube for our collective listening pleasure that has resulted in this.
Anyways, back to the gig. Jim intros the next song in the usual way he did then “from New Gold Dream, this is called Hunter And The Hunted” – even his intro sounded lacklustre. But he had a propensity of sounding like that back then – the only time his nerves and the stage fright were detectable and audible was when he spoke.
As I listened intently, I couldn’t tell whether he was delivering it more impassioned than usual, or more despondently. His vocal was again off kilter. Not in a way it normally would be! You know, he’s diving around that stage like a whirling dervish. Taking lunges and leaps and skulking about like a panther. Somehow both balletic and yet acrobatic at the same time. More fluid in his moves than the robotic, stilted jerky movements he’d make a couple of years previous. He was at that point very athletic physically in his stage performance. Yet despite that, his vocal performance rarely faltered. Yes, he’d get breathless at times but what came across most was the passion in his performance. He rarely ever seemed to give a bum note.
It seemed about half-way through the song that…he just wasn’t feeling it. Or at least I detected more pain in his voice than passion. He seemed to not really be “in the moment”. It was feeling like he didn’t want to be there. Or at least that, it was getting hard to be there and be “on”. He was still trying to deliver impassioned performance. “Only with you life moves so fucking fast!”
At the end of the song and after the “thank you” he says rather forlorn “everything’s so fast”. It sounded so down! I winced when he said it and was just thinking “aaawww, Jim! What was happening to you that night, beautiful man?”
The gig was starting to sound flat. I couldn’t tell whether it was being projected through Jim, or whether the band were starting to sound flat and then that was having a knock-on effect on Jim, vice versa, or if it was just what I was feeling listening to it.
It’s hard to get a full idea of things. Without the visuals to get any visual indicators of how he was feeling it is all down to interpreting how he was feeling and his performance via voice alone. The crowd are still very responsive. They seem receptive enough.
To me, compared to the other gigs I’ve listened to lately – something just doesn’t feel right. Maybe he was just cold? Lol (I’m being flippant.)
As he intros Someone Somewhere In Summertime he says “will soon be warm here”. Sleep then got the better of me. Me drifting off while laying on my left side, looking at my wall of Kerrs inwardly thinking, “What was up, Jim? What was going on with you that night? Just…not feeling it? Geez, you’re beautiful…” and then …. *lights out*
I’m not sure I want to listen to the rest. But as an object in full retrospective critique, I guess it would be prudent to do so.
Let me know what you guys think. Is it just me? (Most likely. Lol. It usually always is “just me”…)
Thanks again to Stuart Greaves for uploading the audio.
Yesterday morning when I opened up Facebook to catch up with what had been posted, etc, during the night while I had been sleeping, I looked at my notifications to see I’d been tagged in a post on one of the SM groups.
The tag linked to what is below. A new upload from Art & Talk of a Simple Minds gig. I immediately recognised the ident for the video. I then looked at the details of the gig. The date: November 7th, 1982 – the New Gold Dream tour. The city, Toronto. It made perfect sense why A&T chose it. Jim was standing side profile in front of a Canadian flag in the image I chose as the silhouette for my piece.
Then I looked at the rest of the detail, and Art & Talk, bless him, had a little blurb about me and my blog. Totally unexpected and incredibly humbling.
I may have had visits to my blog yesterday as a result. If you’re reading this right now as a new visitor due to Art & Talk’s kind words, thank you for visiting and checking it out. My blog can frequently have a personal ring to it, esp. over the past 10 months of this pandemic. It’s been harder to keep the site fresh and relevant in the past 12 months, but I am working on it. And hopefully new material being released by the band will help with that.
In the meantime, things like A&T’s uploads of gigs, be they audience bootlegs, audio from the soundboard, or radio recordings, the work is appreciated. Esp. by us Johnny-come-lately types who weren’t there to experience the gigs the first time around.
I hope those of you who are new here find something you like with the blog and that you may visit again, or even subscribe to the feed.
And of the gig itself? Well, it feels a bit special in that it’s Mike Ogletree’s last gig on the drums. I do understand why the guys ended up going with Mel in the end, but Mike brought a different deftness with him. All the drummers Simple Minds have worked with have their left their own stamp and indelible marks to the sound of Simple Minds. I was guilty of underestimating and undervaluing Mike for some time, but actually, he has been behind the kit at some of my favourite ever gigs and I have grown to appreciate his contribution so much.
Last night I was extremely tired and only lasted until about halfway through Hunter And The Hunted (there’s some irony! Lol) before Mr Sandman finally took hold of me. I came around some time later to silence. The gig had ended and I had heard none of the rest of it.
The difference in performance of 70 Cities was very noticeable. From how it was in March of that year compared to this one in November was marked. It was a fab version at this gig. Jim’s vocal especially. It really isn’t an easy one to do. There is so much overlapping of vocals on the album version. It’s not easy to reproduce that live, but he nailed it here. Fabulous!
Despite falling asleep so quickly last night, I know I’ll enjoy this gig immensely. I hope you guys do too.
I’d have loved to have seen them in Canada in 2018 but things just weren’t meant to be. And it’s not as if I hadn’t had plenty of opportunity to see them here in the UK and elsewhere in Europe during 2018.
Thanks Art & Talk for the big plug and for all the Simple Minds content on your YT channel. The hard work has never gone unappreciated.
UPDATE (written Thursday):
I listened to the rest of it on Wednesday night. The sound quality of the recording does waver a bit. You can hear the crowd and so e raised voices here and there but it isn’t too disruptive. Canadian audiences seem very respectful, unlike UK crowds who always seem to be waffling over the top.
I really enjoyed the rest of the show. The standout for me was King Is White which was almost as vitriolic as the performance in Sydney but Jim managed to keep some control in.
I don’t whether there was some kind of disturbance going on in the crowd when the song begins begins because Jim seems to say “What’s your problem? There is no problem.” I don’t know whether he is actually addressing someone in the crowd or WTH? If there was something going on in the crowd, it didn’t seem to turn into anything.
I also loved the versions of Sweat In Bullet and Room. The crowd reaction to Sweat In Bullet is awesome. And I am still loving that version of 70 Cities.
Surprisingly on the opening leg of the tour, New Gold Dream wasn’t in the set which seems a really glaring omission in retrospect.
Overall though, a fabulous gig from the opening leg of the NGD tour. One to treasure as Mike O’s final one.
It’s a daily ritual to check whether “new” content under the banner of “Simple Minds” has been uploaded to YouTube. And I try to remember to check every morning. Sometimes (not very often, granted!) it slips my mind but I usually check at least once every day.
This morning I was on top of it pretty early and went to YT for a quick gander and this immediately caught my eye. Initially because I love seeing those photos of Jim in that white jaiket. For a young man of 20, he just looks “the biz”, you know?! He’s just meant to be right where he is at that moment the photo was taken. Right place, right time, right look, right man.
Then I see that it’s Fforde Grene and I think “Oh, it’ll sound shit! A tape of a tape. Copy of a copy of a copy, handed down over the past 42 years. Hmmm – but we’ll see. Let’s give it a quick listen.”
First thing that hits me is…I can hear what Jim’s singing during the original version of Scar! “Why did you change the lyrics, Jim?” Questions I eternally…INTERNALLY ask. I wish I could go back and ask him 40 years ago, instead of wanting to ask him now and expecting or hoping he’ll remember something from that far back in time and give an erudite answer.
I arrive back from my dwam to see if the sound of the crowd could be detected. I’m listening through my iPad Mini, just out through its speaker but I can’t really detect any sound of the crowd.
Then Here Comes The Fool comes in and I can tell almost immediately that it isn’t a version I’ve heard before. If this IS genuinely a recording from Fforde Grene, then it’s the best damn version I’ve heard.
I go to Dream Giver to check the date the gig is said to have been recorded from and yep…they played Fforde Grene that night alright! And not only that but it is their debut gig on English soil and one of a few dates before they hit the road supporting Magazine on the Secondhand Daylight Tour.
I got half way through “Fool” before stopping to write this out and post the YT upload. I’ll get back to listening to the rest of the gig this afternoon.
I’m just so happy to hear what is sounding like from the few minutes I heard, a pretty great copy of a really fab gig.
I wish TARDIS’s were real! But seeing as they’re not, this is the next best thing. To all those who put their heads above the parapet and risked being banned from venues, etc, to record these gigs – THANK YOU!
It’s a proper old style bootleg – but a good quality one – from in the crowd rather than the soundboard.
And you get to hear said crowd go mental when Jim intros certain songs, or hear how raucous the applause is when certain songs end. Most of the setlist sparks rapturous applause and reactions, to be fair.
It’s great to hear a recording of 70 Cities As Love Brings The Fall from that time. It was on the setlist through the latter part of 1982 – from the summer onwards, but I don’t recall hearing too many recordings of it.
I started listening to it last night but did my usual and started to drift off during King Is White And In The Crowd and came round during Celebrate (the mention of “she rag doll” brought me round, I’m assuming – me obviously thinking “Hey, I’m not with Jim, being his rag doll. Oh, bugger!” Lol).
Also lovely to hear an early appearance of Someone Somewhere (In Summertime), introed by Jim under its WIP title of “Summer Song”. The song was all but complete. Not sure if the repeating of the first verse for the second verse was because at that point Jim hadn’t written the second verse, or that he just made the faux pas he sometimes did (even once fully written and previously performing both different verses) of just mistakenly repeating the first verse.
The gig was just a few days after Jim’s 23rd birthday, and his voice was just sounding sooo amazing. I absolutely ADORE the way he was sounding at that point in time. There was a real richness to his tone at that point. It’s probably why I fell asleep in all honesty – just his gorgeous voice serenading me to sleep.
I will pick it up from King Is White this evening and listen to the rest of the gig.
And I just noticed the rest of the setlist. An encore of Promised You A Miracle – no surprise there, but also one for 70 Cities?! Wow! I mean, it’s a real vocal challenge for Jim at the START of the gig, let alone at the END of it! Bloody hell!
I honestly can’t imagine what I would have been like being able to see them (him!) then. I think anyone around me would have run the risk of slipping on my drool. Lol – I think I need to find an appropriate gif…
Anyway! Before I end up drowning in a pool of my own drool thinking about Jim at this gig, I better go!
We have a new bit of lovely first class bootleg audio from Art & Talk to enjoy this weekend. This one from the next leg of the Sons And Fascination tour on Feb 26th, 1982 in Arnhem, The Netherlands.
I’ve not listened to it yet myself, but will be later tonight. Cannae wait!