Minds Music Monday – Chelsea Girl OGWT

Early days of 2022. Early days of Simple Minds. One of the very first Kerr/Burchill compositions. The bane of my amateur drumming life. My hi hat playing sucks ass. I have no rhythm. I found Glittering Prize easier to play along to than this. I doff my cap to you, Mr McGee.

I’m now under the impression that Jim’s haircut at this point was a stroke of genius – even if it did end up in later years having him likened to Edmund Blackadder in the first series of the show. Lol. The proof of its genius is that we are here some 43 years later still discussing it. Kudos, Kerrmeister. Kudos!

Got to admire that gorgeous lullaby keywork from Mick on this as well. And Charlie with full-on rock two chord riff.

I always forget to praise Derek. Sorry, Dan. Lol. I think possibly because you are actually the most ubiquitous of all.

Happy New Year, Minds Music Monday-ers.

Review: Themes For Great Cities – A New History of Simple Minds by Graeme Thomson

“This is a fast story”, author Graeme Thomson says at the beginning of the book and keeps reminding us a few more times further in. 

It’s a story of the formative years of two pals from Toryglen, their school chum down the road, the keyboard player from the Chinese restaurant and the bass player that was meant to be a guitarist. 

The focus is as one would hope – primarily on the music and the band itself. The meeting of five incredibly creative and gifted men and how those quite different young men come together to produce the alchemy that results in the early music of Simple Minds. We learn most about their creative and working lives. There is little about their individual backgrounds, only vaugaries that are relevant to the telling of the overall story. 

Although the story is heavily focused on Jim Kerr, Charlie Burchill, Mick MacNeil, Derek Forbes and Brian McGee, we also hear from others deeply involved in the story (if not necessarily within the band itself or the creation of the music). Jaine and David Henderson, Bruce Findlay, John Leckie, Simon Draper, Steve Hillage and Pete Walsh get mentioned and/or spoken to at length. 

Graeme Thomson has been meticulous without dragging out the pace of the story. As he continues to reiterate through the book it is a fast story. Like the five men that feature most strongly within the story, there is not an ounce of fat on it. Nothing lags. Nothing is protracted. Succinct, yet never lacking in detail. If I had got around to writing a book about the band I love, then this is EXACTLY the book I hope I’d have written. 

Along with content from interviews conducted with the primary band members, there is also input in the form of small “bridge” chapters from Bobby Gillespie, James Dean Bradfield and Ian Cook. There is also a dedicated “Q and A” interview chapter with art designer Malcolm Garrett. 

Some never-before-seen (even by me!!) photos are contained within the two sections of photographic content within the book. A number of wonderful photos by Virginia Turbett are within. Rare gems from John Leckie and Carole Moss can also be found within. 

There are things that I have questioned or pondered within my time as a Simple Minds fan that are discussed in the book. For instance, was the Life In A Day album already too “old” by the time it was released? Was Jim Kerr’s pudding bowl haircut a work of genius? Is Real To Real Cacophony one of the best albums they ever made? Is there anything that you cannot like about Empires And Dance? Why didn’t Grace Jones ever record a Simple Minds song? (Love Song gets singled out as the prime pondering here.) Can I ever stop my mind from wandering off to the object of my sexual desire when discussing Jim Kerr’s “Archimedes moment”? I may be the only person who grapples with that notion to be honest, but I am happy to keep on pondering it. “Eureka!”

If you want the WHOLE story of Simple Minds then this isn’t the book you want. But actually it IS the book you want. It is exactly the book you want! Because without this beginning, then there would be no “whole story”. This book is about the building blocks. That sandpit on the Toryglen building site where Jim Kerr and Charlie Burchill met as eight year old boys is such a fantastic serendipitous metaphor for the whole story of Simple Minds. Getting a gang of workers together. Gathering the materials required. Assembling the parts. Laying the foundations and by album number six, having a cathedral to wow yourself (and others) with. 

For the ardent Simple Minds fan, the book actually contains few new revelations. I don’t want that to be a disappointment to the ardent fan because Thomson tells the story so well you will find it utterly enthralling all the same. The retelling is compelling. 

For anyone who is newer to the Simple Minds fold, or came to Simple Minds from the point of Once Upon A Time and hasn’t really explored their back catalogue extensively, I implore you to read this book. 

For the diehards – YOU NEED THIS BOOK! It is a fast and exhilarating ride. The book jumps off around the time of the recording of Once Upon A Time. That’s a different tale to tell then. 

I honestly have not enjoyed a book like this since I read The Complete David Bowie by Nicholas Pegg. With Pegg’s book it was the telling of the Hunky Dory/Ziggy Stardust/Aladdin Sane years of the Bowie story that struck a chord most. The telling of Bowie’s meeting with Tony Defries and the MainMan years in particular. It made me “want in”. I wanted to be part of it. It fed the hunger of the dream to be in “the thick of it”. To be right in the cogs of that working machine. 

I am feeling the same with how Graeme Thomson tells the Simple Minds story here. He takes you right in. I can feel myself in the recording studio. At Rockfield, walking about those barns and inside the studio, at the mixing desk. Watching John Leckie orchestrate these young guys as they get to grips with how to write songs and produce music that confounds and mesmerises, enthrals and bewilders. 

To experience the “coming of age” of these young men, from the evolution of Jim Kerr as songwriter and stage performer, to Mick MacNeil finding his feet as a musical architect and composer, working alongside Charlie Burchill, it makes you appreciate more than ever what actual musical juggernauts both Burchill and MacNeil are. Also just what a bedrock the rhythm section of McGee and Forbes were together. 

A tale told with utter distinction. I genuinely have not wanted to put this book down for a single moment since it arrived. Hide yourself away. Devour it at will. Gorge upon it! You won’t be disappointed. It is a feast. Then play those first six albums again with new ears and a newfound appreciation of the astonishing band Simple Minds are. 

I have two copies of the book to give away. If you would like to win yourself a copy of “Themes For Great Cities: A New History of Simple Minds” by Graeme Thomson, simply answer the following question: In the book Jim Kerr tells of his “Archimedes moment” when writing the lyrics for which song? (Hint – search this website to find the answer.) Leave your answer in the comments section of this blog post. You’ll find the comments section at the bottom of the post titled “leave a comment” (you may have to scroll past the existing comments to leave your own unique comment. Fresh comments will provide me with details to contact the winners). If you have trouble with the comments section, you can also enter via the “contact me” form found HERE. All successful entries will go into the draw to win one of two copies of the book. The competition closes on Sunday, January 23rd, 2022 at 23.59 GMT. Winners will be notified shortly after. The competition is open worldwide. Good luck!

Merry Christmas From Little Brown Books!

This arrived in the post this morning. I am literally like a kid at Christmas!!! So very excited to be reviewing the book for the blog. The review will be up on the blog VERY soon. As will be details of a giveaway of copies of the book!

Exciting times. Keep an eye out for the review and more details on the giveaway shortly.

Merry Christmas!

Minds Music Monday – The ‘Cure All’?

Differing tastes. Songs that you don’t initially warm to and songs you love from the get go. This is the theme for MMM this week. 

I was pondering what I was going to write about this week – thinking that I more often than not choose earlier tracks. It’s my bias coming to the fore there really. If you gave me two albums to listen to – depending on the albums, I would most likely choose the earlier album. 

Let’s say those two albums laid down in front of me are Life In A Day or Big Music. Between the two of them, and the way I am feeling today (in particular) – I’d choose Big Music.

But the thing that really started the thought of this post was what song on Big Music do people tend to overlook or seem to express a disliking for? That seems to be Kill Or Cure. I love Kill Or Cure! I think it’s really sexy. I mean those lines in the chorus – especially the “you can spread yourself all over me” line – bloody hell! Don’t I wish! I honestly don’t get why it’s dismissed so much. How can you not hear how bloody SEXY it is?! I genuinely think it is one of the best tracks on Big Music. And that album – especially the deluxe version, with the addition of Liaison and Bittersweet makes Big Music quite the sensual experience.

But the reception of Kill Or Cure had me thinking about Simple Minds songs that I don’t warm to much. And in popped a link in my head. The word “cure”. One of the songs in the SM canon I didn’t warm to initially was No Cure. No Cure being a track on Life In A Day. 

The Life In A Day album I can listen to sure enough. But as has been discussed over the years, the things I enjoy more about the early Simple Minds era – especially the very early period between 1978-79 is listening to them live. The Thing I tend to wish for most is being able to see them with Magazine. Being able to see some gigs on that Secondhand Daylight tour – just as SM released Life In A Day. And frankly, I wouldn’t be bugging Jim for them to play Chelsea Girl. I get his frustration. It’s a shame he doesn’t get that same kind of frustration these days for feeling compelled to perform Don’t You (Forget About Me). 

Ah, the joys of seeing the 5×5 Live tour of 2012. All you lucky sods that bloody went!

No Cure was a bugbear for ages. And this is why I still use shuffle mode and have an absolute “kit and kaboodle” playlist of every single Simple Minds song…because on the odd occasion, the love grows. And that’s what happened with No Cure. Initially I couldn’t stand the song and would skip it. Then after a few times in a dwam of semi-sleep and it playing while listening to the “everything” playlist during the night – the song really grew on me. 

So, the link is the “Cure” – and the expanse of time in between – from early Minds to modern Minds and the songs that divide and unite. 

Perhaps without No Cure there’d be no Cocteau Twins? And for Simple Minds, without Cocteau Twins, there might not have been No Cure. I think compared to the demo that was done for Cocteau Twins you can hear on the “Early Years” CD, No Cure is more mature and more polished. I used to think No Cure sounded a bit too Boomtown Rats for me – but having just listened to Cocteau Twins again….that doesn’t really sound any less so. 

At the end of the day, I’ve grown to love No Cure and I loved Kill Or Cure from the start. 

And well…we need a “cure” this week, don’t we? A cure from the hangovers of Halloween. A cure from the fireworks of Bonfire night. And, most importantly – we need a cure for the world climate crisis. Another week of COP26 here in Glasgow. Let’s hope the leaders of the world can make the big and hard changes it is going to take to save this planet – if we think it’s worth bloody saving. 

I have no children of my own. But just because I am not a parent, it doesn’t mean I don’t give two shits about the future of the world and how future generations will live. In fact, the growing decline of the world and its growing population were strong factors in why I chose not to become a parent. It was the worry of what kind of world that I would bring lives into that made me reconsider the very fleeting notion I had of becoming a parent. Biggest factor of all was I’ve never felt very capable of looking after myself let alone be responsible for another or other human beings. 

Take humanity out of the equation completely – and I care enough for the animals we share this planet with not to be hellbent on destroying it. If we destroy this planet then that is sinister. It’s a monstrous act! We’ll never know. I almost wish the planet will be left to the animals. That humanity just fucks itself up and doesn’t take any other innocent party along with it.

Perhaps “the meek” – aka, all the rest of the animal kingdom – SHALL indeed inherit the earth. They deserve it much more than we do, in my humble opinion. 

The ultimate abolition of the human race – perhaps that is just the cure this world needs? 

(Shit. That went a bit dark and heavy, eh? Sorry about that!)

Anyway…either it be a Kill Or Cure, or No Cure at all. These songs are bloody braw!

Virgins Boys – Virgin Photos – Part Two

After the post about Virginia’s photos of the day Simple Minds signed to Virgin Records in March, 1981…today THESE babies arrived!

Obviously my favourites are going to be the ones of Jim. In one he is poised to sign (or has just signed) the contract. He has those pursed lips there – the excited sign of concentration.

The other I love is him with Ronnie Gurr. He’s looking at Ronnie all smitten, like. Lol

Ronnie left comments on my sharing of these photos on Facebook. It seems Ronnie was still working for Arista at the time, but soon moved over to Virgin also.

“A great day. I was still an Arista boy but took the afternoon off and soon followed my pals by becoming a Virgin a few months later.” is what he had said to me.

And the rest, as they say, is history.

Virgin Boys With Warm Fizz

I’m a lucky, lucky girl to work for my Boss Lady (as I affectionately call her) – Virginia Turbett, because I get to enjoy some perks. One being viewing wonderful photos before many others get to see them.

Today I was asked to post these to Instagram with the following caption:

“Due to popular demand – here are a couple of never printed and never scanned images of Simple Minds on the day in March 1981 when they signed to Virgin. See the gorgeous, young laddies from Scotland sup warm champagne out of plastic beakers in the artfully ‘junk shop’ styled office of Virgin MD Simon Draper. Also there that day were Virgin A&R Legends and Minds Super-fans – Ross Stapleton and Ronnie Gurr, both of whom have championed the band from their earliest gigs to this day.”

Gorgeous young laddies alright! Lord knows I have my preference. “WHO could it be?” You’re all wondering….well…. his first name rhymes with a slang term for a certain body part! 😱😉 That’ll keep you lot guessing…and if you’re brave enough – comment your answers and if someone gets it right, I’ll send you a print – of my artwork…not of Virginia’s. Sorry – I have no authority to do that!

Anyway…geez, what a momentous day that Virgin signing was, eh?

A Voice For Radio? (If Not A Face For It!)

UPDATE: Direct links now as the “listen again” option has expired on the Pulse 98.4 website. I thought I’d just stick this post to the top of the blog for the next few days, as this will definitely be a highlight of 2021 for me – having Ronnie ask me to do this and be on the show. It was a fabulous experience.

It was ssooo much fun last night being on Ronnie McGhie’s radio show, celebrating all that is Simple Minds and the 40th Anniversary of Sons And Fascination/Sister Feelings Call. Even if I did have a massive corpsing fluff towards the end of it.

Seems like we’ll do it all again for next year and New Gold Dream’s anniversary!

If you missed it last night, you can listen again by clicking on the audio clips below – the show is broken up into two separate one hour parts.

Last night Ronnie also caught up with Empires That Dance’s Andy Inniss to talk about their new release – a fabulous reinterpretation of Love Song and you’ll get the hear the track as well – all in the second hour of the show.

Minds Music Sunday – Sweat In Bullet – SAF/SFC 40th Anniversary Celebration – ANNIVERSARY DAY!

The allure of repetition manifests itself most strongly within all of the Sons And Fascination/Sister Feelings Call’s tracks in Sweat In Bullet. Three solid blocks of repetitive text from Jim Kerr, with a vocal performance to match. 

This is the most Burroughs-esque of all of Jim’s writing from the period. If you are not familiar with William Burroughs’ writing, let me explain. In much of his writing, Burroughs used the “cut-up technique” in which lines of existing, linear text are cut up and rearranged to create new lines of (linear?) text. It’s also a style of writing that David Bowie experimented with in his songwriting quite often during the early to mid 1970s. 

I hear a lot of that influence falling heavily upon Jim’s songwriting in the early years. In fact it couldn’t fail but do so, given the way Jim would gather his ideas – jotting down lines of text…words and phrases that caught his attention or piqued his interest at any given moment. That writing style couldn’t help but mould into a more Burroughs-esque form of songwriting. 

By all accounts, even from his own accounts, Jim’s notebook was never far away from him, and he was always writing things down.

The first words in the song aren’t even actual proper words – just Jim playing around with the sound of words as you would expect him to do.

Jim Kerr interviewed by Lynn Hanna for NME, published December 4th, 1982

Among the quote above, the one thing that stands out for me is him saying he “feels” the words rather than “thinks” them. Well, not even the words are “felt”. But obviously his lyrics (at that point) come to him very organically and via the visceral rather than the intellectual.

I think we as fans – well, certainly me personally – give his lyrics much more thought and significance than he ever sounds like he did (or does). Perhaps because (for him) you need a level of detachment when you create? By the same token, his writing is obviously also very personal because of the process of it being “felt rather than thought”. So the detachment has to come once he’s written the song. Like watching fledglings leave the nest, or children leaving home to start off on their life’s adventure. 

Then we are free to interpret them and give them as much or as little significance as we like. And perhaps after some time of reflection, perhaps even Jim himself sees things and interprets things in his words that even HE didn’t see at the time of writing? Am I the only person to find this absolutely fascinating?

Jim Kerr interviewed by Lynn Hanna for NME, published December 4th, 1982

Upon reflection, having him talk about aspects of his writing style, I don’t think there is much of a Burroughs style to his writing. Jim’s is more organic than that.

I’d like to ask Jim his views on the Burroughs “Cut-up” technique – but the time for questions seems to have long gone by. Stuck in history’s “halcyon days”. 

Anyway, what does one do to a song to remix it and give it a new flavour? ADD MORE COWBELL! Lol. So…what exactly happened at the mixing desk there with Pete Walsh at the helm for the Sweat In Bullet extended mix? Something akin to this, perhaps? Click HERE TO VIEW

And with the official video, the cowbell features prominently as Kenny gives it a good bash (and the cowbell! Boom boom!) by the shrubs. 

The Sweat In Bullet video is a bit more of a stock music video of the time. It doesn’t have the storyboard that its “sister” video, Love Song has, that’s for sure! But I think that makes it more sophisticated. The guys all look amazing in it – although I guess it could be argued that Jim lets the side down with his dodgy eye. And…how frigging skinny is he?! Oh my word!

Back to the song itself. It was one of the first of the songs written in 1981 in Edinburgh and was demoed at CaVa Studios on Valentine’s Day. Originally titled Twenty One – which I find odd as there is nothing within the lyrics of the song to denote why it would be called that. Subsequently though, it helped me to decipher a line Jim sings in Life In Oils, as I am almost certain now Jim sings the words “twenty one” before he gets to the “chorus” in Life In Oils. Which then makes me think Life In Oils should have been called Twenty One (ah, to be able to go back in time and quiz Jim on such things). Click HERE for demo version.

Shortly after its demo recording, it became a main feature in the setlist, long before the album and its single release. Its debut performance was at Tiffany’s in Glasgow on March 1st, 1981 (click HERE to listen) and it moved on into the New Gold Dream tour as well. And there its time on the setlist ended for 20 years until it reappeared on the Alive and Kicking tour of 2003. Latterly it appeared on the 5×5 Live tour 0f 2012 – so come the recommencing of Simple Minds touring in 2022, it will have been another 10 years since the song has been seen on the setlist.

So, what exactly *is* Sweat In Bullet about? Given that the song starts as a seemingly random set of words, is there any story behind the song? Well, it’s obviously a song about ambition – a topic that features heavily in Jim’s lyrics at the time. But there’s more going on than that. It seems to be ambition from the female perspective. 

A chance encounter – “you’ll never meet again”.

Suspicion from both sides, perhaps as rivalry – “eyes small”.

The matriarchy rules – “society can gain”

Like ships in the night  – “then say goodbye”

Mission. Motion.

It seems to get a bit heated at one point “rolling and tumbling, ambition in motion” – it always sounds like a sexual dalliance has taken place – “rolling and tumbling, she’s sweating bullets”. 

A sexual dalliance and a power struggle? “Grow in size. Grow in fame. Grow more. Take more. Uncontrollable. Unworkable.”

It almost sounds like espionage. Two spies meeting. Female and male. Secret encounters and sexual espionage. But…who wins? Who outmanoeuvred who?

The two prevailing subject themes of the time in Jim’s songwriting join forces here and meet in the chorus – “ambition in motion”. Movement. Travel. Aims. Goals. The fear of the still and the stagnant and the bland. But conversely, he needs that stillness and monotony to create.

Matched with those lyrics is just…the funk of it! Derek Forbes’s bass is NASTY (as is GOOD), add Mick’s keyboard hook and Charlie’s guitar licks and that cowbell and – what a track!

This is a favourite live version of mine.

And so here we are – 40 years after its release on September 12th, 1981 – having gone through every track on the albums, one by one…I am left completely in awe of what Brian, Mick, Derek, Charlie and Jim achieved with these albums. Both albums are a sonic masterpiece in my eyes (and ears). I hope the posts I have generated about all the tracks on the albums have  truly reflected that feeling. 

I have drawn in content for my Sons/Sister posts from many sources over the six months, from the music magazines that the quotes from Jim have been sourced from – Melody Maker, Sounds, New Musical Express, Record Mirror, New Sounds New Styles, Smash Hits, The Face and Roadrunner magazines – YouTube for interviews, the use of photos by Virginia Turbett, as well as Malcolm Garrett – who not only allowed me to share certain artwork images but also provided amazing insight into some of the artwork used for the releases (the cover of Sweat In Bullet a case in point – you can read about that artwork HERE), thanks also to Jaine and David Henderson for help with what ended up being the biggest and wordiest post of them all for Love Song, but biggest debt of gratitude HAS to go to Simon Cornwell and his AMAZING Dream Giver Redux website at: simpleminds.org

Without Simon’s website, none of this would ever have come to fruition or be the celebration of the albums it has been. I put a lot of work into my blog but it pales into insignificance compared to what Simon has put into Dream Giver Redux. It literally IS the Simple Minds “Bible”.

I also want to thank Gordon Machray whose support and unflinching loyalty to the band is something to be revered. If I dare bring up the whole “real fan” business again and give it the creedence Jim was trying to give it – well, there’s your real fan right there! I’m not sure I actually know anyone else who is as impassioned as G Man (as he has been affectionately called by me for some years now). Gordon’s support of me is greatly appreciated. 

Lastly, to all of you who have taken the time to read these posts over the past six months, thank you!

Minds Music Monday – Careful In Career – SAF/SFC 40th Anniversary Celebration

The first thing I love about this song is…the two keyboard notes that intro it – sitting on top of another single note. Then the subtle building of the tempo with the kick drum beats. Then the snare comes in with the bass guitar quickly following. Then there’s Charlie Burchill…wailing guitar maestro. 

Then…the pièce de résistance … Jim Kerr and that incredibly nuanced vocal performance of his. The way he just … elongates the lyrics and adds another layer of depth to them as a result. I find it almost chilling but sonically delicious.

It was one of the earlier songs written for the Sons/Sister albums right at the beginning of 1981. It was recorded as a demo (listen above) and had the working title of “Check Out”.

After the demo recording in February, it quickly got put on the setlist for a live performance that was captured at Tiffany’s in Glasgow on March 1st, 1981 (listen HERE). The one and only time that the song was ever performed live. Why it never made any kind of return to the setlist for 2012’s 5×5 Live tour remains completely perplexing to me. I guess it was simply the case that with a tracklisting as extensive as there is from the Sons And Fascination/Sister Feelings Call albums – something had to miss the cut. I think it would have been a perfect fit for Jim’s voice now and I’d have loved to have heard him do those long, protracted vocalisations of the words. To quote the song, “It’s a shame.”

At the demo stage the lyrics weren’t much more than the repetition of the words “careful”, “career” and  “take care”, with some strange sounding whoops and hollers and unearthly drawn out calls of “walk”. Still wonderfully atmospheric and definitely worth a listen, if for nothing else than to appreciate just what the song progressed into. 

I’m including an interview with Jim in this post. One he did for Radio One with Richard Skinner (not Kid Jensen as the wording at the end of the clip suggests) – almost 40 years to the day, in fact. Jim mentions that they’ll be playing the Futurama gig the following night so that dates the interview as September 5th, 1981.

In it, Jim talks about the “trance” musical theme that the Sons/Sister albums seem to end up developing over their recording. No stronger example of this than a track like Careful In Career.

I think the thing that astounds me is when Skinner says to Jim “I’m surprised at your longevity.” The band had been going less than four years by this point. FOUR YEARS! And Richard Skinner is talking about being SURPRISED at the band’s longevity?! Well, here we are, 40 years to the day still talking about what a phenomenal body of work the Sons And Fascination/Sister Feelings Call albums are. Not only that but also that there is new music from Simple Minds in the bag and set to be released some time in the near future! Now THERE’S longevity for you, Richard Skinner!

Richard Skinner sounds like all he takes from the albums is darkness and gloom and a Joy Division-esque “dystopia”. But there is rarely a track like that on Sons/Sister for me. I think it really is only the end tracks on Sister Feelings Call – League Of Nations and Careful In Career that give off that kind of dark atmosphere. 

But even within something like Careful In Career you have lines like “performance or ecstasy” and “I’ve come so far already” – positive affirmations rather than anything negative that lines like “It’s a shame to go away/It’s a shame to die already” bring with them. I find such beauty in how dark it is, actually. I guess it’s that point Jim was making in that interview extract I added to my Seeing Out The Angel post, when he spoke of the inspiration for the song, the reading of the short story that sparked the lyrics and of the “beauty in fear”. 

And so here we are in the present day with just one week to go before the anniversary date of September 12th (coincidentally it will be my eldest brother’s 63rd birthday), with just one song left to post about – Sweat In Bullet, released as the final single from the album in…well, it says on Dream Giver that the single was released in November, 1981, but I recently read a Virgin press release from the time seeming to state that the single was released in October 23rd, 1981. Either way, there is no need for me to wait until these dates and so I’ll be wrapping up my track-by-track celebration of Sons And Fascination/Sister Feelings Call with a Minds Music Monday finale that will be “rolling and tumbling” in celebration! 

On a final personal note, the art piece I did for Careful In Career (pictured above) remains one of my favourite pieces. I love the photo of Jim (I still have no idea who the photographer is – or whether it is even an actual photograph or a still image from a video) and I love how I set out the topography of the lyrics. The colour blending too. I rarely actually give myself any esteem for my work but for a change I am going to here. I’ll make an exception of usually shitting all over my own work by saying that my Careful In Career piece is the kitties whiskers!

It has been a short MMM this week again – but believe me, we’ll be going out with a bang! And I have some pretty exciting news to come in the next week with further Sons/Sister celebration news. Stay tuned, peeps!

Minds Music Monday (On A Wednesday) – League Of Nations – SAF/SFC 40th Anniversary Celebration

It’s very curious to read that League Of Nations was worked on in the early recording sessions of the Sons/Sister albums because it really does sound so incomplete! And especially given that as soon as they go on tour for the album – the first leg of the tour within the UK –  they are performing it live and Jim has added extra lyrics to it. 

Lines like, (If I am hearing them correctly) “When the link comes, you’re gonna know when the link comes”, “Tangled lodge had a thousand lodgers, here comes the judge singing law and order” and then I am not sure whether he says the word “caliphate” or “counterfeit” – but there’s a line “caliphate/counterfeit judge, caliphate/counterfeit lawyer – here comes the judge singing law and order”. I mean, it would make the most sense to be “caliphate” – as a Caliph (or various spellings thereof – Calif, Kalif, Khalif) is a Muslim ruler and a caliphate their area of jurisdiction, office and/or region, which then makes sense of the line “here comes the judge singing law and order” – a call to prayer at a mosque? Or perhaps he wasn’t meaning it like that. 

Yeah, tell me again when Jim Kerr started to get political with his lyrics? 1989? 1988? 1985? PISH! This is 1981, people! And take a listen to Citizen (Dance of Youth) from 1979’s Real To Real Cacophony (as just one example) for further proof of how long Jim had been weaving the political into his lyrics.

I also think that despite the lyrics being printed as “relief” – he definitely sings “repeat”. It just doesn’t have the intonation of “relief” in how he vocalises it. It’s not how it sounds to me anyway.

Musically, I like the sparsity of it. It’s heavy in atmosphere. I really like Charlie’s guitar work on it when performing it live and I like Kenny’s drumming on it during the live performances too. And others wax lyrical about “Big Dan’s” bass work better than I seem to. 

It certainly works much better as a live track than it does as a studio recording album track. It was a great decision to put the live version recorded from the Hammersmith Odeon gig on September 25th, 1981, as a track on the Sweat In Bullet 7” double gatefold and 12” extended remix singles.

Other than that – there’s not much else to discuss with this track.

So, other than the original album version and the official live version that features on the Sweat In Bullet single – there are only two other live versions I’ve heard. One from the Futurama gig at Bingley Hall in Stafford on September 6th (listen HERE), and the other from the gig at the Royal Court Theatre, Liverpool on September 22nd (listen HERE). By the time the tour moves on to Canada and Australia, the song has been booted off the setlist, never to reappear.

This one really is a short and sweet post. I wish I had more to talk about with League Of Nations, but this is pretty much it. 

But I would like to hear what any of you reading this think of it. Do you like the track? Do you think it is a weak link in an otherwise exemplary body of work from a phenomenal young group of musicians who, at the time, should have already been strong in the consciousness of every music lover on the planet? Do you prefer the live version to the album version? Or vice versa? Would you like to see it back on the setlist, even? Post in the comments.