A second part to the Electronic Cafe looking at the Simple Minds back catalogue with them looking into SAF/SFC. A great look into the albums. Give it a watch!
A second part to the Electronic Cafe looking at the Simple Minds back catalogue with them looking into SAF/SFC. A great look into the albums. Give it a watch!
As promised in a previous post about Boys From Brazil, here is information about the Kensington Roof Gardens. The tenancy was held by Virgin Limited Edition since (despite some erroneous information saying it was 1982) 1981.
I think Simple Minds must have been one of the first bands on the label to make use of the space, having promotional photos for Sons And Fascination/Sister Feelings Call done there with Jill Furmanovsky. As well as shooting the video for Sweat In Bullet in the Spanish part of the gardens.
Along with that, Love Song was shot inside the Babylon nightclub. I have always wondered where the Love Song video was filmed and only as I was researching for the post on Boys From Brazil did I see information on the wonderful Dream Giver Redux about the Kensington Roof Gardens. As I said previously I was aware of a Branson/Virgin connection with the location of the SAF/SFC promo photos and the Sweat In Bullet video but thought it was Branson’s private garden or gardens at the Manor House. And I had no idea that the Love Song video was done at the same site as the promo photoshoot and the video for Sweat In Bullet. I had always just assumed it was some nightclub in Glasgow or Edinburgh.
You can read about the Babylon nightclub by clicking the photo above.
Back to the gardens themselves. The gardens were designed in the 1930s so now it is entirely understandable to me why it feels to have this certain…air of sophistication around it. And the way the Minds boys are clothed and photographed for the promo photos ties right in with that aesthetic. They look so bloody glamorous! I love those photos, and Jim looks as hot AF. I mean, they look like they’ve swanned in off the set of The Great Gatsby or something. They look amazing!
I’ve added a couple of videos about the gardens sourced from a really insightful article about the gardens that you can look at by clicking on the photo of the Spanish part of the garden below. There are a couple of older Pathé News clips you can watch of the gardens in 1938 and 1949, just check along the right hand side when you click on the article. All their resource information is down that side in columns.
And for good measure, I added the videos for Love Song and Sweat In Bullet here in the post for you guys to enjoy and maybe see things in a slightly different perspective now.
It’s a shame it’s currently closed. But there seems to be plans afoot to have it open back up again. I think a new tenant has been found. Stay tuned!
I never shared this one properly before, so here it is fully scanned. God I love those Sheila Rock photos. Jim is utterly lickable! Him being photographed without a shirt on (not that you can tell it much from the way it’s printed in the magazine) is ALWAYS a bonus! 🤤🤤😛😛😛
And so you can use the zoom feature better, I will add the pages again in a gallery – then you can click on the thumbnails and use the feature on the bottom right of the page to see the full scan.
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.
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
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!
In the early 1980s (as in 1980, 1981 and early into 1982) Simple Minds were accused of being “too Euro-centric” and of not putting enough of their focus into closer to home – what was happening in the UK, or even just in Glasgow itself.
Why should there be criticism of such a thing? Why should a band that originates from one place feel compelled to focus their music within one region or one area of geography? And besides, the United Kingdom is in Europe, is it not? Glasgow, beyond being within Scotland and the UK is also in Europe, no?
Jim was very pragmatic with his response to such things. And of course he was right to point out that the band are constantly touring Europe and are experiencing and witnessing things happening there so why would they not write about those things?
With that said, some songs DID focus on “home”. A case in point is Boys From Brazil. Despite its title seemingly alluding to Brazilian youths, it is actually a title lifted from the novel by Ira Levin (which actually does have young Brazilian characters in it). The book centres around a plan for a new rise of Nazi’s with a “new Hitler” at the top. Fascism and Neo-Naziism was on the rise in the UK, with the likes of the National Front gaining an undercurrent of support. (Oh how things cycle round and round.) Simple Minds’ version of Boys From Brazil was an ambiguous look at the alarming growth of movements like the National Front.
I’d like to share a memory of when the song most impacted on me. It wasn’t upon first listen, although of course that must have made a large enough impact. You can’t not be bowled over by those drums! It was the first thing that hit me. It would be the first thing to hit anyone listening to the song for the first time. The beat is relentless! More on that in a moment.
So this memory of mine is of coming back from a gig. A gig that I still can’t quite believe I attended AND enjoyed! At this point in time, I am in my very earliest days of Simple Minds fandom. Barely three months in, in fact. It was September 25th, 2014. The gig? Nana Mouskouri at the Royal Albert Hall. I know! How “rock n roll”, eh? Well, let me explain the circumstance.
At that time I was kind of being a “pro comper” – I was entering competitions on a full time basis. Searching for and entering as many competitions as I could find to enter each and every day. There are LOADS of competitions you can enter out there, with varying degrees of prize worth. I did this for about 12 months or so and had some success with things that I won. Ultimately though, it didn’t seem worth the time and effort I was putting into it to carry on with it full time. The best prizes I have won have been entering competitions outside of my stint at pro-comping.
Anyway, one of the prizes I won during this “pro-comping” time was for a pair of tickets to see Nana Mouskouri at the Royal Albert Hall. I had entered thinking that it would be cheap enough to get into London on the coach and that I’d at least get to experience a concert at the Albert Hall for free.
It was really great. The seats were good. Not waaaaaay up in the gods, but not really close…just middling, with a decent enough view. A few weeks after the gig, Nana was turning 80, and although she wasn’t exactly prancing about the stage like Beyoncé, she did put on a really good show. I enjoyed the spectacle and the fans loved her.
On the coach ride home back to Luton, I listened to some SM. I was devouring the music voraciously at that point. Visiting Dream Giver daily, searching the web for photos and just wanting to know everything there was to know and already just sssoooo solidly gone on Jim. Lol. Despite the style of the gig and the genre of music on offer, I still had a post-gig buzz. I was fatigued but my head was buzzing. I had taken my iPod Touch with me in case I “got bored” while travelling and I could have the music as my companion. (I’d like to point out at this stage also that I was actually with my OH that night, but we sometimes do our own thing to keep occupied during such travelling journeys.) I put on a shuffle mix of SM songs. About 4 or 5 songs in and just as we get onto the M1 motorway stretch of the journey out of London, Boys From Brazil kicks in. It was really dark in the coach and there was one of those screens which shows footage of a front facing camera that is pointed at the road.
So this is my lasting image of hearing Boys From Brazil. Sometimes when it plays I am taken straight back to that coach coming home from the Mouskouri gig. That dark motorway and my ears just awash with this amazing music and my mind wandering with the views inside and outside the coach as well as being mixed with the imagery the song itself conjures up for me…dapper young men looking all “fantoosh”, drinking champagne from fine flute glasses, cigarettes held gently between forefingers and middle fingers, languishing by a pool, basking in sunshine. The very air of sophistication. Think Minds at the Kensington Roof Top garden circa 1981 – the Sweat In Bullet video, the promo photos for the release of Sons And Fascination. It is all that it conjures up in me. I’m sorry, Jim, but what were you saying about not being sophisticated? …
To come back to a excerpt of Jim’s talk with Ian Cranna placed at the top of the post (and also within his words with John Gill), though it certainly wasn’t his intent or objective, I do find the imagery I see in my mind’s eye that Boys From Brazil gives off has an air of romanticism. And having never been exposed to the book or film and not being familiar with the plot, the lyrics are definitely too ambiguous to give any kind of clue that the song is meant to be a passing comment on fascist movements in Britain. I would say probably Heaven 17 were more direct with their (We Don’t Need This) Fascist Groove Thang. On the odd occasion perhaps ambiguity doesn’t pay? As wonderful as it is for “artistic licence”. But the Jim Kerr of that time built lyrics solidly on “ambiguities and fragments”. It made Simple Minds songs all the more mysterious for it. And combined with that sound it was a hypnotic meld.
Let’s discuss musicality of the track. Wow! Those drums! Honestly. I like to view that drumming work on Boys From Brazil as Brian McGee’s lasting legacy for his time with Simple Minds. I’ve seen comments in recent times describing Brian’s drumming as “dependable” and “adequate” but I think he was much more than that – and I think Jim would agree.
I really couldn’t talk about Boys From Brazil without discussing the incredible contribution that Brian McGee gave to Simple Minds. The thing that astonishes me to this day is…beyond the hours of driving the band around in crazy backwaters and all that was perilous in that…was that, as a drummer, he was self-taught. Self-taught at a time when there’s no Internet and no way to just … go onto YouTube and watch drum tutorials and be able to pick up how to play that way. And no video recording either – well certainly very little for home use anyway – so I am guessing all he had to go on to try and learn was by somehow being exposed to watching other drummers play. And for all that, if Brian is deemed only worthy of being referred to as “dependable” and “adequate” – WELL GIVE ME F***ING DEPENDABLE AND ADEQUATE, because I think he’s frigging fantastic!
Those drums drive the whole musical expression of the song. It might be ambiguous in storytelling, but it isn’t in any way ambiguous in musical intent. It veritably pins you to the wall and makes you pay attention for the whole of its five and a half minute duration.
A lot of fans talk about the “classic line-up”, referring to it being the team of Kerr, Burchill, MacNeil, Forbes and Gaynor. But just listen to the rhythm backbone dynamic of Forbes and McGee (who then went on to team up in Propaganda as well), and if you are going to put a label of “classic line-up” to Simple Minds, then that’s the one! Kerr, Burchill, MacNeil, Forbes and McGee.
Those drums, that monotone single key synth note, then a flash of colour, then bass lines to die for…and then that rich, almost baritone depth of voice that Jim has at that time just all blend and grab you by the throat and just…assault you with musical perfection. Everything I love about this song. EVERYTHING! How relentless the rhythm is, that endless mono-tonal synth note, the understated guitar riffs from Charlie, and the richness of Jim’s voice and the nuances to his singing style. It is just utterly, utterly perfect.
It has never been performed live to a crowd. From what I have heard, it HAS been performed in soundcheck, so it has very nearly made it to a live airing.
In video interviews in recent years, Charlie seems keen to want to do it but for some reason, Jim seems more reluctant. It is weird that the reluctance seems to come from Jim. Perhaps he thinks it is too perfect? Hmmm, I doubt that would be his reasoning. I do feel somewhat forlorn that the two songs I love the most in the whole Simple Minds catalogue, Boys From Brazil and Wonderful In Young Life, are destined never to be performed live. But…perhaps it is a blessing in disguise? Again, I’m not sure about that. Wishful thinking on my part. It is somewhat perplexing that a band that prides itself in their live performance would resist certain songs and never perform them.
As a result of this, all I have to share is the studio version of the song. Not even a demo version exists as far as I am aware. But would I want to hear a demo version of “perfection”? I think I would. I am always interested to learn how a song has developed and how it progressed.
I do dream for a Sons And Fascination/Sister Feelings Call box set.
Additional source material for this post provided by the “Simple Minds Bible” – Dream Giver Redux – www.simpleminds.org
Never enough gratitude can go to Simon and his amazing website. Thank you ❤️
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
Well, not quite. Norwich anyway. The University of East Anglia, in fact.
I found myself on the hunt for something for someone last night and…going down the usual “rabbit hole” one invariably ends up at.
I was on Twitter looking for relevant info to what I was searching for (no luck!) but I happened upon a couple of photos shared of Jim performing at gigs – which are FLIPPING AMAZING (and previously unseen to me – will share them further below) but also stumbled on this tweet about a lady named Ruth Selwyn-Crome and her memories of seeing Simple Minds on the New Gold Dream tour when it hit the UEA on December 6th, 1982. Excerpt below…
Whatever got him to that look – dying his hair (well, he had been doing that from almost day one of Simple Minds), caking on the dark makeup around his eyes while accentuating and exaggerating his pallid skin tone and combining that with the clothes he wore at that point – he sold himself absolutely and completely right! Whether that was instinctual, or just a “happy accident” and not as with other things he’d do, ruthlessly and meticulously planned, then – hats off to him either way. It was a masterstroke of a look that absolutely matched the sound and mood of New Gold Dream and of that time in general.
I used to refer to him as “Laird Dash Fandango” or “my Goth Prince” – like a kind of New Wave … messiah (almost). He seemed to meld the elements that were all floating around at the time – the dark eye make up and pallid skin was straight out of the goth scene – but Jim was no goth. The baggy trousers and the knee high riding boots, matched with scarf-wearing reflected elements of New Romanticism but again, Jim wasn’t a New Romantic – his way of dress was more understated and still harked back to the traditional a lot of the time. Those baggy troosers simply matched with a collared shirt and some loafers, with the only other hint of a nod to New Romanticism being a flashy belt he’d wear more as a sash or a shoulder of ammunition and have his socks pulled up over his trouser legs, more for the purposes of not tripping over those loose trooser legs. I do find the look of him in this period striking and ssoooo aesthetically beautiful.
The 50 year old me would love to go back to the 11 year old me when seeing the Promised You A Miracle video for the first time and whisper in her ear, “No, just look at him! Really look at him! You have this Aussie idea of a man in your head, all “golden”. But this guy? He’s REAL gold! Celtic gold! Trust me. There will come a time in your life when this man will be EVERYTHING to you! Take him in now! He’s beautiful. Stop fussing over his nipples, because BELIEVE ME, you’ll be fussing over his nipples for very different reasons in the years to come!” Lol
But…I wildly digress and this post is meant to be a link to Ruth’s experience of seeing the Minds in Norwich in ‘82, not my wishes and dreams and feelings on His New Wave Goth Prince Laird Dash Fandango Kerrness.
You can read Ruth’s full piece in the “Memory Tent” section of the University of East Anglia website – LINK HERE
And now, the promised photos… (source links viewable by clicking the photos)
I’ve been meaning to share this here. Someone posted it on the SMOG FB page and…well, look at the photo. Jesus, he’s such a flirt! God, I’d give anything!
You beautiful man, Mr Kerr. I wish I didn’t adore you so much.
I love the story behind the crane. I never even thought about it being that – that he bought it for that reason. That’s frigging adorable!
It’s these things! These kind of actions! It’s not just the aesthetic of him. It’s all of it. His words. How he sees the world. How he relates to things. How things impact upon him. All of that. All of that makes me love him.
Not just him being a singer and lyricist in a band. That’s almost irrelevant – it’s only relevant in terms of making him known to me. It’s the person he is – the character. He’s beauty personified.
Jim Kerr, you are just the most beautiful thing to me and you bring me to tears.
You can read the full post about the time NZ music journalist, Helen Collett, met up with the Minds (and the resulting Kerr/Collett flirtathon) by clicking HERE
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! 🔥🔥