The top-end pro electro kit – offering the best of both worlds with the snare and toms as shell pads providing an acoustic feel. Enjoy Cherisse’s promo videos for Yamaha below.
The top-end pro electro kit – offering the best of both worlds with the snare and toms as shell pads providing an acoustic feel. Enjoy Cherisse’s promo videos for Yamaha below.
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!
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 ❤️
Companion to the post this morning – but with extras, obviously….
Was sent the loveliest present by my friend, Ruth.
It’s been a quiet day.
Glasgow has put on some FANTABULOUS weather today.
BUT! I’m “Alive And Kicking”. I have my faculties. I’m warm and safe indoors. I have my furbabies to snuggle up to. It’s all good.
Yes, 2020 has been a pretty shit year – and absolutely devastating to many. And I haven’t been going through the best mental state the past few weeks but I appreciate things could be sssooo much worse!
It would be lovely if Jim wished me a happy birthday. Just this time. Just…for my 50th. It’s a milestone after all. And just maybe I would stop feeling like he bloody hates my guts and can’t stand me any more…but hey ho. I just have to count my blessings.
I’ll always love and adore him anyways. He’s beautiful. ❤️
My favourite thing to watch – because I get to look at his tits for AGES! Best. Video. EVER! Kerr – you have got the sexiest chest! I WANT TO LICK YOUR NIPPLES! Lol #SorryNotsorry
Some of you might like to see how pathetic I am behind the kit? Well…if you want to waste 30 minutes of your life, you can watch this video!
Enjoy! (Please be kind! Someone needs to be. My tutor told me to be kind to myself today, but it’s impossible. I suck!)
The camera angle sucks too. If you like big women, you’re in for a treat. Gawp at my fat ass for 25 minutes! Lol
Not bad, huh? (see below)
It took a little while to get into it but as soon as I had the lesson with Cherisse, it lit the touch paper and got me hungry again.
She has me learning new stuff and at first it seems like I’ll just never get it. I try the beat and I have to keep reading the notes over and over and it never seems like it’ll go in and then all of a sudden…THERE IT IS!
Since Thursday I have been putting in solid practice. 45 mins to an hour a minimum of twice a day. Thrice on Saturday and Sunday.
And to answer your question, Scott? Yep. Today I got back into playing along to songs and being reminded just how LITTLE rhythm I have on the hi-hat. My hi-hat playing truly SUCKS FUCKING ARSE! Honestly. But I have to believe it’ll come. I CAN get rhythm! I HAVE rhythm!
On Sunday I was sitting at the kit and, when I fuck up, I look at those photos on the wall. I look at Jim and just think “I want to be better! I want to be able to play, for you. For myself foremost but…”
You know if there was ever a time (like it would happen!) , just for fun in which he said to me “play me something” – to think I could sit at the kit and just, play a little something. Even just 8 or 16 bars, and it sound like I can hold a note and have rhythm and just…sound okay. You know? Not…knock his socks off. I mean, fuck, that would be fab but it ain’t gonna happen in a month of Sundays! But if he just thought “not bad”. Didn’t laugh at me, or I thought I was shit and said “give up! Now!” Then I’d be happy.
Having those photos there inspires me. Spurs me on! I honestly thought they’d intimidate me (like he tends to do when I am standing near him – as much as I adore him, I kind of fear him too…because I feel an inept and stupid idiot in front of him – all the time – EVERY TIME) or, more predictably, DISTRACT me. But they honestly don’t. They drive me on. Motivate me to do better. To keep going.
I’d like to think he’d be there thinking “Come on, girl. You’ve got this!” when I constantly fuck up. Lol
Can’t help but think what I’d be like playing now had I been able to start learning when I was a kid like I wanted to,
Oh, well…never too late, eh?
The kit is fab! I contacted Cherisse a few days back to see about having a lesson. She got back to me on Wednesday afternoon saying she had had a late cancellation for the following day (yesterday) if I wanted it.
HELL YES! was my reply. The lesson was, as always, great. She fills me with so much confidence and makes me believe that I can actually do it. All it takes is – practice, practice, practice. Even if for just 30 mins every other day, as long as it’s consistent with a structure to it, then…it’ll come.
She reminded me yesterday that I couldn’t even do the basic 4/4 repertoire when I first started, so I HAVE progressed even though I fell I haven’t progressed that much. I have!
The girl is good! I love her to bits! Thanks, Cherisse! Looking forward to the next one.
There is the odd plus side to lockdown…
It was a bit of a palaver getting in to the venue. People had lined up promptly. I arrived there about 9.25am for the 9.30am start. The queue hardly moved in 30 mins. There was an appearance by Matt Garstka on the main stage due for 10am and many people who had paid to see it were still queued up outside at 9.55am. They were being filtered through by this point but they probably weren’t going to make it in. I hope Matt delayed things so people got in.
I had booked to have a free drum lesson at the Trinity College booth for 10.15 and I just about made it in there. It was my first experience of an electronic kit. We were on Roland kits (can’t remember the model – lovely kit though) and had just a bit of basic tuition. We played along to Queen’s We Will Rock You and then to James Brown’s Hot Pants before going on to Blur’s Song 2 which did me in. Lol. It seems like it would be really straight forward, Song 2, but heck, there’s a whole lot of patting your head whilst rubbing your tummy stuff going on with that. Lol
I walked about a bit checking things out. Then I saw Emily Dolan-Davies and had a great chat with her and another man whose name I didn’t catch, but he was one of Nathan Shingler’s tutors. We had a good talk and he offered me some great pearls of wisdom in terms of how I get on with my own learning and stuff. I briefly met Nathan’s parents too.
I went out for a bite to eat and then met up with fellow Minds fan Dave Kelly. We had a good chinwag and then went in to see Cherisse’s masterclass.
A fab masterclass it was too. We learned about Cherisse’s career. How she started out, who she’s drummed for professionally, as well as her performing demonstration medleys showcasing music from the acts she’s worked with.
Below are some vid from the masterclass of her talking about working with Mika and then talking about her time with Bryan Ferry and Paloma Faith and now her time with SM and showcasing a medley of Minds stuff (the observant amongst you will hear a little bit more of LITCoA ahead of its October 4th release).
She put on a great show and a really strong showcase of her immense talent. Jim’s tag of referring to her as “a little dynamo” is WHOLLY justified. For someone so petite, she has such power behind her! But also the subtlety when required.
She was doing a signing after the masterclass and I queued up just to say hi and to badger her for more lessons. Lol. Hopefully I’ll get to have a few in the weeks ahead.
As for kit that took my eye? Well, it needs to be about the sound and feel, but I was far too scared to test anything out. I have no real knowledge of what I want or need and a show like this isn’t really much of a buying experience for a complete beginner. Well, I don’t think anyway. So I was just looking at the aesthetics if kits. There was a beautiful looking Natal kit. The bass drums on the Natal’s are HUGE! I love the look of Rusty drums and there was a beautiful bass skin on display on their stall.
But for looks and affordability, there was a lovely looking Gretsch there for £625. I know Dave Ruffy of Ruts DC plays on Gretsch kits and he always sounds awesome.
But Cherisse’s Tama kit looks and sounds amazing too. And I have been having most of my lessons on Pearl kits, so…how will I ever make my mind up?! Lol
After the brief chat with Cherisse and goodbyes with Dave, there was just time enough for another scoot about and a coffee over the road at the Costa before getting the coach back to London and onwards to home.
All in all, a fab day. I’d do it again.
Yesterday was the first tuition I’ve had in two months. Gareth was great. Started me back right from scratch, really. We went right back to basics. We worked on stick grip, rudiments, grooves and fills.
I can’t really talk a lot about it…not really going into much detail. And it felt a lot to take in yesterday because I was so apprehensive about it, but really excited too. There was a lot to take in. Well, it felt a lot yesterday and because I’m so anxious about it all, not everything sinks in immediately.
I checked with Gareth that he wouldn’t mind me recording the lesson. He was fine with that. I won’t be sharing any of that, but I will still share a bit of my own practice here and there.
I’m really thankful that he’s okay with me recording because as it was with Cherisse, upon playback, things register better. My brain absorbs the information better and I always have it to reference it.
I’m about halfway through listening to yesterday’s lesson…and I just lost it. Gareth had me playing along to (rather ironically) No Woman No Cry…and I just started blubbing like a fool. I could just feel it and I could see him in the room with me, helping me keep to the beat, dancing around the room to it and it was just lovely thinking about it…and I just lost it, I feel like an idiot! (I’m crying all over again typing this out! I’m such an oversensitive idiot.)
I’ve just wanted this for so, so long. It was like the 8 year old me was in that room yesterday, learning.
As you get older…once you get to adulthood, you just think all this stuff is just too late. That it’s too late and you’ve missed your chance and it’s all gone. “Don’t bother now. It’s too late. You’re too old. You can’t afford it. And you’ll never learn. You’ll never pick it up. Your mind is young enough. You won’t be as much of a sponge.”
I still feel like that. The adult me says…”You’re 48! Why bother now? Where’s the money gonna come from? How will anything sink in?”
And then I was listening to the lesson and how it was all sinking in and just listening to the playing. Hearing myself play to Bob Marley…and it’s joyous and liberating and wonderful and that 8 year old is there inside saying “Wow. This is cool. I’m getting this. And my teacher is cool. And we’re having fun. And I’m learning and playing…”
And now my face is an absolute mess!
Such a silly cow.
So yesterday was wonderful. And I still want this. More than ever.
But how I continue to do? Who knows…