This one is even longer than yesterday’s. Sorry! I have to stop these. It’s ridiculous.
This one is even longer than yesterday’s. Sorry! I have to stop these. It’s ridiculous.
Over the past week, I feel the word “punk” has been sullied by a couple of people. One retrospectively. Let me explain:
In a previous post here on the blog, I talked about a letter that John Foxx had shared on his FB page. The letter was from David Bowie to Tony Visconti of a shopping list of new singles and albums DB was keen to get his hands on. Within it he talked about punk and flippantly used the words “pink, peak poak, pan” and then said “Oh, yes. PUNK” in brackets referring to the shop that Visconti may find the records that were on said shopping list. I felt DB’s flippancy was about the stupid labels and pigeonholes we place upon things – but I could be wrong? Perhaps by this time for Bowie “punk” was indeed a dirty word?
The other has been in recent days. A fan on SMOG talking about the influence punk had on early Simple Minds. He seemed to talk about it with much disdain. Saying stuff like “thank God you guys moved away from punk.” I didn’t get involved in it because, well…to each their own what they think about particular genres of music. I thought their ideas and opinions were rather misguided but…it’s not my place to educate anyone on anything. He ruffled enough feathers to even have Jim himself (? It’s a bone of contention, actually. I was led to believe by a certain source that this account *is* genuinely Jim but…I dunno. Who knows? I’m trying to get myself away from all this “hanging on his every word and feeling like my life isn’t worth living if he doesn’t speak to me” bullshit that I keep cycling through endlessly and doing my own fucking head in with!) reply to him.
The guy followed it up with a further post about the hypothesis of what/where/how things would have panned out for SM had they stuck with punk. This was when I came in on things.
For one, punk started much earlier than its deemed apex in 1977. I definitely hear and feel and get a sense of punk from Velvet Underground recordings. Listen to the album with Nico – the Warhol banana covered one. Where is the maestro musicianship on that? Tell me! No one plays THAT well on it. Lou Reed is not exactly the best singer in the world. Nico does that kind of – and there is an actual German word for this that eludes me right now – “speak singing” she does. The only one that sounds like he tries to hold a note when singing is John Cale. The Velvet Underground is DEFINITELY punk. In its truest context. That the music, the story, the telling of the tale is MORE important than the musicianship. Or that…it’s okay not to be perfect, if the message is conveyed right.
Because, Lou might not be the best singer in the world – but he’s a poet and a realist and an orator for the time. And, a damn incredible songwriter. A filter. A channel for the message to be projected through.
Likewise, Nico may not have the voice of an angel, as such – but she certainly conveys emotion and she makes you take notice.
The Stooges were formed in the late sixties. Iggy Pop by much touted definition is deemed the “Godfather of punk.”
The New York Dolls were punk. Well, perhaps straddled punk with aspects of glam. I mean, nobody ever sees Slade as glam in terms of their musical output compared to their wardrobe. Well, for me it’s the same with New York Dolls. To me they are 100% punk. They just didn’t dress punk.
The Ramones – punk all the way. But there is sssoooo much rockabilly in their sound too. Listen to Rock n’ Roll High School, FFS. It’s far more 50s throwback rockabilly to my ears than what the UK brings forward as punk.
And as I said to Philip – there is so much more to the word “punk” than a strict musical styling. It’s a culture. A mindset. An ethos. An attitude. A banner. A proclamation.
And there’s also one of its earlier exponents too! MC5 – Kick Out The Jams! Released in 1969, my friends. NINETEEN SIXTY NINE!
When I saw Alice Cooper last year, they were on the bill of support acts as (as they are called these days) MC50. They still have it.
Punk, as a word that became a touchstone, is ssooo much more than music. Look at all that it gave to a generation of the UK as a result! An attitude, a mindset that said “I have creativity inside of me. I don’t need a fine arts degree to be told I am good at this. I’ll get ahead and make my own way!” It gave the working classes freedom to believe they could express their creativity and pursue a future in the arts without – one: feeling they needed a financial foundation – because frankly – there was NOTHING to lose and two: that they should suppress what they feel they want to express due to their background.
Vivienne Westwood is punk.
John Cooper Clarke is punk.
Smash Hits magazine is punk.
Postcard Records is punk.
Factory Records is punk.
The Hacienda is (was) punk.
Anything that you can think of…not just in music…all if it that comes out from the late 1970s, it’s all rooted in that punk spirit.
As Jim said in his reply to Philip: “without the punk ethic we would never have begun and evolved into Simple Minds. That is a fact!”
Punk was a gateway to so much more.
Is it a dirty word? It seems to be for Philip. Why? I’m not quite sure. I just don’t think he sees the fluidity in the word itself. To him, I am guessing “punk” is this awful style of music that he doesn’t like very much and that’s that.
Oh, but it is ssssooomuch more than that! It is all of the above! And – it is Simple Minds! Even their name is rooted in punk. Yes, it may have come from a David Bowie song but…just listen to it. Really take in what the name sounds like.
I’m not sure I have put this post across as I wanted to. SOMEONE came along throwing a spanner in the works this morning – distracting me with a post just as I was getting my brain cogs in motion and piecing together this post – making bullet points to it and giving myself a bit of dictation on my phone so I would stick with how I wanted this post to go.
Oh, well. He can disturb and distract me whenever he likes! I shouldn’t be bloody complaining that he distracted me now, should I? Geez! Lol. Cry out for the man’s attention and then when I got something from him, I’m there saying “Fuck off, Jim! I’m busy. Do you mind, pal?!” Lol. Hilarious!
And hey, I just remembered – I’M “Punk”! Lol. This silly nickname my brother David gave me many moons ago. When he wanted to antagonise me. Wind me up. He’d call me “punk”. With a kind of spit of disdain he’d say it to me. “Go away, punk”, when I was annoying him. Lol. Oh, god I loved him! ❤️
In this video I discuss finding out about the local history of Springburn as well hoping for a visit here from King Kenny (Anderson) – aka King Creosote as well as the joy of the MainMan podcast! (Details below.)
The documentary on the famous Monmouthshire recording studio is set to air simultaneously on BBC Two Wales and BBC Four on Saturday, July 18th at 9pm BST.
Below is a trailer on the documentary – with a tiny snippet of Jim discussing Simple Minds’ meeting with David Bowie and Iggy Pop while the band were there recording second album Real To Real Cacophony in 1979.
I have been hoping this would be getting a UK airing at some point. Really looking forward to this one.
A documentary (featuring contributions from Jim and Charlie) on the Monmouthshire countryside’s world famous Rockfield studio (where Real To Real Cacophony, Empires And Dance and Graffiti Soul were recorded) has been made and will be debuting at SXSW Festival next month.
You can watch the trailer below.
Hopefully beyond the premier screening, it will get a distribution beyond that.
I took these two screenshots from within the documentary trailer. I didn’t even know these kind of photos existed of their time recording there.
News on the Virginia Turbett front. There’s a book on Iggy Pop coming out. In his own words, it seems. Not quite a memoir, as such, but more the printing of his lyrics with notes and photos complimenting and elaborating on the thought processes involved in the craft of songwriting.
It sounds really good. And a bit of a left-field choice for a publisher like Penguin Books!
Some of Virginia Turbett’s photos of Iggy feature in the book. And wow, she has taken some AMAZING photos of Iggy over the years. Along with continuing to expand upon my own personal Simple Minds archive of VT’s work, I plan to get some Iggy photos from her as well.
Check out Virginia’s website to view some of her wonderful Iggy stills – https://virginiaturbett.com
You can pre-order the book from the Penguin website, just CLICK HERE to be taken to the site.
The dancefloor. Frigging hell! Did Simple Minds know how to fill it back in the day. I guess they still do to be fair.
But let us rewind back to 1979. Rockfield Studios in the Welsh countryside. Five young men from Glasgow are in the studio making the followup to their debut album. An album that really couldn’t be more different to the first. They are still just babies, with the average age of them being just 20. They are still very much learning their craft. Recording in the studio next door are none other than Iggy Pop and David Bowie. Could life get any sweeter?
Yes it could. These five young men band together and make one of the best dance tracks of the late 1970’s as you are ever likely to hear.
OKAY! I’ll be the first to admit that…given all the changes in lyrics that Jim Kerr has made in SM songs over the years…esp. early on (he would rewrite songs entirely from demo to album recording), it’s quite a thing that there wasn’t a change made to the opening line to Changeling. I suppose that was the curse of there being no demos for Real To Real Cacophony. They went straight into recording.
The sticking point, lyrically, is that horrible propensity for snidey shits to take the mickey out of the opening line and continue to sing along to Wombling Free, which I’ve got to say…I don’t know what it does to Jim…but to me, it fucking pisses me off no end!
Perhaps we should concentrate on the musical structure of the song for now? Synths and bass opening with an instant dance hook. Drum grooves quickly follow and then a simplistic yet fab guitar riff. Industrial dance grooves. Fuck these boys were good at them! There’s nothing quite like this on Life In A Day. They hadn’t made a sound quite like this, yet…but boy does it signal the start of a very identifiable early “Simple Minds” signature sound. An aural “watermark”, if you will.
I really don’t know anyone who could listen to this track and not tap their feet or their hands and just get hooked in by the groove.
In spite of what the Arista execs hear at the UK HQ with Real To Real Cacophony in which they appear utterly dumbfounded, they do seem to make the right choice in having Changeling as the lead (but unfortunately subsequently ONLY) single off the album. How they didn’t then follow it up with Factory and Premonition is anyone’s guess. One can only assume they were already becoming concerned that SM was going to leak money hand over fist.
Changeling has no chart success, so one assumes that is why there are no other singles released from the Real To Real Cacophony album.
The failure of the single to chart can’t be down to it being deemed “not good enough” by the music consumer of the time? Just listen to it! Was it just overlooked from a then pretty flooded market? Singles at this point sold in their THOUSANDS every week. Albums had their importance then too, but the single was still king at this point. To the point where single picture sleeves were at their height. A single was packaged with as much of a visual selling point as an album was at this point in time. Every Simple Minds single released so far had been in a picture sleeve…Changeling being no exception. Did the picture sleeve “sell” the single? Hmmm…I’m unsure it did much. Life In A Day was certainly simplistic in its design, but it made an impact nonetheless. As for Chelsea Girl? She was on the mark. Jim was on the mark for wanting that Jean Shrimpton painting as the cover.
But for Changeling…I don’t know what a greyscale image of some hosepipe really tells you about the song. There’s a kind of industrial look to the cover, yes…but where I think the texture and simplicity of the Real To Real Cacophony album cover works to sell it (luring you in wondering what the hell this album is about as the cover actually gives NOTHING away by design) – that same simplistic approach falls flat for the Changeling single.
Back to the song itself. Let’s get back to those lyrics. Young Mr Kerr, what you on about, boy? Lol. For me, I gotta say that Changeling is a very rare beast in that it is all about the tune, the groove and not much about The Boy’s songwriting…for a change. I still love the words…but they mean fuck all. Lol. But hey….some of my absolute favourite Bowie songs are pure gobbledegook. The Burroughs technique has a lot to answer for, sometimes. I couldn’t write a song that means SOMETHING…let alone one that doesn’t really mean anything at all but sounds like it does anyway. And to me…that’s master craftsmanship.
In summary? In the simplest terms, it’s a dancefloor filler. Possibly Simple Minds’ first. At least one of the first, blazing a trail for more killers that follow…I Travel, Celebrate, This Fear Of Gods, Love Song, The American…the list goes on (and on and on 😜).
And that is why I love Changeling.
(PS: Jim can’t mime to save his life….but I bloody love him anyway!)
I’m always flicking through the pages of the music mags. Not much really has me stopping for too long. (Perhaps to my detriment? A slow reader’s curse that to be drawn in to read something, you REALLY have to grab their attention – going by my own experience anyway.)
I suppose I am finding myself studying Lou Reed quite a bit of late. Not in an involving and methodical way like I have done with others who end up deeply piquing my musical interest. Bowie very much became a study piece as much as a musical exploration. If I’d have taken an OU degree in English Lit. say, Bowie in some way or other could have ended up the subject of my thesis.
I can feel it possibly going that way now with Lou Reed. Exploring his work deeper. I am certainly starting to feel that sense of the story itself being as important as the music. But I think that is what usually pulls me in to those musical artists I admire and covet most. They are great storytellers, either by encapsulating the narrative verbally, or creating a visual palette of what is being told with an inner visual artist flair. (John Foxx’s description of Jim Kerr being the “the best internal movie director” always springs to mind. It is my favourite description of Jim as a songwriter and it is just so…”on point”, as the whippersnappers say these days).
I really am starting to get that there is much more to Lou than meets the eye.
A very refined and tasteful photo of Mr Osterberg Jr from back in the day…