Empires And Dance Appreciation – KANT KINO

It is my favourite Simple Minds instrumental.

My favourite David Bowie track of them all is A New Career In A New Town – that “town” being Berlin. I heard an instant parallel between ANCIANT and Kant Kino. Both have an incredible emotional pull on me – both brought me to tears the first time I heard them.

Although most of my SM art is about Jim’s lyrics, I have done the odd piece on an instrumental track. I made one for Kant Kino. (Dave Kelly then egged me on to do one for Somebody Up There Likes You, which Jim subsequently seemed to like so much, he actually requested a copy from me. Something that amazes me still to this day. It always will.)

We have our own “bucket list” things that we want and wish for. Mine for a VERY long time now has been to visit Berlin. I will finally get to tick it off the list in December. On the list of things to see is – to take a stroll down the Potsdamer Platz, to visit Checkpoint Charlie and Hansa Studios. One or two other things too, hopefully. A David Bowie (and Iggy Pop) pilgrimage.

The other thing on the list will be to stand outside of Kant Kino…well…I might just go in and see a film…who knows? It’s still open as a cinema complex.

Priptona Talks – To Jaine Henderson: Part Two

Here is part two of my interview with Jaine Henderson.

Sometimes things were not without some bizarre set of dangers, like the time Jaine found herself a hair’s breadth away from being jailed for “possession of a concealed weapon”.

Lights would fuse. Wires would fray. Things needed repairing on the spot and the easiest way for Jaine to repair things was to carry a flick knife. It was easy to keep in her pocket and meant she wasn’t having to carry a bunch of screwdrivers and other tools that couldn’t be as easily carried around as a single flick knife. The flick knife could cover nearly all aspects of repair work.

At one gig, the manager of the venue was unsettled by this finding. “He was not happy that I was carrying a flick knife, despite me reassuring him it was purely for repair work purposes. Seemingly feeling unnerved, the manager asked me for the knife and I gave it to him. Later that evening, the manager walked past me and placed the knife in my jacket pocket. The next thing there are two police officers approaching me, preparing to arrest me for ‘possession of a concealed weapon’. I had to plead my innocence. Tell them that the knife was only for work. That I was a lighting technician and used it purely and only for lighting repair work. I was carrying my passport with me so I could show them who I was. Had I not had my passport with me, they’d have charged me on the spot and I would have spent the night in a police cell. As it was, I was instructed to go to the local police station the following morning. I was then formally charged and summoned to court.”

The case was quashed. Jaine had eyewitnesses to say that the manager had returned the knife to her moments before the police arrived. That there were no threats made to use the knife in any other way than for the lighting repair work. The police retracted their statements which suggested that Jaine had made a threat to use the knife on someone. The judge threw the case out and the charge was dropped.

The Real To Real Cacophony tour saw the band travel over the North Sea and tour mainland Europe for the first time. Starting out in Germany at Kant Kino. The first leg of the tour towards the end of 1979 travelled through Germany and into Belgium before the band take a plane across the Atlantic for what is now a visual landmark bit of history, when Simple Minds perform at the Hurrah’s Club in New York and are recorded for a feature on The Old Grey Whistle Test.

The tour continues in Europe with dates in Sweden and Denmark before the band return to the UK for dates across the country.

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Jaine and David Henderson at Jaine’s lighting desk, circa 1979. Photo by Carole Moss.

Midway through the Real To Real Cacophony tour, David left being the sound engineer with Simple Minds and shortly after sets up the Hellfire Club with Jacqueline Bradley. It was an important venue for aspiring new local bands providing much needed rehearsal and recording space in Glasgow’s West End. It was many a fledgling band’s first exposure to recording and production in studio space.

Jaine left the lighting tech role with Simple Minds on the eve of the Empires And Dance tour that set off to continental Europe at the end of August, 1980. It was the band’s most extensive European tour to that date, scoring the coup of being the support for Peter Gabriel.

A natural creative flow in which an emotional connection for a band and its musical style caused a change an artistic direction for Jaine. A short lighting tech gig after her departure with Simple Minds was the turning point. “Bruce [Findlay] had got me a lighting job for a band that I didn’t really know. It was a short tour down the south of the country. I was travelling in a van with a band I didn’t really know with material I wasn’t familiar with and it felt really odd. That was when I decided that I didn’t really want to continue with the lighting tech jobs. I certainly felt uncomfortable at the prospect of working freelance.”

Jaine then started helping David and Jacquie out at the Hellfire Club. One of the bands to rehearse and record demos at the venue was The Dreamboys, a post-punk band consisting of members that included Twelfth Doctor, Peter Capaldi, and “TV’s” Craig Ferguson – mercurial comedian and host of late night U.S. talk show The Late Late Show before James Corden took over the role in 2015. Jaine became The Dreamboys manager but the band were short lived, splitting up as Capaldi got more acting work. The final death knell for the band being Capaldi landing a role in the film Local Hero.

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Pictured L-R: Laura Mazzolini (Sophisticated Boom Boom), Jim McKinven (Altered Images) Jacqueline Bradley, Scott McArthur (Graffiti record store and JATSA band manager), Peter Capaldi, David Henderson, Temple Clark, Craig Ferguson (Capaldi, Clark and Ferguson all members of The Dreamboys). Photo by Roddy Murray.

Jaine then worked for a time at the Citizens Theatre in Glasgow in the promotions department. Hearing this had me asking her the question I had posed to Jim several times but never got a response for. Semi Monde, the Noel Coward play, made its theatrical debut at the Citizens in 1977. I had to ask whether she knew if Jim had seen it and if it was the inspiration for the line in Sons And Fascination (this has always intrigued me). She couldn’t say whether Jim had seen the play, but she had been lucky enough to see it herself. “I saw quite a few shows there. My parents would take me to see shows there when I was younger, so when the opportunity arose to work there, I was really excited at the prospect. I really enjoyed my time there. It was hard work, but it was great.”

Working at the Citizens lead on to working for Raindog, the theatre company started by actors Robert Carlyle and Alexander Morton. The name of the company struck initial interest for Jaine. “I am a huge Tom Waits fan, so I asked Bobby (Carlyle) about the name, wondering if he was also a Tom Waits fan.”

Early on during our conversation, Jaine interviewed me as much as I interviewed her. It was a great ice-breaker. These things can be nerve-wracking for both parties. Me, under the pressure of keeping an air of professionalism, but hoping for a smooth and relaxed flow of conversation; Jaine, perhaps apprehensive about sharing certain things and feeling trepidation over questions I may ask, being understandably guarded, living a life in relative obscurity.

We talked about our school experiences. Me relaying my leaving school at a very young age due to bullying. Younger than Jaine herself was at sixteen. By that time she was wary of academia. Her mother, a teacher, was Jaine’s own teacher during her final two years of school. Something one can only imagine is wrought with its own unique set of problems. We shared a common leveller, so to speak, with a common kind of circumstance, but with a different view of pursuit.

I left school early because of the bullying, but felt cheated that I was taken away from the education I craved. I wanted to continue study and I had academic pursuits in mind. My mind, I felt back then, was not the mind of a creative or artistic person. I loved science, mathematics and history. That’s where I wanted my future to be. Jaine didn’t feel the need to pursue higher education. She was good at English and could have followed artistic pursuits at a higher education level, but preferred to leave school and get on with getting out there and living it.

And she made a life for herself getting out there and doing it. One that saw her involved in the arts in one form or another throughout her life.

Asking Jaine of her memories of the tours I asked if she had any favourite gigs from her time as lighting tech. “Les Bains Douche in Paris. I love Paris, and this particular venue was really trendy and arty. It had sunken baths in it or something like that.” (In fact it seems to have been a multi-functioning venue – concert hall, discotheque, restaurant and bar with an in-ground swimming pool as its main focal point). “It was an amazing place to play in. Also Kant Kino in Berlin was very cool.”

My final question to Jaine was “what are your favourite Simple Minds songs of the period?”
“Someone Somewhere In Summertime is one. I really like that. Of the earlier stuff? There’s one called [In Your] Room that’s really good. These two are my particular favourites.”

My thanks to Jaine for affording me the time for the interview. Her time was greatly appreciated.

The final words I shall leave to Jim. What follows is an extract of a post from Simple Minds Official Facebook page in which Jim talks of Jaine on what had been a recent visit to Sicily, highlighting the intrinsic role Jaine (along with others) played for the early Simple Minds.

“They say that ‘No man is an island.’ I would add to that ‘No band is an island’. And what I mean is that for Simple Minds to happen, it took more than just a bunch of musicians (no matter how talented) getting in a room together. That in my view is often the end product.

The real beginning for any artist is the scene that you grow out of. The people you hung out with. Those who influenced, unknowingly of course, turning you on to all manner of new stuff. Could be music, films, theatre, fashion, books. You name it? In doing so they all help create the landscape that gives birth to your own imagination. And at the end of the day creativity is largely all about imagination, and how much of it that you really have?

All I can tell you now is that Simple Minds owe a ton of our success to all the other Glasgow kids that we hung out with back in the day. They all helped set our imagination on fire. That fire still burns and their influence is very much still a part of us.”

Minds Music Monday – Kant Kino

It is my favourite SM instrumental. I really don’t know why I find it such an emotional piece, but I do. There is just something I find really…tender… about that riff of Charlie’s. It’s short, repetitive loop just brings me to tears…and perhaps it is that combined with that end reel to reel tape loop that makes it emotive and super nostalgic? Whatever it is, I never tire of it.

This new vid has a wonderful visual aspect for the sound conveyed. Enjoy! 1 minute and 50 seconds of wonderment.

I Kant Be Too Kino About This Birthday Gift!

I present to you, the Bagger’s Tantrum Remix of Kant Kino!

A few days ago I linked to Kant Kino on Spotify and said in a followup FB post that the only problem with it, is that it’s far too short. Well, Baggers fixed that for me, and I now have a 4 minute 48 second version – which is just awesome!

Thank you, Baggers. I love it!

Lyric Of The Day – (Instrumental) Kant Kino

No “lyric of the day” seems appropriate today. So for today, instead of what would have been a “lyric of the day” post, it will be an instrumental one.

Some instrumentals effect me in such a profound way.

A New Career In A New Town by Bowie himself, is one.

Another is the beautiful Kant Kino by Simple Minds. Pulsing, shining, glorious. It nods to Kraftwerk and consequently Bowie himself. And there is that Berlin connection too.

Why I Love…Kant Kino

It’s short, succinct and beautiful. It starts off as a segue from the end of Thirty Frames A Second (another song in my Top 50 that will get its own post at a later date), with the sound of a reel to reel tape spinning, tape clacking over the spindles.

A soft, haunting guitar from Charlie slowly comes in, while the clack of the tape on spindles still lingers in the background and a hiss of white noise fades in and out.

After a short time, a pulsing programmed synth from Mick begins to play, getting louder and louder. I don’t fully understand why, but the pulsing has a very emotional affect on me. I just find it haunting and beautiful. My eyes go misty! There’s an inaudible kind of vocal that comes in softly, adding more haunting, beautiful emotion to it.

It slowly starts to fade out…the synth pulse dies away. The spangly guitar is still audible …so is the clack of tape on spindle and the fading in/out white noise. But it’s all quieting down…getting softer and softer…until it fades away and all I’m left with is goosebumps.

It’s barely 90 seconds long, but it is a masterpiece in the art of the instrumental and I adore it.

If memory serves me (and let’s face it, it rarely does!), Bruce Findlay, when choosing to share a YT clip of it in a tweet on Twitter, said it was inspired by a visit to a club in Germany (not sure which city he mentioned now). I’m very glad they went there! It’s beautiful.

And that is why I love Kant Kino.