Happy 40th Anniversary – Life In A Day!

Someone:
It’s quite manic the way it starts then sounds traditional rock. Almost pub rock. Post punk. But “poppy”. I love that little “doo wop” bit too. The magic of a song that sounds catchy and upbeat, but if you take note of the lyrics…there’s a slightly different story going on. But we’re looking for life beyond those potentially boring “teen angst” years. Adulthood has dawned. “You’re running home before the morning light. There is a new age that has just begun.” Leave the angst behind, Ruby.

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Life In A Day:
Synth washed opening but still steeped in post punk. It does wear its influences boldly this song. Already those more industrial sounds are there. It’s in the atmosphere conjured up by Jim’s lyrics. I always say that Factory is like a lyrical LS Lowry painting – Life In A Day is its predecessor. Some days I really enjoy listening to Life In A Day…other times it leaves me feeling a little despondent, and I am unsure as to why that is.

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Sad Affair:
This has always been the weakest track on the album, for me. I’ve never really taken to it. This to me is the track that sounds most “Boomtown Rats”. The one I think of first when I am reminded of Jim’s feelings when he first heard the album being played back once they got their hands on the final cut. That feeling of “Oh, we’ve fucked up with this. This isn’t us! This is the Boomtown Rats!”

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All For You:
In 2014, when I started my exploration of the Simple Minds back catalogue, this song really made me sit up and take notice. The first one on the album that I truly went “ooh, now…THIS is interesting!” over. I know Jim has a soft spot for Someone, but I do for All For You. Had this track not piqued my interest when exploring the SM back catalogue a second time over, then…well, I would probably NOT be doing this post, or even running this blog!

Pleasantly Disturbed:
The title could not be more aptly applied to a song. I mean, that title sells it perfectly. Starting with a quiet yet low rumbling slow drum beat and cracked jagged guitar riff…it’s wonderfully atmospheric and moody. It conjures up a similar feeling in mood to one gets from Riders On The Storm. A dark, oppressive and gloomy rain-washed street. The genius of adding violin to it…I mean, who came up with that? Charlie? Well, if he did, he cursed it subsequently through the years from having to continue to play it when performing the song, while never feeling he had the true virtuosity for it. From the moment it starts, it just feels on a different level to any of the other songs on the album. And unlike most other tracks on the album in which they didn’t quite capture their live sound right, or John Leckie didn’t quite capture their essence – it worked for Pleasantly Disturbed. If anyone you meet ever dismisses early Simple Minds as a serious musical force of nature, play them Pleasantly Disturbed. And if they’re still not convinced, then they are beyond salvation. Pity them.

No Cure:
I suffered such a love/hate thing with this song. I used to abhor it! For a long time I would skip it entirely. Then when out in Oz and getting into the habit of listening to SM on shuffle mode each night, it played a few times and I was roused to semi-consciousness to listen to it. Too tired to grab the iPod and find the skip button, but awake enough for the song to filter through, a change of heart started to happen. Things actually ended up turning on its head and I went from utter intolerance of the track to absolutely falling head over heels for it! I couldn’t get enough of it! It became a constant earworm. It was stuck in my head for WEEKS. And I played it over and over! Lol. The title of it, once again, became so apt. Jim is a master at this stuff, he really is. For of course, the song had been previously known by the title Cocteau Twins, until Jim decided to tweak the lyrics and retitle it. Having read up about Cocteau Twins and its beginnings…Les Enfant Terribles… oh how it makes some weird sense of why I had this love/hate grapple. Knowing its history, I find the song strangely alluring and ever so sexy. It may have been “tidied up” but the words pertaining to “the game” are still there.

Chelsea Girl:
What a riff. So simple but so full of intent. Speaking of songs that are sexy. I do find this sexy too. Seriously, if I had been of their age, I’d have fancied Jim from day one. I’m still not quite sure exactly what I am meant to make of the “Chelsea Girl”. Is she a prick tease? Or a floozy? Answers on a postcard…

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Wasteland:
I find Wasteland a wonderfully obscure Kerr lyric. A song I am not really sure I know much of what it’s actually about. Looking at the lyrics I have no real clue. God I love you, Jim Kerr. You are a puzzle! The songs may feel like puzzles to solve to you…sometimes I think you pass them directly on to us! “Solve that one, peeps! Try and work out what I’m telling you here.”

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Destiny:
Also a curious one. Seems as if it was a much meatier thing when it was called Sweet Things. I am going to assume by how the lyrics read, it is a look at the life one has laid out for them and a defiant rejection of it. “Can you hear me, can you see. I don’t want this destiny.”

Murder Story:
After All For You and Pleasantly Disturbed, this is a song I really fell in love with quite quickly. I love the drama of it and despite the title and the tone of this song, there’s an element of fun to it. And I just love the way it ends. All the layers of Jim’s vocals clashing and sounding cacophonous and him singing alternates of “it wasn’t me/it was me”…then with that final trio of shouts of “IT WAS ME” and then it just comes to a halt.

 

 

A LITTLE NOD TO THE B SIDES

Over all as an album, it’s a good debut. It’s solid. And yes, I somewhat played Devil’s advocate asking Bruce Findlay if he felt that some songs were “too old”. It doesn’t quite hit the mark in some elements. And they probably weren’t captured quite at their full potential the first time round with John Leckie, but they and he quickly made up for it. And Real To Real Cacophony is by no means faultless either, but it improves upon a good stepping stone.

The album certainly has a maturity to it. I mean, heck, the average age of the band at this point is 20. TWENTY! They’re babies! Jim and Charlie are actually still only 19 upon its release. If I do that “compare them to U2” baloney and compare Life In A Day to Boy – the maturity of Jim’s songwriting over Bono’s is just chalk and cheese for me. While on Boy (even just the album titles reveal all you need to know!), Bono is writing about The Electric Co and Stories For Boys, Jim’s writing about the daily grind of city life, murder, drug use, mind games between young adults, conquests (or lack thereof). It’s young men, not boys.

Don’t get me wrong! I’m not dissing Boy. I love Boy. You can’t knock I Will Follow, and I love An Cat Dubh and Into The Heart, A Day Without Me and Shadows And Tall Trees contains my favourite line in the entire album “Mrs Brown’s washing is always the same”. Boy will always have a soft spot in my heart, because I grew up with it. My brother had a copy from 1980, so it has been with me since I was 10 years old.

Life In A Day never bowled me over completely, but there are gems contained within it. It probably didn’t feel that way at the time, and thank god Simple Minds came into being at a time that they did and with Bruce as their mentor and ultimately manager because he was never going to abandon them. They were given the time to evolve artistically and become truly great. They held such promise and it was there for all to see. Life In A Day, though not perfect, showcases, with a bit of “hit and miss” what Simple Minds were capable of. Their tender and tenuous beginnings. It’s an album strong enough to enjoy from start to finish. The only track I used to skip was No Cure, and I ended up falling in love with it.

Give it a listen today. Have a bit of a nostalgia trip and say “Happy Anniversary Life In A Day!”

Murderous Murder Story

About 8 hours of work, spread over the past two days. I’m sure it’s shit. I’ll probably end up hating it because I overcooked it. Anyways.

I love Murder Story. Stay tuned tomorrow for my silly little LIAD anniversary post. Wish I could tell you I’m posting an interview with Jim on here…but alas, no. Never gonna happen 😦

Steve In Stevenage…

You know sometimes when you see something … you’ve just been made aware of it but it happened just a couple of days prior so you missed it completely?

Well…that just happened to me. I’m checking the local record stores, particularly those over the Hertfordshire border…to see what they’re stocking and their prices for Saturday’s RSD. I checked Revolution Records in Stevenage to see that just this Monday gone STEVE HILLAGE WAS THERE DOING AN ALBUM SIGNING! I AM GUTTED!

I am ssssoooo gutted I missed this. I think I’d have been the ONLY person there to say “So, Steve…what was like working with Simple Minds on Sons And Fascination/Sister Feelings Call?”

I’D HAVE GRILLED HIS ARSE! Lol. “Is the story about the pot plant true? Did you really fall down a stairwell on an office chair?” You know…all the probing questions! Lol

Oh, shit. I can’t believe I missed him! 😩😩😩

Caezar The News!

News of a Caezar gig towards the end of November was revealed today. Joe and JJ will be playing Saint Luke’s on November 23rd, with King Of Birds once again as support.

I couldn’t turn back round after two weeks to make their date in February but I’ll pull out all the stops to try and make November’s gig. Who knows? With any luck, might even be living up there by that time (I will continue to dream…though it feels like it slips further and further away).

Fingers crossed, by hook or by crook, I’ll make it…money, health, etc permitting (asterisk, asterisk). If I’m not up there and/or can’t make it, I’ll pray that Joe will have a hometown gig somewhere around Windsor way again.

Tickets go on sale on Friday. This time round, I think these will sell like hot cakes! Get in quick, peeps. That’s my advice! Find tickets HERE

Stewart Copeland – Royal Festival Hall, London – March 30th, 2019

After Thursday’s affair at The Stranglers gig, I was thankful to know that I’d be seated at the Stewart Copeland gig.

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From my memory of how the side seats looked when I was there for the Manic Street Preachers/The Anchoress Meltdown gig last June, the seats appeared like they’d give you a pretty good view. I suppose the rail could make it a little restricted with the view, especially if you’re a short person and sit low in your seat but for less than half the price of the stall seats, it made it an affordable last minute choice to go.

And I chose my seat well. There were seats either side of the auditorium. Both seats I was viewing when buying my ticket would have given me very similar views of the stage. It was just down to me whether I’d feel more comfortable facing the stage via facing it to the right or left. For some reason I couldn’t quite understand, I was favouring sitting on the left side. It ended up a great choice as from how you see in the few sneaky snaps I took, Stewart’s kit was facing – what was for him from the stage side perspective, the right side of the auditorium. I had a prime view.

He arrived on stage promptly at 7.30pm, wishing the crowd a good evening. Cracked some jokes about half of his children were probably in the audience…or the actual audience! Lol. He started with film scores.

Tunes from Rumble Fish, Wall Street, his work on the Ben Hur live experience, the Spyro videogame soundtrack….as well as the odd Police number (in which he gave praise to Sting – I nearly fell off my chair! “Gordon Matthew Thomas Sumner – the greatest songwriter ever to exist on the planet” – quote/unquote!), playing Don’t Stand So Close To Me, Darkness and Miss Gradenko. And no Stewart Copeland set would be complete without The Equalizer, which he strangely did not perform but handed it over to the orchestra conductor who just happened to be a rather accomplished drummer himself. Stewart by way of a role swap, conducted the orchestra on the piece, as you can only imagine Stewart Copeland would…with quite a few giggles from the crowd as he made over exaggerated hand gestures and at one point did the Twist whilst still conducting away.

I think he also played something from The Rhythmatist and also played some Balinese Gamelan music.

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He talked in between every piece, telling a brief story behind each. How they came to take place, etc. Namedropping directors like Oliver Stone and Francis Ford Coppola along the way. Always bringing out chuckles in the audience.

With a 20 minute interval about 45 minutes into the set, the gig came in at just on two hours. All done and dusted by 9.30pm. I had never been out of a gig so early! I was back at Victoria by 9.50 and on the coach back to Luton just after 10pm. And back in the door at home by 11.30pm. Incredible!

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Any worries I may suffer a repeat of Thursday were long gone. I had a draining journey back from Weston-super-Mare during the day, but was soon revived with a meal and a short meander around the Southbank of London.

Stewart put on a great show. Great musicianship by the orchestra. Stewart was in good form both musically and as a general showman and class goofball.

It was a great night. I was so happy to have seen him. At times during the set I had been sitting their inwardly pinching myself, thinking “I am actually HERE watching Stewart Copeland play! This is fucking amazing!” And it was.