Minds Music Sunday – Sweat In Bullet – SAF/SFC 40th Anniversary Celebration – ANNIVERSARY DAY!

The allure of repetition manifests itself most strongly within all of the Sons And Fascination/Sister Feelings Call’s tracks in Sweat In Bullet. Three solid blocks of repetitive text from Jim Kerr, with a vocal performance to match. 

This is the most Burroughs-esque of all of Jim’s writing from the period. If you are not familiar with William Burroughs’ writing, let me explain. In much of his writing, Burroughs used the “cut-up technique” in which lines of existing, linear text are cut up and rearranged to create new lines of (linear?) text. It’s also a style of writing that David Bowie experimented with in his songwriting quite often during the early to mid 1970s. 

I hear a lot of that influence falling heavily upon Jim’s songwriting in the early years. In fact it couldn’t fail but do so, given the way Jim would gather his ideas – jotting down lines of text…words and phrases that caught his attention or piqued his interest at any given moment. That writing style couldn’t help but mould into a more Burroughs-esque form of songwriting. 

By all accounts, even from his own accounts, Jim’s notebook was never far away from him, and he was always writing things down.

The first words in the song aren’t even actual proper words – just Jim playing around with the sound of words as you would expect him to do.

Jim Kerr interviewed by Lynn Hanna for NME, published December 4th, 1982

Among the quote above, the one thing that stands out for me is him saying he “feels” the words rather than “thinks” them. Well, not even the words are “felt”. But obviously his lyrics (at that point) come to him very organically and via the visceral rather than the intellectual.

I think we as fans – well, certainly me personally – give his lyrics much more thought and significance than he ever sounds like he did (or does). Perhaps because (for him) you need a level of detachment when you create? By the same token, his writing is obviously also very personal because of the process of it being “felt rather than thought”. So the detachment has to come once he’s written the song. Like watching fledglings leave the nest, or children leaving home to start off on their life’s adventure. 

Then we are free to interpret them and give them as much or as little significance as we like. And perhaps after some time of reflection, perhaps even Jim himself sees things and interprets things in his words that even HE didn’t see at the time of writing? Am I the only person to find this absolutely fascinating?

Jim Kerr interviewed by Lynn Hanna for NME, published December 4th, 1982

Upon reflection, having him talk about aspects of his writing style, I don’t think there is much of a Burroughs style to his writing. Jim’s is more organic than that.

I’d like to ask Jim his views on the Burroughs “Cut-up” technique – but the time for questions seems to have long gone by. Stuck in history’s “halcyon days”. 

Anyway, what does one do to a song to remix it and give it a new flavour? ADD MORE COWBELL! Lol. So…what exactly happened at the mixing desk there with Pete Walsh at the helm for the Sweat In Bullet extended mix? Something akin to this, perhaps? Click HERE TO VIEW

And with the official video, the cowbell features prominently as Kenny gives it a good bash (and the cowbell! Boom boom!) by the shrubs. 

The Sweat In Bullet video is a bit more of a stock music video of the time. It doesn’t have the storyboard that its “sister” video, Love Song has, that’s for sure! But I think that makes it more sophisticated. The guys all look amazing in it – although I guess it could be argued that Jim lets the side down with his dodgy eye. And…how frigging skinny is he?! Oh my word!

Back to the song itself. It was one of the first of the songs written in 1981 in Edinburgh and was demoed at CaVa Studios on Valentine’s Day. Originally titled Twenty One – which I find odd as there is nothing within the lyrics of the song to denote why it would be called that. Subsequently though, it helped me to decipher a line Jim sings in Life In Oils, as I am almost certain now Jim sings the words “twenty one” before he gets to the “chorus” in Life In Oils. Which then makes me think Life In Oils should have been called Twenty One (ah, to be able to go back in time and quiz Jim on such things). Click HERE for demo version.

Shortly after its demo recording, it became a main feature in the setlist, long before the album and its single release. Its debut performance was at Tiffany’s in Glasgow on March 1st, 1981 (click HERE to listen) and it moved on into the New Gold Dream tour as well. And there its time on the setlist ended for 20 years until it reappeared on the Alive and Kicking tour of 2003. Latterly it appeared on the 5×5 Live tour 0f 2012 – so come the recommencing of Simple Minds touring in 2022, it will have been another 10 years since the song has been seen on the setlist.

So, what exactly *is* Sweat In Bullet about? Given that the song starts as a seemingly random set of words, is there any story behind the song? Well, it’s obviously a song about ambition – a topic that features heavily in Jim’s lyrics at the time. But there’s more going on than that. It seems to be ambition from the female perspective. 

A chance encounter – “you’ll never meet again”.

Suspicion from both sides, perhaps as rivalry – “eyes small”.

The matriarchy rules – “society can gain”

Like ships in the night  – “then say goodbye”

Mission. Motion.

It seems to get a bit heated at one point “rolling and tumbling, ambition in motion” – it always sounds like a sexual dalliance has taken place – “rolling and tumbling, she’s sweating bullets”. 

A sexual dalliance and a power struggle? “Grow in size. Grow in fame. Grow more. Take more. Uncontrollable. Unworkable.”

It almost sounds like espionage. Two spies meeting. Female and male. Secret encounters and sexual espionage. But…who wins? Who outmanoeuvred who?

The two prevailing subject themes of the time in Jim’s songwriting join forces here and meet in the chorus – “ambition in motion”. Movement. Travel. Aims. Goals. The fear of the still and the stagnant and the bland. But conversely, he needs that stillness and monotony to create.

Matched with those lyrics is just…the funk of it! Derek Forbes’s bass is NASTY (as is GOOD), add Mick’s keyboard hook and Charlie’s guitar licks and that cowbell and – what a track!

This is a favourite live version of mine.

And so here we are – 40 years after its release on September 12th, 1981 – having gone through every track on the albums, one by one…I am left completely in awe of what Brian, Mick, Derek, Charlie and Jim achieved with these albums. Both albums are a sonic masterpiece in my eyes (and ears). I hope the posts I have generated about all the tracks on the albums have  truly reflected that feeling. 

I have drawn in content for my Sons/Sister posts from many sources over the six months, from the music magazines that the quotes from Jim have been sourced from – Melody Maker, Sounds, New Musical Express, Record Mirror, New Sounds New Styles, Smash Hits, The Face and Roadrunner magazines – YouTube for interviews, the use of photos by Virginia Turbett, as well as Malcolm Garrett – who not only allowed me to share certain artwork images but also provided amazing insight into some of the artwork used for the releases (the cover of Sweat In Bullet a case in point – you can read about that artwork HERE), thanks also to Jaine and David Henderson for help with what ended up being the biggest and wordiest post of them all for Love Song, but biggest debt of gratitude HAS to go to Simon Cornwell and his AMAZING Dream Giver Redux website at: simpleminds.org

Without Simon’s website, none of this would ever have come to fruition or be the celebration of the albums it has been. I put a lot of work into my blog but it pales into insignificance compared to what Simon has put into Dream Giver Redux. It literally IS the Simple Minds “Bible”.

I also want to thank Gordon Machray whose support and unflinching loyalty to the band is something to be revered. If I dare bring up the whole “real fan” business again and give it the creedence Jim was trying to give it – well, there’s your real fan right there! I’m not sure I actually know anyone else who is as impassioned as G Man (as he has been affectionately called by me for some years now). Gordon’s support of me is greatly appreciated. 

Lastly, to all of you who have taken the time to read these posts over the past six months, thank you!

On The Cover Art – The Men Are Marching

There is a path that leads me here to this post. A path that was an unexpected but wonderful stroll. The stroll continues, still. I’m not sure how much of this I can explain. Best to keep it a bit cryptic and vague. We love ambiguity – ain’t that right, Jim?

Suffice it to say one thing led to another.

There is a Sons And Fascination link here. Or should that be “Sons And Fascist Nations”? An explanation of that in due course.

A couple of my most prized possessions in my Simple Minds collection are copies of albums produced for the overseas market. One album released for the U.S. market via Stiff Records was titled Themes For Great Cities and was a compilation of tracks from Real To Real Cacophony (Premonition) to several tracks from Sons And Fascination/Sister Feelings Call. The other is a version of the Sons And Fascination album released by Virgin Records for the Central American market.


There are patterns on the cover. The artwork by the one and only Mr Malcolm Garrett, with photography by Peter Anderson. You can see shapes and a figure. I could see a figure on these covers.

Then there is the reissue of I Travel by Virgin Records in 1983 which bares a photo of Jim, taken by graphic designer Garry Mouat, on stage in motion as if marching. “In central Europe men are marching” always springs to mind seeing that cover. What I never really took in is what appears in the overlay of the photo of Jim and I didn’t see it properly until Malcolm was kind enough to show me this…


I did see that something was overlaid on the photo of Jim but what I didn’t know was that it was a variation on the figure seen on the Stiff Records “Themes” release and Mexican version of SAF.

I also missed the very obvious figure on the Sweat In Bullet sleeve art. Mostly due to the fact the figure has the head of a photo of Elizabeth Taylor.

And so…why did I alter the title of the album to “Sons And Fascist Nations” earlier, I hear you ask? Well, here’s the thing. In talking to Malcolm about the album cover photoshoot with Sheila Rock and asking him about the cars, we got to talking about other art relevant to the Sons And Fascination period. He told me about certain things that inspired some of the cover art. This included him telling me about the image above and that it was inspired by similar figures like it that had appeared in a book he had seen. The book in question is called “Mostra Della Rivoluzione Fascista”. Issued in 1932 to be a compendium to an exhibition on Fascist propaganda – a “celebration” of the 10th anniversary of Mussolini’s march on Rome. Seemingly exhibited in a building erected specifically for this solitary purpose – also known as the “Mostra Della Rivoluzione Fascista”. The exhibition proved so popular that it extended beyond its initial intended six month run and ran for two years. It was seen by almost 4 million visitors by its close towards the end of 1934.

You can view selected pages of the book by clicking HERE


I will state here Malcolm’s initial reluctance to have me write and publish this post and he had approval of this before posting. And I do understand the reluctance. You wouldn’t want to be seen condoning Fascism! But it’s about art and the aesthetic and not the political. Well, that is how I see it. This post nor we as individuals are condoning Fascism! But when it came to the use of the “Marching Men” (as they have come to be called during our conversations) and the line in I Travel “in central Europe men are marching” (long since changed by Jim since he now always sings “all over men are marching”). It conjured up the exact imagery used on the Virgin released I Travel cover.

I missed the image of the Marching Man on the Sweat In Bullet cover, yes, and I don’t see the link quite as obviously as with I Travel but listening over some of the lyrics then… it could be “ambition in motion” or to “grow in size” or to “grow more / take more” that makes it fit?

An excuse to share my prized possession of my Sweat In Bullet double single signed by Brian McGee

Either way, all four covers featuring the Marching Men are striking and impressive. And they certainly make a statement.

Another short point – as I was researching to do other posts that were SAF/SFC themed, I shared an article from New Sounds New Styles printed in 1981. Ian Cranna interviewed Jim for the piece. Check out the magazine layout! Guess who was behind the layout of New Sounds New Styles? Yes! You got it!

By this point, the band had only appeared on the back cover of their albums. On Life In A Day they were on the back cover and also on the back of Empires And Dance. Inner sleeves too. But only the inner sleeve of Real To Real Cacophony. Not up to this point on the FRONT COVER of an album. Not until Sons And Fascination. They were reluctant and the images of them are somewhat obscured but the images reflect the movement and motion of the music contained within. The “travelogue” musical sensibility of the album. It was a masterstroke. Perfectly encapsulating the audiovisual.

I find the whole aspect of the cover art for the Sons And Fascination/Sister Feelings Call albums and singles…erm…fascinating. And if I do then I thought others would too.

Below are a couple of YouTube clips showing footage of the Mostra Della Rivoluzione Fascista, including a modern day (in Italian) look back at the exhibition as well as footage from the time of a visit to the exhibition from Mussolini himself!

A massive thank you to Malcolm Garrett for allowing me to tell the story of the Marching Men images and what inspired them into being.

I’m On The Rooftop! – The Kensington Roof Gardens

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.

Photo from Clubbable.com

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!

Photo by Vikram Manoharan

Minds Music Monday – Don’t You Forget About… Sweat In Bullet

It’s the 18th of November, 1982 and Mel Gaynor is making his live debut for Simple Minds as they play to a raucous home crowd at Tiffany’s in the “Dear Green Place”. Mel’s an accomplished drummer, no question there! But he’s still learning the SM repertoire of songs. Of course he’s familiar enough with what’s on New Gold Dream – it’s his drumming on about 70% of the album’s output. But as for the rest of the Simple Minds catalogue? He had to learn pretty quick!

Mike Ogletree was touring with them through all of 1982 and for whatever reason (he just didn’t quite fit? Who knows? All I know is I have grown a huge amount of respect for Mike over the past six months or so listening to all these bootlegs) they parted ways. I think Mike will always have a subtleness in his playing that Mel lacks (or perhaps just doesn’t use as often – he’s a hitter). And well, I guess Simple Minds probably wouldn’t have sounded QUITE so bombastic on Sparkle In The Rain and Once Upon A Time without Mel behind the kit. It’s an interesting supposition to ponder how things might have progressed with Mike there.

Speaking of Once Upon A Time and the sessions around it (and the reason behind this whole MMM post) – take a listen to this version of Sweat In Bullet from Mel’s debut gig. Is it just me…or does it sound like he’s about to start off playing Don’t You (Forget About Me)? I was genuinely perplexed when the song starts, it’s only when Jim intros it as Sweat In Bullet did I have any idea of what it’s actually meant to be! Lol. Just two nights later at Newcastle and Mel has the rhythm of the song sussed and it’s sounding more like it should. By far one of, if not THE funkiest track Simple Minds have ever produced.

Let me know what you guys think. Do you hear the hallmarks of Mel’s “Don’t You” intro on it?

P.S. The artwork looks nice! 😎❤️

Happy Anniversary Sweat In Bullet!

It’s been the inspiration for a few art pieces, and the video is a fave. Jim is sssoooo frigging skinny in this video. He’s got his gammy eye and he is that heady mix of fledgling Laird Dash Fandango in his collared shirt and tailored trousers but with that bit of “gangster rough” with it.

Oh, and him doing all those whipping actions with the mic cord….OMG! It used to have me saying stuff like, “WHIP ME, JIM! PLEASE! WHIP ME!” Lol. Oh…the fantasies!

Anyways! It’s a Happy Anniversary to Sweat In Bullet being released as a single a mere 39 years ago today. Enjoy…art and video… (the first is still a fave, even though I did it yonks ago)

Visuals from Glittering Prize for the last one but words from Sweat In Bullet.

Pleasure In Pain…

The Sweat In Bullet video….honestly…when it gets to this point, I’m like “Whip me. Just fucking whip me with that mic cord. Just do it. Break the skin. Just frigging hurt me!”

He’s delicious…

Man, I need help! (Been a long time since I spoke like this on the blog. I can feel a dark mood descending again…)

Promised You A Sweat In Bullet Miracle

You know what? Well, I was worried about why I had been blocked from the Decade 77-87 Facebook page. And I was genuinely scratching my head wondering why the hell it would be that I was. Then this evening, with a new share of a Simple Minds video compilation they had put together, I realised what potentially may have caused it.

Last year they shared a clip of Factory from Folllies – the Belgian music show. When they shared the clip, they made the claim it was exclusive to them. But it wasn’t. It appeared just a day or two before on YouTube, and they clearly had just copied it off from there. And I said as much. So…if that is their gripe and why I was blocked from their page? Meh! I just told the truth.

Subsequently, that clip WAS taken down from YT and only their clip of Factory remains. (As a superior colour clip. There still is the inferior black and white clip on YT) One could argue they had the last laugh.

So…tonight, this new clip from them shows up! One of SM on Get Set For Summer in 1982. Jim looking UBER lush and beautiful (no apologies for my ovary exploding fangirling tonight). There are two parts to the clip. Them doing Promised You A Miracle – which I had NEVER seen before, and a snippet of them doing Sweat In Bullet – which I had seen before, in appalling quality, on Daily Motion (Daily Motion really is NOT the place for clips these days!).

So, seeing as it had appeared on the Decade FB page, I thought “Oh, there must be an original source on YouTube. Let’s have a look.” Lo and behold, there it was! It had been up there for seven months already. Damn!

Anyway, here’s the original, full YouTube clip. Promised You A Miracle starts at around the 11 minute mark. I skipped through the rest of the clip, wondering if the bit of footage I saw of them being interviewed was in it too – the one where Jim pretends to whack Peter Powell on the head with the microphone (should have done it for real, Sir!). No such luck. Not that I saw anyway.

There’s a curious thing around the 25 minute mark. They are interviewing some head huncho at the Grandstand studio about some sporting event being broadcast and I SWEAR for all the world it’s Steve Coogan – more fittingly – Alan Partridge. Except Coogan is only 16 at the time of the airing of this show, so it CANNOT be him. But, the voice and mannerisms are unreal!

Just watch it! Shortly after it is the Sweat In Bullet snippet.

Enjoy!