Minds Music Monday – This Earth That You Walk Upon – SAF/SFC 40th Anniversary Celebration

When you consider the tracks on the album that have just gone by – the thumping drum and bass monster of Boys From Brazil and the pre-techno genre Euro dance beat of Love Song – there is a calming and stillness to This Earth. A soft rim shot (that’s what that particular percussive sound is called in the pro world) and slow haunting reverb guitar start the track off before Mick comes in with simple but gorgeous synth melody. It feels as if a magic carpet has arrived to take you on a meditative ride.

Soft little hushed tones from Jim accompany the music before he comes in with a pondering set of questions – “What’s your name? What’s your nation?” There is now – after the rush of the previous two album tracks – a definite “sense of order / sense of speed” – at least a reduction of speed to the more tranquil and more….meditative.

More fragmented lyrics still “shakes his hand / turns away / turns his back and walks away”. Jim seems to have recurring themes in his lyrics. Quite a bit of hand shaking and walking into, out of, or generally around spaces. There’s a lot of walking. I guess it is reflective of how much of a walker (yes, that’s “waLker” lol) he is. Some elements of songwriting, no matter how much you feel are not a reflection of you personally can’t help but be a mirror.

Reading up about it, it was initially an instrumental and was released as an instrumental only version on the B-side of Love Song. Jim added the vocal at the latter stages of the album recording. Probably having walked around Glasgow for days on end listening to the track god knows how many times on his(?) or Brian’s(?) Walkman. Each time I hear it I think of the reply I had from him about listening to music while walking (or jogging as the post he had written had alluded to) around Glasgow. I’ll include it below as it is a piece of “conversation” I cherish. I cherish all the interactions I’ve ever had with Jim and I despair the thought of it being past tense now. “All things must pass”, I guess. I feel as if I have been in mourning twice in recent years. Losing my mum at the end of 2019 and then…well…

I have probably highlighted this bit of conversation several times over already, but here goes…

I used to think that was a ridiculous kind of bravado to claim that. To say “no birdsong could compete”. But he is right. No birdsong can. But the birds aren’t trying to compete with Mick MacNeil’s or Charlie Burchill’s genius. They’re just the males in the species competing with each other for “top bird”. To get the best females. I pretty much think Mick had that part covered as well – without trying. Cheekbones you could cut yourself on.

For me, this song has Charlie Burchill’s best guitar solo. By far. It almost sounds off key. But that makes it stand out. And it’s haunting. Like his guitar is weeping. It is so beautiful. And then to match it to Jim’s lyrics after the solo ends – “screaming edge of light / shines so, shines so hard”. Those lines exactly encapsulate what Charlie has just produced with his guitar.

I had my “heavenly moment” with this song. The Walk Between Worlds tour of 2018 and it starting at the Barrowland Ballroom in Glasgow. We were just a few songs into the show. The songs that you’d expect to get things under way. The ones the early diehards love – I Travel, Celebrate, Love Song… and then…THEN came the B-side to Love Song in lyrical form. As soon as the jangling guitar, the soft percussive beat and synth melody began, I almost fell to my knees in raptures! There was talk of surprises being on the setlist leading up to the tour. Unexpected things that would keep the diehards happy. And of course by this time I was one of those diehards.

I had never expected much from the promise of surprises. I know sometimes that Jim says one thing and means another. I was cynical enough to keep my expectations in check for fear of disappointment. This one floored me. I was ssooo happy! I just wanted to shut myself off from everything else that was happening around me. I closed my eyes and just let the whole thing wash over me. To just let it soak into my skin and try to keep myself in the moment.

I don’t actually recall much of how the song actually sounded on the night. I remember Jim and Catherine sharing vocal duties on it. I remember feeling blissful hearing the music and anticipating Charlie’s solo which was just about note perfect from my vague memory of it. The memory is vague because I suffer from a kind of sensory and emotional “overload”. When things are very special or mean a lot to me, it overwhelms me and plays havoc with my memory recall. I have the worst memory as is – but when it is a special thing, a moment that I REALLY WANT TO REMEMBER – then that is guaranteed to be the thing I remember least – or worse still can’t recall at all. A lot of things I wipe from memory completely. Thankfully in these modern times with Smartphones being rather ubiquitous, there is not much need for me to have to rely on my memory recall – thank god! But it would still be lovely to be able to recall it first-hand from my own memory bank. To feel all the things I felt that night as the song was playing rather than the vagueness of knowing it meant the world to me to hear it being performed and wanting to savour the moment.

I know this is not the most information rich post about this song. There’s never really been much said of it. Never much talk about it. It’s quiet and sparse and glorious. Understated. Simple and beautiful. Mick MacNeil at his very best. Charlie Burchill at his very best also. And Jim Kerr at his most lyrically enigmatic. Quiet and sparse – but also expansive. Cinematic. “Worldwide on the widest screen” – latter lyrics that also sum up the atmosphere of This Earth That You Walk Upon. This whole planet is home to us. This big blue planet that we really should be taking much better care of but never will. Humans by nature are just far too greedy and selfish. Even those who otherwise appear altruistic still have these awful human foibles. We all do. Sadly it is also what makes us human. We don’t seem to be able to learn and change what makes us the worst example of humanity.

But alas, I digress some. For I am sure This Earth That You Walk Upon is just meant to be enjoyed as a reflection of all that is good and joyous about this world. The vastness of it. The nature of it. A soundtrack to the world, of our place in it and of nature.

I’ll offer two versions here. The album version with the lyrics and a version of it from the Walk Between Worlds Tour in 2018.

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.

Scenic Scotland

Oh, at long last! After nine months in the tightest restrictions in all of the UK, Glasgow came out of Level 3 lockdown last Saturday, June 5th. I was happy to let a few days pass by at least until we tried to get out and see anything. Just bide time a little longer.

We hired a car from Tuesday evening to Wednesday evening for a 24 hour period. I was hoping for a splendid west coast sunset followed by a day in the east but…mother nature had other plans! Although conditions were dry on Tuesday night, it was quite overcast so the glorious sunset I was hoping to see wasn’t really going to happen.

A change of plan. We broke up what was the rest of the plan into two parts – which was probably a good thing in hindsight as it would have been a bit of a stretch to have tried to cram it all in on one day.

On Tuesday night we went to Falkirk to the wheel and to the Kelpies. The Falkirk Wheel really is an engineering marvel! And that part of the country is just beautiful! It was a stunning thing to behold – all of it! The wheel itself, the scenery around it. Just beautiful! And even more glorious to behold as the sun is setting. I wanted to try and get to the Kelpies at sunset so we could see them lit up. But we are so close to summer solstice and the days are ssooo long at this time of year that true nightfall doesn’t happen until after 11pm. The Kelpies were lit up but it was still a bit too bright to truly experience seeing them in the dark. They are incredible also. And the park around them is gorgeous.

Wednesday the weather was going to be dreich in Glasgow but the east promised to be brighter. So over to South Queensferry and to Portobello Beach near Edinburgh. We travelled north and crossed the Clackmannanshire bridge over the Forth and then headed south skirting near Dunfermline before crossing the Forth Road Bridge and stopping at a charging station for car electric car charging. Great views back over to the north of both the road bridge and the rail bridge from a little observation point at the charging station. Took a stroll into the town while the car charged up. Walked past a hoose. Took some snaps. Watched trains go over the rail bridge. Grappled over which of the million ice cream parlours there were in the town which to buy from (you must have been spoiled for choice when you wanted an ice cream when you lived there, Jim! Lol) – then decided on none in the end. Bought sandwiches and carrot cake slices and went back to the viewing point and ate while taking in the view back from there.

Car charged up and onto Portobello Beach. Tried to work out which groyn – and YES, those things are called “groyns”….those wooden things that look like broken piers – the Minds were stood at for their early Zoom photoshoot. Asked the OH to take a photo of me by the one I thought it was. Inadvertently looked as despondent as Jim did in said shoot. Lol

The Edinburgh bypass by that time in the afternoon was a joy [sarcasm] and the only real crappy point to a really lovely day, The sunshine was on Leith as we left and it got increasingly dreich as we headed back west. By the time we got to Glasgow though it wasn’t as gloomy as it had looked when we had set out.

A lovely day.

All that remains is to ask – who did it better? Looking despondent – me or him?

UPDATE: Seeing as you asked, Scott 😁

Minds Music Monday – Something Different – Until Next Week – Kant Kino Tantrum Remix

Normal service for MMM will resume next week, but until then I’d like to share a special gift from my mate Baggers. Kant Kino is one of my favourite, if not my MOST FAVOURITE, Simple Minds instrumental. Only problem is, it’s so short!

“No probs. I’ll sort it!”, said Baggers to me and lo! He sent this (audio link below) to me not long after. A few days before my birthday in 2017 as a gift. He called it the “Tantrum Remix”. Lol

So, in lieu of being prepared for another Sons And Fascination/Sister Feelings Call themed post for this week, I am sharing this lovely extended version of Kant Kino.

I missed the chance to check the building out in 2019. I had it all planned out; going to Germany with Ruth, seeing The Stranglers and making my way to selected spots around Berlin. A pilgrimage that never got to take place.

Alas. Maybe one day…

Swede Sensation!

I listened to this last night (see link at the end of post). Wow! OMG – the Swedish crowd at this place LOOOOVE them! They just love them! It’s on a par with listening to a Glasgow gig for audience reception.

It’s a gig recorded from the crowd so the quality varies. Jim is not always super clear but the sound from the music is good enough. It would be fab if there was a better quality version of this gig out there somewhere. But in lieu of that, to have this one is enough.

Only the fifth airing of Someone Somewhere In Summertime and the crowd just absolutely love it already!

Just…the reactions from the crowd. This really makes the whole gig. The reception songs like Sweat In Bullet, Promised You A Miracle, I Travel and, in particular, Sons And Fascination get are just wonderful.

And the crowd sings along too! I wanted to cry tears of joy when Jim intros Sons And Fascination and the crowd are already chanting “Semi Monde!” before the song even starts! I love this crowd. I could imagine being in the throng and feeling like I was in amongst “my people” – you know what I mean?

And I really love this version of Room as well. I love it when Room has a little bit of the Velvets Rock N Roll in the middle of it. I almost wish they’d have covered it properly.

I know this is the “DUH!” statement coming up but – I LOVE JIM! I really, really love Jim.

I’ll confess that my initial interest in this gig was purely because it was on the day of this gig that Jim wrote the lyrics to New Gold Dream (the song) … and I just have this lasting image in my head…

He supposedly had the words come to him while he was in the bath. Before the gig? After the gig? I’ve no idea but…I just enjoy the imagery it conjures up in my head of this…ADONIS…languishing in a bath and then…

EUREKA!

In mind’s eye, it’s a GLORIOUS image! There’s not a towel to be seen. 😜🤓❤️

Anyway, forgive my ogling perversion. The link to the YT clip of the gig is below. It really is a good’un. Not so much for sound quality – but for atmosphere – it’s definitely a new favourite.

Enjoy!

Minds Music Monday – In Trance As Mission – In Celebration Of Imminent Anniversary of Sons And Fascination/Sister Feelings Call

When a song…and indeed a WHOLE ALBUM starts with the line “for just one moment in time I hear the holy backbeat” – then you know you’re in for something very special.

The band were convinced of its merit as the opening track to the album, but Steve Hillage took a bit of convincing. He felt it was “a bit long, but in retrospect, it’s so emphatically strong in putting across the overall vibe on the whole record. It’s a really good first track.” He was won round to the band’s way of thinking.

The title of the song could sound like a corny dad pun heard out of context but it instantly conveys the mood and tone of the song – movement, travel, open spaces, passages through time, the learning experience through exploration, through travelling.

Jim, back then, would seem quite dismissive of his lyrics in some ways. He said he hated the notion of his words being deemed poetry and dreaded the idea of people taking them out of context and away from the music. “My words go with the music.” They do indeed. But even a title – as the very first thing you hear or see, and unavoidably taken out of context initially, provides some notion of what the song is about.

Obviously songs don’t have to be about anything in particular. And maybe some Simple Minds songs feel like that to some people. Jim’s writing style was certainly ambiguous most of the time in the early days. And esp. during the Sons And Fascination period.

Jim also talks about the desire for “greatness”. He wants to matter in this world. He wants his life to have meaning and purpose. He wants his life to matter. Any person with a modicum of feeling that they want to feel like their existence on earth MEANS SOMETHING can understand and appreciate that.

The second verse to the song can sound pretentious as a result but he is just expressing that feeling in the lyrics – “for just one moment in time I want to walk where it is, sustain a stature in life”.

And then there is talk of the process of writing on the road. The hours of travel between cities, towns and venues and how it gives him the chance for “down time” and time to think and create. The monotony of the drive and the motion giving him time to sit and write. Looking out the window of the mini van or tour bus, time to collect his thoughts and just be quiet and insular for a time. Time to “recharge”, but also time to create.

He talks about every line being “a painting”. That every line to a song has a different story within it.

Below is an excerpt from an article printed in Melody Maker on March 27th, 1982. The band are “moving on”, telling Adam Sweeting “just what is going on”. They’re still touring the SAF/SFC albums but are changing direction. Promised You A Miracle has just been recorded. They’re on tour in France.

“I see a town by the track / can’t see the road for the tears.” Upon reading that excerpt way back when I did the first time, it brought that line to life for me. To read that he, Jim Kerr, of all people, is as overwhelmed by the music he helps to create as any of us. I just found that incredibly emotional. And I always think of that every time he sings that line of the song. Even though he is actually talking about the beautiful music of Seeing Out The Angel in the article, in my mind’s eye I see him on the coach looking out the window, hearing the music and feeling and looking overwhelmed…and beautiful. As beautiful as the words and music themselves.

I can’t see my words for my tears…

Before I continue on with the lyrics and the Kerr fanaticism…let’s talk about the amazing musicality of the song. The opening – Derek Forbes by far has to be one of the best bass players on the planet. He just nails the opening visual of the song’s intent, its mood, with a rhythm of movement. Then understated, soft staccato drums from Brian. The time signature is in 9/8 – and I love this most about Simple Minds. They’re not afraid at all by experimentation and don’t stick to the regular time signature of most songs, the regular 4/4, 4/8 or 8/8 time signatures. No. I can see why they’d get the “art rock” schtick at times – but they are sooo above that. It’s never contrived. Never formulaic. It’s organic…and it shows. You hear it in the life of the music.

Simple, long notes from Mick encapsulate smooth lines of long highway roads and Charlie’s beautiful high wailing riffs seem to denote frames of images | this house | that shop | this bare tree | that run down car | while still instilling the movement of travel…”you gotta move on”.

And because Jim’s words are so fragmented in this song, it gives space for the music to breathe.

Back to that “holy backbeat”…

There are also visions of dreams and how they can be a positive life force. “In dream a dream a / courage of dreams.” And it certainly won’t be the last time Jim will talk about the positivity of dreams. The positivity also enforced by an almost violent note “something crashing into my life / something crashing against the white rocks.”

It has been, from the first time I heard it, my favourite opening track on any Simple Minds album. I Travel is, of course, also fabulous. Other favourites are Up On The Catwalk, Moscow Underground and Blindfolded. But the love I have for Sons And Fascination/Sister Feelings Call starts at the beginning…from the get go…track one.

Among the favourite versions of the song I have are, of course, the album version, but also a live session version performed for the Kid Jensen radio show on Radio One in February, 1982.

Also I wanted to share the contrast of the thirty years of space between performances. In Trance As Mission was never performed live again after 1982 until it FINALLY reemerged into the setlist in 2009. The first of the two comes from Newcastle in November, 1982. The second nearly a full 30 years later, also from Newcastle, the 5×5 Live gig on July 8th, 2012. The day before a certain someone’s 53rd birthday. Fifty-three and FLAMING HOT! 🔥🔥

SOURCES: The Simple Minds “Holy Bible” – Dream Giver (for the Hillage quote esp.) | for the Smash Hits article – Brian McCloskey on Flickr | other article excerpts are from my own collection.

Dundonian Done Good

There was a wonderful piece and accompanied Zoom video interview in local Dundee paper, The Courier, with Ged Grimes over the weekend.

He discusses what’s been keeping him busy during lockdown (namely working on an orchestral arrangement to songs from the Bard’s Tale VI game that he provided the music for – as well as some new Simple Minds music on the horizon), his love of his home town, cycling and food.

You can read the article and see the interview by clicking the link HERE

Photo Whøre – Memorabilia Collector

Final couple of acquisitions for now. I had been waiting to have the funds to get this final two as I couldn’t just grab them all at once. I thought at one point I lost out on getting the band photo but it was just the listing had ended and it took a while for the seller to relist it.

I’ve gotten all the ones I want for now. Unless something new crops up, I’m happy with all my recent finds.

Just one last thing with the band one – if you look at the inside of Charlie’s jaiket, down by his left hip, you’ll see he has one of these passes (pictured below) clipped to it. I’d love one of those. I love how it is pretty much a silhouette of Jim’s head. It’s all in the hair and ears. Lol

Image curtesy of simpleminds.org

There are no details with either of the photos but I am guessing with them being German photographers that these were both taken in Germany? The band photo from 1981 during the Sons And Fascination tour – that backstage tour pass was certainly for that tour (and used into 1982 as well) – and well, Kenny’s with them, so it would see to confirm a 1981 date for that photo. But looking at the gig dates on the Dream Giver site, Kenny never goes to Germany with them. Hmmm – confusing! The only European dates he seems to do is a couple of Spanish dates at the tail end of the tour to Canada/USA/Oz/NZ in 1981.

Answers on a postcard for that. A band photo like that one is pretty rare anyway. I’m glad I got hold of it in the end.

As for the one of Jim on his own, I speculated it being taken at a gig in Berlin in March, 1983. Again, just a theory as there are no details with the photo other than the photographer’s name on the back.