I have been back listening to a random shuffle mode playlist of Minds songs over the past couple of nights. Perhaps my “Seven Year Itch” has been quelled?
Sometimes I get distracted. My thoughts wander. As I am so familiar with some of the tunes, and this will sound awful – but….you can “zone out”, if you know what I mean? Definitely not confined to Simple Minds songs! Mostly they just insight a thought or a memory and the mind wanders off in thought.
As it did last night.
I admit to not being the biggest fan of the album Cry. I find it hit and miss. Many fans see it as the first “return to form”, yet bizarrely for me, I see it more as the dip … almost like they are trying too hard to get back to fluid creativity. It feels … forced. Which makes sense, given where we are in the Simple Minds timeline. For me, the next album (Black And white 050505) is the “return to form” that exponentially builds up to Walk Between Worlds.
As for the Cry album, there are exceptions – I ADORE Spaceface. It is my “go to” happy song. That should have been my “drugs song” choice for Billy’s show last weekend. I’m sure Jim would say it actually isn’t about drugs…but the lines within “she don’t need no rocket ship / just close(s) her eyes and takes a trip / baby’s big on aviation / baby loves a levitation” and the chorus, “she’s a spaceface floating round / she’s never coming down” NEVER COMING DOWN (ie: she’s as high as the proverbial kite, man)
Spaceface makes ME “high”. It’s awesome.
The other song on the album I have grown to love is Disconnected.
So, last night it plays and I am listening to the words, thinking “everybody needs to feel respected / not disconnected” – I wish! I do wish…Mr Kerr. “I don’t wanna hear the sound of your wide world when it comes crashing down” – okay then. Block your ears, Kerr! “I can only help you if you’re sure you wanna keep me hanging round” DUH!!!!! Like you have to ask, boy-o!
And then I start thinking … this is all a bit of a contradiction, isn’t it? “Everybody needs to feel respected” – but then “I don’t wanna hear the sound of your wide world when it comes crashing down”…??? What happened to “Everybody needs to feel respected”????
I ended up thinking about it quite philosophically in the end. And came away from it feeling like the “Everybody needs to feel respected / not disconnected” line was a MASSIVE oxymoron compared to the rest of the lyrics.
I guess I’m not meant to take them LITERALLY – us overthinkers tend to do that kind of shit, eh? We’re a bit of a drain and a drag like that.
So…the only line I feel I can take from it is “Only in my dreams I feel protected / this is reflected in all that I believe” – not even sure I can take the second part of the line – just that first bit. And when I talk of “dreams”, I think I mean the word very differently to how Jim interprets it and uses it. Dreams are on a par with ambitions for him, I think. Whereas for me? Dreams are “pie in the sky” wishes that will never come to fruition – or those actual “nocturnal visions” that happen to many of us somewhere, some time in our lives (as I appreciate that not everyone believes they dream, or feels they have dreams…as in actual visions during sleep).
Would I be “respected” for my own definition of dreams, I wonder?
I am still pondering the “meek and unambitious” post as well. That left a mark. I felt the same things happening when listening to Disconnected, as the feelings that happened with the “Ambition” post.
Ambition isn’t a dirty word. And I fully understand why the word “ruthless” is placed with it. To be “unambitious” may indeed be “unsavoury” – but it is usually, as far as I see it…a side effect of ill mental health. I don’t know anyone who sets out to be DELIBERATELY “unambitious” …. but hey ho. What do I know? I’m not a psychiatrist.
Anyway, this is getting overly-philosophical for a MMM post. Let’s just enjoy Disconnected.
Ghost Dancer (aka Stuart Greaves) has shared another gem of a bootleg, this time of SM some seven months into the New Gold Dream tour of ‘82/‘83 – midway through the North American leg of the tour in April/May of 1983.
Playing the Ritchie’s Club in New Orleans, Louisiana. Recorded by a member of the crowd – hearing audible bits like the guy telling the girl next to him to stop talking to him as he’s recording the show. Lol (You tell her, pal!) The recording is a good one coming from the crowd as it does. Some people obviously managed to sneak in some great recording equipment to these gigs. Mates who were working as road crew on the night or some such? No idea how they did it, but kudos for doing so.
As for the band themselves and the gig? Well, as you’d expect by now, we hear all of the New Gold Dream album (Somebody Up There Likes You as their walk-on intro music), plus stonking versions of I travel, Celebrate, The American and Love Song. There’s a little of the set lost (changing the tape over in the recorder, I’m guessing?) where the ending of Hunter And The Hunted cuts off and we return about a third of the way through Promised You A Miracle.
It feels as though Jim is going through the motions a little bit at times. He wavers a little, especially towards to tail end of the set. There’s a bit of banter that happens. I’m guessing fans are asking for certain songs to be played. At one point Jim says “Naw. It’s too old.” But usually it is just “Thank you.” And an intro of the next song. I guess I am odd to miss that Jim, right? The one who never seemed overly engaging with the crowd? I guess I miss …. the intensity. Can one miss what they never truly experienced? I do love the ease of engaging “older statesman” Jim now though. He knows how to get the fans in a frenzy still, just with less “whirling dervish” manoeuvres and brooding frontman intensity and more “banter” and acknowledgement of the crowd.
Having said all that…if that was young Jim on an “off night”…imagine him when he was fully up for it?! ERMAGERRRRRD! I’d say he was 70/30 that night. 70 on, 30 off. Or there abouts.
Anyway, it is definitely a gig I’d listen to again.
Off topic for a reputed Simple Minds blog but… I think this band is just about my favourite of the young Glasgow bands about at the moment and ONE DAY I’ll brave going to see them live.
Over the past couple of years they’ve released several singles. Billy Sloan has been a champion of them and that’s how I got to hear of them initially. New single is out today called “Heavy Night”. The video is awesome as well. Who disnae like to have a wee dance around the Clyde with a paper bag over their heid? Lol
Anyway, enjoy Memes with “Heavy Night”. It’s a catchy little fucker.
UPDATE: Oct 5th – saw a review in the latest Rolling Stone. Thought I’d post it here.
Looking into what was coming up for viewing at the Glasgow Film Theatre, I spied this!
When I was at the Living Proof screening last week, I decided to secure a ticket for one of the screenings of it. I’ll be seeing it in a couple of weeks time and I’m looking forward to it. And if I’m honest, I am also looking forward to being able to enjoy being in a cinema or theatre without having to wear a fucking mask all the time! I know it’s for the greater good and I genuinely have no problem with that. But I need to wear distance glasses these days and so I either put up with my glasses fogging up or I decide to take them off so I can “see” a bit better. That bit of it really sucks. And…it does still feel really breath inhibiting to be indoors for a few hours and wearing a mask. It just does.
Anyway, just thought I’d mention this Velvets documentary here as we all know what a massive influence the Velvets and Lou Reed has been on a certain James Kerr, esq. and to the music of Simple Minds as a whole.
This is STILL my favourite SM cover along with Street Hassle. The emotion in Jim’s voice is just beautiful. It just proves what an influence that the Velvets and Lou have been on them for my fave SM covers to be VU and Lou Reed compositions.
My birthday month started yesterday. And yes, I DO consider the whole of October my “birthday month”. Lol. Not that I actually go celebrating my birthday EVERY day in October. It’s just that once October begins I am then allowed to declare to anyone who cares that “it’s my birthday this month/at the end of the month”.
Well…by coincidence of the date, the birthday month started with a nice celebration! And the joy of seeing Craig Hill for the first time in….I honestly don’t know when. “Hunners” of years. Lol. He rarely would come down to England to do gigs, but when he would do, I’d make a point to go and see him.
It should have been happening last March at Oran Mor but then Covid had other ideas! But at last, last night I was quite literally “Pumped” to be seeing Craig again.
And he didnae disappoint. From the moment he hit that stage. Arriving in a style you’d thoroughly expect him to. Dancing about, twirling round in his colour coordinated kilt.
Audience participation is high at a Craig Hill gig, so be prepared! And nowhere is really safe. But if you’re up for the banter, you’ll get it at a Craig Hill gig – and some banter! Boom boom! His style of comedy is sssoooo up my street! Lol
Comedy gig faux pas NUMBER ONE happened right on cue last night with poor Chris (we didn’t learn his name until much later on) – arriving to the FRONT ROW right as Craig is still doing his opening sing-song intro. I clocked him walking down the CENTRE AISLE, just as Craig clocked him – his eyes lit up like Chris arrived from the lap of the gods. All the gay pick-up innuendo lines in the song just kept coming from there…aimed squarely at Chris, filled with winks and lip licks and kisses blown and kilt thrusts and all sorts.
“Are you a gay man?” asks Craig. “Naw”, says Chris. “You will be the night!”, retorts Craig – with a wink and a lick of the lips. “I could hear his sphincter tightening then.” Lol
He makes a note of the ladies in the front row who have all settled nicely but are all sitting there with their jaikets still oan. One of them was laughing particularly enthusiastically. “I see why yer havenae taken yer jaiket aff noo. It’s ta moap up the pish.”
He asked one of the jaiketed ladies their name and she said “Margaret”. “Ah knew you’d have a name like that! Where ya fae, Margaret?” “Cambuslang”, she says. And he’s off with the innuendo again, referring to it as “camp-u-slang”. Margaret calls out “Cam Bus Lang!” And then he’s like “Aye! Listen to the attitude on her. IT’S A JOKE, MARGARET!” Which for the rest of the night meant he kept referring to Cambuslang as “CAM BUS LANG!” and saying it really emphatically.
He sniffed out a gay…actually there was a couple there (a gay couple, I mean…not a couple of gays. Though there was that too….). James, the barber from East Kilbride, and his partner Jimmy (just in case you had any illusion to the name James and variations there of NOT being possibly the most popular male name in all of Scotland…living proof last night!) – who was the social pariah of the room for daring to admit he came fae England! But…Durham, so far enough north to be somewhat let off the hook for DARING to cross Hadrian’s Wall. Lol
He noticed some people up in the dress circle. A couple of people sitting over to the side as if they were in a royal box. He asked the lady of the pair her name – Norma, it was. He had a field day with that. Then says “Where ya fae, Norma?” “Stornaway”, she says. “Whaaaa? Did you travel doon the day?” “Yes”, she says. “Did you travel all the way fae Stornaway to see me?” “Aye.” “Stalker!” “Did you come with someone?” “Aye. My son.” So then he gets his sights set on the son, whose name is Gary. Turns out Gary is quite shy and isnae good wit the banter but of course Craig was loving that. Comedy gold!
There was an interval for 15 minutes and in the second half Craig did a more broader sweep of the crowd, wanting to know where people travelled from. He mentioned Milngavie at one point and then asked if anyone was in fae Milngavie. One person braved a response. “What’s your name? And depending on your reply we’ll know if yer really fae Milngavie.” “Lyn” “Aye, you WORK in Milngavie, you don’t LIVE in Milngavie.” Lol
Then he spies a young kid over our side of the audience, a few rows ahead of us. “How old are you?” “Sixteen”. “Well, yer getting an education the night! Is that yer maw and da wit ya?” “Aye”, says Da. “Where ya fae?” Da answers “Possil.” Kid chimes in “Just him. Am no fae there.” Craig is like “Ooh, family break up. This’ll be interesting.” “So, Da fae Possil, what’s yer name?” “Davey”. “And what ya do, Davey?” “Sell drugs.” I’m reckoning from living doon the road fae Possil, Davey was just being full-on honest. Lol.
He keeps asking if there are other gays in or if there are any lesbians. There was Angela the dinner lady fae Castlemilk in. “Well, naw spotted dick for you, Angela.” “Are ya here wit anyone, Angela?” “A friend.” “Ooh, you could hear the quotation marks around that. ‘A friend’. She’s got the toys.” Lol
Asking if anyone else came further afield than England, a male voice calls out “She’s fae Poland!” A lady a couple of rows in front of us had been pointed out by her bloke (I’m guessing). “Poland. Wow. What’s yer name, lovey? Yer gonna have one of them names, aren’t ya? Come on, tell us yer name.” “Zuza.” “Whaaa? Say again?” She repeats it. “Naw. It just sounds like ‘Susan’ to me. Whaaa?” She repeats and spells it. “Aye. okay. So, Zzzzuza, where ya fae noo?” “Prestwick.” “Are you just moving ta places round the world starting wit ‘P’?” Lol
The final bit of banter of the night and he returns to Chris. Talking about how the song “Yes Sir, I Can Boogie” has been hijacked by the fitba fans when it was owned by the gays. So he challenged Chris to a dance-off. They’d dance to the song and if Chris’s moves were good enough, then the fitba fans were allowed to continue to use the song.
Chris had the moves, I gotta say. He gave as good as he got anyway and was mighty brave to get up there and dance in front of hunners of folk.
Such a fab, fab night. I bloody love Craig. I really do. I was so glad it was the first comedy gig back. To be back out there enjoying stuff like this, and I really couldn’t have asked for better starts to the return of these kind of things. A fabulous music gig and a fantastic comedy gig in the space of one week! Just like old times. Long may it continue – safely and wonderfully!
No footage from last night, but here is a video from years back just to show the calibre of last night’s show.
I was catching up with Billy Sloan’s radio show last night. I haven’t listened in for….a few months now. I think I got a bit overwhelmed by him referring to me as one of his “most loyal” listeners. And to be honest, I wasn’t at that point, though I would listen most weeks. But that statement from him – I guess it kind of put the mockers on it. I didn’t feel worthy of such a thing and then weirdly it kind of then … I dunno. Weird, eh?
Anyway, the previous week he had been asking for favourite songs that mentioned mens names in the lyrics or title. Earlier in the week when he first asked the question the song I chose hadn’t entered my head, even though it had been an earworm for days on end already. By Saturday evening, it was there swirling around as Billy posed the question again just before show time. Of course I put in my choice of “Oh, Jim”. I didn’t end up listening to the show that night. I was chatting away to a friend and ended up “otherwise engaged” but I was intrigued to see if my choice got mentioned. It did. And it seemed Billy had missed me! Bless him! I didn’t expect that at all. Well, I’ve missed him too. He puts on a great show week after week and there’s always something that particularly piques the interest – more on that shortly.
Anyway, that’s a looong preamble to say…I am back listening to Billy Sloan’s show. I didn’t hear it go out live but caught up with it via BBC Sounds last night. The topic was … what do you think is the greatest song of all time? One choice! Mine is “What Becomes Of The Brokenhearted?” by Jimmy Ruffin. It’s both sadly melancholic but ultimately uplifting.
Around midway through the show, Billy played “River Deep, Mountain High” and it had me thinking about Jim’s post a few days back about “songs of home” and him talking about Nutbush City Limits – another Ike and Tina Turner song. As River Deep, Mountain High was playing, I am taking in the words as I usually do with the songs I listen to. I always try to pay attention to the lyrics. Not always easy as singers’ diction when they sing can vary wildly so it isn’t always easy to decipher lyrics. Hence the long litany of misheard lyrics. Lol. Nothing wrong with Tina’s diction though. I was taking in the lines “when you were a young boy did you have a puppy?” and then my brain backtracked and was thinking about the first lines of “when I was a little girl I had a rag doll” and “I love you just the way I loved that rag doll” and started thinking… “Hang about? Is THIS the genesis for ‘she rag doll’ in Celebrate?”
I have been in recent times debating this line (one could deem it a “mass debate”, perhaps? Though no…not between just two people it ain’t. Lol) with a friend of mine about the true meaning of that “she rag doll” line. Rather unusually for me, I interpreted rather “innocently” – my version of innocent anyway. More a kind of “canoodling” way….a bit kind of “post-coital spooning” kind of way. My friend informed me that a “rag doll” can be seen much more sexualised than that even. I never considered it to have such potency. I found it potent enough with my interpretation of it to be honest. And if one ponders the lyrics further then “she rag doll, keeps him warm / but this negative shows no form” – then I guess a “rag doll” in its most sexualised sense would NOT show any true form on a negative. My word!
Either way, it’s damn sexy! And it is why I love Celebrate so much. Celebrate, when you get down to the heart of it, is a kind of love song. Well, maybe not a LOVE song – but a song of desire. The desire for lust and life. “A lust for life.” And it’s certainly uplifting. That “dark light” of theirs. Of Jim’s lyrics. Give it a dark heart but make it ultimately “feel good”. God, he’s good at it!
Anyway, River Deep Mountain High seems like the most innocent thing in the world now compared to Celebrate! Lol
Also on Billy’s show, he played this – the new Placebo single. It immediately piqued my interest before it even played as Billy said the title of it is “Beautiful James”. And what a chorus! “Beautiful James / I don’t wanna wake you” – how goddamn beautiful is that?! That’s me right there picturing Jim sleeping and just enjoying the sheer beauty of it. Gorgeous. Just so we end on a rather more innocent note than we could have done on the dirty ditty of Celebrate.
It’s been seven years. Seven years since I became that rabid “obsessive”. Seven years since the world of Simple Minds truly opened up to me.
I was reminded of the fact of how…embedded in this new-found “obsession” I was by a post that appeared in my FB “memories” a couple of days back.
The memory in question was going to see Nana Mouskouri at the Royal Albert Hall in London. The memory was a reminder of how wonderful that new-found obsession felt. How much I loved discovering those treasures and being floored by them and truly just not being able to get enough of them. Devouring the music greedily and just playing stuff again and again and again and wondering if I would EVER tire of listening to them.
I worry that, over time, the love for Jim has vastly overtaken the love for the band, and for the music. It was already strikingly obvious that was probably happening in 2018 over the whole “real fans” affair and my blocking from the band FB page.
Years passed and it never seemed to get old. If anything I would get incrementally more and more obsessed. When I was out in Oz with mum in 2015/16, the music was my comfort and solace at night. I was petrified of being at my mum’s house at night. It felt like the most unsafe place to be. The only way I found I could settle myself down and try and get to sleep was to play Simple Minds on Spotify. Play them on shuffle mode. Just…the sound of the music, the sound of Jim’s voice. Sometimes I would play some interviews as well. The interview Jim had with Billy Sloan – that was a recent discovery then, and I played it often when I was out in Oz. It soothed me – and it would make me happy and also would make me cry too, because he’s being “just Jim”. Just this normal guy talking to his pal. And the thing I’d play the most – the bit of it I’d play most is this bit (it should autoplay from the correct point – if not 3min 16sec mark) – his laugh. It is just the most beautiful sound in the world to me.
The memory of that Nana Mouskouri gig reminded me how absorbed in the band and the music I was. Thinking about that coach journey home from London and listening to that Spotify shuffle mix and Boys From Brazil coming on and being in love with it! The song. The music! The lyrics. Astounded by what I was hearing. Even though I celebrate my fan anniversary on Jim’s birthday – it was closer to the end of July in 2014 when I started listening to their back catalogue intently. So by the Mouskouri gig I am maybe 8 weeks into my fandom, at most!
I haven’t felt compelled to write a post out like that and share it on SMOG for…I don’t know how long! Sons And Fascination/Sister Feelings Call posts aside (which were just links to blog posts) – it’s been several months since I had posted like that on SMOG – probably not since sharing my mocked up mural of Jim on there.
I think because…I’m missing it. I’m missing that joy of being a fan that is starting to erode away. The Sons/Sister 40th Anniversary pulled some of that into focus, on a personal level. But on the flip side, I am feeling quite cut off and set adrift.
Apart from SAF/SFC and bootlegs from around 1981/1982, I haven’t really been listening to too much Simple Minds at all lately. As the years of my fandom went on, I used to wonder if I would ever tire of listening to them as intently as I have done all these years. Worried what it would mean for me if that time ever came. I was never sure it ever would. A couple of times it did happen for brief periods…but it was mostly a kind of “forced circumstance” thing. Like with the “real fans” episode. When that was happening, I found it hard to listen to anything. After a time I could listen to early stuff but I couldn’t listen to later stuff. To Walk Between Worlds. It was all too attached to Jim.
I’m worried I’ve grown tired of listening to the music. Even things I really love! Albums I really love like Empires And Dance. I’ve been looking through Spotify over the past week or so and I am finding myself thinking “Do I *want* to listen to Simple Minds? Aw naw, you’re good”, kind of thing. Then I think “well maybe I’ve just grown a bit weary of the studio stuff…what about a bootleg?” and I’ll look at my list of bootlegs and think equally “Aw, naw. You’re good.” It’s kind of terrifying me because I have never actually felt like this!
I’m worried I am too deeply entrenched into attaching my feelings for the music with other things. The vibe from the fanbase. The vibe from Jim. I mean…I’ll love Jim for as long as a summer’s day. Never seem to tire of him (though I really should – for sanity’s sake). Lord knows he probably wishes I’ll fuck off and leave him alone. I can’t erase that feeling as it is no doubt true. Either that, or he really doesn’t give a shit either way. I don’t know which feeling is the worst to grapple with – dislike or indifference?
And I wish there was some news or just SOMETHING coming along! It’s a long wait until March! Not from this point in time – but from the time the wait has started. And I know Simple Minds have taken breaks like this in the past – but they haven’t been forced upon them, or us as fans. With gigs and the music industry starting to get back on its feet now, the lack of anything from SMHQ feels like a gaping chasm!
Was it just me that found it highly ironic in Jim’s post about (potentially) having tea with Colin Hay last week that he mentioned watching Hay’s online gigs? I mean, really? Talk about rub it in, right?! To be fair – I have watched only one of these kind of gigs – a Field Music one, and it suffered technical problems, so it isn’t something that overly appeals to me. And I am guessing, and had guessed from very early on that the idea of this kind of thing didn’t appeal to Jim much and that SM fans had a snowball’s chance in hell of seeing anything like it from them. Fair enough. I wasn’t going to push the argument. But where was the imagination? Where was something that said, “well, we could do THIS!”, etc?! So, we got a little performance for Christmas – for charity, so that was great, and some Spotify playlists from Jim until he escaped his Glasgow lockdown prison? And I KNOW they’ve been working, so…why not throw us something from those sessions? Why not? In the meantime we get reschedule after reschedule and the Oz/NZ fans get a full tour cancellation.
Jim…can you not appreciate how disheartening it has been for us?! Is loyalty NOT a two-way street? It is great to have you at least corresponding with more regularity. But this is why I felt so disheartened at seeing your reply to Colin Hay last week. It shows you’re looking at the band FB page and if you are looking – why not engage with us more?!
We love you and we’re missing you. We’re missing seeing you live. And it seemed like you were going to start engaging with us again. A post back in early August titled “White Hot Days” seemed to show a little bit of interactivity with a couple of fans and I thought, “Oh, he’s back! He’s really back!” And, as I say it’s been great that you’ve been posting more of late, but…
Anyway…I’m pissing in the wind. As if you visit here and will see any of this anyway.
I’m scared that my passion is waning. That my love for this band is dying out. I mean, surely this is the death knell, right? When you no longer feel that compelled to listen to the music any more?
Do I still ogle Jim? By heck I do! Do I listen to him talk? Listen to interviews and watch videos? The interviews, yes! The music videos…sometimes.
This is genuinely the first time I have felt this…waning in the passion of listening to the music. For the past week listening to anything else but Simple Minds.
I had been through a similar thing with David Bowie. Before Simple Minds, Bowie was my “go to” for everything. And I listened to him A LOT…and it waned when they came along. I listened to Bowie less because I had SM. But now I barely listen to either of them.
That memory of Boys From Brazil on the coach ride home is such a wonderful, special memory. I don’t want creating new memories like that to come to an end.
The song was written at the beginning of 1981 in Edinburgh after a conversation between Jim and John Leckie in which Leckie thought Jim should try his hand at writing a more “traditional” love song. Kerr’s is anything but traditional. In fact, I am firmly of the belief that it is anything BUT a love song. More on that to come.
It started life out as a rough demo. In fact it started life not destined to be a Simple Minds song at all. For Jim was going to gift the song to Jaine Henderson to record. Jaine’s brother, David, former sound engineer of the band (and behind-the-scenes extra member) was running the Hellfire Club, a social rehearsal space and recording studio, located down a small lane just off Derby Street right by where the old CaVa Studio was (with access also via Bentick Street).
Jim and Charlie arrived at the Hellfire Club one night in the winter of 1981. Charlie recorded the basic musical parts, using a drum machine, bass and guitar and Jim recorded a guide vocal for Jaine to record along to. EDIT: For clarity – the original recording that Jaine was involved in took place at the original Hellfire Club location on Carnarvon St. They relocated to the Derby Street site some months later.
With some reluctance, and nervous to try a recording of the vocal in front of Kerr and Burchill, they left the club, leaving Jaine to record her vocal with David at the mixing desk. Not convinced by the outcome (though sounding musically very good – sparse and electronic), and with no ambition to be a singer, for Jaine the idea fell flat. Jim then asked Jaine if Simple Minds could go ahead and record the song themselves. Of course! Jaine had no qualms with that at all.
When discussing it with Jaine back in 2019 when I interviewed her, she said the version she was working on was quite minimalist and stripped back, compared to how it ended up sounding on the single and album. The idea was for it to have a Grace Jones vibe to the sound and vocal. Now THAT is something I’d love to hear! Grace Jones doing a Simple Minds song! Imagine that?! That would be amazing!
There is a demo tape listed on record on the Dream Giver site (see image above). Five songs were recorded at CaVa in February – Valentine’s Day, in fact! The American, Life In Oils, “Twenty One” (working title for Sweat In Bullet), “Checkout” (working title for Careful In Career), and Love Song. These demos eventually get released officially on the Virgin Records produced Silver Box in 2004. CLICK TO HEAR ‘LOVE SONG’ DEMO
Just two weeks later, Love Song is performed for the first time at their gig at Tiffany’s in Glasgow, on March 1st, 1981. CLICK TO LISTEN
And so, more than anything, Love Song is a song about ambition, and a desire for “greatness” – as Jim puts it. Very much not a traditional love song in the “boy meets girl, boy gets girl” sense of it – or even of the unrequited sort “boy meets girl, but boy will never get girl”. It’s neither of those. It’s Jim’s love of success and winners – and of that desire for greatness. The love of ambition. “Ambition in motion!”
Some of the music journalists at the time couldn’t seem to help but give rather disparaging or back-handed praise to SAF/SFC – accusing the promotions department at Virgin Records of “over-hyping” the marketing of Simple Minds. Ouch! (See excerpt of article from The Face further below)
And this idea that the clubs played them to death but they got the cold shoulder from radio – well, perhaps commercial radio and “prime time” radio snubbed them for a time, but the right radio DJs gave them exposure. The likes of John Peel and David Jensen really championed them here in the UK. And I am sure other radio stations around the world would have been playing them! Certainly stations in Canada and Australia did. The right DJ’s who realised there is much depth to “rhythm” as there is to “melody”. One should not be exclusive to or cancel out the other. Why can’t rhythm BE melodic? And vice versa? Is it me that still has no grasp on what exactly melody is? Do I grapple with the basic concept of it?
Speaking of the record company and their hand in things…can we discuss the video made for Love Song?
It is ssooo deliciously bad – it’s good. It’s great! And it has such a hedonistic air to it. The Minds boys act like a right bunch of neds (Scottish term – look it up!) in the video. Well, perhaps Jim is the only one that actually “behaves” himself in the video, though he’s a bit of a shit to the woman in the lift, like “Here, WENCH! Take ma claes and look after ‘em. I’ll be back for ‘em later.” Lol
Let’s pretend we’re storyboarding it here:
You guys rock up to the nightclub (not before you arrive later by yourself, Jim. Always running late, Kerr, fuck sake!)
Jim, you get on the decks and do some DJing.
Kenny, you hit the dancefloor with a couple of dolls
Charlie, you try muscling in on a game of backgammon(!) and get into a punch-up
Derek, you try and chat up some guy’s burd
Mick, you sit at this businessman’s table and as his dinner is served, slap him across the face with his fish supper
Now, Jim, you come and take a seat (on your haunches!) and sing the song to camera for a bit
Mick – punch the businessman’s lights out
Derek, spike the guy’s drink and get into a punch-up with his friend – another bloke piles in and, Kenny, you come help out Derek
You guys have been acting like right jerks so now people are wanting to leave the nightclub to get away from you – but…hello!
What’s going on at the entrance to the nightclub? Is there some kind of forcefield in place at the door?
Derek, Kenny – have a sit down, guys. Just wait for Jim to finish singing
Mick, “Aye, ‘mon Jim, we want outta here”
Where the fuck has Charlie gone?!
Nightclub patrons “Aw, man! We’re gonna be trapped here forever! Who are these dudes? What have they done to us?!”
Jim – “Time to go, boys! Follow me. Play it COOL AS FUCK! Straight through, lads. Straight through. Watch the burds!”
The two burds at the back “Aye, those guys were well fit. Why didnae not take us wit ‘em? We want ‘em.”
Me too, ladies. Me too. Well…the guy at the front, anyway. As far as I am concerned he’s the coolest of the cool. But…I get why you dolls were dancing with Kenny. I’d have probably not said no myself! Good old “Consolation Kenny” – sorry, Mr Hyslop. You get bonus points for being a drummer.
Sometimes I think it was lucky I was only 11 years old at the time! And living on the other side of the world! Or perhaps it was THEY who were lucky? Lol
It’s a preposterous concept for a video and yet, it is probably my favourite of all the Simple Minds videos due to its absurdity.
As discussed in a previous post – the video was recorded in a nightclub that was located at the Kensington Roof Garden that was then being leased by Virgin Records.
The talk of the musical approach to Love Song being a subtler one – opposed to how the sound is with I Travel and Empires And Dance is a curious one. I honestly don’t hear any kind of “softening” myself – not with the direct comparison to Love Song To I Travel. And yes, there are softer, calmer pieces like This Earth That You Walk Upon and Seeing Out The Angel – but then there is the ball-breaker that is Boys From Brazil – and how is that “subtler” to anything that is on Empires And Dance?
Listen to that jarring synth coda at the beginning of the song. It almost sits outside of the rest of the song’s structure and plays off kilter to the rest of the song’s rhythm. But there is so much more propulsion to it and funk to it compared to how it sounded as a demo. And Jim has refined and played around with the lyrics a bit. The whole thing became much more streamline. And its placement on the album’s tracklisting is perfect. I am referring to the UK release when I say this, as it is the track that opens Side Two, or the B-Side to the album. Curiously, the albums’ tracklistings are completely reset for the Canadian releases of the albums and Love Song is the opening track for Sons And Fascination’s Canadian print.
As much as it was making a buzz, especially in the nightclubs of the UK and Europe, its sales were (of the time)… mediocre at best in most places around the world. Just sitting outside the UK Top 40 at number 47 – it was, however, their best chart placing of all their singles so far. In Sweden, it broke into the Top 20, reaching number 16. But the best result came from some 12,000 miles away in Australia in which the single broke into the ARIA chart at an impressive number 9 – giving them their first gold record and Top 10 hit! THANK YOU, COUNTRY OF MY BIRTH for having exquisite taste!
Below is a review of Love Song from November, 1981, printed in Australian music magazine Roadrunner – published by an expat Scot, Donald Robertson. It may even be Donald himself that gave the review. No one is credited as giving the review, though when it comes to the album reviews written in the magazine a couple of pages later, credits to the reviewers are given. It may just be the interviewer of the corresponding piece that appeared with Jim – Ruthvven Martinus – as he is the reviewer of the album that appears in those couple of pages behind the Love Song review.
The boys certainly did promote the single quite heavily. Really gave it a push, appearing on music programs over Europe to “perform” the song (quotation marks as sadly most television appearances would be a lip-synching mime to the single or album track. Nothing I’m sure that ever sat well with the band. They would have always wanted to perform it live, I am sure).
There are three different appearances you can watch on YouTube – one is of them on German music program Szene. They are on such a tiny platform. All crammed on it, jostling for some space. Jim plays it wonderfully nonchalant as the album version gets the full musical intro treatment. But once the song gets going, there’s little room for him to perform his wonderful “prowling panther” style lunging moves – and he and Derek almost bump into each other at one point, which results in a bit of a sideways glance and a bit of chuckle between them. VIEW THE VIDEO HERE
The second clip I love to watch is still from a mystery source. No one can really agree where this clip comes from. What TV program aired it. Or even perhaps if the band recorded it in a nightclub somewhere. It’s certainly from 1981 – the clothes and the style of the band sit right within that look – and the fact that Kenny Hyslop is with them on drum duties (they he was still with them early in 1982) would very much keep inline with being 1981. They look as though they’ve had a rough few days. Jim looks the worst for wear – but still by far the hottest and sexist guy around right at that point. Just look at him! The clothes, the moves…he’s just the whole goddamn package right there! And well, the rest of the guys are doing their best to look pretty cool beside him. VIEW MYSTERY NO.2 CLIP HERE
Finally … we return to Oz and to Countdown. Countdown is, of course, Australia’s answer to Top Of The Pops. Anyone who was anyone, even Oz and Kiwi bands – or the international groups and artists that actually decided to tough out the grueling travel times to get half-way around the world, appeared on Countdown. And so with a band like Simple Minds in the country, and Love Song already making such a buzz and sailing up the charts, they HAD to appear! Look at them all! Charlie’s fucking WRECKED! Kenny’s got a tan that any modern day West End Glasgow hipster would be proud of! Derek’s almost in salute to Sir Les Paterson with what looks like a bloody STRING VEST on. Mick also seems to have a bit of a tan – but is his usual understated self. AND THEN THERE IS JIM FUCKING KERR! Head to toe in black (before Charlie took over with that look and made it “standard issue” Burchill) – complete with sunglasses – indoors (I’m sure in an exercise to conceal just how fucking shattered and/or off his tits he is), with this bloody bright, yellow satchell bag that I read on this lady’s blog from loooong ago, that he picked up in a shop in Sydney for the princely sum of $A8.00. I’m not sure what that would equate to in today’s money, or what it equated to him splashing out on it in pounds (given what I imagine the rate of exchange was then – perhaps about £3.00-4.00) but I’m assuming it would be about £20 today. Who knows what delights were in this bag? He told me “sherbet straws” once. I always took it to be code – hence the glasses, eh, Jim?
The most recent uploading of the video to YT sees Greedy Smith of Mental As Anything introducing Simple Minds. Greedy sounds well into them, giving them due praise for being a fantastic live band.
And here we are some 40 years later with the reputation of theirs of being a stellar live band firmly in tact. My tally of seeing them 23 times, to date, in my seven years of Simple Minds fandom (with many more booked to come!) I hope pays some testament to the calibre of performance they achieve to this day.
The song has been a fairly constant site on the setlist over the years. With only the short lull of it not appearing on the setlist during the Street Fighting Years tour of 1989/1990. So, there are many, many live versions that are available to hear. But for finality, it seems apt to share the final time (to date) that it performed live by the band. My recording of them performing in Copenhagen at the Store Vega in March 10th, 2020.
There have also been several remixes made over the years. Beginning with an extended 12” version that was released simultaneously with the release of the 7” version in 1981. There was a remix that was produced in 1992 to appear on the Glittering Prize ‘81/‘92 best of compilation as well as the Themes Volume 5 release. This version was mixed by Charlie and Gregg Jackman. It doesn’t bear too marked a difference from the original album version but I love the subtle remix treatment it has been given. I play this version often.
I shall leave the final words to Jim – featured below. They were written out by Paul Morley and appeared as part of an article that was in the New Musical Express on October 3rd, 1981. Morley wrote the piece out as through a “stream of consciousness” internal dialogue from Jim’s mind. You can read the full article HERE
The amazing and brilliant Dream Giver Redux – it really is the Simple Minds bible and an endless source of information.
Wikipedia – for certain other information on tracklistings and release dates as well as chart positioning information.
Lost Glasgow – more detailed information on the exact location of the Hellfire Club.
Lol-Z on YouTube – for the clip of David Henderson and Jacquie Bradley (and the other ladies from Sophisticated Boom Boom, as well as Clare Grogan) at the Hellfire Club.
Lastly but most importantly – big thanks to Jaine and David Henderson – you can find out more information on the Hellfire Club by visiting the dedicated Facebook page – HERE
One final little extra note is about the image just above. It’s to do with a post that Jim posted on the triggers he uses to remind him of where in the setlist he is during a show. A “visualisation” technique – something he talked about again only recently when posted about watching the drama series Queen’s Gambit. Anyhow – these short bits of notation will spark visual indicators – and you can see the one in the list for Love Song is – the Hellfire Club. All these years down the line and it still sparks the memory.
Thank you for reading this mammoth labour of love.
OMG! THIS IS SSOOO AWESOME TO SEE THE WHOLE EPISODE OF THE TUBE – OF THEM ON IT IN 1982. Oh, how I can dream to be sitting in front of the telly that night just…in awe of Jim. Needing a bucket in front of me to collect the drool! Dear God! What a gem!
Thank you to whoever uploaded this to YouTube. Happy, happy, Prip!
Lots of Glasgow based things about the music scene on it too. And Billy Sloan is on it as well!