Foreigner – “I Want To Know What Love Is”

Adult Oriented Rock. No part of this phrase is pleasing to me.

Foreigner - I Want To Know What Love Is

Foreigner - I Want To Know What Love Is

Adult – not childlike; sensible; mature; responsible; old.

Oriented – aligned to a market; tilted, as a man might position a lamp to illuminate a spreadsheet.

Rock – without its complementary, feminising roll, a thrusting, blokeish yang that makes me think of Jeremy Clarkson’s hair. Rock is the kind of music one finds on petrol station CDs entitled ‘100 Drivetime Classix’.

Rock is the Top Gear team driving a new BMW at 180mph up a mountain whilst ‘Layla’ plays in the background.  Rock ‘n’ Roll, conversely, is Thelma and Louise driving a ’66 Thunderbird off a cliff. If you can’t tell the difference, I can’t help you.

Tonight’s 80s45 is one of many, many AOR records that caused me great distress in my youth. Everything about it is displeasing. So bilious is this song that whilst researching this piece I had to watch the video in 30 second bursts, as anything more catalysed such profound nausea I feared I might vomit on my keyboard.

I also read that this song frequently appears on the disturbingly-entitled ‘US Billboard Hot Adult Contemporary Recurrents’, whatever that might be.

In addition to the song being turgid, dismal, enervating, tedious and devoid of all beauty, there are many things I dislike about the video. A few include:

  • The singer’s hair
  • The singer’s face
  • The singer’s age
  • The singer’s clothes
  • The singer identifying with the hard-working ethnic types in the video
  • The singer ‘getting down’ with the fucking gospel choir
  • The height at which the band wear their instruments
  • The constipated looks of suffering on the faces of the band

Constipation plays a big part in AOR. The pained, slightly grumpy looks on the faces of AOR protagonists might be mitigated if they were to have a nice big shit. Every time I see Peter Cetera’s face, I think he probably needs the toilet.

At school, 93% of people in my year liked this song. No, they LOVED this song. They went on about how wonderful it was, the incredible musicality of the composition, the precision with which the band played their highly-strung instruments, the profound spirituality of the gospel choir. These people were 15 years old. They told me that Foreigner were better than the UK Subs. They told me I was a philistine. They wanted to know what love was. I couldn’t show them. I got very upset. I drank hallucinogenic cider in the park and set fire to things. I wanted to destroy the world.

At this point I should conclude that in later life I have learned tolerance, or that indeed I have reached a sufficient level of maturity that the song now speaks to me, but neither of those statements would be true.

I imagine my former peers from school in their comfortable homes, browsing catalogues of light furnishings, whilst Chicago, Mister Mister, John Parr, Journey, Toto, Cutting Crew and Foreigner play lightly (but not too loudly) in the background.

Meanwhile down in the park a lonely figure in stained pants staggers around in the dark, clutching his bottle of Olde English Cider and howling at the moon.

Mike

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Billy Bragg – “Life’s A Riot with Spy vs Spy”

Apparently we are (politically and culturally) in the new 1980s so it seems appropriate to mention an overtly political artist from the time.

Billy Bragg – Life’s A Riot with Spy vs Spy

Billy Bragg – Life’s A Riot with Spy vs Spy

I am mightily pleased to have found a getaround that enabled me to include this 1983 mini-album. I would happily have written about the later stuff, but have more to say about his early records, and I had forgotten that the original issue was played at 45 rpm.

I first came across Billy Bragg when a boy in my class wrote out the lyrics of Saturday Boy for me, changing double history to double biology to suit our timetable. The boy was a sixteen-year-old Tory and an idiot, but I will always remember fondly our chats about music.

In the mid-eighties, Billy Bragg fronted Red Wedge, and was at the height of his party-political activism. These days, he is approaching national treasure status; in the past year, he has had to live down favourable press in the Mail and, on Question Time recently, even Baroness Warsi appeared to be flirting with him.

He comes in for some stick for his financial success, but as many anecdotes paint him a diamond geezer as a total arsehole; I don’t know the guy, and am not much for heroes, so I’ll just say that I feel his politics make him an easy target.

I’ve always thought him extremely canny, with a bloke-ish image that is deceptively natural, but astutely put together: Fred Perry, home-knitted-looking jerseys, jeans, DMs and donkey jackets. All these say working-class, earnest, manly, but it is celebratory rather than cynically contrived, of a piece with the cheery “economy” branding of his earlier records with “pay no more than…” stamped on the sleeves.

I could have written about any of the tracks, but chose a love song rather than a political one. I know there are those who find him unbearably worthy. I don’t, but The Man in the Iron Mask embodies everything I like about Billy Bragg. I have a weakness for the slightly awkward romance (my all-time favourite Billy song is A Lover Sings) and on this his sepulchral tones sound masculine and vulnerable at the same time; the image of an isolated everyman, heartbroken yet stoic.

I am always a fan of kitchen sink production, but this track packs the power of simplicity. The punk-ish brevity and lone guitar combine to emotive effect with the wistful lyrics, and the song is economically built round the metaphor of the man in the iron mask, referring to both the impossibility of escaping the relationship and the masculine impassivity he affects. At a little over two minutes, it is a concise, neat little song, as functional and as pleasing as the Utility Records brand itself.

Surprisingly, there appears to be no slick promotional video, so we will have to make do with this live footage from 1985 that captures his rather lovely stage presence. I particularly enjoy the way he ends sweetly, with a flourish, as if he were Jimmy Page finishing some intricate hour-long display of virtuosity.

Wendy

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2011 in review

The WordPress.com stats helper monkeys prepared a 2011 annual report for this blog.

Here’s an excerpt:

A San Francisco cable car holds 60 people. This blog was viewed about 3,000 times in 2011. If it were a cable car, it would take about 50 trips to carry that many people.

Click here to see the complete report.

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Band Aid – “Do They Know It’s Christmas?”

Wendy: In the spirit of the season, I was keen to do a joint post. Obviously Another Rock n Roll Christmas is off limits, I’m not sure we could adequately honour Shaky’s contribution to our collective Christmas tradition and nothing seemed more apt than this bumper selection box of eighties confections; I certainly couldn’t tackle it all by myself.

Band Aid – “Do They Know It’s Christmas?”

Band Aid – Do They Know It’s Christmas?

Whenever I hear Do They Know It’s Christmas?, I am reminded of the 1984 end of term Christmas service at the church near our school, when the minister gave a quintessentially eighties address, using the lyrics as a jumping-off point. If I could only remember the sermon, I’m sure it would have made the perfect Christmas guest post; alas, all I can recall is his disapproval of the line Tonight thank God it’s them, instead of you. And the giant home-made Rubik’s Cube he used as a prop, of course.

In the absence of the esteemed Rev McKenzie, I turned to another eminent spiritual beacon for his thoughts:

Mike: There is much to dislike about Christmas – the cost; the waste; Roy Wood’s face, clothes and hair; one’s grudging, half-hearted attempts at exercise; the hot-water-bottle consistency of one’s belly and arse; the sullen bitterness arising from one’s holiday time being consumed by the enforced society of neighbours, colleagues, friends and family; long empty days of gloomy self-reflection through a wine-glass, darkly; the dawning realisation that work, much as you hate it, is preferable; Christmas cards that won’t stand up properly.

I could go on. I will.

I was in John Lewis last Christmas, on a last minute dash to buy something utterly irrelevant but absolutely essential to the success of Christmas, something without which the entire holiday would be a total, unmitigated disaster, and that would result in me becoming a veritable pariah. I can’t remember what it was, other than that I couldn’t find it and I was extremely exercised about it and in a slightly unstable mental state. It was probably ribbon in a particular shade of taupe, or frosting to add to every third glass bauble on our tree.

As I stood there with my pulse racing and my hands clenching, from the tannoy came the ‘Feed the wo-orld’ refrain. It was that bit were the ‘Let them know it’s Christmas…’ descant comes in. The hair stood up on the back of my neck. Tears rolled down my face. A punk rock warrior weeping to Band Aid in John Lewis.

Much has been written whether Band Aid was a good thing or whether charity obscures the true reasons for world poverty. I am ambivalent about it. By which I mean I am unsure. Things that I think about it are as follows:

  • As it was the original charity record, I just cannot believe that the participants were completely cynical in their motivations if only because they had no idea of the consequences
  • Undoubtedly it has increased Bob Geldof’s personal profile and wealth
  • And all of the artists that played at Live Aid
  • I think people are poor, because other people, like Bono, are rich
  • It does not invite people to think about the bigger picture, but
  • Perhaps some were encouraged to learn more as a consequence
  • And, after all, it’s ‘only’ a pop record. Lighten up! The masses aren’t gonna listen to Crass.

But what a record it is. Things that I think about the record/video are as follows:

  • That Paul Young, Boy George and George Michael can really sing, man
  • That it is pleasing that Sting sings the line with ‘sting’ in it
  • That Bananarama never looked more gorgeous with their (literally) just-out-of-bed look
  • That it is right that Bono gets to sing the bombastic line with ‘God’ in it. On his own
  • That Weller looks like he has learning difficulties
  • That the preposterous lyrics are perfect
  • That the oafs from Status Quo are despicable buffoons
  • That the song structure is a stroke of genius – from the death knell first half to the joyous, spring-like refrain
  • That the success of the song is primarily due to Midge ‘Wee Jim’ Ure’s composition and production

Wendy: I have to agree. Never a fan of the grand gesture and with typical (affected) cynicism, at the time I could not see past the self-promoting aspect of the enterprise. Funny how things change; the world has waxed snarky since then, and I must have mellowed enough to take a more nuanced view; watching the video, there is a sweetness about it that cannot all be artifice. The ordinariness of the location, the fact that the artists (so young!) look as if they really have rolled out of bed, but above all, Midge Ure, working away in the background; his quiet industry easily outclassing the bombastic Geldof.

As 2011 gets its coat and makes for the door, and 2012 approaches, I don’t remember looking towards a new year with such a mixture of weariness and trepidation. (I suppose this is middle age.) This song and video remind me of when I was young and relatively carefree (although I didn’t think so at the time) and when the world seemed a little more compassionate (although I didn’t think so at the time).

And with that, a very merry Christmas and a happy new year from 80s45s.

Mike & Wendy

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Soft Cell – “Say Hello, Wave Goodbye”

“I have a feeling,” I said to Mandeep, as we paused speculatively at the top of the glittering staircase, “that we are going to be tremendously successful in life.” Mandeep momentarily stopped glancing left and right and glared up at me. “You’re off your rocker, boy!” he boomed. He pointed ‘forward’ with both hands, “Now let’s go party.” We began our purposeful descent.

Say Hello, Wave Goodbye

Soft Cell - Say Hello, Wave Goodbye

We had just arrived at Fridays, a nightclub of sorts, in South Manchester. I don’t think I need to tell you much about Fridays; the fact that it was called Fridays probably furnishes you with sufficient information; however, for the record it was a kind of cocktail bar cum restaurant cum dancefloor type place frequented by Paul Calf-alike Mancunians, students and local gangsters. Typically we went to Fridays on Mondays, not because we were driven by irony, but because it gave free entry to anyone with a student card (even an expired one like mine) and served cheap drink. The latter was probably the root cause of my atypically positive outlook; I wasn’t much of a drinker in those days, and a mere sniff of the barmaid’s apron would catapult me into an altered state of energetic self confidence and euphoria: in fact, the precise opposite of what it does to me now.

Doubtless it was this, then, that some 20 minutes later caused me to leap enthusiastically onto the dancefloor to the opening chords of Jumpin’ Jack Flash. Some months previously I had been introduced to the non-shit Rolling Stones by dint of somebody rolling me a cigarette and then playing me all of Through the Past, Darkly. To say I was astonished would be an understatement. Before that moment I had deemed all music recorded before 1976 (with the honourable exceptions of the Who, the Kinks and the Velvet Underground) to be at best irrelevant, and the Rolling Stones in particular to be hairy, adult and pointless. Through the Past, Darkly changed all that. I am embarrassed to admit I suffered a brief Keith Richards fixation, like many a callow youth before me and since. I am even more embarrassed to admit that during this period I purchased a skull ring. It was particularly poor quality one; the type that is open at the back so it can be adjusted to suit finger girth. To (half) finish the look I imagined to be Keith’s, I wore a white granddad shirt and a 60s tonic jacket. Unfortunately I couldn’t afford to sort out the lower half of my attire, so I still wore regulation goth skintight black jeans and ludicrous jester/Blackadder II pointy poof boots, which as time wore on curled progressively upward at the toes. I imagine I looked as implausible as a centaur, but with none of that creature’s dignity, virility or fighting prowess.

On the dancefloor I flailed around over-confidently. Jumpin’ Jack Flash came to an end and the DJ immediately made matters worse by spinning Paradise City. I may have pogoed at this point; I don’t THINK I played air guitar: I hope I didn’t. Anyway, it was at some point during the song I noticed that a girl who had been dancing near me was still dancing near me. I looked at her. She looked back. I curbed my enthusiastic dancing a fraction. I looked at her again. She looked back again. We smiled. We danced some more. She moved a bit closer. We smiled again. I leaned forward. “Hello,” I said. It was a great opening line. “Hi,” she replied. She smiled again. Clearly she liked smiling. We padded around a bit more. I leaned in again with a commanding follow-up, “Wot’s your name?” She smiled at me again. “Kate,” she replied. Suddenly dancing and conversation became impractical as the song had reached that point near the end where it goes really really fast and Axl sings in a really screechy falsetto. And so it was necessary for me to hold Kate’s arms and she mine while I leaned into her long, scented hair and whispered my devastating, killer third line, “Shall we get a drink?” The next record started. Bizarre Love Triangle. It is impossible to dance to New Order. We quit the floor.

The ambiguity in my question about who would actually purchase the drink was not intentional, but was an issue, for I had no money to purchase even a, drink. However, such was my youthful optimism in those days I was confident that the situation would somehow resolve itself in the 45 seconds it would take us to navigate to the bar.

Kate touched my arm. “I just need to speak to someone first,” she said. “I came here with a guy on a date.” I tried to look cool. “It’s OK,” she said, “I don’t think he’s that keen – he brought his mate with him.” She looked around. “Oh hi!” A couple of blokes were standing there. I instantly despised them. They wore chinos and shirts and suede brogues and matching his and hers rollneck sweaters. Both held barely supped pints of bitter. They looked like they would rather be quietly discussing stocks and shares at a boat club than be with a girl at Fridays. Kate introduced them, “This is Bore and Drone.” She gestured at me, “This is…” “Mike,” I added. I shook their limp, damp hands. “We just met,” Kate explained. Bore was clearly the dominant one. The dater.  He seemed unfazed by the situation. “We were thinking of heading off…” he said to Kate, inclining his head (possibly unconsciously) towards his boyfriend. Drone looked at his brogues. “Would you like a drink before we go?” “Yes,” said Kate, “I’ll have a double vodka and coke and Mike will have a pint of…” “lager,” I added. Bore paused momentarily, but then perhaps realising he had resolved a problem for the price of two drinks, made for the bar. “Got a spare fag?” I asked Drone. Drone didn’t smoke, but Kate produced a packet of Silk Cut. Bore came back with the drinks and passed them over. The transaction was complete. “Well, we’ll be off. Nice to meet you Mark,” he said, nodding at me. He then shook Kate’s hand. They departed. After a dignified pause I retrieved their undrunk pints.

“Christ, where did you meet him?”I said, taking a long draft of lager. “Oh he just came into the shop and asked me out while he was buying a book,” said Kate, “and I thought why not? I had nothing better to do. But it was so boring when we got here. And then I saw you and you looked so cool.” She smiled. A chink of doubt appeared in my previously impenetrable armour of alcohol-fuelled self confidence. Did she really mean that? She touched my hand. “I like your skull ring.” I looked at it stupidly. It seemed a bit naff. “Here, you can have it,” I said, putting it on her finger. She smiled again.

Suddenly Adam’s head bobbed above the top of our seats. “Mike! We’re heading off mate; we’ll see you later.” He leant in towards me and whispered. “Here’s some cash for a taxi.” Adam was like that; always thinking of others less deserving than himself. He grinned, squeezed my arm and ran off.

“Shall I see you again?” I asked Kate. “Would you like to?” she replied. “Of course,” I said, “of course I would.” We made a date. “How are you getting home?” I asked. “Oh, I’ll get a cab or something.” “Here,” I said giving her Adam’s money, “take this for a taxi.” “You don’t need to do that.” said Kate. “I want to,” I said. She smiled again.

And then we kissed.

Kate was a graduate of the proper University and was an impossibly sophisticated four years older than me. She was from the Midlands, but of Romanian descent. Her name wasn’t really Kate; it was Ecaterina. She had an even more exotic and unpronounceable surname. Her looks were striking – she was slim with long black hair, pale skin, huge eyes and a full mouth, much given to smiling. Her look was somewhere between goth and rock chick – mostly black but sometimes accented with leopard skin or studs. It wasn’t fashionable, but it suited her. She looked a bit like Hammer Studio’s idea of an attractive female vampire. She was extremely undemanding, unambitious and easygoing; I don’t think I’ve met anyone since with such an even temperament. “That’s bostin’” she would say about stuff that pleased her; then she would laugh at her own colloquialism.

Kate worked in a book shop in town. This meant she had money. I didn’t have any money, ever, except on giro day, when I would live like a king. Kate didn’t seem to mind spending her money on me. She would take me out to bars and clubs and buy me drinks and cigarettes.  I felt moderately bad about this, but not quite enough not to do so. Mostly I drank pineapple juice to keep costs down a bit; it wasn’t too much of a stretch for me to abstain in those days. Kate liked a drink. I used to think she drank a lot, but she probably drank no more than I do now. Moosehead beer was her favourite. Mooses would stare at me across the table as we smoked and I nursed my pineapple juice.

Kate didn’t seem to have any girl friends, but she knew a lot of blokes, some of whom seemed to be ex-boyfriends. Often our nights out would involve going to see this bloke or that bloke playing in some dismal rock band. The blokes would be dismissively polite or indifferent to Kate. The one nice guy she knew worked in the book shop with her. He was bookish (perhaps unsurprisingly) and seemed protective towards her. When I came into the shop he would view me with an air of resigned disappointment. This made me warm to him.

After our nights out we would retire to Kate’s which was located in an insalubrious area of run-down pubs, kebab shops and betting houses. Kate rented a one room bedsit in a large house and shared a bathroom and toilet with four other single strangers. Her room had a two-ring cooker but no fridge. There was an unopened pint of milk on the table. Every time I went round the milk was progressively mouldier; the silver top more domed. We would drink black tea and lie on Kate’s bed and smoke whilst contemplating the milk bottle. “You’ll have to part with it one day,” I warned. Kate would shake her head and laugh, “Never!”

Kate had a mono cassette deck. Often she would play Lou Reed’s Perfect Day. ‘I’m glad I spent it with you,’ she would sing to me, and laugh. This was in the days before the song had been popularised by the BBC and was subsequently sneered at by snobs like me who thought we were superior to the hoi polloi from having learnt it in more poignant contexts.

One night we were lying on the bed as usual. I saw my skull ring on the bedside table. “Hey! You’re not wearing my ring!” I said. Kate laughed. “It’s broken; one of its arms came off.” She laughed again, “You’ll have to buy me a better one”. “I can’t believe you broke my precious ring!” I said, grabbing her wrists. We wrestled. Kate struggled and laughed. Suddenly I noticed an odd brown leather wrist strap on Kate’s arm and gestured at it. “What is this thing? It’s really ugly – take it off”. I grabbed at the press studs and pulled. The strap came away to reveal a series of scars on Kate’s arm. It was clear they were self inflicted. These were the days before cutting went overground and became a lifestyle choice. I didn’t understand. “What,” I said.  Kate slapped me in the face. She turned aside to the wall and refastened the strap.

After a while I lit a couple of fags. Time wore on. I made to leave. “You don’t have to go,” Kate said. “Nah, best get on.” I said. “OK”, she replied. I liked that about her; she never pushed things. We made plans to meet in a few days.

On the street outside it was cold. It was 3am. My house was three miles away. I hadn’t eaten in three days. I had a hole in my shoe. I plodded along a bit. I was weak and tired. I had 80p in my pocket that I was saving for cigarettes. I hailed a cab. “Can you take me 80p’s worth of the way towards Withington?” I asked. The driver sighed. “Get in”. I got in the cab. It was warm and safe. We sat in silence as the car glided through the night streets all the way to the village. “Get out then”, the driver said. I made to pay him. He sighed again. “Keep your money, lad.”

The following Thursday I was due to meet Kate in town. My housemates were off to a local pub quiz that had a cash prize. A custom of the pub was to give the winning team a gallon jug of beer to take home with them; the jug to be returned the following week. This suddenly seemed immensely more attractive to me than walking two miles into town. I went to a callbox and phoned Kate’s work. The bookish bloke answered. “Hi,” I said. “Is Kate there please?” He sighed. “I’ll just see if she’s free”. Kate came to the phone. “Hiya!” “Hi,” I replied. “I’m not feeling too well – think I’ll stay in tonight”. “Oh. OK. I could come round and look after you if you like?” “Nah, it’s alright,” I said, “I’m just going to go to bed, you’d be wasting your time”. “OK”, she said. “Well, get well soon – call me, yeah?” “Yeah,” I said. The money ran out on the phone. I replaced the receiver.

And that was the end of me and Kate.

Say Hello, Wave Goodbye does not require much explanation. Its strength lies in how the singer’s seemingly dismissive summation of a relationship is belied by both the melody and the vulnerability of the vocal. This inherent conflict is reflected in the instrumental accompaniment which manages to be both spartan and cold, and expansive and warm at the same time. Nowhere is this better epitomised than in the self-deluding line ‘We’re strangers meeting for the first time, ok? Just smile and say hello’ where the instrumental grows thin and bleak and dies out only to return in a huge emotive wash, as the singer repeats the mantra ‘goodbye, goodbye’, willing himself to let go.

Say Hello, Wave Goodbye is not an analogy for me and Kate but it is nonetheless the perfect acknowledgement of youth’s need to get on, its lack of emotional maturity and its inability to avoid collateral damage.

Some weeks later I went back to Kate’s bookshop. As I walked in, the bookish bloke was crossing the floor. He stopped in his tracks momentarily and looked at me. Kate appeared. “Hello,” she said, smiling at me. “Hi,” I replied. “Can you take a break or something?”

We went to the café in the department store next door. It was giro day and I ordered us cakes and hot chocolate. “I’m sorry,” I said. Kate smiled. “Don’t be. It’s OK”.

When the time came to part, I was awkward. “See you around, I guess”, I said. I think I meant it. Kate leaned forward and kissed me. The palm of her hand rested fleetingly on my chest. She smiled. “Goodbye,” she said.

Mike

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Pet Shop Boys – “Left To My Own Devices”

This is where it all changed. This was where love turned to passion, the past became the future, and past sins forgiven. This was the end of the “Imperial Phase” of the Pet Shop Boys, but this was more Imperial than anything before or after. This was where the sublime became divine – or something.

Pet Shop Boys – Left To My Own Devices

Pet Shop Boys – Left To My Own Devices

West End Girls marked the start of that Imperial Phase, and the first three albums, Please, Disco and Actually, stomped round the charts mixing the dance sensibilities of New York disco and New Order with lyrics that were evocative, personal and political all at the same time. In fact, when Richey Edwards of the Manic Street Preachers carved “4Real” into his arm in 1991, it was during a discussion where he imagined (to the interviewer, Steve Lamacq) that there could be a group (subtext – this group would be the Manics) who combined the political nous of Big Star with the commercial success of Kylie Minogue. Lamacq responded: “They exist; they’re called the Pet Shop Boys”.

After the Imperial phase, they released Domino Dancing and I sulked. I hated the lyrics, I disliked the music, and Neil’s voice seemed to struggle with the “…watch them all fall down” line. It said nothing to me about my life. I quietly closed the file on the Pet Shop Boys.

Trevor Horn put the Hollywood into Frankie, but he could be more subtle. For Left To My Own Devices he left subtle at the door – Horn and PSB were made for one another. The orchestral opening, the turning motif sustained, leads into a harps and all expansion upwards, heavenwards, collides with some horns (or Horn, who knows), comes crashing back down to earth into that dancing beat. Around Tennant’s English RapTM, the music swoops and dives, dances and makes you dance, changes pace and volume and draws you in. It’s loud, it’s soft, but it’s gloriously introspective, appropriately. The lyrics are almost banal for the most part – a simple account of a day perhaps reminiscent of Soft Cell’s “Bedsitter”. “I get out of bed at half-past ten…” But here, the singer is not the party animal – that’s just a friend, and much of the life described is lived vicariously, comparing himself to that friend. The childhood reminiscences sounded so convincingly autobiographical (“I was a lonely boy, no strength, no joy, in a world of my own at the back of the garden”) Tennant had to apologise to his mother.

At the conclusion of the chorus Horn throws the kitchen sink into it, in a glorious celebration of the perfection of production, and I am absorbed in the magnificence of it all. But then the beats drops away, and the defining PSB lyric – in that it defines them – breaks in: “But in the back of my head I heard distant feet, Che Guevara and Debussy to a disco beat” – and all hell breaks loose again, towards the joyous climax, and I’m right there with them, spinning and dancing, singing to the sky. On my own. In my bedroom. Feeling slightly less introspective. And I probably would.

Jan

Posted in 1988 | Tagged , , , , , | Leave a comment

This Mortal Coil – “Song to the Siren”

I often find it takes me years to ‘get’ music, but I loved this when it was released, and it has been a favourite ever since, surviving its inevitable inclusion on soundtracks and adverts. But then the whole concept of the dreampop supergroup, This Mortal Coil, was guaranteed to appeal to teenage me, with its eclectic mix of artists, covers of psychedelic folk songs and uncanny, otherworldly sound.

This Mortal Coil - Song To The Siren

This Mortal Coil - Song To The Siren

The prettiness of the Larry Beckett/Tim Buckley tune and its poetic lyrics can easily sound fey (as several insipid covers attest) but the impact of this recording is mostly due to the strength and shimmering intensity of Elizabeth Fraser’s singing. Her voice is often described as angelic, and on this track has a slightly droning quality that certainly sounds other than human, as remote and as beguiling as the siren of the title.

I enjoy the Tim Buckley original, but it’s not my favourite of his songs, sung by him, and the only version I have heard that approaches this one is by The Czars. Singer John Grant cites This Mortal Coil as his inspiration and, much as I think that Elizabeth Fraser’s perfect, glacial voice embodies that of the supernatural creature, John Grant’s is, to me, the poor mortal, confused and completely bereft.

The lyrics allude to the well-known classical legend of the sirens who, by their irresistible singing, lured sailors to shipwreck. In a twist to the familiar tale, the sailor sings back to the siren. The song echoes the siren’s own words, returned as both reproach and appeal: Here I am, here I am, waiting to hold you. The repetition creates an ambiguity about who is singing and as the vocal sounds either (or neither) masculine or feminine, the roles of sailor and siren, pursuer and quarry are further confused. The drama turns on the moment that the sailor recognises the siren’s caprice or his own delusion. Did I dream, you dreamed about me?

Against the seductive beauty of the vocal, the chiming guitars and wailing synths are soothing, almost apologetic, suggestive of calm seas and gentle breezes. At the time, I identified with the song purely as a metaphor for the disappointment of unrequited love, and I suppose it can be, but now I hear it as an elegy for innocence, lamenting the evanescence of desire itself. There is a languor, a total lack of momentum about the whole piece and the mood is unmistakably one of aftermath and tristesse.

Wendy

Posted in 1983 | Tagged , , , , , , , | 1 Comment