Squeeze - Argybargy

"Argybargy" was the third album from Deptford's finest and the last to feature Jools Holland until a reunion many years later.

I had always thought of Squeeze as a singles band until I saw them on Rock Goes To College, where every song played was brilliant.  Even though "East Side Story" was by then the recently released LP, I opted to buy an earlier album, possibly because I liked "Pulling Mussels ( From A Shell )" so much, but more likely because it was half-price in W.H Smith at £2.49 !

The dynamics of Squeeze were that Chris Difford wrote the lyrics which Glenn Tilbrook then put to music. Tilbrook sung the majority on the songs, with Difford usually singing one per album, and was the vocalist on "Cool For Cats", the band's first Top 5 hit.  

I though Argybargy was terrific and liked every track, although looking at the track-listing now I could only remember the two singles plus the one song where Jools Holland was the singer !

The album begins with "Pulling Mussels ( From A Shell )" a sparkling pop song with a killer hook and great lyrics. There is a mostly one note guitar solo, before a jazzy piano break. "They do it down on Camber Sands, they do it at Waikiki", "But behind the chalet, the holiday's complete, and I feel like William Tell,  Maid Marian on her tip-toed feet. Pulling mussels from a shell".

Despite the subject material of a break-up with a girlfriend "Another Nail In My Heart" is toe-tapping pop song with a notable guitar break. "And here in the bar, the piano man's found another nail in my heart".

"Separate Beds" is a slower tempo with Holland's tinkling of the ivories to the fore, and is a song about the awkwardness of staying at the girlfriend's parents' house for the first time. "Her mother didn't like me she thought I was on drugs. My mother didn't like her, she's never peel the spuds.

"Misadventure" has a punky, throbbing bass and the song speeds along at a frantic pace. It has an early  Blondie style organ and a sing a long chorus "From the Isle of Dogs to the Egyptian sands, where the Arabs chew on dates. And I haven't forgot what it's like to be with misadventure and her mates".

"I Think I'm A Go Go" has slow, dreamy piano dominated intro, a tender pre-chorus and a heavy Beatles influence. The first verse is about Amsterdam, the second New York and the third London "This world's got smaller, I'm shaking lots of hands. Saying lots of things that no one understands. You can shake my tree but you won't get me. Where am I ? I think I'm go go, go go, go go"

The funky opens side two "Farfisa Beat" and chugs along with a decent guitar riff.

"Here Comes That Feeling" has a Pink Floyd style keyboard intro and a spoken voice before Difford starts singing his one lead vocal on the album. Overall the track has a slightly menacing. "Tonight I'm cracking, I'm murder acting. Footlit the visual of my lines, I'll smoke and drink it. I'll eat and think it. 
Miserable the murder plot unwinds"

"Vicky Verky" is played at a break-neck speed with a 1950/60s Rock n' Roll feel, and there is an odd sounding keyboard break, perhaps a harpsichord ?

"If I Didn't Love You" was released as a single in the USA but was just an album track in the UK. The instrumental break reminds me of a Pixies song from Doolittle.  "If I didn't love you I would hate you" & "The record jumps on a scratch"...... "If I, If I, If I, If I, If I, If I, If I, If I, If I didn't love you".

"Wrong Side Of The Moon" is a jaunty piano number sung and co-written by Jools Holland, with "Cool For Cats" girly style backing vocals and a memorable guitar solo. "I'm forgetting to remember to forget"

The album closes with "There At The Top", a pub-rock song with a fairground organ sound and there's great pre-chorus. The guitar solo reminds me of something from Brinsley Schwarz. "She's looking at her map (looking at her map). And looking at her watch (looking at her watch). Bags on the rack (bags on the rack). Seems like she's there, seems like she's there at the top".

In summary, the two singles which open the album remain heads and shoulders above the rest of the material but a lot of the songs are in the very good category ie "There At The Top", "Misadventure", "Vicky Verky" and "If I Didn't Love You", whilst "Wrong Side Of The Moon" has a certain lovable charm. There isn't a bad track on the album. 

Track Listing :

Side One :

1. Pulling Mussels ( From A Shell )
2. Another Nail In My Heart
3. Separate Beds
4. Misadventure
5. I Think I'm Go Go

Side Two :

1. Farfisa Beat
2. Here Comes That Feeling
3. Vicky Verky
4. If I Didn't Love You
5. Wrong Side Of The Moon
6. There At The Top

Released : 1980
UK Chart Position : 32 

Singles : 

Another Nail In My Heart ( No 17 - 1980 )
Pulling Mussels ( From A Shell ) ( No 42 - 1980 )

 

 

 

 

Bruce Springsteen - Darkness On The Edge Of Town

 

Released in 1978, "Darkness On The Edge Of Town" was the fourth album from Bruce Springsteen. The only song I had previously heard from Bruce was "Born To Run", which had been a very minor hit in the UK.

Capital Radio's Nick Horne frequently played tracks from this album on his evening radio show, although my memory was it was nearly always the title track and Candy's Room. I viewed the album in a positive light, but not enough to go out and buy it.

It must have been close to 10 years after its release that I finally owned the album, the sticker showing I must have purchased it at a reduced price, but the actually price label is half missing !

I was pleasantly surprised by the record, particularly liking anthems such as "Badlands", "The Promised Land" and "Prove It All Night", which I had either never previously heard, or had totally forgotten !

A few months ago I was in a branch of Currys and the music being played throughout the store was this album. As I waited over 30 minutes without anyone coming to serve me, I was able to hear nearly all of the album before I walked out in disgust, but at least I can now remember all the songs !

Lyrically mostly songs are of the hopes and aspirations of working people, and their lives can be better, but there are occasional frustrations, misfortunes or betrayals. 

Side One opens with "Badlands", a rousing anthem with great lyrics, a guitar solo followed by a saxophone break. The song slows after the instrumental break, before building up for the grand finale. "Badlands, you gotta live it every day, let the broken hearts stand as the price you've gotta pay. Keep movin' 'til it's understood, and these badlands start treating us good".

"Adam Raised A Cain"  is a slower pace blues influenced song, with a raw screechy guitar intro and the bass is the dominant instrument for the verse. The chorus has a Gospel tinge to it.

"Something In The Night" has a gentle piano intro before a raw yell leading into the verse and the backing vocals are soulful. There is just the voice and a drum for third verse before the full instrumentation returns for the chorus. It's a beautiful song that I had forgotten.

"Candy's Room" starts with faint, but urgent drums with then piano and vocal for the first verse. The pace increases to become almost frantic punk. 

The nearly 7 minutes long sombre piano ballad "Racing In The Street" closes side two. A Hammond joins in midway before the drums and bass come in. The piano and organ outro is beautiful.

Side two opens with a short harmonica blast to start "The Promised Land" leading into another stadium anthem, with some jazzy organ, a big chorus, then a tender piano and guitar breaks before the sax bursts in. The harmonica returns before the final verse and also in the outro."The dogs on Main Street howl 'cause they understand, if I could take one moment into my hands. Mister, I ain't a boy, no, I'm a man, and I believe in a promised land".

"Factory" is country influenced slow ballad with a piano and organ break. It's the shortest song on the album at just over two minutes. 

"Streets Of Fire" has an organ intro, a slow growling vocal, and some angry guitar for chorus. There is tasteful guitar break.

"Prove It All Night" the third up-tempo rock anthem. Again there is a saxophone break before a killer guitar solo. Again the pace for the third verse slows before the rising chorus to finish. "Everybody's got a hunger, a hunger they can't resist. There's so much that you want, you deserve much more than this. But if dreams came true, oh, wouldn't that be nice? But this ain't no dream we're living through tonight. And girl, you want it, you take it, you pay the price. To prove it all night, prove it all night".

The closer and title track "Darkness On The Edge Of Town" is another piano dominated ballad with a lovely piano riff.

 Overall, "Darkness On The Edge Of Town" remains a stunning album

Track Listing :

Side One :

1. Badlands
2. Adam Raised A Cain
3. Something In The Night
4. Candy's Room
5. Racing In The Street

Side Two :

1. The Promised Land
2. Factory
3. Streets Of Fire
4. Prove It All Night
5. Darkness On The Edge Of Town

Released : 1978
UK Chart Position : 14

 

The Specials - More Specials

Formed in Coventry, The Specials were the undoubted leaders of the Two Tone scene and the Ska/Rocksteady revival in the late 1970s/early 1980s.

The frontman of the band was keyboard player and founder Jerry Dammers rather than main vocalist Terry Hall, and became a regular in the music press, being noted for his outspoken political views. I had purchased the eponymously named first album, but for some reason I bought the cassette rather than the vinyl version, hence it not yet being reviewed in Fatbear's Lockdown LPs ! 

However, it was noticeable that I thought the best songs on the album were either covers ( "A Message To You Rudy", "Monkey Man", "You're Wondering Now" ) or written by someone other than Dammers eg "Concrete Jungle" by guitarist Roddy Radiation.

I didn't care too much for the Number 1 hit "Too Much Too Young", which was credited to Dammers, but was based on a song by Lloyd Charmers, who received an acknowledgement, whilst "Stupid Marriage" drew heavily from a Prince Buster song. 

"Rat Race" was released as a single six months prior to the second album "More Specials", and Dammers was again all over the music papers describing his intense dislike for college/university students who would waste three years mostly getting pissed before getting good jobs. I was going to university a few months later so wouldn't exactly be a friend of Jerry's, although his description was uncannily accurate ! However, I actually liked the song, but was surprised when I discovered that the song was written by Roddy Radiation ! "Rat Race" was only included on the US release of "More Specials". 

The first single from "More Specials" was "Stereotype", which was something very different to the band's earlier work, and was described in some quarters as "Muzak" or "Lounge Music", but I found it quite hypnotic. Shortly after, I purchased the album, and again found the better tracks, apart from "Stereotypes" were not written by Dammers.

My favourite songs at the time were "Enjoy Yourself", written in 1949 and which became the theme tune to Billy Cotton's Band Show in the 1950s and a music hall standard, "Hey, Little Rich Girl", written by Roddy Radiation, "Do Nothing", written by guitarist Lynval Golding, although I would also admit to quite liking the Dammers penned "Pearl's Cafe", which featured Rhoda Dakar from the Bodysnatchers.  

The sticker on the cover states there is a free single included. If I did receive this then it is no longer in my record collection, and I have no clue what songs were on it ! 

Looking at the track-listing now, there were two songs that I couldn't remember, but I expected that they would become very familiar again after the first few notes. 

Side one begins with "Enjoy Yourself" and as the title implies it is a jaunty number, played in a ska style, with boisterous backing vocals, and brass on the edge of being out of tune. It sounds like everyone is having fun. Apparently, the verses sung here are taken from the Prince Buster cover rather than the 1949 original. "Enjoy yourself, it's later than you think. Enjoy yourself, while you're still in the pink. The years go by, as quickly as you wink. Enjoy yourself, enjoy yourself, it's later than you think. Hello I'm Terry, and I'm going to enjoy myself first !".

"Man At C&A"is notable for being the first song where Terry Hall is a joint songwriter. Its a bit of a reggae/muzak crossover with Latin/Jazz horns over doomsday and nuclear war lyrics. The horns are the best part of the track. It starts with "Warning Warning, nuclear attack" with the chorus "But I'm the man in grey, just the man at C&A. And I don't have a say in the war games that they play".

"Hey, Little Rich Girl" tells the sad tale of a young girl moving to London with high aspirations only to fall into pornography to make ends meet, and her father then being shocked to see videos in which she is the screen star. Musically, it is a lively toe-tapper with Lee Thompson from Madness playing saxophone, and Amy Winehouse later did a good cover version. Listening today it is my favourite song on the album. "And you were a rich girl, only having fun. But your worn out dresses brought stares from everyone. Hey, little rich girl where did you go wrong?".

Ska number "Do Nothing" has an easy going, slower pace, a catchy chorus and brass similar to "A Message To You, Rudy". "They're just living in a life without meaning. I walk and walk, do nothing"

"Pearl's Cafe" is a whimsical duet between Terry Hall and Rhoda Dakar. "It's all a load of bollocks, and bollocks to it all" and it finishes with "When I first saw you, I really thought you were a wet dream come true. Now I know that you don't care about somebody else's nightmare".

The Northern Soul "Sock It To 'em J.B" is basically filler. The J.B here is James Bond, and the lyrics are essentially the chanting the names of Bond movies.

Side two opens with "Stereotypes" which comes in two parts. Part 1 is the track that was the hit single with Latin rhythms, Gregorian style backing vocals, and horns that belong in a Spaghetti Western. "He's just a stereotype. He drinks his age in pints. He drives home pissed at night, and he listens to his stereo". It then morphs into Part 2 where Neville Staples sings/toasts over a similar musical backing. "Uncle Joe, he never had a stereo".

Probably the reason I couldn't remember "Holiday Fortnight" is that it is a mariachi style instrumental ! And I've already forgotten it again.........

"I Can't Stand It" is fairly jazzy and is another duet between Terry Hall and Rhoda Dakar. It has quite a nice, melodic chorus but is sung really badly by both. In the right hands it could be quite decent ! "I'll stay at home where I can be alone because I just can't stand it, the way you've planned it. No, I can't stand it any longer"

"International Jet Set" is another lengthy Muzak track, coming in at over five and a half minutes. Lyrically it is a bleak song about having a breakdown on a DC10 and the out of control aircraft crashes. In parts the vocal is reminiscent of "Gangsters". "Will the muzak never end ?"

The closing "Enjoy Yourself ( Reprise )" is much slower that the opening version with just keyboard and light drumming, and it sounds like everyone is on the way home after a few drinks too many. Apparently three members of the Go-Go's are singing along.

Overall, "More Specials" was better than I remembered but the production on some of the tracks on side one now sound a bit tinny. There is one stand-out song, "Hey Little Rich Girl" and the rest is listenable, although "I Can't Stand It" is murdered.

Track Listing :

Side One :

1. Enjoy Yourself
2. Man At C&A
3. Hey, Little Rich Girl
4. Do Nothing
5. Pearl's Cafe
6. Sock It To 'em J.B

Side Two :

1. Stereotypes
2. Holiday Fortnight
3. I Can't Stand It
4. International Jet Set
5. Enjoy Yourself ( Reprise )

Released : 1980
UK Chart Position : 5

Singles : 

Stereotype ( No 6 - 1980 )
Do Nothing ( No 4 - 1980 )

 

Spandau Ballet - True

Prior to the release of their third album, Spandau Ballet's lead single for the LP was "Lifeline", which I thought was an amazing song, and I quickly went out and purchased it. The follow-up was "Communication", which whilst I thought was decent I didn't buy it, but when "True" was released as the third single I put my hand in my pocket as splashed out on the LP.

I thought it was all excellent, by some distance the best in their career to-date, and something I thought they would never surpass. Spandau Ballet had clearly moved away from trying to be a trendy, niche funk band and turned into a pop band with catchy choruses, lyrics that were actually worth listening to, and ever increasing sax solos as Steve Norman had taken up playing the instrument rather than rhythm guitar and miscellaneous percussion. Also, John Keeble had gone back to playing real drums rather than electronic ones, and Tony Hadley increasingly sounded like Bryan Ferry. The ballad "True" would launch them into global superstars.

Look at the track-list now, I could remember all 8 tracks on the album, which is a rarity these days. 

The side one opener "Pleasure" has a bouncy intro, liquid bass lines, a catchy chorus and a snazzy sax solo. Its almost middle of the road !

"Communication" has a synth and "ooh, ooh, ooh" vocals for the intro before leading into a solid pop-dance song. "Communication let me down, and I'm left here, I'm left here, I, I, I".

"Code Of Love" has a slower pace, with a funky riff and a gorgeous pre-chorus. There is a short sax blast after the chorus and before the verses, and the sax is melancholic for the outro "Well, she wrote you a song saying that she approved, but you didn't understand. And when love comes along, it's just a Catcher in the Rye. It's hard to make those long-term plans".

"Gold" was used in a 80s or 90s quiz show with a snippet played before every round, but I can't remember which show it was, but was probably something hosted by Jonathan Ross. It has a soft piano and voice for first verse before the big chorus, and a meandering sax solo "But love is like a high prison wall and you could leave me feeling so tall. Gold ! Always believe in your soul. You've got the power to know you're indestructible, always believing".

The up-tempo, sing along "Lifeline" opens side two and is still fantastic. I love the backing vocals and the vocal fade out at the end, and there is a great sax solo. It's 3 minutes 36 of pop perfection. "Changing her colours, she's off to the shore. She rides the soul train and he fights the law. There's power in his voice, and it makes her feel so sure, so live and let live in love. One day he'll build a statue with his hands, so gentle when he tries to understand. This subterfuge he never really planned, now you're living in the lifeline".

"Heaven Is A Secret" has a lively toe-tapping beat, "a-hey hey hey" backing vocals and a smooth chorus. "Scripted pleasures made forever, easier said than done together. Heaven is a secret, it's a passion, it's a long way over there. Far from her arms tonight".

"Foundation" has silky synth intro and is the closest to something that might have been on "Diamond". There is also a mazy sax solo.

The 6 and a half minute ballad "True" closes the album  notable for the "a-ha ha ha" vocals throughout, its relaxed, laid-back groove, and probably the best sax solo on the album. It was apparently written about Altered Images singer Clare Grogan and Gary Kemp's unrequited love for her. "I bought a ticket to the world but now I've come back again. Why do I find it hard to write the next line. Oh I want the truth to be said" & "Listening to Marvin all night long, this is the sound of my soul".

In summary "True" remains a fantastic album, every track is a banger ! 

Track Listing :

Side One :

1. Pleasure
2. Communication
3. Code Of Love
4. Gold

Side Two :

1. Lifeline
2. Heaven Is A Secret
3. Foundation
4. True

Released 1983
UK Chart Position : 1

Singles : 

Lifeline ( No 7 - 1982 )
Communication ( No 12 - 1983 )
True ( No 1 - 1983 )
Gold ( No 2 - 1983 )

 

Spandau Ballet - Diamond

 

I initially gave this album a miss, but after enjoying "True", Spandau Ballet's third album, I took the plunge when I saw it was only £1.99 in the bargain bins. I think I hardly played it though, and looking at the track-listing now I couldn't remember any of side two, nor "Coffee Club" on side one.

After their first album, Spandau's main contemporaries were Duran Duran. For their second release it was more like Earth, Wind And Fire or maybe Level 42 or even Haircut 100 on a bad day for side one, and David Bowie and Japan for side two.

I remember radio DJ Danny Baker telling a story of when there was a a serious injury at a Millwall game, and some of the crowd spontaneously burst into "We don't need this stretcher on" to the tune of Chant No 1. 

The funky "Chant No 1 ( I Don't Need This Pressure On )" is the highlight of the album. The horns, conga like bass and the laddish chanting of the chorus are superb, as is the trumpet solo. There is also a tiny bit of rap near the end.

"Instinction" has more funky bass, synthesized brass, call and respond vocals for the verse and a rising chorus. I didn't like it much at the time as it sounded like Level 42, but I thought it was better now, although I could have done without the short bongo drum section in the middle.

"Paint Me Down" was a song that I quite liked when it came out, and despite it not having much of a tune I found it quite hypnotic, with a strong bass line, a toe-tapping guitar riff and some snippets of sax. In parts it reminded me of The Smiths' "Handsome Devil", which came a year later, so perhaps Johnny Marr had been listening to Spandau Ballet ?!

"Coffee Club" has more funky staccato bass but the song is terrible until it briefly bursts into a Haircut 100 style chant. I could have done without the extended brass solos.

Side two begins with "She Loved Like Diamond", a single I had totally forgotten about,  which straight away moves away from the funk inspired side one. It has a poppy intro and a slow verse, but melody is fairly weak although saved by a tremendous vocal from Tony Hadley. Listening to it made me think of Duran Duran's "Rio". However, in truth it sounds like an out-take from True, but it is the only track under three minutes.

"Pharoah" is six and a half minutes with a lot of heavy drums and a slight middle-eastern feel, but it is fairly tuneless and goes on way too long. It is over two minutes before the vocals join the fray. The occasional piano lines are quite nice though and the backing vocals are decent.

"Innocence And Science" has sounds of water at the start then just slow oriental music played by just one instrument, which apparently is a guzheng. Hadley's vocal is unusually soft and the water sounds at the end made me think of Pink Floyd's "Alan's Psychedelic Breakfast". Spandau had probably been listening to David Bowie in his "Low/Heroes" era.  The track closes with a slow pounding drum which continues into the seven minute long "Missionary" and initially I thought is was still "Innocence And Science" but with a clearer vocal. There are synths, some guitar and again the guzheng but it is very dull.

Listening to Diamond again after nearly forty years hasn't changed my opinion and I have already again forgotten all of side two and "Coffee Club". The only tracks worth listening to are the three funky singles. 

Track Listing :

Side One :

1. Chant No 1 ( I Don't Need This Pressure On )
2. Instinction
3. Paint Me Down
4. Coffee Club

Side Two :

1. She Loved Like Diamond
2. Pharoah
3. Innocence and Science
4. Missionary

Released 1982
UK Chart Position : 15

Singles : 

Chant No 1 ( I Don't Need This Pressure On ) ( No 3 - 1981 )
Paint Me Down ( No 30 - 1981 )
She Loved Like Diamond ( No 49 - 1982 )
Instinction ( No 10 - 1982 )

Spandau Ballet - Journeys To Glory

I first became aware of Spandau Ballet when the New Musical Express did a feature on a trendy unsigned band who were apparently destined to become the next big thing, and the label New Romantics had already been attached. I was intrigued so it was therefore a bit of a surprise when I came home from school one day shortly afterwards, to hear a session version of "To Cut A Long Story Short" being played on Radio One's Peter Powell's afternoon show, who at the time was far from trendy. However, the song had a fresh new sound, and I was impressed, but not enough to go out and buy a frilly shirt or some tartan !

Several Radio One DJs then played the song on their programmes even though Spandau Ballet didn't have a recording contract at the time, so it was several months before the single was officially released. I didn't buy the song when it came out, and it was 5 to 6 months later before the first album, "Journeys To Glory", hit the record stores.

It was only when the third single, "Muscle Bound" was released that I went out and bought the album, and the sticker shows I paid £3.49. Although I liked the LP, I was actually slightly disappointed with the record, as I was expecting it to be a little better ! 

Looking at the track listing now, I can remember all of the songs on side one, but side two is a bit of a haze, but I expect it will all come flooding back after the opening couple of bars of each song !

The album begins with "To Cut A Long Story Short", with its sizzling synthesizer riff, a commanding vocal, a rising middle 8 and an interlude of just bass and drums before the synth returns. It is by far and away the standout song on the album.

"Reformation" is a synthpop track, with a bouncing Euro/Cossack disco beat intro. "Bleak and tired western skies. Silence crashing with quiet lies. Shattered glass reflects elation. Reformation, reformation".

The Ultravox influenced "Mandolin" has a big synth intro before leading to softer bass lines for the verse. No mandolin is played on the song...."Mandolin, oh mandolin, waiting in the dark. Centuries passed down upon your smooth Venetian skin".

"Muscle Bound" has dramatic heavy drums and a stomping Russian/Cossack guitar/bass beat for the intro, and laddish "Work till you're muscle bound all night long" chanting backing vocals in the chorus. Ironically, a mandolin is played in the outro !

The fast paced instrumental "Age Of Blows" opens side two, with the guitar and synths sounding like something from a 1960's spy thriller or a detective show. There is a hint of Joy Division in bass line and there's a bit of Gregorian chanting with the "la la la"s near the finish. 

The punk-funk "The Freeze" has funky choppy guitar and bass for intro and a delightful cartoonish synth solo break in the middle. Unusually there is no chorus, with instead the guitar and synth filling in. Furthermore there is only one verse, which is repeated two and a half times. I had forget this was a single ! "Blue sing La Lune, sing Lagoon. These visions are making me stay. The art in pretending it's art.The question is where do you pay?

The toe-tapping "Confused" has a circular guitar riff throughout that reminded me of something else, but maybe it's this song ! The synth towards end is similar to the that at the end of Emerson Lake and Palmer's "Lucky Man" !

The six minute long album closer "Toys" has a much slower pace, but a big dramatic vocal. It has a slight Siouxsie And The Banshees feel to it but is probably the weakest track on the album. "They'll look for reasons again and again. Let them go,let them go let them go".

Listening again after over 40 years, "Journeys To Glory" is a good album, and was much better than I expected it to be ! 

Track Listing :

Side One :

1. To Cut A Long Story Short
2. Reformation
3. Mandolin
4. Muscle Bound

Side Two :

1. Age Of Blows
2. The Freeze
3. Confused
4. Toys

Released 1981
UK Chart Position : 5

Singles :

To Cut A Long Story Short ( No 5 - 1980 )
The Freeze ( No 17 - 1981 )
Muscle Bound ( No 10 - 1981 )

 

The Smiths - Rank

 

Although recorded in 1986, the live album "Rank" was only released in 1988, a year after The Smiths had split up, and the concert it was taken from had earlier been part of a broadcast on BBC Radio One. The title apparently comes from J Arthur Rank, which is Cockney rhyming slang.....

I'm not really sure why I bought the album as there was little in the way of new songs on it, just live versions of songs I already had, and my memory was that these were mostly faithfully adhered to, without any of the extended guitar solos, improvised jamming or dare I say it, tedious drum solos, which are often associated with live albums. 

The bass line in "Rusholme Ruffians" was accused of being stolen from Elvis' "His Latest Flame" and the live version on "Rank" begins with the first two verses from the Elvis song, before seguing into the rockabilly "Rusholme Ruffians". 

The instrumental "The Draize Train" was the only other track I didn't previously have, being a B-Side to "Some Girls Are Bigger Than Others", which was only released as a single in Germany 

Of the lesser know tracks "Is it Really So Strange ?" was the B-side to "Sheila Take A Bow" whilst "Rubber Ring" and "London" were on "The World Won't Listen" compilation. There were five songs from "The Queen Is Dead" album, three from "Meat Is Murder", one from "The Smiths" plus two non-album singles. I don't think I played the album very often.

Listening to the album again I can safely say that this would not be a good introduction for anyone new to The Smiths' material, and they would be much better off sticking to the studio versions. The main issue with "Rank" is that musically it is just electric guitars, bass, drums and voice, and apart from the exception of "I Know It's Over", played at the same fast pace, and generally has a tinny sound. There is none of the rich variety of the studio albums eg acoustic guitars, keyboards, harmonica etc and some of Morrissey's histrionic yelps, exaggerated crooning, growls and squeals are rather irritating. Furthermore the production values make it sound like it was recorded in a toilet.

In summary, "Rank" is an album best avoided......

Track Listing :

Side One :

1. The Queen Is Dead
2. Panic
3. Vicar In A Tutu
4. Ask
5. His Latest Flame/Rusholme Ruffians
6. The Boy With A Thorn In His Side
7. Rubber Ring/What She Said

Side Two :

1. Is It Really So Strange ?
2. Cemetry Gates
3. London
4. I Know Its Over
5. The Draize Train
6. Still Ill
7. Bigmouth Strikes Again

Released : 1988
UK Chart Position : 2