The Smiths - The Queen Is Dead

It was an appearance on The Old Grey Whistle Test in 1986 then got me back in the buying The Smiths' records, having only previously purchased the "This Charming Man" single. The band played "Bigmouth Strikes Again" and "Vicar In A Tutu" and I was suitably impressed, and bought the "The Queen Is Dead" album when it was released shortly afterwards. 

The sticker on the cover show I purchased it in WH Smiths but part of the label is missing, revealing I paid 5 pounds something for the LP ! It also states the album includes the hit singles "Bigmouth Strikes Again" and "The Boy With The Thorn In His Side", both of which had been released prior to the album.

I thought the album was excellent, liking every track on side 2, with the only songs I found a little disappointing to be the title track and "Never Had No One Ever". My favourite track was probably "The Boy With A Thorn In His Side".

The album continued the usual formula for The Smiths' records, combining sparkling, joyous, uplifting music with mournful sing, complaining about alienation, frustration or things going wrong in UK society but often with witty and humourous lyrics, and the occasional burst of hope.

The anti-monarchist "The Queen Is Dead" starts the album and begins with the singing of a musical hall number, which is listed as "Take Me Back To Dear Old Blighty". There is a toe-tapping intro with the drums to the fore, but it quickly goes downhill with the weakest melody on the album. A bad parody of The Smiths would sound something like this.

Matters improve with "Frankly, Mr Shankly", which has a bouncing bass line and is a galloping sing-along with superb lyrics. "Fame, fame, fatal fame, it can play hideous tricks on the brain. But I'd rather be famous than righteous or holy. Any day, any day" & "Frankly Mr Shankly since you ask, you are a flatulent pain in the arse. I don't mean to be rude, but I must speak frankly, Mr Shankly"

"I Know It's Over" is a slow, tender ballad, with more lyrical bass and one of Morrissey's better vocals. "Sad veiled bride be happy, handsome groom give her room. Loud loutish lover treat her kindly, though she needs you more than she loves you",  "If you are so funny then why are you on your own tonight ?.....I know because tonight is just like any other night".

The bleak "Never Had No One Ever" has a slow tempo and a slightly menacing guitar but overall it's dreary.

It's back to lively pop for the side one closer "Cemetry Gates" which has a nice guitar riff in a song about plagarism. "Keats and Yeats are on your side, while Wilde is on mine !". "If you must write prose and poems then the words you use should be your own. Don't plagarise or take on loan 'cause there is always someone with a big nose who knows".

"Bigmouth Strikes Again" has a fast acoustic guitar intro, a drum burst then the first verse. The female sounding backing vocal is actually Morrissey but was credited to Ann Coates. Ancoats is apparently a surburb of Manchester ! "Now I know how Joan Of Arc felt, as the flames rose and her Walkman started to melt".

Although "The Boy With A Thorn In His Side" is about a boy being misunderstood, it has the most joyous music on the album, and I love the outro. " How can they hear me says those words and still they don't believe me ? And if they don't believe me know now, will they ever believe me ?".

"Vicar In A Tutu" is an enjoyable rockabilly song about a cross-dressing vicar. "As Rose collects the money in the canister, who comes sliding down the bannister ? A vicar in a tutu".

"There Is A Light That Never Goes Out" is a song that has been interpretated as both being a depressive anthem or a hopeful testament of live. Fatbear's take is on the latter ! The song has a driving acoustic guitar and bass and a glorious chorus  "And if a double decker bus crashes in to us, to die by your side is such a heavenly way to die. And if a ten tonne truck crashes into us, to die by your side , well the pleasure, the privilidge is mine".

"Some Girls Are Bigger Than Others" has a quick tempo intro that fades in and out, and the song has some lovely guitar and a fantastic rhythm. "As Antony said to Cleopatra as he opened a create of ale, oh I say, some girls are bigger than others"

Listening now, "The Queen Is Dead" remains a fantastic album, with 7 killer songs and two more modest contributions. 

Track Listing :

Side One :

1. The Queen Is Dead
2. Frankly, Mr Shankly
3. I Know It's Over
4. Never Had No One Ever
5. Cemetry Gates

Side Two :

1. Bigmouth Strikes Again
2. The Boy With A Thorn In His Side
3. Vicar In A Tu-Tu
4. There Is A Light That Never Goes Out
5. Some Girls Are Bigger Than Others

Released 1986
UK Chart Position : 2

Singles :

The Boy With A Thorn In His Side ( No 23 - 1985 )
Bigmouth Strikes Again ( No 26 - 1986 )

 

The Smiths - Meat Is Murder

 

It took me a while to acquire The Smith's second album "Meat Is Murder", only purchasing it some time after their fourth album "Strangeways Here We Come" was released in 1987. I was partly put off by the album cover, the title wasn't particularly appealing, the press had branded it to be very political, and none of the tracks on it were hit singles or received much airplay on the radio stations I listened to despite the album reaching number 1 in the album charts.

The sticker on the cover shows I paid £5.99 in WH Smith for the album, but I can't remember when or where this would have been ! 

However, I decided I need to catch up on the back catelogue and bought the LP. I was pleasantly surprised how good it was, especially side two.  "Nowhere Fast" and "Well I Wonder" were my favourite tracks.

Side one begins the "The Headmaster Ritual", a critique of the education system and corporal punishment. The jangling guitar intro hints at Beatles Day Tripper but the rest of the song doesn't live up to that standard.

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 verse from the Elvis song, before seguing into the rockabilly "Rusholme Ruffians". "The last night of the fair, and the grease in the hair of the speedway operator, is all a tremolous heart requires".

"I Want The One I Can't Have" has fast paced guitar similar to that "This Charming Man", and I had to check this wasn't also on "Hatful Of Hollow". "I want the one I can't have and its driving me made. It's written all over my face".

The post punk "What She Said" has almost glam rock guitar, and side one closes with the waltz like "That Joke Isn't Funny Anymore" which starts nicely but drifts into an over long dirge with hints of psychedelia.

The fantastic "Nowhere Fast" opens side two with train like drumming during the the middle break and for the lyric "And when a train goes by it's such a sad sound". It has some of the best lyrics on the album, "I like to drop my trousers to the Queen, every sensible child will know what this means" & "And if the day came when I felt a natural emotion, I'd get such a shock I'd probably jump in the ocean", 

"Well I Wonder" is probably the best ballad written by the band. Tender acoustic guitar and some gorgeous bass for the intro, and a falsetto vocal over the middle break. "Gasping, but somehow still alive. This is the final stand, of all I am. Please keep me in mind"

The over 7 minutes long "Barbarism Begins At Home" has a Chic funk influenced bass line, rockabilly guitar, and yelps that sound like a whip being cracked. The outro goes on for a bit too long though. Paradoxically, it's a song about child abuse that is actually quite fun to listen to !

The six minute long "Meat Is Murder" opens with the mooing of cows before a sad, maudlin melody. A tinkling piano can be heard through most of the song. "This beautiful creature must did. A death for no reason, and death for no reason is murder".

Overall, "Meat Is Murder" remains a good album, with "Nowhere Fast", "Well I Wonder", "Rusholme Ruffians" and "I Want The One I Can't Have" being the stand out tracks.  However, a couple of the tracks would have been improved by some editing.

Track Listing :

Side One :

1. The Headmaster Ritual
2. Rusholme Ruffians
3. I Want The One I Can't Have
4. What She Said
5. That Joke Isn't Funny Anymore

Side Two :

1. Nowhere Fast
2. Well I Wonder
3. Barbarism Begins At Home
4. Meat Is Murder

Released 1985
UK Chart Position : 1

Singles :

That Joke Isn't Funny Anymore ( No 49 - 1985 )

 

The Smiths - Hatful Of Hollow

A friend of mine from college was really into The Smiths when they started out, and I was so blown away by how brilliant the single "This Charming Man" was, that I rushed out and bought it !

Whilst I liked the subsequent singles, it was only when their third album, "The Queen Is Dead" was released that I started buying The Smiths' records again. I only purchased the debut album "The Smiths" on CD in the mid-1990s, instead preferring to buy the "Hatful Of Hollow" compliation album, which contained different versions of some of the songs previously released on the debut album, or as singles or B-sides, mostly coming from studio sessions recorded for John Peel or David "Kid" Jensen. The sticker on the cover shows I paid £3.49 in Our Price Records.

I thought this album was terrific, and having heard these versions first, preferred them to the more polished versions when I subsequently heard them ! 

Several of my other friends thought, like The Cure, The Smiths were depressing, but I really liked the joyous music, especially the guitar playing of Johnny Marr, which more than compensated for Morissey's often monotone crooning, with the occasion falsetto. 

Side One opens with the non-album single "William, It Was Really Nothing". Despite the uplifting guitar playing it is one of their most insubstantial songs. "Would you like to marry me, and if you like you can buy a ring. I don't dream about anyone - except myself !"

"What Difference Does It Make ?" is taken from the Peel session rather than the single version included on "The Smiths". There is a menacing guitar line and the song is quite dark, but it is one of my favourites. "The devil will find work for idle hands to do. I stole and I lied, and why? Because you asked me to. But now you make me feel so ashamed, because I've only got two hands. Well, I'm still fond of you, oh-ho-oh".

"These Things Take Time" is from the Jenson session rather than the B-side to "What Difference Does It Make ?". It is a fast paced number but the chorus is melodic. "These things take time, I know that I'm the most inept that ever stepped", and "I'm spellbound, but a woman divides. And the hills arе alive with celibate cries".

"This Charming Man" is from a Peel session and lacks the blistering guitar intro on the single, instead being driven by Rourke's bass lines. With a slower tempo it has an almost motown or country-rock feel to it. I love both versions ! "I would go out tonight but I haven't got a stitch to wear. This man said, "It's gruеsome that someone so handsome should care".

"How Soon Is Now ?" was originally the B-Side to "William It Was Really Nothing" but was later re-released in its own right and became one of their most popular songs. Personally it is probably my least favourite of all of their catelogue. It is dominated by a Bo Diddley/Hamilton Bohannon riff and features a slide guitar.

"Handsome Devil" is from a Peel session rather than the live version on the B-side to "Hand In Glove".  It's perhaps the most punkish song from The Smiths with some of their sharpest lyrics. "Let me get my hands on your mammary glands, and let me get your head on the conjugal bed", "And when we're in your scholarly room, who will swallow whom", and "a boy in the bush is worth two in the hand, I think I can help you get through your exams".

"Hand In Glove" is the original single version rather than the re-recorded effort on "The Smiths". The guitar fades in before a harmonica intro. The song was later recorded with Sandie Shaw backed by The Smiths and reached number 27 in the UK Charts. "Hand in glove, the sun shines out of our behinds. Yes, we may be hidden by rags but we've something they'll never have".

"Still Ill" is another from a Peel session rather than "The Smiths". It opens and closes with some R&B harmonica, but overall is a more gentle version than on the studio album. "Under the iron bridge we kissed, and although I ended up with sore lips. It just wasn't like the old days anymore. No, it wasn't like those days. Am I still ill ?", "Does the body rule the mind? Or does the mind rule the body? I dunno".

"Heaven Knows I'm Miserable Now" is the non-album single. It is probably the song that did the most to give the band a reputation for being a miserable bunch, but those with that view are totally missing the inspiring music alongside Morissey's mournful vocal ! The outro is particularly beautiful. "What she asked of me Caligula would have blushed. Oh you've been in the house too long, so I naturally fled".

"This Night Has Opened My Eyes" is another song from a Peel session but had not been previously available anywhere. Slow and sad, there are tender guitar and bass lines. "The dream has gone but the baby is real. Oh, you did a good thing. She could have been a poet or she could have been a fool. Oh, you did a bad thing. I'm not happy and I'm not sad"

"You've Got Everything Now" is from the Jensen session rather than the re-recording for "The Smiths". A mid paced stomp with some Morrisey falsetto here and there. "As merry as the days were long, I am right and you were wrong. Back at the old grey school, I would win and you would lose" and "No, I've never had a job because I've never wanted one. I've seen you smile, but I've never heard you laugh. So who is rich and who is poor? I cannot say, oh"

"Accept Yourself" is another song from the Jensen session rather than the B-side of 12 inch single version of "This Charming Man". It has a jerky R&B riff but the melody is probably the weakest on the album and "Girl Afraid" is the B-side of "Heaven Knows I'm Miserable Now" and is a lightweight up tempo toe-tapper.

"Back To The Old House" is from a Peel session rather than the B-side of "What Difference Does It Make" and has just a gentle acoustic guitar and a tender vocal. "When you cycled by, here began all my dreams. The saddest thing I've ever seen, and you never knew, how much I really liked you. Because I never even told you. Oh, and I meant to. Are you still there, or have you moved away?

"Reel Around The Fountain" is from a Peel session rather than the version on "The Smiths" and lacks the piano played by Paul Carrick so the drumming is more prominent. But either way it remains a classic and I love the big finish. "Fifteen minutes with you. Well, I wouldn't say no. Oh, people said that you were virtually dead. And they were so wrong" and "I dreamt about you last night, and I fell out of bed twice. You can pin and mount me like a butterfly, but "Take me to the haven of your bed" was something that you never said"

"Please Please Please Let Me Get What I Want" is the B-side if "William It Was Really Nothing". It is another song with just acoustic guitar and vocal until a mandolin instrumental outro. It is short at under two minutes, but is quite beautiful. It was later covered by Dream Academy and was a minor hit for them

Overall, "Hatful Of Hollow" remains an outstanding album, and is a good introduction to The Smiths. 

Track Listing :

Side One :

1. William, It Was Really Nothing
2. What Difference Does It Make ?
3. These Things Take Time
4. This Charming Man
5. How Soon Is Now ?
6. Handsome Devil
7. Hand In Glove
8. Still Ill

Side Two :

1. Heaven Knows I'm Miserable Now
2. This Night Has Opened My Eyes
3. You've Got Everything Now
4. Accept Yourself
5. Girl Afraid
6. Back To The Old House
7. Reel Around The Fountain
8. Please Please Please Let Me Get What I Want

Released : 1984
UK Chart Position : 7 

Singles :

Hand In Glove ( - 1983 )
This Charming Man ( No 25 - 1983 )
What Difference Does It Make ? ( No 12 - 1984 )
Heaven Knows I'm Miserable Now ( No 10 - 1984 )
William, It Was Really Nothing ( No 17 - 1984 ) 
How Soon Is Now ( No 24 - 1985 )

Skids - The Absolute Game

 

"The Absolute Game" was the third album from Skids and was an absolute favourite of mine after I had purchased it. At the time I thought all 10 tracks were fabulous, and again Stuart Adamson's virtuouso guitar playing dominated, strongly leading to the path Big Country were to inhabit. The progression from punk to techno-pop remained, but the band were also confident enough to feature some didgeridoo and children backing vocals.

Looking at the track-listing I could remember all but two of the songs but they came flooding back almost immediately after the first few notes !

"Circus Games" begins with fast electronic beats, and the children sing the chorus. The song has several blistering guitar lines, and I love the interplay at the end between the children singing and the guitar. The song ends with the sound of a girl's laughter, which leads onto.....

"Out Of Town" has a jaunty guitar and bass intro, rising to an anthemic chorus and a another fantastic guitar solo, followed by a bass and drums interlude before chorus returns "Need to run, need to hide, cos I'm outta town, outta town, outta town, outta town".

 "Goodbye Civilian" goes back to the electronic beats intro, with the synth playing notes of the melody. The song has a singalong chorus, with and a tasteful guitar break over the electro beat for the middle section. The final verse is sung by both Jobson and Adamson, and I love the outro. The only mention of the album title occurs in the chorus. "Goodbye to the order, goodbye to the shame. Boys in the river, the absolute game. Goodbye civilian, civilian goodbye my friend".

"The Children Saw The Shame" has a jangly, japanese style guitar intro before the main riff, and the Japanese style guitar returns for the solo. "Oh tragedian,tragedian of my shame, But the children saw the shame".

"A Women In Winter" slow, begining with oh wa-hay oh vocals until the guitar, bass and drums come in. The verse has a mid-tempo beat and the oh wa-hay-oh vocals return as backing for the chorus

"Hurry On Boys" features military drumming and a didgeridoo ! Jobson sings the verse lines, with Adamson sings the backing "Hurry On Boys". There is also a few laddish heys in the middle and the guitar on this track is the closest to the Big Country sound. 

"Happy To Be With You" has a toe tapping intro and another rising singalong chorus. "We missed the boat for home, so scream we can defy. We missed the boat for home, astute we could not die. Oh this pain inside me now it throws me to the floor. Oh that pain outside me now, this is heaven can't you tell".

"The Devils Decade" has a slow funeral feel as the guitar, bass and drums play the intro, but there is a dramatic chorus and a tender guitar break "Oh mother of mine, release us from evil. Oh show us a sign. Oh mother of mine, your children are bleeding, please show us a sign."

"One Decree" has an upbeat, marching beat, underpinned by more superb guitar.  "Onwards, pray the angels, forward we set sail. Onward, through the darkness, standfast do not fail. Stood by Moses' mantle, he held a new decree. We all heard, we all heard. We all heard, but could not see"

"Arena" has a slow begining with a mournful guitar before a stomping verse and and rising chorus, with chanted "hey" backing vocals. The mournful guitar lines are played on a synthesizer for the middle break but the pace quickens when the guitar returns.

Listening to "The Absolute Game" again after a period of over 40 years, it remains a fantastic album, and every song is teriffic. It's hard to pick a favourite !

Track Listing :

Side One :

1. Circus Games
2. Out Of Town
3. Goodbye Civilian
4. The Children Saw The Shame
5. A Women In Winter

Side Two :

1. Hurry On Boys
2. Happy To Be With You
3. The Devils Decade
4. One Decree
5. Arena

Released 1980
UK Chart Position : 9

Singles :

Circus Games ( No 32 - 1980 )
Goodbye Civilian ( No 52 - 1980 )
Women In Winter ( No 49 - 1980 )

 

Skids - Days In Europa

Scottish Punk band Skids ( not The Skids ! ) made initial headlines with their single "Sweet Surbaria" before "Into The Valley" became a top 10 hit. Their first album, "Scared To Dance", was also well received, with the title track and "The Saints Are Coming" receiving regular airplay on night time radio.

"The Saints Are Coming" later famously became a hit in 2006 when U2 and Green Day recorded a cover as a fund raiser for the New Orleans flood disaster fund, leading it to become a theme tune for sporting sides known as The Saints, such as Northampton Rugby, Southampton and The New Saints football sides. 

Prior to the release of Skids second album, the brilliant single "Masquerade" was released and reached numer 14 in the UK Charts, but it was omitted from the follow-up album. Their appearance on Top Of The Pops to promote "Masquerade" was noteworthy for singer Richard Jobson's notorious out of time dancing. Jobson became a regular in the music press, being willing to offer an opinion on anything and everything as a rent-a-quote mouthpiece, which had a sense of irony given that much of Jobson's singing was unintelligble ! After Skids split, Jobson became a TV presenter, most notably as a film critic.

Guitarist Stuart Adamson's "bagpipe" guitar, which was to become the mainstay of Big Country, was already evident on Skids early recordings. 

"Charade" and "Working For The Yankee Dollar" were released as singles from the album and became top 20 hits, at which point I purchased "Days In Europa".  

The album attracted some contraversy at the time, with the cover depicting an Olympian receiving a crown of laurels from a Germanic looking women, and with the gothic script writing it was reminisent of posters for the 1936 Berlin Olympics. Added with some of the lyrics on the album, some critics felt that Nazi ideology was being glorified.

Whilst their early songs were guitar dominated punk efforts, "Days In Europa" saw a move towards synthesizers and electronic beats whilst retaining Adamson's trademark guitar playing. I liked it, although most of the time I had no idea what Jobson was singing about !

The album begins with "Animation", a mid-paced techno-pop stomp, with a rising chorus and searing guitar breaks. "Disengage time and the body's on its own. Feel the stagnation and this is where we are thrown. Labour saving days are the ones that can't recline. Labour saving days are the ones that always shine"

The fast paced "Charade" follows, with an anthemic chorus of Charade repeated five times, and a synthesizer plays the middle break.

"Dulce et Decorum Est ( Pro Patria Mori )" is one of the album's highlights, based on war poet Wilfried Owen's poem "Dulce et Decorum Est". It has a funky bass and guitar lines in the intro, a killer chorus, a lovely guitar break, and sad synth towards the end with military drumming. "Dulce et Docorum est my childlike dream is marching west, Dulce et Docorum est, for my soul I've failed the test. Dulce et Docorum est, come our Johnny join the rest".

"Pros And Cons" is probably the weakest song on the album but has an urgent synth and guitar intro, and is not bad. 

Side One closes with "Home Of The Saved", a slow number aiming to be epic without quite nailing it.

"Working For The Yankee Dollar" has a drum intro, before a whistling synth and heavy guitar, then the guitar plays the main rift. There is a catchy shouty chorus. "In Germany in the forty five, my mind was on the altar. Thought of god, the iron rod and thought that needed shelter. From 'Tragen' pain and men insane and eyes that got much colder. Saw a German son with a Yankee gun and a uniform much older. Yankee, to war. Yankee, head high, Yankee, in call. Yankee, we cry"

"The Olympian" is another great track with a frantic guitar intro and vocal but has a sing-a-long chorus and a vibrant guitar break hinting at "Into The Valley" "All the banners, all the flank, say hey, hey, look at this man. Hey hey he's an Olympian"

"Thanatos" is the Greek god of death and also the Greek word for death. The song is energetic and has a great guitar intro.

"A Day In Europa" is my favourite track on the album. It has a happy beat, another sing-a-long chorus, and  brilliant guitar solo. "And the memory shall linger, and the memory shall fall. A day in Europa, my regression recalls".

The album closes with the oddity "Peaceful Times". The music is a heavy synth/dub sound and what sounds like "Animation" played backwards, with a spoken vocal over it. I didn't like it when I heard it in 1980, but now it sounds brilliant !

Playing "Days In Europa" again, I still think it is a very good album, with the best songs being "A Day In Europa", "Dulce et Decorum Est", "The Olympian", "Animation" and "Peaceful Times". Whilst the first two singles are decent, they are not the best tracks !

Track Listing :

Side One :

1. Animation
2. Charade
3. Dulce et Decorum Est ( Pro Patria Mori )
4. Pros And Cons
5. Home Of The Saved

Side Two :

1. Working For The Yankee Dollar
2. The Olympian
3. Thanatos
4. A Day In Europa
5. Peaceful Times

Released 1979
UK Chart Position : 32

Singles :

Charade ( No 31 - 1979 )
Working For The Yankee Dollar ( No 20 - 1979 )
Animation ( No 56 - 1980 )

 

Siouxsie And The Banshees - Once Upon A Time/The Singles

Siouxsie And The Banshees were media darlings in the early stages of their career, with almost weekly updates on their activities in the New Musical Express and Sounds in the late 1970s. Like several bands of that era, I quite liked them, but not enough to buy an album, until the first collection of singles was released. 

Their first single, "Hong Kong Gardens", was their breakthrough, being an epic mix of punk with an oriental guitar riff, and written about their local Chinese takeaway. The subsequent follow-ups seemed to be mostly tuneless noise that magically broke out into memorable hooks, with "Playground Twist" perhaps being the best example.

As their career progressed, so did their musical development, moving away from being Sex Pistols inspired punks to Goths. "Christine" was almost mainstream, although the final three songs on this collection, whilst more polished and less abrasive, moved backed to their post-punk roots. 

The track selection for this compliation was slightly confusing as the "Mittageisen" single, a German language version of "Metal Postcard" from their debut album "The Scream" and which reached number 47 in the UK Chart was omitted, but album tracks "Mirage" and "Love In A Void" were included. Aside from this, the tracks were in chronological order.

"Hong Kong Garden" remains the song most commonly associated with early Siouxsie and the Banshees and remains their highest UK chart single apart from "Dear Prudence" in 1983. Not many punk songs had the intro played on a xylophone !

The excellent "Mirage" is next, which has perhaps the best tune of the Banshees early material. "My limbs are like palm trees swaying in the breeze, my body's an oasis to drink from as you please. I'm not seeing what I'm meant to believe in, your non-excuse for a human being". The word "being" was sung in the style of Johnny Rotten and the guitar reminds me of Public Image.

I loved the guitar riff and bass intro on "The Staircase ( Mystery )". It has a gentle plucked guitar middle break before the guitar riff returns, and there is some jerky piano near the end. "Slide down the banister, take the escalator".

"Playground Twist" is perhaps my favourite Bashees song with a grinding guitar, bells, a wailing vocal, a saxophone break and children's laughter at the end. "Roll the dice, you three blind mice. Do you ever see such a thing in your life ?" & "Hanging, hanging, hanging, Hanging out at party games, dancing in the shadows. Up and down on the see-saw, balancing the scales, Balancing the scales, you're drunk, you're drunk, Yet you're balancing the scales"

"Love In A Void" is perhaps their most punk song, with a shrill vocal. It was never a favourite of mine.

Side two opens with "Happy House", which has a slow intro but a memorable guitar motif, and whistling in the outro.

"Christine" has a strummed acoustic guitar and driving bass, and is another one of my favourite Banshees' songs. "Christine the strawberry girl, banana split lady"

"Israel" has an ethereal feel and a Welsh choir low down in the mix during the middle break. The guitar and drumming are nice but although apparently a popular track with Banshees' fans, it's not a great tune.

"Spellbound" has a slow, gentle intro but builds up into traditional Banshees beat.

"Arabian Nights" has fantastic Cure-like bass lines and an impressive guitar for the middle break with hup, hup, hup vocals. "I heard a rumour, what have you done to her ? Myriad lights, they said I'd be impressed. Arabian nights, at your primitive best"

Listening to this collection again, I was surprised by how good these songs were, they had clearly stood the test of time !

Track Listing :

Side One :

1. Hong Kong Garden ( 1978 - No 7 )
2. Mirage 
3. The Staircase ( Mystery ) ( 1979 - No 24)
4. Playground Twist ( 1979 - No 28 )
5. Love In A Void 

Side Two :

1. Happy House ( 1980 - No 17 )
2. Christine ( 1980 - No 22 )
3. Israel ( 1980 - No 41 )
4. Spellbound ( 1981 - No 22 )
5. Arabian Nights ( 1981 - No 32 )
 

Released 1981
UK Chart Position : 21

 

Rush - Spirit Of Radio

 

This is not an album, but a 12 inch single !  I think I opted for the 12 inch as this was the full length album version at nearly 5 minutes, whereas the UK single had been edited down to barely 3 minutes.

I remember a concert review in the New Musical Express, possibly in 1978, when the journalist was puzzled as to how a little known Canadian band had sold out a large venue in Manchester. Speaking to some of those at the gig, he was surprised to be frequently told Rush were the best rock band in the world. This also came as a surprise to this reader, as Rush were never played on the radio, had never appeared on the few music programmes on TV in the 1970s, nor previously been mentioned in the UK music press, which at the time was focused on punk or new wave acts.I had never heard of Rush.

The article also called the band fascists, based on a couple of their songs being inspired by writer Ayn Rand, who at the time was incorrectly labelled as a proponent of anarchism. The band were apparently furious at this description.  

By 1980, Rush had released their "Permanent Waves" album, and embarked on another sell-out tour of the UK, and in support, released "Spirit Of Radio" as a single, which became their first ( and only ) UK Top 20 hit. I was blown away when I first heard it !

The introductory guitar riff is a standard Rock n' Roll one, but the song then launches into a different, glorious riff for the main theme. Towards, the end of the song is a short reggae style section, entwined with the return of the opening riff, before launching into a searching guitar solo. It's still an absolutely brilliant song !

Of the other songs, "The Trees" was from their 1978 album "Hemispheres", which lyrically describes the struggle of maple trees to get more sunlight but the oaks are too tall. In the end "all trees are all kept equal by hatchet, axe and saw". The song begins with acoustic guitar for the intro and first verse, giving it a "Stairway To Heaven" vibe, before turning into a mainstream rock song for the second verse. The middle section has a soft synthesized break after which there's a tasteful guitar solo. Overall, it reminded me a little of Yes, partly as Geddy Lee's singing here has Jon Anderson like qualities.

"Working Man" comes from Rush's 1974 eponymous debut album and is the bonus track on the 12 inch single, not being on the 7 inch single, and is over 7 minutes long. It sounds a lot like Led Zeppelin, especially with Geddy Lee's voice also being similar to Robert Plant's, but there is a Richie Blackmore/Deep Purple/Rainbow style extended guitar solo for over three minutes before the song returns back to Led Zep style verse and chorus, and a big dramatic finish. It's not really my kind of music. 

Track Listing :

1. Spirit Of Radio
2. Trees
3. Working Man

Released 1980
UK Chart Position : 13