If he gets round to reading this, I can hear Jacques the Kipper scream at his PC screen (sorry, make that Mac screen – he’s posh), WWWWHHHHHHAAAAAAAAAAAAATT? Given what I’ve chosen at #14, I don’t think his will be an isolated scream.

Your humble scribe and his long-term musical buddy have very diverse opinions on Simple Minds. Our solution is just to agree to disagree. Maybe it’s something to do with where I was born and bred.

Nowadays, there are all sorts of great venues dotted around the city centre of Glasgow and beyond for bands to pitch up and play. But 30 years ago, it was either the Apollo or a mere handful of pubs – all of whom had a strict door policy. The local evening paper would carry adverts every week for 5 or 6 venues (The Dial Inn and The Burns Howff are two that I seem to recall), but every week it would be the same 5 or 6 acts that appeared – and all of them had long hair and wore either cheese-cloth shirts and flares or tight-fitting t-shirts and leather strides. In short, it was a scene dominated by really awful pub-rock and acts who wanted to be the new Led Zeppelin.

In the pre-Postcard era, it was Simple Minds who stood out from that crowd, for they didn’t rely on loud guitars, screaming vocals and pounding drums – they had a keyboard player!! Someone at school said that they weren’t a new band at all, but instead just the latest line-up of a Glasgow punk act called Johnny And The Self Abusers (astonishing as it may seem, this turned out to be true!!)

The band started to get some local media attention and songs were being played on the local commercial radio station. Then they were signed by a major record label and you could buy their single and LPs in all the local shops. Many of us rushed out and bought these records, and many of us found ourselves bemused.

The first three albums by the band saw a mixture of a few easily accessible pop tunes, but they were buried among a lot of stuff that seemed to verge on the dreaded and awful prog-rock. Nowadays, its easy to look back and see the influences were in fact more European-orientated acts like Kraftwerk and Can, but here in Glasgow very little was known about such bands. The band had a few early stand out tracks – in particular the singles Life In A Day and Chelsea Girl, as well as one particularly infectious track in I Travel that made you want to get on the dance floor and shake your hips. Were discos the real future for Simple Minds??

In 1981, the band moved to Virgin Records who had something of a decent track record making a success of slightly off-kilter new wave bands such as Magazine, XTC, PiL and The Skids. The first release was an LP called Sons and Fascination, the initial copies of which came with a bonus LP called Sister Feelings’ Call (the latter would eventually be released as a stand-alone record).

It was still very much a mix of the pop and the prog, but the pop was pretty sensational. And the prog was somehow different (we would later come to recognise much of it as trance….). The pop meanwhile was aimed very much at the dance floor, but not with a disco beat. It was very similar to records that were coming out of Sheffield by a band called The Human League, and looking back we can see it was the start of a new era and new style of synth-pop that brought us bands such as New Order and Depeche Mode.

The first time I heard the single that I’ve picked at #14 was at a Glasgow city centre disco where ‘alternative’ nights of sorts were held on Sunday evenings. Something came on with a long and attention-grabbing pulsating intro. Then came a vocal that sounded awfully familiar….that can’t be Jim Kerr…surely not….

It was only after it had finished, when I went over to the DJ’s booth to ask, did I find out that it was the forthcoming record by Simple Minds. The DJ had been given an advance copy to try out at the ‘alt’ evening. I’m sure it was played on at least two more occasions that night and filled the (admittedly small) floor each time.

Love Song turned out to be the biggest success for the band up to that point. Before long, the band were aiming for pop success at the expense of everything else, and by the mid 80s they had succeeded, thanks to a world-wide hit with Don’t You Forget About Me. They were now, without any shadow of a doubt, stadium rockers of the corporate kind – hugely popular with the masses. They had even started writing songs such as Waterfront which became the unofficial sing-a-long anthem for Glasgow for a short while. All this might have made the boys rich and popular, but it also made them mundane, mediocre and meaningless.

It was now embarrassing to actually admit you were once a fan. And in some folks eyes, that is still the case.

But I’ll always stand by the majesty of the turn of the decadeand early 80s Simple Minds……

mp3 : Simple Minds – Love Song (extended)
mp3 : Simple Minds – This Earth That You Walk Upon

Bonus song from the punk era:-

mp3 : Johnny And The Self Abusers – Saints and Sinners*

* also the name of a legendary Glasgow venue. It would later change ownership and name and become King Tut’s Wah Wah Hut.

THE £20 CHALLENGE (Week Two)


JC writes…..

There’s a key reference in this week’s tale which will require a bit of explaining to some of the blog’s overseas readers.  I’ve decided to put that addition in (as well as provide a link to the charity shop from which the CD was purchased), but otherwise what follows comes from the talented fingertips of Badger….

The first text message said:-

‘I’m off to buy your first CD I’ll pop it round your place later’.

I have to admit, I have been worried what exactly SWC would present me with. Since I had ‘the only good idea in my life’ last week, he has been asking me if I like a variety of bands ranging from Nickelback to long lost Oxford Radiohead clones Subcircus. The joy with this challenge is that I could literally get anything. He might try and get something embarrassing but knowing SWC he couldn’t stoop to buying something like Meatloaf or Shania Twain. Hopefully.

The second text message arrives when I am in an important meeting, luckily we are about to stop for what they call a ‘comfort break’. In other words, after an hour in a room everyone needs a piss, a cigarette or just five minutes sanity time. Seriously you know its time for a break when, an annoying man with NHS glasses and lisp says ‘Let’s refill the Reservoir of Knowledge’ – and that happened twenty minutes ago.

The second text message reads thus:-

“She says, It’s not you, it’s me / I need a little time, a little space / A place to find myself again, you know / Oh yeah, I know a goodbye when I hear it/ She smiles but her heart’s already out there/ Walking down the street”.

Obviously it’s a lyric. One that I don’t really recognise, so I scribble it down and phone the wife.

“Why are you quoting Jimmy Nail lyrics at me?” she asks.

“Stupid Boy Project” is my answer;

She sighs and then says “Ain’t No Doubt’ probably his finest moment, Not that there is a great deal of competition, I remember it knocked ‘Abba-esque’ by Erasure off Number One, my boyfriend at the time was a massive Erasure fan, that is why I wasn’t surprised when he left me for the guy who worked at Bovey Bikes”.

This is a true story, before me, my wife was with a chap called Jason, who left her for the bloke she worked with in a bike shop in the small Devon town of Bovey Tracey. They emigrated to Australia about ten years later.

I quickly send SWC a text:-

‘Have you bought me a Jimmy Nail CD? I told you to buy something I might like. I don’t like Jimmy Nail’.

His reply was swift:-

‘What about Auf Wiedersehn Pet?.

I don’t have time to tell him to fuck off as lisp man is calling us back in to discuss ‘Thinking outside the box”.

So it was with some fear that I opened the door to him later that evening, it wasn’t all bad, he’d got caught in a hail storm as he cycled the two miles to my house from his. After I had stopped laughing at his drenched state, I offer him a cup of tea. He then hands me a bag marked ‘Chudleigh Mare & Foal Sanctuary’.

“Thanks” I said and put the bag on the table and return to the kitchen to make the tea. SWC has this bad habit, he kind of makes himself at home at my place – I mean I don’t mind, he is always welcome, but this means he puts the stereo on or helps himself to the biscuits – today he does both – he has three chocolate digestives in his hand when I return carrying the tea, and he has put the stereo on – it’s the CD from the bag.

You will be relieved to know it’s not Jimmy Nail. As fantastic as his 1992 album ‘Growing Up in Public’ no doubt is. I am delighted when track one starts as I don’t hear the croaky vocals of the Geordie Elvis. Of course it’s not, SWC wouldn’t buy Jimmy Nail, he is far too self-conscious for that. “Did you fall for my deliberate bluff?” he said. “Yes I bloody did” I said, removing the chocolate digestives from out of his reach. I also give him the smallest cup of tea, which wipes the smirk off his face.

So what did he buy? Well he did rather well.

He bought me a copy of ‘Star’ by Belly. An album I have never properly owned but always meant to. I think I had a taped copy whilst at University. For those in the dark, Belly were formed by Tanya Donnelly ex of the Throwing Muses and (briefly) The Breeders in 1991 and were a band I saw in Leeds in 1993 on a joint headline tour with Radiohead (which was also, I think, the first time I saw Radiohead, although I seem to remember seeing Suede with them as a support?). Of note in February 2016, they announced that they were reforming with new material.

Their first album ‘Star’ is a stunning record. It has aged very well, full of happy/sad sugar-coated indie pop that has this excellent wooziness running through it. In tracks like ‘Gepetto’, ‘Feed the Tree’ and my personal favourite ‘Slow Dog’ they had three tracks which filled the indie dance floors of my early(ish) 20s.

mp3 : Belly – Gepetto
mp3 : Belly – Feed The Tree
mp3 : Belly – Slow Dog

SWC left about forty minutes later – he handed me the envelope (slightly wet) and the money inside – there is £17.50 in there – which means he paid £1.50 for the CD. Absolute Bargain, I would have paid full price for it to be honest.


JC addendum

I had a  piece on Belly in the TVV pipeline, but rather than have it come up again soon, I’ll hold it back for a while yet.  In the meantime, here’s a cover version by the band which appeared as a b-side to the single release of Feed The Tree.  One for all aficionados of Walt Disney:

mp3 : Belly – Trust In Me




Its 1996 and whispers on the streets are growing louder that an exciting, talented and innovative band calling themselves Belle and Sebastian have emerged from a group of students studying a music course at Stow College in Glasgow. By the time the whispers reach the ears of your humble scribe it is too late to pick up any of the 1000 copies of the debut LP Tigermilk that had been pressed by the college.

It’s hard to imagine in these days of instant access to mp3 files and the revolution these have brought to the music industry but unless you had a copy of the album, or knew someone who had and was prepared to make a cassette tape of it for you, it was near impossible to hear any of those songs.

Luckily enough, the band were snapped up by a new independent label called Jeepster Records which allowed a second LP to be released before 1996 ended and so my first exposure to the band was If You’re Feeling Sinister, one of the most critically lauded records of all time and rightly so.

Every so often in the world of indie/alt music someone comes along and becomes the role model or poster boy/girl for the indie kids the world over, usually for a period of around 4 or 5 years (which is coincidentally the time that a lot of indie kids spend at university or college). These role models capture the hearts and minds of those who are obsessive about their music and link it to every almost every aspect of their lives and the way they lead them. I’d cite, from the time when I became are very serious about my music, folk like Joe Strummer, Morrissey and Michael Stipe fitting that bill at different times. And from 1996 through to the turn of the century it was the turn of B&S frontman Stuart Murdoch to wear that particular crown.

To the late teens and early 20-somethings, being a B&S fan was about much more than the music and to this then 30-something there were times the whole scene got so twee and fanciful that it crossed over into pretentiousness. It was tempting to just reach across to those youngsters sitting near you in a bar, cafe or in a park or on a pavement bench and quietly tell them that reading classic literature and listening to obscure pop music wasn’t their invention….stopped only by the realisation that if someone had done that to me a decade previously when I was wittering on loudly and annoyingly about Wilde, Yeats and Mozza I’d have just looked back at the old codger dishing out the lecture with a sense of pity.

Instead, all I could do was accept that at 33 years old, my youth had gone forever (or so it seemed!).  Should I turn my back on the music and ignore it??  Problem was……..it was far too good for that.

mp3 : Belle & Sebastian – Me & The Major
mp3 : Belle & Sebastian – Like Dylan In The Movies
mp3 : Belle & Sebastian – If You’re Feeling Sinister
mp3 : Belle & Sebastian – Judy and The Dream Of Horses

The band proved none of this was a fluke with an amazing set of EPs released in 1997 and then the equally as good LP The Boy With The Arab Strap.  They’re still going strong today and I’ve had the pleasure of sharing a dancefloor with Stuart Murdoch on quite a few occasions in recent years….with one memorable time being when we were both guests at a mutual friend’s wedding reception and a song by The Go-Betweens began playing…..

But I don’t feature them much around here as any such postings on the old blog caused a lot of issues around dmca notices.  Pity, cos they are rather good.  I’m considering the option of making them the focus of a new Sunday series when I reach the end of the road with The Clash in a few weeks.  Any thoughts?



JC writes…..

I learned of the tragic passing of Prince from a text sent by Jacques the Kipper.  As you’ll know from the Billy Joel ICA, he’s a mate who enjoys a laugh and a wind-up, but given how much love he has for Prince I knew immediately that this particular text wasn’t a prank. Turning the TV to the news channels only confirmed it all.

I could have gone straight to the keyboard and tried to pull together a few words, but I knew they wouldn’t do the occasion justice.  So I asked JtK to consider a piece for the blog.  He’s done a tremendous job…..


Jacques the Kipper. Tuesday 26 April 2016


When I penned a very few words about David Bowie‘s musical influence on me, I never imagined that, barely a few weeks later, I’d be commenting similarly on the sudden death of Prince. As an artist, he knew how to surprise but this was unexpected on a whole new level. And desperately sad. Particularly I think for those of us of the same generation. As a result, I’ve found it really hard to put my thoughts in writing. This is my best, admittedly disjointed, effort for now. I’ll warn you that if you want comprehensive, if you want cultural analysis, if you want a detailed discography, then you’re better looking elsewhere. There’s plenty choice, much of it well researched and written. This is definitely not a tribute, more a word association.

Prince Rogers Nelson was born on 7 June 1958 in Minneapolis, Minnesota. His father was a jazz musician and his mother a singer in his band. Who am I to doubt the legend that Prince taught himself guitar, drums and piano from a very young age. By the age of 10 his parents had split and he was living with his neighbours. In high school, he set up his first band. He released his first album in 1978 and pretty much the rest, as they say, is history.

Fast forwarding to his death on 21 April 2016, I experienced a weird run of Prince related coincidences around that date.

Early in the week, an old college friend got a very senior job. This left me, wandering into work a day later, musing to myself how the hell could that have happened, given our collective application to alcohol rather than academia back in the day.

That inspired thoughts of our shared best friend of the time, Dave, who decamped to London, offering me the opportunity to live with him in Catford and, at the time, work with him for a used car dealer. Who knows now how life might have turned out, had I made that move. In fact, it was probably my on-off relationship with Julia Fordham girl that stopped me, not long before she made the local papers by running off with a leading councillor (who at the time was married to the Council Leader). But that’s for another day.

Anyway, as I walked, memories flooded back of one of the few times that I visited Dave in London, so that we could both go see Prince. So much did I want to see him (Prince, not Dave) that I paid (face value) more for a gig ticket than I ever had before; a record that stood for more than 20 years. We sat next to Paula Yates and her pals. That was an experience in itself. They sang and danced. A lot. So did we. Prince was awesome in his high heels. What more do you need to know?

As a quick aside, as I haven’t seen him for so long, I googled Dave when I got into the office. By his own admission to a trade magazine, he now seems to let flats to London gangsters. Somehow that doesn’t surprise me.

The day after, Thursday, again as I wandered in to work, “When Doves Cry” randomly came on the iPod. I never listen to that album, so enjoyed the experience of hearing it for the first time in ages and pondered the coincidence of thinking of Dave just the day before. Who’d have thought, literally a few hours later, I’d have heard the same song several times more on the radio or television.

For me, it was the usual Thursday evening these days, taking my daughter and her pal on the train to fitness training for her football team. Browsing social media, as you do on such trips, I noticed a breaking story that a body had been found at Paisley Park. Many thoughts went through my head – mostly, I’ll admit, to do with crime, drugs or bizarre accidents – but none of them directly associated with Prince himself. I remember wondering if he’d been there at the time and would this mean some gruesome public inquiry that he’d have to participate in with various media implications or accusations of dodgy practices… A few minutes later it became clear that the body might well be Prince himself… Obviously a fake story… Then the confirmation that it was indeed him… Shock… Sadness… Disbelief.

Without seeking to be disrespectful, I can honestly say that I never imagined that I’d hear Aretha Franklin, whom I thought was ‘ancient’ when I was a lad, paying tribute to Prince. That really brought home to me how untimely this was.

The final coincidence of the week was the day after and a pre-planned drink after work, something I very rarely get to do these days. The drink was with a friend, with whom I’d not long back seen Prince. Chatting to him convinced me to put this stuff on paper.

Why Prince actually died will apparently take weeks to be confirmed. No doubt now that we’re past the initial respectful stage, the stories will turn to innuendo and spurious, sordid, suspicious scenarios and circumstances around his death. Already I’ve noticed the lazy journalism linking Prince’s name to Michael Jackson. They are after all both black, successful and died relatively young, so – the story implies – who knows what other characteristics they may have shared.

As you’ll see from the next few paragraphs, I didn’t pore over Prince’s personal life when he was alive. I know comparatively little about him and am happy for it to remain that way, at least until his promised, but now tragically curtailed, memoir is inevitably published. Though not if it’s relying on a ghost writer to fill in the bits he hadn’t “written” yet. For me, it’s mostly been about the music.

I was first introduced to Prince about 1980 by a school friend. While he does inhabit the Internet, he keeps that pretty private, so I’ll respect that and refer to him only as The Friend Formerly Known As. The three albums he shared with me were, to say the least, eye openers. That was as much about the lyrical content as the music. It was all oddly addictive though and, alongside the standards you’d expect me to be listening to at the time – post-punk, sounds of young Scotland, whatever my girlfriend liked – I began to enjoy them more and more, and it didn’t take too long to purchase my own copies. So began a lifelong love.

Just to be clear, there is an anomaly here. I’ve just looked down the list of best selling global music superstars and (ironically for this blog) barring Kanye, there is no-one else in the top 80 or so for whom I can say I own more than, at best an album or two, many no more than a favourite track and most nothing at all. I don’t really do mass success.

I did waver a little in the early days with Purple Rain – both the album and film. It wasn’t that I didn’t secretly love the purple pomposity of it all, it was more Prince was getting just a little too popular for the indie kid I’d increasingly become. The run of singles and albums after that though was undeniably just genius. Parade and Sign o the Times remain among my very favourite albums ever, and depending on the day you ask, Kiss or Sign o the Times could well be my favourite single of all time. There are a raft of singles or album tracks from that period that I still rate as highly as anything in my vast and musically varied collection.

To be clear, unlike Bowie and one or two others, he didn’t really change my musical direction. Consciously anyway. I certainly didn’t rush out and buy lots of obviously Prince related music, though maybe it opened my mind to stuff that I wouldn’t have given a chance to otherwise. Is that why I enjoy the likes of Chaka Khan, Frank Ocean, Destiny’s Child, TLC or even Kendrick Lamar? Looking backward to likely influences on him, I do love Marvin, Al Green, Sly and the Family Stone, Hendrix… But what is Prince related music anyway? There’s funk in there sure, but soul, R&B, jazz, rock, pop, a bit of gospel too over his career. He even brought Kate Bush’s funky side out. And how could we Scots forget what he did to Sheena Easton?! Sugar Walls indeed.

Of course, I loved his androgyny. If you’ve read anything I’ve written before you know that I’m a sucker for that. Was he gay, straight, bisexual? Don’t know. Don’t care. I do know that he “dated” many famous women, much to the fury I’m sure of various macho meatheads.

It’s far too easy to write off his lyrics as pop trash. There’s much wit and wisdom and a fair smattering of politics, amongst the sex talk. I suppose it’s really the stories within so many of the songs that I enjoy. For me, he paints a picture, and usually a pretty damn colourful one.

I’m not going to say anything more about the music. You’ll either love the squealing and the shrieking, the groaning and the grinding, the bass and funky drumming, the inventiveness, the re-styling, or you won’t. That’s fine – each to their own.

As I said above, others will assess his musical and cultural worth far better than me in the many, many articles to be found across the written and virtual press. I do know that, in 39 studio albums, there’s some padding and there’s some I like much more than others. But generally I can switch on Prince at any time, at any point of his career, and bathe in the lovesexiness. Proved to some degree following his death by switching the iPod to random Prince and not feeling the need to fast forward through anything. Indeed, quite the opposite as a few lost gems see the light once more. That to me, personally, is a measure of unrivalled sustained quality.

I’m not really going to comment either on squiggles, slaves and law suits. I can’t deny that the sight in the mid-90s of a multi-millionaire trying to escape a contract just to be allowed to make more multi-millions did grate. But actually, in retrospect, I have to accept that the fight was to some degree worth it in allowing others less fortunate ultimately to benefit from more freedom of contract. In recent times, he’s taken on YouTube and the streaming sites and, largely, won. Hence the comparative lack of material being linked to from social media comments on his death.

The one thing I will agree with most writers on is that he was so unbelievably talented at so many things – multi-musician, singer, producer, arranger, dancer, sex god, though maybe not actor – that he’s probably had less credit over the years than he’s deserved. Certainly I have never seen such an astonishing guitarist. I used to marvel at Hendrix on film, then I saw Prince for real. And then he’d wander over to the piano. Or the drums. Or the various other instruments that he more than mastered.

There can be little doubt that he was a workaholic and a lover of music. If he wasn’t shagging, he was rehearsing, recording or playing live. He is the only musician that I’ve ever seen who can play a minute or so of a song – sometimes less – then just as you’re marveling at how amazing it is, cast it off for something better, then do so again, and again. And you accept it because it’s the only way to hear so much of his canon, but mainly because despite it being a medley and not like it sounds on the record, it is still bloody brilliant.

The worry now has to be that the rumoured hundreds of albums that Prince recorded and kept in the Paisley Park vaults are now cobbled together and the legacy is exploited. For me, though I know others will disagree, he left them in that vault for a reason.

More generally, while his death’s effect on the future of music is, of course, questionable, I can honestly say that there is practically no artist who has given me personally such consistent pleasure over the years. Social media has been awash with musos I like, and not all of whom I’d have associated with a liking of him, saying similar. That’s been oddly pleasing given the stick I took as an indie youth for being a fan. Even Noel Gallagher and Bruce Springsteen have done live tributes in recent days.

I’m not alone in now not daring to mention my other favourites in case somehow I tempt providence. I thought it would be a long time before some musician’s death affected me as much as David Bowie. Actually this is worse. And I can think only of a couple of further artists that I would mourn similarly.

That’s it. The end. Nothing more meaningful to say. JC can honestly pick anything he wants, though don’t be surprised if Prince’s lawyers have it taken down before you’ve listened to it. Starfish and Coffee with the Muppets is still on YouTube whatever.

Actually, talking of coincidences, YouTube and Muppets….over the last few days you may have seen Prince doing Purple Rain at the Super Bowl; Billy Joel was on that bill…

Oh and you might be wondering who now is the band that I’ve paid most to see. Well, after a short break it’s back to being Prince again. Worth every penny.

Shut up already. Damn.


JC adds……..As noted above I get to choose the tracks today.  I think they are a match for the quality of Jacques’ contribution..

mp3 : Prince – Controversy
mp3 : Prince & The Revolution – Mountains
mp3 : Prince & The New Power Generation – Money Don’t Matter 2 Night
mp3 : Prince & The New Power Generation – Gett Off (Housestyle)




It was October 1990 that Roddy Frame last bothered the compilers of the UK singles chart with his bombastic but catchy duet with Mick Jones.  As I mentioned in my ICA effort last August, compiled just after the Boy Wonder had given a tremendous near-homecoming concert at the Kelvingrove Bandstand in Glasgow, there’s a really lovely piano only version out there, available as a b-side to the 1992 single Dream Sweet Dreams, in which the radio-friendly stomp chart is turned into a thing of beauty.

I had reason recently to dig out the original CD single and I re-discovered that in fact it was a decent release on its own as it contained a slight remix of the album version, two live tracks from a gig at the Barrowlands in August 1990 (one of which on the night was totally unexpected) and a radical remix thanks to Fatboy Slim himself.

mp3 : Aztec Camera and Mick Jones – Good Morning Britain (vocal remix)
mp3 : Roddy Frame and Edwyn Collins – Consolation Prize (live)
mp3 : Aztec Camera and Mick Jones – Good Morning Britain (live)
mp3 : Aztec Camera – Good Morning Britain (remixed by Norman Cook)

The lyric was of course a social commentary on life in the UK under a right-wing Tory government with no prospect of things changing but it was kind of lost in the tune that, with the help of Mick Jones, took Aztec Camera into the charts for that one last time in 1990.  This live version demonstrates just how great a song it is….maybe it is time for it to be dusted down and updated to take account of life under David Cameron…

mp3 : Aztec Camera – Good Morning Britain (live at Ronnie Scott’s)




As mentioned last time out, 1999 was a year in which Cinerama were unable to release anything in the UK. They weren’t total strangers though, as John Peel continued to expresses his support with regular appearances on his show including a live acoustic performance from Peel Acres on 6 May in which two songs were broadcast. This was followed by a Peel Session which aired on 2 November 1999 while the band also played at the DJs 60th birthday party in August with the songs broadcast later in the year.

A single was recorded for the Madrid-based label Elefant Records, and issued via a limited edition 7″ on pink vinyl:-

mp3 : Cinerama – Pacific
mp3 : Cinerama – King’s Cross

By now, the duo of David Gedge and Sally Murrell had expanded into a five-piece band with the addition of Simon Gleave, Terry de Castro and Simon Pearson on guitar, bass and drums respectively.

Pacific is a tremendous, almost long-lost record with a lead vocal from Sally Murrell. It was as far from the sound of The Wedding Present as could be imagined. The Peel listeners loved it enough to vote it in at #13 in the annual Festive Fifty.



Disc 16 is Know Your Rights.

April 1982.  And just when you thought that The Clash were incapable of any new surprises, they hit hard with the release of what turned out to be the first of three singles that would be lifted from Combat Rock.

Maybe they were just fed up of not being able to articulate their message properly with a music press that were no longer fans (for the most part) or maybe it was just a bit of piss-taking from Joe aimed at those who had dismissed This Is Radio Clash as sloganeering even before hearing a single note.  But it takes a big set of balls to scream out that what follows on record is ‘a public service announcement………………..WITH GUITARS!!!!!’

Yup, it’s time to throw away the funk, disco and reggae and get back to some good old-fashioned noise to what is suspiciously akin to a rockabilly beat.  But it was exactly what we were needing.

I’m a big fan of this song, and think it is one of the most underrated of the singles.  It was a throwback to the angry, disenfranchised band of old. It only came out on 7″ vinyl – no extended remixes for this track – and it even had a b-side that name-checked London just like so many songs of old.  The infatuation with America was seemingly over and it made me believe that the forthcoming album was going to be 45 minutes of pent-up aggression unleashed on a listening public.

Got that wrong didn’t I?

mp3 : The Clash – Know Your Rights
mp3 : The Clash – First Night Back In London

Years later, the early versions of the songs that made it onto Combat Rock became available in bootleg form.  It is interesting to hear how the lyric is delivered with a far more cynical rather than angry tone.  It’s also a couple of minutes longer than the version that was eventually publicly issued…

mp3 : The Clash – Know Your Rights (early version)

KNOW YOUR RIGHTS  : Released 23 April 1982 : #43 in the UK singles chart

For me it’s all about the first ten seconds of ‘Know Your Rights’.  The way Mick Jones bashes his guitar  and then Strummer shouts “This is a public service announcement/With guitars!” That’s the whole reason why The Clash existed right there. It’s a massive influence on what we’re going with Radio 4.

As a kid growing up in America, ‘Combat Rock’ was everywhere. MTV had just started and the video for ‘Rock the Casbah’ was on all the time. All the kids at school loved it but ‘Know Your Rights’ was the one for me. It’s the ultimate synthesis of all their influences, from reggae to punk through R&B to soul.  Musically, it sounds really urgent, as if they were keen to tighten things up.

Maybe they were conscious that they’d lost a few people en route with ‘Sandinista’ and wanted ro strip the sound back to bare bones.  The lyrics are spot on: “Murder is a crime/Unless it is done by a politician or an aristocrat”.  Someone could release ‘Know Your Rights’ next week and it would still sound relevant.  It’s timeless.

Anthony Roman, Radio 4