Robert Fripp: Exposure (The Definitive Edition) @ 40

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Fripp’s debut solo album, originally recorded at New York’s Hit Factory between January 1978 and January 1979, has endured endless tinkering from the artist including various remixes/reversions.

But his 1985 (or should that be 1983?) remix, carried out at London’s Marcus Studios alongside Brad Davies, is the best.

But calling Fripp completists: is this version of Exposure even available on any format apart from the original cassette? (Thank goodness I still have my copy, signed by Fripp at the Virgin Megastore circa 1988, because I bought the noughties CD version to find that it featured completely different vocal takes, and the current streaming version is just as obtuse…).

The 1985 version of Exposure adds some sonic wallop to the drums, pushes Barry Andrews’ keyboards way back in the mix, comps the best of Daryl Hall and Peter Hammill’s vocals and features arguably Peter Gabriel’s best ever version of ‘Here Comes The Flood’ (with Frippertronics prelude).

It’s also a completely personal album, Fripp’s Face Value, the musings of an uptight Englishman in NYC, a prog/fusion version of ‘Annie Hall’. There are funny vocal interjections/indiscretions from his mother (‘You never remember happy things’), Fripp himself (‘Incredibly dismal, pathetic chord sequence’) and Eno (‘Can I play you some new things that I think could be commercial?’).

Gabriel fluffs the opening of ‘Here Comes The Flood’, Hall layers his vocals in strikingly avant-garde fashion, JG Bennett’s words are often layered in (with permission from his widow), arguments are eavesdropped upon and there are striking ‘audio verite’ sections. And lots of Frippertronics.

Fripp also uses silence to great effect. Don’t play this album too loud. But then there are the gorgeous ballads, ‘North Star’, featuring delightful pedal steel from Sid McGinnis and wonderful Hall vocals, and ‘Mary’, featuring Terre Roche (she also screams away on the cool reversion of Gabriel/Fripp’s title track).

And drummers: you gotta hear this album. Forget Narada Michael Walden’s playing with Weather Report, Jeff Beck, Tommy Bolin and the Mahavishnu Orchestra – this is his most outrageously brilliant drumming on record. Phil Collins plays well too, as do Allan Schwartzberg and Jerry Marotta.

1985 was a good year for Fripp. Alongside this fantastic Exposure remix, he met future wife Toyah, recorded some brilliant stuff with David Sylvian and also set up his ‘study group’ The League Of Crafty Guitarists.

Steve Hunt/Tim Miller: Changes

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Arguably no guitarist has stepped into Allan Holdsworth’s shoes since the Yorkshireman’s sad death in 2017 – hardly surprising since he was one of the greatest, most original voices on the instrument.

But if anyone can get close to recapturing Holdsworth’s compositional magic, it’s keyboard player Steve Hunt who toured/recorded with the guitarist between 1988 and 1995 and wrote two bona fide Allan classics – ‘Dodgy Boat’ and ‘Joshua’.

Hunt’s new album Changes features guitarist Tim Miller and three key Holdsworth collaborators: drummers Chad Wackerman and Gary Husband, plus bassist Jimmy Johnson. It’s a feast of interesting chord voicings and strong melodic statements. It doesn’t hurt that Miller is clearly a devotee of Holdsworth, a fluid, elegant player with a similar tone and legato approach, but obviously way off the unpredictable, effervescent brilliance of Allan. No shame in that…

This is heavy, intricate, epic music, decidedly nearer the prog/rock end of fusion than the jazz. Opener ‘Falling’ is a superb composition with lots of Holdsworth chord voicings, interesting modulations and a memorable melody. ‘Sevens’ seems inspired by Allan’s ‘The Un Merry Go Round’, with another great melody and beguiling ‘add-9’ modal flavour, plus a classic Husband drum solo also echoing that Holdsworth piece.

The title track is a moving, melancholy solo Hunt piece performed on various synths, while ‘Inverted’ features some ingenious chord voicings and a superb Moog solo from the composer. ‘Emergence’ is catchy with a lovely crisscrossing feel alternating between 4/4 and 6/8 time, while the closing ‘Next’ may be the most Holdsworth-ish melody of the whole album (and foregrounding a strong Joe Zawinul flavour during the solo section).

There are a few minor gripes – Changes has a slightly ‘whooshy’/over-compressed quality, and the drummers occasionally sound similar, never a problem when they shared studios with Holdsworth during the late 1980s and 1990s. And Miller’s two compositions – ‘Aerial Route’ and ‘Chrysalis’ – are less essential, lacking Hunt’s melodic sense, though the former tune has a brilliant Johnson bass solo which explores every inch of the instrument.

But overall this is a really strong, cohesive, consistent album, and this writer’s favourite ‘fusion’ record since John McLaughlin’s Is That So? from 2019. It’s also essential listening for fans of Holdsworth, McLaughlin, Husband and Wackerman.

The Cult Movie Club: The Osterman Weekend (1983)

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‘Straw Dogs’, ‘Bring Me The Head Of Alfredo Garcia’, ‘The Wild Bunch’, ‘Pat Garrett & Billy The Kid’, ‘Cross Of Iron’… One doesn’t forget Sam Peckinpah’s films in a hurry.

By the early 1980s, his career had hit rock-bottom, despite a random hit with ‘Convoy’ in 1978. But he was still hungry to work, though deemed unreliable and dangerous by the powers that be.

Salvation came in the form of his one-time mentor Don Siegel, with whom Peckinpah had worked on a few movies including ‘Invasion Of The Body Snatchers’. Siegel had a tricky action sequence to shoot for his Bette Midler vehicle ‘Jinxed’ – he persuaded Peckinpah to storyboard and direct the sequence, and Sam ended up sticking around for 12 days, impressing everybody with his ideas and – frankly – sobriety.

Suddenly Peckinpah was back in the game. He was quickly offered a Robert Ludlum espionage thriller ‘The Osterman Weekend’, adapted by ‘Night Moves’/’Ulzana’s Raid’ writer Alan Sharp, concerning a TV personality who becomes convinced that his best friends are Soviet agents.

The producers insisted Sam be on his best behaviour and he was also given other directives: no drastic re-writing, no casting approval (he wanted James Coburn but got Rutger Hauer) and no final cut.

But he did get his choice of DP – John ‘Straw Dogs’ Coquillon. The budget was $7 million. Peckinpah finished in January 1983 on time and on budget. The movie just about made back its costs (not helped by an appalling trailer, so instead let’s see Mark Cousins’ ‘Moviedrome’ introduction, as below) and became a hit in the burgeoning video market.

‘The Osterman Weekend’ got a critical mauling and is yet to receive a posh official restoration. But watching it now, it turns out to be yet another fascinating, unpredictable and weirdly gripping Peckinpah movie.

He throws down the gauntlet with a seriously unpleasant opening scene which gives new meaning to coitus interruptus (apparently excised from the original theatrical cut). The sets are fairly drab. John Hurt seems miscast despite a nice Pinteresque switcheroo late in the piece and most of the female characters are ‘problematic’ (with one notable exception).

But Peckinpah puts together two or three superb action sequences including a thrilling chase through the outskirts of LA. Hauer shows unexpected depth alongside the usual impressive athleticism and Craig T Nelson – best known for his role in ‘Poltergeist’ – is excellent, as are Meg Foster, a clearly ill Dennis Hopper and Chris Sarandon. It sounds like Lalo Schifrin gathered the cream of the LA session scene for his nice if strange Yacht Rock soundtrack.

It also seems that Peckinpah got in a naughty rewrite after all and was incapable of just phoning in an assignment – the film is deeply personal, about betrayal, surveillance and the disintegration of relationships in Reagan’s America. And it’s also about protecting the family unit – yes, it’s Peckinpah’s take on Steven Spielberg…

‘The Osterman Weekend’ became his final film – he died in December 1984 at just 59. His last professional act was to direct two videos for Julian Lennon, of all people: ‘Valotte’ and ‘Too Late For Goodbyes’. But ’Osterman’ is well worth a look, if you’ve got a strong stomach and a love of weird, unpredictable movies.

Further reading: If They Move, Kill ‘Em by David Weddle

The Best Album Titles Of The 1980s

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We’ve looked at some of the worst album titles of the 1980s – now it’s time for the best.

But what made a memorable/interesting title? Certainly a few themes emerge from the list below.

Some issue instructions to the listener, some pose questions. Most feature common words uncommonly used. A pun can help. A couple are named after books. And a concept doesn’t hurt, especially if accompanied by good album artwork/design. Release the bats…

Adventures In the Land Of The Good Groove (Nile Rodgers)

What’s Bootsy Doin’? (Bootsy Collins)

No Sleep ‘Til Hammersmith (Motorhead)

Climate Of Hunter (Scott Walker)

Rum, Sodomy & The Lash (The Pogues)

Bostin’ Steve Austin (We’ve Got A Fuzzbox And We’re Gonna Use It)

From Langley Park To Memphis (Prefab Sprout)

Are You Glad To Be In America? (James Blood Ulmer)

America – Do You Remember The Love? (James Blood Ulmer)

Metal Fatigue (Allan Holdsworth)

Shockadelica (Jesse Johnson)

Back In The DHSS (Half Man Half Biscuit)

The Slide Area (Ry Cooder)

As The Veneer Of Democracy Starts To Fade (Mark Stewart)

Be Yourself Tonight (Eurythmics)

Sulk (Associates)

Love Stinks (J Geils Band)

Jazz From Hell (Frank Zappa)

Shut Up And Play Yer Guitar (Frank Zappa)

Broadway The Hard Way (Frank Zappa)

Aliens Ate My Buick (Thomas Dolby)

The Golden Age Of Wireless (Thomas Dolby)

Exit Stage Left (Rush)

Some Of My Best Jokes Are Friends (George Clinton)

R’n’B Skeletons In The Closet (George Clinton)

There Goes The Neighbourhood (Joe Walsh)

You Bought It – You Name It (Joe Walsh)

Friendly As A Hand Grenade (Tackhead)

Stop Making Sense (Talking Heads)

Non-Stop Erotic Cabaret (Soft Cell)

Frankenchrist (Dead Kennedys)

This Is What You Want…This Is What You Get (PiL)

Album (PiL)

Twang Bar King (Adrian Belew)

Big Science (Laurie Anderson)

Building The Perfect Beast (Don Henley)

Freaky Styley (Red Hot Chili Peppers)

The Pursuit Of Accidents (Level 42)

The Big Lad In The Windmill (It Bites)

Searching For The Young Soul Rebels (Dexys Midnight Runners)

The Affectionate Punch (Associates)

Empires And Dance (Simple Minds)

For How Much Longer Will We Tolerate Mass Murder (The Pop Group)

Return Of The Giant Slits (Slits)

Your Cassette Pet (Bow Wow Wow)

See Jungle! See Jungle! Go Join Your Gang Yeah, City All Over! Go Ape Crazy! (Bow Wow Wow)

Cupid & Psyche ‘85 (Scritti Politti)

My Life In The Bush Of Ghosts (David Byrne/Brian Eno)

Eat ‘Em And Smile (David Lee Roth)

Other good ‘uns? Let us know below…

USA For Africa: We Are The World @ 40

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Released 40 years ago this month and officially the fastest-selling single in American music history, USA For Africa’s ‘We Are The World’ shifted over 20 million copies and raised a huge amount of money for African famine relief.

Co-written by Michael Jackson and Lionel Richie during a few sessions at the former’s house in Encino, the song divides opinion but only the hardest heart could fail to be moved by its recording (even if one can definitely feel the vibe of some major agent/star power – no arriving in the manager’s battered old car for this lot…).

It brought together a fairly astonishing cast list of the great and good. And, inadvertently, it also arguably represented a last gasp for classic 1980s R’n’B and yacht rock.

The basic track was recorded at Kenny Rogers’ Lion Share Studios on 22 January 1985 with king-of-the-cross-stick John ‘JR’ Robinson on drums, bassist Louis Johnson and pianist Greg Phillinganes, closely monitored by a huge press corps, co-producers Quincy Jones and Michael Omartian and engineer Humberto Gatica. According to Robinson, all the musicians were sight-reading a chart and a click track was used, and they didn’t do more than two takes.

A few days later, Lionel sat down with Quincy and vocal arranger Tom Bahler to prep who would sing which lines (the decision was also made to mainly record vocals live and ‘in the round’ with no or at least very few ‘punch-ins’, unlike ‘Do They Know It’s Christmas’). All the major vocalists were then sent a copy of the basic track featuring Jackson’s guide vocal and with an enclosed letter from Lionel.

The featured singers then assembled at A&M Studios at around 9pm on Monday 28 January, most arriving after the American Music Awards (which Richie hosted). Notable absentees: Madonna (who was apparently bumped in favour of Cyndi Lauper), Prince (check out Duane Tudahl’s superb book for the details), George Benson, Dolly Parton, Donna Summer, Michael McDonald, Pat Benatar, Rod Temperton, Stevie Nicks, Joni Mitchell, Billy Idol? And is it odd that Smokey Robinson didn’t sing a solo line?

The complete footage of the recording session is still fascinating. We see how some of the biggest names in music history found different ways of preparing. Steve Perry waits for his line with eyes shut, looking down, listening intently. Diana Ross does just the opposite.

Bob Geldof gives a stirring pep talk and Stevie Wonder brings in two Ethiopian women to address the singers, moving many to tears. It’s hard not to be touched by Stevie, Kenny Rogers, Dionne Warwick, Diana, Steve Perry, Ray Charles and Cyndi Lauper’s vocals. But Harry Belafonte, Ray Charles, Bob Dylan and Bruce Springsteen seem to get the most respect from the assembled stars.

Other observations: Brucie – who had finished the latest leg of the Born In The USA tour the night before – looking like Judd Nelson in ‘The Breakfast Club’. Al Jarreau struggling throughout. Lionel the team player. Stevie giggling like a naughty schoolkid when Quincy gets annoyed. James Ingram hiding behind Kenny Rogers after a boo-boo.

Paul Simon twice saying to Rogers: ‘Can I help?’ Lauper sharing vocal tips with Kim Carnes. MJ holding hands with Diana and Stevie. Quincy and Stevie rehearsing with Bob Dylan. Stevie and Ray Charles using their braille machine. Quincy reading the score as he conducts the soloists, and his witty asides: ‘Who you gonna call?’ etc.

It looks like they recorded the first half of the song first (up to and including Daryl Hall) and then spent some time on the middle eight with Huey Lewis, Lauper and Carnes.

How does it sound now? Phillinganes’ piano playing is a pleasure to hear, typically tasty and gospel-inflected. But the track is inundated with synths – no less than four players are credited, including David Paich and Steve Porcaro from Toto – and probably why it reminded many of a Pepsi ad.

And it’s odd that the song features no guitar, though Prince offered to play a solo – Quincy reportedly told Prince’s manager Bob Cavallo: ‘I don’t need him to play guitar, we got f*ckin’ guitars’!

The Face Magazine: Culture Shift @ National Portrait Gallery, London

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Any British music fan who came of age during the 1980s must surely have a soft spot for The Face magazine.

Launched by Smash Hits founder/NME editor Nick Logan in May 1980, the monthly rag – so named because of its Mod allegiances – quickly become known as a first-rate style mag (it covered fashion, music, culture, clubbing and cinema too), with its many famous covers reaching the level of high-quality pop art.

Indeed, looking again at issue #1, it’s remarkable how many of its listed writers and photographers would turn out to be key documentors of the decade – Janette Beckman, Julie Burchill, Gary Crowley, Anton Corbijn, Ian Cranna, Jill Furmanovsky, David Hepworth, Tony Parsons, Sheila Rock, Pennie Smith (and that issue alone features iconic photos of Madness, The Specials, The Clash, John Lydon and Paul Weller, amongst others).

It was also unique amongst 1980s music mags in paying as much attention to reggae, hip-hop, electro, house, rare groove and jazz as it did to post-punk, 2-Tone and sophistipop.

But movingtheriver also remembers it most for its superb long-form interviews: I still have issues featuring in-depth pieces on Miles Davis, Trouble Funk, Dennis Hopper, David Sylvian, David Byrne, Robert Smith, Daryl Hall and Ken Russell.

The Face’s iconic imagery is celebrated at the excellent if compact new exhibition at London’s National Portrait Gallery. Predictably it’s photos from those post-punk/New Pop salad days of 1980-1983 which produce the most smiles of recognition/pleasure – Bowie in Japan, Adam Ant, Phil Oakey, John Lydon, Annie Lennox.

But there are great pics/stories from later in the decade too – Bros with their mum at home in Peckham, Shane MacGowan, Sade, Nick Kamen, Felix et al. There’s also a great chronology of 1980s clubbing, from Goth to Acid House, and a focus on long- lost London nightspots.

As the 1980s became the 1990s, The Face arguably reflected a gradual coarsening of the culture with more focus on fashion and lifestyle – but you knew that anyway. But this exhibition is a must-see for any music fan who loved the 1980s, and it was also refreshing to see such a broad range of ages attending.

The Face Magazine: Culture Shift runs at the National Portrait Gallery until 18 May 2025.

The Worst Album Titles Of The 1980s

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It was one of the many issues that probably had managers and marketing people tearing their hair out during the 1980s.

What to name your album? It might be a low-risk strategy to name it after the first single – even better if that song is a big hit – or a ‘pivotal’ album track.

But oftentimes 1980s acts went out on a limb, looking for a ‘poetic’ title, something ‘novel’, something… You get the picture.

Here’s a selection (to be regularly updated) of 1980s album titles that went off-piste.

Some are pretentious, some weird, some have needless word repetition (hello Sting), some fudge punctuation or foreign words in an infuriating way, some are rubbish puns, some are desperate to shock, some are way too high-falutin’, some throw concepts together in a seemingly random way. But the reaction to most is: eh?

Of course a bad title didn’t stop some of these being great albums, though, tellingly, very few were big hits…

Talking With The Taxman About Poetry (Billy Bragg)

Three Hearts In The Happy Ending Machine (Daryl Hall)

The Secret Value Of Daydreaming (Julian Lennon)

Steve McQueen (Prefab Sprout)

Shooting Rubberbands At The Stars (Edie Brickell & The New Bohemians)

The Uplift Mofo Party Plan (Red Hot Chili Peppers)

Mother’s Milk (Red Hot Chili Peppers)

As Falls Wichita, So Falls Wichita Falls (Pat Metheny/Lyle Mays)

Into The Dragon (Bomb The Bass)

Angst In My Pants (Sparks)

Tennis (Chris Rea)

Love Over Gold (Dire Straits)

North Of A Miracle (Nick Heyward)

Misplaced Childhood (Marillion)

Script For A Jester’s Tear (Marillion)

Boys & Girls (Bryan Ferry)

Journeys To Glory (Spandau Ballet)

Through The Barricades (Spandau Ballet)

Seven And The Ragged Tiger (Duran Duran)

Big Thing (Duran Duran)

Modern Romans (The Call)

The Secret Of Association (Paul Young)

Shabooh Shoobah (INXS)

Remain In Light (Talking Heads)

If This Bass Could Only Talk (Stanley Clarke)

Blood & Chocolate (Elvis Costello)

A Salt With A Deadly Pepa (Salt’n’Pepa)

Splendido Hotel (Al Di Meola)

Within The Realm Of A Dying Sun (Dead Can Dance)

The Moon Looked Down And Laughed (Virgin Prunes)

Architecture & Morality (OMD)

The Dream Of The Blue Turtles (Sting)

In-No-Sense? Nonsense! (Art Of Noise)

In Square Circle (Stevie Wonder)

Lawyers In Love (Jackson Browne)

The Story Of A Young Heart (A Flock Of Seagulls)

The One Giveth, The Count Taketh Away (Bootsy Collins)

You Shouldn’t-Nuf Bit Fish (George Clinton)

All The Best Cowboys Have Chinese Eyes (Pete Townshend)

Difficult Shapes And Passive Rhythms Some People Think It’s Fun To Entertain (China Crisis)

Working With Fire And Steel (China Crisis)

Franks Wild Years (Tom Waits)

So Red The Rose (Arcadia)

Café Bleu (The Style Council)

The F**king C*nts Treat Us Like Pricks (Flux Of Pink)

Chalk Mark In A Rainstorm (Joni Mitchell)

I, Assassin (Gary Numan)

Civilised Evil (Jean-Luc Ponty)

Introducing The Hardline According To Terence Trent D’Arby

Children (The Mission)

Casa Loco (Steve Khan)

The First Of A Million Kisses (Fairground Attraction)

Bebop Moptop (Danny Wilson)

 

More crap 1980s album titles? Of course. Let us know in the comments below (particularly looking for more in the metal, Goth and prog genres).

The Breakfast Club @ 40: 17 Things You Didn’t Know About The Classic Teen Movie

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Despite a few bum notes, ‘The Breakfast Club’ – which premiered 40 years ago this month – remains one of the essential 1980s movies, a must-see for generation after generation of teenagers.

Like or loathe it (some contemporary critics such as Pauline Kael lamented its whinier aspects, while others such as Roger Ebert were surprisingly sympathetic), its superb cast act as if their lives depended on it, and writer/director John Hughes’s attention to detail and comic timing are as spot-on today as they must have seemed in 1985.

But what was going on behind the scenes? Where was the film shot? Which famous actors nearly got cast? Which actors didn’t get along? Movingtheriver has done some digging (with spoilers)…

17. The film was edited by Hollywood royalty Dede Allen, who had worked on ‘The Hustler’, ‘Bonnie & Clyde’, ‘Serpico’, ‘Dog Day Afternoon’ and ‘Reds’ (apparently she was put to work on John Hughes’ original three-hour cut…).

16. Theme song ‘Don’t You Forget About Me’ was written by Keith Forsey after witnessing the scene where Brian (Anthony Michael Hall) asks his fellow detention attendees if they’ll still be friends the next day. Simple Minds turned it into a US #1 but Bryan Ferry was Forsey and Hughes’ first choice – he turned it down, busy mixing Boys & Girls.

15. Hughes wrote the first draft of the film over one weekend.

14. Universal weren’t behind the film, wanting more teenage hi-jinks and nudity a la ‘Porky’s’. They weren’t even sure Hughes should direct.

13. Anthony Michael Hall and Molly Ringwald were just 16 years old during filming – all the other ‘schoolkids’ were well into their 20s.

12. Jodie Foster, Laura Dern and Robin Wright all auditioned for the part of Claire, the prom queen. Molly Ringwald got the role despite initially being cast as Alison, the misfit. Emilio Estevez was initially cast as the ‘bully’ John Bender until Judd Nelson came in at the last minute (Nicolas Cage, John Cusack and Jim Carrey all almost played Bender too). Rick Moranis was due to play Carl the janitor but left the film just before shooting.

11. It was shot between March-May 1984 at Maine North High School in Des Plaines, Illinois, the same abandoned school used for ‘Ferris Bueller’s Day Off’. Most of the film takes place in a library – this was actually a set built in the school gymnasium.

10. The cast rehearsed for three weeks before the cameras rolled. They were running lines and bonding even as sets were being built around them. The film was also shot in sequence, a rarity.

9. Researching his role as Bender, Judd Nelson went ‘undercover’ at a nearby high school with fake ID and formed a real clique of naughty teens.

8. The cast didn’t smoke real pot in the famous ‘truth-telling’ scene – it was oregano.

7. Anthony Michael Hall’s real life mother and sister talk to him in the car at the beginning (and Hughes has a cameo as his dad).

6. Ringwald tried to get Hughes to remove the scene where Bender hides under the desk and looks between her legs, but he refused.

5. Bender’s famous, defiant/celebratory fist-raise at the end was improvised by Judd Nelson.

4. The scene where the characters sit around and explain why they are in detention was all improvised.

3. The original cut was 150 minutes long – they had to lose 53 minutes, including a long dream sequence and a whole character (a sexy gym teacher). Some deleted scenes have appeared on DVDs and on YouTube but many outtakes have never been seen.

2. The iconic poster photo was taken by Annie Leibovitz and later satirised by ‘Texas Chainsaw Massacre 2’.

1. The budget was just under $1 million! The film made over $51 million during its initial run…

Killing Joke: Love Like Blood @ 40

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Look up ‘intense’ in the dictionary and you might just see a photo of Jaz Coleman.

One of the best bits of post-Lockdown ‘normality’ was walking into Fopp in Covent Garden and quite by chance seeing the erstwhile Killing Joke frontman/keyboardist doing a signing session in full make-up.

His band’s ‘Love Like Blood’ hit its peak position of #16 in the singles chart 40 years ago this month. It was their sole top 40 single of the 1980s and biggest hit to date, a brilliant highlight of that Goth/ post-punk sound/attitude.

But, in a decade full of literary pop music, the song has an interesting and surprising genesis. Recently, Coleman told Songfacts:

That was inspired by the author Yukio Mishima… It was his views on writing with your blood as an artist that really inspired me. It’s a metaphor for the commitment an artist must take to his art form. When I was reading ‘Spring Snow’, one of Mishima’s novels, I really couldn’t speak for 24 hours after reading that book – it hit me so hard. The song itself was a distillation of everything that we hold dear, and one must aspire to walk and talk what you write about in your songs – actually live it. That’s the other part of art, isn’t it? You can’t just be conceptual, writing songs. It’s the way you live your life as well. It’s as important as the way you play your instruments or the music you create…

Musically, it’s fascinating too, the late great Kevin ‘Geordie’ Walker’s doom-laden guitar (with a very odd tuning), scary keyboards (played by Coleman) and a powerful, influential groove – apparently no click track here. Attendant album Night Time was a hit too, featuring the single ‘Eighties’ which Nirvana ripped off for ‘Come As You Are’.

The real corker though was this live performance of ‘Love Like Blood’ from ‘The Tube’. Makes you hanker for a time when bands really meant it… No mucking about. Audiences too. Like to have been there.

 

Book Review: Whatever Happened To The C86 Kids? by Nige Tassell

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In 1986, legendary mag NME issued a famous cassette compilation called C86.

Arguably it defined a musical generation, bringing together figureheads of the burgeoning British indie scene from Primal Scream to Bogshed, Stump to The Pastels.

The NME’s timing could hardly have been better – in 1986, ‘indie’ music was beginning to get a sound of its own, John Peel was entering his imperial phase as a Radio 1 presenter, the music press was right on board and independent labels were springing up all over the shop.

The cassette had a huge impact, but did it have an impact on the bands? And what are they up to these days? Nigel Tassell’s hugely enjoyable book tracks them all down and hears their stories.

Some, like Half Man Half Biscuit, The Wedding Present, Primal Scream and Fuzzbox are still going strong, others, like The Soup Dragons and The Bodines burnt brightly for a few years. Other band members ended up as social workers, bike shop owners, solicitors, driving instructors.

The result is a friendly, mostly uplifting tome, a bit like one of those old VH1 ‘Bands Reunited’ shows in book form. A few themes emerge: the major labels sniffing around; Peel Sessions; the ‘name’ producer enlisted for that unsuccessful second album; Alan McGee/Creation Records.

But this is not a tale of rampant egos and prima donnas – it’s all refreshingly low-key (with the possible exception of the chapter on Primal Scream) with a side order of provincial British history too.

Like or loathe the music on C86, this book also perfectly captures the never-to-be-repeated thrill of first getting together in the teenage bedroom and trying to write and rehearse songs. Inadvertently, it’s also a sad comment on the loss of music in pubs and clubs across this isle of noises.

Tassell’s brisk, chatty style may divide opinion, but it’s entirely appropriate for a mostly heartwarming companion piece to Giles Smith’s ‘Lost In Music’ and Nick Duerden’s ‘Exit Stage Left’, outlining the pros and cons of youthful musical obsession. Highly recommended.

Tassell discusses ‘Whatever Happened To The C86 Kids’ in this interview.