The art of buying a record sight (or sound, as it were, in
this case) unseen is a precarious one. There are those titles where the
purchase are solely because the covers are so awesome (Iron Maiden’s Killer and Trio’s debut album
immediately come to mind) and then you discover how great the music inside the
sleeve.
Then there are those records that you buy because your
friends-or some dumbass music blogger-recommend them. This is usually a bit
more successful than the cover art method, particularly if your friend or
favorite music blogger happen to have an idea of your personal tastes.
When in doubt, always begin your recommendation with James
Brown’s Star Time box set.
Finally, there are those sight unseen purchases that are
based entirely on the success or experience with previous records. Usually,
these are the ones that you put into your shopping cart before the record is
even released. The Police’s Synchronicity
immediately comes to mind, as at least a dozen friends that I knew of
mindlessly pre-ordered an album that had no chance of ever being out of
stock.
And until I’d had enough after NYC Ghosts & Flowers, I used to religiously purchase Sonic
Youth records the same week they were offered.
But there is one record buy that I’ll never forget which came
from the love of one song so awesome that it’s still popular today, and used as
a reference point when waxing nostalgic about the 80’s decade.
Simple Minds’ “Don’t You (Forget About Me)” wasn’t even
written by the band, a Scottish outfit that had their obligatory roots in punk
rock before changing their sound so dramatically that they are mainly known as
part of the New Romantic movement.
Unlike Duran Duran or Spandau Ballet, nobody in America
ever heard of Simple Minds. You’d have a couple of geeks that claimed to be
fans since “Promised You A Miracle,” but the reality is that tune barely got
airplay until the band got tapped to sing a Keith Forsey tune that both Billy
Idol and Bryan Ferry turned down previously.
I think that “Don’t You (Forget About Me)” is so good that
it would have been a chart-topper even without the help of The Breakfast Club. With that being said, the placement of that
song in John Hughes film is priceless, and it will forever be tied with that
cultural touchstone.
It was so good that when Simple Minds prepared to release
their first album after the enormous success of “Don’t You (Forget About Me),”
I was at the front of the line.
Once Upon A Time
is a record completely motivated by that fact that it would be gobbled up by
schmucks like me, and it’s blatant commercial production was designed with the
hopes that something within its paltry eight tracks would stick to the brains
of us dumb Americans.
And who better than Jimmy Iovine than to concoct the correct
mix for us dumb Americans?
Actually, the downfall of Once Upon A Time isn’t Iovine’s fault at all, because the record
sounds positively gorgeous, even a quarter-century later. No, where the record begins
to come apart is during the creative conception of the material.
Clearly, Simple Minds had world domination in mind with this
record, incorporating elements of American soul, gospel and disco into Jim
Kerr’s lyrical activism and social commentary. When there were matters of the
heart, Kerr tackles the subject with such a heavy hand.
With “Alive And Kicking,” the record’s first single and most
notable entry, finds Kerr with a call and response with vocalist Robin Clark
(former Chic vocalist and wife to guitarist Carlos Alomar, for all you Bowie
freaks), asking such weighty questions like “Who’s got the touch to calm the
storm inside?”
The arrogance of what is nothing more than a simple love
song is smothering, so credit Iovine again for matching such pretentiousness
with an equally grandiose arrangement.
There’s no way that what you’re hearing on Once Upon A Time started life with the
same sounds and tones that you get on record. They are so bloated beyond mortal
men that it transcends Simple Minds from a rock band into a slogan, and that
slogan has its own soundtrack.
But because that soundtrack is for a slogan with world
domination on its mind instead of a detention party for Brat Pack teens, Once Upon A Time rings like a hollow
Wyclef Jean charity. The band carries a big megaphone but has very little to
say, turning the entire record into less of a Scottish band of socially aware
men and more of a farm-league U2.
By the time listeners get to side two, they’re greeted with
“Oh Jungleland,” an attempt to channel the youthful musical fruits of Glasgow from the
perspective of a wise, old sage who witnesses their creativity and drive with
pride and support.
The “wise, old sage” is Kerr, who would have been 25 years
old at the time “Oh Jungleland” was written, a fact that does little to add to
the credibility of such lines as “You’ve got the love drugs/You’ve got the long
nights/You’ve got the heartbeat that spirals to Heaven.”
If there ever was a time to enjoy the “love drugs” and “long
nights”, it’s when you’re 25 years old. So the fact that Kerr and Simple Minds
were sitting on the sidelines watching such Scottish bands like Orange Juice or
Jesus and Mary Chain with envy or admiration is a testament to their own
priorities and how much they compromised in their quest to get America
to notice them.
Instead of channeling their youthful exuberance into music
with passion, Simple Minds chose the route of mainstream acceptance and then
had the silly notion that it all had to mean
something more than it really was.
Once Upon A Time
is the unfortunate result of their lofty expectations, and it wouldn’t be too
long before audiences caught wind of the huge gap between Simple Minds’ own
self-importance and the reality that their entire career was based on a pop
song that even The Fixx turned down.
No shit.
To even suggest that the band somehow warranted the title of
social commentators is utterly ridiculous, yet here they are on Once Upon A Time hiring a big name
producer to tidy up their unwelcomed worldview.
Hopefully, all of this narrative and irrelevant back-story
paints somewhat of a clear picture of the disappointment in my poor vetting
process with this record. Once Upon A
Time was clearly intended to capitalize on the success of “Don’t You
(Forget About Me)” while forging a path in utter contempt of it.
1 comment:
From the first time I heard 'Alive & Kicking' whit it was initially released, I thought that it was a blatant re-write/rip off of 'Don't You...' A lame ass attempt to recreate its success. Don't You Forget About Me is a fantastic song. One of my favorite 'one offs' of the 80's or any era really. The Breakfast Club really hit home with me seeing as I was 15 or 16 when it came out.
I didn't know Billy Idol passed on it but, I can hear him singing it in my mind with Steve Stevens guitar in place of some of the keys. But you're right, it's such a good song nearly anyone could've had a hit with it.
This is all a really long way of me telling you that I laughed out loud when I read that you blind bought a Simple Minds cd. I really had no idea that they had different sound previously.
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