"Suddenly It's Tuesday" - Part 10 (61-80)

 

As we head into the height of the festive season, what greater excuse could there be to take a break from all the Christmas preparations than to consider the TWP tracks that reside in the 60s and 70s of the 'Suddenly it's Tuesday' list? So grab a mince pie and a large sherry and settle down in your favourite armchair for Gedge and co's excellent-but-not-quite-at-the-top songs...

YouTube Playlist (223 - 61)

Spotify Playlist (61 - 100)

80 Make Me Smile (Come Up And See Me)

(3 Songs, 1990)

TWP's cover of Steve Harley & Cockney Rebel's 1975 hit wasn't quite in the same league as the two originals on the 3 Songs EP, but inevitably attracted most of the airplay and led to a rare appearance  on Top of the Pops. This featured the unlikely sight of Peter Solowka on a prog-rock-style double-necked guitar; amusingly, he plays the solo with his right hand on the bottom half and his left on the top, something that the TOTP producer seems anxious to avoid showing.

Harley wrote the song as a bitter response to most of the original Cockney Rebel line-up leaving the band (he called it 'a finger-pointing piece of vengeful poetry'). There are well over a hundred covers of 'Smile', and TWP's version was Harley's favourite: 'they did a punk version and made it kick. They understood the venom in the lyrics'. Gedge's urgent, angry tone certainly captures the bitterness of the original, but there's also a joyous, distorted abandon about the whole thing. One of the band's best covers - there are only two more to come on this list. 

79 Shatner

(George Best, 1987)

Another one of those instantly identifiable George Best tracks, with its blend of smoothly distorted and madly scratchy guitars. There have been a few songs in recent instalments that have seen Gedge stray from his traditional topics of love/lust/jealousy/infidelity, and this is another, the song's narrator supporting a friend suffering from domestic abuse: 'why don’t you pack your bags and leave? / look here’s another bruise I didn’t see'. 

78 I'm From Further North Than You

(Take Fountain, 2005)

Originally entitled 'Edinburgh' and also released as a single (it reached number 34, TWP's last top 40 hit), 'North' was an almost constant presence on 2005-6 setlists, and has racked up well over 100 appearances overall. 

The early 2000s were a transitional period for Gedge: much of Cinerama's final LP, Torino, sounded like The Wedding Present; conversely, several early tracks in the early days of the reformed TWP still bore hallmarks of the Cinerama approach. 'North' is a case in point. Lines like 'when we bought that weird pornography' and 'the first time I saw your red bikini I just couldn’t help but stare' are classic Cinerama, as are Terry's angelic backing vocals. Like 'Don't Take Me Home...', it verges on the overly cutesy, but has a much stronger melody and is more robust overall. 

77 Convertible

(Mini, 1996)

Another strong track from Mini, one that with hindsight - given its light, jaunty 60s beat-pop tone, emphasised by the delicate swirl of Hammond organ in the background - provided a glimpse into the future world of Cinerama. Previously, several TWP songs had featured female backing vocals that formed a pleasing counterpoint to David's voice; 'Convertible', however, is to all intents and purposes a duet between Gedge and bassist Jayne Lockey, their voices circling and overlapping in a charmingly dizzying whirl.

There are plenty of DLG lyrics that find the protagonist clearly open to a spot of infidelity ('Santa Ana Winds', 'Quick, Before It Melts', 'Dare'), but this is one of the most brazen declarations: 'I’m always convertible / just flick the switch and I’m yours'. Gedge described it as 'one of our best pop songs ever', and it's hard to argue with that.

76 50s

(Saturnalia, 1996)

Saturnalia's closing track is a rather curious affair. It's the sonic equivalent of those moments when you take the left-overs from three or four different meals lurking at the back of the fridge and throw them together to produce a random but oddly satisfying dish. '50s' is seemingly assembled from the off-cuts of several other Saturnalia songs; it's weirdly fractured, fragile, disparate and almost psychedelic. A surf-rock dream-pop ballad that even manages to interpolate a bit of 'Blue Moon'. It does lose a few marks for the rather cringey line 'but, then, as I came, oh, I cried out your name', however.

I suspect that are many that will baulk at the song being placed as high as this. I have an ally, though - long-serving drummer Charlie Layton is a big fan of '50s'. 

75 At the Edge of the Sea

(B-side of Once More, 1985)

The b-side of TWP's second single is a melancholy, poetic tale of love by the sea: 'we lie in this salty embrace / a sunny day, this special place'. It has a special place in the group's history, as the At the Edge of the Sea festival has become an enduringly significant feature of the Wedding Present world. Looking back 35 (!) years later, it feels a bit winsome and fragile, but it also captures a sense of naïve, romantic yearning that feels timeless. Look out for Gedge's stylish jumper and groovy dancing in the video below.

74 Go Out and Get 'Em Boy!

(Single, 1985)

Where it all began. Features the only TWP appearance by Julian Sowa, who played drums on the track because Shaun Charman had only just converted from the bass and didn't feel confident enough to play the song.

There's an visceral, fractious energy about the track, which has more than a touch of Velvet Underground about it, and its unpredictable twists and turns are often thrilling. Ultimately, it's a bit of an incoherent sprawl, albeit an endearingly enthusiastic one. Twenty years later, TWP were still capable of knocking out a blistering version.

73 Wales

(Going, Going..., 2016)

By some distance the best of TWP's flirtations with post-rock. The opening narration (which translates as 'I wish / I want / I would love / I need / I’m here / you are here / we will / destined / coincidence / I will / I was') is delivered by Andrew Teilo.

A delicate build leads to some extravagantly distorted solitary guitar (this passage was hugely impressive live - there's an example here) and is concluded by a lilting piano melody that fades away regretfully. Wales is in Sanpete County, Utah.

72 California

(Single, 1992)

Not the most overtly spectacular of the Hit Parade singles, but one that clatters along in Bo Diddley-ish fashion with infectious energy. The lyric is an exhortation to break out and try a new life: 'we’ve got to cross this great big world somehow'. Elevated substantially by the closing guitar refrain, which is beautifully abrasive, if all too brief.

71 Yeah Yeah Yeah Yeah Yeah

(Watusi, 1994)

Although some argue that 'Softly Softly' (see post #8) is superior early version of this song, to me 'Yeah' takes a promising sketch, tightens it up and adds vibrancy. The drum sound is considerably better, and the splashes of Hammond organ give it a bit of 60s psych edge (a factor clearly not lost on whoever directed the video below). Not, perhaps, the most innovative lyric, but 'you’ve cracked me open like a coconut' is a great line. They did a corking version of the song on the Conan O'Brien show. The well-constructed 60s-themed video features David in a rather natty suit, and appears to have had a bit more money spent on it than the average TWP promo.

70 Drive

(Mini, 1996)

Mini's opener sees the EP (or whatever it is) spring from the starting blocks with a refreshing blast of brisk 60s-tinged exuberance. It gallops along in a choppy, melodic fashion, bolstered by occasional blasts of abrasive guitar. It's all well-matched to the lyric, a paean to letting go and taking risks: 'don’t these bends hold any fear for you?' There's a blistering version of the song here.

69 Why Are You Being So Reasonable Now? 

(Single, 1988)

Like 'Nobody's Twisting Your Arm', a bit of a late-80s indie disco favourite, one that I'm sure many of you shuffled around a dancefloor to on several occasions. With the benefit of hindsight, it all feels a bit naïve and teen-angsty, but back then, didn't we all feel like this at least some of the time? - 'it seems I’m always last to know'; 'do I have to guess how you’re going to feel each day?'; 'no one can change that much in three days'. In particular, Gedge captures the perplexing male-female dynamic of hesitant misunderstandings evocatively in the line 'the last thing I need is part twelve of the row'.

Above all, it's a endearingly bittersweet tune, and the slide into the jangly arpeggio finale (at 1:45) is simply lovely. A track that may well remind you of how old you are, but won't make you feel too bad about it.

EDIT: It has been pointed out to me that the song might actually be about Shaun Charman's departure from the band, something that Charman himself refers to here.

68 Sucker

(Single, 1995)

A short (103 seconds), sharp, angular thing that is TWP's most Fall-like moment other than 'So Long Baby'. There's not a whole lot going on with the lyric (although 'mantrap' / 'love crap' is a tidy rhyme) but it more than makes up for that with its aggressive, off-kilter abrasiveness.

67 I Lost the Monkey

(El Rey, 2008)

It's most definitely not the lyric that sees this up in the 60s: it's brimful of some of David's most forced and awkward rhymes: 'don't know why / and so I'; 'annoyed you / avoid you'; 'discover / young new lover'. And to this day, twelve years after I bought this album, I still have no idea what the hell 'I lost the monkey' might actually mean...

Musically, however, the song is full of simply delicious moments: the crescendo of heady, tremolo guitar (0:34 and 2:20); the intense, dreamy chorus (1:06 and 2:36). In particular, the way that the plaintive line 'okay - if that’s what you really want' leads into a swell of guitar noise is just heart-rending.

66 Kansas

(Saturnalia, 1996)

A 'let's take the plunge' song with a Wizard of Oz theme: 'I don’t think we’re in Kansas anymore'; 'just close your eyes and tap your heels'. The tortured squeal of the main guitar line and Simon Smith's typically tight and forceful drumming drive the song along with a fizzing energy, and there's a winning contrast between the scuzzy noise and Jayne Lockey's ethereal backing vocal. Contains the rather startling lyric, 'push your fingers deep inside / don’t stop until you’re satisfied / I can’t tell you just how good that feels'.

65 Dreamworld

(Saturnalia, 1996)

The narrator is the loyal 'shoulder to cry on' friend, keen to offer his support to a woman saddled with a dodgy boyfriend ('you’d given him one last chance and he let you down'). Despite his innocent protestations ('I don’t know how many times that I’ve tried to warn you'; 'you know I’ll always be here for you') the ulterior motive is not exactly well disguised, and 'I know exactly how to cure you' has a slightly creepy tone.

More importantly, the song opens with a delicate, atmospheric arpeggio, builds gradually, then erupts into a sprightly burst of choppy, almost funky guitar chords; it then retreats into a haunting, repetitive refrain (that sees Gedge and Jayne Lockey's vocals once again entwine bewitchingly) before launching into an endearingly chaotic finale.

64 Mothers

(B-side of Lovenest, 1991)

The second highest placing for a cover version on this list. 'Mothers' was originally recorded by The John-Paul Sartre Experience, a New Zealand band active in the late 80s / early 90s (which, indirectly, led to this Fall-related post - and a sequel - should you be interested).

The original is a highly effective piece of twitchy post-punk, but TWP improve on it, transforming it into a grinding, acerbic piledriver. They didn't play it live until 2016.

63 Go-Go Dancer

(Single, 1992)

The second Hit Parade single is not exactly subtle or lyrically adept ('I don’t know what she sees in you boy / I think you’re just another new toy'), but who cares when it's such a ferocious, heads-down slice of gnarly garage-punk. Gets deliciously noisy when everyone stamps on all the pedals at 1:32. The promo video, for no easily explicable reason, features David addressing much of the lyric to a small doll in the palm of his hand.

62 Venus

(Saturnalia, 1996)

Saturnalia's opener is short and sweet - clocking in at under two minutes - and combines punky thrash with 60s-style beat pop to great effect. There's some sort of love triangle going on ('you used to hold me and pretend that I was him') but it's all over before you can start to get your head around it. Unmistakably TWP, but you can hear the Cinerama elements starting to emerge.

61 Spangle

(Watusi, 1994)

As is the case with 'Gazebo' (see post #8), there are many who prefer the more full-bodied electric version of 'Spangle' recorded for John Peel in March 1994. That's undoubtedly a strong take on the tune, but the Watusi version provides you with something rather more innovative. 

Whilst there was a steady if incremental development in TWP's sound over their first three studio albums, Watusi finds Gedge clearly itching to break out into different directions, an impulse that eventually led to the formation of Cinerama. There isn't a fully coherent vision for this new direction on Watusi though, which leads it to be a rather patchy and frustrating album. On 'Spangle', however, you do get an insight into a future freed from the demand to produce endless variations on the scratchy/fuzzy three-chord thrash...

The song was played - at producer Steve Fisk's suggestion - on an Optigan, a keyboard developed by toy manufacturer Mattel in the early 70s that used 'optical discs' (there's a demo here). It was the use of these vintage discs that created the hauntingly scratchy '78 on a gramophone' sound that gives the song much of its melancholy atmosphere. The fragile piano and gentling tolling bell that emerge towards the song's conclusion enhance the almost overwhelming sense of sadness and regret. Gedge has rarely sounded so tender and vulnerable: 'I guess I’m heading for a broken heart / why are you doing this to me?'

Thanks, as ever, for reading, and I look forward to your comments.

I'm sure that many of you, like me, are not going to be able to spend Christmas with family and loved ones in the way that you usually would have done. Here, there will be a place set at our Christmas dinner table for my laptop so that my mum can join us via Facebook. Wherever you are, and whatever your circumstances, I hope you have the best holiday possible.

Best wishes to all of you, and merry Christmas!

Steve

Main Page