Showing posts with label The Undertones. Show all posts
Showing posts with label The Undertones. Show all posts

Monday, June 26, 2023

The Shoe by Gordon Legge (Polygon 1989)

 



One


‘Buy a couple of fags, mister?’

The enquiring youth wore Wrangler jeans and a Wrangler jacket. The jacket sadly failed to reach his wrists. His T-shirt read AC/DC. You could smell the shampoo and talc, see the shiny hair and smart trainers but he was still a Heavy Metal fan; he’d rather have been scruffy. He had acne. Bad acne.

‘Don’t bother. It’s okay,' said Archie, declining the offer of 16p as he handed the youth two Benson and Hedges.

‘Save your money and buy some cream,’ scorned The Mental Kid.

‘Thanks,’ said the Heavy Metal fan, embarrassed by The Kid’s remark. He lit the cigarettes using a disposable green lighter and returned to his two friends in the next carriage, handing one of the cigarettes to the smaller of the two, who in turn nodded and smiled appreciatively at Archie.

‘Heavy Metal,’ mused The Kid, ‘it’s okay if you don’t have a brain, I suppose.’

Archie smiled at The Kid’s smug disdain while wondering if it was worth getting upset at being called ‘mister'. The previous Friday, a door-to-door salesman had asked if his wife was in. Archie had blushed and said ‘No’. They never asked that. It was always 'Is your mother in, son?’ And now a fat, ugly (Archie had decided to get upset) Heavy Metal fan called him ‘mister. Twenyy-four next month. Older than Johnny Marr and Pat Nevin.

‘Who was playing in Edinburgh tonight, anyway?' asked Mental, three months Archie’s junior.

Archie shrugged a don’t know don’t care whilst wondering how old The Kid looked. Pretty rather than handsome, punky rather than cool; the triumph of content over style. The Kid wore a black Royal Navy raincoat, Levi’s slit at the right knee, black Doc Marten shoes and a Celtic scarf, which until a couple of years ago he had worn with the regularity of a birthmark; now he only wore it for the Hun games and when it was cold. After every Celtic defeat he would begin the post-mortem with the words, ‘What a nightmare, I was going mental!' The Kid’s concession to ageing was an increased dependency on cliché. But he was still too lean and gorgeous to be addressed as an adult. The Kid leaned forward, resting his elbow's on his knees while tapping his fingers in accompaniment to the noise of the train. Bored out of his skull, like.

‘What time is it?’ he asked.

‘11.18.'

‘Okay. So we get food and drink, go to the Apollo, watch the fights, more food and drink then home.' Mental related the forthcoming events as if he were a hesitant bank robber. Mental didn’t like Glasgow and he didn’t like staying up all night. Were he a bird, he would have chosen to be a budgie. ‘If the Hun had brought his van we wouldn't have had all this hassle.’ The Kid referred to the sleeping hulk across the hallway.

Big Davie looked married (within the year it was expected he would be) and he looked twenty-four (which he was); a ‘mister’. Big Davie wore an old man’s bunnet (10p from a jumble sale), a quilted blue jerkin, brand new Levi’s and brand new Sambas. Solid rather than fat, a team man rather than an individual. The Daihatsu van remained at home so that Davie could have a drink on his night out. He couldn’t be arsed driving to Glasgow, anyway.

‘Work does that to you,' said Mental pointing a derisory finger at the sleeper. ‘Fat bastard!' shouted The Kid, hoping, but failing, to wake Davie.

Work was laying insulation for the council. Ten weeks into a six-month job, Davie hated it, but needed the money. He shared a private flat with his fiancee, Terasa.

Mental had never worked in his life. After school he attended college for three years, switching courses continually until one day he had the flu and never went back. The Protestant work ethic was anathema to him.

Archie left school at eighteen with three Highers: English, Modern Studies and a crash course History. His father was disappointed with Archie staying on at school. ‘Get a trade, an apprenticeship. You'll always have it to fall back on.’ Archie asked what the difference between a twenty-year-old tradesman and a fifty-year-old tradesman was. An argument ensued. Arguments never seemed to resolve anything, never a means to an end. Just an outburst of frustration. The father thought in terms of the home rather than holidays, relatives rather than friends, and work rather than play. Archie didn’t know what he wanted, but when Morrissey sang about never having had a job because he was too shy, Archie understood, while his father would never know or admit to knowing.

For Archie, work had been a petrol pump attendant, a double-glazing salesman and a brickie’s labourer. He had been unemployed for three years. The work provided fond memories and a few anecdotes but at the time it all seemed embarrassment and confrontation. He didn’t know' if he would ever work again; he supposed he would.

Thursday, March 21, 2019

'Oh, save me . . . why don't you save me.'



All the more surprising because I previously had the album on cassette, and I don't remember the track being that bad. I must have blocked the momentary blandness from the musical memory bank  . . . alongside that Julia Fordham album I once bought in a moment of weakness.

You have been warned. I think it's the production.

Saturday, June 09, 2012

The Next 30 Day Song Challenge - day 09

Day 09 - A song that references another song or artist 

Just struck me the other day that there's never enough mentions of The Undertones, The Human League and subbutteo on the blog. Today's task on the The Next 30 Day Song Challenge helps me cover all three.

The Undertones reference Human League in 'My Perfect Cousin:


And any old excuse to post my favourite Human League video, in case nobody knows them (aye, right):

Saturday, May 24, 2008

Snap, Crackle and the Finest Derry Pop

One of the best music bloggers out there, Spinster's Rock, has been here before with his posting of the singles collections of such brilliant bands as Wire, Magazine and Siouxsie and the Banshees, but he's excelled himself with his decision to now post The Undertones singles in chronological order.

What makes the series such a must have is that - like with the previous bands he's featured on his blog - he's ripped the tracks from the original vinyl so you get all the crackles, scratches and warmth of A sides and B sides that have been played one hundred and forty three times at high volume on an old record player. (I'm projecting a bit here.)

I understand that there's a very strong argument for breaking out the software to polish up the sound on old tapes and records when you're converting them to mp3 or compact disc but when the music under the microscope is the best punk/pop from the golden years of 78-84? Nah, it's neither the time nor the place.

Spinster Rock's currently up to 'My Perfect Cousin' in his Undertones series on his blog but I hope he doesn't stop after he gets to 'Julie Ocean'. For reasons I don't fully understand, The Undertones (Mark I*) latter period gets short shrift from some critics and fans but their 1983 album, 'Sin of Pride', contains some of their strongest material.

I get it that it wasn't another 16 slabs of two minute garage/pop a la 'Teenage Kicks' and 'Get Over You' from just four and five years before but just because it was the case that The Ramones were their greatest inspiration when they first kicked off that didn't mean The Undertones had to follow in their heroes footsteps by reworking a variation of their first album for the next ten years.

The fan base and record sales seemed to diminish the further away they got from their original sound but if you haven't already done so, you should check out such Undertones tracks as 'The Love Parade', 'Love Before Romance', 'Valentine's Treatment' and their cover version of Smokey Robinson's 'Save Me' from that final album.

Briliant, brilliant tracks which reflected the maturity and concerns of four wonderful songwriters who'd moved on from boaking up another ten songs about Mars Bars and cheap polyvinyl jackets masquerading as leather jackets .

[The above pic courtesy of this rather excellent Undertones fan site.]

Friday, November 16, 2007

Friday's Playlist #22

An ongoing series:

  • The Frantic Elevators, 'You Know What You Told Me' (The Indie Scene 80)
  • David Rovics, 'After The Revolution' (For The Moment)
  • The Undertones, 'You're Welcome' (Positive Touch)
  • TV 21 'Attention Span' (A Thin Red Line)
  • The Prisoners, 'Reaching My Head'
  • Gene Clark, 'So You Say You Lost Your Baby' (Gene Clark with the Gosdin Brothers)
  • Thomas Leer, 'All About You' (Pillows & Prayers)
  • Attila the Stockbroker, 'A bang and a Wimpey' (Pillows & Prayers)
  • Scars, 'All About You' (Author! Author!)
  • Matt Johnson, 'Another Boy Drowning' (Burning Blue Soul)
  • Spotify Playlist Link. 

    Friday, October 05, 2007

    Solomon Grundy listened to P.I.L on Thursday

    Once upon a time I had an idea for a music post, but I left it hanging.

    Thankfully, the World Won't Listen Music Blog wasn't the shirker that I was, and came up trumps with an excellent series of downloads to cover everyday of the week.

    Sunday and Wednesday are my favourite days of the week, but I would have also plumped for Monday if The Jam track of the same name had been included.

    Apologies for being two and half months late in spotting these excellent downloads.

    Friday, March 16, 2007

    Friday's Playlist #9

    An ongoing series:

  • The The, 'This Is The Day' (Soul Mining)
  • Fad Gadget, 'The Box' (Fireside Favourites)
  • The Undertones, 'Hard Luck' (True Confessions - Singles = A's + B's)
  • Randy Nerve, 'Spray Paint'
  • Autokat, 'Shot'
  • The Violets, 'Seen It On TV'
  • The Yachts, 'Suffice To Say'
  • Kaiser Chiefs, 'Thank You Very Much' (Yours Truly, Angry Mob)
  • That Petrol Emotion, 'It's A Good Thing' (Children of Nuggets)
  • The Bitter Springs, 'Benny Hill's Wardrobe'
  • Update 11/11/ 22
    Found the Randy Nerve track on Bandcamp.  Well, I think it's the track. It does not ring any bells. Doesn't even sound like a song I'd like. Maybe it was a demo version on MySpace that I liked. Or maybe I was just being a contrary prick that week. The Violets track was found on YouTube. It does sound like the sort of thing that I'd be into  . . . for about 10 minutes . . . and those 10 minutes were up a long time ago. That's enough saltiness from me.