7 inch single collection: Slide - Why is it a Crime

Turn of the 80's British rock...

Slide

A: Why is it a Crime

B: Never Ever
(Mercury 1989)

Before we get down to the frivolous business of me telling you what I think about this record, I'd like to make a serious point about grammar. You may well think it looks aesthetically pleasing to have your band logo being all capital letters apart from the middle one (and, to be fair, it does), but it's wrong. Just wrong. Slide or SLIDE or slide, but never ever SLiDE.
And while we're at it it "Why is it a Crime" - ever hear of question marks? (see - there's one, just there). This hasn't started well for me...
Just look at them there on the record sleeve, the jackets, the hair,the moody looks. Obviously they think they look cool, and obviously they don't. I know, because I looked like that in 1989 (maybe with an impish grin rather than the enigmatic scowl) - and I was never cool; have you seen my record collection? I'm still not, but I've learnt to embrace it.

Why is it Crime? Why is what a crime? Apparently "...to believe in me" - well it isn't, (unless you're running some kind of scam - then you're the criminal -not the person doing the believing), but this literal reading of the lyrics,of course is daft, and is diverting me from describing the record. You know Big Country, or Runrig or even a rockier Del Amitri ? This sound s a bit like them - there is something of the Celtic rock about the, and if these fellows turn out to be Scottish it wouldn't surprise me in the least. The intro lulls me into thinking that this record is not going to be as rocky as I think it should be, but then the drums kick in and there we go - you can almost tell what is sounds like from that sleeve. The drums carry the verse, with the singer's pleasant rock voice taking the melody, with the guitars adding an accent in the chorus. I can pick out some little organ details for colour on the background, then the instrumental break goes all 80's rock, in a polite, and non-raucous way. Then it ends. It's a little mundane, but perfectly serviceable.

The b-side is not a cover of All Saints Never Ever - which is a shame - that would have been a little more interesting - if unbelievable, as this pre-dates that song by a few years. It's got a strong, upbeat strummed acoustic intro, and this time the singer has added a bit of rasp to the voice - and that whole Celtic Rock vibe becomes even more apt. I quite like the bass line on this track, and as with the other side, when the electric guitars do come in, it feels like they're just adding a little more colour rather than rhythm or melody.

Overall this is a case of it'll do - not too bad, but nothing that would ever, or indeed did ever set the charts on fire.


Next time something of a one-hit-wonder with a jazz/soul vibe...

7 inch single collection: A Girl Called Johnny - Hello It Isn't Me

Something from the 80's you've probably never heard of...

A Girl Called Johnny

A: Hello, It Isn't Me

B: Shallow
(10 1986)

Sorry, no YouTube or equivalent link for this, so you're just going to have to take my word for this one.

Regular readers of this blog (if such a thing existed) will know that this is all about feelings and memory - and I shun research for facts and figures to fill this bit up with some kind of vaguely readable text. Well dear reader, I failed miserably this time - largely because I really like this record and wanted to know more about this band, and if they released anything else.

Let me share with you what I found. There's a song by The Waterboys called "A Girl Called Johnny" (but I knew that already), and there are at least two other bands with the same name. All I could find out about this band was some information about this specific record on Discogs.com. The only new information on this are the names of the band members. All of which confirms my prejudices on bothering to do any research for this folly of mine.

I can see why I bought the record - look at that sleeve, an attractive, if slightly mood, young woman hugging a beautiful guitar. I'm sure many people would love to be the place of that guitar, and I'm sure just as many would like to be in her place - it is a very lovely guitar.

Coming back to the point - what does Hello, It Isn't Me sound like. It's got a vague 80's indiepop feel - without much of the attendant spikiness and misirablism. It's got a lightweight bounce that reminds me of the likes of Aztec Camera and Orange Juice. The singer, who according to Discogs, isn't called Johnny, but Fiona, has a lovely warm voice. the chorus builds assertively without being aggressive, which builds further still to an delicate but explosive instrumental break. The guitar sound, hopefully that lovely looking Gibson on show, has rich fuzzy undertone. The tom-toms in the background of the latter verses add an extra little something.

We turn over the platter and find a song called Shallow. This has strong start with a jangly descending intro which leads us into a strong beat. The vocal on this side is slightly harder and more insistent. It's the same band with the same kind of sound - but this side is different enough from the a-side to make it interesting and stand-out on it's own merit. In fact I think this could have easily been an a-side too. The chorus is the kind that makes you nod your head to it whilst shouting along.

This is not the greatest record in the world , but I like it very, very much indeed - if the band had made an album I would have gone hunting for it.  I wouldn't say you should go and hunt it down - but if you do get the chance to hear it, do so. I've still got both songs in head, and over the years both have popped up randomly, and unbidden, but always welcome.

Next time - some British guys play have a go at rock...