— Johnny Black
There are many acts I've been dealing with in this space who were unknown to my five-year-old self back in 1982 that I would later became familiar with. The following three fortnight's worth of entries are all of individuals who I came to know during my crucial '88-'89 year in England. (I had been considering doing a trilogy of pieces about what preteen Paul would have thought of these records in the context of their later stuff but I abandoned it when I realised how little he had to say...also I hate trilogies; nevertheless, I hope that at least some of that concept survives below)
The The were an act that I had occasional encounters with over more than a decade but who I could never conjure up much enthusiasm for, which also goes for their name. Johnny Black mentions their "damn silly moniker" which is about how I've always felt, even if I can appreciate how the double 'the' could potentially throw people. While groups like Eagles, Pet Shop Boys and Talking Heads have bristled at being labelled 'The Eagles', 'The Pet Shop Boys' and 'The Talking Heads', it's always faintly annoyed me when people leave off the definite article from groups that tend to use them. Colin Larkin's absolutely indispensable Virgin Encyclopedia of... series lists groups as 'Beatles' and 'Clash' and — this one's especially jarring — 'Who'. I've never bothered checking but I suspect he chose not to label the present act as simply 'The'. But, yeah, it's a stupid name.
To come upon The The at this early stage has brought back memories of the bits and pieces they later released. "The Beat(en) Generation" with its irritating in-word parentheses was a Top 20 single in the UK in 1989 and was something that I recall deejays and journalists really getting behind, as if they felt it important or something. I wasn't terribly impressed. At the time, I was bothered by its faint whiff of country and western music which I had absolutely no time for. I still don't think much of it now though more due to Matt Johnson's hectoring lyrics which seemed to talk at young people living through the doldrums of Mrs Thatcher's reign rather than to them. "Kingdom of Rain" was a follow up (also taken from their Mind Bomb album) with a video that featured seahorses possibly copulating and a sullen young woman who most certainly was not guest vocalist Sinéad O'Connor. What it lacked was anything approaching a memorable tune. I would later come across singles from the Dusk and Hanky Panky albums which were equally forgettable. Finally, I acquired a promo copy of 2000's NakedSelf when I was supposed to interview Johnson for my university paper; it actually wasn't too bad but I was too interested in Gomez and Grandaddy to care too much (particularly after the interview fell through due to a scheduling conflict; incidentally the only question I can recall preparing to ask him was if The The could be anything more than just a solo project, so it's probably for the best that we never spoke).
All that said, what am I to make of "Uncertain Smile"? Well, I will acknowledge that it would be my choice for SOTF as well. Although certainly a marked improvement on last fortnight's glum crop of singles, the likes of Ultravox's "Reap the Wild Wind" and The Pretenders' "Back on the Chain Gang" are pleasantly unremarkable efforts but nowhere close to this good. A lovely, floating melody with some fine flute and sax solos courtesy of one Crispin Cioe provide a nice undercoating for an intriguing lyric which manages to read rather well as poetry. Johnson's vocal is vaguely whiny which seems to suit such a restless and insecure song. A very pleasant surprise.
My only reservation is that I keep finding myself connecting "Uncertain Smile" to Johnson's later work which I've never thought much of. Johnny Black concludes his review admitting that much of their early stuff was "a bit aimless, but this is right on the button". I agree but from the perspective of what came much later. Perhaps it's time I filled in the gaps, not just to see if Matt Johnson was up to churning out more equally formidable gems but also if I can catch where it all began to go south. Till we meet again, The.
~~~~~
Also Reviewed This Fortnight
Tears for Fears: "Mad World"
An earnest pair with a truckload of earnest songs and an earnest name, it's no bloody wonder earnest Americans eventually took to Tears for Fears. Earnestness was always their worst trait, especially whenever Curt Smith took on lead vocals as he does here. A pretty great composition that so succinctly captures depression, it is let down a bit by Smith's bland delivery. It's hard to say if Roland Orzbal's mouthpiece for humanity vocals would've been any better suited to such an individualist track so maybe he was right to give it to his more nuanced partner. Perhaps there just isn't a perfect vocalist for such personal work. Best just to sing it to yourself with as much or as little earnestness as you see fit.
The The were an act that I had occasional encounters with over more than a decade but who I could never conjure up much enthusiasm for, which also goes for their name. Johnny Black mentions their "damn silly moniker" which is about how I've always felt, even if I can appreciate how the double 'the' could potentially throw people. While groups like Eagles, Pet Shop Boys and Talking Heads have bristled at being labelled 'The Eagles', 'The Pet Shop Boys' and 'The Talking Heads', it's always faintly annoyed me when people leave off the definite article from groups that tend to use them. Colin Larkin's absolutely indispensable Virgin Encyclopedia of... series lists groups as 'Beatles' and 'Clash' and — this one's especially jarring — 'Who'. I've never bothered checking but I suspect he chose not to label the present act as simply 'The'. But, yeah, it's a stupid name.
To come upon The The at this early stage has brought back memories of the bits and pieces they later released. "The Beat(en) Generation" with its irritating in-word parentheses was a Top 20 single in the UK in 1989 and was something that I recall deejays and journalists really getting behind, as if they felt it important or something. I wasn't terribly impressed. At the time, I was bothered by its faint whiff of country and western music which I had absolutely no time for. I still don't think much of it now though more due to Matt Johnson's hectoring lyrics which seemed to talk at young people living through the doldrums of Mrs Thatcher's reign rather than to them. "Kingdom of Rain" was a follow up (also taken from their Mind Bomb album) with a video that featured seahorses possibly copulating and a sullen young woman who most certainly was not guest vocalist Sinéad O'Connor. What it lacked was anything approaching a memorable tune. I would later come across singles from the Dusk and Hanky Panky albums which were equally forgettable. Finally, I acquired a promo copy of 2000's NakedSelf when I was supposed to interview Johnson for my university paper; it actually wasn't too bad but I was too interested in Gomez and Grandaddy to care too much (particularly after the interview fell through due to a scheduling conflict; incidentally the only question I can recall preparing to ask him was if The The could be anything more than just a solo project, so it's probably for the best that we never spoke).
All that said, what am I to make of "Uncertain Smile"? Well, I will acknowledge that it would be my choice for SOTF as well. Although certainly a marked improvement on last fortnight's glum crop of singles, the likes of Ultravox's "Reap the Wild Wind" and The Pretenders' "Back on the Chain Gang" are pleasantly unremarkable efforts but nowhere close to this good. A lovely, floating melody with some fine flute and sax solos courtesy of one Crispin Cioe provide a nice undercoating for an intriguing lyric which manages to read rather well as poetry. Johnson's vocal is vaguely whiny which seems to suit such a restless and insecure song. A very pleasant surprise.
My only reservation is that I keep finding myself connecting "Uncertain Smile" to Johnson's later work which I've never thought much of. Johnny Black concludes his review admitting that much of their early stuff was "a bit aimless, but this is right on the button". I agree but from the perspective of what came much later. Perhaps it's time I filled in the gaps, not just to see if Matt Johnson was up to churning out more equally formidable gems but also if I can catch where it all began to go south. Till we meet again, The.
~~~~~
Also Reviewed This Fortnight
Tears for Fears: "Mad World"
An earnest pair with a truckload of earnest songs and an earnest name, it's no bloody wonder earnest Americans eventually took to Tears for Fears. Earnestness was always their worst trait, especially whenever Curt Smith took on lead vocals as he does here. A pretty great composition that so succinctly captures depression, it is let down a bit by Smith's bland delivery. It's hard to say if Roland Orzbal's mouthpiece for humanity vocals would've been any better suited to such an individualist track so maybe he was right to give it to his more nuanced partner. Perhaps there just isn't a perfect vocalist for such personal work. Best just to sing it to yourself with as much or as little earnestness as you see fit.
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