— Ian Birch
In an episode of Word in Your Ear, co-host Mark Ellen theorized about the early days of Smash Hits and how it attracted bands who had been around but went about making changes to adapt to the landscape of a bright new pop magazine (although it probably had at least as much to do with the rise of the music video at about the same time). These groups included Dexys Midnight Runners, The Human League and Madness. There were also those, Ellen continued, who seemed birthed with ver Hits in mind. Significantly, one of these acts came with a name that would sum up changes that were afoot: Altered Images.
In a pop world free of glossy mags, colourful promos and high fashion, it's difficult to imagine what Altered Images' image would have been like. Post-punk bands weren't supposed to be fronted by charming pixies like Clare Grogan; the few women who did emerge tried their best to look tough, menacing and/or scary, like Chrissie Hynde, Siouxsie Sioux and Patti Smith. Others like Kate Bush and Lene Lovich were very clearly artists. But a cute, girl-next-door? They weren't in high demand in the late-seventies.
Yet, Grogan couldn't have been a more fitting front woman for Altered Images. The four blokes who accompanied her could easily have been members of moody fellow Scots Orange Juice but they followed their lead singer by daring to smile in photos and look like they were perfectly happy to be riding the giddy carousel of pop right along with her. In a music business increasingly concerned with appearing to be serious, the Ims were having none of it.
Giving that serious pop made by serious people would be the norm for the next few years, it would have been difficult to trace the legacy of Altered Images. It was not until quirky Scottish indie pop became a cottage industry beginning in the late-nineties that their influence began to be felt. Where would Belle & Sebastian have been without them? And, yet, I wasn't overly fond of "I Could Be Happy" four-and-a-half years ago when I last blogged about it.
As I mentioned previously, it didn't help that Ian Birch oversold it. The bassline is barely noticeable so I don't know where he gets the idea that it sizzles. Martin Rushent clearly produced it well enough but there's no evidence that he and the band had any real "chemistry". And for the love of god, who's this "Jimmy" fellow mentioned above? Guitarist Jim McKinven? Another music industry type? A mate of Birch? The royal Jimmy?
With the passing of the years, however, I feel more well-disposed to the Ims. Sure, the lyrics are as naff as ever but Grogan's singing is zesty enough that it really doesn't matter. The guitars hardly surge, the bass may or may not sizzle but the overall performance of the group is bouncy, full of pop energy and just new wavy enough that it doesn't smack of a period piece.
It's been a while since I saw the acclaimed film Juno and declared that "quirky must die" but my derision for this particular style has not dulled. And while Altered Images certainly helped bring it about, their best work manages to transcend being 'intelligently throwaway'. They were ahead of their time enough that it doesn't blight their legacy. They'll never be my first choice of music to listen to while washing dishes, going hiking, grading exams and just being a good-for-nothing lump but there's no real reason to oppose what they were all about either. A fine record from the first band who seemed tailor-made for Smash Hits.
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Also Reviewed This Fortnight
The Rolling Stones: "Waiting on a Friend"
Poignancy never came easy to Mick and Keef, though it wasn't something they aimed for very often. But "Waiting on a Friend" is perhaps their most poignant number since "I Am Waiting" from their 1966 masterpiece Aftermath. Following the success of the overrated "Start Me Up", this laid back number dating back to 1972 didn't get the airplay of its predecessor and couldn't hope to repeat its success. Nonetheless, "Waiting on a Friend" is a much better song. It's release at the end of 1981 makes it timely as well since this was when tensions in the band were at an all time high — a situation that would remain for the bulk of the decade. The eighties wouldn't be one of their best periods but at least they had a few wonderful little numbers tucked away to see them through their near-breakup. Plus, the video gives an idea of what the Stones would've been like had they done a guest spot on Sesame Street. Wonderful.
(Click here to see my original review)
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