Artist: The Farm
Title: All Together Now
Description: single, album track Spartacus
Release date: 1990
First heard: 1990
I was accused by someone on Twitter of “studied disinterest” when I announced on the popular social media site that I had no interest in being “cool” at my age, before recommending Daft Punk’s Random Access Memories album a full ten months after its release because I’d only just bought it. This disinterest was not studied, which is why I blocked my accuser. No song in The 143 has been selected for any other reason other than I love it. I loved it then and I love it still. If I was concerned about how this list looked, I would be a fraud.
I love All Together Now by The Farm. If the band were ever truly fashionable it will surely have been before this song lodged itself in the national psyche across all castes, creeds and colours (by which I mean football colours). At that point, having cracked it, commercially, after many, many years’ service in the trenches of regional indie and fanzine legitimacy, The Farm made the most of a transfer window and went overground, forever thereafter the property of people at wedding discos. It has been some years since I was among those five or six good men all together – although I spent an unexpected evening with Carl in February a couple of summers ago, at the Soho Theatre – but I rather think they are enjoying their “people’s longevity”.
They have the keys to Liverpool, figuratively it not actually, and occupy the same post-punk Scouse pantheon as Pete Wylie, Ian McCulloch, Pete Burns, Ian McNabb, Holly Johnson, Julian Cope, Ian Broudie and, although it would annoy him, Lee Mavers. Such figures do not drift in and out of fashion, they exist in perpetuity in collective local mythology rooted in the Cavern and Merseybeat. All Together Now is a sentimental song, made in a sentimental city, sung by sentimental people then and now, in sentimental situ. And it would be easy to belittle it by practitioners of studied disinterest. (Its sentimentality, by the way, is nothing to do with the sort of civic stereotype that saw Boris Johnson visit the city, cap in hand, to apologise for belittling the Liverpudlian character in the Spectator in 2004, in an article that also perpetuated lies about Hillsborough that have since been legally quashed, forever.)
A “terrace singalong” is how it might be dismissed by people who’ve never stepped foot on a terrace, or sang along. But community singing is important, and if there is no community (as Margaret Thatcher once claimed, as she set about destroying them), then if a song momentarily makes you feel like there might be one, it has done its job. In this respect, you’ll never walk alone.
The Farm and their mentor Suggs (who took them in hand) seized their moment as the 80s jigged into the 90s and years of marginal struggle coalesced into right-place-right-time-right-trainers relevance. With fashionable production on their side, this band of brothers gave it everything they had and found a chart-topping album within, Spartacus. Their thumbs-up bonhomie didn’t hurt. The Farm once gave me a tour of Liverpool that took us from Walton Gaol to Robert Tressell’s grave and we had our photo taken at a Yates’, one that I still treasure. Unlike the Madchester bands, The Farm came with added socialism.
Using Johann Pachelbel’s Canon In D as its kicking-off point – a common pop nick in the 60s, but audacious in ’90 nonetheless – All Together Now uses the gentle orchestral waft and a plangent rising guitar signature from co-writer Steve Grimes to lull the listener into a false sense of decorum before a pull on the bass ignites what historians will identify as a textbook “indie-dance” groove. If all this song did was lay a trendy backbeat under a classical riff, it would be worth a cursory listen and a tap of the trainer, but Peter Hooton’s voice and lyric are what cause a studio lark to ascend.
It’s distant and high, more delicate than anything the Happy Mondays would attempt (and neither should they have done), gloriously augmented by the mighty Pete Wylie on backing vocals, and sets out a bold stall, for this is a song about the Great War when “baggy” songs tended to be about lager and rainbows. “Remember boy that your forefathers died,” he entreats, a man as capable of tomfoolery and wisecracks as any burgher of Liverpool, but not messing about herein. “Lost in millions for a country’s pride … But they never mention the trenches of Belgium, when they stopped fighting and they were one.”
The England-Germany truce is a well-worn, proto-pacifist fairytale with a mile-wide target on its back for the creatively bereft, suitable for all ages and shamelessly exploited by a supermarket chain to sell chocolate at Christmas. It even contains a kickabout which might have been a cynical button-pushing exercise in the hands of the insincere, but who else in the hedonistic Italia ’90 theme party along the M62 was singing about “a spirit stronger than war” on a “cold, clear and bright” night in December 1914? Not Northside. The Farm were like baggy’s older brothers. They’d been around the block. They were granted certain privileges. It didn’t take much to be a militant tendency in that largely apolitical landscape.
All together now? What a sappy deal, eh? Arms around each other. Blokes hugging. Scarves in the air. Tears in beer. Working Men’s clubs. The further away we get from No Man’s Land in December 1914 and successive outbreaks of togetherness among fighting men, the more vital such sappiness arguably becomes. The Farm’s moment in the sun seemed all too brief, but they abide, with at least one certified anthem suitable for sporting tournaments and occasions of national unity. You write a song like this, and you are forced to bequeath it to whichever group of people have gathered together in hired hall or sports stadium to sing it. All Together Now sorts out the fashionable from the unfashionable, and who’d want to be cordoned off among the first group?
Studied interest? No, just abandon, bejewelled with treasured memories of all the voluble, winking Liverpudlians I met when working for the NME meant getting the hell out of London on a weekly basis. If The Farm were waiting for you at Lime Street, you were alright.