Artist: Prefab Sprout
Title: When Love Breaks Down
Description: single; album track, Steve McQueen
Release date: 1984, 1985
First heard: 1984
I’m not even sure why, but it was a standing joke that Prefab Sprout, critical darlings clearly capable of mainstream commercial embrace, kept on re-releasing When Love Breaks Down until it was a hit. In fact, they released it once, prior to its parent album Steve McQueen, in 1984 – when it failed to make the Top 75 – and again, in 1985, when it scaled to number 25 and made Top Of The Pops. I’m not sure the embellished version of events was even meant to denigrate the band, or their doughty label Kitchenware, merely to underline their determination to break on through to the other side. Which they surely did. (Come the next album, they were a Top 10 certainty, and shampooed their hair accordingly.)
Prefab Sprout shone for all the bands forged on the anvil of post-post-punk, who appreciated the here’s-three-chords-now-form-a-band ethic, but had broader musical aspirations and tended toward the windswept and interesting: Aztec Camera, Orange Juice, The Associates (all Scottish, so far), Win, Deacon Blue, Hue and Cry (all still Scottish), ABC, The Christians, Danny Wilson, Wet Wet Wet (and we’re back in Scotland). Not all as cool as each other, but all willing to admit to an appreciation of Steely Dan, the collective sense of ambition was palpable, but there was further to fall. Once you’ve cracked the actual charts and become what used to be called a “housewives’ favourite”, the only way is down or Las Vegas. (Or a comfortable dotage on Radio 2, which is less of a comedown these days, of course.)
Paddy McAloon never aimed low in his life, and continues to defy a string of crueler-than-cruel medical jokes by finding new ways around his disabilities, a spirit undimmed. His songs have always been intricate, opaque and one step ahead of you. I bought Steve McQueen and Swoon in the wrong order during college, and thus experienced them getting less accessible, and thus more intriguing. Swoon beguiled me before I knew the meaning of the word. It was terrible background music, as it demanded you pay attention to its curling lyrics and unpredictable tempo changes. Steve McQueen was a more approachable affair, full of potential singles, not least the locomotive country opener Faron Young, and this one.
Torrid and aching in arrangement and thrust, after some of the cryptic crossword clues on Swoon, it’s pretty straightforward: McAloon’s love and he “work well together”, but are “often apart”. Nothing too melodramatic, just a couple separated by distance. Instead of fonder, “absence makes the heart lose weight” (even when he’s playing a straight bat, McAloon still hits a six). When love breaks down, we tell lies, we fool ourselves, we do all sorts of stuff to “stop the truth from hurting”, but soon, we’ll be as “free as old confetti.” More given to Sondheim than Strummer, Paddy brings a great gift to the masses: eloquence with wit. Prefab Sprout are like punk never happened.
It’s hard not to swoon to the desaturated Hollwood pose on the sleeve of the album (I don’t know about you, but I never imagined McAloon could ride that Triumph), and the clean lines of the production from either Thomas Dolby (the longer, album version) or Phil Thornalley (the single). But most of all, I admire the daring Americanisation of the imagery, building from Swoon‘s basketball, cornball, Bobby Fischer and “Chicago urban blues” (carefully tempered by tea-rooms, A-Levels and Jodrell Bank), to take transatlantic flight with blueberry pies, bubblegum, “the songs of Georgie Gershwin” and Pearl Harbor. McAloon imagines and interprets like a novelist, of course. He was sort of leapfrogged by Lloyd Cole in this department, who made America his lyrical, then spiritual, then actual home. All roads lead back to Tyne and Wear for McAloon.
Let us praise his bandmates, for this was a band, whose lineup remained steady until after Andromeda Heights in 1997, and a one that was fleet of finger and foot. McAloon and Wendy Smith’s vocals work well together, her angelic hosts, treated in the manner of I’m Not In Love, a constant, breathy presence. Brother Martin McAloon’s air-conditioned bass never falters. The exactitude of Neil Conti’s clockwork rimshot and feathery snare fills were good enough to get him recruited for Bowie’s band at Live Aid.
Even the LP version, at just over four minutes, ends too soon. But Prefab Sprout make alchemical pop at all lengths (on Steve McQueen alone there’s Blueberry Pies at two-and-a-half, and Desire At over five), and in any case, the lyric has quietly come to a conclusion. You may have missed it. Here’s where the story ends: with the protagonist and his former love joining “the wrecks who lose their hearts for easy sex.” His work here is done; he’s ridden that triumph.
I realise now that Prefab Sprout are wasted on the young. They age like port.
By the way, Stuart Maconie and I subsequently spent the back end of a boozy evening in Newcastle in 1992 sitting round a grand piano in a hotel bar singing along as Paddy McAloon pounded out requests from the Sprout catalogue. It was one of the greatest back ends of a boozy evening of my life.