Artist: Teenage Fanclub
Title: The Concept
Description: single; album track, Bandwagonesque
Release date: 1991
First heard: 1991
I’m writing this in a coffee shop in the centre of Glasgow. Teenage Fanclub, like the Soup Dragons and BMX Bandits, formed in Belshill, a town ten miles south east of the centre of Glasgow. We are under a week away from the Scottish Referendum. Scotland, and in particular its most characteristic city, feels like a pretty vital place to be having a coffee and an opinion. We have established elsewhere what a vibrantly musical would-be republic Young Scotland is, and it was carrot-topped emeritus Alan McGee’s London-based but Greater Glasgow-spirited Creation who helped bring Teenage Fanclub to the wider audience they strove for and fully deserved in the early 90s, when “indie” was not yet a dirty word.
British guitar music slowed down to an interminable crawl in the mid 2000s, the main drag caused by Coldplay but sluggishly adhered to by Snow Patrol, Travis, Embrace, Keane. Why didn’t they just call themselves Slow Patrol and be done with it? This era was turgid indeed. A go-slow does not automatically equate with grandeur or meaning – you have to be as assured as Elbow or Doves to crack that. I mention all this only because Teenage Fanclub, a decade earlier, had also eased off the pedal (if not the pedals) and created a glorious new groove for themselves that never plodded or trudged. Listen in particular to their third, fourth and fifth albums again – on which nary a foot is put wrong – and experience a band at the top of not just any game but a game they’d devised themselves. It’s not that literally every song is slow, but listen in wonder at how naturally they slip into that gear.
What You Do To Me, Metal Baby, Sidewinder, Alcoholiday, Guiding Star, About You, Mellow Doubt, Don’t Look Back, Neil Jung, I Gotta Know, I know, I know, I’m just listing tracks now, but great tracks, and not one of them breaks a sweat. It’s as if the Fanclub recognised that Everything Flows was the key song on A Catholic Education and based a whole repertoire around its colours, just as Rothko had done with his crimsons and burgundies, and nobody asked for their money back.
It was a headache choosing one song from that repertoire (and I did not discount Songs From Northern Britain or Howdy when making the dreaded final selection), but the impact of being the first song on their first copper-bottomed classic LP proved hard to ignore. The Concept even sounds definitive from its title. (By the way, I should confess now and forever hold my peace: I had never heard a note of the fabled Big Star when I heard Teenage Fanclub, so their thrall to Alex Chilton and gang meant nothing to me beyond the theoretical. I’ve heard Big Star since, and yeah, I get it. Everything flows from somewhere.)
Four seconds of tasty feedback, then that first couplet: so evocative, so arch, so potent, like the opening lines of a hip, dog-eared novel.
She wears denim wherever she goes
Says she’s gonna get some records by the Status Quo
Oh yeah … Oh yeah
Let’s go over that again. Who’s she? What’s the significance of her choice of denim? That’s she’s cool? That she’s uncool? She’s promising to fill the Status Quo void in her record collection. Is that cool? She thinks they’re called “the Status Quo”, or perhaps she’s balancing the semantic karma after Mark Goodier’s habit of dropping the definite article from band names (Farm, Charlatans). She doesn’t even know the name of the band she thinks are cool enough to boast about thinking of investing in, but who may not be as cool as this denim-clad woman thinks they are. It’s Norman Blake singing his own lyrics here, but it might just as well not be, as Teenage Fanclub remain the most democratic songwriting unit ever registered. This instrument-swapping egalitarianism does them great credit, and stops Norman from being the frontman, even though he is. But what darkness is this?
Still she won’t be forced against her will
Says she don’t do drugs but she does the pill
What fierce creature is she? Not the sad groupie hinted at by the later intelligence that “she likes the group ’cause we pull in the slack” and even drives them home “if there isn’t a bar”; compos mentis, it seems, and yet contraceptively covered. Our protagonist says, “I didn’t want to hurt you,” which suggests that he did hurt her. That’s gratitude for all the compliments about his hair she gave, the designated driver. There is some fine lyrical alchemy afoot here, and maybe that’s why the slow pace works: it gives you time to ruminate on what you’re hearing.
“Slacker” was an imported lifestyle choice in the early 90s, matched by the often laboured nature of grunge and the thinness of its complaint. Teenage Fanclub “pull in the slack”. They are bright, breezy, self-mocking individuals. If ever a member disappeared, he was replaced by another just like him. Belshill seems to breed rare, fluting wits (the Soup Dragons’ Paul Quinn was an easy fit after the manic Brendan O’Hare left). Once you’ve met Norman and Gerry and Raymond, it’s impossible to unpick them from their music, but if you’ve encountered them live, you’ll feel you know them anyway. I was blessed to be in faraway Wick with the second line-up of Teenage Fanclub on the day of Princess Diana’s funeral, and while they treated her tragic passing with respect, I recall a natural optimism that seemed to bounce off them like positive ions as we breathed deep of the sea air outside the hotel.
To pick out a couple of the niceties that raise this six-minute song up from merely super-tuneful, intelligent, timeless epic rock that you can listen to between meals without ruining your appetite: the simple contrast between the crackle of distortion and the sweetness of Norman’s vocal; the full-bodied depth on the “Oh yeah”s; the droll guitar “quotes” from Parfitt and Rossi before the second verse and the bridge; and the dramatic gap at the halfway mark, where everything stops flowing and Brendan almost falls across his kit to bring it back from the brink and the four of them harmonise like angels. Angels, I tell you.
As if we deserve swooping, sawing strings as well.
I finish writing this on the train back to London. When I cross the Scottish border, it may be the last time I do so without a passport in my jacket pocket, so I’d best mark this momentous occasion but putting The Concept back on, which is a pretty vital song about the status quo. Oh yeah.