Kraftwerk, The Model (1981)

kraftwerkTheModel

Artist: Kraftwerk
Title: The Model
Description: single; track, The Man-Machine
Label: EMI Capitol
Release date: 1978
First heard: 1981

She has been checking nearly all the men …

Any documentary about the music scene of the 1980s is good news for Rochdale’s Kieran Prendiville, whose your-favourite-teacher bulletins from the wild frontier of electronica on BBC’s cutting-edge crystal-ball science fair Tomorrow’s World gave elbow-patch life to the brave new world of computer love.

In a piece to camera from 1980 about the bleeding-edge Fairlight synthesiser, Prendiville admitted, “We’ve never been very good at electronically creating sounds that sound real.” Until now, that is. He bangs a timpani for real – bom! – then asks us to “cock an ear” to the sampled sound of a timpani triggered by his finger on the key of a keyboard. “That’s almost perfect isn’t it?” It had better be: a computer has “mathematicaly worked out the incredible complexity of the soundwave a timpani makes” – bom! And that, he vouches, is just the beginning. It’s played for laughs, but it’s popular science.

Talking of which, Kraftwerk, the avant-boffin synthesis pioneers from Dusseldorf, emerged from the indelicately categorised Krautrock wave of the late 60s and early 70s, and embraced the circuit board with all of their hearts, with founders Ralf Hütter and Florian Schneider actually filing the patent for an early, electronic drum machine that you hit with metal sticks in 1975. They got their big break in 1975 not on The Old Grey Whistle Test, or Cheggers Plays Pop, but Tomorrow’s World.

In the witty words of Andrew Harrison in the Guardian, looking back from the advantage of 30-odd years, Tomorrow’s World showcased “four young Germans dressed like geography teachers, apparently playing camping stoves with wired-up knitting needles,” performing (a verb suddenly in need of an upgrade) a song (another one) called Autobahn. Whereas rock and roll sang of cars, Kraftwerk genuflected towards the motorway itself. The clip nudged the world off it axis. Drummers ran for their lives.

In 1991, Kraftwerk were back on Tomorrow’s World, this time in robot form before their tour. But their innovation was part of the furniture by then. It’s not the law to appreciate Kraftwerk only for their Vorsprung durch Technik, but it’s tricky to separate the scientific advance from the artistic endeavour. What I find myself constantly knocked out by is how popular they were from such fundamentally radical roots. Autobahn was a hit in 1974, Top 10 in West Germany and New Zealand, Top 20 in Canada, the Netherlands and the UK, the parent LP likewise, which was Top 5 in the United States. But The Model, a jauntily fizzing if deadpan pop single from 1978’s rather severe-looking The Man-Machine, topped the UK charts when belatedly issued as a single in 1981. It was the b-side to the more melodic Computer Love, which was mercenarily flipped by EMI after it stalled at 36 and it went to the top of the shop. Sometimes there’s a reason to like being beside the b-side.

Chips with everything! To file The Model (or Das Model) under “disarmingly simple” is not to denigrate but to admire. The beat, created by either man (Wolfgang Flür), machine or a fusion of the two (it doesn’t matter), is as formal as a click-track and its double snare-snap is as close as it gets to abandon; Hütter’s vocal and the foreground riff almost rhyme with each other; but the pulsing bass beat is actually rather athletic if you tune into it, the song’s secret ingredient. There’s not much room for analysis, but that just reflects the machine-tooled surfaces of the music. It’s hard not to admire the sustained drone that announces the run-out at the end of its three-and-a-half minutes. A little dose of psychological warfare not usually applied to perfect pop (unless you count the “neighing stallion” keyboard sound in Crazy Horses by the Osmonds).

Check the lyrics, delivered with neither irony nor public display of affection by Hütter. They are enough to make you wonder if he’s talking about a flesh-and-blood human mannequin, or a robot with a model number:

She’s a model and she’s looking good
I’d like to take her home, that’s understood

That she “plays hard to get” and “smiles from time to time” is a direct hit, as descriptive as a magazine profile of many hundreds of words. “It only takes a camera to change her mind,” has a dystopian ring, shades of the robotic machinemensch in the German silent Metropolis, who leads a revolution, driving men to distraction. Our synthetic femme fatale “goes out to nightclubs, drinking just champagne,” but when she’s said to be “checking nearly all the men,” is she actually ogling them, or more methodically checking them off a list? She is, after all, “playing her game.” The line, “for beauty we will pay” doesn’t accidentally bespeak pimps and johns. For all its brushed-steel precision and antiseptic sheen, The Model is as wayward and fatalistic as any Weimar cross-dresser pushing a wheelbarrow of hard currency before the youth start singing about tomorrow belonging to them.

It was a rare chart-topper recorded in the 70s that referred to “consumer products” but Kraftwerk were part of the future and they did things differently there. The model is “a big success,” which is why the song’s protagonist wants to meet her again. The 80s apparently came early to Dusseldorf. To keep things corporeal and human, let us pay tribute to the song’s writers, as, contrary to the national panic, hit tunes didn’t write themselves: take a stiff bow, Hütter, Karl Bartos and Emil Schult.

Back on a more conventional kind of screen from before the dawning of a new era, Kieran Prendiville boasts in 1980 of his hard drive having “barks, cannons, creaks, footsteps, miaows, oinks, quacks …” For Kraftwerk, true pioneers, such fripperies seemed much smaller in the rear view mirror.

Bom!

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Elvis Presley, Suspicious Minds (1969)

ElvisSuspiciousMinds

Artist: Elvis Presley
Title: Suspicious Minds
Description: single
Label: RCA
Release date: 1969
First heard: circa mid-1970s

Jordan: The Comeback is the fifth studio album by musically and lyrically eloquent northeasterners Prefab Sprout. A nominal concept album (Rolling Stone summed it up as a pop symphony about “God, love and Elvis”), its standout passage, for me, has always been its four-minute title track, in which the King laments from some rhinestone-studded version of heaven.

And all those books about me
Well there wasn’t much love in ’em boys
I’m tellin’ ya, if I’d taken all that medication
Man, I’d a rattled like one of my little girl’s toys
Now they call me a recluse
Been in the desert so long
Layin’ on my back, bidin’ my time
I’m just waitin’ for the right song

Then I’m comin’ back!

Only Paddy McAloon would have the chutzpah and chops to imagine Elvis considering a move back to Memphis from the top of a stairway to heaven. But Elvis is so big, so all-powerful, so iconic in the Mount Rushmore sense of the exhausted adjective, how else do you draw him out of the desert of pagan idolatry? Certainly, how do you pick one of the countless prêt-à-chanter tunes delivered to him over his quarter-century of pelvis-swiveling, gallery-playing and myth-salesmanship?

As with the Beatles and the Stones, the Beach Boys and the Pet Shop Boys, Madness, Squeeze and other statutory genii of the 45, you’re looking at a long list of choice cuts. There are 30 number ones to trace a finger down from Elvis’s foreshortened lifetime, never mind all of those contenders that only squeaked to number two (Hound Dog, Can’t Help Falling in Love, Burning Love), or number three (Crying in the Chapel, Devil In Disguise, In the Ghetto in the US; Teddy Bear in the UK). Suspicious Minds, first recorded in 1968 by its writer Mark James (who would go on to pen Moody Blue and Always on my Mind), became a hit on Elvis’s hips a year later, and his final living US chart-topper. (He enjoyed three further number ones in the UK: doo-wop serenade The Wonder of You, the down and dirty Burning Love and the deep and meaningful Way Down.)

The 1969 LP From Elvis in Memphis, recorded there to exploit the free pass bestowed by the fabulously restorative NBC special from Burbank, Singer Presents … Elvis (colloquially known as the ’68 Comeback Special, whose soundtrack went Top 10), marked the true return of the King, having been in the desert for at least seven years, making movies with diminishing artistic returns, and not playing live. The books state that Elvis laid down Suspicious Minds between 4am and 7am in a night-shift pre-breakfast rush on 23 January, ’69, in eight takes. It was overdubbed in the not-insignificant town of Las Vegas that August and released as a single forthwith.

I’m always cheered by how low-key the intro is. It’s almost a little bit country, with Reggie Young’s caressed electric guitar and Gene Chrisman’s sticks tap-dancing on the hi-hat. Then Elvis sends out a distress signal: “We’re caught in a trap!” We quickly learn that he can’t walk out, because he loves somebody too much, baby. The last line is coloured in by the most buoyant, promenade-suite strings, which take up the cause from here. As translated into Elvish from Mark James’ text, the lyric is torrid kitchen-sink stuff. The protagonist and his ill-suited squeeze are caught in a trap of their own making. Why can’t she see what she’s doing to him? She’s probably thinking the same thing, after all, she doesn’t believe a word he says. It’s evident that they can’t go on together with suspicious minds. It’s killing them, and here they go again …

Eleven backing singers whip this problem-page teaser into a full-on melodrama, while trumpets and trombones, arranged by Glenn Spreen, pump up the volume. It’s an epic. Chrisman stick-shifts from rat-tat-tat-tat to more skittish hi-hat, and back again. He’s on  a roll. But this is expected from first-rate sessioneers.

There are two audacious, infrastructural gambits in Suspicious Minds. One comes at 1.45, when, after Elvis croons “suspicious mah-a-ha-aands“, the whole show slows down to ballad-speed crawl. The break allows him to entreaty, “let’s don’t let a good thing die”, adding an “mmmm-mmmm-mmmmm” that luxuriates in the pause for thought. Then, at 2.12, it cranks back up and starts windmilling its way to the finish. Though Chrisman holds this quick-march beat thereafter, all the heartache, harmony (“yeah, yeah“) and tumult makes it feels like it gathers further speed as it builds to the all-in climax – the eleven sound like twelve; the brass goes off the hook and proclaims heavenly timeshare; a snare fill pops in all the excitement – and then, just as it hits its exultant final bars, at 3.35 it begins to fade …

Nothing out of the ordinary there, it’s what old 45s did, for reasons practical and commercial. But don’t go away, that’s not all, folks. After 15 seconds, as the houselights are turned back on … it fades back in! Such a tease. Is it intended to conjure the band leaving the stage and coming back on for an encore? It’s certainly pure showbiz, albeit effected by a lever on the desk It legendarily fades at around 3.35 and then after 15 seconds fades back in, a sabotage decision made by producer Felton Jarvis that oughtn’t even work but, like Lou Reed struggling to scan “all the coloured girls sang” in Walk on the Wild Side and Joni Mitchell squealing with tickled delight in Big Yellow Taxi, it just does.

Now that’s what I call a comeback.

 

Simple Minds, Theme For Great Cities (1981)

SimpleMindsSisterfeelingscall

Artist: Simple Minds
Title: Theme For Great Cities
Description: track, Sister Feelings Call
Label: Virgin
Release date: 1981
First heard: 1981

Here comes the flag …

Until I found my feet at the NME in 1988, aged 23, my only experiences of foreign travel were a school exchange trip to Normandy in 1977, by ferry, and a couple of family holidays to the Channel Islands, again by ferry, no passport required. I was not alone in this unworldliness. From the perspective of this island, it was not yet a small planet. Which is why, I think, in the early 80s, so many of our more inquiring and knowledge-thirsty bands of the day were fixated on faraway cities. In 1981, something of a flashpoint, Ultravox hymned the capital of Austria in Vienna; Duran Duran randomly included the instrumental Tel Aviv on their first LP (good track, actually); Japan, who were already named after Japan, used their Orientalist fifth album Tin Drum to cast their net towards Visions of China and a Cantonese Boy; even Gary Numan’s Dance contained the mixed-up Slow Car to China. Our dreamers were chasing the travel-broadened Kraftwerk, who’d found inspiration in the Autobahn and the Trans-Europe Express, and would soon release Tour de France, and Roxy, who’d vicariously flown down to Acapulco and Rio on Virginia Plain a decade before, spoke of grey lagoons, songs for Europe and a prairie rose.

But no post-punk band was as brochure-gazing as Simple Minds. Pale-faced residents of Glasgow south and students of – yes – Roxy, Bowie and the Velvets, these five young self-abusers established the first Simple Minds line-up in 1978, and took their influences into the Top 30 with first album Life in a Day. Seven months later, Real to Real Cacophony set out their stall with a series of borrowed keywords: naked, citizenchangeyouth, factory, film and perhaps most tellingly, suitcase. That these starry-eyed Scots saw beyond their borders was paramount. Bowie didn’t stay in Bromley. John Cale put the Amman Valley behind him. Ferry didn’t hang around in Country Durham for long. The key track on Real to Real was Veldt, an instrumental imagining of the southern African plain. The first single from breakthrough LP was I Travel. Their case was made.

Empires and Dance was Simple Minds’ boarding card, a whistle-stop tour of the world of their imagination: Capital City, Constantinople Line, Kant-Kino (the Berlin nightspot) – who needed stamps on passports when vicarious movement was free? The band’s hunger for the great beyond eclipsed the sun in 1981, with two travelogues for the price of one: Sons and Fascination, and its sister album Sister Feelings Call. Whisking The Boys from Brazil to The 20th Century Promised Land, via Sound in 70 Cities, the League of Nations and The American, with progressive producer Steve Hillage of Gong at the controls, this double photo-album was a voyage around the imagined world.

I loved then, and I love now its glistening surfaces and machine-tooled glamour, and the blurred, Ballard-esque freeze-frames of airports, concrete, bodywork and skylines on the twin sleeves (Sons and Fascination in colour, Sister Feelings Call in blue-tint and black-and-white). Simple Minds were a band you could lose yourself in; pack up your troubles and go places. The second album came free with the first 10,000 copies of the first. I was at the front of the check-in queue with what would’ve been my wages from a Saturday job at Sainsbury’s, where shelf-stacking gave me time to imagine. I’m drawn back to this bonanza of sound – 15 brand-new tracks in one hit – as I reduce my appreciation of Simple Minds down to one number.

Theme for Great Cities is a disloyal choice, in that it’s an instrumental, and thus locks the mighty, air-chopping Jim Kerr out of the mix (he wrote and sang all of Simple Minds’ lyrics, while the whole band were credited as songwriters; these days, it’s Kerr and the conjoined Charlie Burchill). But as a theme, it still stands supreme, 40 years after it was conceived on the anvil of cinematic evocation. It wasn’t a single, because it was wordless, but it wasn’t just me who singled it out for special measurement; it “defined Balearic for a generation of clubbed-out Ibiza party-goers”, according to simpleminds.org, as it found itself remixed for the dance floor.

Jim tried to pen a lyric for keyboardist Mick MacNeil but gave up. It was known as The Third Track in demo. The image you want is Kerr walking around Glasgow listening to it repeatedly on his new-fangled Sony Walkman device. All concerned seemed happy with it going out wordless.

Despite the lack of a vocal, it sings loudly of the implied sophistication of travel: the Grand Tour of 18th century gentlemen, but reclaimed by people who lived in the long shadow of tower blocks. It hovers in over an eerie MacNeil synth-wash, which almost sighs before Brian McGee’s snareless drums, bendy bass from Derek Forbes and percussively choppy guitar from Birchill fall into step. The keyboards provide the riff, but from a distance, followed by a harder-edged electronic moan over ever-decreasing ripples of atmosphere. Still, the moans and howls emerge from the hinterland, like diamond dogs, or rats the size of cats. It’s sleek and slick, but there is something in those bushes.

It’s closer to music for a film, or an undiminished symphony, and that’s Simple Minds. The lack of a Kerr vocal is the ultimate sacrifice from a general to his troops. It is a great theme for cities, and a theme for great cities. Simple Minds peaked over and over again in the 80s. When Mel Gaynor joined, with his tree trunks for drumsticks, he panel-beat the band’s sound into new, harder, rockier shapes, and just in time for stadia to beckon. The world finally lay at their feet.

But they’d been around it plenty of times in their minds.