Fall News | discography bibliography links photos |
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I
have a few great scans of old press clippings to add, thanks to Stuart,
but they'll have to wait until tomorrow. Apart from those there's not
much in the IN box. |
August 18, 2003 This is the latest news and gossip off FallNet for those with weak stomachs. If you have anything
to say, you can mail Stefan, but
you can't mail the FallNet mailing list direct anymore. To subscribe to
FallNet, send mail to:
Recent news...
22jul03 US
tour reports (second half: Cambridge > Dallas), New Yorker cartoon,
Simon Spencer RIP, "Idiot Joy Show," Words of Expectation review
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Adam Elfin, the Fall's new manager, says there's still no release date for Country on the Click, but he hopes it'll be out by late September (although October is not out of the question). He's planning a UK/European tour to promote the album when it comes out (thus the move of the Portugal dates from late July to late September), and there's a possibility of dates in Australia, New Zealand, and Japan, as well more US gigs next year. There was mention of a new Fall site with merchandise (e.g. T-shirts, which would be great, since I get more email asking about T-shirts than any other topic). ___________________ There's a great Ben Pritchard interview conducted after one of the NYC Knitting Factory shows on Mark Prindle's site. The Fall played a version of Classical Gas at a couple UK gigs last year, apparently. Anyone have a recording? ___________________
Ian Greaves:
I was expecting endless indexes from Ford, a la Wreckers Of Civilisation, but there's nothing - just biographical text. He indicates that Fallnet covers everything as well as you could reasonably hope, so directs people there. A lot of publishers seem to be discouraging list-heavy appendices these days. I wonder whose decision this was with Hip Priest. This is very readable, with a confident compilation of research and published interviews that borders on the cocky. Patrick:
It's very well written. Rather a lot of new interviews and things. My big problem however is that the 90s become more of a simple list of what happened and when - which is a great shame as I for one really wanted to know more about that era. I think everything that can possibly be written about the years 1977-89 has been written, and a bit more detail on what happened after that would have been much appreciated. David Barnett:
I just finished reading the Ford last night. It's a bit curate's egg. As a history, it's well researched and readable. The author cites many interviews from the music press and has spoken to some really core Fall members (although MES refused apparently and there's no Craig)
who offer interesting takes on a variety of points.
The trouble is that's as far as it goes. Maybe I've been spoiled by John Harris's The Last Party, but Ford's use of contextual info (Miners' Strick, Gulf War, other events) seem tacked on and unconsidered as reference points. He seems to be paying lipservice to social or political events rather than establishing relationships between them and the music.
And there is very little analysis or probing of the music itself. Even the descriptions just quote lines from here and there for the most part. Although I appreciate he was probably working to a word limit and that no-one's going to account for every song on every album, the reception and discussion of the songs is thin and uninspiring. But, the book is primarily a history and as a history it uncovers a busy, intricate story. Ford doesn't judge very often and prefers to offer a variety of sides to more controversial aspects than settling on just the one. A pretty good stance on something like the Fall...
Tom Wootton:
The path of The Fall has been undeviating only in quality. The rest of the tale is a rackety one of cameos and bit-parts, bust-ups and reunions, where Smith's sometimes apparently fantastic memory set against the more prosaic recollections of friends and band-members. Any prospective biographer must wade through masses of information and fill in sudden hiatuses and come up with a coherent narrative. Simon Ford has had a shot at it.
The book starts very well with Simon Ford unearthing Smith's childhood and the beginnings of The Fall. There is nothing particularly surprising here. In some cases hindsight has perhaps aided recollection; 'He looked lilke he could tear you a new arsehole just with words.'
But most of all the picture is of a type not unusual in school; an 'anemic looking' drop-out, who is 'quiet and moody'. The best thing here is the image of Smith, with kids laughing behind his back at how he'd become a hunch-back if he kept wearing so many speedway badges on the lapels of his school blazer.
The origins of The Fall have not previously been documented and it is here that Ford excels. Kay Carroll and Una Baines have been particularly forthcoming and open. Kay Carroll comes across clearly and sympathetically about her time in The Fall and Smith's character; 'Mark is very astute, incredibly manipulative when he wants things to happen without confrontation for himself. (...) don't get me wrong, it's not a complaint, it's one of Smith's more enigmatic qualities that intrigued me. Well, it did until it happened to me.'
Ford manages to arrange the punks, bands, fans and 'zines around The Fall very effectively. The narrative shows them thrusting away from their. Despite protestations from other band-members, it is clear that Smith and subsequently Kay Carroll were responsible for this. Smith's will is unbending, and if people don't like it, or if they can't keep up with the pace, they leave, one way or the other.
As the story of The Fall progresses the narrative thins. After Una Baines and, later, Kay Carroll leave Ford relies more and more on Smith's interviews, may of which were quoted in Paintwork, or will have been read before. The research and interviews that Ford has done for the earlier, previously untrodden, parts of The Fall's history make way for a recital of songs, albums and gigs, with no analysis of any. Things become laugably brusque - here is Ford on Karl Burns' return in 1981; 'the prospect of almost three months of touring fun and mayhem proved just too good an opportunity to miss. The European leg of the tour went
smoothly...'. 'Went smoothly'? Burns must have been pleased with that.
Increasingly the story deteriorates, and Ford seems to have the manner of writing against time. No mention is made of Trevor Long's accounting sleights of hand until a cursory description of The Birmingham School Business School. This is arse about tit. The Birmingham School of Business School was certainly partly inspired by Trevor Long, but that isn't what the song is about. So it is that information about the band seeps through, without context, without any sense of chronology.
More and more, Ford reveals the imaginative poverty of the music journalist. He specialises in the three-word summing up of songs - Oswald Defence Lawyer is described with unforgivable laziness as 'a consipiracy theory about "zig-zag bullet lines"'. The reader is increasingly made to feel like someone entering the underworld, as he flies headlong into the realm of the Fall reissue liner note realm. He muddles the tracklisting of The Light User Syndrome, suggesting it closes with two covers, and earlier in the book has referred to the character Robertson Speedo from Gramme Friday.
Reading the latter parts of this book feels like being on a merry-go-round of people and places. Around the time of Extricate and Shift-Work, Martin Bramah refers to someone called Kenny, who Ford evidently feels we are on first name terms with, since he feels no need to gloss some sort of identity
to him. Four pages later, Ford casually refers to someone called 'Brady' who plays fiddle. The reader can just about work out that Nagle and Smith were going out from the following quote; 'Later reports in Mojo had Saporito claiming that he thought the police response was so heavy-handed because the hotel identified Nagel as Smith's girlfriend.'
At least, they had better work it out from that, because that is the only place that it is suggested that Nagle was anything more than just a band member. It is undoubtedly a difficult task Ford attempts, but his success with The Fall's early career promises more than the unravelling story that follows.
Perhaps he could have maintained an interest in what he was writing if he hadn't been so numblingly incurious. He makes no attempt to find out what actually happened with the supposedly unpaid money to The Unutterable line-up. Although mentioning in passing that Smith was pleased to be support Pete Hammill at a festival he doesn't mention that at one point a collaboration was mooted between them (apparently vetoed by Hammill because of a dislike for the jam session). Mentioning one juggling of band members Ford says that 'two days later Leatham resigned, or was sacked'. You tell me, you're the biographer!
A charitable explanation is that even where ex band-members were willing to talk, they were not willing to say much. The destructive US Tour of 1998 is seen mainly through the fans' eyes, as reported on the website, with little extra interviewing, and will be old hat to many Fall fans.
He is curiously damning of The Light User Syndrome and The Marshall Suite, but the book has too many annoyances to quibble about individual taste.
In the end, I wondered who Simon Ford was writing for - I suggest someone who has none of The Fall's records, but knows the band-members and songs inside out. Of Iceland Ford says that 'it was here that Smith fell down flat in the Cafe Iol'. This is a phrase that will be runic at best, to anyone who has not heard Iceland and not hear the lyric as cafe aisle. But if the book IS for Fall fans, why tell us what the songs on Middle Class Revolt are?
The book has many good moments. How could it not? Smith is a wonderfully entertaining and stimulating interviewee and the book is strong on Smith's girlfriend's and wives who tell their stories openly. It is the story of an imaginative, artistic and emotionally complicated band. But there is no real attempt at guessing what makes Smith and The Fall tick, or any suggestion that the spiritual brinkmanship that characterises Smith's behaviour may be the very thing that consistently provides such wonderful music.
Oh, I nearly forgot, five photos is far too many, especially for £14. Joe K:
Got my copies of User's Guide and Hip Priest from Amazon UK this weekend. Actually got my rain drenched copies since whoever dropped the package off
left at in the front with the end of User's Guide sticking out of the package.
The User's Guide is pretty much useless. I read throught it in two hours and noted some factual errors that i think have already been pointed out here, quotes that i've read a million times elsewhere, some information seemed to come directly from FallNet. I liked the idea behind it....and if done right it
would've made a nice companion to the hip priest book which i've just barely started. Wish there were a few more photos... ___________________ Graham Coleman,
founder of the TBLY fanzine: After being listed
at the back of A User's Guide to The Fall book, I realised
that my TBLY
site was in ___________________ Yet more Fall
product on the way:
Tracks are: Telephone
Thing / The War Against Intelligence / Free Range / The Littlest Rebel
/ High Tension Line / Popcorn Double Feature / The Book of Lies / Hilary
/ Shiftwork / Blood Outta Stone / Immortality / Ed's Babe / Gentlemen's
Agreement / Bill Is Dead / Time Enough at Last / You Haven't Found It
Yet / The Mixer / White Lightning
And Totally Wired - The Rough Trade Anthology that Sanctuary put out last year on double CD now seems to have been released on 3 vinyl LPs on the Italian label Get Back. __________________ Paul Hanley: The 20th of September
will see Tom Hingley's band The Lovers gracing the
stage of Glasgow Barrowlands. The band comprises Tom (Inspiral Carpets
lead singer) and Steve and Paul Hanley (previously of the Fall) on bass
and drums respectively, with Jason Brown and Kelly Wood adding colour
to the lineup in their guitar and keyboard contributions. The concert coincides
with the release of the Lovers' debut double A-sided single YEAH
/ 3145 on the Manchester independent Newmemorabilia label on
the 8th of September. Yeah
is 3 minutes of blistering 1978 punk rock where Tom raises his twin
barrels against the twin targets of corporate celebrity nonentities
and the cult of Big Brother / Pop Idol reality show nonsense. "REALITY
TELEVISION IS GONNA FUCK MY WIFE / WATCHING SCUM MAKES ME FEEL SO MUCH
BETTER ABOUT MYSELF." watch and enjoy
the drama unfold Newmemorabilia Records Paul added in his
note: As you can see,
the chorus of Yeah! is "Reality TV's gonna fuck my wife",
so it can only be a matter of time before we're on TOTP. Surprisingly
for a band with a combined age as high as ours, it's really rather excellent,
and I reckon it will make more sense to Fall fans than Inspirals fans
at first listen (though Tom may disagree.) I'm rather embarrassingly
proud of it, especially as Steve's back on blistering form. Iggy Pop
and Bo Diddley haven't been combined this well since what.... Diceman? PS: Steve's son,
Paul (nice name) has a band called The Forrest who are going to be big
sometime soon. Keep your ears out... ___________________ Jeff Higgott: The new I,
Ludicrous album, featuring "I've Never Been Hit by Mark
E. Smith" is now available for only £10 / €15. See
http://www.iludicrous.co.uk
for details. ___________________
Sandeep Atwal: I've posted an old
(1994) interview I did with Brix here: http://www.infernalpress.com/Brix.html. If you have trouble with the pdf file, here is the interview in plain text. ___________________ Russell Mckenzie: Just to let you
know, I've taken the wonderful MES filter by Paul Sexton and stuck it
on my web site, so you can use the MES filter without having to install
it or figure out how to use it. Just go to http://www.rmckenzie.uklinux.net/messpeak.php
and blammo, talk like the world's greatest Mancunian. Maybe someone's
done this already, apologies if so. It's a poor substitute
for the real MES (come on, Country On The Click!) of course. ___________________ A recent piece on
Buzzcocks and the Fall at http://indyweek.com/durham/2003-07-09/music.html,
with a photo of MES by veteran Fall photographer Paul Lewis. ___________________ Steven Bending's
wonderful The
Fall Multimedia Project website has been updated with clips of Bombast, Cruiser's Creek and a brief MES & Brix interview snippet from The Tube, 1985. ___________________ Thanks Joshua for pointing out
the recent reviews of It's the New Thing! - The Step Forward Years and Time Enough at Last at Pitchfork Media. ___________________ John Roberts reminds us of a set of photos from February 1983 at Plan K, Brussels at http://www.newwavephotos.com/Fall1.htm. ___________________ Peter from Australia has uncovered Mark E Smith's secret sideline to help pay the bills, here. |