Is equal to the love you make.
(The Beatles)
These were the last words sung on the last proper track on the
last album recorded by The Beatles, a band that came from Northern England. This was one of a number of areas that was to
suffer greatly as a result of economic policies implemented during the Prime
Ministership of Margaret Thatcher. These lines were also quoted many times by fans all over
the world when they reacted to the untimely and premature deaths of John Lennon
and George Harrison. Then, these
words were quoted in gratitude to the musicians for the joy that they had provided
by their music.
This morning I woke to the overnight news of Thatcher’s
death and these Beatles lines occurred to me.
Only this time, I viewed them as an appropriate comment on how this news
was being greeted within the UK. I knew
that a lot of the upper and middle classes who did well at the time would be
hailing her as a great leader but precious little love would be expressed by the
working classes congregated in Northern England, Wales and Scotland.
Certainly many musicians from either these areas or of a
left wing/working class persuasion had made their feelings well and truly known
before today. On my iPod I played the mischievous
I’m In Love With Margaret Thatcher by the Not Sensibles (from Burnley), a
couple of versions of Stand Down Margaret by The Beat (from Birmingham) and
Billy Bragg’s Whose Side Are You One.
(Although from Barking close to London, Billy is a well-known left wing
activist.) To my surprise I didn’t have
either London’s Elvis Costello’s Tramp The Dirt Down or Liverpool’s Peter Wylie’s
The Day That Margaret Thatcher Dies on my iPod but I knew I had them on CD.
When I thought about it, I couldn’t think of another politician
in the Western world who had inspired such resistance in song. A case could be made for George W. Bush
perhaps, but even then I’m hard pressed to think of any tracks
(like Costello’s or Wylie’s) which gleefully anticipated his death. Predictably, I couldn’t think of any negative
tracks against politicians on the left side of the political spectrum. Bill Clinton certainly attracted a great deal
of odium during his time as U.S President but it was never expressed in song,
at least by acts with a worldwide audience, but he did manage to inspire Greil
Marcus to write Double Trouble. In this
book he compared the outsider status of Clinton to Elvis Presley in their
respective fields and how they impacted upon the American populace. He convincingly demonstrated that they have
more similarities than you’d think.
And so, it was onto another full day and I made a
conscious decision not to allow this news to impact upon my listening
choices. Anything that smacked of overt political
music was out and I started with:
(# 271) The Kaiser
Chiefs – The Future Is Medieval (2011)
Talk about different formats. Originally this album was available only by
download by which consumers could choose 10 tracks from a total of 20 placed on
the website. Eventually this standard CD
edition of 14 tracks was released as well as a deluxe version containing 23
tracks. In some ways, this album reminds
me of their debut album Employment containing a number of tracks that remind me
of XTC. Things Change and All Is Quiet
really stand out, but if you want to start listening to this band, have a
listen to Yours Truly Angry Mob first.
(# 272) Artic Monkeys
– Humbug (2009)
This is a solid rock album from the one time internet
sensations. The youthful enthusiasm of their earlier albums is now settling
down to a mature sound not a million miles removed from the Kaiser Chiefs. Despite some great tracks such as Dangerous
Animals, Dance Little Liar and Pretty Visitors, the album suggests greater
triumphs are to come. According to
critical consensus, it appears this was achieved on the next album, Suck It And
See although I’ve yet to get it.
(# 273) The Gaslight
Anthem – The ’59 Sound (2008)
Their second album of would be epics marrying lyrics reminiscent
of a youthful Bruce Springsteen to the music of The Killers and a punkish
attitude. The first three tracks rattle
by setting a high standard that is maintained by the rest of the album. If there was a fuller production this would
be regarded as a classic.
(# 274) Fleetwood Mac
– The Pious Bird Of Good Omen (1969)
This is an early compilation bringing together some singles,
their B sides and other material. Two of
their best known early singles, the instrumental Albatross and Black Magic
Woman are on this as well as a number of scorching blues numbers. The pick of these are a version of Elmore
James’ Coming Home, The Big Boat with guest vocalist Eddie Boyd, I Believe My
Time Ain’t Long and Jigsaw Puzzle Blues.
As always Peter Green’s guitar playing is a highlight.
(# 275) Erykah Badu –
Worldwide Underground (2003)
This was Erykah’s third album and contains, for the most
part, very classy and smooth (but not slickly sweet) soul and hip hop with a
similar sound and feel to Lauryn Hill’s The Miseducation Of. Compare this to the music sold today as
R&B from the likes of Rihanna and you’ll quickly be able to tell the
difference. I Want You and the bookending
World Keeps Turnin’ are genuine highlights.
Just before sitting down to write this, I try to find the compilation
CD I have that contains the Pete Wylie track and fail. I then find my copy of Elvis Costello’s Spike
and play Tramp The Dirt Down. Ruminating
on that, I scan more newspaper accounts and find that Thatcher is to be cremated. There will be no tramping down and I suspect
Thatcher is having the last laugh even in death.
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