Published on Jun 24, 1999
I suspect that this will be my best opportunity on the Daily
Vault to review the “work” of an author that goes by the name of
Iain Banks. I will, however, endeavour to limit any unseemly
fanboyism that I have in respect of this writer.
Personal Effects is a compilation of music, one of several
such CDs in the EMI “Songbook Series”. The idea is that various
cultural icons with a reputation for eclecticism, controversy or
downright strangeness were given the chance to choose some of their
favourite tunes for a CD. Other (in)famous individuals include the
poet Ivor Cutler, horror writer Clive Barker and puppetmeister
Gerry Anderson.
My impression of Iain Banks’ contribution to the series is one
of, “I’m glad he writes better than he chooses music”. OK, OK, the
CD is a personal pick of tunes, but it is surprising how mainstream
are the tastes of a cult writer. On the other hand, the CD booklet
has snippets of information wherein Banks explains his choices and
is quite amusing in places.
The Waterboys starts the collection, with a song from the album
This Is The Sea by the name of “Don’t Bang The Drum” from
1983. This title is in direct contradiction of Todd Rundgren’s
single from the previous year, “Bang The Drum All Day”, but that’s
OK, I forgive them. A more famous release by the band is probably
“The Whole Of The Moon”, but the saxophone, expansive sound and
powerful drum-beat (again a contradiction) on this track combine
well with a nicely played piano. Clearly a song for the
tape/CD-player in your car.
“Heroes” by Bowie is next, from 1977. Oh well, not my favourite
Bowie track. Anyway, things get moving right along again with the
release from 1995 by Dreadzone, called “Little Britain”. Basically
an electronic instrumental with incidental voice-overs, this is a
combination of pseudo-classical and techno styles, with medieval
fanfares á la Beggars Opera thrown in. Surprisingly catchy,
harmless fun, and a UK top forty spot to boot.
I received my first introduction (and nearly a fond farewell,
too) to Warren Zevon next, with “The Factory” from 1987. Billy
Bragg meets Bruce Springsteen. The harmonica was the icing on the
cake (I
hate harmonica). Strangely, after initially being unable to
stomach this song, the strongly acoustical feel and pointed lyrics
are slowly winning me over. Probably I’ll never really like it
though.
I like Neneh Cherry. She has a voice that folks of the American
persuasion call “sassy”. Absolutely. Unfortunately, Banks hasn’t
chosen “Buffalo Stance” here, but “Man Child” (both from 1989).
Still, it’s a pretty piece, smart lyrics, funky synths and a worthy
inclusion on the CD. A strange follow-up to “Uncle” Zevon
though.
Ninety-nine percent of all reggae leaves me cold, so the track
from Peter Tosh is a non-event for me – “Get Up, Stand Up”,
whatever, I don’t care. Then mischievous Devo get a look-in, with
“Satisfaction (Can’t Get Me No)”. Devo were a brave act, eschewing
chord changes and other such fripperies. Their mickey-take of the
Stones classic makes me laugh, as does any fun poked at Messrs
Jagger and Co. This original turned up on their 1978 album
Q: Are We Not Men? A: We Are Devo, which contains the
original material I prefer from them. Cheerful nonsense.
1977 was a bad year for artists of the Progressive oeuvre, and
this was highlighted by the fact that a band like The Sex Pistols
could achieve a degree of success in the market-place. “Pretty
Vacant” illustrates the point pretty well, although the musical
introduction to the song is actually quite good. Switch off when
you hear the vocals start up. The Pistols really were a notorious,
but pale, imitation of what the Punk movement was meant to
represent – better examples are contained later on this very
CD.
Twenty years later on, Radiohead were touted as one of the major
bands of the time. 1997’s “Karma Police” is one of the better
tracks on
OK Computer, but I have to ask, “Why all the fuss over this
band?”. The most recently produced track is immediately followed up
with the oldest – “For Michael Collins, Jeffery and Me” by Jethro
Tull hails from 1970 and is a soothing balm for an old prog-head
whose nerves are still jangling from the previous four tracks.
Kirsty MacColl is a very welcome addition to the collection.
“Walking Down Madison” bears the normal MacColl hallmarks,
thoughtful lyrics sung in a lovely voice. The presence of a rich
and fruity Rap accompaniment is unexpected, but not unpleasant. Who
can forget her earlier work, such as the incomparable “There’s A
Guy Works Down The Chip Shop Swears He’s Elvis”? A minor irony here
– this song featured first on
Electric Landlady from 1991, which featured a certain Johnny
Marr from the Smiths. Marr has been suggested at one time in some
Banks circles as a possible lead in the film to be made of Banks’
rock bio-pic novel, “Espedair Street”. More on “Espedair Street”
later.
One of the better products of the New Wave was The Buzzcocks,
whom Howard Devoto left to form Magazine. The 1978 classic
Shot By Both Sides was the first result of this. The 1990
song, “Careful”, by Horse, features a very strong female lead
vocal, reminiscent of Alison Moyet in some ways. A little digging
revealed that “Careful” was released as a 12″ single which also
featured a song called “Wichita Lineman” – I mention this in view
of Banks’ comments in the CD booklet concerning his non-inclusion
of the song by the same name as performed by Glen Campbell.
Doubtless, and in true Banks fashion, Iain Banks will deny any
hidden joke and put this down to coincidence. Coincidence? Not a
chance!
Ask twenty people to name a “One Hit Wonder” from 1980 onwards –
what are the odds that five of them mention “Martha And The
Muffins”? “Echo Beach” was the outcome of a chance listening to a
demo tape by one Robert Fripp. The Frippster liked what he heard,
by all accounts, and the rest, as we say, is history. Whatever
happened to them . never mind, I love the track.
A proper Punk band, The Ruts. “Babylon’s Burning” is raw,
energetic and dangerous. Hell, I even like it. Slightly less
raw-edged though is a snippet of poetry that follows, read by Ivor
Cutler. A Glaswegian poet of known eccentricity, its inclusion on
the CD is a clear example of self-indulgence (yes, I know that the
whole CD is another example).
I am indebted for the inclusion of “Sleeping Satellite” from
1992. It is one of those songs you heard on the radio once or
twice, absolutely loved, and then totally failed to track down for
some reason or other. Tasmin Archer is the person responsible – the
album
Great Expectations went platinum in the UK and rightly so –
now I know. Note to self – add this to the “To buy” list.
Hmm – Richard Thompson “1952 Vincent Black Lightning”. I know
that Banks likes motorbikes, maybe that explains it. I’d prefer a
Ducati 916 myself . What a minute – Afro Celt Sound System? Yep, a
band that combines traditional Celtic and African forms. The song
that is included here, “Dark Moon, High Tide” from 1996 is much
more Celt than Afro, with only a distinctive drum beat to indicate
any presence of fusion. I should check out the album,
Volume 1 Sound Magic sometime, for further research. The
track here is pretty good.
Mike Scott, former Waterboy, brings the collection to a close,
with the 1997 “Love Anyway”. Scott’s influence in The Waterboys is
apparent as the track bears the same distinctive sound. A nice song
to finish with.
It is interesting to review a compilation release, as in a way,
I am rating the person choosing the tracks as much as I am the
music of the collection. I have to say, the whole Songbook Series
idea seems a little silly to me – just because you enjoy the work
of a writer, will you also share his musical taste? Not in this
case, although there is some overlap in interests, it must be
said.
I am hoping that I will get an opportunity to rate Iain Banks’
own musical compositional skills one day. I gather he is currently
thrashing out some ideas with Gary Lloyd for a soundtrack for the
forthcoming movie of “Espedair Street”, Banks’ novel about a rock
star in his declining years who looks back at his days of glory (or
lunacy, more like). Watch this space.