Admitting you were wrong is pretty difficult, especially when society is so judgemental and in turn individuals at a personal level feel judged by friends, family and peers. So, I’m going to write a wee series of blogs on “when I’ve been wrong.” Please, judge me all you like. I’m 52 and know I’ve made mistakes. Many. I’ve said shit things, thought shit things, done shit things and been an unbearable shit to some people. Not all the time, I don’t think, but I’m going to offer apologies to those I’ve hurt, or criticised when I have been wrong. I can’t ask for forgiveness, and I suppose, on one level, I don’t want it, because being wrong has helped me learn, because when people shout an alternative world view at you when you are shouting your view, it does sometimes register.
I perceive myself as politically left, and I think if anything, the political left should be about one thing- analysing society, and perhaps shifting their world view as well as others, in order to stop society sliding into a massive shit hole of creeping Conservative right wing inequalities. Challenging our own view should not be seen as confrontation, but should be welcomed. We should be open to it. The world can only get better if we keep an open mind to change both personally and societally.
Anyway, my first apology is not about politics, well, partly so, but only partly. Though that will come I’m sure. My first apology is about music, and at a guess as I write more of these, my apologies will be about other aspects and choices regarding music.
- Paula, I wasn’t wrong about Joy Division, but perhaps neither were you.-
Teenage boys can be introspective en extremis. I was no different to many others, and as I discovered music, I thought, “I’d love to share this feeling, this deep, emotion, with other people,” so the stereo was cranked up in the bedroom and when I went to Paula’s house, I brought my Joy Division tapes with me. Unknown Pleasures on one side, with a few fillers like Japan’s “Night Porter, “ and then their other album, “Closer, “ on the other side with a few fillers like “Love will tear us apart,” “These Days,” and The Beatles “Let it Be,” sang by St Paul’s boys choir.
Cheery, and what every girlfriend would love.
Paula wrote all over the cassette, “boring! Snore..!” and other less than enthusiastic words. Although she was of course wrong, it made me think that perhaps my perspective on music might not be everyone’s. What touched me, didn’t always register with other people’s life experiences.
My music taste did develop, though Joy Division and New Order stayed with me. As I became more aware of what went on outside me, I began to love music that dealt with political themes. The Fun Boy Three, and “The More that I see,” about Northern Ireland, The Police “Invisible Sun,” about the same theme, and then stadium music that dealt with Steve Biko, Mandela, Martin Luther King, poverty, starvation etc became the big theme of the eighties and selfish, introspection was out. And I loved to find the roots of the music I loved, the influences etc, so I became a fan of New York punk, and in turn, the Velvet Underground, Lou Reed, Patti Smith and Western US pre punk rock bands like The Doors. I loved the music that influenced my modern day heroes, Echo and the Bunnymen and other northern English bands; The Associates, The Jesus and Mary Chain, and other Scottish bands.
And here comes the main apology:
- I wasn’t entirely right about The Cure, Sharon and Toby. I won’t apologise for not worshipping the ground Morrissey soiled, but I will apologise for not fully appreciating Smith’s introspection, musical talent and actually laying out his problems on vinyl.
Morrissey did write some scathing political songs in the eighties, but his own reordering of his thoughts have now set him firmly in the category Rock against Racism was set up to counter. I bought The Smiths first album, and although I did like some tracks on it, that was it. The Smiths to me, created some good songs, sometimes in spite of Morrissey’s whiney, “look at me, I’m so your new Dylan, Byron hero thing that the artistic press seek every ten years or so.” Some amazing, sparing singles. Johnny Marr and the others made The Smiths. Morrissey in my opinion, made them unfollowable.
Smith, at a glance, seemed the same. And for me, again, there were songs I liked. But my mistake was I mistook his introspection and shyness as a Byronic feyness ala Morrissey. I appreciate now, I was wrong.
My other gripe about Smith and his music persona, “The Cure,” was that he seemed to follow groups, and imitate them. I remember reading an interview with him in which he said his favourite track was Joy Division’s The Eternal. So, I started hearing The Eternal in everything he did, and his song The Walk, was quite obviously his take on New Order’s “Blue Monday.” Having said all of that, one of my favourite tapes I bought during the eighties was a “best of” The Cure’s early stuff. (I bought stuff on tape I thought was disposable – if I wanted a lasting copy, I bought vinyl and taped the vinyl). I wasn’t wrong in his listening to good stuff and using some of the same techniques, but I was wrong to make this something to diss what was amazing stuff, almost entirely created by Smith himself. Smith, I realise, was a magpie. While his peers applied modern musical instrumentation to what they learned from The Velvet Underground, Bowie, The, Doors, The MC5, unlike his peers, he also picked out what he liked about what his peers were inventing.
Listen to Disintegration and you’ll hear The Bunnymen, New Order, Bowie, the anthemic stadium sound of the time, and even classical influences. But what is clear is it is about Smith, his disintegration, his depression,, his realisation that the joyous, self conscious, certain world he inhabited in his teens and twenties were coming to an end. Friendships and the need to be in a gang, were less certain, but love and commitment and respect were. His emotions, unlike so much that was “indie”at the time, are laid out on this amazing construction.
And mental health, addiction and depression created a joyous, anthemic, beautiful piece of work I had dismissed as a copy.
Toby says this is late night listening. Perhaps. But the current heatwave, the claustrophobia of the heat and slowing down of life, makes this apt, appropriate.
Unlike those who found it at the time, it will remind me of the incredible weather of summer 2018. My memories of 1989 are of The Doors, Australian rock and crashing my dad’s car driving to meet Sharon, one of The Cure’s greatest fans.