August 2016 has been a red letter month for reissues because after I thought “English Settlement” would never come off the playlist, there is a new remastered Super Deluxe Edition of the Simple Minds classic from 1982 – “New Gold Dream (81-82-83-84)” to replace it endlessly.
And it is just as wonderful as it sounds.
Now I have already recently written about Simple Minds when mounting a defence of the sometimes neglected “Once Upon A Time” which would be released three years later but during the course, I admitted my love for this album above all their others – indeed it figures in my Twelve That Travel list which features in the main menu – and said that if they ever got round to a new version and box set I would be unstoppable in wanting to write about it.
Now I have to admit, I have versions of this album from each of its releases. I’ve had it on cassette, CD and then remastered version and I have a beautiful version in marbled gold vinyl to complement the striking cover. – which is one of my favourite, if naturally unplayed, pieces of my collection… together with the singles in all their various formats – picture discs, remixes and poster bags.
Every single piece of this album’s construction screams attention to detail – from packaging, to design to sonic creativity.
But then that was always at the very heart of the album.
I had the pleasure of seeing a later version of the band perform the album in its entirety and you easily realise what a complete work it is. It is therefore, a wonderfully difficult album to deconstruct as it it fits together so seamlessly, with each track blending beautifully into the next, creating a textured soundscape that makes me suggest this is the best album Brian Eno never made.
It is interesting because Simple Minds previous work was patchy and heavily took its influence from Bowie’s Eno-produced Berlin trilogy, which (and I appreciate this is sacrilegious now) could be quite unlistenable in parts.
Yet when I listen now to the composition and delicacy of this album it resembles far more those other titans of Glam Art – Roxy Music. It shimmers and beguiles as a recording with its esoteric themes and subtle hooks. From the opening bars of “Someone Somewhere (In Summertime)” where you are immediately transported to some ethereal world from which you will not return until the closing shudder of “The King Is White And In The Crowd”.
This album becomes the culmination of everything they have been searching for over their previous recordings and the journey is there for all to hear. Its seamless nature seems to echo the trajectory of their deliberate search. A true musical quest.
Jim Kerr’s voice is used like another instrument as it changes pitch and depth to the surroundings that his musical cohorts set up and each of them introduce tiny flourishes that continually build interest into every single track. It never slackens. The triptych of “Colours Fly And Catherine Wheels” (fizzing like its title) then “Big Sleep” and the side one closer of the curiously Balearic instrumental “Somebody Up There Likes Me” evoke all the classic elements of the album and form a riveting centrepiece , while “The Hunter And The Hunted” has the added bonus of Herbie Hancock (yes that Herbie Hancock) putting a suitably jittery keyboard solo in to close.
Really it all begins with the first single, “Promised You A Miracle” because, although the album sounds entirely seamless, was recorded nearly six months earlier as an on-tour session. In the box set, you can hear its very first outing – before it was recorded officially – on the Kid Jensen show. However, it marked quite a change in the writing style for the band and in their fortunes, becoming their first significant hit and its richness combined with a more mainstream sensibility laid down the blueprint for the entire recording.
It is still a powerful blast from the past and captured that nexus of new romantic and futurism of which they and The Associates were probably the greatest exponents. It is dark, curious and has every instrument delivering something new every time you listen.
The follow-up single “Glittering Prize” manages to the follow the plan without becoming formulaic but really the album’s pinnacle is the title track, “New Gold Dream (81-82-83-84)”, which really has taken on a greater resonance with the new remaster. I say this because whilst it is an album very much of its time, it has lost none of its impact. It is almost the very representation of the Holy Grail depicted on the cover. It soars and swoops and you ride on its back. It almost never appeared as Jim Kerr was only able to drop lyrics in at the very last minute and yet it sounds like it spent centuries being marinated.
It really is a new found highlight.
Much of the enduring success should perhaps be given to Pete Walsh the producer who was fairly inexperienced and until then had only really engineered but most significantly on one of the previous year’s highlights the equally commendable “Penthouse And Pavement” by Heaven 17. There is so much depth and layering that the album never loses its bite.
Simple Minds may not have access to Presidents and may no longer sell out stadia but what U2 would give to be able to say that they had produced an album as defining as this – they were so influenced by it that they began their relationship with Eno for “The Unforgettable Fire” and “The Joshua Tree” which was possibly as close as they came but they both lack the completeness of the Holy Grail – the sound Simple Minds spent four albums trying to find.
And here is where it all came together perfectly.