Watch The Colours Fly...... (New Gold Dream (81-82-83-84) - Simple Minds)

Member Name: sam1942

Product:	New Gold Dream (81-82-83-84) - Simple Minds
Date:	21/01/06 (184 review reads)
Rating:

Advantages: Ground breaking, front running album in new wave pop

Disadvantages: Dated by todays standards

Summer 1982 saw the band better known as Simple Minds release an album that, it is said, they have not been able to match since. ‘New Gold Dream’ was to be the strengthening album in which the band finally found their unique brand of collaborating synthesisers with more synthesizers and extending Jim Kerr’s haunting vocals to generate a sound that marked an era in which early new romantic eighties music became an historical event.

Simple Minds’ beginnings where not unlike any other band of that time, although it is surprising to find that they have been around longer than you think. Formed in 1978 in down trodden Glasgow, their roots had been unmistakably punk. After a succession of flatly received gigs at the strangely titled ‘Mars Bar’ in their hometown, they finally released their first album in May 1979 entitled ‘A Life In The Day’. It was received rather gingerly buy the critics and the public and failed to make the top twenty albums. Their second album sixteen months later, ‘Empires And Dance’ which brought their smallish audience a taste of Simple Minds to come. At this point they had decided to experiment with different styles. Leaving behind their punk roots abruptly due to the fact they probably knew it wasn’t going to get them anywhere; they took to electronic sounds with synthesisers and drum machines. Because Kerr’s voice was practically an instrument within itself, it was easy to create his own sound simply on the strength of his echoing, mystic voice.

It was on ‘Empires And Dance’ that they created their disco hit ‘I Travel’ and it became a huge dance floor record. They followed this success with two more albums one hit; ‘Sons And Fascinations/Sister Feelings Call’ and one flop; ‘Celebration’ but it was until the timely release of ‘New Gold Dream’ that flew to number three in the album chart, that we heard a finer, more polished and altogether accomplished album.

Spending a massive fifty-two weeks in the chart, it was no wonder that they didn’t feel the need to release anything for another two years. What we heard from this album was by each track in turn, watered down versions of all the experimenting they had produced previously.

It was no surprise that ‘New Gold Dream’ was such the success that it was. They had already released onto our ears enough over the recent years to gather the experience they need to produce such a ‘coming of age’ piece of work. It was also with this album, that they found the very much-opened door to the States.

Throughout this album, and probably going unnoticed to the untrained ear, the band actually used three drummers for nearly if not all of the tracks. It was this idea that elevates each track onto a new wave plane. Their use of ‘surround sound’ of fading synthesisers in and out to blend beautifully with Kerr’s drifting lyrics prove that Simple Minds were not just a band but a creative, imaginative and inspirational machine prepared to take our ears and our minds to worlds beyond normal comprehension, yet at the same time showing us pop in its basic, money making form with simple a drum machine, jittery guitar riffs, hardly making any dent at all yet just enough to let Kerr’s incredible, unfailing voice carry the track as far as it needed to go.
Only nine tracks are on the album. Three of these tracks were the quality of Simple Minds being pop stars. These were ‘Promised You A Miracle’, released April 1982, ‘Glittering Prize’ released in August of the same year, and ‘Someone, Somewhere In Summertime,’ released in November, again in the same year.

What had surprised the public was of the comparisons that the critics made of U2 and Simple Minds due to the fact that they were creating the same sound at the same time. It was pure coincidence as they were just two bands experimenting with styles and sounds to fit them, and I think that the comparisons should stop there.

Personally, I feel with this album that its expressive quality, which enriched it with wealth beyond the dreams of any artist at that time and was not for the ‘hit’ content but for the experimental tracks that appear. These are pure gems of genius. We are presented with tracks that should have been hits themselves.

Track one is the rather famous ‘Someone, Somewhere In Summertime’ a pop anthem of the early eighties era. It has a plodding beat to it with a repetitive guitar riff. Kerr’s voice already has bolt upright, hanging on every note and us enthralled. With its fait share of crashing cymbals and quick timed riffs, it is understandable why it was a chart hit for them, but its nothing of the real creational Simple Minds.

Track two opens and we hear the foot tapping drums of Brian McGee. The track is titled ‘Colours Fly And Catherine Wheel’. (A sort of a made up, don’t what it means type title.) It’s this drum beat that keeps the track together coupled with a guitar riff that creates the idea of a shooting star fading across the sky. Kerr’s voice is deep and controlling. The lyrics are simple and repetitive, but Kerr has an ability to make singing them into an art form.

‘Promised You A Miracle’ was another big hit, and in between the peculiar, spiritual creations we are landed back to Earth with the odd chart breaking single, as this is one of them. Again, just like the first track, its Simple Minds making money.

‘Big Sleep’ is the first of the three next tracks that should be listened to and digested and I defy anyone to come up with a Simple Minds collection better than these next three. A short, synthesizer melody it’s picked out by one hand rather like someone idly mucking about on a keyboard. Kerr bellows out his vocals to a hard, pounding drum machine. The keyboard continues its playful jingle throughout the track. Occasionally we here a twang of guitar Charlie Burchill, but it’s the soaring themes mastered by the keyboard of Michael MacNeil that swarms and circles up and round in the air designing pictures and musical landscapes. With this in mind we prepare ourselves for one of the best and least known tracks on the album…

The eerily titled ‘Somebody Up There Likes You’ could be seen as a piece of artwork to warm the soul not unlike a painting in front of us that it’s pleasing to the eye. It is an instrumental creation that truly lifts the imagination of its listener. It shimmers through our ears like stardust, its soaring guitar riffs sound not unlike a masterpiece from the depths of Pink Floyd. It holds a ticking drum beat, soft and unassuming and just lets the haunting guitar float freely around where its pleases. A unique piece of work that will be played over and over again, yet the listener will never quite know why…

Our title track is the total opposite. This album it’s beautifully edited, and I think that’s a good part of why it’s was such an exceptional album. ‘New Gold Dream 81,82,82,84’ is thunderous in its comparison to the previous track. Kerr is at his haunting, ghostly and darkest moment. (Wonder what the concept of Kerr fronting Sisters Of Mercy would have been like?!) Considering our front man Kerr has been married to Chrissie Hynde and Patsy Kensit, it is easy to see what the attraction for these ladies was. His voice, powerful and domineering is engine that drives Simple Minds. It’s hard to imagine the band without him. Probably just as bad as Van Halen without David Lee Roth…. But that’s another review…(!)

Track seven is the very famous, and appears on any SM hits album, ‘Glittering Prize.’ I have to say that despite its promising title, its not, I feel producing the same strength as any of the other tracks on this album. Its true to say that it holds all that is Simple Minds; deep vocals, perfectly organised synths, drum machine etc, but its is because it comes across as being too ‘pop’ polished. A hit, regardless I feel, but it seems to lack the creational qualities that we are now learning to hear and what we know understand the band are capable of.

‘Hunter And The Hunted’ does certainly contain a certain Kerr spirit within. Not an entirely tuneful track at first but Kerr’s deep voice is so incredibly low in places that perhaps only creatures at the bottom of the ocean know what he is singing about? It has a slight disco feel to it, a little reminding the listener of ‘West End Girls.’ The accompliment is feminine a gentle with its tingle of bells and triangles, a short burst of the wonders of McNeil’s keyboard and we are thinking of something not short of ‘Supertramp.’ It’s a track with a hint of magic in its concept. It seems to sparkle a touch of glamour into this album.

The last track is titled ‘King Is White And In The Crowd’ (whatever that means) and opens rather like a Gary Numan track. It’s packed in quite readily with synthesisers at the start. That’s the trouble with this track, I think it takes to long to get going and then when it does; it drifts off back into the same loop of drum and guitar. We are a little taken by surprise when McGee is momentarily offered a pair of drumsticks and then obviously has to hand them back again. Kerr decides to take his vocal for a quick run round the block. He shouts and cries sporadically. It’s a peculiar track that incorporates crashing drums towards the end but without any other instruments joining in with the fun. The drums are out on their own and it sounds out of place. It is a track that does fill the job as being the finishing item and even though it doesn’t come together at any stage to create any depth or character, it does seem to fit.

The listener has to remember that this was a groundbreaking album at the time, not just for Simple Minds but it inspired those around them. Naturally dated compared to today’s styles and sounds, it still holds a place in the inventive era of the eighties, and to a certain generation it will always have a place in the all-important record collection.

Summary: Simple Minds, I don't think has been able to better this album since.