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I’ve given this a fair bit of thought, but in the end come to the conclusion that Side A of my Prefab Sprout Imaginary Compilation album has to be identical to Side A of the band’s sophomore album released in June 1985.  In the UK and most other places the album was called Steve McQueen but in the USA it went by the name of Two Wheels Good thanks to a dispute with the estate of the late American Actor.

If pushed, I’d probably say that Side A of that album is my favourite half-record of all time. That may sound like a strange thing to say – and it’s not that the songs on the b-side don’t do anything for me – but I just feel that we were provided with six timeless works of art, sequenced in the perfect running order, and which are among the best bits of music that the band, and/or Paddy McAloon in his solo guise, ever released.

What this does of course is turn this particular Imaginary LP into a 12-track effort as its B-side has to offer a proper balance.  But what to go for? After all there are other songs on the flip side of Steve McQueen that are more than worthy; likewise just about everything on debut album Swoon 1983 and there’s quite a few tremendous songs on each of the four albums released between 1988 and 1997 – I haven’t bought any of the releases since then so can’t offer any observations about them, although just about everyone else I know who are fans of the band have raved about 2013 LP Crimson/Red, But for what it’s worth:

SIDE A

Faron Young, Bonny, Appetite, When Love Beaks Down, Goodbye Lucille #1, Hallelujah

The early 80s was a great time to be a follower of new music in the north-east of England. Indeed with bands such as Hurrah, The Kane Gang, Prefab Sprout and Martin Stephenson & The Daintees all on the Newcastle-based Kitchenware Records, there was a scene that wasn’t that far removed from Glasgow and Postcard Records of just a few years previous.

It was Prefab Sprout who turned out to the most commercially successful of the acts, thanks in the main to the songwriting and tunesmith talents of Paddy McAloon, but also to the marketing men who pushed hard until the elusive breakthrough hit emerged.

The band came to prominence in 1982 with a couple of singles that were hits on the indie-chart, as well as a 1984 LP Swoon (short for ‘Songs Written Out Of Necessity’) that was well received by the critics.

By now, although the records were still coming out on the Kitchenware label, Prefab Sprout had the might of CBS Records behind them, and the band was pushed into the studio with a big-name producer for an album that was intended to be released in 1985.

There were many who predicted a disaster. McAloon was a fairly shy laid-back individual who was seemingly being put under immense pressure to deliver something that justified the large contract signed with the major label. There was also the fact that despite Prefab Sprout being a band known for melodic, acoustic-based songs, the producer was the electronic pioneer and chart-act Thomas Dolby, and no-one could imagine any chemistry between the two.

Against all the odds, a masterpiece emerged.

The first hint we all got was the release of a single – When Love Breaks Down – which kept all the majesty and magnificence of a McAloon tune but had some beautiful bits added courtesy of keyboards that were clearly the work of Dolby. Despite this, the radio stations didn’t really pick up on it, and the single failed to trouble the charts.

The album came out soon after. It had the strange title of Steve McQueen.

I thought at the time it was bloody marvelous. And I still do and I will argue long into the night and right through the next day after the sun has come up that Side 1 is perfect; the CBS record bosses obviously thought so too, choosing to release four of the six songs as singles.

With the exception of the opening track, which is a tribute to a long-forgotten country & western singer and chugs along like an express train being driven by Casey Jones, it is not an album to get up and dance to. Instead, it is one to wake up with on a Saturday or Sunday morning if you’ve had a memorable time the night before and take great joy in life itself.

mp3 : Prefab Sprout – Faron Young
mp3 : Prefab Sprout – Bonny
mp3 : Prefab Sprout – Appetite
mp3 : Prefab Sprout – When Love Breaks Down
mp3 : Prefab Sprout – Goodbye Lucille #1
mp3 : Prefab Sprout – Hallelujah

SIDE B

Don’t Sing (from Swoon, 1984)

I have no idea why this very jaunty opening track on the debut album has the title of Don’t Sing as those two words don’t appear anywhere in the lyrics.  Instead it seems to follow some sort of bizarre and crazy Spaghetti Western script with outlaws and whisky priests getting into all sorts of trouble….but whatever is taking place on no account have they to put any blame on Mexico.  Wonderfully catchy and surreal with a fabulous harmonica solo thrown in for good measure

Cars and Girls (from From Langley Park to Memphis, 1988)

The second half of the 80s were strange times for Prefab Sprout.  There was near universal praise for Steve McQueen in 1985 but the intended follow-up for the next year was shelved, only appearing in 1989….by which time they had unexpectedly enjoyed a Top 10 hit thanks to a very catchy but ultimately annoying chorus about hot dogs, jumping frogs and Albuquerque – anyone who bought parent LP From Langley Park to Memphis in the hope of finding a few more like The King of Rock’n’Roll in there would have been in for a shock.   The nearest would have been the earlier lead-off single which had reached #44  – I love Cars and Girls as much for the fact that having been subjected to intense record label pressure to come up with a catchy hit, McAloon delivered a blasting critique of the label’s biggest selling star without the bosses seemingly catching on……

Lions In My Own Garden (Exit Someone) (single, 1983)

This had first come to prominence as a self-financed release on Candle Records in 1983. In an era of a number of very clever wordsmiths fronting gentle-sounding guitar bands, McAloon clinched the crown as the cleverest of them all thanks to a catchy sing-along number that seems to make no sense whatsoever until someone whispers in your ear that the first letter of each of the words in the title spell Limoges, the city in France where the writer’s girlfriend had moved to live, breaking his heart in the process. All over a tune that was as Postcard-era Aztec Camera as any fan could have wished.  The Peel Session is included here for novelty value as much as anything (and because it lets me use more brackets – and I like brackets!!)

We Let The Stars Go Free (from Jordan : The Comeback, 1990)

Prefab Sprout hadn’t toured in five years but took the decision to go out on the road in support of their 1990 opus which had more than enough songs to have been a double album.  It was a brave move that backfired somewhat as the songs on Jordan : The Comeback being rich in arrangement across a range of genres and relying heavily on the tricks of the studio didn’t fare all that well in the live setting, even at a venue as sympathetic as Glasgow Barrowlands. The experience put me off the album somewhat and I didn’t listen to for a long time after, but there’s no denying that this, which was also released as a single, is as dreamy and ethereal as pop music gets (apart from perhaps Desire As from Steve McQueen which almost made it on at this point)

Life Of Surprises (from Protest Songs, 1989)

This was the album originally recorded and intended for release in 1986.  It’s still not clear whether the band themselves abandoned the project – some of the songs have more of a demo than fully produced feel about them – or whether the label just felt it had no commercial viability and was likely to lose many fans along the way.  The fact that it took another two years for the next album to appear – which as mentioned had a ridiculously catchy and unrepresentative pop single on it – makes me lean towards the latter.  As it turns out, Protest Songs does have a number of well-merited moments, not least this song which would eventually be issued as a single in 1993 to promote the label issuing an inevitable ‘best of’ LP when it became clear that a new full studio album was a long way off.

Real Life (Just Around The Corner) (from NME EP Drastic Plastic, 1985)

Part of a four-track EP given away with the NME in September 1985. This was the only studio recording on the EP as the others were live tracks from The Style Council, Lloyd Cole & The Commotions and The Robert Cray Band.  For a very long time, I was under the impression that the NME EP had been the place where the song had first aired but the rise of Discogs, with its encyclopaedic approach to the various releases reveals that it was in fact on one of the 12″ versions of one of the three separate releases handed to When Love Breaks Down.  The fact that I have two versions of the single but not the one containing Real Life will hopefully be an acceptable explanation for my mistake.

Anyways, Real Life (with its introductory nod to The Battle Hymn of The Republic)  might not be all that much of a stand-out song in the Prefab Sprout canon, but it was one with which I had a habit for a long time of finishing off compilation tapes for all sorts of friends on the basis that I was signing off with what I thought was an impossibly difficult to find track.  I just feel that now I’m dreaming up an imaginary compilation album there can only be one candidate to close off Side B…..but it is one that I think is more than good enough to have you want to immediately go back and listen to Side A which, after all, has the pick of the tracks from that very golden era in the band’s history.

mp3 : Prefab Sprout – Don’t Sing
mp3 : Prefab Sprout – Cars and Girls
mp3 : Prefab Sprout – Lions In My Own Garden (Exit Someone) (Peel Session)
mp3 : Prefab Sprout – We Let The Stars Go Free
mp3 : Prefab Sprout – Life Of Surprises
mp3 : Prefab Sprout – Real Life (Just Around The Corner)

Enjoy

 

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