Glasgow 1978

Ian Cranna - 'NME' 14th October 1979 (UK)

You know that band that everybody's been waiting for - the one that will achieve that magic fusion of the verbal visions of the Bowie/Harley/Verlaine twilight academy with the fertile firepower of the New Wave, that early Roxy Music with a rock 'n' roll heart?

Well, here they are. They're called Simple Minds, they come from Glasgow, and they create not just startlingly good rock music but a whole show, an event, all in their cramped corner of a crowded city pub, the Mars Bar.

There are two basic reasons why Simple Minds are such a devastating prospect, and they're called Jim Kerr and Charlie Burchill.

Highlighted by unorthodox lightning, vocalist Kerr is an extraordinary performer. With blank made-up eyes in a pallid face, he has the hypnotic aura of a man running on psychic energy as he dances jerkily around, intoning his lyrics of urban unease. "Dead Vandals", "Subway Sex", "Better Watch Out" - the titles speak for themselves.

Lead guitarist Burchill alternates between Flying V and occasional violin, providing a melodic but incisive intuitive complement to Kerr's preoccupied lyrics.

But a two-man show this is not. The six piece line-up creates a thrilling, enthralling aural kaleidoscope of searing intros and instant riffs, tuneful aggression and sparing use of effects, brief bursts of disciplined creativity and fiery rhythm work.

Revelatory execution, strong visuals, consistently good material both in busy rockers like "The Cocteau Twins" or the building emotion of their "Chelsea Girl" instant classic.... Already the superlatives are straining at the leash!

Weak points? Indistinct vocals, a jarring lack of presence between numbers, some indifferent pacing - a few rough edges but no real flaws.

Ending as they began with their odd but effective visual motif - a translucent blue head revolving silently in the darkness atop the PA Simple Minds drop the tempo to unveil their piece de resistance, "Pleasantly Disturbed."

As the twisting, turning, eerie epic burns its way home, it's hard to recall the last time I witnessed such an exciting yet thoughful new talent.

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Dundee 1979

Glenn Gibson - NME (UK)

The many people who have stumbled across Simple Minds in Scotland know how wonderful they are. We've known for months that they are more approachable, more mature and much more fully realised than any other This Year's Thing. But here is the dilemma: in these times of global villages, high-powered advertising and so on, language has been devalued to the point where bands described in anything but the most extreme terms are given only scant attention - which can only work against a group as unique and special as Simple Minds.

So be warned: don't blame Simple Minds for the inevitable over-enthusiasm of the media.

Now the over-exicited ravings. Not everyone will appreciate the many subleties of the band. Their sinister, eerily atmosphere music and inscrutible apperance will doubtless be misinterpreted as cold detachment by some. But whether you brought this paper in Euston Menzies or San Fransico City Lights, you'll be reading a lot more about them within a few months.

Since Ian Cranna's review (NME 14.10.78), they have gained confidence, lost a rhythm guitarist, improved western culture with some new songs, signed with Zoom/Arista and should be recording an album shortly with XTC's producer John Leckie, who has travelled here to see them tonight.

Only a few people have arrived in time to stand in awed reverence before a cramped, 18 inch high stage where, even from only feet away, the whole band display impressive charisma and confidence.

Jim Kerr's voice was once described by a Glasgow fanzine, as 'a controlled scream'. But he's learnt fast and now sings with only a soft edge of craziness, and there's something inexplicably French about a voice that's full of fascinating twists.

Only the eyes show anything, a sly, glazed mania. Occasionally a hint of smile evokes creepy, ancient vampire nobility and arrogance. Every detail is subtle and tasteful with this band; qualities virtually alien to rock. I hope enough people can still appreciate something as quietly insidious as this after so much crass exhibitionism.

As Johnny and The Self Abusers they were good enough to have done well. Perhaps we should be grateful to a system which failed to find them until they had grown into something much more than that. Here are the names which will soon be familiar: Jim Kerr (vocals); Charlie Burchill (guitar/violin); Michael McNeil (keyboards); Derek Forbed (bass); Brian McGee (drums).

Which songs to watch for? All of them.

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