The return of the blog has led to the inevitable return of me writing about The Fall in more extensive devotion and detail than any other artist could dream of. Of course, The Fall in Fives/YMGTA blogs have somewhat rendered attempting to write about The Fall in any comprehension a task now obsolete, but still! I have the excuse of being the youngest Fall fan I know by a couple of decades, so there’s my USP :-).
This series is simply going to be a list of my favourite songs for every five years of The Fall. There will be some omissions as I’ve written plenty in the past about particular songs, but luckily the discography is so huge there’s another (approximately) 480 songs for me to choose from.
Early-age Fall is extremely hit-and-miss for me, particularly the first two records. Witch Trials and Dragnet, while holding some standout tracks, are a couple of the more forgettable releases of the repertoire and I don’t find myself going back to listen to them at all. This re-visit may spark a renewed interest, but I think this is an unlikely occurrence.
More likely is a warm re-welcoming of Grotesque and Hex, the first two Fall albums I listened to around three years ago, and I have neglected for quite a while. Other than the obligatory introduction to The Fall via ‘Mr Pharmacist’ or ‘Totally Wired’, ‘Pay Your Rates’ was my real entry into the Fall-o-sphere, opening a new realm of post-punk wonder to me.
For my previous Fall related ramblings, you can find all I’ve written via the Artist Index, and you can also follow my ‘Fall for The Fall’ playlist on Spotify here. 181 songs, chronologically arranged, and all wonderful. Eagle-eyed readeras will see that seven of the eight tracks on Perverted By Language make it onto the playlist, making this whittling down of tracks an even more difficult task for this post.
The songs listed are not exhaustive, but having had a relisten of the albums and related singles, these are the tunes that have always stood out to me. Notable omissions can be found at the end of the post.
Is Mark actually saying any words? It’s hard to tell. But the force behind each shouted drawl is brilliantly urgent above the simple riff. Even better is the production of the vocals themselves, the echo encapsulating the song providing an extra hit of demented-ness. Minimal effort is given to the backing of the song – simply a recipe of grab a catchy hook and stick with it – and ‘Pyscho Mafia’ executes the formula wonderfully. The ‘outro’ (high pitched guitar strums lasting around 10 seconds) is a little bit lacking in extravagance of any sort, but I’m sure that’s the point. An excellent two-minute punk hit.
This is, for me, probably the most ‘complete’ song on Witch Trials. I think Witch Trials suffers from two main flaws – firstly, the overdoing of the drums, and secondly, Mark trying a little to hard to stamp his authority on the ‘-ah’ sound ending on every word. ‘Jukebox’ seems to avoid these shortcomings, and Mark’s tone seems more emotional and more fitting than others on the album (I know this might not go down well with some of LATWT’s more ardent fans; I can only apologise). The result is a song that offers a sort of darkness that doesn’t overbear the listener while also maintaining a solid pace and bounce.
A brilliant track all round. There’s a greater assuredness compared to Witch Trials on Dragnet, and ‘Psykick’ is a central exhibit of this. Smith sounds more confident and a lot less gimmicky with his vocal tone, while the developments of song are more thought-through and inventive.
One comment to make about Dragnet is that the quality of recording is, at times, extremely shoddy. While The Fall are grafted and heralded for their artistic carelessness and wilingness to leave rough edges rough, I feel that the songs do suffer. ‘Printhead’ is an excellent track – fast, powerful and pacey punk. This was a track that really, really grabbed me in my early listenings. It didn’t try too hard to be something, it was just genuine and shameless. I just wish the recording and production was less muffly and the sound of each instrument was a little more pronounced. Still though, an absolute stormer.
Better quality recording, better quality lyrics, better quality Fall. ‘English Scheme’ was the first Fall song I loved for it’s ‘Fall-ness’. I loved the line “The clever ones tend to emigrate / Like your psychotic big brother who left home“, the cheap sounding keyboard that Marc Riley insisted on being included, and the new speak-sing tone of Smith. In all honesty, I just thought it was a really funny song. Yet it’s still got enough urgency to it to nod your head along to, and is a truly memorable track.
The Container Drivers
A bouncing rockabilly beauty. The start of it is abrupt, swiftly following on from the more conservatively paced ‘C ‘n’ C-S Mithering’ (also a great track) without any prior warning with a machine-gun drum roll before entering into a rough 12-bar-blues number. It’s simple but effective, and holds enough idiosyncracy to detach itself from any inkling of being a standard blues track.
Prole Art Threat
Talking about machine gun drum rolls, have this one for two minutes straight. It shouldn’t work as a track, it should be utterly unlistenable (well, The Fall are to most), but this is such a powerful track. The descent into the main section midway into the song which sees all instrumental sections join fully is a triumphant moment of early Fall. I wish it went on for a tad longer, but that is not to take away from the sheer authroity of this track at all. A stupendous composition.
Jawbone and The Air-Rifle
I had a huge phase in my early Fall ventures of just listening to ‘The Classical’ and ‘Jawbone’ over and over and over, leaving the rest of Hex utterly neglected. The speed of this song is relentless, yet I find the more restrained singing from Smith and co. an excellent contradiction in sound between themselves and the instrumentation. Furthering my appreciation for this song was that, when playing this around 3 years ago, my Mum informed me that she, though not a Fall fan to any degree, loved this song and remembered my uncle listening to it a lot growing up. I had every excuse to play it however many times I liked after that. Play it I did, and play it I still do.
As if my Mum wasn’t cool enough, upon hearing this track around the same period as ‘Jawbone’ she told me about ‘Hip Priest’ featuring in The Silence of the Lambs, and also regarded this as one of her favourite Fall tracks growing up. It took me a long time to appreicate this track – I think I found it discomforting and a little dreary. Like any Fall track you have an issue with, however, you realise that the inaccessibility is the reason why you’re listening in the first place and the reason why you’ll inevitably fall in love with the track, no matter how long it takes.
It’s a creeping, lurking number, invading the space with a sinister disregard for any innocence. When you think it’s going to get you with a ‘Hip, hip, hip, hip’ it quickly hides again. Once it does get going, however, it’s inescapably brilliant. The guitars are gloriously ramshackle, and Hanley’s bass dances freely in the chaos. A quintessential number.
Neighbourhood of Infinity
An all-time favourite of mine, ‘Neighbourhood’ is made by the two-drummer line up, utilised with devastating effect for the duration of the track. On top of this lies Smith’s emotionless rambling, which moves in and out of the backing seamlessly. My one and only criticism of this song is that it doesn’t go on long enough at all, even with ‘Eat Y’self’ and ‘Garden’ on either side of the track listing.
I Feel Voxish
For me, this song is the most clear evidence of The Fall as a crusing, confident and careless band. Perverted By Language seems like a crystallisation of five years’ work in the studio to achieve the ‘Fall Sound’ (if you will) before Brix’s steering to new domains, and ‘I Feel Voxish’ is the centrepiece. The guitar riff is weird and ill-fitting for normal ears, but the way it works itself into place alongside the grooving bassline is magnificent, while the insistence of the drum track to not change *a bit* adds to the aforementioned carelessness of ’83 Fall. Solid.
This section will exist on every article of this series. Obviously, a selection of 12 songs over five years will not cater to everyone’s needs (including my own), but having written about many before and also liking too many to be able to mention properly, this section is the natural compromise.
Witch Trials: Frightened, Industrial Estate, Two Steps Back, Music Scene.
Dragnet: Your Heart Out, Spectre vs Rector
Grotesque: Pay Your Rates, New Face In Hell, C ‘n’ C-S, In The Park, NWRA.
Slates: Middle Mass, Fit and Working Again, Leave The Capitol.
Hex: Every other track.
Perverted By Language: Every other track. Best Fall album.
Non-album: Bingo Master, Repetition, Rowche Rumble, Fiery Jack, Elastic Man, Totally Wired, Fantastic Life, Wings, Ludd Gang, Kicker Conspiracy.