SIMPLE MINDS: Street Fighting Years (ROCK): review / opinion to read on Music Waves

At the end of the '80s, Simple Minds had the wind in their sails, even if their friendly duel with U2 was clearly to the Irishmen's advantage. Nevertheless, with "Once Upon A Time" (1985) and "Live - In The City Of Light" (1987), the Scots had made their mark, imposing their mix of Rock, Pop and New Wave. With U2's "The Joshua Tree" (1987) and "Rattle And Hum" (1988) back to back, the new opus from Jim Kerr and Charlie Burchill's band is eagerly awaited. To rise to the challenge, they didn't hesitate to hire producers Trevor Horn and Stephen Lipson. However, this collaboration led to considerable tension, resulting in the partial exclusion of Mel Gaynor (drums) and John Giblin (bass), who were only credited as guests. Substituted by the likes of Manu Katché and Stewart Copeland (Police), the former (Mel Gaynor) quickly returned to the official line-up, while the latter (John Giblin) was replaced by Lipson himself during the recording process.

The other consequence of the mood within the team during the recording was the assertion of the predominance of Jim Kerr and Charlie Burchill as the band's leaders, with only Michael MacNeil managing to impose himself in the composition process. But even if it was a painful birth, this new opus is nonetheless a true masterpiece, surprising everyone with the artistic evolution it represents. Indeed, from the very first notes of the eponymous title track, the mood is set: a calm double-bass introduction, ethereal tones, calm, deep vocals, luminous guitars and a structure that flirts with the progressive through slight changes of theme. This is a far cry from the instantly catchy tracks of previous albums. Reflecting an introspective approach on the part of its authors, the ambience remains broadly within the criteria defined by this opener, and even the most dynamic tracks don't escape tempo changes and breaks that prevent them from being obvious from the first listen ('Wall Of Love', 'Kick It In').

If 'Oh Jungleland' ("Once Upon A Time" - 1986) or the cover of Steven Van Zandt's 'Sun City' on the last live album already revealed a committed, protesting band, this component is fully assumed here, dealing with the Northern Irish conflict through 'Belfast Child', which takes the melody of the traditional song 'She Moved Through The Fair' but modifies the lyrics. Apartheid is also addressed on 'Mandela Day', with its simple, repetitive structure and trance-inducing chanted chorus, or on the cover of Peter Gabriel's 'Biko'. The use of numerous folk instruments also proves to be a means of assuming a quiet strength, preferring the flights of keyboards and the contribution of Lou Reed's deep voice ('This Is Your Land') to superfluous technical demonstrations. Spiritual elevation is fostered by long, atmospheric, melancholy tracks ('Let It All Come Down'), or by the intermingling of keyboards, guitar, bass and violin ('This Is Your Land'), even ending with a bagpipe-driven instrumental.

While each track merits attention, it's impossible to launch into a detailed analysis without becoming boring, a sentiment that would not reflect the quality of this work. Simple Minds touches on the sublime here, while taking the risk of a possible commercial failure to further its artistic development. Each listen brings new discoveries, while continuing to lull the listener into a marriage of melancholy, gentleness and resilience. - Official website

SIMPLE MINDS

STREET FIGHTING YEARS

A&M

ROCK