Surfing With Style On the Big New Trend

Moody, miserable and sneering like Billy Idol, top man of the Boomtown Rats was the vastly opinionated and occasionally angry Bob Geldof. After forming his band in a small, tired town near Dublin, Ireland in europe in 1975, he led the way for the era of meaningless new trend. With Arthur Fingertips on computer keyboard, Simon Crowe on drums, Pete Briquette on largemouth slot online bass, these were joined by Gerry Cott and Garry Roberts on various instruments, they originally called themselves The Nightlife Thugs. Thankfully after reading Woody Guthrie’s ‘Bound For Honor, ha they changed their title to the name of a team mentioned in the story.

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The highlight of their relatively short career was with the release of this 1979 album, ‘The Fine art Of Surfing, ha heralding the number one single, ‘I Don’t like Mondays. ha The late 1970’s saw the blend of punk the other like senseless pop. Various instruments were juddery and lacking in talent and the songs were fast and jumping with little tune and virtually no largemouth bass. The lyrics were meaningless and shallow yet somehow catchy enough for this strange type to take off, albeit, rather quickly. New trend was a loosely based term for anyone who had a winner after the mid 1970’s other than disco or glam rock. Guys in suits and clean hair cuts, the image visualised new trend in television characters such as Mickey Pearce in mere Fools And Horse. The side off new trend eventually was Ska which, fundamentally was the blend of beat and reggae. It was new trend that was the fore athlete of Ska but using Mersey beat’s low themes and American pop rock. Bands rarely made it through from this type to survive into anything else that followed. The best example of success was probably with bands like U2. Vocals were strained and tuneless and most leads appeared as thought these were suffering from a cold. Short lived, it actually was quickly outdated and many bands faded out just as quickly. It was Ska that seemed more survivable.

Geldof took the right course of action. Perhaps realising immediately that the band were going to be short lived, he extended his morose identity into a political pose thus making him the ultimate missionary for all of the human race when the music failed. This album marked the end of their career although other pictures followed in moderate fashion, they featured more middle of the road pop rock. The band split in 1984 and Geldof fallen softly into the shadows of the music industry and into his obsessive involvement of saving the world from lower income.

Since moving the entire band to a hired local authority or council house in Chessington, Surrey in 1976, they released four below average singles before having their closed fist number 1 hit with ‘Rat Trap’ in April 1978. It was to be the very first introduction the listening public had to new trend. It was their only other number 1. Geldof, already an ex MNE journalist, had enough to say about the state of the music industry, thus fuelling his capacity to write robust, strong minded songs. ‘I Don’t like Mondays, ha was based on the true story of a You. S girl, Brenda Spencer who went on a shooting spree killing two people and wounding another nine; sort of Hungerford style rampage years before the British maniac. The day she set out on her ‘day out’ was a Mon and in her horrible support, she gave the grounds behind her robot-like killing as ‘I don’t like Mondays.. ha

Published by Geldof, the first on top of the album is ‘Someone’s Looking at You, ha and the gentle beginning has us thinking about another band entirely. Released as a single in Economy is shown 1980, it reached number 4. It was an introduction to the great forces that were new trend. Geldof’s vocals are squeaky and sprained in a Toyah Wilcox style. It is understandable when listening to the opening of this album that their influence was felt by Blondie, and others. Perhaps I am surprised as to how enjoyable this track is. With the same equalled quality to either of their number ones, we really should not be thinking any differently that any band lead by Geldof is going to be less than average. The same opening line also ends the track, a solitary, ‘On a night like this, I deserve to get kissed at least one time or twice… ha It has an immediate dance floor situation of an awkward teenage party. It was about getting ratted on Party Seven and smoking a fag between ten of you. All greasy hair and chequered jackets with shoulder pads that no one actually needed. The songs were about pretty girls in piggy tails and frilly dresses looking all sweet and innocent. We simply remember how Debbie Harry used to dress, so the less said the better… Lovely thumping drums and stuttering ‘S’s, there’s also a fairly rocked up guitar solitary at the break and computer keyboard that sound more at home in a sermon. Very energetic and sets the theme for the rest of this punk activated album. Truly stomping stuff… if anyone out there can remember The Stomp…. (perhaps just me, then… )

‘Diamond Smiles’ is a track based on keyboard, ‘fun fair’ chords. Get ready to clap on occasions in a Mick Jagger pose. Geldof uses his voice as an instrument in this track, he gives it an element of base and forever a feeling of force behind it. We wonder if he ever gave himself a headache after each recording. We can imagine him sprained and contorting his lanky body towards the mic stand with fists clenched in a pleading with pose. Personally I find myself, Geldof was one of the last great characters of pop, and it was likely the last embarassing type of music that allowed such characters to feel welcome. Released as a single in December 1979, it failed to gain anything higher than a number 13 position.

‘Wind Cool down Factor (Minus Zero)’ is a strange opening to this diverse and exciting track. The advantages reminds me of a Bowie/Ziggy track accompanied by ‘Toni Basil’ lyrics were she would squeal her vocals so they really appeared irritating. There is something very Madness about this track, and it is easy to see the connection from new trend to Ska. Wind howls around our heads and the riff of a guitar comes in like a machine rifle. Silly high pitched sounds from the band give it its punk theme, straight into a Ska B side, the support vocals are distorted by the band taking on different voices. Electronic Max Headroom lyrics and OMD drum machine effects make this track hard to categorise. It changes every second along with its ” pulse “. It’s a shame that as this track does a great job in its musical content, the inspiring lyrics are lost in a sea of creative art. We strain our ears for something recognisable. I can hear the electronic sounds of New Order, or at least Joy Division. There is so much happening in this track, that it is literally a delight to be handled by over and over again, ever discovering new sounds and industrial noise. Records don’t have this amount of personality anymore. Tracks became characters of their own, each so individual. We experience in this album, different versions of the same theme. Unlike any other new trend around at the time, we can listen to the unusualness and sheer uniqueness of each track. It is all new trend, but with so many aspects, it is almost hard to maintain. In this track we hear not just music as how it ought to be; a blend and collaboration for many instruments but interesting and fun lyrics. ‘I took the tube train through the subway systems, I rode those tunnels like a six foot mole… ha one doesn’t get to smile of giggle at the words of a song anymore. The records of today have become gloomy… this became the last time music was fun and enjoyable…

‘Having My Picture Taken, ha is a classic example of such past records that if the subject was on something summary, then it was accompanied by sound affects. This track is complete with photo presentation area sounds with clicks and musical sensations of a standard SLR CAMERA We now start to see a pattern in Boomtown records in the sense that they are themed from start to finish. Every second is there to be listened to, even the click and wise crack at the very end. A concept that is also lost in records of today as no one listens to a song from needs to very end. We can appreciate The Boomtown Rats for such coming in contact with effects. It is these things that we probably remember when Geldof is stamping his political mark on the news, but the question is, does he?…

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