Five Things: Wednesday 29th May
May 30, 2013 by Leave a Comment
Wayne Miller died last week
Wayne Miller was one of the less famous names at the legendary photo agency Magnum. When we were looking for a cover for our album in 1986, to be called South, we were determined not to have ourselves in the frame. Our first single had used a Weegee photo of a burning building, and we liked the anti-80s feel of black and white photography. In the mid-80s every cover seemed to have sharp pinks and hard yellows and glossy, overlit faces shining out.
Wayne Miller was one of the less famous names at the legendary photo agency Magnum. When we were looking for a cover for our album in 1986, to be called South, we were determined not to have ourselves in the frame. Our first single had used a Weegee photo of a burning building, and we liked the anti-80s feel of black and white photography. In the mid-80s every cover seemed to have sharp pinks and hard yellows and glossy, overlit faces shining out.
We were looking for a photo that summed up the feel of a record recorded partly in the Alabama heat of Muscle Shoals, and found it in the book that accompanied Ed Steichen’s famous Family of Man exhibition at the Museum of Modern Art in 1955. The photo we fell in love with was of a couple in a clinch. It was part of a series taken in 1949 of migrant workers – cotton pickers – in California. We thought that the intensity and intimacy was something to behold. There’s another wonderful image in this series of the same couple, the man sitting disconsolately on the bed, with the woman lazily fiddling with her nails. I’m still not sure how we convinced anyone to go with this approach, but we did. Of course, the record company could probably point to the cover having something to do with the paltry sales of the album… The type is cut out of some posters that we had printed by Tribune Showprint, of Earl Park, Indiana. You can read about the rather great Mr. Miller here. If you’re curious, more on our failed career here.
The Clash interviewed, The Guardian
Paul Simenon on musicianship: I’d become musically more capable. I could take off the notes that were painted on the neck of my guitar. But then I did make a mistake in being really confident: I went for one of those jazz basses that didn’t have frets… and when it goes really dark, and you can’t quite hear what you’re playing, it suddenly sounds like you’re drunk. So I said: “You know what? I think I’ll have the frets put back on.” I got a bit carried away. I thought I was getting quite good, but I got a big slap in the face.
…and on presentation: A lot of the looks were down to financial problems. Everyone in those days wore flares and had long hair. So if you went into secondhand stores, there’d be so many straight-legged trousers because everyone wanted flares. That instantly set you apart from everybody else. And also there was another place called Laurence Corner… Mick Jones: Selling army surplus…
I work along the road from where Laurence Corner was, and still fondly remember the green Army Jacket I bought there. Now there’s a chemist in its place, but they’ve put a nice plaque in the window…
That Difficult Second Album
Sexual Healing, Pamela Stephenson Connolly’s sex therapy column in The Guardian: “My boyfriend talks too much during sex. We’ve been together for a year and recently he’s started talking to me while we’re intimate. At first it was everyday stuff like what he wants for dinner but then essentially he began ranting. Do you know how hard it is to climax while listening to someone talk about how many bands have produced “disappointing second albums”? I don’t know if I can go on like this.”
Rolling Stone’s Bob Dylan Special
No professional manicures for Bob…
Stephen Collins’ strip, Guardian Weekend
Still, his wonderful anti-Mumfords bandwagon rolls on…
Not room this week for Sam Amidon at Bush Hall, intriguing, strange and moving in equal measure. More next week…
