From 'In A Hole', the version of The N.W.R.A. is also live from 'A Part Of America Therein'. I guess those two live albums were part of the Rough Trade licensing deal.
By 1993 the magic had already started to wear off and I started to program CDs to reflect "Side A" / "Side B" sequences. Five more years and I would start to kick these shiny little discs out. So.... a Fall compilation CD didn't appeal to me. I mean... I bought this ridiculous Rough Trade Singles box around 1997 because the CDs were a replica of the original 7-inches.
When I was getting into the Fall in the early 90s, these Castle reissues were what finally enabled me to get Grotesque and Perverted By Language. I know nothing about how they were mastered, but I can confirm those two CDs sound great! I never owned this comp, though.
Thanks. Makes sense now. I got those original Castle cd's when they came out. It was good to get my hands on the 2 live albums as they were even scarcer on vinyl than Grotesque, at the time. A Part Of America Therein was doubled up with Slates on the first cd issue. I think these were all needle drops from vinyl on these original cd's. That includes the 'flat transfer' Grotesque which is very punchy and sounds very much like my old needle drops i used to do to Minidiscs. They still sound great when i play minidiscs. The original In A Hole cd has skips from the vinyl it was transferred from. I still have this version. The compilation looks very much like similar ones that you see major labels put out when they acquire the back catalogue of a big artist like Van or The Stones. You get a cheap looking bare bones 'Best Of' or Hits comp a few months ahead of the individual issues, so they can get a quick return on whatever they paid out to get the rights. I think Castle must have decided to get a quick comp out that didn't duplicate the already deleted 'In: Palace Of Swords Reversed' so much. Get some revenue back then release what they had albums wise.
Another couple of compilation contributions that have been glossed over (I think): Theme from Error-Orrori - Home (1990): This was oddly credited not to the band but to its individual members (maybe for contractual reasons?): Mark E. Smith / M. Beddington / S. Hanley / S. Wolstencroft Arid Al's Dream - Volume Four (1992): Volume was a CD-sized magazine that came with a disc full of unreleased tracks. It was uncommonly well-curated for this sort of thing and those discs contain an awful lot of essential stuff that was never rereleased. The band's great cover of Henry Cow's 'War' first appeared on Volume Eight the following year.
Arid Al's Dream is actually listed on the label of the Ed's Babe 12", on the b side as the fifth track. They obviously intended it to be on there at some stage as it would hardly be a printing error, but then removed it to give to Volume.
Why Are People Grudgeful? Released 5 April 1993 on Cog Sinister via Permanent 01. Why Are People Grudgeful? (Perry/Gibbs) 4:27 02. Glam Racket(Smith/Scanlon/Hanley, S) 3:32 03. The Re-Mixer(Smith/Scanlon) 6:03 04. Lost In Music(Rogers/Edwards) 3:49 Mark E Smith - vocals, tapes Craig Scanlon - guitar Steve Hanley - bass Dave Bush - keyboards Simon Wolstencroft - drums, keyboards Karl Burns - drums Produced by: Simon Rogers, Rex Sergeant and Mark E Smith (tracks 1-2 & 4); Robert Gordon (track 3) After being dropped by Fontana the Fall were able to secure a new deal with the Permanent label. An odd choice for sure as it appears before the Fall they were mostly releasing records by past-it folkies like John Martyn, Pentangle and Al Stewart! They didn’t really have much to do with ‘indie/alternative’ pop. I got the idea it was a very low key operation, I knew someone who organised their distribution in the late 90’s and I got the impression it was like a couple of guys putting out records they liked. Whatever, they were able to put out some great Fall records and get them in the shops so that’s all that mattered. This is a fantastic EP. On its own merits it is a fantastic release but like the Free Range single the year before three of the tracks would appear on the album three weeks later, and another was a remix. The edits/mixes are slightly different to those that would be on the album but I don’t really see the logic behind this. Fans would feel slightly cheated in buying the same songs twice and something like Glam Racket should be saved for the album. The title track is the second reggae cover in a row, originally released by ‘Sir Gibbs’ which was Joe Gibbs, from what I have read the original song is Gibbs having a go at Lee Perry. It’s a good cover, not as good as Kimble I think. Techno meets reggae meets The Fall. There can’t be anything more ironic though than MES singing a song criticising people for holding grudges. Glam Racket, like the Smiths ‘Panic’, incorporates a Glam Rock drum pattern and chord structure. Around this time ‘Glam’ was back in favour in the UK with the beginnings of Brit Pop featuring bands mining this musical style and the previous year Morrissey had made a very ‘Glam’ solo album in ‘Your Arsenal’. ‘You are bequeathed in suede, You are entrenched in suede’ seem an obvious dig at easily the most ‘Glam’ of the new bands, Suede, who as Gohill points out above, had supported the Fall the previous year and no doubt their popularity at the time was enough for MES to dislike them. Great track though. ‘Lost In Music’ sees the Fall expand their scope of cover versions yet again with the Sister Sledge classic (who were really the Chic guys with one of the sisters singing). I love Chic and early Chic productions so for me this does not really work, the original is far superior, but it’s a decent cover. I don’t really consider Chic or Sister Sledge ‘Disco’ myself, but many were amused at MES singing what is (wrongly) considered a ‘Disco’ song. For me it’s just an extension of the Northern Soul influence that is present in the group and MES anyway. The Re-Mixer is a remix of the mixer (!). Trying saying that when you’ve had a few. I like the song and it’s a good version, the added lyrics are amusing. On it's own then a great EP but largely made redundant by the inclusion of the tracks on the album to come.
Never heard this ep but since I know 90% of the tracks I'm pretty positive it's great. It''s the prelude to what I consider to be a Top Five The Fall album. "Glam Racket" on the other hand... I love the song but I also happen to love Suede so.... Let me put it like this: MESs targets have become so very predictable. Which is somewhat funny because by that point he himself was on the verge of becoming an even bigger cliché than Brett Anderson could ever be. Pretty positive MES wouldn't like me either if we met. But what the heck....
Funny, directly after posting the above I came across the original 1993 "Infotainment Scan" CD in a 2€ (!) bin. Couldn't leave it there, this is now going to my girlfriend who is not familiar with The Fall at all.
My copies of 'Shift-Work' and 'Extricate' arrived today, the latter appears to be on CDrs rather than factory-pressed CDs. It was shrink-wrapped and appears to be official. A bit of a disappointment!
If you change your mind it's on the Red Box Set that was on Sanctuary (along with other completist items)
Can't really add anything at all the Jim's post on this ep. Agree on all points made in terms of its strong musical merit. A good release, but rather superfluous once you get the parent album.
The Infotainment Scan Released 26 April 1993 on Cog Sinister via Permanent 01. Ladybird (Green Grass) (Bush/Hanley, S/Scanlon/Smith/Wolstencroft) 3:59 02. Lost In Music(Edwards/Rodgers) 3:49 03. Glam-Racket(Hanley, S/Scanlon/Smith) 3:12 04. I'm Going To Spain(Bent) 3:27 05. It's A Curse(Scanlon/Smith) 5:19 06. Paranoia Man In Cheap **** Room(Scanlon/Smith) 4:27 07. Service(Hanley, S/Scanlon/Smith) 4:11 08. The League Of Bald-Headed Men(Hanley, S/Smith) 4:07 09. A Past Gone Mad(Bush/Smith/Wolstencroft) 4:19 10. Light/Fireworks(Smith) 3:46 The CD version included the bonus tracks: 11. Why Are People Grudgeful? (Gibson/Perry) 4:31 12. League Moon Monkey Mix (Hanley, S/Rogers/Smith) 4:35 Mark E Smith - vocals Craig Scanlon - guitar Steve Hanley - bass Simon Wolstencroft - drums Dave Bush - keyboards Produced and mixed by: Rex Sargeant (tracks 1, 4-9, 11); Mark E Smith (tracks 2, 10); Simon Rogers (tracks 3, 12) The Infotainment Scan, or ‘the war against spangles’ as I think of it (It's A Curse - Balti and Vimto and Spangles were always crap, regardless of the look back bores, Paranoia Man In Cheap **** Room – Nostalgia, Spangles, Late to mid 30s, A Past Gone Mad - Serial killers were always a bore in my book, Along with Spangles and soccer books) is a joy from start to finish. Sensibly MES kept this album short (well 40 minutes, which is normal really, but not too long like the preceding albums). It is arguably the best Fall album since This Nation’s Saving Grace, which is saying something, but the overall quality and consistency really supports that claim. This was a ‘fun’ Fall album again, and MES and the group seem rejuvenated throughout. Not an album you have to ‘try’ to get into, just one to sit back and enjoy. Musically the band come up with a great set of tunes, full of hooks and interesting ideas. The guitars get turned up and shine throughout and at the same time the electronics and keyboards are also given prominence, so it’s this delicious blend of strong guitars and electronica which just seems to work. Scanlon and Bush are both on fine form, the guitars are not buried in the mix and the keyboards are not just some afterthought. The first album in a while where you can remember lots of riffs/parts Scanlon is playing. MES appears reborn on this album. Lyrically it reminds me of the early 80’s, lots of dense lyrics, very funny and delivered with a passion. He ‘sings’ a bit more than in the early 80’s but it’s a return to the type of Fall album where you can spend some time deciphering and interpreting the lyrics. Given they were never going to sound like they did in 1981 or 1985 ever again then Infotainment Scan is, imo, as good as it gets post the 80’s. Ladybird is a great opener with its speed and attack. Then come Lost In Music and Glam-Racket, already discussed above from the EP a few weeks earlier. I’m Going To Spain is probably the marmite moment on the album. It’s perhaps the slightest song included but is quite amusing, and works well on the album to add some variety. Although there isn’t a weak song on the album there are three tracks which I think are top tier Fall ‘classics’ which form the backbone of the album for me - The League of Bald-Headed Men, Paranoia Man and It’s A Curse, which ends side 1 perfectly. These tracks and a few others form the lyrical theme of the album to some extent; the look back bores plaguing MES, the dislike of Nostalgia, the wish to never turn into U2 and the stinging attacks on Spangles. Side two opens powerfully then with Paranoia Man In Cheap **** Room, a brilliant track both musically and lyrically. The MES vocal is really something that could come from Grotesque. Service is another very good track, it’s very ‘Manchester’, musically it’s quite close to New Order. Next The League of Bald-Headed Men keeps up the pace on side two perfectly, another highlight of the album. A Past Gone Mad is perhaps the most ‘techno’ sounding track on the album, if the Prodigy were good they would sound like this. And we finish with Lights/Fireworks which is one of those weird Fall tracks that works so well in the context of a great album. Maybe an odd way to end the record as perhaps it would sit better as track 4 or 8. In summary a fantastic record then, everything works, great songs and great music, and to me at least it doesn’t sound dated at all. Still a great record today. It’s hard to rate albums when a band has made so many great ones, but certainly it belongs in any top ten Fall album list, most of the top in the top five, and I wouldn’t argue with anyone who rated it as their best. Rightly the group were rewarded with their first Top Ten album in the UK charts and at a time when UK Indie music was going to become huge and the likes of Pulp would become pop stars it seemed the Fall were perfectly placed and a match for anyone. That they didn’t capitalise on this was no doubt inevitable given their track record. The current in-print CD has a bonus disc with: 01. Ladybird (Green Grass) (Scanlon/Smith/Hanley, S/Bush/Wolstencroft) 4:05 02. Strychnine (Roslie) 2:54 03. Service (Smith/Hanley, S/Scanlon) 3:36 04. Paranoia Man In Cheap **** Room (Smith/Scanlon) 4:19 05. Glam Racket (Hanley, S/Scanlon/Smith) 3:34 06. War (Blegvad/Moore) 2:36 07. 15 Ways (Hanley, S/Scanlon/Smith) 2:51 08. A Past Gone Mad (Bush/Smith/Wolstencroft) 4:35 09. Why Are People Grudgeful? (Gibson/Perry) 4:28 10. Glam Racket (Hanley, S/Scanlon/Smith) 3:33 11. The Re-Mixer (Scanlon/Smith) 6:03 12. Lost In Music (Edwards/Rodgers) 3:50 13. A Past Gone Mad (alternate version) (Bush/Smith/Wolstencroft) 4:38 14. Instrumental outtake (Hanley, S/Smith) 3:43 15. Service (instrumental demo) (Hanley, S/Scanlon/Smith) 4:41 16. Glam Racket (instrumental demo) (Hanley, S/Scanlon/Smith) 3:17 17. Lost In Music (mix 3) (Edwards/Rodgers) 4:39 18. Lost In Music (mix 7) (Edwards/Rodgers) 4:35 19. Lost In Music (mix 14) (Edwards/Rodgers) 4:29 1 to 8 are radio sessions, 9 to 12 the single versions, 14 to 19 are previously unreleased demos and alternative mixes and for some reason track 13 comes from a Various Artists compilation called RCD Classic Rock Collection Vol 10, whatever that might be!
Infotainment Scan is a slightly weird album for me. While to this day I don't fully understand all the love this album seems to get, at the same time, I admit that it is absolutely one of the best post-80s Fall albums, if not the best. (Jim B. says it's the best since This Nation's Saving Grace, but because Bend Sinister is more or less my favorite Fall album, I'd say it's the best since Bend Sinister [though on closer inspection, I might actually like Kurious Oranj a bit more than Infotainment!]). Basically, within the context of the Fall's 90s output and beyond, Infotainment probably contains the highest number of good songs of any album. But when viewed against earlier work, I don't think *any* of these tunes can truly rival the band's best material from the 80s and late 70s. Part of the problem for me stems from what I've been calling the Fall-on-autopilot sound, which for me started to become a defining characteristic of their sound during the Fontana period. The productions from this era sound rather mechanical, plastic-y, undynamic, cheap, and flat (and at times a little lifeless), while the band just sounds like it's going through the motions, like they're simply turning up for work and disinterestedly playing the parts. Admittedly, the band sounds more energized at times on Infotainment than on the previous two albums, but nothing like how they sounded on earlier records. But I feel with Infotainment, the production itself really undercuts the songs and the performances - it's very flat and mechanical, and has this strange, pronounced sort of poopy mid-range tone. While Infotainment does contain more good songs than the past several albums, the album as a whole doesn't sound cohesive to me; it's more like a collection of generally good songs, rather than an album that actually has a sense of flow to it (at least in my humble opinion). "Ladybird" is an obvious standout. It sounds like they actually put some thought and passion into it, with cool, imaginative riffs and one of the first truly memorable choruses from them in years. A great way to start the album and easily one of their very best post-80s tracks! The two covers on this album just sound a bit silly to me, though kudos to them for taking a song as frivolous as "I'm Going to Spain" and actually turning it into an amusing and listenable pop ditty (with nice guitar by Scanlon). "Lost In Music" is sort of amusing and catchy, I guess, but it doesn't even really sound like the Fall. I'm not sure what the point of it is other than to prove that they can play slick disco? "Glam Racket" may incorporate glam elements like The Smiths' "Panic," but it doesn't generate the same sense of energy or excitement as that song. It's a good enough tune, though MES' funny lyrics just don't have the same impact as they would've if delivered in his much more engaging and lively 80s style of singing. "It's a Curse" is agreeable, but kinda has that autopilot feel that much of Code: Selfish has. "Paranoid Man" goes for a dance-y vibe, and Scanlon sounds fairly inspired here, but otherwise I don't find it to be all that distinctive of a song. I actually like "Service" in spite of it being a bit "Madchester," though I think melodically it's actually more St. Etienne what with those attractive and engaging piano chordings (and Technique-era New Order wouldn't be far off the mark). But it's funny: the Fall are going so full-bore slick disco here that this makes "LA" sound punk rock by comparison! "League of Bald-Headed Men" is one of the better tracks, though again, it is a bit autopilot-y in terms of the band's delivery. I remember seeing the video for this back in 1993 on MTV's 120 Minutes. I recall being struck by how utterly bored and disinterested the band looked. And even then Mark seemed to look *so* old and unhealthy and he yet he was half a decade or so younger than I am right now! "A Past Gone Mad" doesn't really go anywhere musically as far as I'm concerned. "Light/Fireworks" is kind of catchy and playful, but nothing to get overly excited about. So, yes, when compared to the previous three albums, Infotainment is more solid and consistent by a fairly wide margin. But nothing on here has the same energy or sense of dynamic as songs like "The Classical," "Just Step Sideways," or "Spoilt Victorian Child" - songs that positively bristled with fiery energy, passion, and excitement, where every note, drum beat, and sonic detail was played like the band members' lives depended on it. Last note: Infotainment Scan was, of course, the first album to be licensed in the US in three years or more. With the extremely trendy (at the time) indie label Matador moving its muscle behind the Fall, they were able to tour the US for the first time in years, and it was kind of a big deal. The shows were very well promoted, "Bald Headed Men" got a couple of plays on MTV's 120 Minutes, the local alternative radio station played that song and even "Glam Racket" (though not in heavy rotation), and I remember one of the local papers doing a short interview with MES in the music section. Unfortunately, I wasn't able to go to that show. I think I had to work that evening and couldn't get out of it or something. I was really bummed out about that at the time (though I did finally get to see them on their next tour). Final last note: It's so cool that Karl came back, at least in time to appear in the video for "League of Bald-Headed Men"!
****, I thought I was finished with The Fall after their 'Extricate' album. And because of this review (and some listening at YouTube) I'm expanding my Fall collection.... (I really liked the songs I heard, thought The Fall was allready over, but am glad to be proven to be wrong - thanks OP!)
This album was a surprise when it came out because finally The Fall were getting it right again. The production here is hyper effective, The Fall and electronica are a marriage made in heaven. Why does "Lost In Music" suddenly lose all bass at the 2 minute mark? Is that MES fiddling with machines? Is this also on the ep? Sadly this would be the last great Fall album for me.
The Infotainment Scan - What's wrong with Spangles? I like Spangles. Another fine assessment from Jim on this one. With the benefit of hindsight, this would appear to be the end of what i would call The Fall's imperious phase from 1977 to 1993. After this album they would never be so consistently great and focussed over one release and for me; this is the last 'classic' five star Fall lp... to date. However, as per 'Thoutah's post, it is not without some problems either. I agree that it doesn't flow that well as an album due to the sequencing. The inclusion of 2 fun, entertaining, but ultimately lightweight cover versions in the first 4 songs almost derails the album as a strong artistic statement. On their own; Lost In Music and I'm Going To Spain are hugely enjoyable with some hilarious attempts by Smith to actually sing on the later; and Scanlon contributes some fine guitar on both. 'Lost in Music' goes all weird halfway through as if M.E.S did some of his soon to be regular onstage level mixing manipulation. It sounds as if the music has wandered out and gone into the next room as you are listening to it. Is it supposed to mirror hearing it at a party and going into another room as it is playing? I'm Going To Spain is really funny and i love how Mark sounds as if he is struggling not to laugh all the way through. Great stuff, but all the frivolity up front, kind of impacts on the first side of the album. Code-Selfish had seen them treading water a little after the 1st 2 excellent Fontana albums, but here they are revitalized. I have no idea why they rejected this album and let him take it to another label. It was their first top ten album in the UK and with major backing it could maybe even have gone top 5. Their loss. Opener, Ladybird is perfect. A snaky, almost liquid Hanley bass line propels this along nicely as they settle into a groove letting Craig put some powerful guitar lines over the top. Mark sounds focussed and confident commanding the listener's attention with some acute lyrics which appear to be looking at the burgeoning festival culture, again ahead of the curve seeing the ultra commercialization and future of Glastonbury as ahipster sunday supplement expensive lifestyle event. It is catchy, insistent and brilliant. Still relevant and strong sounding in 2016. If Glam Racket had followed it we would have had an irresistible 1-2 opener. Stomping groove beat and great lyrics. Was this Smith having a little pot shot at fellow UK indie eccentric Laurence? The year before the weekly music press had worked themselves into a lather over Laurence's new glam rock project Denim with front covers and 5 star reviews. Coupled with the rise of Suede referencing the early 70's Glam rock crunch and pan androgyny of prime era Bowie, Smith obviously blanched at this faux nostalgia for an early 70's Britain that was anything but the glamourous glue of Morrissey's ' Your Arsenal. Glam Racket stands as a powerful riposte to that fake nostalgia. Essentially a strong piece of pastiche it works because The Fall had a brilliant rhythm section in Hanley, Wolstencroft and Scanlon, who could lock into that Big New Prinz stomping riff groove and drive it home with power and focus. M.E.S is on sterling lyrical form here, flicking the v's at his contemporaries with sardonic contempt and wry humour. Another great vocal performance too. 'It's A Curse' takes that theme of creeping choking nostalgia and runs with it. Scanlon powers this one along with a barbed spiky guitar riff tapping into a more muscular energy that was perhaps lacking a little on the previous album (i certainly don't hear the auto-pilot Thoutah refers to in the above post). It is a top drawer Fall track and from then on in until the end of the album they deliver track after track of the highest order. 'Paranoia Man..' is essentially more of the same. And why not when it is so brilliant! Another superlative Scanlon guitar workout driving this along relentlessly as Smith sprays out a scattershot selection of brilliant lines describing some kind of male mid life crisis. "shakes in the chemist, paranoid man in his late 30'...". " Goes down to the dance, going down fast" Brilliant. The mid section where the burbling electronics rise to the surface is really effective before Craig comes back in with that circular repetitive riff again. Smith at the zenith of his powers. I love 'Service'. That plaintive piano part has Smith tapping back into the wistful almost pastoral melancholy of Bill Is Dead. There is some reference to the Madchester sound but he turns it into gold with such a fine lyric and vocal performance. An absolute gem and for me an overlooked classic. We are 7 tracks in and we already have 5 absolute top quality Fall tracks as well as 2 enjoyable cover versions. There is no drop in quality either. After the almost elegiac 'Service'; '"The League of Bald Headed men sees Craig again working his alchemy with a nasty churning, almost gurning guitar line chewing up the scenery. It's f*****g brilliant. Smith is inspired again. This is the genius of M.E.S in full effect, brilliant one liners, great vocal timing. They just keep the riff going, repetition, repetition, repitition. Loads of scratchy electronic noise laid over the powerful engine room of the band adds to it. Switch that around for the next song and the electronics become the base of the song. A clanking clatter of beats as The Fall help themselves to the Prodigy's tool kit and bolt it to something a lot better than inane shout outs to a festival or student disco crowd. There are little nods to New Order in the music in places and Smith's vocal is treated with reverb as it fires around the track. Pretty great change of style after the previous guitar based tracks. The fusion of classic Fall guitar/drums/bass with electronics is really well executed on this album. Another thing to note is it still sounds good today, not dated to a 90's sound. Fireworks is a strange and curious ending but it somehow works in the context of a varied, strange and wonderful album. Much better than the similar Crew Filth on the next album. All in all a 10/10 album for me and such a strong set of songs, really well recorded and brilliantly played. A couple of sequencing niggles but that is not that important at the end of the day. Sadly i wasn't to know it at the time but it was the end of the great Fall and they were about to enter a number of years of chaotic line up changes, disruption, inconsistent to poor albums and Smith almost going under from bankruptcy and Whisky mania. Craig really shines on this album. It is sad to think that within a couple of years he would become so disillusioned with Smith and the band that he would walk away and put down his guitar for good. So many talented creative musicians have been lost to music for long periods of time (or for good) after being burned in the service of a madman. Scanlon, the Hanleys, Wolstencroft, Schofield, Pritchard even Brix for a log time (after her 2nd murderous tour of duty). A real shame; but when you hear albums as good as this maybe there is some method in the madness.
