'Simply Thrilled: The Preposterous Story of Postcard Records' - Simon Goddard

Simon Goddard’s whimsical account of Postcard is prefaced by Maxwell Scott’s oft paraphrased “This is the West, sir. When the legend becomes fact, print the legend.” It’s a quote that is key to understanding and enjoying the book. It does not ‘set the record straight’, it is not a reference manual of endless gigographies and timelines – if that’s what you’re after, that book is yet to be written. Simply Thrilled: The Preposterous Story of Postcard Records is not a hagiography per se – the presence of myriad acts of self-defeat (and, every now and then, incompetence) and acid-tongued put-downs run rather contrary to most accounts of sainthood – but it does indulge the mythmaking, as well as further romanticising that which has already been significantly romanticised. It’s an engaging read, for all that the line between fact and fiction is often knowingly blurred (quite where is far from apparent much of the time, although Goddard does occasionally illuminate the reader with footnotes on particularly contentious matters).

Following a prologue explaining the life Victorian cat illustrator and inadvertent Postcard logo designer Louis Wain, Goddard introduces us to the Mitty-ish, Saltcoats-dwelling teenage Alan Horne, perennially setback by “fate’s cruel ministers” (a fate used recurrently to great comic effect); most readers will know how integral he is to the Postcard story – in some ways, Goddard renders it all the more incredible that he could be. From there, Goddard recounts his absurd tale of the (still) influential phenomenon that was Postcard Records (slogan ‘The Sound of Young Scotland’): short-lived, a haphazard lurch from genius to disaster and back again, full of youthful bravado and naivety, all the while producing some of the most jaw-droppingly vivacious music ever recorded (although none of it could ever measure up to Pale Blue Eyes for Horne, of course). Horne, Edwyn Collins and co. believed they could take the charts and were outward-looking, without ever losing their very Scottish sense of humour (and periodic self-destruction). Orange Juice were from Bearsden, Josef K Edinburgh, Aztec Camera East Kilbride – all pretty close to each other – but the Go-Betweens were from Brisbane; nonetheless, they weren’t afraid to play with a particular image of Scotland as well (see the label 7” sleeves from 1981).

' Funky Glasgow Then' map - a Record Store Day exclusive

'Funky Glasgow Then' map - a Record Store Day exclusive

The book presents the Postcard story as just that: a tale, a fable, a ripping yarn. Its is a compelling narrative and often laugh-out-loud funny; the overly florid language can be a tad overpowering, even a bit grating (particularly at first), but the eccentric subjects lend themselves to it (how many debut singles – how many songs, for that matter - have used the word ‘consequently’?). There is also the risk of the humour overwhelming an inspiring story and rendering its protagonists parochial bumpkins – it narrowly avoids doing so by the obvious affection Goddard has for his subjects (as well as the fact that these stories have come from the participants themselves). There is an obsessive fanboy in this writer that is perhaps a bit disappointed by a lack of endless hard facts and figures, trivial minutiae, but that same anorak-bearing, social incompetent was also enthralled to read the myth recorded in black-and-white. Finally. Postcard (the records, the idea of it) is held close to the hearts of many – Goddard’s book will certainly not detract from this, he may well serve to enhance it. There’s certainly a lot more to be said about the journeys that the talents of Postcard took, but this book gets things off to a flying start. Ye Gods.



Andrew R. Hill

Review: 'That Sinking Feeling'

That Sinking Feeling (1979) was a ground-breaking debut: shot on a minuscule budget (according to its director it was the "cheapest feature film ever made"), it signalled the birth of a truly indigenous Scottish film industry. Made by the Whiteinch born-and-bred Bill Forsyth with funds entirely raised in Scotland, it was shot in Glasgow with local talent - largely amateur actors from the art project Glasgow Youth Theatre.

Image courtesy of BFI

Image courtesy of BFI

The film is ostensibly a comedy heist: a group of unemployed teenagers come up with a plan which involves stealing stainless steel sinks from a local warehouse. As in other Bill Forsyth films though, plot only matters to an extent, with the whimsical aspect is undercut by bitter detail (the boys' hopelessness), and its narrative refusing to stick to a conventional linear structure.

In the opening sequence, Glasgow looks for the most part desolate, a city whose skyline, dominated by high-rises, is repeatedly revealed in the long establishing shots. The desolation of the landscape is soon matched by a story of unemployment and deprivation: when trying to purchase a hamburger and a coffee, Vic (John Hughes) realises that he cannot pay the 45 pence the lady in the van is requesting. The scene in which we first meet the leader of the teenage gang, Ronnie (Robert Buchanan), is of a similarly bleak tone: his speech to the equestrian statue of Lord Roberts situated in Kelvingrove Park starts off in a semi-jovial tone as the teenager ponders "You’ve got to make the most of what life offers you" and tries to reflect on what assets he and the Field Marshall may have in common; the pitch soon shifts when he looks at the statue’s plaque and exclaims, "Oh wait a minute, I don’t see that many O-levels there (…) How did you do it? And why don’t I have a job?" To emphasise his point, he violently kicks the (physical and metaphorical) barrier that separates him from his 'interlocutor'.

This is not to say that That Sinking Feeling is about mere social realism – the continuous interplay between comedy and seriousness constantly downplays any sense of hefty political commentary. Contrasting elements come together in unexpected way – as in the scene when Wal (Billy Greenlees) ends up selling his sinks to the art collector (and Blasted local hero - Ed.) Richard Demarco (played by himself), his goods mistaken for the "Latest development of the New York School".

It is perhaps telling that the only two characters that make a tangible gain out of the plan are Wal and fellow gang member Alan (James Ramsey), who manages to buy an electric guitar with his share of the money. Whilst one can be accused of imposing a meaning that isn't there, it is very tempting to imagine that Bill Forsyth is trying to promote artistic creativity as a way out of post-industrial drabness. In a way, with Postcard Records currently being celebrated with a book, a film, and a reissue of Josef K's The Only Fun in Town (due in May), it is hard not to re-imagine the late 1970s and early 1980s as a time that kick-started the diverse and unprecedented cultural outpouring that has taken place in Scotland in the last 30 years. 

That Sinking Feeling also represents a clear break in the way Scottish men (and specifically Glaswegian men) are represented: instead of the romanticised brutality of the 'hard man', we are faced with a subtler depiction of a masculinity in crisis. Forsyth's teenagers are awkward and confused; when compared with their female counterparts, they clearly appear to lack their wisdom and self-assurance. It is a thematic preoccupation that the director will continue exploring throughout his career - perhaps it is no surprise that the coolest character ever to emerge from his ouvre is the audacious, bobbed-haired Susan (played by Claire Grogan) who, with a little help from her girlfriends, outfoxes John Gordon Sinclair's Gregory with a cunning, if slightly convoluted plan. 

Bill Forsyth went on to direct Gregory's Girl (1981), Local Hero (1983) and Comfort and Joy (1984), perhaps the films he is best known for. Many viewers familiar with these might be unaware of his raw, extremely inventive debut, so we should be very grateful to ever-great BFI Flipside for finally releasing That Sinking Feeling (with the original Glaswegian dialogue track that was bizarrely missing from the 2009 2Entertain DVD version) in a definitive format. This edition is packed with special features: four short films involving Bill Forsyth in either acting, editing, or directing capacity; an audio commentary by the director and Mark Kermode; an interview with lead actor Robert Buchanan; another very entertaining interview where Forsyth discusses the DIY ways in which he funded his film. The booklet comes with a short essay by David Archibald (lecturer at the University of Glasgow), a contribution by Douglas Weir (technical producer at the BFI), and a 1981 article that Bill Forsyth wrote for Sight & Sound. 

That Sinking Feeling  might be one of my favourite films ever; for all its imperfections (if you are after sleek story telling, look elsewhere) it captures a certain spark that comes with being young with vivid, piercing attention to detail. Some of this is certainly be tied to of its late 1970s Glasgow setting, but despite its specificity (or maybe because of it) it also takes on an universal appeal - a fairy tale for underdogs everywhere. 

'That Sinking Feeling' is released by BFI Flipside on 21st April. There will be a launch screening with special guests at the Glasgow Film Theatre on Tuesday 15th April at 6.30. Tickets can be purchased here.

'30 Odd Years' - Vic Godard

vic godard 30 odd years cover.jpg

BBC 6 Music DJ (and former member of The Fall) Marc Riley refers to Vic Godard as ‘The Greatest Living Englishman’ and after listening to 30 Odd Years quite a few times now, it’s hard to disagree (as far as songwriters go, anyway). His influence in the late-‘70s was significant and it resonates to this day. Godard (né Napper) took the emancipatory energy of punk and applied his inchoate yet sophisticated songwriting nous to it, filtering a variety of genres through both over the decades. From 1978’s Don’t Split It through to a 2012 rendition of 1992’s Johnny Thunders with Davey Henderson’s marvellous Sexual Objects, there’s no ‘Joey-punk’ knuckle-dragging and not a hint of flab.

The first disc is the more straightforward of the two, although it may raise the eyebrows of the hitherto uninitiated: it starts off punk (albeit with a smart, cutting, ‘60s garage edge), develops into Velvets-tinged pop, swings into full ‘Cole Porter’ mode in the middle, briefly turns off into the best Bond themes you’ve never heard (Spring is Grey and Stayin’ Outta View (Instrumental)) and ends with muscular Edwyn Collins-produced Northern Soul. All this could surprise even the seasoned fan with a full pre-existing familiarity with the individual songs.

The second disc initially follows naturally enough with We’ll Keep Our Chains from Godard’s second Collins-produced Long Term Side-Effect – melodic, tough, a bit off kilter and underpinned with that trademark Northern Soul swing. But then the generic twist-turns begin to emerge in ever more awe-inspiringly unexpected ways. First there are two infectious gospel songs from LTS-E and then we’re into turn-of-the-century urban with The Writer’s Slumped, which has more than a hint of Missy Elliott’s Get Yr Freak On about it (which came first, one wonders?). There’s even Godard classics such as Ambition with a distinct good-ole-fashioned-hoe-down bent, blackly funny music hall in the form of Blackpool (the theme to an ill-fated theatre collaboration with Irvine Welsh) and the jaunty, accordion-led, Brechtian number The Wedding Song. The most incredible thing about all of these diversions is how natural it all sounds – partly a testament to picking collaborators of the finest calibre but primarily due to being possessed of a songwriting talent, an authorial voice, so definite and distinct as to frequently leave one breathless.

The last song proper is the aforementioned live rendition of Johnny Thunders with The Sexual Objects. Recorded at Stereo in Glasgow in December 2012, it was a performance that was a part of a series of events dubbed VIC.ism, the weekend-long Glasgow leg of which celebrated Godard’s influences, influence and his special connection to the local music scene (his connection to Scotland is emphasised further by excerpts of the late Edinburgh poet Paul Reekie discussing Godard and Subway Sect on the short intro and outro tracks). 30 Odd Years reinforces the extent to which Godard’s back catalogue and fulsome talents deserve to be celebrated and emphatically so. Even the Godard/Sect aficionado is likely to uncover a fresh understanding, not least because of the wealth of alternative versions, radio sessions and live recordings on offer. The promise of a further Edwyn Collins-produced record, 1979 Now, later in the year is very exciting indeed, and if ever a 40 Odd Years appears, one could be confident it would be every bit as essential a listen as its predecessor.

'30 Odd Years' is available now on Gnu Inc Records on CD and download.

Andrew R. Hill