I sort of made a commitment to do this about a year ago. Better late than never.
A personal journey through the studio albums of Madness. I’m sure for many of us there are bands that mean more to us than others. For myself, Madness were the only band that meant anything at all to me for many years. It’s an interesting journey of a band very much growing up in public and a young fan struggling to come to terms with growing up in private.
Part 1 – One Step Beyond. Released in the UK 19th October 1979
Let’s start at the very beginning, a very good place to start. Or not, as the case is here. Although this is the first LP release chronologically speaking, it wasn’t the first album of theirs that I listened to as a complete body of work. That would be Absolutely, more of which later. The band had been gigging in several guises since 1976. Their first single had already been released in August of 1979 on Two Tone, an arrangement which had been developed after Jerry Dammers crashed at Suggs’ place after a Specials gig in London. There was a lot of interest around the band at the time from various record labels. Fortunately for them (and us) it was Stiff records that signed them and Dave Robinson (Stiff supremo) wanted to get things moving quickly.
What we have with OSB is essentially the major components of their live set at the time. Recorded in just a couple of weeks it was just a case of capturing the sound and readying it for the masses. Robinson was quite keen for OSB to be released as the first single, but the band wasn’t at all sure. They had only recorded a version a little over a minute long in a “we’ll show him” act of youthful defiance. Robinson took this version and basically duplicated it, adding some audio effects on the 2nd part to provide some variation and that was it.
There are of course the other early single releases on here, the standout for me being My Girl, Mike Barson’s timeless ballad – if that’s what it is, desperate for space in a serious yet struggling relationship. Night Boat to Cairo follows a similar rhythmic pattern to OSB but with an Eastern influence which was amusingly brought to life in the video released for the single.
For my money though, it’s in the less well-known tracks on the album where things get much more interesting. Lee Thompson would go on to become one of the major songwriters in the band with a lyrical style all his own. This is illustrated well in his first track on the album ‘Land Of Hope & Glory’ in which he reflects on his time spent in juvenile detention. But it’s one of his other contributions which provides my personal highlight of the album. ‘Razor Blade Alley’ is a rather sleazy affair describing a sexual encounter that ends rather unpleasantly. Despite the content though it’s poetic and jazzy and a very pleasant listen. The band would continue to excel at this type of songwriting, more serious commentary that would be cleverly weaved into bright melodies. There’s also no doubting that their early visual, sometimes slapstick appearances would allow them to camouflage the often-serious nature of the songs themselves. ‘Mummy’s Boy’, a rare songwriting effort from bassist Mark Bedford falls into the ‘you couldn’t release that today’ category with references to a character who has a taste for the forbidden. ‘In The Middle Of The Night’ tells the story of a shopkeeper who enjoys some rather unconventional nocturnal activities.
As a body of work the album provided a decent introduction to what the band were about at the time of release with some early signs of what was to come later. For many fans, the jauntier ska driven songs would become the benchmark for Madness and there would, in time, be a reluctance from many to accept anything else from them. For me, as good as these songs are, they would in some respects become a burden in later years as the band grew up and started to reflect more on what was going on around them.
Next up, when I can find some time, is Absolutely.
fentonsteve says
Mike Barson’s other cracker on the album is, of course, Bed & Breakfast Man. If he’d written nothing else, he deserves to be carried around in a sedan chair until his end of days.
The fact it was not released as a single* is utter madness (SWIDT?) I can only assume they were moving ahead too fast for Stiff to keep up.
(*) except in Canada.
duco01 says
“Of course he had to be fed
I had to give him a bed
He used to kip on my sofa
They used to call him a loafer”
Now that’s quality.
Paul Wad says
One Step Beyond was the first album I bought (as opposed to the Showaddywaddy/Darts/Barron Knights albums I’d previously requested as birthday/Christmas boxes) and Bed and Breakfast Man was, and still is, my favourite Madness track. It had a video, so maybe it was a single elsewhere [checks Discogs…Canada. Maybe the video was made for that?]. It’s brill, either way, and I agree, it’s crazy it wasn’t a single over here.
Madness were my favourite band until the Beatles took over, although I didn’t get to see them live until 5 or 6 years ago [checks…10 years ago. Christ, where does the time go??]
Vincent says
Madness are worthy of a statue in Camden. Until they are cancelled.
Vulpes Vulpes says
That fez, those pith helmets, eh? Racist bastards.
dai says
They had a racist following in the early days (skinheads). Think they were appalled by it though
Rigid Digit says
Which made no sense – they’re playing ska, they were affiliated with Two Tone … something got lost in translation obviously
Moose the Mooche says
….almost as if skinheads are a bit thick…
Tiggerlion says
Skinheads always loved Ska, even in the sixties. Confusingly, so did Mods. Rockers not so much.
Rigid Digit says
60s skinheads was a look built on the Yardies and Rude Boys – they took the look and took the soundtrack. It was almost like Mod for those that can’t afford it.
Something happened in the mid-70s (and I’ve never found anything to properly explain how and why – inner city working class culture and upbringing perhaps?) where the Right Wing infiltrated and the skinheads became the seig-heiling swastika tattooing dickheads – whilst still walking round with Madness T-Shirts, Two Tone badges and Trojan Records albums
(see Moose’s theory above …)
Tiggerlion says
Two Tone was late seventies post punk.
I saw the tour with The Specials Madness & Selecter at Barbarella’s in Birmingham. It was very scary. The threat of violence was greater than any Clash or other punk gig I went to. The bands were all fantastic.
Paul Wad says
That was just before my time really, as I didn’t start going to gigs until the mid-80s. I was, however, going to the footy from 77, so was well aware of being caught in the middle of violence, as there was trouble at just about every game in the late 70s and through the 80s. In fact, I’ve seen more trouble this season than I have since the 80s. I think that after being responsible for a while, in lockdown, knuckleheads needed to remind us how much they spoil footy for the rest of us. But I can’t imagine what it was like regularly going to gigs in that atmosphere.
Tiggerlion says
I’d say there is an aggression to the music of The Specials and Selecter (not Madness) but Terry and Pauline did their best to calm the crowd and focus on having a good time. They were well practised. Trouble followed that tour everywhere but especially in the Midlands.
fentonsteve says
As a pre-teen, I used to find the Specials, and their skinhead fans, a bit scary. Madness, with their crazy videos, seemed more… safe.
Like Paul (my best friend was a Chelsea fan) I’d go and stand on the terraces and, at every match, there would be a massive scrap in The Shed. We once saw a black man having his head kicked in by skins, pre-match, as we left Fulham Broadway tube station, and I said “I don’t want to come here any more”. I didn’t go to a football match for about 30 years, until Offspring The Younger joined a village U9s team. No racist thugs in the South Cambs junior league, thankfully.
Alias says
Madness was the compromise act for racist skinheads. They were OK because there were no black people in the band.
Twang says
They looked like skinheads too, though. Which is why skinheads liked them and I didn’t. I don’t like skinheads. They made some good singles though.
Rigid Digit says
Rocking In A Flat was a cover of a Bazooka Joe tune – Mike Barson’s brother was in the band, so that may be where it was nicked from. Also in the band at that time was future Fast Show-er Arrabella Weir
Moose the Mooche says
Does My Bum Look Big In These Baggy Trousers?
davebigpicture says
Adam Ant was also in Bazooka Joe
Moose the Mooche says
Jings what a line-up. Like Big In Japan without the shell-suits*
(*they were in Liverpool, I assume they had these)
Rigid Digit says
Does my bum look big in Japan
Rigid Digit says
Bed and Breakfast Man is a superb “should’ve been a single” track, and Mummy’s Boy got a live airing a few years ago (surprising choice to be honest – I never thought it that strong … until I heard it live).
When this album was released, how many in the band thought there was a career in this and 43 years later would still be selling out live shows and tours.
Moose the Mooche says
B & B Man had a video, suggesting it was a single in some territories…. ironic as the whole idea of the song wouldn’t mean anything outside of the UK.
EDIT ^ just seen Fents’ Canada comment above.
Wait……Canada?!?
Nick L says
What an album One Step Beyond is, still play it from time to time. Bed and Breakfast Man, Believe Me and In The Middle of The Night are three of the best album tracks ever.
I remember Absolutely as being a bit disappointing when I got it.
Zanti Misfit says
I was a skinhead for years and have followed Madness from the beginning. We weren’t all knuckle dragging racists looking for a punch up at their gigs. Anyway, that’s by the by, great OP dhkbrit. I look forward to the other appraisals.
I played their first LP to death so it’s difficult to look ‘one step beyond’ (so to speak) because of overfamiliarity. In hindsight, it really is a ‘baby on a white wooly rug’ album. There are (kind of) six cover versions on the record for a start. For me, it’s Thommo that shines out as a force of song writing talent to watch out for in the band. ie: The Prince, Land Of Hope & Glory, Razor Blade Alley.
A strong debut, tracks probably more enjoyable in a live context, but my, they got so much better.
Moose the Mooche says
I was a skin-head
I was a dope-head
I was a knob-head
Betweeeeen the wars
fentonsteve says
Today’s tea/keyboard moment. Well done, Moosey.
Moose the Mooche says
In my boyhood mind the video for Night Boat to Cairo was where Madness took over from Morecambe & Wise. I think it was probably the shorts.
fentonsteve says
Not related to OSB, but the Madness vinyl reissues continue.
Keep Moving is rereleased this coming Friday.
The Madness came out at the end of last month.
Wonderful is due at the end of next month.
It now seems that Mad Not Mad is the black sheep of the family.