Really, how are you meant to understand the title without seeing the cover art?
You know, I kind of miss the old Belle And Sebastian. There was a period, possibly around their Brit win or Legal Man's chart success, plausibly when Isobel Campbell became more interested in the Gentle Waves, when they changed from underground heroes to just another independent label overachiever. It was fun for a while, though, owning If You're Feeling Sinister and wondering whether the bloke doing the ironing in that publicity photo was really Stevie Jackson. This compilation, which debuted in this week's album chart, compiles their Jeepster EPs, which in itself reeks of Peel-sized aspirations, when bands were allowed to release tracks just as singles without a Special Edition of their last album with that one extra track and a cardboard box around the CD being rushed out within a fortnight.
What does come across is how they have always been far more than the fey Felt fanciers of legend, variously invoking Love, the Velvets, northern soul, psychedelic film soundtracks and Lee Hazlewood yet maintaining a house sound they took from the base materials of others yet still made their own. I've said it before and I'll say it again - why can't we have a band who people are genuinely interested in (I remain unconvinced despite supposed physical evidence that The Glitterati really exist) and have an impact outside the fanzine set but don't care about needing to be top 30 by the third single any more?
5 comments:
I dug the EPs out the other day and had similar thoughts (well, not the ones about Felt, but the ones about them not being the same band anymore). 'Just another indie label overachiever' is extremely harsh though; it's not as if they stopped making good and interesting records (for some reason Snow Patrol spring irresistably to mind at this point), just, well, different ones. Plus, they became a band that it was actually worth going to see, instead of a band whose shows you were better off hearing giddy reports of because the reality was that they were actually crap.
Do you think it has something to do with how easy it is in this country to get in the Top 40 *pauses to laugh at Daniel Beddingfield*. Even during, say, the early 1980s, it was still possible for leftfield bands to get a low 30s position, and today, you can probably get a Top 10 if you time the release just right. In America, it's always been much harder to get a placing; bands like Low, Sleater-Kinney, and pretty much all of Matador and Sub Pop are never going to have hits, so they don't bother with all the chart shenanigans.
Ian
Actually, maybe I worded that bit wrongly (I was tired, OK?) By 'indie label overachiever' I kind of meant they don't seem to have that special quality any more where they were this little almost secret brotherhood band who you never saw the singer of being interviewed or saw acknowledged on pop shows (the great Legal Man performance on TOTP being the exception - is that on their DVD?) yet would have top 20 albums with no trouble. I don't think you'd get the same level of anticipation now if you read tomorrow that there was a new B&S album on the way, not to suggest Dear Catastrophe Waitress is no good.
I would imagine that the problem with being a secret little brotherhood band when your albums are in the top 20 is that it becomes a pain in the arse to maintain the mystique when so many people are interested. And there has to come a point when you're Stuart Murdoch and you're goodness knows how old and you've had quite enough of being all enigmatic and writing twee sleeve notes every few months.
And yes, I probably would have the same level of anticipation if a new B&S album was on the way. Moreso, if anything, because I thought Dear Catastrophe Waitress was much more interesting and generally better than the two that preceded it.
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