Skip to main content

The Wild Swans - The Worst Year Of My Life

Here's the perfect song to commemorate the approaching conclusion of 2017.

"You were born hungry
And you'll die angry
And if life has failed you
Leave the cross you're nailed to
You belong to no one
And you owe nothing
There's no golden future
Just an open wound there
Oh lord, this is the worst year of my life"



Paul Simpson's despondent baritone can almost pass for Morrissey's throughout much of The Wild Swans' 1988 album, Bringing Home the Ashes. Fans of The Smiths and fellow Liverpudlians, Echo and the Bunnymen, will hear aspects of both groups in the shimmering alt-pop of the Swans. In fact, Pete De Freitas (Echo & the Bunnymen drummer) produced the album's first single, Young Manhood. Like The Mighty Lemon Drops and The Teardrop Explodes (whom Simpson left in 1980), The Wild Swans were a second-tier British indie pop group that never quite broke through in the States. The band was featured on two widely distributed Sire Records compilations at the end of the 80s, which is where I first heard them. Over the years Simpson has dismissed their 1988 major label debut:

"Major label thinking is like a virus, you forget why you started the band and fall into the 'hit' record mind-set... Major labels suck the poetry from your bones and fill the gaps with a cement made from cocaine and crushed teenagers."

Despite the cocaine and crushed teenagers, I really like this record. Give it a listen as you wrap-up one of the worst years in contemporary American history and anxiously await the foreboding arrival of 2018.

The Wild Swans - Bringing Home The Ashes (1988)

Comments

Trending Tracks

U.K. - In The Dead of Night

In the late 70s, as punk and post-punk bands spiraled towards their new wave destinies, prog dinosaurs stood paralyzed in the shadows. Bands like the Sex Pistols were meteors, igniting a global firestorm that would trigger prog's extinction. The British music press (Melody Maker, Sounds, NME, etc.), once proponents of prog darlings Genesis, Yes and ELP, now bashed any band releasing songs in odd time signatures and singing about aliens and whales. The punk revolution had turned the U.K. music industry and press on its head within a year (1976-1977). For me, this is one of the most interesting times in pop music. Although prog groups saw their audiences rapidly dwindle (Yes audiences had dropped from 20,000 to 3,000 by 1980's Drama tour), many record labels had built fortunes on the works of prog artists and were willing to foot the bill for some interesting transitional experiments. Yes' Drama , ELPs' Works , Genesis' . ..And Then There Were Three... were p...

Jules & the Polar Bears - Good Reason

Jules & The Polar Bears is one of those bands that you want to like, but continue to remain on the fence about even after a decade of failed listens. Recently, I've been sampling bands from the late 70s and early 80s who released fake new wave albums -- major label acts who played middle of the road rock, but disguised it in skinny ties, brightly colored sweaters and catchy, Cars-y keyboard riffs. Jules & The Polar Bears are a good example. Their first record, 1978's Got No Breeding, was compared to Dylan, The Kinks and Springsteen. Personally, I hear a quirky Jackson Browne in the songwriting. Everything sounds bearded and mid-tempo, except Jules Shear, the singer. He gives the band a distinct sound with his "singing at the top of my range" yelp. But even with Shears' interesting squelch, the songs never break out of 70s rock conformity. The guitarist's resemblance to a member of Orleans or Doobie Brothers is telling. Enter 1979's "Fenêt...