wherein the music speaks for itself. from beginning to...will it ever end?
samples of tracks from Amazon, eMusic and beyond. please buy the CDs if you want/need more.
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Essential Links

The Fall online

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1997

 

Interferance

BackdropInstrumental which does more or less what it says on the tin. Sounds like a car alarm going off after a crash into an untuned radio in a steel manufacturing factory. This is a good thing.

 

 


 


Interferance ((live Bierkeller, Bristol 19 January 1997)

posted @ 13.15 PM, November 25, 2009

 

Crackhouse

BackdropJust the 2 live outings for this rarity. Spooky keyboard intro which becomes more and more hypnotic until an absolutely brilliant bass line appears, then the drums and a choppy guitar. Builds and builds until MES eventually enters spouting random letters as is his wont. Lyrics all a bit vague, but the overall subject matter speaks for itself - 'the house that crack built.' Stormer.

 

 

 

Crackhouse (live, Manchester, 1997)

posted @ 14.35 PM, June 13, 2008

 

Recipe For Fascism

BackdropSpoken word with stupid noises. An 'attempt at a worthwhile tape.' I like the way he says, 'Fine tuning,' though. Art? Nah.


 

 

 


Recipe For Fascism (Levitate bonus disc, 1997)

posted @ 12.40 PM, November 30, 2007

 

Everybody But Myself

BackdropA vaguely Western lonesome cowboyish type harmonica synth noise motif recurs througout. There's also some live crowd rabble rousing at the start, with someone (not MES) bawling, 'Crowd control' into the mic and meeting with the response, 'Is that all you can say? Fuck off.' The ad-libbing continues with, 'I can't seem to plug myself in...appliances are broken...Do me a favour - cut your lip and shut up.' The live version was on the added bonus CD and is nothing special - just MES repeating the title over and over...


 


Everybody But Myself (Levitate, 1997)
Everybody But Myself (Live, 1997)

posted @ 13.10 PM, November 29, 2007

 

Levitate

BackdropNot the most dynamic of Fall songs. Solid, functional drumming and a fine twangy guitar dictate the vocal melody. I say melody, I mean MESsing. Anyway, it trundles along and no harm done, but not much thrills either. Haphazard lyricism is the name of the game a la 'My friends said HMO times three' and 'snazzy japes of a Basingstoke shot.' Or something.

 

 

 


Levitate (Levitate, 1997)

posted @ 12.30 PM, November 27, 2007

 

I Come And Stand At Your Door

BackdropAnd so is explained the earlier instrumental, Jap Kid, over which MES speaks on this track. The original, by The Byrds, called 'I Come And Stand At Every Door,' was a track from their 1966 album Fifth Dimension. The words are based on an anti-war poem by Turkish poet Nazim Hikmet. The missing verse in the Fall's version, and hence the Jap Kid title, is: 'I'm only seven although I died / In Hiroshima long ago / I'm seven now as I was then / When children die they do not grow.'

 

 


I Come And Stand At Your Door (Levitate, 1997)

posted @ 13.05 PM, November 26, 2007

 

Tragic Days

BackdropNothing to see/hear. Move along. Worst taped rehearsal snatch ever.

 

 

 

 

 


Tragic Days (Levitate, 1997)

posted @ 13.00 PM, November 23, 2007

 

Ol' Gang

BackdropNow that's what I call great synth and piano bashing. The oft wheeled out 'Walking down the street' phrase emerges over half way through the satisfying cacophony to develop into a street fighting narrative woven around the need to state 'Ol' Gang' as often as rhythmically possible. Also includes the rather splendid expression, 'Feeling pretty Manc.' The live version is a must hear good old thrash including 'a bit like Status Quo.'

 



Ol' Gang (Levitate, 1997)
Ol' Gang (live, 1998)

posted @ 12.50 PM, November 22, 2007

 

Jungle Rock

BackdropTrue to form, this is completely unrecognisable from the original. Very synthy as opposed to rockabilly jangly. The Peel version's even stranger - the synth on it just grates, but the rumbling bass and sporadic guitar twangs make up for it when the synth stops, but only just. Hank Mizell wins, I think.

 

 

 


Jungle Rock (Levitate, 1997)
Jungle Rock (Peel session, 1997)

posted @ 13.05 PM, November 21, 2007

 

4 1/2 Inch

BackdropWow. Now here's a sound you don't hear every day. A fantastic cut and paste job with drums, vocals and guitar all overlapping each other maniacally. When that main guitar riff kicks in, the whole thing just explodes into life. Great stuff. See the Fall online forum, for an in-depth enthusiastic analysis and lyrics from JokerHystericalFace. Ecstatic midges!

 

 

 


4 1/2 Inch (Levitate, 1997)

posted @ 12.50 PM, November 20, 2007

 

Jap Kid

BackdropEh? See above.

 

 

 

 

 


Jap Kid (Levitate, 1997)

posted @ 12.35 PM, November 19, 2007

 

The Quartet of Doc Shanley

BackdropTake a bow Mr Steve Hanley. The growling bass on this is simply wondrous. Play it loud. The scraps of words and phrases amount to nothing, but they sound good anyway, especially the way Julia Nagle says, 'If you're like me, you're a complete and utter pranny. You'll know what I mean when I say recipe.'

 

 

 


The Quartet of Doc Shanley (Levitate, 1997)

posted @ 13.00 PM, November 16, 2007

 

I'm A Mummy

BackdropThat's a great wee garage guitar riff there and imaginatively different from the original. 'I really came back to meet Paul McCartney.' Indeed. The original, a 1959 single by Bob McFadden & Dor features Bob doing a Droopy type voice. Hear what happens when HE walks up to somebody - the squeaky noise and screams are a treat. Also features Rod McKuen as a beatnik. The original, that is. Obviously.

 

 

 


I'm A Mummy (Levitate, 1997)
I'm A Mummy (Original by Bob McFadden, 1959)

posted @ 13.20 PM, November 15, 2007

 

 

Hurricane Edward

BackdropA real mixmash of ideas, sounds and timings. It starts with a clip from a TV/radio show or something delivered by 'a farm hand in Ross County.' The west country burr contrasts sharply with Tommy Crooks' broad Scottish accent at the end. In between times MES and some frantic drumming battle it out against the elements and the 'yellow thick ropes.' Good noises. Again, the live version is just instrumental.

 

 


Hurricane Edward (Levitate, 1997)
Hurricane Edward (Live, London, 1996)



posted @ 13.10 PM, November 14, 2007

 

Masquerade

BackdropFunky as fuck. Belatedly released as a single in 1998, this thumps along in stops and starts while MES outlines a vague financial, corporate greed theme over the top, with some playful word games such as 'Masqueraderie.' The Peel version is fantastic with added piano and Brix saying, 'This is new...Fresh,' followed by a whole bunch of different lyrics. The infamous live at Brownies version is mostly an instrumental affair, prefaced by the sense of impending violence/doom - 'And these three are gonna beat me up like the big men they are.'

 

 


Masquerade (Levitate, 1997)
Masquerade (Peel session, 1998)
Masquerade (Live, Brownies, New York, 1998)

posted @ 13.25 PM, November 30, 2007

 

Ten Houses Of Eve

BackdropAnd here come The Fall in techno colour. Jungle/drum n bass/whatever you call it type beats play host to MES dronings until they completely break down into a soft tinkling piano section and then back again to the dance treatments. Does the subject matter matter? 'If only the shards would relocate back in place/In your blue green and grey heart.' At the end the song sounds like its reinventing itself again on guitar before deciding not to bother. The live version is instrumental.

 

 


Ten Houses Of Eve (Levitate, 1997)
Ten Houses Of Eve (Live, London, 1996)

posted @ 13.05 PM, November 13, 2007