Simple Minds – Acoustic (Album Review)

Simple Minds – Acoustic (Album Review)

One of the most prolific bands to come out of the vibrant, brilliant golden era of New Wave music in the 1980s, Simple Minds are an easily recognized name. Always remaining rooted in their sonic grounds, without shying away from the equally bright and shiny aesthetics of contemporary Pop Rock music, their overall sound is both nostalgic and relevant.

Formed in 1977, in Glasgow, Scotland, the enduring band currently consists of the founding members Jim Kerr (vocals, songwriting) and Charlie Burchill (guitars, keyboards, songwriting) with Andy Gillespie (keyboards), Mel Gaynor (drummer), and Ged Grimes (bass). For a forty-year-old group that has been surviving countless musical revolutions and soldiering through inevitable stylistic evolution, Simple Minds is definitely a band to contend with. The songwriting partnership of especially Kerr and Burchill, with the contributions of the rest of their kindred musical spirits in the band, deserves to be placed alongside great creative pairs in the annals of Pop Rock music, such as Lennon-McCartney, Morrissey-Marr, and Hewson-Evans.

With a seventeen-album discography on their sleeves – from 1979’s Life in a Day to the latest, 2016’s Acoustic – Simple Minds have all the rights to present their music in however way they see fit within their predisposition. Thus, their decision to turn some of their songs into something acoustic-oriented from the familiarly lush soundscape of their music and then release these into a proper album is a long time coming; something that particularly lovers of Simple Minds’ music should sanctify.

Released on November 11, 2016, Simple Minds’ foray in the acoustic realms begins with a subtle take on the anthemic “The American,” which, despite its controlled burst of energy and the absence of the big-drum sound, synthesizer acrobatics, and guitar pyrotechnics of old, still sounds bombastic and iconic, never losing its Celtic spirit.

Next is the galloping graceful beat of “Promised You a Miracle,” which features the Scottish Singer-Songwriter KT Tunstall, whose equally powerful voice compliments that of Kerr and makes the song more compelling. The relaxing “Glittering Prize,” with its shimmering strums and Dream Pop guitar ad-lib, is a perfect background for a windy, moonlit night’s drive; whereas “See the Lights” and “New Gold Dream” are given another ray of sheen, albeit less of the bells and gloss and the ambient drama.

The U2 dead ringer “Someone, Somewhere in Summertime” is stripped off of its Edge-y, cascading guitars, letting Kerr’s low-register voice float conspicuously this time. Then there is “Waterfront,” whose electronic pulses are turned into something more organic and less calculated, giving it a more human feel, with more freedom to have fun. The ensuing “Sanctify Yourself,” on the other hand, retains much of its characteristics albeit highlighting Grimes’ slapped bass lines instead of the synthesizer flourishes. Paying homage to their debut album, Simple Minds take the piano-adorned, Roxy Music-influenced Art Rock “Chelsea Girl” and make it harmonics-based and Post-Punk-sounding; but the result is the same Rock-n-Roll, forever engaging.

Another effective synth unrobing comes next in the form of the new, raw version of “Alive and Kicking,” yet the same heartbeat, melodies, and vocal breaths remain the heart and bloodstream of the song that has become an emotional Power ballad. It will fit nicely onto a playlist that includes similar folky and soulful Sophisti-Pop songs like Tears for Fears’ “Woman in Chains,” Spandau Ballet’s “Through the Barricades,” Duran Duran’s “Ordinary World,” and Crowded House’s “Four Seasons in One Day.” Then, by making “Don’t You (Forget about Me)” more alive and heartfelt and finally a part of a proper studio album, Simple Minds have ultimately surrendered to the song’s legendary status and come into terms with the previously disowned classic. A sign of maturity? Perhaps. But most likely, an expression of gratitude and acknowledgment; after all, the enduringly popular song was what catapulted the band to international popularity in the first place.

Finally, Acoustic ends with a cover of “Long Black Train” by the English Singer-Songwriter Richard Hawley, who himself has a remarkable history, having been a member of the Guitar Pop bands Treebound Story (“Swimming in the Heart of Jane”), Longpigs (“She Said”), and Pulp (“Bob Lind [The Only Way Is Down]”). This album closer is simply a reminder of Simple Minds’ penchant for releasing renditions of other artists’ songs.

Acoustic is, after all, not something new. Tracing back the humble beginnings of the not-so-simple-minded pair that continue to lead Simple Minds, most of their now definitive songs were, in fact, originally written in the kitchen of Kerr’s family with only his youthful and hopeful voice on Burchill’s folky plucks and jangly strums on an old acoustic guitar. Besides, the Scottish band’s latest, so-named acoustic offering is not really stripped-down, voice-guitar renderings; the songs remain well-structured and full of instruments and melodies.

Although Acoustic serves as a reminder of how sincere and powerful Simple Minds’ songs are even without the embellishments of equally beautiful instrumental interludes and sonic atmospherics, the re-arrangements are still treated with no-nonsense creativity. In less than a dozen words, Acoustic is rootsy, folky, and intimate rather than electric, flamboyant, and stadium-ready. For all these reasons, CrypticRock gives Acoustic 5 out of 5 stars.

On the eve of Acoustic’s release Simple Minds took to the stage of London’s famous Hackney Empire to perform a special show for BBC Radio 2’s renowned “In Concert” series. Now, on June 16th, that concert will be released in a DVD/CD set called Acoustic In Concert. Pre-order it on Amazon  

Tour Dates:
April –
8th Colosseum Theater Essen – NEW DATE Germany
9th Colosseum Theater Essen Germany
10th Jahrhunderthalle Frankfurt Germany
11th Meistersingerhalle Nuremberg Germany
13th Admiralspalast Berlin Germany
14th Laeiszhalle Hamburg Germany
15th The Koncerthuset Copenhagen Denmark
17th Kurhaus Baden-Baden Germany
18th Rockhal Esch-sur-Alzette Luxembourg
19th KKL Luzern Luzern Switzerland
21st Teatro Colosseo Turin Italy
22nd Teatro delle Muse Ancona Italy
23rd Auditorium Conciliazione Rome Italy
25th Teatro Auditorium Manzoni Bologna Italy
26th Teatro Verdi Florence Italy
27th Teatro degli Arcimboldi Milan Italy
29th Halle aux Grains Toulouse France
30th L’Auditori Barcelona Spain
May –
2nd Teatro Circo Price Madrid Spain
3rd Lisbon Coliseum Lisbon Portugal
4th Coliseu do Porto Porto Portugal
6th Forum Evolucion Burgos Spain
7th Palacio de Congresos Pamplona Spain
8th Patinoire de Mériadeck Bordeaux France
9th Cite De Congres Nantes France
11th Le Grand Rex Paris France
12th Kursaal Oostende Oostende Belgium
13th Kursaal Oostende Oostende – NEW DATE Belgium
14th Royal Theatre Carré Amsterdam Netherlands
15th Palais Des Beaux-Art (Bozar) Brussels Belgium
17th Caird Hall Dundee UK
18th Royal Concert Hall Glasgow UK
19th Sage Gateshead Gateshead Quays UK
21st Symphony Hall Birmingham UK
22nd Royal Philharmonic Hall Liverpool UK
23rd Bridgewater Hall Manchester UK
25th The Spa Bridlington UK
26th Royal Concert Hall Nottingham UK
27th London Palladium London UK
29th Colston Hall Bristol UK
30th St Davids Hall Cardiff UK
June –
1st Mayflower Theatre Southampton UK
2nd The Lighthouse Poole UK
3rd Brighton Dome Brighton 
4th Theatre Royal London 
6th Waterfront Hall Belfast 
7th Olympia Theatre Dublin 
8th Olympia Theatre Dublin 

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aLfie vera mella
aLfie vera mella
elfideas102@yahoo.com

Born in 1971 in Metro Manila, Philippines, aLfie vera mella immigrated to Canada in 2003. He has since then been living in Winnipeg, Manitoba, working fulltime at a health care institution in the city while also serving as the associate contributing editor of a local community newspaper, tackling Literature, Languages, Cultures, Lifestyles, Music, and Genres. Prior to coming to Canada, he was a registered nurse in the Philippines and worked as an editor/writer of academic textbooks and magazines, handling Science & Technology and English Grammar & Literature.
He was also the frontman and chief songwriter of an Alternative Rock/New Wave band, Half Life Half Death, releasing an album and a handful of singles. In Canada, he formed another band, haLf man haLf eLf; they are currently working on their first album. In his spare time, he enjoys reading books; listening to music; taking care of his eight-year-old son, Evawwen; participating at various community events; and exploring the diverse cultural beauty of Canada whenever schedule permits him. He has been a music journalist since the mid-’90s for various print magazines and, eventually, websites. He started writing album reviews for CrypticRock in 2015. In 2016, he published Part One (Literature & Languages) of his essay series, Can You Hear the Sound of a Falling Leaf? His next planned literary endeavor is to publish the remaining parts of the anthology and his works on Poetry, Fantasy Fiction, and Mythology.

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