Seeing Madness on Top of the Pops for the first time performing ‘The Prince’ in the September of 1979 is burned into my mind. They looked every bit like a firm of ‘erberts off my old estate in Peckham, deepest South East London. But, what was also evident very quickly was they also had an ear for a tune or three. They gave the impression they weren’t taking themselves too seriously, but there were signs that they took what they did very seriously indeed.
By that month in 1979, the Two Tone movement was well underway and Madness, along with The Specials, were at the forefront of it. Always on the lookout for style influences, I also liked the cut of their jib, which was very much of a skinhead/suedehead persuasion, and one that I readily warmed to.
As Paul Riley said on my Facebook page recently when a group of us were discussing Madness, ‘they took a nation of kids from flares or bondage trousers to drainpipes, white socks and a Harrington overnight’
So, today I will be looking at their first album, entitled of course, ‘One Step Beyond.’ Released in mid October 1979 it was an immediate ‘word of mouth must have.’
Nearly everyone I knew was talking about it and it is no surprise to learn, that not only did it remain in the album charts for a year or so, but that it remains the group’s biggest selling album. Simply, all in my peer group seemed to have a copy.
Released on Stiff Records and produced by Langer and Winstanley in ten days (Clive and Alan to their mums) it contains tune after tune that have gone down in the folklore of a generation.
The classic ‘Nutty Train’ group photo on the cover (minus Chas Smash, who was yet to be considered a full time member of the line up) is instantly recognisable. Taken by Cameron McVey, old man to Neneh Cherry, it is said to be inspired by a photo of roadie Paul Tonkin on the album ‘Handsome’, an album by Ian Dury’s first outfit ‘Kilburn and The High Roads’ who were of course a big favourite, and a major influence on the Madness boys.
The album contains many original tracks, with a couple of classic ska numbers added to the mix. The feel of the album when listening back, is one of sort of capturing their live gigs at that period, which had already garnered them a strong following. In among the ‘Nutty Stew’ concocted was the sound of classic 1960s English pop music, mixed with the circus, mixed with Blue Beat and Soul, and then mixed with Max Miller and old time music halls. Not an easy trick to pull off.
So, without much further ado, shall we crack on?
‘Hey You!’
Track one, side one – ‘One Step Beyond.’
My only advice is to grip something firm as this instrumental cover version of the 1964 original by Prince Buster powers up. It cracks on a rare old rate with Lee ‘Kix’ Thompson leading the charge with his instantly identifiable sax sound. Woody on drums and Bedders on bass respectively, keep it all rooted. A toe tapper and head nodder of the finest order, this my children is lesson one, in how to start a debut album.
‘Why Can’t She See’
Next up, ‘My Girl’ penned by keyboardist Mike Barson. Young love and the trials and tribulations within that, laid bare here for all to see. The mis-communication brought on by a clumsy way with words, and then trying to sort it all out over the phone later. We’ve all been there, aint we? Can’t just be me. A lovely bit of piano work from the songs author is topped off by the unmistakeable delivery from Suggs on lead vocals.
‘Just pokes the wet sand…’
Whenever I hear ‘Night Boat to Cairo’ I am immediately taken back to the Madness reunion gig at Finsbury Park in 1992. I was there right at the back, with a group of fervent Madness fans, which by that year were somewhat, passed their best days, fitness wise. Despite this, and with a belly full of beer and other substances, we were all doing the Madness ‘dance’ when this started, only to find half way through that the energetic arm waving and leg movements had taken a toll on our ability to breath properly. I stumbled on and finished gamely, but then sat the next three dances out, realising I was basically, well, fucked.
The songs masterful lyric of a toothless oarsman propelling his boat down the River Nile, is set to one of the finest ‘skanks’ ever laid down on vinyl.
‘Your Friends tell you jealous lies.’
‘Believe Me’ is next up and relates an episode of tall tales and playing away ‘allegedly’ from home with ‘this girl called Sue’. A jaunty little romp, it contains a nice sax break from Mr Thompson.
‘Attenshun!’
Boys Brigade snare drum work of the highest order leads the way into this tale of woe, within the song ‘Land of Hope and Glory.’ One tasty elicit payday going south, after being grassed up. This leads to being banged upped for two years of cold showers, borstal/prison roll ups and catching sight on telly, the belly of one of the ‘Hot Gossip’ dancers. All before lights out at 9.30. Sobering
‘Buster!’
Those ever so familiar strains of ‘The Prince’ leap out at you next. A tribute and a salute to Jamaican musical legend Prince Buster written by Lee Thompson. This is now forty years old and still sounds as fresh as a coat of new paint. All the band play an integral part in the song, with the guitar stabs of Chrissy Boy, bouncing off nicely, the keys of Barso and once again the tremendous sax refrains of Lee Thompson. Marvellous graft.
‘Hey, ya seen Jane?”
Side one closes with the mostly instrumental ‘Tarzan’s Nuts’ which is basically a reworking of ‘Tarzan’s March’ the theme tune of the Tarzan TV series written by Sydney Lee. That ever so familiar refrain cracks along in typical Madness style after a Chas Smash introduction with assorted jungle noises then lobbed in to the mix.
‘Underwear Taker’
Side two opens with ‘In the Middle of the Night’ the cautionary tale of knicker thief George written by Suggs and Chrissy Boy. The aforementioned George spends his nights creeping about gardens with an armful of stolen ‘Palm D’Ors’ (drawers madam.) This always makes me think of a pervy ‘Play For Today’ and as we all know, there is always an audience for that kind of thing. .
‘Well, there’s a man I know’
Whenever I have seen the band live over the years, this song ‘Bed and Breakfast Man’ is a guaranteed crowd-pleaser. Written about the bands first drummer, John Hasler by Mike Barson and Chrissy Foreman, it tells the tale of a ‘kip anywhere’ fella. The ending of ‘whoa, whoa he was, he was the bed and breakfast man…’ is guaranteed to get blokes of a certain age singing along at the top of their voices. You have been warned.
‘Second Helping’
‘Razor Blade Alley’ signalled a small change for the band in those early days, as Lee took over lead vocal duties. There is also a distinct jazzy vibe on the tune, which tells the tale of visiting a ‘Lady of the Night’ and then leaving with more than you bargained for, as a ‘dose ‘ later kicks in. Classic British Kitchen sink drama in 2 minutes 42 seconds.
Pyotr Ilyich Tchaikovsky and Mike Barson share the song writing credit on ‘Swan Lake.’ Close your eyes and you can see Chalky and Chas butting heads to the ‘bom, bom, bom, bom’ sound that permeates this clever reworking of literally, a classic tune.
‘Have a cup of tea, and change my name’
A highlight from the film ‘Take It or Leave It’ which looked at the early years of the band, the song ‘Rockin’ in A Flat’ is another firm favourite of long time fans. A superb slice of drumming from Woody propels us into a lyric which details teenage youth club life and the setting up of a band, all in the hope of impressing your new bird. Chrissy Boy hits a nice Rock ‘n’ Roll seam with his guitar here as they crash through the song with ‘can’t stop me now’ youthful exuberance.
‘In the pub about 7.30’
‘Mummy’s boy’ is a tune by Bedders, exploring the underbelly of human nature, with in this case, a ‘stay at home son.’ Being frightened of contact with ‘ladies’, he instead opts for the security of being constantly by his mum’s side. Alan Bennett springs to mind every time I hear this song, and make of that what you will.
‘They call it…’
The song that gave the band their name. ‘Madness.’ Paying homage once again to Prince Buster, this cover of his 1963 tune, ramps the speed up a tad, but stays true to the vibe of the original sound. Respect well and truly paid.
‘Chipmunks Are Go’ sounds off as the band bring a close to the proceedings by adopting a ‘call and response’ chant of an American Army marching song. Of course they do. What else?
The fact that the group have lasted over 40 years, and have become, dare one say it, a national treasure is testament to the songs. Yes, they go in and out of fashion, with original members leaving and then coming back, but Madness seem to always have a place in the hearts of many.
Listening to this album, after a few years of not hearing it in in its entirety, I am very happy report it, it remains a firm favourite of your loyal correspondent.
I’m also delighted they are still with us performing, and long may that continue
The Mumper of SE5
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