Within the music realm, only a small number of acts are fortunate enough to experience genuine mainstream success, making the transition from performing within pubs and clubs to theatres and arenas, and eventually stadiums. Of Hit The Lights' interviewees, not all actually make such a transition. On July 13th, 1985, Simple Minds were one of many noted acts who performed at Philadelphia, Pennsylvania's JFK Stadium as part of Live Aid's American leg. A landmark occasion, the group have other weighty albeit less noteworthy achievements under their belt, such as having accrued number one hit singles in the United States and the United Kingdom. Having amassed a career spanning three decades, Simple Minds enter a fourth decade via 2009's "Graffiti Soul".
Initially,
Simple Minds' fifteenth studio effort of new material was written on location in Rome, Sicily, Antwerp and Glasgow. To record the album, dubbed "
Graffiti Soul", the group returned to Rockfield Studios near Monmouthshire in Wales, where the albums "
Real To Real Cacophony" (1979), "
Empires And Dance" (1980) and "
New Gold Dream" (1982) had been committed to tape. Produced by
Simple Minds and
Jez Coad, "
Graffiti Soul" was mixed in Los Angeles by
Bob Clearmountain, who had previously mixed the album "
Once Upon A Time" (1985), as well as albums like
Bruce Springsteen's "
Born In the USA" (1984),
David Bowie's "
Let's Dance" (1983), and
Roxy Music's "
Avalon" (1982). On May 25th, 2009, "
Graffiti Soul" was released via Universal Records. In its inaugural week of issue, the full length entered the UK album charts at position ten. One week prior to "
Graffiti Soul"'s release, the record's lead single "
Rockets" underwent issue.
On July 18th, Simple Minds' performance at Edinburgh Castle will be filmed for a DVD release, where the group will perform the album "New Gold Dream" in its entirety. With supporting act OMD (Orchestral Manoeuvres in the Dark), Simple Minds will tour across the United Kingdom from November 30th until December 12th, venturing into such cities as Newcastle, Birmingham, Manchester, Sheffield, Cardiff, London, Glasgow and Aberdeen.
On 21st May at 10:00 GMT, Hit The Lights' Robert Gray telephoned the mobile number of Simple Minds guitarist Charlie Burchill, who discussed "Graffiti Soul", as well as the group's career in general.
UG: Hello?
Charlie Burchill: Oh yes, hi. This is Charlie Burchill. Sorry I missed your call earlier, though where I am, the mobile service continually disappears. It's ok now - I've found a spot in the house (laughs). Hello? Can you hear me?
Yeah, I can hear you. How are you Charlie?
I'm really well.
Would it be alright if I began the interview?
Sure, of course.
Could you discuss how 'Graffiti Soul' came to fruition?
'Graffiti Soul' is the culmination of several ideas we've had over the course of several years. In the summer of 2008, we then had a somewhat intensive writing period in Glasgow. Following that, we basically then just went to Wales, and recorded 'Graffiti Soul' pretty quickly.
According to a press release, 'Graffiti Soul''s material was written on location in areas such as Rome and Sicily. Was that whilst touring, or something of that nature?
In the past, we've written in Sicily, though the bulk of 'Graffiti Soul''s material was written in Glasgow actually. We weren't touring - the material was just written during a writing period.
When you're in Glasgow, do you feel you can concentrate better?
We don't live in Glasgow, actually. We specifically went to Glasgow to write, as we enter a certain type of mode when we travel there. It's quite work intensive. We really wanted to have a strong writing period, and in Glasgow, we felt that there would be no distractions, and we would just knuckle down. It turned out great.
When you're at home, is it easy to become distracted by family, friends and everyday life?
We tend to separate that part of our lives, and set aside writing periods, touring periods and recording periods. Then, we know that we won't be around the family too much, and when we're with the family we know that we won't be really handling too much in terms of Simple Minds. We tend to concentrate upon one thing at one time. You know the way it is; it doesn't really work, and it isn't very productive. It's better if you can organize periods where it's easier to focus upon what you're meant to be concentrating upon.
"We really wanted to have a strong writing period."
I don't really know, and don't know if it's a direct influence. Writing in Glasgow inspires a certain frame of mind, which could be due to the fact that there are no distractions. When we work in Glasgow, we work in places that don't usually have windows. This time, we worked in an extremely basic little basement in a rehearsal space, where you become slightly more internal, and don't try to trying to look out the window for inspiration so much (laughs).
So if you're in such a secluded location, that means you reflect upon things, and think about certain subjects more deeply?
Yeah, kind of. In this case, we worked in small spaces, and had nowhere to run really, since there were lots of gear, and tons of equipment. We were able to write a bit like the way we used to write in the past, where we would sit down, and just jam. We would create ideas, and work on those ideas for roughly ten hours. That's the way we worked upon 'Graffiti Soul''s tracks; we worked upon ideas, and just let them evolve over long periods of time.
Why did Simple Minds return to Rockfield Studios near Monmouthshire in Wales after so many years?
Jez Coad, who co-produced 'Graffiti Soul', co-produced 'Black & White 050505' (2005). Over the last four to five years, Jez has worked in Rockfield quite a lot. When we decided to record somewhere, Jez said to us "Have you ever considered Rockfield?". At that point, Jim and I replied "Well, is Rockfield still going?". We last recorded at Rockfield roughly twenty-two years ago, and most other studios have closed, or have crumbled. Jez said "Yeah, Rockfield's still fully functional. It's an amazing place". We recorded three of our early albums (1979's 'Real To Real Cacophony', 1980's 'Empires And Dance' and 1982's 'New Gold Dream') at Rockfield, more or less. Returning to Rockfield just seemed like a brilliant idea, as we loved it there - returning was absolutely fantastic. Rockfield is a residential studio situated in the Welsh countryside, and the people who work at the studio are brilliant. The studio is a really fantastic, technical studio as well, and has great sounding rooms. We just felt that it was an inspired move, standing in a room where we wrote songs which eventually became big hits. When we were first at Rockfield, me and Jim were just two young guys in a recording studio (laughs).
Was it important to record 'Graffiti Soul''s tracks at a residential studio? Many groups comment that a lot of residential studios have closed down.
Yeah, it was. We've always habitually entered residential studios, partly since when you're younger, there's a slight gang mentality. You're in a place somewhere away from everyone else, and can be left to your own devices. For us, that just became a habit. When we began working in cities, it was great, though if you spend a lengthy amount of time in cities, it eventually just becomes so distracting. You leave the studio in the evening, and arrive early in the morning, but you always want to pop out and do something. When you enter residential studios, on the other hand, there's a real purpose.
Was returning to Rockfield Studios a trip down memory lane?
It really was, yes. Rockfield hasn't really changed a great deal, and we've worked in every different part of the studios. They used to have an old mill down by a river, where we worked, stayed and wrote albums. We've worked in both of Rockfield's studios. The first time we properly recorded in its big studio, we were fortunate enough to meet two of our biggest heroes, who were also recording at that studio - Iggy Pop and David Bowie. Yeah, Rockfield has a lot of memories for us.
How would you compare the personalities within Simple Minds who recorded 'Graffiti Soul' against the personalities who recorded at Rockfield Studios twenty-two years ago?
We're all twenty-two years older, but then again, two of the musicians who play with us now are from Glasgow, while the other is from London. One of the musicians from Glasgow grew up and lived in the place where Jim and I grew up. We're all very Glaswegian, to be absolutely honest. In that respect, there's not much difference between the past and present personalities. It's just a Glaswegian thing really.
After three decades, is it difficult to discover the drive to write music?
No, not at all. In fact, writing music is the only thing which actually makes sense. It's fine, since we learn, and you learn your trade after this length of time, especially with something as complex as songwriting. Songwriting is an infinite, never-ending world really, and for us, the actual day to day idea of possibly sitting down and having to do something doesn't exist for us. We enter a rehearsal space, and it feels like playtime. Suddenly, we then discover that we've written what might be songs, though the process leading up to that is such good fun. We don't have to write - we're not obligated to any companies, or anything. It's just our own little world. No, writing isn't difficult, and is something that we really, really enjoy.
What are your recollections of Simple Minds' live performances conducted during the eighties, such as at Live Aid in 1985?
Obviously, I have some fantastic memories, especially of a period where it felt as though there was so much change. Really, there was so much originality. When we were a part of that whole decade, it just seemed as though our career had several different stages which kept changing dramatically, from having our first major hit to playing our first decent size venues. We then suddenly realized that we actually were a group which might just get taken seriously, and then found ourselves performing at something like Live Aid, which was enormous and somewhat overwhelming. Eventually, we then performed at stadiums, and became a major success, which was all relatively in a short space of time. For me, they were great times, and they were really extreme times. It has continued somewhat, as it's something that I don't think you ever really quite get used to. After a period certainly, we began to realize that it's pretty amazing when you can go through a curve like that.
Jim described 'Graffiti Soul''s tracks as being "bold and energetic".
They're certainly that (laughs). 'Graffiti Soul''s tracks weren't consciously written like that. It just so happens that the tracks we wanted to work on fit a certain criteria, that criteria being bold and energetic. For me personally, it's difficult to really, really describe. I'm never good at analyzing what we do - I usually hear an album through other people's ears.
"'Graffiti Soul' is the culmination of several ideas we've had over the course of several years."
He isn't just specifically talking about tempo. We had a collection of songs, which roughly spanned twenty-five tracks. We eventually worked on sixteen to eighteen, and as the process slowly went on, we found ourselves filtering, whittling down that number to twelve. Following that, 'Graffiti Soul' became a ten track album. If you listen to a number of tracks, you feel that a certain, naturally dynamic flow exists if you opt towards a specific running order, and that running order makes an impression. That's the way we arrive at a final track listing. With 'Graffiti Soul', we began to realize we had written an extremely full-on album. We put together this collection of tracks, and decided that it would be best to concentrate on that energy. We really pushed the idea that Simple Minds is a group which has a thirty year career, but is still really on form.
So you feel that within Simple Minds, there is much more left?
Yeah, of course. 'Graffiti Soul' was written over two years, and it felt as though we had another forty song ideas which we haven't even begun to explore.
Would you describe 'Graffiti Soul' as a rock 'n' roll type album?
No, I wouldn't actually. Then again, like I said earlier, I'm not good at analyzing what we do. People will say 'Graffiti Soul' is a very guitar-driven album. Mel, our drummer, is somewhat known for being a really, really incredible rock drummer. Upon 'Graffiti Soul', it's full-on, but at the same time, the album has a very quiet, hush vibe in the music for me. However, the way that vibe is delivered is a full group performance.
'Graffiti Soul''s press release makes reference to Joy Division, and The Stranglers. Would you agree with such comparisons?
I wouldn't, no, but I'm quite happy to be in the company of them (laughs).
Why did Simple Minds opt to work with co-producer Jez Coad once again?
He's a great, all round type of guy, which was what Jim and I both needed. Jez writes, produces and fixes everything. He's a great motivator. He's somewhat compulsive, but in a really great way. Jez certainly has a compulsive side to him, which is really why we love him. He just won't let anything go, but is also such an intelligent guy that even for a compulsive, he knows that he has to let go at certain points. At this point, we really need somebody like that. Jim usually carries tremendous responsibility for Simple Minds, and not just as a lyricist - Jim handles a lot of other duties which are really important. Music comes from me, and sometimes, it can be much about when you don't write as a group, and have to think like a drummer, a bassist, and a keyboardist. To have someone like Jez is just brilliant, as he can really give both Jim and I a hand, something he does brilliantly. He's a very intelligent guy.
So he can definitely relate to you and Jim from a musical standpoint?
Yes, even in a writing sense. Upon 'Black & White 050505', two tracks really originated from Jez' ideas, and upon 'Graffiti Soul', one originated from Jez' ideas. Not with everything, but most of the time, we usually feel a resonance with the ideas he might have. It feels as though we have another group member, which is great. Me and Jim have been together so long that we obviously think as one person almost, so we need someone else who can give us feedback in terms of what we're doing, as opposed to just being on one wavelength. We need someone else to give us some other perspective on our music.
Would you describe Simple Minds' working relationship with Jez as being long-term?
Yes, absolutely. We've already worked with Jez for roughly six to seven years possibly, and yeah, we'll absolutely continue to work with Jez and the other people we work with. We've started working upon four to five new songs, and have been working on those new songs with Jez.
How would you describe those four to five new tracks?
It's too early to say. They need to develop a bit before we can really begin to tell how they sound.
Is there anything you can reveal regarding these formative tracks, such as working titles and so on?
We're working on one song called "Concrete and Cherry Blossom".
So you don't know if Simple Minds' seventeenth studio album will be in the vein of 'Graffiti Soul'?
Well, these songs aren't really in that vein, no, and they'll likely take quite a lot of different twists and turns before they're finished.
What is the meaning behind the title 'Graffiti Soul'?
You'd really have to ask Jim that question, though I do roughly know what inspired the album's title. I think Jim took a train ride to where Jez lives, so that they could work further on some material they'd been working on. On the way there, Jim listened to how well these bunch of kids on the train knew all the graffiti they were passing - they knew instantly. He started thinking about this graffiti craze; "What is it? What is this mania? This compulsion to have to spread your stamp everywhere?". Of course, it's a similar thing to what groups do (laughs). You have your identity, and that identity comes through. In our particular case, our identity comes through our music. Music is like spreading a bit of graffiti all over the place. You spread it everywhere, and it's a part of your soul. The whole thing that we do, making music, is our individual stamp.
So Jim related to spreading graffiti from a musical standpoint?
Yeah, he did.
"Writing in Glasgow inspires a certain frame of mind, which could be due to the fact that there are no distractions."
Yeah. We recorded "Rockets"' music video over one day in London. The video is very basic, and has an early eighties vibe somewhat. We just filmed the video, kept it quite basic, and did some things during post-production on it.
Obviously, Simple Minds will conduct a world tour in support of 'Graffiti Soul'. These days, what's touring like for Simple Minds?
It's great. When we tour, and perform live, it all makes sense. Performing definitely puts things into real, sharp focus, and is essentially what we are - we're a performing group. We're performers, really. Some groups aren't; some groups make albums, write songs and are musically conscious, but are not really a performing group. If you look at our past, we're a proper live touring group. We've played every single kind of venue possible, and that's one benefit of having had a really, really long career. When we perform at festivals in the summer for example, we perform to really, really large crowds, though we can also perform to really small, intimate crowds. This year, we'll perform at all types of venue basically. We'll begin with festivals in the summer, such as the Isle of Wight Festival, and then we'll perform at somewhere like Edinburgh Castle. Following that, we'll perform at St. Mark's Square in Venice, and then in between that, we'll perform in every country across Europe. We'll then travel to South America, as well as visiting Australia, not to mention Europe once again. We'll finish by touring across the UK in December.
Do you feel that touring ethic was possibly ingrained into Simple Minds as a result of the time? Back then, Youtube didn't exist for example, as well as a host of other mediums.
Yeah. It was all very healthy. Just across the border, there was a great demand for much live music. That's why our generation produced a lot of groups that could possibly deal with a festival situation, or indeed perform at a stadium, I think. First of all, to do that, I definitely think you have to go throug every stage of performing, from pubs, to clubs, to theatres, to arenas, and to stadiums - like every old school group. When you gain that type of experience, it shows that it's possible. It was possible to do that then, though I don't know what the live situation is like for groups nowadays, or how difficult it is. It's tough for young groups nowadays, I think. After releasing their second album, groups are possibly headlining festivals, which must be pretty weird.
Yeah, definitely. During July, Simple Minds' performance at Edinburgh Castle will be recorded.
Yeah, and Edinburgh's fantastic. As a matter of fact, Edinburgh is a home crowd somewhat. We'll travel there, and have an amazing backdrop in the country that we're from. In a way, it'll be a celebration of thirty years (laughs). In a way, that performance could be, though it isn't really. We thought we should capture that moment - it is pretty magic, and we're a Celtic group.
How do you look back upon Simple Minds' thirty-year career?
Essentially, with great pleasure. I'm just happy, and think myself somewhat lucky. When we first met each other, Jim and I would never have thought that we would spend thirty years as a group, and would still be able to cut it (laughs). Obviously, a lot of luck was involved, as well as a lot of work. When I look back, I just think it's a really, really fantastic profession. It's a brilliant thing, and is well worth doing. A lot of really interesting music is coming through now as well, and that's great to see. A lot of groups I think, if given the right chance, can go on and make it. I still think music will exist, even though much pessimism surrounds music (laughs). Personally, I think music will rise above it, and we'll hear some amazing music in the future.
Interview by Robert Gray
Ultimate-Guitar.Com © 2009
/ my profile 
