Last week I posted how I discovered the Levellers and the song at number nine on this list (“One way”), all because they had been compared to The Wonder Stuff, and this week, at number eight, we have the band themselves and their hit single “Welcome to the cheap seats”.
It was my friend Elliott that introduced me to The Wonder Stuff, having loaned me their debut CD, “The eight legged groove machine”, a few years after it was released in 1988. There was something about it I connected with (more on that another time) and when I learned they had a more recent album to explore, I jumped on it. I brought “Never loved Elvis” home on cassette and immediately after popping it in my stereo, I noted the striking difference in sound from the debut. Instead of short, peppy, and snarling post-punk, we had fiddle-laden folk-rock but yeah, okay, it was still short and peppy and still had its snarling moments. And did I still love it? Oh yes.
I later learned that the change wasn’t as abrupt as all that but an evolution of sorts when I picked up their sophomore, ‘transition’ album “Hup”. The original four piece of Miles Hunt, Malc Treece, Martin Gilks, and Rob “The bass thing” Jones had become five by the third album, after “The bass thing” had left for America after the sophomore, was replaced by Paul Clifford and they added fiddler and multi-instrumentalist Martin Bell. The Wonder Stuff released four albums in total during their original run before splitting up in 1994. I distinctly remember where I was when I heard the news: out camping with the boys, taking down a dead tree with a dull axe and when my friend Tim arrived with the news, it came down post haste. (And it had a few extra hacks in it for good measure.) They have since reformed, dissolved again, and the name resurrected by frontman Miles with a different set of musicians.
But back to 1991 and “Welcome to the cheap seats” – “where your life’s seen through cracked spectacles.”
It’s brief and upbeat but old-school sounding, like a sped-up waltz, filled with anachronisms and metamusic – it’s what me and my English lit friends in university might have pretentiously termed ‘pre-neo-anti-post-postmodernist’. If you’ve seen the official video (sadly, I don’t have it below), you’d have seen the band dressed in pseudo-Victorian garb, playing their instruments and dancing about an absurd and surrealist set. You’d also have noticed (and if you had a keen ear, you might noticed anyway) that that is Kirsty MacColl singing backup, lending her lilting vocals as she has with many an artist, most notably, Morrissey, Billy Bragg, and The Pogues. And there’s another guest musician on the song, adding her accordion to the already folk-laden palette: none other than Spriit of the West’s Linda McRae.
So you see why I love this tune yet? Enjoy.
For the rest of the Best tunes of 1991 list, click here.