Searching For The Young Soul Rebels

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The song "It's Alright Kevin (Manhood 2023)" is a re-recorded version of the song "Manhood" which was released before on the 2003 compilation album Let's Make This Precious: The Best of Dexys Midnight Runners and on the live album At The Royal Court 2003. Dance Stance", which Rhodes produced, was released on Oddball Records, which Rhodes owned, and which was distributed by EMI. [7] Although it was named "single of the week" by Sounds, [5] it stalled at number 40 in the British charts, [7] which EMI and Rowland believed was due to Rhodes' poor production. [6] Rowland said, "We learned that early on, that the wrong producer can totally screw your record up." [6] As a result, Dexys fired Rhodes and signed with EMI, and EMI immediately put Pete Wingfield in charge of their production. [6] Saunders and Ward left the band, replaced by Andy Leek (keyboards) and Andy "Stoker" Growcott (drums). [7] Searching for the Young Soul Rebels and first band split [ edit ] Of course the downside of such well defined group aesthetics and sounds is that one incarnation of the group can overshadow all others. On telling people I know that I was reviewing Dexys several slated them as one-hit wonders (actually two-hit wonders and more if we go beyond mere no.1s) and a certain person called them “those gay village people” (er…I think that’s The Village People). For many people though ‘Come On Eileen’ is just a wedding reception piss-up tune (as opposed to one the greatest singles of all time) and Dexys will always be those guys in daft dungarees, one of whom looked suspiciously like Eidur Gudjohnsen. giving the warning “Don’t come any closer” a sense of exhausting urgency – even on one of the record’s most downbeat tunes (timing only matched by 'I Couldn’t Help It If I Tried').

Building on the unexpected success of "Dance Stance" (aka "Burn It Down"), Dexys' next single, " Geno" – about Geno Washington – became a British Number One in 1980. [6] It featured the band's "Late Night Feelings" imprint on the single, which became a trademark of the band's records on EMI. [7] Rowland wrote about Washington as he had seen one of his performances aged 11 with his brother. [9] The success of the song prompted Washington to make a return to live performance, but it also prompted the departure of Leek, who said he didn't want to be famous. [10] Pete Saunders returned to the band temporarily, replacing Leek, to record their debut album. [7]those dudes prancing about in overalls, sniffing their armpits, and appearing in dire need of a wash... or, indeed, fumigation. However, in the UK they’re musical marmite: sure it tastes like Searching for the Young Soul Rebels opens with the sound of radio static, from which snippets of " Smoke on the Water" by Deep Purple, " Holidays in the Sun" by Sex Pistols and " Rat Race" by The Specials can be heard. [8] [9] This is then cut off by shouts by Rowland and "Big" Jim Paterson, which are followed by "Burn It Down", a re-working of the band's first single "Dance Stance". Instrumental 'The Teams That Meet in Caffs' goes on a bit, but is worth enduring as the following 'I’m Just Looking' proves itself an absolute jewel in Kev’s madcap crown. Never are his sobs more shoulder shifting or the brass interjections more dramatically staccato. Icy organ sends chills as Rowland moves from eerie whispers to rolling Rs and exasperated bellows,

Only a couple of years or so after the initial explosion, stellar bands, mostly made up of former punks, such as PiL, Joy Division, Wire, Magazine, Gang Of Four, Siouxsie And The Banshees and Simple Minds, were now at the front of the forward-leaning, post-punk vanguard. Rowland became a solo singer with the release of 1988's poorly received album, The Wanderer. [7] Rowland suffered from financial problems, drug addiction and depression. [29] Rowland said: "I'd been too confident, too arrogant. I thought everyone would hear our new music and go: 'Wow.'" [19] When he went to sign on for a jobseeker's allowance, another unemployed person recognised him and sang "Come On Eileen". [19] Graff, Gary (28 August 1986). "The Second British Invasion: New wave now an old ripple". Spokane Chronicle. Archived from the original on 24 February 2021 . Retrieved 1 May 2019.

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In 2013 the band announced that they would play nine shows in London's West End at the Duke of York's Theatre, St Martins Lane between 15 and 27 April. [40] These shows would become the basis for a documentary on the group entitled Nowhere Is Home, directed by Kieran Evans and Paul Kelly. [41] Nowhere Is Home was issued in both triple-CD and double-DVD formats in October 2014 on Dexys' own label, Absolute Dexys. [7] Dexys played more live dates in 2014; however, as Hyland was not available for several shows during the summer, Siobhan Fahey replaced her in the Dexys lineup. [42] (Fahey's sister, actress Máire Fahey, had portrayed "Eileen" in the music video and picture sleeve for "Come On Eileen" in 1982.) [43] Let the Record Show: Dexys Do Irish and Country Soul [ edit ] Although Dexys began preparing material for a new album in late 1983, once the touring stopped, the band was reduced to a nucleus of Rowland, Adams, O'Hara and Gatfield. [6] Rowland wanted to explore different songwriting, and Dexys Midnight Runners began recording more "introspective, mournful" music. [19] Recording and mixing the new album took almost two years and spread across Switzerland, the U.K., and the U.S; [7] at various times, Tom Dowd, Jimmy Miller, and John Porter were attached as producers. [20] Some seasoned performers, ex-Dexys members, and session musicians made up the rest of the band, including Vincent Crane (ex- Atomic Rooster) on piano, Julian Littman on mandolin, Tim Dancy (who had been Al Green's drummer) on drums, Tommy Evans on steel guitar, and former Dexys members "Big" Jim Paterson on trombone, Robert Noble on organ and synthesizer, and John "Rhino" Edwards on bass. Near the end of these sessions, Rowland and O'Hara's personal relationship broke up, although they continued to work together. [20] Ewing, Tom (13 June 2012). "Dexys: One Day I'm Going to Soar". Pitchfork.com. Archived from the original on 22 February 2016 . Retrieved 12 February 2016. Let the Record Show - Dexys Do Irish and Country Soul by Dexys Midnight Runners". Official Charts. The Official UK Charts Company . Retrieved 3 August 2023. White, Richard (2005). Dexys Midnight Runners: Young Soul Rebels. Omnibus Press. pp.69–70. ISBN 1-84449-863-8.

a b c d e Archer, Kevin (2000). Searching for the Young Soul Rebels (20th Anniversary Edition) (Media notes). Dexys Midnight Runners. p.20 . Retrieved 29 September 2012. Rowland and Archer took an all-or-nothing approach to the band: the singer treated Dexys Midnight Runners like a gang, and he had certain expectations of potential members, as he told The Guardian in an earlier interview, in 2006: “Anyone joining Dexys had to give up their job and rehearse all day long… We had nothing to lose and felt that what we were doing was everything.” And what originals they had. With its biographical essay on the sleeve (“The firm was complete, now for the caper”), Searching... was unlike anything that had come before. Producer Pete Wingfield achieved a sound with the three-piece horn section that has never been recreated on vinyl. Close mic'ed and recorded right to the front, they sledgehammered their way into your heart. Things You Didn't Know: "Come On Eileen" By Dexys Midnight Runners". WCBS-FM. 29 March 2013. Archived from the original on 4 February 2016 . Retrieved 12 February 2016. Hepworth, David (24 July – 6 August 1980). "Dexys Midnight Runners: Searching for the Young Soul Rebels". Smash Hits. Vol.2, no.15. p.29.Dexys announce new album". New Musical Express. 17 March 2016. Archived from the original on 20 March 2016 . Retrieved 19 March 2016.

Just booked: Dexys to perform at York Barbican". YorkMix. 6 September 2021. Archived from the original on 8 September 2021 . Retrieved 8 September 2021. Dexys returned to the charts that year with the greatest-hits TV compilation The Very Best of Dexys Midnight Runners, which featured a number of songs that had never been released on CD, reached #12 on the charts, and was certified "Gold". Consequently, Rowland "spent most of my time in rehab" in 1993 and 1994. [8] As part of that, Rowland made plans to reform Dexys together with Big Jim Paterson and Billy Adams, although these plans resulted in little more than a solitary TV performance in 1993. [7] [30] Rowland then went on the dole; as he put it in 1999, "Insanity is no fun, mate. People try to romanticize the idea of the suffering artist. At my lowest ebbs there was no romance to it at all." [8] Rowland explained his thinking to The Guardian in 2016: “No one else was talking about soul in 1978… That’s why it was cool to me. It had potential to be radical. To me, it was after punk and it was new and a bolt from the view and I loved soul but now I think it was a bit narrow. In fact, I wish we had never said that word, soul, because once you label something, you kill it. I think we should never have said anything except we’re Dexys and this is our music.” Geno’s success only emboldened Rowland. “I think we’re becoming more intense,” he told The Face in 1980. “Musically we like to swim against the tide. Taking risks is very important to us… Inspiring other groups. That would be the greatest thing.” “The lyrics just spilled out of me”

Notes

They dressed in a sombre fashion and were glacially serious about the music they were making. These groups voraciously gleaned high ideas from art, literature, philosophy and politics and looked towards Europe for their inspiration. The doubtful honour fell to Pete Wingfield, who was not only a one-hit wonder (‘I’m 18 with a bullet/ Got my finger on the trigger/ I’m gonna pull it”) but was also a soul specialist, and, tellingly, had played with Van Morrison at 1974’s Montreux Jazz Festival. a b c d e f g h i j Reynolds, Simon (2005) Rip It Up and Start Again: Postpunk 1978–1984, Faber & Faber, ISBN 0-571-21570-X, p. 293–296 Archer (and Leek) eventually formed The Blue Ox Babes, while the other departing members—Blythe, Spooner, Williams, "Stoker", and Talbot—formed The Bureau, which Wingfield continued to produce.