Showing posts with label pet shop boys. Show all posts
Showing posts with label pet shop boys. Show all posts

4 Nov 2025

Kings Cross: Dense with Angels and Histories

 
Kings Cross, dense with angels and histories, 
there are cities beneath your pavements, cities behind your skies. 
Let me see! [1] 

 
I. 
 
King's Cross is a district straddling the London Boroughs of Camden and Islington, on either side of the Euston Road (a thoroughfare built in 1756, but originally called, rather unimaginatively, the New Road). 
 
The district was named after a large but ugly monument to George IV which stood from 1830 to 1845 where New Road, Gray's Inn Road, and Pentonville Road intersected - thus King's Cross - geddit?   
 
It's not an area I know well or feel at home in, but it does have a fascinating history as both a red light district and gateway to the North (and Hogwarts), home as it is to King's Cross station, beneath which lies the body of the Celtic warrior queen Boadicea [2].
 
 
II. 
 
Following an extensive programme of regeneration, King's Cross is today all hip and happening and popular with the usual suspects as well as the large student body based at Central St Martins college of art, in Granary Square; a public space which prides itself on being the canalside heart of King's Cross and boasts lots of bars, cafés, and restaurants, as well as a thousand choreographed fountains to delight those who like that sort of thing (often the same kind of people who like laser shows and fireworks).   
 
I don't know what the Romans who settled the area would have made of it all, but, since they invented the idea of panem et circenses to distract and amuse the masses, they may well have approved [3].     
 
This programme of urban renewal (and gentrification) followed many years of post-War (and post-industrial) decline. It was always a poor area, but had been a busy commercial district. By the 1980s, however, it was notorious for drug dealing and prostitution - although low rents and plenty of vacant buildings to squat also made it popular with artists and musicians; think Anthony Gormley and the Mutoid Waste Company [4] .   
 
Now, it's home to the Google UK headquarters [5]. And the British Library, who relocated next to St. Pancras station in 1997. Oh, and The Guardian
 
As for the old Gasworks, well, that's been demolished; although you can still view the iron skeleton of Gasholder 8, which has been transformed into an object of architectural and historic interest [6] - i.e., disempowered and robbed of its Victorian grandeur. 
 

Notes 
 
[1] In 2012, these lines from an unpublished long poem titled 'The Brill' written by Aiden Andrew Dun, were inscribed along one side of Granary Square, having originally been spray-painted on the walls of Battle Bridge just before it was demolished. Readers interested in knowing more can visit Dun's website by clicking here
 
[2] The claim that queen Boadicea - or Boudica, as people now like to say - is buried under Platform 9 at King's Cross station is, alas, one with no evidence to support it. The legend originated because the area is believed by some to have been the site of her final battle against the Romans in 61 AD.
      As for the station itself, I used to go there fairly often in the early-mid 1980s, travelling by train to Leeds. But I can't say I was particularly impressed; like Margaret Schlegel, the station with its great arches "shouldering between them an unlovely clock", had always suggested infinity and I'm something of an apeirophobe. I'm quoting, of course, from E. M. Forster's novel Howards End (1910), chapter 2.
 
[3] The phrase 'bread and circuses' originates from the writings of the Roman satirical poet Juvenal; see Satire X in Book IV of the Satires, lines 77-81. To read a translation by A. S. Kline (2001) published on poetryintranslation.com, click here.  
 
[4] Anthony Gormley - now Sir Anthony Gormley - is a British sculptor who, I believe, still has a large, light-filled studio in the King's Cross area (designed in collaboration with the architect David Chipperfield in 2001-03). 
      In the late 1980s, the Mutoid Waste Company - an art collective founded by Joe Rush and Robin Cooke in collaboration with Alan P. Scott and Joshua Bowler - moved into Battlebridge Road warehouse, where they built huge industrial sculptures out of scrap metal and held raves; they were evicted by police in 1989. 
 
[5] Or it soon will be at any rate: Google King's Cross is nearing completion and will form part of the so-called Knowledge Quarter in King's Cross Central. Providing over 861,000 square feet of office space for around 7,000 employees, it is the first building owned and designed by Google outside the US.  
 
[6] Stroll along the canal towpath from Granary Square and you'll come to Gasholder Park, featuring the wrought-iron frame of Gasholder 8; fully restored and relocated from the opposite bank of the canal. 
      A Grade II listed structure, Gasholder 8 was originally built in the 1850s and held over a million cubic feet of gas. It was the largest and proudest of nine such giants that once dominated the skyline of King's Cross. Now, it encases 'a sculpted canopy and lush circular lawn' and makes one feel a little forlorn.    
 
 
Musical bonus: 'King's Cross', by the Pet Shop Boys, from the album Actually (Parlophone Records, 1987), written by Chris Lowe and Neil Tennant. Click here to play on YouTube. 
 
    
This post is for Nina O’Reilly, a PhD researcher at Central Saint Martins, University of the Arts London. Her research "explores the changing fortunes of youth/sub/club/queer cultures in the King's Cross area" and opens up a wider conversation "about creative agency and access to the city", as well as the role of young people "as active producers of space, particularly in central London". 
      In addition, her work examines how heritage is shaped in cities, and the forms of destruction that are often unleashed in the name of regeneration whilst serving the interests of capital and real estate. 
      Her University of the Arts London profile page - from where I'm quoting - can be accessed by clicking here.     


6 Nov 2022

Better Than the Original: On the Joy of Cover Versions

Alien Ant Farm lead vocalist Dryden Mitchell and Bubbles lookalike in the video 
for their 2001 version of Michael Jackson's 'Smooth Criminal' (1988)
 
 
I. 
 
If there's one thing I like, it's a great cover version; that is to say, a new interpretation of a song which exposes the fallacy that the original recording, or one closely associated with a well-known artist, is always the best. 
 
The fact is, there is no definitive version of a song and, in as much as a song is usually written before it is ever performed or recorded, all versions are essentially covers
 
Even the songwriter or composer, cannot claim to exercise complete control or final authority over his work; la mort de l'auteur isn't just a phenomenon within the world of literature, you know (or, at any rate, certainly deserves to be extended into other areas, including popular music, where - even in a post-punk environment - too much reverence is paid to the artist and they still unironically hang a star on their dressing room door).  
 
And so, just as the singer must release the song from the page on which it's written, so must the listener also liberate the song from the recording and refuse any limit upon how they hear or understand it. The magic and the meaning of a song depends on the impressions of the listener, rather than the passion of the performer, or the intentions of the songwriter.
 
Anyhoo, having briefly set out my theoretical reasons for loving cover versions, I'd like now to discuss what makes a great cover version ...
 
 
II.    
 
Having selected an old song that one wishes to cover, it's important to remember that one isn't merely obliged to rework or reinterpret it; one must also find a way to update the song so that it sounds fresh and contemporary. Avoiding what Barthes calls the mere stereotype of novelty, one must make New (which is another way of saying make sexy).  
 
And whilst it's respectful to give a nod in some manner to the artist one is covering, one must not remain unduly faithful; high-fidelity is undesirable and one doesn't want to be seen simply as a tribute act and a cover needs to be more than a cheap imitation or the next best thing compared to the original. Ultimately, as Neil Tennant once said: the cover has got to sound like you [1]
 
It also needs to be aimed at a different (and possibly a wider) audience than the (so-called) original. Forget about crowd-pleasing.      
 
 
III.
 
It only remains for me now to provide some examples of great cover versions - or, at any rate, cover songs which I happen to like ... 
 
Initially, I was going to provide a list or, if you like, a chart. But then a top ten became a top twenty and a top twenty a top forty ... And so, rather than do this, I've decided to simply mention several of my favourite cover versions and discuss one of these in detail.
 
Let's begin with two songs that I have already written posts on: 'My Way' by Sid Vicious, released as a single by the Sex Pistols in 1978 [2], and 'Common People' by William Shatner, on the album Has Been (2004). Both of these tracks are perfect cover versions: as I explain here and here.

The next track I'd like to mention is Serge Gainsbourg's amusing version of 'Smoke Gets In You Eyes', on the album Rock Around the Bunker (1975), which contained songs relating to the Third Reich and which drew upon Gainsbourg's experiences as a Jewish child in Nazi occupied France. 
 
Along with nine original songs, Gainsbourg included this cover of 'Smoke Gets in Your Eyes', written by Otto Harbach and Jerome Kern the 1933 Broadway musical Roberta, because it was said to be one of Eva Braun's favourites. Click here to play.   

Speaking of French singers ... I would like to also give a shout out to Marie Laforêt and her 1966 version of the Rolling Stones' hit 'Paint It Black' - retitled as 'Marie-douceur, Marie-colère' - click here. As the song is also given completely new lyrics, it's arguably a different work altogether - though the tune's the same [3].
 
Then there's Siouxsie and the Banshees working their alchemy with the Beatles track 'Dear Pudence', released as a single in 1983 [4]. It would be the band's biggest UK hit, reaching number 3 in the charts (much to their surprise). What amuses me is the manner in which they add a sense of darkness and menace to the original hippie vibe (despite the sunny blue skies). Click here to play.  
 
Finally, there's arguably the greatest of all covers: Alien Ant Farm's punky nu-metal version of 'Smooth Criminal' by Michael Jackson, released as a single from the album Anthology (2001): click here
 
This track only got to number 3 in the UK, but was a huge number 1 smash in the US. Like Sid's version of 'My Way' and Shatner's cover of Pulp's 'Common People', it is just perfect - as is the video directed by Marc Klasfeld, which references numerous Jackson music videos.  
 
The fact that I love it - even though I'm not a Michael Jackson fan - is not the point; the point is that MJ also loved it and so do many of his fans and those who might be wary of white artists coming along and messing with the work of a legendary black performer - as many so-called reaction videos on YouTube make clear [5].   
 
 
Notes
 
[1] Neil Tennant, vocalist with the synth-pop duo the Pet Shop Boys, knows a thing or two about producing a great cover; his 1987 version with Chris Lowe of the song made famous by Elvis in 1972 - 'You Are Always on My Mind' - is often said to be the greatest cover version ever (which it isn't, but it certainly deserves a mention, and a listen: click here to see them performing it on Top of the Pops). 

[2] Somewhat ironically, the Sex Pistols were rather good at covering other people's songs; click here for their take on 'No Fun', by the Stooges (originally the 'B' side of 'Pretty Vacant' (1977), but this is the remastered version from the 35th anniversary edition of Never Mind the Bollocks (2012)); and click here for their version of '(I'm Not Your) Steppin' Stone', made famous by the Monkees, as found on The Great Rock 'n' Roll Swindle (1979).    
 
[3] A 1983 cover of 'Paint It Black' by the American punk band the Avengers, which I also like very much, is rather closer to the original: click here

[4] Siouxsie and the Banshees had previously covered another Beatle's track from the White Album (1968) - 'Helter Skelter' - which can be found on their debut album Thev Scream (1978): click here

[5] See for example this reaction by Jamel_AKA_Jamal, or this one from Rob Squad Reactions.