Sinister: Campbell III

[dougal shaw]

CAMPBELL III: This time it's impersonal...

I've learned a lot from the recent debate about I Campbell, though probably 
rather more about the Beatles than B and S! Anyway, a few random takes on 
the matter aimed at nobody in particular:

1.)One of the reasons that we have this confusion regarding the song-writing 
is that B and S are a bunch of old lefties, God bless 'em. Instinctively 
disliking the notion of individualism, they prefer to celebrate the tenets 
of co-operation and group solidarity in their song crediting policy. So they 
will never say outright that one person in the band is more equal than 
others. Fair play to them. I still think the normal practice in bands is for 
one person to be expressing his or her creative vision. The other palyers 
can add nuances vital to the final sound, but there is a single person who 
is the source of the inspiration and has formed the basis of the material. 
You can only exercise your imagination individually, not as a group. Maybe 
there should be some kind of equivalent in pop of the Official Secrets Act, 
and in 30 years B and S will be obliged to release the documents which 
reveal their song-writing technique (Doogan's diaries, or something).

2.) On this same note, I wonder whether people outside the group can also 
have a significant influence on a band's sound? I'm thinking of the 
producer. For instance, can it be a co-incidence that two of Felt's best 
songs (as Lawrence agrees on 'Ballad of the Band') were produced by the 
legendary John Leckie, who also sat behind the controls for John Lennon and 
the Stone Roses? This is yet another bloody complication.

3.) Isobel and Ringo analogy consolidated: Ringo didn't spoil the Beatles. 
Fortunately, his malaise was contained. But imagine if he had put his 
self-penned material on the band's albums. Imagine if in a bid to get his 
due share of the creative limelight he sang on, say, 'Norwegian Wood'. It 
doesn't bear thinking about. Arguably Ringo's best vocal input is to be 
found on his voice-over work for Thomas the Tank Engine.

4.) In terms of B and S I say this from personal experience. If I put on the 
first two albums wanting to listen to just one song, I can't, because one 
seems to lead naturally to the next, and I feel unsatisfied until I've heard 
every last track on the album. With the latter two albums where the 
song-writing input is diversified, I no longer get that old sense. In 
particular I find that the Spaceman dream song (which I find embarrasing to 
listen to) and Beyond the Sunrise stick out like sore thumbs. This is a 
shame because song for song I think B and S have gone from strength to 
strength up to the present day. The title track of TBWTAS, Slow Graffitti 
and The Model, for example, I think are among their best material ever.

Anyway a band does not operate as a democracy and we are not voters so they 
will take their own unaccountable direction. I'm still grateful for the 
great music they produce (when so much around is mediocre) and stand in awe 
of their achievements so far (and part of this magic includes Isobel's duet 
appearances and her string arrangements, whatever form they may take).

Dougal
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