{"id":1583,"date":"2019-03-03T02:59:57","date_gmt":"2019-03-03T09:59:57","guid":{"rendered":"https:\/\/qualityofmercy.com\/blog\/?p=1583"},"modified":"2025-08-08T19:12:30","modified_gmt":"2025-08-09T01:12:30","slug":"gang-of-four-pt-1","status":"publish","type":"post","link":"https:\/\/qualityofmercy.com\/blog\/2019\/03\/03\/gang-of-four-pt-1\/","title":{"rendered":"Gang of Four Part 1: Natural\u2019s Not In It"},"content":{"rendered":"\n<p>Last month I saw Gang of Four for the third time.<\/p>\n\n\n\n<h3 class=\"wp-block-heading\">1980<\/h3>\n\n\n\n<p>The first was at a small club, probably their show at the Starwood in West Hollywood, capacity 400\u2013800, May of 1980. Earlier that same year, the band had opened for the Buzzcocks and later, Iggy Pop, both at the much larger Santa Monica Civic. But those garnered lousy reviews by the <em>Los Angeles Times<\/em>, the first due to bad sound, the second to fatigue. The Civic could put a lot of distance between the stage and the floor. And it ostensibly seated 3,000, but when I saw the Clash there, the seats were replaced by metal plates; when we bounced, so did they\u2014and there were a lot more than 3,000 bouncing.<\/p>\n\n\n\n<p>Obviously that Starwood show in 1980 featured the band&#8217;s original lineup: Hugo Burnham on drums, Dave Allen bass, Andy Gill guitar, and Jon King vocals. It was riveting. The stage was small enough to bridge the Civic&#8217;s divide, but broad enough to allow Jon King his signature sprints between microphones. If King was a gazelle, Gill was a beast of prey, exactly as described by poet Ted Hughes in his &#8220;Second Glance at Jaguar&#8221;: &#8220;He coils, he flourishes\/ The blackjack tail as if looking for a target.&#8221;<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"GANG OF FOUR - Zagreb 1981\" width=\"525\" height=\"394\" src=\"https:\/\/www.youtube.com\/embed\/tUSw_2jkDjM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<!--more-->\n\n\n\n<h3 class=\"wp-block-heading\">2005<\/h3>\n\n\n\n<p>The second time was a quarter century later in Denver at the Gothic, a converted 1920s motion picture theater, capacity 1100. By chance and fortune the lineup was the same; it was their tour supporting <em>Return the Gift<\/em>, Gang of Four&#8217;s reunion album that featured remakes and remixes from their back catalog.&nbsp;The band members were quite seasoned at this point, working it well underneath the wide proscenium arch. It was a concert, not a gig.<\/p>\n\n\n<div class=\"wp-block-image size-full wp-image-1569\">\n<figure class=\"aligncenter\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"499\" height=\"498\" src=\"https:\/\/i0.wp.com\/qualityofmercy.com\/blog\/wp-content\/uploads\/2019\/02\/return_the_gift.jpg?resize=499%2C498&#038;ssl=1\" alt=\"Return the Gift CD cover image\" class=\"wp-image-1569\" srcset=\"https:\/\/i0.wp.com\/qualityofmercy.com\/blog\/wp-content\/uploads\/2019\/02\/return_the_gift.jpg?w=499&amp;ssl=1 499w, https:\/\/i0.wp.com\/qualityofmercy.com\/blog\/wp-content\/uploads\/2019\/02\/return_the_gift.jpg?resize=150%2C150&amp;ssl=1 150w, https:\/\/i0.wp.com\/qualityofmercy.com\/blog\/wp-content\/uploads\/2019\/02\/return_the_gift.jpg?resize=300%2C300&amp;ssl=1 300w, https:\/\/i0.wp.com\/qualityofmercy.com\/blog\/wp-content\/uploads\/2019\/02\/return_the_gift.jpg?resize=100%2C100&amp;ssl=1 100w\" sizes=\"auto, (max-width: 499px) 100vw, 499px\" \/><figcaption class=\"wp-element-caption\">I snagged a copy of the (non-double) CD that contains a US$1 note, as above (tho\u2019 mine is crisp). Oddly, Jim Dooley in his comprehensive 2017 profile of GO4, to be discussed in Part 2 of this diptych, states that the \u2018\u2018initial plan&#8221; for the dollar bill \u2018\u2018was dropped when it became overly difficult and possibly illegal\u201d (Dooley, 346). Yet, as above, my copy of the CD is shrinkwrapped\u2014the title of an earlier GO4 album.<\/figcaption><\/figure>\n<\/div>\n\n\n<p>The band returned to the Gothic in October 2016, but I missed that show\u2014twenty months after the release of the album <i>What Happens Next<\/i>. If Andy Gill had had misgivings about <i>Return the Gift<\/i>\u2019s myriad remixes diffusing its overall impact,<span id='easy-footnote-1-1583' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/qualityofmercy.com\/blog\/2019\/03\/03\/gang-of-four-pt-1\/#easy-footnote-bottom-1-1583' title='Jim Dooley. 2017. &lt;em&gt;Red Set: A History of Gang of Four&lt;\/em&gt;, London: Repeater Books, 345.'><sup>1<\/sup><\/a><\/span> he hadn&#8217;t learned his own lesson. <em>What Happens Next<\/em> featured <em>four<\/em> lead vocalists besides Jon King&#8217;s primary replacement, John &#8220;Gaoler&#8221; Sterry.&nbsp;Initially I was put off by GO4 seemingly turning into Massive Attack, given the number of guest artists.<span id='easy-footnote-2-1583' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/qualityofmercy.com\/blog\/2019\/03\/03\/gang-of-four-pt-1\/#easy-footnote-bottom-2-1583' title='When I wrote this I\u2019d forgotten that Jim Dooley makes the same point (Dooley, 387).'><sup>2<\/sup><\/a><\/span> But that qualm was quashed upon hearing Herbert Gr\u00f6nemeyer\u2019s singing on the evocative \u201cThe Dying Rays.\u201d It is as engaging as, well, Elizabeth Fraser\u2019s on Massive Attack\u2019s \u201cTeardrop\u201d\u2014and poignant, given its Bowie-esque tone and the fact it was released nearly a year before the latter\u2019s death.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Gang Of Four feat. Herbert Gr\u00f6nemeyer - The Dying Rays (Official Video) [English cut]\" width=\"525\" height=\"295\" src=\"https:\/\/www.youtube.com\/embed\/MovAT4lH21o?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">2019<\/h3>\n\n\n\n<p>Last month&#8217;s show again was at a Denver venue, Globe Hall, built in 1903 as the St. Jacob&#8217;s Lodge Hall, a meeting place for the Croatian and Slovenian community, capacity 200.<span id='easy-footnote-3-1583' class='easy-footnote-margin-adjust'><\/span><span class='easy-footnote'><a href='https:\/\/qualityofmercy.com\/blog\/2019\/03\/03\/gang-of-four-pt-1\/#easy-footnote-bottom-3-1583' title='&amp;#8220;&amp;lt;a href=&amp;#8221;https:\/\/303magazine.com\/2017\/04\/globe-hall\/&amp;#8221;&amp;gt;Introducing Globe Hall, Your New Favorite Venue&amp;lt;\/a&amp;gt;&amp;#8221; by Kori Hazel, &amp;lt;em&amp;gt;303 Magazine&amp;lt;\/em&amp;gt;, 26 Apr 2017.'><sup>3<\/sup><\/a><\/span> This says a lot about the dying rays of the band at this point. Blink in Denver and you miss tickets for acts as big or small as P. J. Harvey and Phosphorescent, as I have. But wait until just five days before and you still can buy a ticket to see Gang of Four in a dive bar, as Yelp calls Globe Hall.<\/p>\n\n\n\n<p>Had a fan seen the band&#8217;s 2016 show I can appreciate why they might have sat out this set. John Sterry is not Jon King, of course, but at times I felt I&#8217;d taken in a tribute act. King had been a dynamo, given, but I never got the impression he was trying. Sterry simply tries too hard. I kept thinking of his on-screen presence in the background of the promo videos for \u201cThe Dying Rays\u201d; he\u2019s in the band, but somehow he\u2019s not the lead singer. Otherwise the band is tight, and a fringe benefit was obtaining the band\u2019s new CD, <i>Happy Now<\/i>, to be released later this month. Only two numbers from that album were performed, \u201cToreador\u201d and \u201cLucky,\u201d the latter having been issued last spring as part of a digital, topical EP, <i>Complicit<\/i>.<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Gang of Four - To Hell with Poverty (Live on PressureDrop.tv)\" width=\"525\" height=\"295\" src=\"https:\/\/www.youtube.com\/embed\/XxAV5uymIXU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<h3 class=\"wp-block-heading\">Natural&#8217;s Not In It<\/h3>\n\n\n\n<p>The <em>Complicit<\/em> EP (and by extension the album) is remarkable for its subject: Donald Trump and his daughter Ivanka. Not even during Margaret Thatcher\u2019s heyday did Gang of Four devote as much as an entire song to the personality of the Iron Lady. But then again she might not have been considered a fascist threat. The EP\u2019s three tracks (omitting a remix) are reprised with minor variations on <em>Happy Now<\/em>, which also contains the cut \u201cAlpha Male\u201d with explicit lyrics of Russian diplomats, oligarchs, showgirls, \u201cdeep fake tans,\u201d and a \u201curine pool\u201d\u2014\u201call unplanned\u201d as, of course was Trump\u2019s triumph, it having been no more than a stunt to enrich his brand.<\/p>\n\n\n\n<h4 class=\"wp-block-heading\">Quibbles.<\/h4>\n\n\n\n<ul class=\"wp-block-list\">\n<li>One of the four panels on the <i>Happy Now<\/i> cover depicts latte art (a design in the coffee\u2019s crema, or fine foam) in the form of Donald Trump\u2019 pouty puss. The idea is of some interest but the execution is so transparently faux that it backfires.<\/li>\n\n\n\n<li>The hypocracy of the women in Trump\u2019s family and administration runs deep, so a spotlight on Ivanka comes off as rather dull, especially when it insinuates incest.<\/li>\n\n\n\n<li>The chorus for \u201cLucky\u201d\u2014\u201cThe lucky get the luck and the longshots lose\u201d\u2014which appears to cite Trump\u2019s failed casinos, has an antecedent in GO4\u2019s \u201cMoney Talks\u201d from nearly thirty years ago, and in a Vegas context\u2014\u201cMoney talks in the street so we walk\u201d\u2014which more cleverly references the adage \u201cmoney talks, bullshit walks.\u201d<\/li>\n\n\n\n<li>An annoying tic throughout the album is misplaced syllabic emphasis. I realize that singing is not speaking, but lyrical subservience to the tune, resulting in awkward accentuation, reveals an inattention to craft\u2014a shortcut. I know, because when I tried to do the opposite, i.e. alter my collaborator Rob Berg\u2019s melody to the cadence of my lyric, I was met with absolute resistance, and rightly so. I rewrote my lyric. Gill, of course, is composer of both words and music for much of the album; there\u2019s no excuse. Early on, such incongruity was part of their charm as na\u00efve artists, but&nbsp;in the pipes of the relatively conventional singer Sterry, it irritates.<\/li>\n\n\n\n<li>The album\u2019s collaborators all are listed: composers, producers, mixers and remixers, bass, drums, background vocals and vocal samples, programming, and vocals. Why then is John Sterry listed only as a co-composer but not as a vocalist? To be fair, Andy Gill isn\u2019t listed as guitarist, but still\u2026<\/li>\n<\/ul>\n\n\n\n<h4 class=\"wp-block-heading\">Praise.<\/h4>\n\n\n\n<ul class=\"wp-block-list\">\n<li>Just as Andy Gill had experimented with the varied timbres of his several vocalists on <em>What Happens Next<\/em>, he does so with the sound and vision of two cuts on <em>Happy Now<\/em>, both of which were cowritten with Decoy (of whom I know nothing, although it would make a fine pseudonym). The songs appear as a peculiar penultimate pair, sandwiched between two of the EP\u2019s Trumpian tracks, nonetheless relevant:\n<ul class=\"wp-block-list\">\n<li style=\"margin-top: 10px;\">\u201cWhite Lies\u201d is as intimate as any GO4 number I can recall (cf. \u201cSatellite\u201d from 1991\u2019s&nbsp;<i>Mall<\/i>). It\u2019s a love song to both the one-night stand and its residue, to the relationship between empires and \u201cempires of the heart,\u201d between Conquest and conquest. But I was shocked by the song\u2019s tronics, suspecting somehow my iTunes shuffle option had kicked in, sending me from Post-Punk to Eno-esque. The sonic mutability tends towards fe\/male: Amy Love and Gaoler (ever a questionable nickname retained from a previous band) entwined, with the latter singer allowing himself some unusual expressivity.<\/li>\n\n\n\n<li>\u201cPaper Thin\u201d on its surface reminds me of a question <a href=\"https:\/\/www.wired.com\/1996\/12\/fftransparent\/\">posed<\/a> by scientist and science fiction author David Brin in a 1996 lead-up to his nonfiction book <em>The Transparent Society<\/em>: \u201cCan we stand living our lives exposed to scrutiny &#8230; our secrets laid out in the open &#8230; if in return we get flashlights of our own, that we can shine on the arrogant and strong?\u201d In \u201cPaper Thin\u201d the object is not to repel spies but rather to ward off ideas: \u201cWe double-lock the doors\/ [\u2026] Can\u2019t stop the endless messages pouring in.\u201d Brin\u2019s flashlights are not shined outwardly on the powerful by the less-so, but inwardly, on our own biases, (relative) white privilege, diversion. When our beliefs become malleable due to paper-thin walls, boundaries, and borders\u2014\u201cin space we spin.\u201d As in the song\u2019s first few lyrics, \u201cIt\u2019s not hidden\/ It\u2019s there to find,\u201d if only we have the fortitude.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"White Lies\" width=\"525\" height=\"394\" src=\"https:\/\/www.youtube.com\/embed\/edq__52eXfs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Gang Of Four - Paper Thin (Official Video)\" width=\"525\" height=\"295\" src=\"https:\/\/www.youtube.com\/embed\/x56D8aSnlVk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p>John Sterry certainly can sing, and he has a sensuality in his tone and frame that could if not should be a refreshing departure from Jon King, who had an air of engaged defiance but was a soft sell in the sex department. Un\u2026mm\u2026luckily, Sterry&#8217;s stage moves seem stagey; he comes off as insolent and ultimately detached and distracted. And distracted we become. We <em>know<\/em> it&#8217;s all an act, but we don&#8217;t need to be reminded quite so often.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\"\/>\n\n\n\n<p>As I wrote this post I <a href=\"https:\/\/pitchfork.com\/news\/gang-of-four-nyc-show-ends-after-openers-set-andy-gill-hospitalized\/\">learned<\/a> that the last performance of Gang of Four\u2019s U.S. tour was cancelled due to Andy Gill\u2019s hospitalization for a respiratory infection. The opening act already had gone on before it was decided to call it a day. Best wishes to him and his partner Catherine Mayer.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\"\/>\n\n\n\n<p class=\"has-text-align-right\"><a href=\"https:\/\/qualityofmercy.com\/blog\/2019\/03\/16\/gang-of-four-pt-2\/\">Part 2: I Found That Essence Rare<\/a><br><i>Header photo: David Hughes<\/i><\/p>\n\n\n\n<h5 class=\"wp-block-heading\">Notes<\/h5>\n","protected":false},"excerpt":{"rendered":"<p>Musings upon seeing GO4 for the third time.<\/p>\n","protected":false},"author":2,"featured_media":1585,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[158,33],"tags":[325,283,326,276,323,277,321,322,324,320,284,198,388],"class_list":["post-1583","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-criticism","category-music","tag-amy-love","tag-andy-gill","tag-david-brin","tag-denver","tag-donald-trump","tag-gang-of-four","tag-gaoler","tag-herbert-gronemeyer","tag-ivanka-trump","tag-john-sterry","tag-jon-king","tag-los-angeles","tag-rob-berg"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/qualityofmercy.com\/blog\/wp-content\/uploads\/2019\/03\/gang_of_four2.jpg?fit=3024%2C4032&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/paF2cn-px","_links":{"self":[{"href":"https:\/\/qualityofmercy.com\/blog\/wp-json\/wp\/v2\/posts\/1583","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/qualityofmercy.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/qualityofmercy.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/qualityofmercy.com\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/qualityofmercy.com\/blog\/wp-json\/wp\/v2\/comments?post=1583"}],"version-history":[{"count":4,"href":"https:\/\/qualityofmercy.com\/blog\/wp-json\/wp\/v2\/posts\/1583\/revisions"}],"predecessor-version":[{"id":10590,"href":"https:\/\/qualityofmercy.com\/blog\/wp-json\/wp\/v2\/posts\/1583\/revisions\/10590"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/qualityofmercy.com\/blog\/wp-json\/wp\/v2\/media\/1585"}],"wp:attachment":[{"href":"https:\/\/qualityofmercy.com\/blog\/wp-json\/wp\/v2\/media?parent=1583"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/qualityofmercy.com\/blog\/wp-json\/wp\/v2\/categories?post=1583"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/qualityofmercy.com\/blog\/wp-json\/wp\/v2\/tags?post=1583"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}