"I think they automatically assumed it would be anti. "People didn't listen to the lyrics," McCluskey recalls. However, when Dave Lee Travis played the single on Radio 1, he said - with some gravitas - that it was about time someone in the music world stood up to the evils of tinkering with nature.
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"I was very positive about the subject! I didn't expect someone like Monsanto to come along and say, 'Fuck it, we can make money out of cross-pollination.'" For starters, the first single was called Genetic Engineering. It wasn't as though OMD wrote conventional love songs to start with - Enola Gay was famously about Hiroshima, Stanlow about a power station - yet Dazzle Ships took off what McCluskey calls "the sweet wrapper". So when we sold 3m albums and the world didn't change, we were scared." And somehow we believed that would change the world, the way people think. The music we made had to be interesting and different. "It was the naive confidence of youth, the idea that music is that important. "It sounds strange, I know, but we had been trying to change the world," says McCluskey. Wait until you hear the next single - it's our Mull of Kintyre." Maid of Orleans duly became another huge hit in the UK, and Germany's best-selling single of 1982. When Joan of Arc got rave reviews ahead of the album's release, McCluskey told Smash Hits: "That's nothing. Souvenir was first out of the block and made No 3. The Reverend Peyton’s Big Damn Band are a force to be reckoned with, even if the band actually isn’t very big - and the only three instruments are a guitar, a washboard and a drum kit with a plastic pail.Architecture and Morality, OMD's third album, had been a monster hit following its release in 1981, with any number of potential singles. The band debuted an unreleased track called “Rattle Can” -a funky, loud number with a wicked electric solo at the end-and played a few new ones, including “Ways and Means” and “Too Cool To Dance.” “Washboard” Breezy Peyton was a giddy co-star, happily grooving from side-to-side and adding soft backing vocals to the Reverend’s husky, intense belt.
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The Reverend Peyton, lead of the Big Damn Band, is surly and unassuming, until his fingers hit the neck of the guitar with lightning speed to create an aggressive, weirdly astounding deep bluegrass sound. Floyd traded his guitar for the banjo on “Strange Position” -and though the lyrics delved back into an intricate mindset, a playfulness surrounded its mid-to-up-tempo beat and Nelson’s kickback, meditative new outlook. “High Wind” offered a faithful, existential optimism, complemented by the nostalgic sound of the pedal steel, a Nashville staple played by instrumentalist Adam Kurtz. “Tell me there’s a reason/ Standing in the way/ I’ll keep on believing until I go insane,” Nelson narrated with somber, eviscerating vocals. The opening track, “All I Ever Do,” was hard to read, as frontman/guitarist Andrew Nelson and guitarist/harmonist Blount Floyd navigated a range of dark emotions from optimism to stubborn anger found in the trenches of almost-love. Nashville-based Americana troupe Great Peacock were warmer, with a sated, contemplative setlist plucked from their recent album, Forever Worse Better.
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Two unreleased, untitled tracks followed in a similar delivery, hinting that the young band has the kind of rigid, steadfast self-assurance needed to make important music not everyone likes to hear.
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Relevant and real, Reilly’s anger is almost necessary as he fumed about racism in Belfast and systems of oppression “You’ll never kill our will to be free, cause in our minds we hold the key,” the surly vocalist rampaged with a thick tongue. Like all forms of protest, their sound bordered on the line of unpleasant and haunting, and yet people couldn’t turn away. Frontman Fionn Reilly’s vocals on “The Birth of a Nation” were angry and wounded as he raged over a rattling bassline and the scream of thrilling, grungy, distorted guitar. With just one song in their discography, Enola Gay has nothing to lose.