When released in 1993, this album came as something of a revelation to someone who had struggled with the sounds of The Fall. Already having seen a reissue in 2008, when a double version was released by Cherry Red, I’ve now been given the chance to critique Cherry Red’s turbocharged 6 CD version of the album. Comprising the original 10-track narrative, this also features a host of bonus material, radio sessions and live performances in both the UK, Europe and the US. The set has been compiled in conjunction with Fall expert Conway Patton, with sleeve notes by Fall guru Daryl Easlea and remastered by long-time engineer Andy Pearce.
Since its release, the album has garnered feedback of differing opinions, ranging from “The songs are catchy and rock hard, but quite naturally contain plenty of eccentricity and weirdness too” to “Imagine a very tasty cake, made by a very nice baker. But when the baker went to decorate it, she accidentally grabbed a tube of toothpaste instead of decorative frosting. Mark E Smith is that toothpaste.” To describe Mark E Smith as a tube of toothpaste doesn’t illustrate his vocal prowess. He was an eccentric force, that few have seen, or heard, and will find it hard to realise again. And yes, the songs do rock hard and are insanely catchy. But ask 2 different people about their views, and you will receive two entirely different answers. The Fall were certainly a group to split music fans down the middle.
The album combines Mark’s vocal eccentricity, with a musical palette that goes from the backwards beats of ‘Ladybird (Green Grass)’, through the space punch of Sister Sledge’s ‘Lost In Music’, to the clear rock present in ‘Glam-Racket’, a number which I’m sure pays homage to 70s Glam. These progress to one which shows reverence to The Wedding Present in ‘I’m Going To Spain’, continuing to ‘It’s A Curse’, a track which displays a pace that drives a 1979 VW Beetle. Some would call it a sharabang, whilst others may call it a classic, with Mark’s vocal rambling, recalling stories of nothing in particular. What we have heard so far barely scratches the surface of this album, and yet musically, we’ve already travelled so far. Then ‘Paranoia Man In Cheap Shit Room’ continues the album, beginning with augmented chords played over a light bass line. When Mark’s vocals are introduced, “…Paranoid man, in mid 30s, at the height of paranoia, at the zenith of his powers…”, the lyrics convey what might come across as complete garbage. But the repeating guitar and recognisable vocal tone pull us into the story. Maybe it’s about a man who, although at his peak, is still uncertain about the progress in his life. A track that with its musical mix and colour becomes almost hypnotic. I love this track, for its lyrics and the strangeness conveyed in its chords.
On to ‘Service’, its house-music chords acting as a doorway into an examination of early 80s fashion. This holds hands with those who ventured through the doors of club culture throughout the 80s and 90s and like the “…Rude boy’s taking over…” referenced in the lyrics, were the holy grail of subsequent generations. ‘The League Of Bald-Headed Men’ comes next, and it’s not just the title that comes at its audience, with a candour that speaks to generations, as Mark suggests “You know when you end up in some sort of a cine-complex and the person next to you is someone you hate?”, that with its repeating rhythm is like taking a dip into icy cold water and taking the health benefits from it. But Mark, still with acid house running through his veins, introduces the next, or rather the band introduces ‘A Past Gone Mad’ and like Primal Scream’s Screamadelica, it dips inside this House, using shades familiar to a house-music track. ‘Light/Fireworks’ bookends the album nicely, as more backwards beats are heard, beats familiar to those used in ‘Ladybird’.
As a set, this now leads to ’Bonus Tracks’, which feature 13 numbers, including B-sides, single releases and alternate versions. Then to disc 3, where BBC sessions can be heard, from those recorded for John Peel and Mark Goodier in 1993 and continues with a live performance from Sheffield’s Hallam University, on April 7th 1993. The set now goes global, with live recordings from Batschkapp Frankfurt Germany, on disc 4 and at the Liberty Lunch, Austin, Texas, on CDs 5 and 6. So whether you are a fan of the band, or just have a wish to get more involved with this album, the 6 CD set of The Infotainment Scan is where you should lay your hat. I’m glad it was this door I chose to enter through when, in 1993, I finally took an understanding of The Fall. By doing so, it has also given me a greater understanding of the albums that came before, and after.
Mark’s passing in January of 2018, seems like only yesterday, but with releases such as these, his legacy will live on.
