Bombshell: The Hits and More, The Primitives (1994)
In all walks of life, from pop music to drug-dealing, some people achieve far more success than their talents deserve and some people achieve far less. Paul Court, the song-writer for the late-’eighties-and-a-bit-of-the-’nineties indie group The Primitives, is one of the second group. And perhaps drug-dealing describes his largely unrewarded talents too. Like a drug, music is designed to alter your consciousness and some of the songs on this compilation album are perfect little pills of pop, filling your brain with a two- or three-minute rush of jingly-jangly melodic pleasure. And maybe jungly pleasure too: The Primitives were a primitive band in the garage-and-bubblegum-pop tradition, particularly when they played live. Female vox, occasional male backing vocals, guitar, bass and drums, and that was it. There was no pretension about them, but they achieved the kind of a-lot-in-a-little simplicity that only an intelligent and skilful songwriter can give a band.
“Crash”, their most famous song, both opens and closes the album (apart from the doubly unexpected hidden track). It appears first as the album track, then as a demo, and some of the other songs come in a second version, whether demo or acoustic. I enjoy the chance to hear the different interpretations, but this padding does reflect the brevity of their career, which stretched from about 1987 to about 1992. Unfortunately, a twice-misspelt “Way Behing Me” and the appearance of “Secrets (Demo)” as the already-heard album track rather than the demo also reflect the sloppiness of the German company that put the compilation out. Court deserved better. There’s further proof of that in the single cover version, “As Tears Go By” by the Rolling Stones. It’s given the light treatment of the early Primitives and isn’t anywhere near as good as Court’s own compositions, I’d say.
Perhaps that’s why he chose it, and perhaps the darker songs on their final album, “Glamour”, reflect his frustration at not achieving the success that seemed to await him in the beginning. But there was a big obstacle ahead of him: although bands with attractive female singers can get attention more easily, they find it harder to get taken seriously. The Primitives never did drop any bombshells in the end and I suspect that the title of this compilation is a self-ironizing acknowledgment of that, as well as a reference to Tracy’s gleaming blonde locks.
Overlord In Terms of Core Issues Around Maximal Engagement with Key Notions of the Über-Feral 