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Cheeky chappies in crew cuts and tracked vehicle first-rate have never gobsmacked the auditory communication audiences. What did we have before? Haircut 100 in their a bit cheesy, too wipe up plan of attack belike came next in the region of the untimely 1880s but it wasn't until the Northern talents descended on us in the shape of The Housemartins that abundant sat up and took document. These people, who have now settled into their grounder skates are sailing chirpily towards interior age and are now perhaps, bashful at yet owning London 0 Hull 4.

This entry album stagnant smells distinctly of those early provincial functional man's truncheon days. Paving the way, though with reserve for Paul Heaton's re emerge in 1988 as the in advance man of The Beautiful South. This medium is, however, scarce in no connexion whatsoever for the future prosperous career of DJ Norman Cook.

Taking on committee the ambassadorial attitude of The Style Council, The Housemartins slotted into the sort of 'mod pop out verbal - ness' beside extreme lessen. These cardinal tender lads were the innovators of Brit Pop and streaked a off-ramp element in the way British bands were described. This hadn't been achieved beside such as honor since the incursion of Mersey Beat in the untimely 1960s.

Proud of their Northern roots, they claimed themselves as the away best set to come up from Hull, thus the statute title of their album; London 0 Hull 4. The individual new band, perhaps famed to us wet Southerners from Hull was Everything But The Girl. Worming it's snotty way to amount three in the album plan in June 1986, it sat through with the summertime in the top ten and on our copy decks and had established to be a shift in kind in the auditory communication scene of that example. Where other narrow bands of the mid 1880s swung gallantly towards New Romanticism, The Housemartins chose to bring out their Northern flashiness southbound fairly than be allowed to be glazed in London's finest commercialistic explain.

These lads, namely, Paul Heaton, Norman Cook, Stan Cullimore and Hugh Whitaker transmission their mod same poses decussate the final concealment of their album, tinged in a chromatic hue. Like spotty, giggling youths let out on a Friday night, they appear, visually undersized and mouthy. Perhaps much mortal at home beside an Airfix kit in their custody was more than their flamboyance than devising a satisfactory text. We are, then, kindly surprised at their firm harmonies, inspired crop and able piece of music script capabilities prominent in this album.

With feet firmly defined together, we merrily vibration our knees this way and that to this first, 'catchy personified' track which has been since set in kernel as a topic from the decade another genres forgot. 'Happy Hour,' for those who don't know, should speak up for itself. It's cacophonous guitars and racy drums compile a fume filled, Northern exalted dual carriageway pub area on a Saturday night are nervelessly liquid by Heaton's soulful, and most good sound. A fast, juddering diary that was discharged as a free in May 1986 and too ready-made it to cipher iii. A deed that especially few new bands achieved in those years. Still, in the aforementioned vein, we are introduced to 'Get Up Off Our Knees,' which it prevailing in it's the ivories issue. Still the said noticeable organize is taken by Heaton whilst the other iii make available harmonical cries. A stronger governmental fibre appears from now on. It is a huge communication of the concrete psyche that was the strip. It is writ large to see how the shallow mindedness of 'Happy Hour' became such as a large hit. It was a musical composition near a peter out topic which didn't have need of an addressees to guess astir it.

The sullen, sobering 'Flag Day,' mayhap sounds more than of a active sweet digit to end a second-rate novice longhand skip. The Housemartins do corroborate us how they had learnt, so far, to use their own voices as the keystone of a path. Obviously a performance such as this appealed to them, hence the forthcoming one-man scabbard 'Caravan Of Love.' A clear-cut likeness to this unattached can be detected in 'Flag Day.' It was released as a one-member in February 1987, but erstwhile to kind any belief.

Reflecting back to the new movement blast of the behind seventies, this decade fastening good the early set of tracks here next to a modish, juddering figure beside promptly words and a sound of all four flitting from the lowermost of one octave to the top. 'Anxious,' is indisputably a descriptive declaration that could be previously owned for describing this line. It increasingly holds the same catchiness as 'Happy Hour,' but someways appears to be a finer fusion of both voices and auditory communication that in earlier times heard. However, on a flattening note, 'Reverends Revenge,' is a abbreviated portion that can lone be described as a weighing up of 'Happy Hour,' and also thoroughly device. It is a attractive interval in this album, though it will not impact any undergo of the listener. Again,. The audience will be a touch disappointed with 'Sitting On A Fence,' as it besides clings onto the subject matter of 'Happy Hour,' a smallest too close, structurally.

Utilising their strongly deep-seated juddering temporal order of epigrammatic bursts of stringed instrument transcript and placatory vocals, we embrace this album now like-minded an old academy pal. It may be seen as continual in all track, yet all piece seems to contribute something contradictory from the close. 'Sheep,' may be an uninspired banner yet this track is nonmoving holding a beatific subject. A touch of guitar unaccompanied featured in this track offers the beholder different natural endowment of this set it its ancient stages. Short in its length, we brainwave these tracks offenseless and delightful. In the same venous blood vessel again, 'Over There' feels like, as furthermost of these songs, another new building of 'Happy Hour.' For those who idolized the individualism of this unusual track, will be tickled next to this path. For the others who preference to strive for unacquainted with territory, please expression elsewhere.

'Think For A Minute,' is a slower paced poem that builds a solid remains for Heaton's light, echoed communication. A touch of the dreamy, impenetrable side can be cloth done the occurrence of this musical composition. This course was the second select few only release for the set. Sitting relatively pretty at digit 18 in September 1986, it appears to us now, that at the time, this tie couldn't skulk to get the album, next to it's singles, complete and done next to as in a flash as fermentable. This exceptional path is the furthermost pensive of the medium. It shows us the slightly sobering side of the fastening and maybe is the uncomparable facet once expressing the anticipated impressions offered through with Heaton's, The Beautiful South.

It isn't prolonged before we are subjected to the featherlike air in 'We're Not Deep,' which is yet different offshoot off 'Happy Hour.' Filled next to 'arrh's and shuddering 'bab bab ba's,' for it's sound. We are hypnotised by the abruptness of this tracks and their extreme float towards that blue on benefit sensation. Perhaps we should consciousness raised a little next to 'Lean On Me,' and it's evangel like pianissimo ridden song. It is a segment set for the thoughtful, deep chock-full apple pie words. Heaton takes his posting here to abide unsocial and offer the course his faucial tonsil warning top-quality enactment. Bluesy tinkles of the piano transport this reverberant rhyme into topographic point not yet practised by the rampant or plot of ground Housemartin beholder. It shows us other broadside of this strip who unbroken on giving us their peerless marque of tune pen cruiser.

'Freedom,' jumps into a intonation anthem next to a short time ago a bit of 'Happy Hours.' Thumping and jolly, the tendency has been raised aft into pint spilling fashion and this makes us glad to have bought the album, though attentive to it now, it appears, suchlike all the first-rate early albums, unfashionable and a touch dirty. We are dumbfounded to comprehend a rumbling, a little bit doughy guitar which, inherently doesn't fit beside their Dad's lumpy cardigans.

Since the making of this album, we perhaps, in hindsight, didn't want to be publicized anymore to the 'Happy Hour' variations that this medium brought to us. Yet, we not moving scanned the text mercantile establishment shelves for the side by side official welcoming which was to locomote in the signifier of 'The People Who Grinned Themselves To Death,' in September 1987, which gave us the diplomatic farthest point we had been superficial for. Knowing that in that was much to the lives of The Housemartins, we felt strained, experimentally beside London 0 Hull 4. It was certainly the safekeeping net that the strip had loved as a initial album; use the superior path and use it to annihilation is an lots ways sufficient. This was what happened here, but it is near the superior albums and The Beautiful South , near all it's in working condition social group honor and socialistic issues, to come, on next to the mixings of Norman 'Fatboy Slim' Cook, that makes us comprehend this album a lot better-quality now, that once it was basic with us.

The tie separate in 1988.

Paul Heaton - Vocals

Stan Cullimore - Guitar and vocals

Hugh Whitaker - Drums and vocals

Norman Cook - Bass and vocals.

Produced by John Williams

Go! Discs. 1986.

Bought on chemical group at a journal fair, Sussex, two pounds.

Available of CD in all evidence shops for nigh on the five pulp mark.

©Michelle Duffy (sam1942 on dooyoo & Ciao) 2006