The Fall Album: “Extricate”

There may be no constantly working band from the 1970s punk era that managed to cling to its anti-commercial stance as tenaciously as the Fall. But even the Fall went corporate when the band moved to Fontana Records with this release. Produced by Craig Leon, this album is probably the most disciplined and --dare I say it-- pop oriented release the group ever did.

Notwithstanding its solid punk credentials, the Fall were actually one of the most formidable creators of dance music. The Fall recorded disco for the righteous, most numbers based on incredibly simple yet effective guitar riffs. At the time of this album (1990) the main source of musical propulsion in the group was its longrunning nucleus of Craig Scanlon and Steven Hanley on guitar and bass. The other players, including the drummer, embellished this basic core. As always, of course, Mark E. Smith slurred his pontifications on top of the groove.

On "Extricate," absolutely every single number is a potential dance floor star. The marvel is the amount of variety served up by this very eclectic band. The fuzzbox riffing of "I'm Frank" harks back to the 1960s garage bands in the U.S., while "And Therein" creates its dance drone with rockabilly guitars. "Telephone Thing" sounds like Mark Smith doing the early B-52s. "The Littlest Rebel" sports hilarious lyrics just begging for a cover version by some camp gay act, again undergirded by a solid simple guitar riff. "Popcorn Double Feature" is a delightfully finished neopsychedelia number every bit as thorough as Prince's efforts in that genre, even including strings. "Arms Control Poseur" ends with an arch musical reference to the Beatles' "Paperback Writer." "Chicago Now" blends Captain Beefheart, Stravinsky and 1940s film noir soundtrack music together. Perhaps most striking of all is "Bill is Dead" with its slobbery Lou Reed-esque vocals topping a positively balladic musical backing. And all of these musical excursions are thoroughly blended with the Fall's own unique intense and firey musical style.

"Extricate" is a masterpiece, pure and simple. It's hard to believe that the band who made this album was in its thirteenth year making records, so fresh and energetic is the music.

I'm glad I caught the review by "Armchair Rambo" who claims this is The Fall's weakest effort. Several people have raved to me about how great the Fall is. I finally grabbed one of their disks on a whim and it was this one. To be frank, this album sucks. I don't hear any musical talent or decent tunes here at all. It attempts to be sort of "underground New Wave." After a few painful attempts to get into this record, I had to get rid of it. But thanks to "Armchair Rambo," who wrote the following review, I'll be giving The Fall another try.

I wasn't used to synthesizers in any Fall album and was hesitant to like it. After a while I realized it's quite a good album. Arms Control Poseur, Chicago Now, and British People in Hot Weather are funny sounding songs but they're pretty interesting. If you're expecting the guitar heavy releases of earlier recordings you'll be surprised, but give it a chance.

Actually, I liked this back in the day when it came out. But I like it less now. The opener "Sing Harpy" is a pretty intense drone - so far so good. But the rest of the material's weak. "Bill Is Dead" is a nice Lou Reed-like track, but I prefer the live version on "27 Points".

Make that a mile.

I love this band, have everything by them I've ever been able to get hold of. I tried hard to like this record, but in the end I gave it away to get it out of my house.

Possibly the worst record by a major band in 20 years. Wotta dissapointment. Maybe this is a record for people who don't like the Fall.

New to the Fall? I would start with "Hex Enduction Hour" or "Perverted by Language", then try "Grotesque"(early), "This Nation's Saving Grace"(produced), "Kurious Oranj" (tight), the singles compilations (both are excellent), "Wonderful and Frightening World of..." (2x4), etc.