But when we restarted in 2021 after lockdown, we had a bit of a reset and so in many ways it is a new band. I am now writing the bands third album with Tom Hammond on trumpet in the band (although the first album was largely recorded beforeTom joined). Our second album "We don't live in America" has been really well recieved. What next? Well there is a term called difficult third album syndrome.
The theory is that the first album is the best of a bands career before they started putting albums together. The first current album "Don't be afraid of a finger in the Sun" had a song we wrote in 1980, one we wrote in 1983 and one from just before Allen left. It also featured many songs I wrote in lockdown, when I didn't have much else to do. As for the second album, the idea is that the band still has fresh ideas and a few old songs to rehash as they know the way studios work better. We actually rehashed two songs from 1979 for it, albiet with different arrangements etc. There was also another two songs written with Allen that was due to appear, albiet with a different arrangements, on the album we recorded with him. Also there was a song from the Myspace album, again heavily re-arranged. The other eight songs were new. I think it is works well. If you didnt know the history, I doubt you'd guess which songs are the old ones.
So now, whilst we are plugging our new album like mad, we are working discreetly on the next album! The theory is that the third album is hastily hashed together by a band that ha run out of ideas. So is the cupboard dry and have we run out of ideas? There is still one old song we may add, and that will feature Fil on vocals, but other than that, all of the songs will have been written in the last year. Can we keep up the run of great new songs? Well only time will really tell, but I am really excited by the new material and the new songs we are writing. We played three at our recent album launch and they seemed to be well received. Do I feel daunted or uninspired? No, not really. I actually feel quite energised by the concept of writing new material. Of course the proof is in the pudding. But for me, I write when something inspires me. I also get a huge kick out of playing new songs with the band and hearing what they bring to the show. And then there is the process of recording, I love this.
What I've come to realise though is that most musicians don't really enjoy the process of writing songs. They see it as a necessary evil and once they develop a formula that works, they struggle to adapt it. Some of this is inertia, some of it is laziness and some of it is that they are terrified that if they change what they are doing, they will lose their audience. Not everyone has the fearsome attitude of David Bowie, who shed images and sounds and reinvented himself almost every year in the 1970's and early 1980's. By the time Bowie was releasing songs like Lets Dance, he'd largely shed the audience that loved Rebel Rebel. He made albums that were left field, like Youg Americans. Now he's hailed as a genius, but then, many of his fans just switched off.
If we look at the big Indie war between Oasis and Blur, we saw two every different bands. Oasis had a formula that worked brilliantly for two albums, Blur changed the spots constantly. When Oasis reformed it was a celebration of those two albums. When Blur reformed, it was a celebration of a long, diverse career. I know which works for me, but for Oasis, the cash still rolls in, so there is something to be said for their approach.
So I think that the difficult third album is very much a syndrome for bands that are scared to evolve. If your music is very genre specific, I guess it is harder to keep pulling rabbits out of the hat. Artists that sell out stadiums often have the problem that their audience don't want to know about the new stuff. One of my wife's favourite artists is Paul Weller, I've rarely been to one of his shows where someone hasn't moaned about the lack of songs by the Jam. If he played a set pulled entirely from the Jam's first two albums, I guess most of their fans would go home ecstatic. Their third album featured songs like English Rose, that hinted at what was to come. However with Jam bangers on like Down in the tube station at midnight and David Watts, they managed to keep the fans onside and avoid the difficult third album tag.
I get the feeling that artsist like Weller and Damon Albarn write songs because they enjoy it, rather than because they feel they have to. People have often noted the huge influence of Ian Dury on my music. It is funny because I was chatting about this to a friend, who commented "Well Ian Dury's third album was a bit of a clunker with no hits on it". They didn't realise that Stiff Records and Ian Dury didn't like putting singles on albums. Of course, Dury's first album Handsome was with Kilburn and The High Roads, so many consider Laughter his third album.Had it been on an album, Dury's biggest hit "Hit me with your rythm stick" would have been on his third album. It has sold over 1.29 million copies in the UK. It does occur to me that we were very lucky that Dury hit his peak during the height of punk. He had a supportive label and an audience eager to buy into his talent. Perhaps the biggest tragedy is that if there is another Ian Dury out there, we won't hear their first album, let alone their third, because the gatekeepers will deem it "uncommercial".
To sum up, I believe that the concept of difficult third album is a myth. For 99% of artists, the problem is difficult first album. If that is no good, the chances of a third album are miniscule!.
Anyway, here is the False Dots second or fifth album, depending on how you want to look at it!
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