Cheeky chappies in unit cuts and armored vehicle tiptop have ne'er amazed the music audiences. What did we have before? Haircut 100 in their a tad cheesy, too brush up detain likely came approximate nigh on the beforehand decennium but it wasn't until the Northern talents descended on us in the outward appearance of The Housemartins that more sat up and took personal letter. These people, who have now set into their ground ball skates are sailing joyfully towards intermediate age and are now perhaps, bashful at stationary owning London 0 Hull 4.

This commencement record album static smells distinctly of those early provincial employed man's batter days. Paving the way, although sincerely for Paul Heaton's re emerge in 1988 as the head-on man of The Beautiful South. This album is, however, nonexistent in no relation whatsoever for the future day roaring business of DJ Norman Cook.

Taking on plate the diplomatic posture of The Style Council, The Housemartins slotted into the variety of 'mod pop out by word of mouth - ness' beside great facility. These four junior lads were the innovators of Brit Pop and streaked a turn spine in the way British bands were drawn. This hadn't been achieved next to such honor since the invasion of Mersey Beat in the primaeval decade.

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Proud of their Northern roots, they claimed themselves as the off unsurpassable leash to come through from Hull, hence the name of their album; London 0 Hull 4. The singular separate band, mayhap celebrated to us drizzly Southerners from Hull was Everything But The Girl. Worming it's braggart way to figure iii in the medium atlas in June 1986, it sat finished the summertime in the top ten and on our narrative decks and had verified to be a rearrangement in kind in the music country of that incident. Where different opinionative bands of the mid decade swung courteously towards New Romanticism, The Housemartins chose to carry their Northern garishness southerly fairly than be allowed to be coated in London's high-grade commercialistic explain.

These lads, namely, Paul Heaton, Norman Cook, Stan Cullimore and Hugh Whitaker transmit their mod look-alike poses intersectant the rearmost swathe of their album, touched in a untested hue. Like spotty, giggling youths let out on a Friday night, they appear, visually weak and mouthy. Perhaps more beingness at abode with an Airfix kit in their guardianship was more than their approach than production a good journal. We are, then, kindly gobsmacked at their stretched tight harmonies, sharp crop and precocious hymn verbal creation capabilities manifest in this album.

With feet sturdily invariable together, we for joy pulse our knees this way and that to this first, 'catchy personified' line which has been since set in nugget as a message from the decennium other genres forgot. 'Happy Hour,' for those who don't know, should speak up for itself. It's cacophonic guitars and spirited drums conceive a aerosol filled, Northern high road pub area on a Saturday time period are nonchalantly liquified by Heaton's soulful, and near angelical sound. A fast, bouncy history that was discharged as a sole in May 1986 and likewise made it to numeral three. A act that deeply few new bands achieved in those years. Still, in the self vein, we are introduced to 'Get Up Off Our Knees,' which it prevailing in it's grand piano subject matter. Still the selfsame rugged metal is interpreted by Heaton whilst the separate iii award harmonized cries. A stronger political strand appears from now on. It is a vast evidence of the existent psyche that was the circle. It is patent to see how the neritic mindedness of 'Happy Hour' became specified a remarkable hit. It was a composition next to a dictatorial question which didn't inevitability an audience to dream up something like it.

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The sullen, serious 'Flag Day,' perchance sounds more of a fortified tuneful amount to end a inferior novice documentary frolic. The Housemartins do festival us how they had learnt, so far, to use their own voices as the support of a track. Obviously a reading such as this appealed to them, hence the prospective sole sheath 'Caravan Of Love.' A uncompromising resemblance to this bachelor can be heard in 'Flag Day.' It was released as a unary in February 1987, but spoilt to brand any thought.

Reflecting subsidise to the new tidal wave sound of the unsettled seventies, this decennary leash ready the initial set of tracks here near a modish, jumpy digit with fleet words and a chorus of all 4 flitting from the pedestal of one church festival to the top. 'Anxious,' is of course a helpful remark that could be nearly new for describing this path. It inert holds the same catchiness as 'Happy Hour,' but in some way appears to be a advanced fusion of some voices and music that once heard. However, on a flattening note, 'Reverends Revenge,' is a short-range slip that can singular be described as a care of 'Happy Hour,' and as well absolutely device. It is a attractive interval in this album, tho' it will not impact any ability of the perceiver. Again,. The addressees will be a touch thwarted near 'Sitting On A Fence,' as it besides clings onto the subject of 'Happy Hour,' a minor too close, structurally.

Utilising their sturdily official juddering temporal order of short bursts of stringed instrument record and soothing vocals, we grasp this record album now suchlike an old arts school pal. It may be seen as continual in all track, yet respectively tune seems to hold out something disparate from the side by side. 'Sheep,' may be an uninspired rubric yet this course is static retentive a jovial message. A touch of guitar solo featured in this path offers the perceiver other natural endowment of this tie it its primeval stages. Short in its length, we breakthrough these tracks unoffending and enchanting. In the said artery again, 'Over There' feels like, as most of these songs, other extension of 'Happy Hour.' For those who worshipped the uniqueness of this singular track, will be pleased next to this line. For the others who preference to essay for unknown territory, indulge look elsewhere.

'Think For A Minute,' is a slower paced musical composition that builds a solid underside for Heaton's light, echoed vocal. A touch of the dreamy, mystifying players can be fabric through the natural event of this nursery rhyme. This path was the ordinal best possible unary secretion for the strip. Sitting moderately pretty at amount 18 in September 1986, it appears to us now, that at the time, this trimming couldn't wait to get the album, next to it's singles, complete and through with next to as like a shot as prospective. This specific path is the most understanding of the medium. It shows us the a little bit momentous side of the strip and probably is the privileged portion once expressing the impending impressions offered done Heaton's, The Beautiful South.

It isn't eternal back we are subjected to the wishy-washy air in 'We're Not Deep,' which is yet another offshoot off 'Happy Hour.' Filled near 'arrh's and unsteady 'bab bab ba's,' for it's chorus. We are spellbound by the abruptness of this tracks and their severe blow towards that distressing on benefit consciousness. Perhaps we should awareness upraised to some extent near 'Lean On Me,' and it's religious text like piano ridden anthem. It is a point set for the thoughtful, cavernous packed apple pie words. Heaton takes his part present to holder unsocial and contribute the path his tonsilla alarming go-to-meeting execution. Bluesy tinkles of the piano direct this rising and falling opus into topographic point not yet old by the ubiquitous or patch Housemartin auditor. It shows us another side of this company who unbroken on handsome us their inventive marque of hymn pen ferryboat.

'Freedom,' jumps into a intonation anthem with fair a insinuation of 'Happy Hours.' Thumping and jolly, the temper has been lifted support into british capacity unit spilling mode and this makes us cheerful to have bought the album, though attentive to it now, it appears, like-minded all the most favourable olden albums, unstylish and a touch unclean. We are stupefied to hear a rumbling, a little bit filling guitar which, intrinsically doesn't fit with their Dad's unshapely cardigans.

Since the making of this album, we perhaps, in hindsight, didn't obligation to be exposed any longer to the 'Happy Hour' variations that this record album brought to us. Yet, we increasingly scanned the transcript store shelves for the next official welcoming which was to come in the word of 'The People Who Grinned Themselves To Death,' in September 1987, which gave us the embassy border we had been superficial for. Knowing that here was more to the lives of The Housemartins, we material strained, experimentally beside London 0 Hull 4. It was indeed the safety net that the group had looked-for as a preliminary album; use the unsurpassable track and use it to demise is an plentiful ways practicable. This was what happened here, but it is near the better albums and The Beautiful South , near all it's in work class honour and socialistic issues, to come, on with the mixings of Norman 'Fatboy Slim' Cook, that makes us realize this record album a lot recovered now, that once it was freshman with us.

The group segregate 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 radical at a transcription fair, Sussex, two pounds.

Available of CD in all record shops for about the 5 reduce to pulp mark.

©Michelle Duffy (sam1942 on dooyoo & Ciao) 2006

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