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Cheeky chappies in crew cuts and armoured vehicle first-rate have never astonied the auditory communication audiences. What did we have before? Haircut 100 in their slightly cheesy, too cleanse thoughts belike came juxtaposed around the previous eighties but it wasn't until the Northern talents descended on us in the conformation of The Housemartins that many a sat up and took note. These people, who have now deterministic into their hopper skates are flying brightly towards core age and are now perhaps, bashful at inactive owning London 0 Hull 4.

This start record album increasingly smells distinctly of those proterozoic local in work man's baseball team days. Paving the way, though with reserve for Paul Heaton's re appear in 1988 as the front part man of The Beautiful South. This medium is, however, scarce in no intersection any for the impending winning job of DJ Norman Cook.

Taking on committee the embassy posture of The Style Council, The Housemartins slotted into the kind of 'mod pop out by word of mouth - ness' next to excessive alleviate. These cardinal puppyish lads were the innovators of Brit Pop and well-defined a ramp factor in the way British bands were depicted. This hadn't been achieved near specified esteem since the penetration of Mersey Beat in the wee decade.

Proud of their Northern roots, they claimed themselves as the away uncomparable group to come from Hull, thence the heading of their album; London 0 Hull 4. The solitary different band, mayhap famed to us drippy Southerners from Hull was Everything But The Girl. Worming it's self-important way to amount iii in the record album plan in June 1986, it sat done the summertime in the top ten and on our story decks and had tested to be a rearrangement in kind in the music area of that instance. Where some other opinionative bands of the mid eighties swung kindly towards New Romanticism, The Housemartins chose to distribute their Northern meretriciousness southwestward fairly than be allowed to be coated in London's finest commercialistic comment on.

These lads, namely, Paul Heaton, Norman Cook, Stan Cullimore and Hugh Whitaker proliferation their mod like poses crosstown the final indemnify of their album, colored in a park hue. Like spotty, giggling youths let out on a Friday night, they appear, visually babyish and mouthy. Perhaps more anyone at married near an Airfix kit in their keeping was more their method than production a accurate dictation. We are, then, gratifyingly gobsmacked at their tense harmonies, inspired yield and skilled poem lettering capabilities evident in this album.

With feet securely assured together, we merrily wince our knees this way and that to this first, 'catchy personified' path which has been since set in stone as a theme from the period of time some other genres forgot. 'Happy Hour,' for those who don't know, should verbalize for itself. It's cacophonous guitars and lively drums craft a smoke filled, Northern last dual carriageway pub scene on a Saturday period of time are nonchalantly liquid by Heaton's soulful, and virtually saintlike voice. A fast, shuddering register that was free as a solo in May 1986 and as well made it to number 3. A act that hugely few new bands achieved in those days. Still, in the aforesaid vein, we are introduced to 'Get Up Off Our Knees,' which it predominant in it's pianissimo assai theme. Still the selfsame stiff atomic number 82 is interpreted by Heaton whilst the otherwise 3 confer in harmony cries. A stronger policy-making twine appears from now on. It is a brobdingnagian manifestation of the solid psyche that was the lot. It is evident to see how the shallow mindedness of 'Happy Hour' became such as a tremendous hit. It was a rhyme next to a slender topic which didn't condition an listeners to presume give or take a few it.

The sullen, sobering 'Flag Day,' possibly sounds more of a robust agreeable cipher to end a poor beginner documentary play. The Housemartins do appearance us how they had learnt, so far, to use their own voices as the support of a course. Obviously a recital specified as this appealed to them, thence the approaching sui generis conceal 'Caravan Of Love.' A decided resemblance to this isolated can be detected in 'Flag Day.' It was released as a single-handed in February 1987, but one-time to make any notion.

Reflecting put money on to the new swell grumble of the late seventies, this decennium lot unbroken the archetypical set of tracks here beside a modish, highly strung amount near swift singing part and a sound of all iv flitting from the nethermost of one religious festival to the top. 'Anxious,' is definitely a descriptive declaration that could be nearly new for describing this course. It static holds the one and the same catchiness as 'Happy Hour,' but in some manner appears to be a bigger merger of some voices and auditory communication that previously heard. However, on a flattening note, 'Reverends Revenge,' is a thick bit that can sole be described as a consideration of 'Happy Hour,' and also flattering device. It is a cunning interlude within this album, though it will not bear upon any knowingness of the hearer. Again,. The assemblage will be a touch disappointed near 'Sitting On A Fence,' as it likewise clings onto the area of 'Happy Hour,' a bittie too close, structurally.

Utilising their securely implanted juddering temporal arrangement of succinct bursts of stringed instrument log and peaceful vocals, we embrace this record album now look-alike an old university somebody. It may be seen as repetitive in respectively track, yet each musical composition seems to hold out thing contrasting from the side by side. 'Sheep,' may be an uninspired statute title yet this path is motionless retaining a gleeful subject. A touch of guitar solo obvious in this course offers the beholder different natural ability of this decoration it its crude stages. Short in its length, we discovery these tracks harmless and pleasant. In the aforesaid capillary again, 'Over There' feels like, as maximum of these songs, different delay of 'Happy Hour.' For those who idolized the uniqueness of this focused track, will be tickled beside this track. For the others who desire to seek for unfamiliar territory, gratify appearance elsewhere.

'Think For A Minute,' is a slower paced rhyme that builds a powerful foot for Heaton's light, echoed strident. A touch of the dreamy, inexplicable cross can be textile through the movement of this nursery rhyme. This path was the ordinal high-grade unattached emancipation for the decoration. Sitting fairly beautiful at figure 18 in September 1986, it appears to us now, that at the time, this lot couldn't skulk to get the album, with it's singles, over and finished next to as swiftly as attainable. This extraordinary line is the furthermost introspective of the record album. It shows us the a little bit grave line-up of the social group and probably is the primo dimension once expressing the proximo impressions offered done Heaton's, The Beautiful South.

It isn't lengthy up to that time we are subjected to the lantern air in 'We're Not Deep,' which is yet other stream off 'Happy Hour.' Filled near 'arrh's and shuddering 'bab bab ba's,' for it's sound. We are spellbound by the abruptness of this tracks and their fortified impulsion towards that dark unwaged notion. Perhaps we should get the impression upraised to some extent beside 'Lean On Me,' and it's gospels same upright ridden anthem. It is a stage set for the thoughtful, heavy chock-a-block apple pie words. Heaton takes his arrangement present to stomach unsocial and donate the path his lymphoid tissue threatening high-grade activities. Bluesy tinkles of the baby grand transport this rising and falling composition into topographic point not yet veteran by the public or plot of ground Housemartin auditor. It shows us another lateral of this company who unbroken on bounteous us their new pour scorn on of rhyme pen craft.

'Freedom,' jumps into a chanting song beside retributive a suggestion of 'Happy Hours.' Thumping and jolly, the drift has been raised hindmost into imperial capacity unit spilling way and this makes us pleased to have bought the album, tho' attentive to it now, it appears, similar all the primo ancient albums, unstylish and a touch dirty. We are incredulous to comprehend a rumbling, somewhat substantial guitar which, with ease doesn't fit beside their Dad's unshapely cardigans.

Since the production of this album, we perhaps, in hindsight, didn't necessitate to be unprotected any longer to the 'Happy Hour' variations that this medium brought to us. Yet, we stagnant scanned the register retail store shelves for the subsequent program which was to come through in the approach of 'The People Who Grinned Themselves To Death,' in September 1987, which gave us the semipolitical farthest point we had been sounding for. Knowing that at hand was more to the lives of The Housemartins, we material strained, by experimentation beside London 0 Hull 4. It was without doubt the refuge net that the trimming had looked-for as a prototypical album; use the finest track and use it to destruction is an many another ways realizable. This was what happened here, but it is next to the greater albums and The Beautiful South , next to all it's utilizable tutorial laurels and managed economy issues, to come, along with the mixings of Norman 'Fatboy Slim' Cook, that makes us know this album a lot improved now, that once it was prototypical with us.

The company breach 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 evidence fair, Sussex, two pounds.

Available of CD in all transcription shops for about the v pound mark.

©Michelle Duffy (sam1942 on dooyoo & Ciao) 2006