Despite being the prettiest public face
of a living anachronism, and taking far more than she gives back, I do not
believe Kate Middleton owes the British public a lap dance (or the aristocracy’s
equivalent) once a week.
I’m as anti-royalist as they come. I
believe they should be treated like anyone else, and that includes leaving them
the fuck alone when they need time to themselves. First and foremost, she’s a
human being, and THAT should have been the angle the Firm took from the beginning.
The monarch may run the country but
in modern times, another runs the family. That used to be Prince Phillip. When
Phil the Greek died, that job went to Anne, who seems pretty level-headed for a
princess and I thought she would have run things better.
As a PR firm – which is what they
are – the British royal family’s principle of ‘never complain, never explain,’
is a smart one which other celebrities and their handlers could learn from.
Imagine the power Trump and his puppet masters could wield if he didn’t screw
it up on an hourly basis by being such an inveterate, narcissistic whineypants.
The Firm screwed this up royally by
issuing a happy snap in response to the gossip. I DGAF that it was touched up.
Of course it was! They all are. So is my profile picture. Send me to the tower!
And as a happily childless person, even I know kids do weird shit with their
fingers, especially when they’re nervous, like when someone is pointing a camera
at them and telling them to look naturally happy. I still do and you probably
do too.
But to then throw Kate under the double-decker
by claiming she was the one who edited it? Prince, please! They literally have
people to pick things up off the floor for them and we’re expected to believe
the presumptive next queen consort does her own photoshopping?
Anyone who claims to support royalty
should leave her alone. Anyone like me, who doesn’t support royalty, should
also leave her alone, tempting though it is to use this as an example of how
pointless and irrelevant royalty is. I’m aware of the irony of what I’ve just
said. I would rather not know any of this but there are things you just can’t
help learning and thinking people just can’t help forming an opinion on them.
If this were the biggest scandal in
the world, they’d be doing a fine job!
Karl Wallinger was born in Wales,
near Mars, in 1957.
Like many of a similar age, his
first instrument was the oboe, which he trained classically in. He later picked
up piano and guitar as a sideline. The family encyclopedias were a great help in his musical training. He would stack several on his chest as he lay on the floor practising his breathing. Try doing that with Wikipedia!
Although known for playing guitar
left-handed, Karl was naturally right-handed and played upside down to get a
different feel. It was a microcosm of his musical approach.
One of his first professional gigs
was as musical director for The Rocky Horror Show, which he got by offering to
do it for 10 quid less than the competition. He and the band would sometimes
increase the tempo of the songs if they wanted to get home early to see the
football.
Around this time he became a staff songwriter
for a publishing company. He quickly realised it wasn’t where he wanted to be,
and went to the manager to sing, “Pleeease release me, let me go.” Since he
wasn’t coming up with the Euro-hits the publisher wanted, they came to a
mutually satisfactory arrangement.
He did release a solo single in Italy under
the name Karl in c1982, backed by an even younger Chris Whitten, who seems to
have one of the only copies.
But it was after Karl answered an ad
looking for a keyboardist that Colin Bollinger became known to music fans. The
ad was placed by Mike Scott and the band was The Waterboys.
Accounts vary depending on who is
talking and when, but the relationship between Karl and Mike was fraught.
Sometimes their eccentricities and passions complemented each other, sometimes
they clashed. Karl once claimed in an interview that they had to trick Mike
into recording. Mike paid tribute to Karl today on Twitter saying, “You are one
of the finest musicians I've ever known.” Karl once quipped the reason he left
The Waterboys was because he didn’t want to do five years for GBH after
smashing a guitar over someone’s head.
No-one would deny that Karl’s input
represented the first quantum leap in The Waterboys’ music. Even 30 years
later, the phrase “ex-Waterboy” usually shows up in the first paragraph of anything
about Karl, even though he was only in the band for about three years. He also
discovered Steve Wickham, who would become the second longest serving Waterboy.
There just wasn’t enough room in one
band for that much creativity though. Karl signed his own deal with Waterboys
label Ensign, and became World Party.
Do what you want but you’re gonna have to do it now…
Karl used the signing advance to
build his own studio – a smart move which served him extremely well. One of its
first uses was to record demos for another Ensign signing, a firebrand
post-punk singer songwriter. Those demos would go on to become The Lion and the
Cobra and Sinéad O’Connor would sing on Karl’s first two albums as well as
appearing in the video for Private Revolution.
The cover of World Party’s first
album, Private Revolution features Karl’s own radiogram – his “holy altar” as
he called it. He said that his approach to making albums was to have the effect
of setting up a dozen singles on the record selector in such a way as to make
the rest of the room say, “Yeah, man! Great selection!”
It certainly was! Completely
self-produced and recorded, with occasional guest spots from Waterboy Anthony
Thistlethwaite on saxophone, soon-to-be Waterboy Steve Wickham on fiddle, and Sinéad
O’Connor providing harmonies, it was an artist doing exactly what he wanted but
with enough of a pop sense to be radio friendly too.
Show me to the top…
It was 1990’s Goodbye Jumbo which
proved Private Revolution was no one-off side project. Karl relocated his
studio to London, added real drums, and dared to sound exactly like his heroes
while still bringing new sounds to songs relevant to the modern world.
The album was again completely
self-produced with guest spots from Jeff Trott, Steve Wickham, and Sinéad
O’Connor, but the most significant collaboration was with Guy Chambers, who
would become quite significant later on. Goodbye Jumbo won the Q Magazine award
for album of the year, starting a long tradition of World Party receiving
virtually unanimous critical acclaim, well beyond commercial recognition.
1993’s Bang! was the only World
Party album to be recorded with a core band, comprising of Karl, Dave
Catlin-Birch, best known as Paul in The Bootleg Beatles on guitar and bass, and
ex-La and current High Flying Bird Chris Sharrock on drums. The two were a
perfect fit for both Wallinger’s musical aesthetic and mad humour.
Bang! also featured a co-producer
and mixer on a handful or tracks, Steve Lillywhite. Stylistically, it was
Karl’s most eclectic album, from the country-tinged opener Kingdom Come, to
the Prince-influenced funk of What Is Love All About? and Hollywood, plus Karl’s
most defining song, Is It Like Today? The latter was Karl’s attempt to summarise
Bertrand Russell’s A History of Western Philosophy in four verses. Ambitious,
much? And he pulled it off, filling an entire reel of tape with vocal harmony
overdubs.
Bang! was World Party’s highest
charting album, they toured it, and then went quiet again.
It is time…
Between World Party’s third and
fourth albums, Britpop exploded. There’s a reasonable case to be made that Karl
Wallinger invented it. He was wearing his Beatles and Stones influences on his
sleeve way back in 1990. By the time the rest of the world caught up, he was
back in his studio crafting what would be his most cohesive album. He did
express exasperation that John Lennon glasses were the coolest thing in the
world on Liam Gallagher but were “Karl folkie specs” on him.
Is it too late?
Environmental concerns were high on
Karl’s agenda throughout his career. Every album contained at least one love
song to the World as well as several about how arrogant humans are fucking it
up. The tone of the topics evolved through. While Goodbye Jumbo was warning,
and Bang! was getting desperate, Egyptology was despairing. “Yes, I see it now
the pageantry that comes to Vanity Fair / But I’m sad to say it came too late,
and now I just don’t care.”
The album contained some of the
darkest themes Wallinger had ever explored, including the death of his mother,
but is also uplifting in the beginning and end. If the next World Party album
had come out in 1995, it might have been overlooked in the Blur vs Oasis hype,
but perhaps not as badly as it was two years later. It was a commercial flop,
perhaps due in part to a falling out with Chrysalis over the direction of the
album. And yet ironically, it contained what would become his biggest hit.
World Party’s single release of She’s
the One didn’t make it past the promo disc stage. And yet, when Robbie Williams
covered the song with a soundalike version, produced by Guy Chambers (who was
now Nobbie’s co-writer and producer), featuring Dave Catlin-Birch and Chris
Sharrock, and released on Chrysalis, it went to number 1 all over Europe. The
only difference between the two records was the face on the cover.
Makes you wonder, eh?
But it was a blessing in disguise.
What does it mean now?
Karl parted ways with Chrysalis and
the fifth World Party album was released on Karl’s own label, Seaview. Released
in 2000, Dumbing Up continued Karl’s concern for the planet and humanity, but
with a generally positive outlook for the turn of the millennium. He also
announced that World Party was not going to disappear for another three years.
He was true to his word. It would be over six.
Bang!
In early 2001, Karl got a massive
headache. He was taken to hospital where it was found he had suffered a major brain
aneurysm which required serious surgery. At first, it was unclear whether he
would be able to walk again, let alone play. He lost his peripheral vision
(which was already poor) and had to relearn how to play piano and guitar. It
would be 2006 before he gingerly stepped back into music again.
Rescue me
Although Karl was justifiably bitter
that his bandmates and label turned She’s the One into a hit without him, it
ultimately helped him survive his time as an invalid following the aneurysm. He
later said, “I was so lucky that Robbie recorded "She's the One"
because it allowed me to keep going. He nicked my pig and killed it but gave me
enough bacon to live on for four years. He kept my kids in school and me in
Seaview (his recording studio) and for that I thank him.”
Been a long long long time since I heard something that I really loved
Despite returning to music, it’s
probably fair to say Karl never fully recovered from the aneurysm.
There were a few low-key tours of
the US, performing mostly as an acoustic trio, and a full band tour of
Australia with Steely Dan.
In 2012, World Party released a
5-disc collection of odds and ends featuring new songs, out-takes, B-sides and
live tracks. This was followed by a triumphant show at the Albert Hall. Karl
teased the idea of a new album as recently as last year but to be brutally
honest, we’d heard that many times before.
It’s unlikely we will hear any more
music from him now. Karl did everything in the studio and it’s hard to imagine
anyone else being able to complete his vision for unfinished recordings. Addressing the
idea that he might be a control freak, Karl said that it was more to do with
the fact he knew exactly what he wanted and didn’t want to upset anyone by
saying, “No, no, [famous person], not like that, like this!” So yeah, probably
a control freak. And why not?
Can you hear the music…?
Karl’s genius as a songwriter and
musician was matched by his genius as a producer. This is shown best in some
cover versions he did of Happiness is a Warm Gun, Penny Lane, #9 Dream and All
You Need is Love.
Some people (although perhaps not Wobbly
Billions) would think the idea of doing soundalike covers is pointless. In
principle, I would agree. But these versions sound SO much like the originals
it’s scary! He had an ability to reproduce any sound or style which is itself
an incredible talent. He could have been an in-demand producer for others if he’d
wanted to.
He was an early adopter of
multimedia and, pre-aneurysm, was looking at setting up his own online TV
channel five years before YouTube became a thing.
It can be beautiful (sometimes)
I tried to keep this tribute in the
spirit of Karl’s irreverent wit. Sadness got in the way of that. But it has to
be said that Karl Wallinger had the wickedest sense of humour this side of John
Lennon. So, in addition to the music, please enjoy this piss funny opening to
the Dumbing Up show from 2000.
