It’s difficult to dismantle a lot of received wisdom where THE UNDERTONES are concerned. The greatest pop band Ireland’s ever produced? Yeah, reckon so. Fantastic debut album and follow up? No sweat. Brought catchy songwrting skills to the punk scene? You betcha! Went crap when they started to mature…
Nope. Received wisdom can take a flying one on that last point. THE UNDERTONES categorically did not lose any of their magic: not during the slightly elaborate final album “The Sin Of Pride” and certainly not when it comes to its’ predecessor, “Positive Touch.”
Having received acres of critical acclaim and considerable commercial returns with both their eponymous debut album and its’ 1980 follow up, “Hypnotised”, THE UNDERTONES parted company with their original label, Sire, after growing dissatisfaction at the company’s lack of promotional input, especially in the States. Skilful negotiation by the group’s managers consequently helping the Derry boys strike a worldwide distribution deal with EMI and set up their own label, Ardeck.
Initially, the surprise move looked like paying dividends. “Positive Touch”s trailer 45, “It’s Going To Happen” showed the band’s summery pop knack in excelsis with its’ snappy chorus and DEXYS-influenced horn break. It duly strode into the UK Top 20 and left expectations high for “Positive Touch” itself.
Of course, history shows us that this confidence proved ill-founded as the album peaked at Number 17 and slipped back down the charts. Most ‘Tones aficionados would also argue that “Positive Touch”s relative failure sparked off the beginning of the end for the band and from an accountant’s eye view that’s probably undeniable.
But sod all that. Despite the onset of the dreaded ‘maturity’ and its’ apparent grab-bag of styles, “Positive Touch” remains at heart a classy pop Lp with hooks galore amid the experimentation. It’s also the place where a greater emphasis on keyboards permeates the group’s previous dual-guitar sound and Feargal Sharkey’s cool, angelic warble really comes into its’ own.
By now, THE UNDERTONES traditional palette of ‘chocolate and girls’ subject matter had broadened to include songs about hypochondria (the title track), paranoia (“When Saturday Comes”) and personal reflections on the Northern Irish troubles in “Crisis Of Mine”. Indeed, songwriting was never in better shape in the camp, with guitarist John O’Neill turning in several of his most memorable compositions – such as the shimmering “You’re Welcome” and the swirling BEATLES-influenced closer “Forever Paradise” – and the emerging songwriting team of brother Damien O’Neill and bassist Michael Bradley weighing in with the likes of “It’s Going To Happen” and “Boy Wonder.”
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So how come “Positive Touch” stumbled despite these seemingly overwhelming odds? Well, for once even the press can’t be blamed directly as the reviews still gushed fervently at the time and it’s only more recently that the LP’s been relegated by the critics.
Sadly, a combination of outside forces daubed the writing on the wall. For one thing, the band’s refusal to leave Derry for London found them isolated, while the prevailing trends for all things New Romantic saw the headlines grabbed by lippy’n’blusher pop poseurs like SPANDAU BALLET. THE UNDERTONES once fresh lack of image began working against them.
Like the greatest of landmarks, though, our Derry heroes’ enduring output still passes the test of time with flying colours and while “Positive Touch” may have alienated fans with its’ sophistication on its’ release, future scrutiny has shown its’ fingers were firmly placed on the pop pulse while simultaneously flicking the Vs at its’ detractors all along.
And what more can you ask for from great music?
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