I first heard Simple Minds the way most people probably did; in The Breakfast Club. John Hughes’ magnum opus of teen angst begins and ends with “Don’t You (Forget About Me)” a song written for the film by Keith Forsey and Steve Schiff. They offered the song to a number of artists, including Billy Idol and Bryan Ferry, but were turned down by everyone until Simple Minds, under pressure from their label, agreed to record it. The song has been both a blessing and a curse to the band. It was their first and only US number one hit and stayed on the UK charts for an incredible two years. The band, however, obviously had mixed feelings about the success of a song they did not write. This became evident when they decided not to include the track on their next album Once Upon A Time, much to the chagrin of their record label. The album was (and remains) their biggest selling record, but Simple Minds surely couldn’t help thinking that most people who bought it had probably never heard of them before The Breakfast Club. These people missed out on the band at the height of their powers. When they were a glorious mess of ideas and influences. When their sound was changing and developing so fast that they themselves could barely keep up. Unfortunately, the greatness of these early years made the disappointment of their later albums that much harder to take.
Few bands have made such an artistic leap in such a short amount of time. Within one year, Simple Minds released their debut album Life in a Day wearing their influences (Roxy Music, Bowie, Magazine) a little too plainly on their sleeve, to writing, recording, and releasing Reel to Real Cacophony, a record that could not have been the work of anyone else. Angular guitars fight with stabbing synths, creating a kaleidoscope of post-punk pop. Amongst other landmark releases of 1979 from Joy Division (Unknown Pleasures), PiL (Metal Box) and Gang of Four (Entertainment!), it’s easy to forget Reel to Real Cacophony but it’s important not to. It’s an album on par with anything released that year.
Taking their interest in electronic music further, Simple Minds changed gears again with the aptly-named Empires and Dance, released in 1980. Songs like “I Travel” and “Thirty Frames a Second” are cold slices of paranoid disco, dance music for Arctic oil rigs. It’s with this album that singer Jim Kerr began touching upon political issues in his lyrics. At this point they’re effective in their vague evocativeness, and still buried amongst other more abstract imagery, but it was the beginning of a trend that would become detrimental and just plain annoying by the time the ‘90s rolled around.
The band’s label, Artisa, were unimpressed with Empires and Dance and pressed only a minimal amount of copies, making the record difficult for fans to find. Simple Minds jumped ship and signed with Virgin, promptly releasing two albums simultaneously. Sons & Fascination and Sister Feelings Call sees the icy landscapes of their previous album begin to melt and reveal hints of the epic scope their music would soon take.