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In the North, the Irish people had the ordinary, the cheerful but ultimately brilliant The Undertones from Derry and in the South, just down the road from the bustle of the capital of Dublin, they had six lads, a superb if laid back piano player, a mean playing drummer, two guitar players who stormed and strung out every note possible, a cracking bass player and the front man who would be seen as one of the defining lead men in Punk/New wave and who became a Sir.
... The Undertones were writing songs that were rooted in their normality and having fun, despite coming from the part of the country that was tearing itself apart. The Boomtown Rats were more street savvy, more astute than their fellow punk fans in their North.
The Undertones whose songs are basic and somewhat throwaway have through their ordinaryness attained a lot of credibility (quite deserved for some classic pop). They dedicated a whole evening to them on BBC 4 a couple of weeks ago.
The Boomtown Rats, on the other hand, who could have be seen as the most inventive and, at one point, the most successful mainstream band to come out of Ireland have low credibility (IMHO totally undeserved).
Great review indeed, and well written. Certainly gave me a new insight into Mary.
Somewhat tempered when I reached the end and realised it was written by someone I assume to be a fan (have pasted a gig review from RAM below) as opposed to an objective analysis, but points are still well argued and presented.
I'm not sure on ages but have always considered Rats to have around 5 years or more on Undertones, which would explain the more savvy suggestion. I'm sure those brothers were only about 17 when Teenage Kicks came out, so may be nearer 10 years street wisdom and world weariness to draw on for Rats. As mentioned, Undertones successfully pushed out classic pop, no statements, no perceived pretension. In other words, little to snipe at for the spiteful critic. More likely to be dismissed as harmless and largely insignificant.
Ultimately the Rats scaled far greater heights and publicity, so fall from grace was always going to be a long one. The fact that John Peel championed the Derrymen to his dying day would have helped too. Very few that dispute(d) Peel's view on what was credible.
Review from (presumably) same author follows...fact gig was in Liverpool kind of seals the argument for me.
Mathew Street Festival August 2010.
Main Stage
For some the Mathew Street Festival means a chance to relive their youth and catch some cover acts that play extremely well and catch the spirit brilliantly of those bands that no longer tour or that are so popular, therefore so expensive, that the average person in the street cannot afford to attend any of the gigs they may arrange.
For others it's the chance to catch fresh talent, young bands that are still doing it for the love and only have the barest glimmer of a world beyond the pubs, clubs and backstreet venues that for now they inhabit. They know that one day they will escape the dark underbelly of their profession and stand upon the bigger stages. More power to them and long may these bands live and breathe.
One band that strides between the two, first made their name in the late 70's. With their fresh take on world around them, an outspoken vocalist and front man and the use of piano as part of their signature sound, hardly the done thing in the punk scene at the time, The Boomtown Rats were a phenomenon that shook the foundations of the establishment with their witty, urbane and scathing lyrics and precision timing of the collected musicians.
By the time the band finished, Bob Geldof was one of the most important men on the planet, he could command audiences, seemingly at will, and was finally accepted by the old guard. But along the way he left behind what was at first the most important thing, the band itself.
Thanks to drummer Simon Crowe and guitarist Garry Roberts the band started playing again and along with Darren Beale and vocalist Peter Barton have thrilled audiences, young and old, anew.
It is no wonder then that the band received a huge welcome at this year's Mathew Street Festival and as their 40 minute set progressed it was inspiring to see those who remembered them the first time round accompanied by children and young adults, obviously enjoying the unique sound, who weren't alive when the Festival first got underway 18 years ago.
Opening their set with Mary of the Fourth Form, the band rolled back the years and showed to all that were gathered at the Tunnels stage why they are still considered one of the best groups to come out of Ireland.
Peter Barton has added significantly to the band and where as he might not have Bob's sense of outspokenness, he more than makes up for it with the humour in his voice and satisfaction of playing songs that stand the test of time. Alongside Peter as "the new boys" in the band is Darren Beale who at times looked so in place he could have been an original Rat. With his effortless playing and Zebedee on speed manic expression it's easy to see why Simon and Garry rate the young lad very highly.
With time always against them and a multitude of acts still to come, The Rats gave the audience what they wanted in the hits and a couple of surprise tracks, these included the superb Someone's Looking at You, the angry look at demoralised inner city youth of Rat Trap and the excellent take on the song Looking Out for Number One.
The band finished an emotive and highly charged set with one of the songs that summed up Live Aid, I Don't Like Mondays. They might not be The Rats that you remember but they are still The Rats!
