Contents: Introduction: 'messing up the paintwork', Michael Goddard and Benjamin Halligan; Part I The Fall and 'The North': Building up a band: music for a second city, Richard Witts; The Fall: a Manchester band?, Katie Hannon; Salford drift: a psychogeography of The Fall, Mark Goodall. Part II Techniques and Tactics of The Fall: 'Rebellious jukebox': The Fall and the war against conformity, Andy Wood; 'I curse your preoccupation with your record collection': The Fall on vinyl 1978-83, Richard Osborne; 'Dictaphonics': acoustics and primitive recording in the music of The Fall, Robert Walker; 'Let me tell you about scientific management': The Fall, the factory and the disciplined worker, Owen Hatherley. Part III The Aesthetics of The Fall: 'Memorex for the krakens': The Fall's pulp modernism, Mark Fisher; Language scraps: Mark E. Smith's handwriting and the typography of The Fall, Paul Wilson; 'Humbled on Iceland': on improvisation during The Fall, Robin Purves; The Fall, Mark E. Smith and 'the stranger': ambiguity, objectivity and the transformative power of a band from elsewhere, Martin Myers. Part IV The Fall, the Media and Cultural politics: 'The sound of The Fall, the truth of this movement of error': a true companion, an ambivalent friendship, an ethic of truths, Angus McDonald; 'I think it's over now': The Fall, John Peel, popular music and radio, Paul Long; In search of cultural politics in a Fall fanzine, Chris Atton; 'As if we didn't know who he was': Mark E. Smith's untimeliness, Janice Kearns and Dean Lockwood; Bibliography; Select discography of The Fall; Index.
Introduction: 'messing up the paintwork', Michael Goddard and Benjamin Halligan; Part I The Fall and 'The North': Building up a band: music for a second city, Richard Witts; The Fall: a Manchester band?, Katie Hannon; Salford drift: a psychogeography of The Fall, Mark Goodall.; Part II Techniques and Technics of The Fall: 'Rebellious jukebox': The Fall and the war against conformity, Andy Wood; 'I curse your preoccupation with your record collection': The Fall on vinyl 1978-83, Richard Osborne; Dictaphonics: intervention through acoustics and primitive recording in the music of The Fall, Robert Walker; Let me tell you about scientific management: The Fall, the factory and the disciplined worker, Owen Hatherley.; Part III The Aesthetics of The Fall: 'Memorex for the krakens': The Fall's pulp modernism, Mark Fisher; Language scraps: Mark E. Smith's handwriting and the typography of The Fall, Paul Wilson; 'Humbled on Iceland': on improvisation during The Fall, Robin Purves; The Fall, Mark E. Smith and 'the stranger': ambiguity, objectivity and the transformative power of a band from elsewhere, Martin Myers.; Part IV The Fall, the Media and Cultural politics: 'The sound of The Fall, the truth of this movement of error': a true companion, an ambivalent friendship, an ethic of truths, Angus McDonald; 'I think it's over now': The Fall, John Peel, popular music and radio, Paul Long; In search of cultural politics in a Fall fanzine, Chris Atton; 'As if we didn't know who he was': Mark E. Smith's untimeliness, Dean Lockwood and Janice Kearns; References; Appendix; Index.
Michael Goddard is Lecturer in Media Studies, and Benjamin Halligan is Director of the Graduate School, both in the School of Media, Music and Performance at the University of Salford, UK. Michael Goddard, Benjamin Halligan, Richard Witts, Katie Hannon, Mark Goodall, Andy Wood, Richard Osborne, Robert Walker, Owen Hatherley, Mark Fisher, Paul Wilson, ' Robin Purves, Martin Myers, Angus McDonald,, Paul Long, Chris Atton, Janice Kearns, Dean Lockwood.
These essays penetrate the fathomless depths of The Fall's sound and Mark E. Smith's vision, bringing back fresh perceptions that do not 'explain' so much as enhance and expand the inexhaustible mystery of this singular band. Simon Reynolds, author of Rip It Up and Start Again: Postpunk 1978-84 and Totally Wired: Postpunk Interviews and Overviews The strength of this book draws ultimately on the complexity of The Fall, with its cosmic library of 'screwed up' lyrics to unfold, and its vast conurbation of psychic soundscapes to drift through. There is bound to be controversy over whether the band is a legitimate subject for academic study. The best response to the sceptics can be found in the pages of this brilliant collection. Simon Ford, author of The Wreckers of Civilisation and Hip Priest ’...as a collection this amounts to a stimulating read.’ The Wire '... the first ever anthology of academic articles on The Fall has indeed extended and deepened my understanding of Mark E. Smith and his band... it has been well worth waiting 20 years for this book to see the light of day.' Journal of Popular Music
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