Reading, Writing & Arithm

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a b "Gold & Platinum: The Sundays". Recording Industry Association of America . Retrieved 26 June 2020.

After that London debut (the band had moved to the capital), The Sundays were destined for an indie big-hitter: 4AD, home of the Cocteau Twins, or Rough Trade, previous home of The Smiths. Naturally. 4AD were in pole-position until owner Ivo Watts-Russell foolishly asked Gavurin and Wheeler to think carefully about which label to sign with. They bluntly answered: Rough Trade.Thirty-three years ago The Sundays’ dreamy melancholic indie pop took my bedroom and the world by storm. Here's Where the Story Ends": "ARIA Singles Chart w/c 6-8-1990". Imgur.com . Retrieved 25 May 2019. The music they played that night was mesmerising. The 500 fans present realised they were witnessing something quite amazing.

Robbins, Ira (14 June 1990). " Reading, Writing and Arithmetic review". Rolling Stone. Archived from the original on 19 June 2008 . Retrieved 30 March 2011. Settled down with 20-something children, and with a reliable heating system, maybe they’ve now just run out of things to write about.

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Ah, some levity. Barmy lyrics about joining The Salvation Army, the Civil Service and going to Piccadilly Circus (“I took the first bus home”) reiterate ‘outsider’ status, but well-knowing: “My hopeless youth it’s just so uncouth” echoes the notion that wisdom, as in Can’t Be Sure, will come later. Gavurin’s scratchy jangle is very mid-80s indie and Paul Brindley’s bassline is a close relation of Hollow Horseby The Icicle Works, early ‘dream pop’ explorers of 1983-84. Southwell, Tim (13 January 1990). "The Sundays: Reading, Writing and Arithmetic". Record Mirror. p.16. Larkin, Colin (1992). Guinness Encyclopedia of Popular Music. Vol.3. New England Pub. Associates, Chester, CT. p.2416. {{ cite book}}: CS1 maint: location missing publisher ( link) What's also especially striking - and, given the title, wholly appropriate - is just how strong a reflection of student-age life this is, which, on reflection, is a rarer gift than might initially be assumed (consider, if you will, how much easier it is to rattle off lists of artists whose oeuvres correlate with adolescent experiences or properly grown-up concerns). At times, this can be remarkably specific - the excellent 'I Won' is perhaps the only song to ever build itself around flatshare politics - but it also captures the sensation of a life spent in preparation for a rather daunting sense of possibility. 'Hideous Towns' best expresses the intimidation this entails ("never went to Rome / I took the first bus home" etc), but it rears its head repeatedly, Wheeler at one point taking solace in the thought that "there's no harm in voicing your doubts" and, on 'Can't Be Sure', reflecting with perhaps an overly optimistic confidence that absolute conviction in what lies ahead is bound to emerge. Eventually. Your Not The Only One I Know was a one-two punch combined with Here’s Where the Story Ends here were two phenomenally catchy and beautiful songs that drove the disc’s success. The song itself examines our inner embarrassments and habits, from talking to ourselves to reading horoscopes on the lav. Only Harriet and David could turn this song about rationalizing our neurotic tics into a thing of such beauty that it is timeless. The lovely acoustic guitar treatment and Harriet’s transcendent voice take this song to another level. The vocals are just barely tethered to the ground by Gavurin’s swirling guitar. It all sounds so very effortless, pure sonic goodness.