How a production nightmare birthed a sprawling double album masterpiece

How a production nightmare birthed a sprawling double album masterpiece
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In short: Simple Minds wanted to record a double album but only had the budget for one. The result was a chaotic, over-budget recording session that nearly collapsed under its own weight, forcing the band to release their work as a limited edition double set to save their artistic vision.

In 1981, Scottish rock band Simple Minds entered the studio with producer Steve Hillage—a guitarist for the progressive rock group Gong. Sharing a mutual love for krautrock, the band aimed for a sophisticated sound. However, the sessions quickly spiraled into what frontman Jim Kerr later described as a "veritable nightmare." The band recorded fifteen backing tracks but struggled to decide which to keep, eventually exhausting their entire budget while leaving several tracks unfinished.

To salvage the material without scrapping any songs, they released 'Sons and Fascination/Sister Feelings Call' as a double album in September 1981. This release was pivotal, marking the band's first wide international audience. The music featured a prominent, heavy rhythm section designed to create a "spatial, multi-planed" atmosphere. While some critics found the work "excessively and inexcusably laboured," others praised its ability to blend artier tendencies with melodic structures.

The album's legacy was complicated by technical limitations and regional marketing. For example, the 1985 CD release omitted two tracks from 'Sister Feelings Call' because the format was capped at 74 minutes—a constraint that wasn't lifted until a remastered reissue in 2002/2003. Furthermore, Canadian versions of the albums featured entirely different tracklists and running orders compared to the UK releases, illustrating how one recording session could be fractured into multiple distinct experiences.

Despite the logistical chaos, the project became a critical success. It was voted the best album of 1981 by listeners of Toronto's CFNY-FM and ranked among the '1000 Albums to Hear Before You Die.' The era also marked a transition for the band; these were the final recordings of their original lineup before drummer Brian McGee departed.

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