St. Louis Union was a Manchester six piece fronted by singer Tony Cassidy. They won a Melody Maker beat contest in 1965 which scored them a deal with Decca. They were billed as "THE Group on the Northern Soul Scene." Their sound was centered around Alex Kirby's tenor saxophone and Keith Millar's electric guitar backed by some serious organ by Dave Tomlinson and Dave Webb on the skins.

Their live set was built around "Turn On Your Lovelight," "Woke Up This Morning," "Every Day I Have the Blues" and "Get On the Right Track Baby."

Their name seems to be a reference to the St. Louis Union Station, a train station famous, like many things in St. Louis, as having been the biggest and busiest thing in its field way back when. Its archways are designed so that one can whisper into them and someone else can hear you clearly on the other end, a design feature with no apparent practical applications, save simple amusements in a simpler time. It was largely built of limestone taken from Indiana, probably just to remind the Hoosiers who's boss, as the state of Missouri is entirely made of limestone and they're the nation's leader in lime production.


In the 1970s, the station was bought by Amtrak. They ended operations soon afterward and relocated their operations to a building the unhealthily train-obsessed refer to as Amshack. Now it's a mall where tourists watch the guys at the Fudge Factory put on a show and the Footlocker has a basketball hoop with the backboard autographed by the D.O.C.

The Second Summer of Love

It was 20 years ago today (well, this coming summer, which is just around the corner) that what was known as The Second Summer of Love occurred. England's youth fell in love with Ecstasy, which they combined with a taste for Chicago House Music and the results made history. As is often the case, the fashions of 20 years ago (in this case, the 1960s) became fashionable again. Tye dye and peace symbols abounded on teens around the world. Thousands of people started attending massive Acid House raves. A feeling of pacifistic and environmental optimism swept much of the planet (or maybe that was just my teenage outlook). The Factory label's Hacienda nightclub featured DJs and bands which mixed disco, house, hip-hop, electro and indie rock. Soon, other northern clubs followed their lead, such as Boardwalk, Devilles, Isadora's, Konspiracy, House, Soundgardens, Man Alive, The International, Bugsy's and The Osbourne Club. And the hooliganish Casuals tuned in and begat Acid Casuals.

Madchester, So Much to Answer For

Half a world away in Columbia MO, I used to listen to KCOU, which would play lots of Acid House and Belgian New Beat. It was the first contemporary music that I was into as it was happening. My parents only played soul, bluegrass, jazz and classical records. Then I discovered the Doors, T Rex and the Beatles through the radio. And after discovering College Radio, a new world opened up. I would dance (in private) on the hearth in the living room to these strange, new sounds and hope that my mother wouldn't ask what the hell that stuff was all about because I couldn't really explain its hold on me, although it's debt to my beloved Kraftwerk was evident. Our exchange student, Alexis Poul, found an Acid House button at JFK which was, of course, a smiley face with the words "acid" and "house" printed on them. Alexis told me that all anyone listened to in France was house music. And when I went there, in '89, it was true. Even the buses played house.

    

I saw Control with Morten. It's the movie about Joy Division and more specifically Ian Curtis. It's funny because the first I heard of it was critics tripping over themselves to point out that they liked it though they'd never heard of the band.  The point is always pretty much, "I'm a square. I'd never heard of these guys but I liked the movie although for a rock band, they sure weren't that much fun." I wonder what those critics were listening to back then. To me, Joy Division are one of those bands that, if you have taste, you should've at least heard during their existence if you were teenage or older. I mean, how separate are the worlds of music and movies that you'd have us believe you've got great taste and an ear to the underground if you still haven't heard of Joy Division. What bigger independent bands were there in the late 70s? And didn't you review 24 Hour Party People not five years ago?

Back to the 24 Hour Party People then. When that came out I saw a lot of dour Raincoats leaving the theater expressing their wish that whole film had been about Ian Curtis and not those awful acid house Blue Tuesdays or whatever was going on after Ian Curtis' death at which point their lot zoned out 'til the credits. Pity them. And I thought of how awful that would be- a film about Joy Division. Biopics are so suspect. Made For Cable movies that sit in the wings like vultures to be released in theaters only in the event of the subject's death because what is an awful film will likely reap the awful rewards at the Oscars.

Control is directed by Anton Corbijn which I didn't know till the end. Whatever you think of the guy, and I love his videos, you've got to admit that his images always have to easy to appreciate visuals. I mean, Bryan Adams got him to direct  "Have You Ever Really Loved a Woman" after all. He's fucking Dutch for Christ's sake.