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The mystery, in this musical setting, never stops pulling you in. This section also starts with Cracknell announcing a date: 4 June 1989, which was the day of the Tiananmen Square massacre, but perhaps significant for other reasons. “I’ll write to you now from somewhere you won’t find me,” Cracknell sings breathily, “a different place / a different time.” The middle eight takes the song on a cinematic road trip of glamorous and everyday locations: “Primrose Hill/ Staten Island/ Chalk Farm/ Massif Central/ Gospel Oak/ São Paolo/ Boston Manor/ Costa Rica …” The city Saint Etienne loved is instantly mythical, magical and aspirational, and they would return to this theme throughout their career. The mood is all wide vistas and heat, its soundscape uber-Balearic, its lyrics gloriously nostalgic but revelling in the effervescent present. One of Saint Etienne’s most glorious moments, here ramped up in a fabulous Richard X remix from 2009. She also rejoined the band last October at Heaven in London. She recorded again for Saint Etienne two years later, on Calico, an album track for their second album, So Tough.
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Teenage rapper Q-Tee gives a brilliant, playfully husky performance, every word full of innocence and delight. Filthy pivots on a swampy guitar sample from 1973 track House of the Rising Funk by short-lived LA band Afrique.
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Its B-side, however, is a proper lost classic. Only Love Can Break Your Heart is a majestic, radical reworking of Neil Young’s slow, lovelorn song, sung by Moira Lambert. Filthyĭespite Cracknell’s central role in Saint Etienne, the group’s non-Cracknell output shouldn’t be overlooked.
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“Just the touch of your hand and I know we can make it / I’ve never felt so good, I’ve never felt so strong.” ( Kylie Minogue covered the track in 1993, as part of an all-too-brief recording and writing session with the band it became the B-side to Confide in Me, her first hit since working with Stock, Aitken, Waterman.) 2. The lyrics also provide a great opening pronouncement for the band as they were to be. This was also the first Saint Etienne song to feature singer Cracknell: before that, a carousel of vocalists meant each song was its own creature. They speed it up and turn it into a refreshing, shining statement about how powerful love can make you feel. Nothing Can Stop Us soars from a flute, bass and drums passage taken from a 1967 Dusty Springfield album track, I Can’t Wait to See My Baby’s Face. (This essentially describes their debut album, Fox Base Alpha.) From day one, this involved blending club bass lines and indiepop with samples from 60s records, old reggae tunes, mid-century British films, decimalisation training records and French football commentary. They were fired up by the inclusive rush of rave culture, and the way that genres could now bubble together, thanks to cheap music technology. In the early 90s, two twentysomethings from the suburbs of London (Bob Stanley and Pete Wiggs) and one from the fringes of Windsor (Sarah Cracknell) set their sights on fulfilling pop music’s potential.