Anita Lane – Do That Thing (Mute Records single, 2002)

Anita Lane 'Do That Thing' artwork

mute records | mute285 | 2002

I actually felt quite embarrassed listening to this second single from Anita Lane‘s appallingly-titled Sex O’Clock. Not because it’s a terrible track, far from it, but because the lyrics are so overtly sexual (example lyric: ‘Call me up on the erogenous zone / All night kundalini telephone.‘) – it is a bit like how uncomfortable you felt as a teenager when the passion levels rose a bit too high in a film you were watching with your parents. Or maybe that was just me.

No two ways about it, Lane here is feeling horny, many of the lyrics delivered as if midway through a hazy passionate clinch. Repeated choruses with Mick Harvey of ‘Do that thing / That thing that you do.‘ urge the sexual momentum forward. Musically, Harvey has constructed a song of considerable beauty, a classic soul groove with a host of Motown strings and percussion-driven beat; think Marvin Gaye duetting with Serge Gainsbourg. Classy, subversive, blatant – perfect.

The solitary B-side ‘Look At The Sun’, co-written and produced by Johnny Klimek, is a countrified ballad, a thing of remarkable beauty. Lane’s vocal is perfect for the track, which really draws out the emotional quality of the song. In fact, the song could have been delivered just as successfully by her former beau Nick Cave.

First published 2004; re-edited 2015.

(c) 2015 Mat Smith / Documentary Evidence

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Barry Adamson, Anita Lane & The Thought System Of Love – These Boots Were Made For Walking (Mute Records single, 1991)

Barry Adamsn, Anita Lane and The Thought System Of Love 'These Boots Were Made For Walking' artwork

mute records | mute119 | 1991

This version of Lee Hazlewood’s hit – made famous by Nancy Sinatra – is an absolute stone cold classic, as they may have said in the 1970s. On Terry Donovan’s 7″ mix, those immediately-recognisable descending bass notes that herald the original are here complimented by piano and a deep dub-inflected hip hop beat. Barry Adamson adds a string section and a funk guitar where the Sinatra version quickened the pace with a rather cheesy horn section. Anita Lane‘s vocal is typically excellent, archly naïve and seductive all at once, somehow colouring the sparse arrangement perfectly.

On the other remix front, Renegade Soundwave departee Karl Bonnie‘s ‘Bonnie Floats On Airwair’ mix – aided superbly by Holger Hiller with additional noises from then-Orb member and onetime Fortran 5 accomplice Kris ‘Thrash’ Weston – ratchets up the bass levels and adds some pulsating electro percussion, pushing this into heavy digital dub territory, with all the aplomb expected from the assembled trio. The mix also makes full use of some sterling slide guitar work from ex-Birthday Party man Rowland S. Howard. John Waddell adds all manner of new elements – a fragile synth melody and soulful sax – and in so doing turns the track into a blissed out groove somewhat reminiscent of The Beloved, recalling the chilled-out Balearic vibe of the time.

Adamson’s own ‘Go Johnny’ blends two strands of his distinctive style – spiralling orchestration and jazzy bop laced through with samples and abrasive noises. The track kicks off with some meditative organ lines before diving headlong into a Bernard Herrmann-esque chase theme with a beat that doesn’t know if it’s bop or rockers reggae. Both ‘Go Johnny’ and the original cover of ‘These Boots…’ feature on the celebrated Fine Line soundtrack to Delusion.

First published 2004; re-edited 2015.

(c) 2015 Mat Smith / Documentary Evidence

Anita Lane – Dirty Pearl (Mute Records album, 1993)

Anita Lane 'Dirty Pearl' LP artwork

mute records | lp/cd stumm81 | 10/1993

Dirty Pearl is a rag-bag collection of newly-recorded Anita Lane tracks produced by Mick Harvey as well as older material, the entire Dirty Sings EP and collaborations with Die Haut, Einstürzende Neubauten, Barry Adamson and The Birthday Party. The album is as much a collection of Lane’s work as it is a showcase for the seemingly unlikely cross-pollination of scenes that emerged when The Birthday Party moved from Australia to the UK, followed by a brief and fortuitous sojourn in Berlin; that productive Kreuzberg stop-over was responsible for Nick Cave‘s Bad Seeds being swelled by the likes of Neubauten’s Blixa Bargeld and Die Haut’s Thomas Wydler, as well as some of Cave’s most inventive and inspired early musical work.

The collection covers the period 1982 to 1993 and presents the tracks in reverse chronological order. Overall, the compilation shows just how integral Lane was to the whole scene that formed between London and Berlin in the mid-Eighties, with characters such as Chrislo Haas and Adamson appearing on various tracks. As Nick Cave’s girlfriend and muse, Lane co-wrote a number of The Birthday Party’s songs, including the likes of ‘Dead Joe’, and was credited as a founding member of Cave’s subsequent Bad Seeds though her participation in the group was never exactly clear. What’s also immediately apparent from this collection is just how little music Lane has herself released – over half of Dirty Pearl was already released by the time this compilation was released, and Lane would only come to release her first (and to date only) ‘proper’ LP in 2002 with Sex O’Clock. Whilst Dirty Pearl provides a comprehensive overview of Lane’s music, one notable omission is 1991’s collaboration with Adamson on the excellent cover of Lee Hazlewood’s ‘These Boots Were Made For Walking’ which Adamson crafted for his Delusion soundtrack.

Opening track (and therefore most recent) ‘Jesus Almost Got Me’ is a countrified, Triffids-esque song of drunkenness, cruel love and regret, beautifully carried forward on Harvey’s sensitive drumming and ‘Evil’ Graham Lee’s genteel slide guitar. Immersed in the background are spirals of grainy feedback and some lovely vocal harmonies from Harvey. ‘Jesus Almost Got Me’ has a tired, resigned quality to it. In contrast, ‘The Groovy Guru’ is a funky, psychedelic trip, filled with wild face-melting guitar and wayward organ creating a vibe that felt about twenty-five years old too late, the lyrics describing a sort of pervy Cassanova character with a number of Satanic traits.

The cover of Marvin Gaye’s ‘Sexual Healing’ was produced by Mick Harvey with artist Johannes Beck and Sven Röhrig, finding Lane cooing girlishly over a sick, phasing breakbeat, shimmering vibes from Barry Adamson and some leaden (and less-than-romantic) backing vocals from Beck and Moritz Wolpert. At times Lane sings with a strained needfulness that can feel quite uncomfortable at times, but it’s quite hard to think of this as being too serious. Both ‘Blume’ (from Neubauten’s Tabula Rasa LP) and ‘Subterranean World (How Long…?)’ (from Die Haut’s Head On) highlight how well Lane’s voice matches Blixa Bargeld’s distinctive own. Bargeld’s transition from the howling, shredded vocal style displayed on Neubaten’s earliest material to the sensitive, half-spoken, almost Scott Walker-esque voice of their later material is continually surprising, and that softer side shines through on these two songs. ‘Subterranean World’, with its duet chorus of ‘How long have we known each other now?‘ brings to mind those clips in romantic films where couples explain to camera how long they have been together, except that by the end of this darkly humorous song Lane and Bargeld decide that they’ve never actually met before.

‘Picture Of Mary’ is an atmospheric piece written with Bargeld, dominated by Lane’s ghostly singing and a backdrop of dramatic piano, mournful violin and jangly Latin guitars (from Blixa) which threaten to swell up in the mix but never quite do. The only thing that lets this track down is Lane’s vaguely tuneless musings which bring to mind some of Nico’s material, but that is more than made up for by the intricate backdrop. Latin guitars and strings also colour the maudlin ‘Stories Of Your Dreams’, which possesses a strong narrative and theatrical mood. The song was co-written with Neubuaten’s Alexander Hacke, who also plays guitars on the song, while Crime And The City Solution founding member Bronwyn Adams plays violin.

The CD release of Dirty Pearl also includes ‘A Prison In The Desert’ by Nick Cave, Mick Harvey and Bargeld, taken from their soundtrack to Ghosts… Of The Civil Dead. The piece sees Lane mostly wordlessly singing over a backdrop of droning strings, industrial sounds and high-pitched noises, her voice providing a gentle counterpoint to what is otherwise a reasonably harrowing piece of music, a bit like a Graeme Revell soundtrack.

Eschewing all the released tracks from The Birthday Party canon that Lane contributed to, Dirty Pearl instead offers ‘The Fullness Of His Coming’, an unreleased track which features Lane on lead vocals, serving as strong reminder of why The Birthday Party were a musical force to be reckoned with at the start of the Eighties. The song is dominated by grinding guitar riffs from Rowland S. Howard that sounds like they might have been fed through an organ, Tracy Pew‘s ludicrously prominent bass and insistent and quickening drums from Mick Harvey. Lane murmurs and squirms provocatively through the track, particularly as the pace begins to quicken, the assembled Party members providing a nasty mantra of the track’s title while Lane writhes rapturously in the foreground.

Track listing:

lp/cd:
A1. / 1. Jesus Almost Got Me
A2. / 2. The Groovy Guru
A3. / 3. Sexual Healing
A4. / 4. Blume (Einstürzende Neubauten feat. Anita Lane)
B1. / 5. Subterranean World (How Long…?) (Die Haut feat. Anita Lane)
B2 / 6. Picture Of Mary
B3. / 7. The World’s A Girl
B4. / 8. Stories Of Your Dreams
9. A Prison In The Desert (Nick Cave / Mick Harvey / Blixa Bargeld feat. Anita Lane) – CD bonus track
10. If I Should Die – CD bonus track
11. I’m A Believer – CD bonus track
12. Lost In Music – CD bonus track
13. Sugar In A Hurricane – CD bonus track
B5. / 14. The Fullness Of His Coming (The Birthday Party feat. Anita Lane)

First published 2012; edited 2014

(c) 2014 Mat Smith / Documentary Evidence