| Spartacus | ||||
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| Studio album by | ||||
| Released | 4 March 1991 | |||
| Recorded | 1987, 1990 | |||
| Studio |
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| Genre | Baggy,dance-rock | |||
| Length | 45:23 | |||
| Label | Produce | |||
| Producer | ||||
| The Farm chronology | ||||
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| Singles from Spartacus | ||||
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Spartacus is the debut studio album by Britishrock bandthe Farm, released on 4 March 1991 through Produce Records. Following a variety of member changes and single releases, the band solidified their line-up in 1987; after a record deal fell through, they opted to start their own label, Produce Records. They recorded the bulk of their debut album in London in 1990 with formerMadness frontmanGraham "Suggs" McPherson as producer; one track from 1987 was produced bythe Housemartins membersPaul Heaton andStan Cullimore.Spartacus is abaggy anddance-rock album that takes influence from the work ofBuzzcocks,the Clash andthe Jam.
Spartacus received generally positive reviews from music critics. Although some of them were split on the album's songwriting quality, while others praised it in the context of the baggy scene. The album topped the charts in the United Kingdom. "Groovy Train" was released as itslead single in August 1990, followed by the second single "All Together Now" in November 1990. "Don't Let Me Down" appeared in April 1991, and was promoted with a supporting slot forHappy Mondays in June 1991 at theElland Road football stadium in Leeds. They then toured the United States withBig Audio Dynamite andDowntown Science.NME andVox included the album on their lists of the year's best 50 releases.
Influenced by the likes ofpunk rock acts such asthe Clash andthe Jam, Peter Hooton decided to become a musician, initially picking up bass briefly before focusing on singing instead.[1] He joined his friend's brother's band after their frontman failed to show up to a rehearsal.[2] Thedeath ofJohn Lennon, coupled with anger towards theTory party following a speech by leaderMargaret Thatcher, inspired Hooton to become a writer.[3] He started thefanzineThe End, which chronicled his poems as well as football news, music and politics. This helped Hooton grow in his confidence as a writer, which he had shied away from after being ridiculed by his school's English teacher.[4] Hooton's band soon became directionless and he was looking to form another band; through a mutual friend, he met Steve Grimes, guitarist for local punk rock act the Excitements.[3] After an audition, Hooton joined the Excitements, replacing Martin Dunbar. The rest of the band consisted of bassist Phil Stephenson, drummer Neil Campbell and dancer Thomas.[5] Around the same time, Phil Jones of zineTime for Action and Mick Potter started contributing toThe End when it became popular throughout Liverpool.[6] Hooton played his debut show with the Excitements in 1982 at a friend's party. Despite him wanting to keepThe End and the Excitements as separate entities, readers of the zine started attending the band's shows.[7]
Several more local gigs ensued, with them changing their name to the Farm, reflecting that they rehearsed on a farm plot inLydiate.[5] The band's punk rock sound was out of place in thepost-punk scene in Liverpool, featuring the likes ofEcho & the Bunnymen,the Teardrop Explodes andWah!.[8] Andy McVann, who had seen Hooton's first show, joined the Farm as their drummer.[9] Positive reviews from the music press earned the band their firstJohn Peelsession in April 1983, where they performed "Information Man", "No Man's Land" and "Memories". In February 1984, they did another Peel session, playing "Hearts & Minds", "Too Late", "Same Old Story" and "Somewhere". In between these sessions, the band went through multiple bassists until Carl Hunter joined.[10] They then appeared onOxford Road Show, where they metGraham "Suggs" McPherson andChas Smash, both formerly ofMadness. Around this time, the Farm had little money, surviving offresiduals from the Peel sessions. A friend of the Farm's was manning the doors at a Madness show and said the Farm were in need of help. Suggs, who had heard one of the Farm's Peel sessions, let them record some demos at Madness's studio onCaledonian Road, London for free. Suggs produced their debut single, "Hearts & Minds", later in the year. Simon Moran, who later founded SJM Concerts, became one of the band's early supporters, helping to organise shows for them.[11]
Sometime later,[when?] a brass section consisting of Anthony Evans, Steve Levy, George Maher and John Melvin was brought into the band's line-up, shifting their sound towardsNorthern soul.[12] McVann was involved in a fatal car crash in October 1986; the Farm almost broke up when the brass section left after this.[12][13] In 1987, Roy Bulter filled in McVann's role, and second guitarist Keith Mullen and keyboardist Benjamin Leach were added to the line-up.[12][13]Bill Drummond, one half ofthe KLF, who was well versed in the Liverpool scene and the Farm's activities, wanted to become their manager after meeting Hooton in a bar, but ultimately did not.[14] After seeing one of the Farm's performances,Happy Mondays supported them in Liverpool in May 1987.[15][16] The Farm then went on tour withthe Housemartins; they almost signed to the Housemartins'Stan Cullimore's label Fair Play Committee, but the deal fell through when Cullimore decided to write children's books instead.[17] In discussions, Moran wanted 20% of the proposed £25,000 signing bonus, claiming that as their manager he should be paid more; Hooton remarked that they considered him an equal, not a superior. Moran parted ways with the band when the deal collapsed.[18][clarification needed] "Body and Soul", their next single, was released in 1988 and saw a shift tosynth-pop.[19] In an attempt to draw more attention to the band, Hooton concocted amusic scene under the name Urchin Rock that would include them and fellow Liverpools bands Rain andthe Real People.[18] Hooton then convinced popular journalists to cover the faux movement; it received significant press coverage, but did not further the careers of any of the acts grouped under it.[20]
In late 1989, Paul McKenna, who had been the Farm's merchandise aid, and Hooton had a meeting at the former's flat. McKenna introduced Hooton to Barney Moores, a fan of theirs and son ofLittlewoods Pools ownerJohn Moores. Barney Moores had spare money to invest in a business and was interested in helping the band; Hooton told him that £25,000 would cover the cost of an album and two singles. Hooton then contacted Kevin Sampson,[21] who they previously met when the latter was shooting a film some months prior.[22] He had connections around London and was an associate of Suggs.[21] In January 1990, Sampson was asked to become their manager, eventually agreeing to become co-manager with Suggs.[22] Shortly afterwards, Sampson travelled from London to Liverpool to set up a meeting. The outcome of that meeting saw the formation of therecord label Produce Records with Ian Croft, Wayne Chad, Moors and McKenna as business partners. The label's offices were located in the Holmes Building in Liverpool;[22] its releases would be distributed by Kent-based company Pinnacle.[23] Part of the money the band received was used to purchase asampler to expand their musical style. Sampson drafted up an eight-page plan that Hooton referred to as "how to get the Farm into the Top 40". The band hired Anglo Plugging topromote them on the radio,booking agent Martin Horn of International Talent Booking andpress officer John Best of Savage & Best Management, and planned to record at Madness' studio.[21] Hooton admitted that they "didn't know anything" and trusted Sampson's judgement.[24]
Shortly afterwards, the band began working on a cover of "Stepping Stone" (1966) byPaul Revere & the Raiders as their next single.[25] Sampson felt they needed an outside influence to aid them, and proposedTerry Farley.[22] Around this time, Farley was growing in popularity as a DJ in theacid house movement,[25] and was formerly a subscriber toThe End.[26] Farley, serving as mixing engineer, suggested the band slow the track down and incorporatesamples from "The Power" (1990) bySnap!.[25] Though the song stalled at number 59 on theUK Singles Chart, the single received positive press coverage.[25] The Farm tried to record "Higher & Higher" soon after, but were not satisfied with the sound, and decided to work on "Groovy Train" with engineer Mark Saunders instead as their next single.[27] They had played apsychedelic version of "Groovy Train" for a Peel session; for the released version, Farley moved Mullen's guitar from themiddle eight to the intro section and added aloop from "The Gas Face" (1989) by3rd Bass. Suggs produced nearly every track that would feature onSpartacus, save for "Tell the Story", which had been recorded in 1987 and was produced by Cullimore and Housemartins bandmatePaul Heaton.[28][29] "Hearts & Minds", "How Long", "Sweet Inspiration", "Higher & Higher", "Don't Let Me Down", "Very Emotional" and "All Together Now" were recorded atMayfair Studios in London in October and November 1990, while "Groovy Train" and "Family of Man" were recorded at Liquidator Studios and "Tell the Story" was recorded at Fairview Recording Studio in Hull.[28][30] Kevin Petri engineered the majority of the tracks, except for "Groovy Train" (done by Gary Wilkinson) and "All Together Now" (done by Noel Rafferty). Saunders mixed "Groovy Train" at theKonk studio in London; the majority of the songs were mixed at Westside Studios in London, while "All Together Now" was done at Mayfair and "Family of Man" and "Tell the Story" were remixed at E-Zee, also based in London.[28] Paula David, who was asession vocalist that Suggs knew, andPete Wylie contributed backing vocals throughout the recordings.[28][31]
Musically, the sound ofSpartacus has been described asbaggy anddance-rock, taking influence from the work ofBuzzcocks, the Clash and the Jam.[32][33][34]AllMusic reviewerStephen Thomas Erlewine said it had all of the hallmarks of baggy, from "its rolling,neo-psychedelic grooves" to the "blissfully colorfulpop hooks".[32] The album's title was taken from the1960 film of the same name. Grimes said that the name worked as a "very tongue-in-cheek analogy between the Farm, who, like, for years didn't have a record label and then decided to do it ourselves[,] ... [b]asically, in spite of all the major record companies". He said McVann's death influenced some of the tracks on the album, such as "Don't Let Me Down".[35]
The album's opening track, "Hearts & Minds", was slowed down from its original recording, and has anoffbeatreggae sound. Its title alludes to a rally cry spoken by celebrities and politicians of the time; two years before including it on the album, Hooton said that some lyrics were added to "incorporate the plastic gangster fraternity".[29] ThoughNME reported that the band had used samples fromTaxi Driver (1978), Hooton was adamant that they used impersonators for the audio clips.[29][36] "How Long" recalled the work ofU2, while part of its lyrics referred to Hooton and drummer Boulter visiting theBerlin Wall inEast Berlin.[29][36] Hooton explained that the song talked about politicians rooting for change as long as it served their own ambitions. "Sweet Inspiration" was written aroundthe release of Nelson Mandela and is aboutpolitical prisoners that stand up for their beliefs even when confronted by authority figures.[29] Discussing "Groovy Train", Grimes said it was an interpretation of people that Hooton knew during school that used to be political, but after acid house, "they've just forgotten about all their politics and just though, 'Sod this! Let's just have a good time'".[37] Hooton wrote the lyrics in the weeks following an encounter with a girl at a nightclub in Liverpool.[38] JournalistPaul Lester wrote that the song consisted of an "iridescent African hi-life [atmosphere], quintessentially baggy 'Funky Drummer'shufflebeat and slashing"Steve Jones-aping guitarwork.[19]
"Higher & Higher" talks about a person facing rejection, which Hooton compared to "Should I Stay or Should I Go" (1982) by the Clash.[29] "Don't Let Me Down" targeted Britain'sunderclass, anchored by asgospel-like backing vocals.[19] The first verse of it grew out of an older, abandoned song titled "That's the Way We Were", with some lines specifically referring to McVann.[35] Hootson said "Family of Man" asks the question of "why don't the police join the family of man, instead of punishing people at every opportunity?"[29] "Tell the Story", which was an update on "Same Old Story", evoked the sound of fellow Liverpool actthe Pale Fountains with its acoustic production.[19][36][39] JournalistBob Stanley wrote that the song's lyrics propose that the "derelict buildings and waste-ground tell a truer story about the band's hometown than thousandJimmy Tarbuck-fuelled platitudes".[39] It initially had six verses, which were then edited down to two for the final version; Hooton said it referred to theslade trade and the planned redevelopment of Liverpool'sRoyal Albert Dock. "Very Emotion" evolved out of their 1985 song "Steps of Emotion" and was dedicated to their technician Ray Toohey. He had been involved in apeaceful protest atRisley Remand Centre, but was arrested and imprisoned for 30 months. The band changed the song's lyrics to reflect Toohey's situation, with influence from "Stay Free" (1978) by the Clash.[29]
"All Together Now" began as "No Man's Land", which Hooton had written after the reaction fromright-wing press towards British politicianMichael Foot wearing a coat that resembled adonkey jacket in November 1981.[23][40] Alongside this, Hooton had read newspaper articles about theChristmas truce during theFirst World War, which he learned about from training as a history teacher.[40][41] "No Man's Land" consisted of six verses sections and lacked a defined chorus. For a few years, Grimes wanted to pair the words with the music of a TV advert, which featured a version of Pachelbel'sCanon in D.[23][42] The band did not attempt to match them until after they had bought the sample; while it worked, the song still lacked a chorus section.[41] They refined the song while in the studio, where they came up with an appropriate chorus. At Suggs' recommendation, the six verses were cut down to three, and half of the music for the chorus was similarly dropped.[23] He then included a sample ofSid Vicious' rendition of the 1969 song "My Way" during the middle eight. At Farley's suggestion, the band wanted to include a beat they knew from ahip hop record. As they were unable to recreate it in a London studio, a member of their entourage was tasked with going to Hooton's house in Liverpool to retrieve it. When they sampled the drum loop, they found that it was partially out of synch with the music they had recorded.[41]
By mid-1990, the Farm were being slotted into the baggy scene, much to the chagrin of Hooton.[43] After some persuading from Sampson, the band travelled toIbiza, where they would shootA Short Film About Chilling... Ibiza '90. The location was rising in popularity amongst the Britishyouth anddance cultures. The film coincided with the release of "Groovy Train", helping to grow the band's stature.[40] Soon afterwards, they performed at theAlexandra Palace in London withBig Audio Dynamite.[22] "Groovy Train" was released as thelead single fromSpartacus on 20 August 1990.[44] The CD and 12-inch vinyl versions included different remixes of "Groovy Train"; the CD version also featured a remix of "Stepping Stone".[45][46] The music video for it featuredBill Dean singing into a piece of rock at aSouthportfun fair, cut with some footage of their trip to Ibiza.[38] Before the end of the following week,A Short Film About Chilling... Ibiza '90 premiered onChannel 4.[22] The success of "Groovy Train" allowed the band to appear onTop of the Pops twice,[38] and once onThe Word.[22] Produce Records received offers from various labels to buy them out, including fromSony Music Entertainment, but all of these were declined.[40] Produce Records also received orders to license out "Groovy Train". One such request was fromSire Records, which was operated bySeymour Stein.[38] He had been to several of the band's performances, which led to them being signed to the label some months later.[22] Up to that point, the song had some success onmodern rock stations in the United States as an import release.[38]
"All Together Now" was released as the second single fromSpartacus on 26 November 1990.[23] The CD edition featured remixes of the song by Farley &Pete Heller and Rocky & Diesel.[47] The music video for "All Together Now", directed by Angus Cameron, sees the band and members of their families drinking in a pub. It was shot in a pub next toShepherd's Bush Empire in London; they were concerned that if they had shot the video in Liverpool, too many people would try to gain entry.[23] In January 1991, the Farm supported Happy Mondays at the Great British Music Weekend festival, which featured a line up ofMadchester-related acts.[48] Following this, they embarked on a UK tour in February and March 1991,[49] all the dates of which sold out.[22] A launch show was scheduled for 7 February 1991, but was cancelled because of a dispute between the band and Flying Records, as the latter had not paid the band for an earlier show.[50] Ahead of the album's release, promotional remixes of "Very Emotional" and "Higher & Higher" done by Farley and Heller were released as awhite label 12-inch vinyl record.[51]
After initially being planned for release on 25 February 1991,Spartacus was released on 4 March 1991 through Produce Records in the UK.[52][53] The album's artwork was created by Hunter, who had experience illustrating from attending agraphic arts school. Grimes explained that the band were being referred to in the British music press as a "very unglamorous band. We should be, like, working in a building profession, or we should be electricians, that type of thing". He decided that since the press thought that they looked like ordinary people, they would make the artwork "as something you'd see in a supermarket, that you wouldn't look twice at".[35] The album featured the Farley and Heller remixes of "Very Emotional" and "Higher & Higher" as additional tracks; the vinyl version limited the remixes to 30,000 copies.[28][36] To promote the album, the band appeared on theNicky Campbell show forBBC Radio 1, where they performed "Don't Let Me Down" and "How Long".[54] Around this time, they released their firstvideo album,Groovy Times; it consisted of a live performance of the entire album shot at theLondon Astoria in December 1990. It also included interviews and the music videos to "Stepping Stone" and "Groovy Train".[55]
Hooton, while appreciative of the attention the band was receiving, felt burnt out from interviews, causing him to lose his voice. The other members of the band similarly suffered from restlessness; Hooton recounted how they were performing in Brighton the same night that the album went to number one "and I don't think we celebrated. We all became blasé even when everywhere on the tour was sold out".[56] "Don't Let Me Down" was released as the album's third single on 22 April 1991; remixes by Farley and Rocky & Diesel were included as its B-sides.[57][58] Sampson was insistent on reissuing "Stepping Stone" instead of releasing "Don't Let Me Down", while everyone else at Produce Records were in favour of "Don't Let Me Down". The band were concerned they would be seen assell outs if they went with Sampson's proposal, although they later admitted that his idea would have been a better choice. The music video for "Don't Let Me Down" was filmed in London and starredFrankie Howerd, who the band hired based on his performance inUp Pompeii! (1969). They had to change one of the lyrics, from "stand up and fight" to "stand up, stand up", as the song would not have received airplay or TV airings due to theGulf War.[59]
Sire Records releasedSpartacus in the US on 30 April 1991.[60]Warner Bros. Records product management vice president Steven Baker saidReprise Records was brought in to help the band at alternative radio stations in the hopes of having them crossover totop 40 stations. Initially support came from the "Groovy Train" video being on active rotation atMTV.[61] On 1 June 1991, they supported Happy Mondays at theElland Road football stadium in Leeds.[62] On 3 September 1991, "Groovy Train" was released as a single in the US; it featured remixes of "Groovy Train", "All Together Now" and "Stepping Stone", alongside the non-album single "Mind".[63][64] As Sire did not like the original music video for "Groovy Train", another one was shot with the band travelling around Manhattan on a London-themed bus.[38] Shortly afterwards, they went on a US tour alongside Big Audio Dynamite andDowntown Science.[65] At that point, Suggs stopped managing the band and returned to this own music career.[66]
Later in the year, the band failed to sell-out a show in Newcastle; Moran told them thatNirvana was playing a show in the city that same night and had affected the attendance as a result.[67] Unbeknownst to the Farm, the success of Nirvana'sNevermind (1991) some months earlier allowed for the success ofgrunge acts such asAlice in Chains,Pearl Jam andSoundgarden.[67][68][69] Hooton explained that they were "reading about it [in the press] and we saw the Melody Maker attacking us and we realised they wanted to get rid" of Madchester and baggy and "replace it with something that they were more comfortable with".[67] Around this time, the band's second video album,Spartacus Live, was released, featuring footage from a show at theRoyal Court Theatre in Liverpool in March 1991.[70] "All Together Now" was released as a single in the US on 6 February 1992, featuring remixes of "All Together Now" and a live demo of "Over Again".[71][72]
In 1991, a box set ofSpartacus' three singles, plus "Stepping Stone" and "Mind", was released on 12-inch vinyl under the nameBoxsetacus; a CD version followed in 1993.[73][74] In January 1999,NME reported that Produce Records initiated a legal dispute againstBMG Entertainment, claiming that "Macarena" (1993) byLos del Río had copied from "Higher & Higher".[75] TheWorld Intellectual Property Organization later reported that BMG settled out of court on the matter.[76] In May 2004,Edsel Records releasedSpartacus as double-CD edition under the nameSpartacus... Plus, which included B-sides and remixes.[77] The Farm were originally scheduled to perform the album in its entirety on a UK tour in April and May 2012, but the tour was postponed to September and October 2012.[78][79]Spartacus was included inThe Complete Studio Recordings 1983–2004 (2015) box set, alongside all of the band's studio albums plus bonus discs of B-sides, remixes and radio sessions.[80]BMG Rights Management released an EP of "All Together Now" remixes to celebrate the song's 30th anniversary.[81] In March 2021, BMG released a digital expanded edition of the album to celebrate its 30th anniversary.[82]
"Groovy Train", "Don't Let Me Down" and "All Together Now" were included on the Farm's second compilation album,Best of the Farm (1998).[22] All of the songs fromSparatacus were included, albeit in a different running order, on their third compilation album,The Very Best of the Farm (2001).[19] Thieir fourth compilation album,All Together Now: The Very Best of the Farm (2001), included all of the albums tracks except for "Very Emotional".[83] For their fifth compilation album,Alltogethernow – The Very Best of the Farm (2004), "Very Emotional" was included and "How Long" was not ; the accompanying DVD featured the music videos for "Groovy Train", "Don't Let Me Down" and "All Together Now".[84] The whole album was again included on their sixth and seventh compilation albums,All Together Now: The Very Best of the Farm (2009) andGroovy Train: The Very Best of the Farm (2017).[85][86]
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [32] |
| Calgary Herald | B+[87] |
| The Encyclopedia of Popular Music | [88] |
| NME | 9/10[36] |
| Record Mirror | 9/10[89] |
| Select | 4/5[90] |
| Sounds | [91] |
Critical opinion was split on the quality ofSpartacus' songwriting. While noting that a few of the songs had been previously released, Andrew Collins ofNME wrote that it was "as solid as a rock record, yet roomy enough to accommodate" experimentation on tracks such as "Hearts & Minds" and "Tell the Story".[36] Stanley, in a review forMelody Maker, praised the band for having "the most astute lyrics" out of their contemporaries, making "it[] that much sadder that this LP is worthy but dull".[39] Doug Iverson ofToledo Blade felt that aside from the first two singles, "it's doubly disappointing that Spartacus ... is so lame".[92] In a review forSelect, writerGraham Linehan countered this by stating that it "keeps you alert and live. There's very little filler, very few signs of exhaustion". He went on to praise the songwriting quality and stated that their "honey appreciation of what [makes] a song danceable and memorable guarantees them a longer shelf-life than most".[90] The staff atSt. Petersburg Times thought the band set themselves apart from "most of the other '70s revivalists, however, by being so darn serious", taking their "big-haired beat and avocado-harvest gold tones to heart".[93]
Erlewine wrote that the album was "one of the more ridiculous by-products of baggy, ... yet [with] very little of its charm, character, or substance". He added that since the genre was "never about substance, this is particularly damning".[32] Gary Crossing ofRecord Mirror echoed a similar statement, praising the band's creativity, remarking thatSpartacus was "conclusive proof that the Farm are more than just another baggy band".[89] JournalistJohn Harris, writing inSounds, said that when compared to their contemporaries, the Farm were "older, wiser, and in far greater command of a killer commercial sensibility" asSpartacus conveys "final confirmation of their sharp musical suss".[91]
Spartacus topped theUK Albums Chart after its first week of release.[94] It was Album of the Month inSelect,[95] and included inVox magazine's 50 Albums of 1991 list.[96] TheNME placed the album at number 32 in their list of the Top 50 Albums of 1991.[97] In 1998,Melody Maker considered it the 20th worst album of all time.[98] In 2014, journalistJohn Robb wrote that "All Together Now" was "not only a great anthemic and uniting pop record, it also came out" during "one of those rare periods when people felt optimistic and [the song] soundtracked this, add[ing] a poignant working class memory".[99]
All songs written byPeter Hooton and Steve Grimes.[28]
Personnel per sleeve.[28]
The Farm
Additional musicians
| Production and design
|
| Chart (1991) | Peak position |
|---|---|
| Australian Albums (ARIA)[100] | 106 |
| UK Albums (OCC)[94] | 1 |
