Spectacular! Monumental! "Street Fighting Years" is a masterpiece!
It's the blessed year of 1989, and when the EP "Ballad Of The Street" is released, it's clear that what follows will be a committed and divinely played album.
Along with John Giblin on bass, who leaves the touring position to Malcolm Foster, this album features contributions from Lou Reed, Steve Copeland, Lisa Germano on violin, and Manu Katche on percussion.
The album opens with the title track, featuring the first 25 seconds of introductory acoustic bass for a deeply introspective and overwhelming piece that gives you goosebumps. Other notable songs include "This Is Your Land", with Lou Reed's cameo; the extraordinary ballad "Let It All Come Down", composed by Giblin, and "Kick It In".
Before closing with the instrumental "When Spirits Rise", the album offers the trilogy of "Mandela Day", written in honor of South African leader Nelson Mandela, "Belfast Child", which talks about the difficult Irish situation, and "Biko", a cover by Peter Gabriel dedicated to Steven Biko, another prominent figure in the fight for black emancipation in South Africa.
"Mandela Day" is a masterpiece of simplicity: a warm and soft rhythm based on bass and percussion, while Gaynor accompanies with brushes and guitar and lyrics intertwine to complete each other.
"Belfast Child" has its roots in the traditional Celtic song "She Moved Through The Fair" but becomes a masterpiece of orchestral and keyboard sounds, suffering guitar and vocals, and a dry and incisive rhythm.
As you go through this album, it should be noted the impeccable arrangement of the tracks, often embellished with orchestral sounds (as mentioned); rhythms with "hints of Africa"; Burchill's suffering guitar, and the epic nature of McNeil's keyboard, on his last album with Simple Minds.
The atmosphere that this album exudes is refined, sophisticated, intoxicating, all surrounded by Kerr's voice, which is fantastic.
"It is incredible how Simple Minds managed in this album to distance themselves even more from the sound that characterized albums like 'Life in a Day' and 'New Gold Dream'."
"'Mandela Day' seems like an anthem not of a man’s redemption, but that of an entire people."
'The sound manages to remain visceral and never betray by flowing into predictability, generating at the same time feelings of protest and sharing.'
'It’s the winning sequence of the three initial piano chords of "Mandela Day" that underline the importance of a message which, far from political ambitions, succeeds in being perceived even by those who see music only as a fleeting moment of distraction.'