Alex Ogg 1994

Rarely in the history of music has the term 'perfect pop' been coined so readily to describe the efforts of such a short musical career. The Undertones were five lads from Derry - Northern Ireland - who for the same number of years synthesized the rudiments of pop with punks brash energy better than anybody. What they did was simplicity itself; big chords - rude and ready harmonies and chorus lines that settled deep into the subconscious. The Undertones communicated the possibilities of pop music so naturally - that it was impossible not to share their exhilaration and delight.

Each of their four albums chronicle a distinct musical progression within that timescale. Despite what many critics have suggested - the. band were remarkable for something other than their intimacy with the three minute - infectious pop nugget. They were - in addition - a musically cohesive unit whose creative ambitions were anchored more by the perceptions of others than their own instincts.

Over ten years since the band's dissolution - it still seems strange to think of The Undertones with reverence. Not that such tribute is undue - but because the honest - unpretentious nature of the band - which was such a large part of their charm - always militated against any pomposity or appeasement. The appropriate reaction is simply to acknowledge the unhindered - boundless entertainment which these recordings have always conveyed to me - and thousands of others.

Their third Long playing set is the Undertones least accessible - but first 'sophisticated recording it fits neatly into the bands chronology - anticipating the stylistic departure of The Sin Of Pride - yet maintaining the band's links with their early sound if the first album owes its spiritual heritage to The Ramones - Positive Touch nods appreciatively in the direction of the Rolling Stones - and the hallowed turf of Beggars Banquet and Between The Buttons in particular Though some of the musical and lyrical reference points are comparatively obscured - especially for a band as previously candid as The Undertones - the disc both commands and rewards repeated listening

As their first offering since their acrimonious split with the Sire label - somehow the album's grooves seemed to accommodate a new realism Housed on the group's own Ardeck imprint - there were further musical developments as the sound was enlarged by piano - courtesy of Paul Carrack - and horns 'Boy Wonder' - 'His Good Looking Girlfriend' and 'When Sat Comes - which pinched the Stones Paint It Black' riff - came closest to replicating earlier glories Elsewhere the textured - understated rhythms of 'Sigh And Explode' - along with 'Crisis Of mine' and You re Welcome - were the most convincing forays into new avenues Many tracks owed a debut to West Coast psychedelia - yet the album as a whole continued an individual stylistic path.

Positive Touch had been trailered by the release of 'Its Going To Happen' - performed on Top Of The Pops the night before Bobby Sands died Originally intended to reflect increasing discomfort within the band at the Northern Ireland situation - they thought better of making the direct statement that so many British commentators - for spurious reasons - had long expected of them Yet - despite its typically upbeat - cascading riff: there remains something slightly sinister in the lyric. Which was true of many of the cuts which sandwiched it on the LP

However - Positive Touch signaled a comparative decline in group fortunes Though The Undertones remained a mighty live force - its chart peak of 17 suggested a different story Perhaps the final mix hampered the overall effect - as several critics pointed out it would be the last time regular producer Roger Bechirian worked with the band in any case Or possibly the Undertones audience weren't ready to accept the deeply melancholic feel of the material. While the familiarities of playground big heads (Boy Wonder) and girl trouble were still in evidence - they had effectively grown out of their boy next door togs - which were only ever hand-me-downs from their big brothers in the music papers anyway

Bonus tracks include the sumptuous single - Beautiful Friend - an elaboration I of the sound premiered on Julie Ocean' - and its B-side - Lifes Too Easy alongside these cuts sit 'Fairly In The Money Now and Kiss in The Dark; - drawn from the flip of Its Going To Happen and Julie Ocean respectively 'Fairly in The Money Now was originally credited to Tommy Tate And The Torpedoes - a pseudonym for one Damian O'Neill As was Lesley Wesley - for those seasoned liner-note readers among you .