The Obvious Identity (1980)

Personnel:

Peter 'Zip' Boker (Michael Pugh): vocals (Tracks 1 and 7)

Philip Pilf (Tim Smith): guitar, synth (Vocals on remaining tracks)

Patty Pilf (Jim Smith): bass, vocals

Duncan Doilet (Colvin Mayers): vocals, synth

Little Bobby Shattocks (Mark Cawthra): drums

By the time the band recorded their full-length debut (under the band name Cardiac Arrest), they'd already lost a few members from their single. Ralph Cade and Peter Tagg left to form The Trudy, with Tagg's brother Derek on guitar and bassist, Sue Smallwood. That band had a unique pop/new wave style, releasing albums as recently as 2016. Their work can be found on various 1980s-released compilations (such as The Snoopies Album), and their more recent work can be found on Bandcamp.

Their departure didn't impact the band much musically. Cade had always been more of a presence on stage, where his wild dancing and dramatic postures helped amplify the band's theatricality; and replacement drummer, Mark Cawthra, filled Tagg's shoes just fine. The most significant change was the limitation of Michael Pugh, who sings on just two tracks. Tim was becoming more confident in his singing and wanted to assert a more active frontman presence to direct the increasingly ambitious and entertaining live shows.

While this album's four-person lineup is stripped down, the band often featured auxiliary members live. Friends and past members would come by to sit on sax, keyboard, guitar, or even drums. And yet, the music presented here is the band's simplest and most immediate. Even albums like Toy World have a more diverse sound than this one and an occasional respite from speed.

In contrast here, the rhythms are hectic, the guitar dissonant, and the lyrics, bizarre and hard to suss. Unfortunately, the sound is poor: perhaps the roughest of any Cardiacs album. Cheap tapes were used, to cut down on studio costs (Crow Studios, Kingston). As a result, as one member said: 'The recordings were so shit, it wouldn't matter if they were copied onto washing- up sponges'.

Despite the rougher sound, the band's talent is undeniable. The playing isn't quite up to the level of later recordings but remains strong. Jim, in particular, consistently sounds great on bass, though Tim and Cawthra operate very well in this more punky mould.

Like all albums pre-The Seaside, The Obvious Identity was never re-released after its initial cassette pressing. As a result, copies often sell at near $150 US, or around £130. Thankfully, all but one of this album's songs were either re- recorded for later records, included on live albums, or collected on Archive Cardiacs, with improved sound.

'The Obvious Identity' (Tim Smith)

Later re-recorded on The Special Garage Concerts, this opener features a burst of noise erupting into a trademark ascending-and-descending Cardiacs riff. Like with 'A Bus For A Bus On The Bus'. there's some strange riff harmonizing, with the synths, in particular, standing out - but the rhythm section's insistent and skilled pounding normalises this. The change to a second riff brings a dynamic contrast that drives the song towards the verse. A new riff appears that consists mainly of a power-chord stomp. After a verse repetition, the bridge starts. A softer and quirky keyboard melody increases in intensity, before a reprise of the verse and intro riff ends the track.

This early sound can be best compared to XTC: a contemporary Tim has admitted to loving. XTC's early records have a similar speed and sound intensity but with a straighter, more pop-friendly feel. That is not an insult: XTC moved on from this style, becoming one of the finest bands of their time; whereas Tim and company expanded on it by bringing in a more substantial prog element. Though that aspect is more reined-in here, the odd harmonies and rapid melody changes are not far from Van der Graaf Generator and other groups.

'Visiting Hours' (Tim Smith)

Later available live on All That Glitters is a Mare's Nest, this track has a blues- rock swagger, unique for the band; not that anybody would ever mistake this for Muddy Waters. The buzzing synthesizers and Tim's tortured howl help put an end to such misconceptions.

Of course, few Cardiacs songs thread the needle on one path for too long, so Tim throws in a fast harmonised melody that feels a bit like Yes' 'Perpetual Change'. Of course, that fine band would never throw in punk-level guitars. Tim's keyboard-playing here is consistent, solid, and refreshing: while perhaps not a virtuoso, his additions make the sound more diverse and memorable.

Tracks like these also show off the band's love of pop music. Tim always insisted they were a pop band, and especially here, their songs follow the pop song structure. Instead of sung choruses though, they usually throw in instrumental verse variations or completely new riffs and melodies. This preference would remain consistent throughout their career.

'Pip As Uncle Dick But Peter Spoilt It' (Tim Smith)

A speed-varying keyboard ostinato opens this track, bringing a punk-oriented vibe. It's here where we get a true feel for the keyboard and guitar talent. The guitar is smooth, and the complexity feels effortless. That said, a rough tempo change halfway through shows the band still working on their performance kinks a little.

Unfortunately, the lyrics are hard to hear, but the singalong 'Spiderman, Spiderman, does whatever a Spider can' is memorable. The song shifts to a harmonic bed of round vocals, making this track an early live highlight: by the time they took it to the stage, the slight awkwardness in a few sections was ironed out, and fans came to look forward to the 'Spiderman' singalong, as Tim led the audience to join in with him.

'To Go Off And Things' (Tim Smith)

Early in their career, Cardiacs would re-record songs from previous albums in improved outings. This early version of this song is a bit rough and lacks saxophone. It remains a great song but didn't quite reach its full peak until appearing on The Seaside. As a result, it's probably better to save the track's discussion for that album. But let's discuss the lyrics here.

Squalor is at large in tidy suburbia

Filth and dirt abound in every corner, yes

Things left on the floor

Abandoned foodstuffs and things left on the floor

The perspective shifts between third and first-person: the first several lines set the scene almost like a short story, telling the listener that the home they're about to enter is a mess. After the first 'to go off and things' reprise (not quite a chorus), the lyrics shift to first-person, showing a frantic person attempting to clean up to avoid being judged for their sloth.

The atmosphere goes beyond a standard working-class paranoia, towards an almost John-Waters-level decadence: the video for 'The Seaside' version of the track, in particular, feels like a Waters and David Lynch collaboration. Perhaps a movie version of this song would've been interesting as an exploration of the band members' unique personalities.

'Rock Around The Clock' (Tim Smith, Colvin Mayers)

A cleaned-up version of this appears on Archive Cardiacs, and the live performance was a highlight of The Special Garage Concerts. It has a Mayers writing credit, probably for the keyboard line or lyrics. The rhythm section does its job of stabilizing the track with fast and energetic lines that transition to a sea-shanty feel, beneath a clever keyboard part's counter-rhythms and melodies over the lyrics:

Count me out on this one for my head is not well

I might try just this once but only because

I don't want to be alone and sit by myself

And watch you all have fun

A return to childhood themes: it's easy to see a pouting child sitting on the sidelines of a rough game they don't want to play. A sense of isolation recurs throughout the album, often from this childlike perspective. When combined with the 3/4 rhythm Tim often uses, it creates somewhat uneasy feelings.

'Leaf Scrapings' (Tim Smith, Cardiac Arrest)

Unusually, credited to Tim and the band, this track starts with a muted guitar arpeggio over a one-note bass line and synced drum part. Tim goes through a few ominous chords before more fully exploring the guitar part. Small touches like this, produce dynamics making the dramatic keyboard flourishes more effective.

The connection between Cardiacs and groups like Marillion and IQ is apparent throughout this atmospheric and beautiful track. However, it's fair to say that Cardiacs bring in a little more outside influence, as less inspired neo- prog groups utilise nothing but prog cliches. In contrast, Cardiacs - like the best bands - find inspiration in other realms.

Funk even rears its head here in Tim's guitar syncopation, though few funk tracks contain many chromatic keyboard lines. For those who don't understand that term, chromatic refers to...