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A true original - although he had something of a debt to Captain Beefheart - who was about as non charts as anyone could be and yet still found ways of disturbing them on occasions. For all of his ability to encapsulate the north - architecturally the sound was of bedrooms in old terraced backsteets and driving at night on the M62 through its routine but atmospheric wastelands - there was, dare I say it, some sort of real pop and rock sensibility there, from punk and funk through to Tamla and onto motorik and behind it all a nod towards the blues.
It is impossible to think about Mark E Smith without imagining the voice of John Peel who championed him. That the visual image that springs to mind is not of either of them but Brix Smith sitting on a giant hamburger seems entirely appropriate, even if I am Kurious, Oranj with which it was linked wasn't anywhere near his strongest work. Perhaps one of the most surprising things is the sheer volume of his output. There were over 30 studio albums from The Fall between 1979 and 2017. Simultaneously varied and samey, most had the ability to startle not least in the lyrics. I suppose one can argue that the likes of Shaun Ryder picked up that ball. It is less clear whether there will be a long term legacy. Smith's own voice was, of course, his major weapon. No matter how many times it had been heard before, it wasn't one that was intended that people would get used to. Which made it uniquely delightful.
Reading about him and his attitude toward 'recruitment and dismissal'...he makes Ritchie Blackmore look like a highly skilled and empathetic HR manager.
To celebrate the life and work of Mark E Smith, who died on 24 January 2018, we present a selection of articles on the Fall frontman and his group drawn from The Wire ’s online archive
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