James Murphy Chooses His Favorite The Fall Track

When discussing key artists of the 2000s, few debates arise regarding the impact of LCD Soundsystem. Emerging from frontman James Murphy’s unique DJ sets in Brooklyn, their vibrant mix of mutant disco and catchy pop hooks saw the band swiftly ascend the indie charts following their debut release in 2005.

By 2007, LCD Soundsystem struck emotional gold with “All My Friends,” a seven-minute piano-driven anthem that poignantly captured the struggles of adulthood, often bringing grown men to tears as they enjoyed a drink at live shows.

With Murphy’s extensive DJing background and deep understanding of music, it’s always fascinating to hear his favorite tracks from various artists. The Fall, known for their eclectic styles across 32 studio albums, poses a unique challenge for any curator. Their sound encompasses a range of genres, including post-punk, alternative pop, and innovative techno, all tied together by their legendary frontman Mark E. Smith, whose chaotic presence and sharp lyrics created a volatile yet captivating atmosphere.

Diving into The Fall’s extensive discography can be daunting, but their mid-1980s work serves as a great entry point. The five albums released with Beggars Banquet during this period marked their tentative foray into mainstream pop while maintaining their punk edge. This era is often deemed the most approachable for newcomers to The Fall’s complex sound.

<p“When I think about my favorite track, I often hear a mix of influences, even me singing like Roberta Flack,” Murphy humorously noted in a 2013 Red Bull Music Academy interview when he picked “Paintwork.” This 1985 gem from This Nation’s Saving Grace is both a classic representation of The Fall’s artistry and an inviting introduction to their often bewildering landscape.

“Paintwork” combines the slick production of John Leckie with raw four-track recordings from guitarist and keyboardist Simon Rogers, alongside Smith’s spontaneous vocal recordings. The track blends a surprisingly melodic indie rhythm with eccentric lyrics only Smith could master: “Then I read Paula Yates on Vision mopeds / Later Mam said ‘Them continentals are little monkeys’ / And yesterday we had liver and sausages over.”

The song’s title, inspired by a decorator’s complaint regarding Smith’s home, adds another layer to the charm of “Paintwork,” encapsulating the domestic mundanities and artistic musings that define The Fall’s enigmatic narrative during their most vibrant period.