On 7th July 2012 Chumbawamba announced their impending breakup before the end of the year. Their very last concert was given at the Leeds City Varieties. At this show former members of the band, such as Harry Hamer and Danbert Nobacon made their appearance. At this theatre, Chumbawamba already performed 'Big Society!' with radical theatre company Red Ladder.
The last EP of the band was released April 8th, 2013, when Margaret Thatcher passed away. The Margaret Thatcher EP 'In Memoriam' is a 5-track sound collage featuring a few small songs, which could only be pre-ordered. It was mailed to all who pre-ordered on that very day.
Early years (1982-1991)
The band was formed in 1982 from two other bands based in Yorkshire, The Passion Killers and Chimp Eats Banana. They released a series of albums (such as Pictures of Starving Children Sell Records and the a capella album English Rebel Songs) and singles on their own Agit-Pop label before moving to One Little Indian in the early 90s.
One Little Indian (1991-1997)
On One Little Indian, Chumbawamba released three albums, Slap!, Shhh, and Anarchy, on which influences of techno music are noticeable. The songs for these albums were written in a period when dance culture was thriving and the band were also influenced by it. The music had turned into a more popular sound, which they emphasized was to spread the message more effectively. Touring for Anarchy, the concert at Leeds was recorded for the live album "Showbusiness!".
The last album released on One Little Indian is Swingin' with Raymond (1995). The albums first six songs are about (the right to) love and ends with seven songs loaded with hate (in the broadest sense of the word: it includes a song about anorexia nervosa).
The EMI years (1997-2000)
Anarchy or not, the band signed to EMI by 1997. At EMI, Chumbawamba had brief mainstream success, with the singles Tubthumping and Amnesia, taken from Tubthumper. Like Slap! and Shhh, the album was noticeably influenced by techno music. The new Chumbawamba fans needed for an overview, EMI might have thought. So Uneasy Listening, a compilation of work from 1986-1998 was released by 1998.
This move alienated much of the anarchist punk scene that yielded Chumbawamba in the 80's. To their former cohorts, this new Chumbawamba -one that licensed songs for commercials and signed to a major label- was different than the one that took part in the Fuck EMI compilation record a decade before. In 1998, Scottish punk band Oi Polloi put together a 7 band compilation EP with other bands like Riot/Clone and Bus Station Loonies in response. The name of the record was "Bare Faced Hypocrisy Sells Records(The Anti Chumbawamba EP)" as a nod to Chumbawamba's first record. Chumbawamba responded by noting that even the smaller labels they had worked with were capitalist by definition and were often only driven by profit. They added that, with the help of good lawyers, they were doing what the Sex Pistols had done two decades earlier – what punk had initially set out to do before it was beset by righteous puritans looking for "a new set of rules", as the band put it. But also, in the words of Chumbawamba vocalist Danbert Nobacon, they "needed things to change", needed to "shake things up". According to the band, "even radical politics can get stagnant and repetitive." Much of the profits from the album were donated to radical groups, pirate radio stations, community organisations and anarchist projects.
By 2000, the album WYSIWYG was released, being entirely different from previous work (and thus defying the idea that the band just wanted to make commercial hits): a 22-track soundscape, comprising rock, folk, country and pop music. It includes a cover of the Bee Gees song New York Mining Disaster.
Return to independance (2002-2010)
In 2002, Chumbawamba formed their own label again, now naming it Mutt Records. On this record label, they released Readymades, followed by the world music influenced Un (2004). These two albums brought Chumbawamba to what it is now: a folk group.
Since 2005, the band decided it would be better to turn into an acoustic band. The line-up has changed to: Boff Whalley, Lou Watts, Jude Abbot and Neil Ferguson (former producer of the band). It was this line-up that released the fully acoustic album A Singsong and a Scrap on the small UK Folk and Folk-Rock label NoMasters by 2006. The album uses more traditional instruments and features English Folk artists such as Coope, Boyes & Simpson and Andy Cutting. In 2007 followed by the live album Get On With It.
In 2008, another No Masters album, The Boy Bands Have Won, was released. It contained 25 tracks of new acoustic material, some derived from traditional folk, such as Charlie. It also had guest performances by, amongst others, the Oyster Band on Hull or Hell and Roy Bailey on Word Bomber. It's this album where Phil Moody joined Chumbawamba as accordionist and vocalist.
The third album that Chumbawamba recorded on NoMasters, ABCDEFG, was released. The album is cut from very much the same cloth as the The Boy Bands Have Won, but is richer in sound. ABCDEFG stands for every note in the Western music scheme, and the album itself is about the power that music can bring to communities (Voices, That's All) and deliver to people in struggle (Wagner At The Opera). It's the first Chumbawamba album fully dedicated to music matters, though Shhh (1991) preceded this release, criticising pop culture.
On ABCDEFG, next to the five Chumbas, (amongst others) Ray Cooper plays cello and harmonica, Belinda O'Hooley plays the piano and Jo Freya plays alt and tenor saxophone.
Former members of Chumbawamba
Apart from the moment that Chumbawamba changed from electric band to acoustic band, Chumbawamba's line-up has changed several times after its first gig at January 8th, 1982.
Danbert Nobacon: Singer and keyboard player of the band, famous for wearing the brick suit, and for throwing a jug of water over UK Deputy Prime Minister John Prescott who showed up at the Brit Awards. He's still making music, see Danbert Nobacon and the Pine Valley Cosmonauts.
Dunstan Bruce: Vocalist, bass and saxophone player, percussionist and turntablist of the band.
Alice Nutter: Singer and percussionist of the band, famous for the drunk nun act she performed during live shows. Now writing scripts for radio, tv and theatre pieces.
Harry Hamer: Singer, drummer, programmer and percussionist of the band.
Mavis Dillon: Dillon did vocals, trumpet, french horn and bass for ten years, until he was replaced by Jude Abbot by 1995.
Paul Greco: Bass guitar, entered the band by 1992. He was replaced by Neil Ferguson in 1999.
Other former members include Coby Laan, Simon Commonknowledge, Midge (former Chimp Eats Banana) and Diane. There were actually loads of band members, especially in the early years. An extensive band history can be found at the Chumbawamba FAQ.
Grateful
Chumbawamba Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
When was the very first time you saw Chumbawamba?
In my dreams!
Ha!
Working in a forge, black lungs, burnt skin
Callouses, arched back, hammering, hammering
Stalin watching over us pigeon shit head
We'd spit on the floor at this red bastard god
(Repeat)
Bronze statue, pink marble, built to last
We brought him to his knees in a single night
And the boots that remained I attacked, I attacked
Hammering, hammering, the past is past
That's how grateful we are
(Repeat)
Scrub away, scrub away
And the noise rang out, metal on metal
Pigeons flit, dust settled
Out from the shadows we took to the streets
David chopping at the giant's feet
That's how grateful we are
(Repeat)
OK, we're gonna take it right, right, right, right down, way down
What we need is a break from the old routine
(Repeat)
Can I kick it? Yes you can!
(Repeat)
There ain't no justice, just us
(Repeat)
OK, we've been doing this one quite a few nights running, but I'd like to take that one.
Is that a yes? Which one, then?
Goodbye girl, goodbye girl...
Martin McLaren, Archer, Anais Nin...
Well, basically, Chumbawamba are the sort of metals of the pop world
The old groups, they're not concerned with what there is to be learned
They sell 501s and they think it's funny, turning rebellion into money
Can I kick it?
This songs become a bit irrelevant now, innit, we may as well just go off now. Couple of yous could just get up and we'll just fuck off. I'm into that man, you know, 'cause I've got a hot chocolate waiting for me back there. There's, uh, quite a bit of anti-Criminal Justice Bill sentiment down in front here. Excellent!
What we need is a break from the old routine
(Repeat)
You still want to come? Too late, too late
We're cut and we're fallen like harvested wheat
But we lived on our feet, at least, at last
And we will live on our feet, at least, at last
That's how grateful we are
(Repeat)
You still want to come? Too late, too late
We're cut and we're fallen like harvested wheat
But we lived on our feet, at least, at last
We will live on our feet, at least, at last
That's how grateful we are
That's how grateful
Ta
The song "That's How Grateful We Are" by Chumbawamba tells a story about rebellion, specifically against the celebrated communist leader, Joseph Stalin. The first few lines set the scene in a forge where workers are laboring and suffering under harsh conditions. Despite their hard work, the workers are ungrateful for Stalin's "watchful eye" and view him as a "red bastard god," willing to spit on the floor in defiance.
The next verse speaks of a bronze statue of the Soviet dictator and how it was brought down in a single night, with the remaining boots attacked by the singer. Through "hammering, hammering," the past is brought to an end, indicating a rejection of Stalin's rule.
The final verse shifts attention to the present and the need to break from the old routine. The singer declares that there is no justice, just us, highlighting the struggles that have occurred and will continue to occur. The repeated chorus of "that's how grateful we are" is an ironic statement, as the workers are far from grateful for the conditions they are suffering under and rebel against those in power.
Overall, the song is a commentary on the struggles of the working class, highlighting their resistance to oppressive regimes and their determination to fight for a better life. The use of repetitive lyrics and strong imagery creates a powerful message that resonates with the listener.
Line by Line Meaning
When was the very first time you saw Chumbawamba?
Asking when the listener first experienced the band Chumbawamba.
Working in a forge, black lungs, burnt skin
Describing the physical toll of working in a forge.
Callouses, arched back, hammering, hammering
Further description of the physical labor involved in working in a forge.
Stalin watching over us pigeon shit head
Imagery of Joseph Stalin watching over the workers with disdain, portrayed as a pigeon.
We'd spit on the floor at this red bastard god
Workers holding contempt for a leader who doesn't seem to care for or help the working class.
That's how grateful we are
Sarcastic remark implying the workers are not grateful for their current situation.
Bronze statue, pink marble, built to last
Describing the appearance of a statue built to honor an unappreciative leader.
We brought him to his knees in a single night
Workers successfully taking down the statue in a symbolic gesture of rebellion.
And the boots that remained I attacked, I attacked
Continuing to destroy the symbols of authority and power that the workers resent.
Hammering, hammering, the past is past
Workers acknowledging their past grievances and moving forward with their rebellion.
Scrub away, scrub away
Washing away symbols of authority and power that the workers resent.
Metal on metal, pigeons flit, dust settled
Imagery of the workers causing a commotion and creating chaos as they rebel against their oppressors.
Out from the shadows we took to the streets
Workers coming out of hiding and taking to the streets to voice their dissent.
David chopping at the giant's feet
A reference to the Biblical story of David and Goliath, implying that the workers are the underdogs fighting against powerful oppressors.
OK, we're gonna take it right, right, right, right down, way down
Transitioning to a slower, quieter section of the song.
There ain't no justice, just us
Implying that the workers can only rely on themselves and each other for justice and fair treatment.
Is that a yes? Which one, then?
Asking the audience which song they would like to hear next.
Well, basically, Chumbawamba are the sort of metals of the pop world
Comparing Chumbawamba to a valuable metal, implying that they are underrated and underappreciated in the music industry.
The old groups, they're not concerned with what there is to be learned
Criticizing established bands for not challenging themselves and not using their platform to educate their audience.
They sell 501s and they think it's funny, turning rebellion into money
Further criticism towards established bands for commodifying rebellion and profiting from it without truly committing to the cause.
This songs become a bit irrelevant now, innit, we may as well just go off now
Acknowledging that the song is no longer relevant to current events and preparing to end the performance.
What we need is a break from the old routine
Another call to disrupt the usual way of doing things and embrace change.
We're cut and we're fallen like harvested wheat
Comparing the workers to wheat being harvested, acknowledging their sacrifice in the fight for their rights.
But we lived on our feet, at least, at last
Proudly stating that the workers refused to be pushed down and instead took action to fight for their rights.
And we will live on our feet, at least, at last
Reaffirming the workers' commitment to continuing their fight for justice and equality.
That's how grateful we are
A genuine expression of gratitude towards those who have supported the workers' cause.
Lyrics © Sony/ATV Music Publishing LLC
Written by: JUDITH ABBOTT, BRUCE DUNSTAN, PAUL GRECO, DARREN HAMER, NIGEL HUNTER, ALICE NUTTER, LOUISE WATTS, ALLEN WHALLEY
Lyrics Licensed & Provided by LyricFind