Fittingly enough, Borland's motivation to cut ties to the punk movement mirrored that of original Buzzcocks member Howard Devoto, who left his own band after Spiral Scratch. Like Devoto, who had gone on to pioneer yet another field called post-punk with Magazine, Borland looked around, saw all the bands who played straight-ahead chug-chug-chug rock & roll, and decided that the tired blueprint was in need of a little more depth and variation; atmospheres, tensions, and unfamiliar twists on the interplay between the instruments would be needed. Lyrics were another thing. Not content with simply railing against the government or grunting and yelping about trivial matters to merely keep a song moving, Borland became one of the few post-punk songwriters whose lyric sheets were truly worth ingesting and analyzing. Former Outsider Adrian Janes aided the cause, remaining involved with Borland in a behind-the-scenes manner, writing some of the band's lyrics with his former band mate.
The Sound made their first recordings in the living room of the Borland family home, with Adrian's supportive father Bob acting as recording engineer. As demonstrated on Propaganda, a posthumous release from 1999 that collects these sessions, the band was gradually -- not so drastically and suddenly -- leaving the Stooges/Velvets axis and applying touches that would be developed into something all their own. They received their first break of sorts from Stephen Budd, an early supporter since the Outsiders days, who had recorded and released some material by Bailey and Borland's electronically inclined side project, Second Layer. Budd's label, Tortch Records, made a small profit from a Second Layer release, so he opted to put it right back into the Sound's first release. Budd also became the band's manager, booking studio time for them with Nick Robbins in Elephant Studios and finding places for the band to gig.
The first release made a humble impression. Physical World was reviewed positively in the NME by Paul Morley, and DJ John Peel took minor interest, playing it a couple times during his influential BBC program. Though the Sound hadn't the will to pine for a major label deal, the WEA-affiliated Korova label (home of Echo & the Bunnymen) came knocking when they found out the band was going back into the studio to make a full album. Korova heard the rough mixes of the album and a deal was made. Regardless of the label's involvement, Jeopardy was recorded cheaply, and upon its release was reviewed extremely favourably by all the important outlets. Reviews in the NME, Sounds, and Melody Maker gave it five stars. Rightfully likened to the Bunnymen, the Teardrop Explodes, and Joy Division in those reviews, one only needs to hear the weakest song from the record to realize that the Sound -- from the very beginning -- belonged in that high class.
Bi Marshall left the band and was replaced by Max Mayers (aka Colvin Mayers) before the Sound went in to work with master producer Hugh Jones, who had previously worked with the Teardrops and the Bunnymen, for the follow-up. From the Lion's Mouth took full advantage of the band's atmospheric, mind-bending capabilities by coating their songs -- accessible and economical as ever -- with richly layered productions that didn't hide the rock-solid foundation the songs were built on. Another round of positive reviews and another round of general indifference from the public ensued, though a cult following was festering. Korova became a little anxious with the band and wanted some hits. Surely, the next one would break them.
It wouldn't happen. Working again with Nick Robbins, the band was pressured by the label to compromise and play the pop game. Not only that, but the band was shifted to WEA proper, a move that probably had more to do with taxes than music. The heat from the label and the climate it spawned resulted in All Fall Down, one of those historically troubled third albums (i.e., the one that super-diehard fans defend to their grave). The Sound responded to the situation with their least penetrable record by a couple brick walls. And WEA responded to the response with no promotion. Criticized for being too wilfully distant, for cannibalizing the back catalog, and for lacking immediacy (i.e., "tunes"), the record still has much to give the listener. Although it's not the band's best moment by a long shot, it's hardly something the band would feel ashamed of later on. To little surprise, the band wound up without a label and decided to reconsider their direction.
The period of dormancy involved a collective realization that the enthusiasm for making music and playing it, despite being a little drained from their experiences with WEA, had never really waned. Several major labels expressed interest in signing them, but in the end Statik won out; the band decided it would be better to go with the small independent. (Surprisingly enough, the band worked out a short-term deal with A&M to release material in the States, but it was pretty pointless.) Shock of Daylight, a six-song EP, was released in 1984. The time off served them well, resulting in some of the band's most fiery and uplifting material. This carried through to the following year's glassy/classy Heads and Hearts, the band's fourth studio album. Two dates at the Marquee during August were recorded for the double live album In the Hothouse, which was released in 1986.
For their final album, 1987's Thunder Up (released on Play It Again Sam in Belgium and Nettwerk in Canada), the band allowed the darkness from All Fall Down and the shivering, plaintive desolation of Shock of Daylight's "Winter" to creep back in. Few were still paying attention, but the Sound released a swan song that most of the members considered to be their finest work, with plenty of variety that hangs together. Nearly a decade of empty wallets and minor personality clashes had eroded the band's resilience, so the band decided to stop shortly after its release.
Borland continued in music throughout the next two decades, producing other acts and releasing another batch of under-appreciated records as a solo artist and as a member of a couple side projects (the Honolulu Mountain Daffodils, White Rose Transmission). Bailey, Dudley, and Mayers left music for the most part. Mayers passed away in the early '90s, a victim of AIDS. And on April 26, 1999, Borland took his own life. Thanks to the Renascent label's reissuing program in the late '90s and early 2000s, the Sound's discography has been restored and revitalized. "From the Lion's Mouth" is still regarded as a mark in new wave.
All Fall Down
The Sound Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Of this damned nation
There's words on the page still
But where's all the rage gone?
All fall down, all fall down
Dance in the streets
Sing ring-a-ring-a-roses
With a pocket full of poses
All fall down, all fall down
Pack of cards, den of thieves
Safe as houses until the breeze
Just watch it all fall down
Just watch it all fall down
Don't turn the clock back
Break its hands off
Two minutes to midnight
Are you ready to collapse?
Ready to all fall down
In the song "All Fall Down" by The Sound, the lyrics seem to be a commentary on the state of the world, particularly in terms of politics and societal norms. The first verse talks about the notions and ideas that the nation (presumably the United Kingdom, since The Sound was a British band) is built upon, but notes that there seems to be a lack of passion and anger surrounding these ideas. It feels like society has become too comfortable and complacent, and the energy and drive to push for change is missing. The repetition of "all fall down" at the end of each verse emphasizes the idea of a collapse, a downfall that is inevitable due to this lack of action and complacency.
The chorus brings in the image of dancing in the streets and singing a children's rhyme about a deadly disease (ring-a-ring-a-roses is commonly thought to be about the plague). The "poses" referenced in the lyrics could be interpreted as fake personas that people put on to fit into society's expectations and norms, and it seems as though this fakeness has become ingrained in everyone to the point where it is a "disease" that is part of the downfall of society. The second verse introduces the idea of a "pack of cards" and "den of thieves", which could be a reference to the corruptness and instability of the government and those in power. The line "Safe as houses until the breeze" suggests that despite appearances of strength and stability, it wouldn't take much to bring it all crashing down.
Overall, "All Fall Down" paints a picture of a society that is crumbling from within due to complacency and corruption. The repetitive use of "all fall down" serves as a stark warning of what will happen if nothing changes, and highlights the urgent need for action to prevent this downfall.
Line by Line Meaning
The simple notions
The basic beliefs
Of this damned nation
Of this cursed country
There's words on the page still
It is still written in the books
But where's all the rage gone?
But why has the anger disappeared?
All fall down, all fall down
Everything will collapse into chaos
Dance in the streets
Celebrate in the public places
Sing ring-a-ring-a-roses
Sing and enjoy the moment
Their disease is complete
Their sickness is fully developed
With a pocket full of poses
With full of fake attitudes
All fall down, all fall down
Everything will crumble
Pack of cards, den of thieves
A group of dishonest people
Safe as houses until the breeze
Safe until a small problem arises
Just watch it all fall down
Just witness the destruction
Don't turn the clock back
Don't try to return to the past
Break its hands off
Break the clock's hands
Two minutes to midnight
A time representing impending doom
Are you ready to collapse?
Are you prepared for the downfall?
Ready to all fall down
Ready for everything to collapse
Contributed by Evelyn O. Suggest a correction in the comments below.
@Peepeeweed
The simple notions
Of this damned nation
There's words on the page still
But where's all the rage gone?
All fall down, all fall down
Dance in the streets
Sing ring-a-ring-a-roses
Their disease is complete
With a pocket full of poses
All fall down, all fall down
Pack of cards, den of thieves
Safe as houses until the breeze
Just watch it all fall down
Just watch it all fall down
Don't turn the clock back
Break its hands off
Two minutes to midnight
Are you ready to collapse?
Ready to all fall down
@22Phantasm
This is such a dramatic song... intense and broody with the promise of a big bang at the end. Love it.
@matcollins6503
The best of the best....we enjoy in this music in Dalmatia
@MStamatakis
Such a powerful song. I can feel it straight through me. THIS is music. I love this band so much.
@thisisstevet
Brilliant track, takes me back. Remember no of views DOES NOT represent quality kids!
@unextraterrestre841
Les chansons de The Sound sont des joyaux, des chefs d'oeuvres qui résistent à l'épreuve du temps comme les pyramides de l'ancienne Egypte et Adrian Borland est un architecte de génie. Tout comme Joy Division le groupe a eut une fin tragique mais leur gloire est éternelle! The best prayer you can do for them is to put their music very loud! Up the irons!!!❤❤❤
@camilomt09
Brillante, brillante, son geniales.
@davidellis5141
The farewell to Korova. Fine Opening track. Intense,moving.2 minutes
@inkpenguy
I thought this was a really good album;one that critics and some fans didn't perhaps get back in the day. Aside from outdated synths it sounds fairly current. All Fall Down seemed like a good step for the band to expand their sound.
@ieatorbs
Outdated synths are where it's at. That all to modern sound is bad.
@curly_wyn
Yeah, the album received negative reviews, but it was specifically made as a purposefully inaccessible response to their label wanting them to make a commercial album.