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.
Jeopardy
The Sound Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
But are we strong?
We've held out
For so long
Now we're in
Jeopardy
Now we're in
We knew our
Ideals were high
The lower we sink
The less we care why
I know we're in
Jeopardy
I know we're in
Jeopardy, jeopardy
Lost the will
To keep up the pace
Dead on my feet
Defeat on my face
I know I'm in
Jeopardy
I know I'm in
Jeopardy, jeopardy
Jeopardy, jeopardy
Such a slow
Steady slide
Takes away
So much inside
And what's left?
Jeopardy
What's left?
Jeopardy, jeopardy
Jeopardy, jeopardy
I'm in jeopardy, jeopardy
The Sound's song Jeopardy provides commentary on the struggle of young people attempting to hold onto their ideals in the face of adversity. The opening lyrics immediately establish the doubts and insecurities of youth, questioning whether they are strong enough to face challenges. Despite their reservations, however, the young protagonists have persevered, holding onto their principles and defying society's expectations. However, they are now in a state of jeopardy, and the song is a lamentation for the loss of innocence and purity that came with their lofty goals.
The second verse reinforces the idea that as they have struggled and fought for their beliefs, they have also sunk lower to try and maintain them. It is a common refrain for young activists, but the realization that the fight comes at the cost of happiness and peace can be jarring. The chorus once again rings out that they are indeed in difficulty, and that jeopardy is an ever-present state of being.
Finally, the song concludes with a recognition of the decline that the young idealists face. With each small failure, they find themselves in deeper jeopardy, with less hope of recovering what they have sacrificed for. Such is the tragic irony of idealism, and the song is a haunting reminder of what is lost as one grows up.
Line by Line Meaning
We are young
Despite our youth, we feel a sense of inexperience and immaturity, uncertain if we are ready for what lies ahead.
But are we strong?
We question our ability to withstand the challenges that we will inevitably face.
We've held out
We have managed to persevere through various difficulties and remain resilient.
For so long
Our endurance has been tested for an extended period of time.
Now we're in
Despite our efforts, we have ultimately found ourselves confronting a difficult situation.
Jeopardy
We are faced with a challenging and dangerous circumstance that we may not be equipped to handle.
Now we're in
We continue to struggle with the same problem.
Jeopardy, jeopardy
This situation could lead to serious consequences if not addressed properly, and we are thusly fearful.
We knew our
We were aware that our ideals were set high, and that achieving them would require great effort.
Ideals were high
Our goals and aspirations were lofty and perhaps unattainable.
The lower we sink
As we become more mired in our issues and become more desperate to find a solution, we begin to lose sight of what is truly important.
The less we care why
Our original motivations for striving towards our goals become less important as we focus on survival and avoiding consequences.
I know we're in
We are coming to terms with the full gravity of the situation.
Jeopardy
We are faced with a precarious and dangerous situation.
I know we're in
Our fears and anxiety become more pronounced as we continue to experience difficulty.
Jeopardy, jeopardy
We have become increasingly vulnerable and frightened as a result of our predicament.
Lost the will
Our motivation and determination have waned as we struggle to find a way out.
To keep up the pace
We can no longer maintain the intensity and perseverance needed to succeed.
Dead on my feet
We are completely worn down and exhausted from trying to solve our problems.
Defeat on my face
Our inability to succeed is apparent to others as well as ourselves, and we are feeling ashamed, embarrassed, and defeated.
I know I'm in
We have accepted our difficult situation and are coming to terms with the reality of it all.
Jeopardy
The danger of our predicament is becoming more obvious and clear to us.
I know I'm in
We continue to experience fear and uncertainty due to our tenuous position.
Jeopardy, jeopardy
Our anxieties are mounting as we contemplate the uncertain and potentially dire outcomes of our situation.
Such a slow
Our situation has been deteriorating gradually over time.
Steady slide
Our problems have become worse little by little over an extended period of time.
Takes away
Our circumstances are having a detrimental effect on us, and we are losing something valuable as a result.
So much inside
The effects of our situation are felt deeply within us, and we may be experiencing anxiety, fear, and despair.
And what's left?
As we struggle to maintain our composure in the face of difficulties, we may wonder what we have left to hold on to.
Jeopardy
We are still grappling with a dangerous and uncertain future, and we fear what it may bring.
What's left?
We remain uncertain about what we have left to hold on to and what our options are moving forward.
Jeopardy, jeopardy
Our situation has continued to deteriorate, and we are fearful for what may lie ahead in the immediate future.
Jeopardy, jeopardy
Our fears and anxieties are compounded by the fact that our situation is becoming increasingly difficult and dangerous.
I'm in jeopardy, jeopardy
We are feeling the full weight of our predicament, and our anxiety levels are high as we face an uncertain and dangerous future.
Lyrics © Warner Chappell Music, Inc.
Written by: Graham John Bailey, Benita Biltoo, Adrian Kelvin Borland, Michael Dudley
Lyrics Licensed & Provided by LyricFind
@cantseewomyglasses
Everything I ever wanted in a post-punk song. Or, really, in any song.
@thesoundlikechameleons2082
Mike of Dudley has signed my vinyl of this classic!
Great song.
@faddy24
If our dearly departed friend had been a painter, he would have been Edvard Munch or Vincent Van Gough. A tortued genius of sort. The guitar lines slash and burn straight to the core and enhance the raw emotion expressed in the lyrics 'n vocals. Great post punk rock music.
@nigelbagley4848
great song from an lp nobody bought back in the day. stunning
@chrisbarlow2131
Criminally overlooked just like the awesome Comsat Angels. Check out for instance Be Brave.
@chrisbarlow2131
Criminally overlooked just like The Comsat Angels were. Listen to their track Be Brave loudly.
@tanpiltanpil
A tragic loss. Remember wondering at the age of eighteen, why wasn't this band as successful as it should of been.
@IS-zf6wc
Big Album!Big Song!Grande Band sottovalutata NEL CORSO DEGLI ANNI!!!RISPETTO X ADRIAN BORLAND!!!
@xXxForterGamerxXx
Voy cerca de dos meses escuchando sus obras y me parecen excelentes composiciones.
¡Sin duda de mis grupos favoritos!
@Tuxie
This is seriously one of the best songs I've ever heard! I have seen their records and heard their name some times but I never listened to them until I now when I discovered a couple of tunes here on YouTube, more or less by accident. Thank you for uploading this!