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.
Sense of Purpose
The Sound Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
See the lust and the love
Look in my eyes
When I'm talking to you
I'll take my life
Into my own hands
I'm the one that I will blame
I'm the one that understands
What are we going to do?
While we still got the strength to move
What are we going to do?
I'm asking, I'm asking you
A call to arms, a call to use arms
A call to brains, a call to use some brains
A call to the heart, a call to have a heart
To have a sense of purpose again
Are we where we want to be
All wrapped up in our safety?
Comfort and complacency
It hurts me, it hurts me so
What are we going to do?
While we still got the strength to move
What are we going to do?
I'm asking, I'm asking you
The Sound's "Sense of Purpose" is a song that delves deep into themes of self-reflection, purpose, and societal stagnation. The lyrics urge the listener to look beyond the surface and see the passion, desire, and love that lies within a person's eyes. The lines "I'll take my life / Into my own hands" signal a desire to take control of one's life and choices, even if that means accepting responsibility for any negative consequences that may arise. The chorus serves as a call to action, asking the audience to consider what they are doing with their lives and to take action while they still have the strength and means to create change.
The second verse of "Sense of Purpose" brings up the concept of a call to arms, both in terms of physical weapons and mental fortitude. The lyrics call for individuals to use their brains and their hearts, to have a sense of purpose again. The final verse asks a pointed question about whether people are truly happy and fulfilled in their "safety" and "complacency," before returning to the chorus once again.
The song speaks to the human desire for more than just existence, for a meaningful and fulfilling life. The lyrics encourage the listener to tap into their own passions and take action towards creating a better future for themselves and others.
Line by Line Meaning
Look in my eyes
Pay attention to me
See the lust and the love
I have passion and affection within me
Look in my eyes
Pay attention to me
When I'm talking to you
I have something important to say
I'll take my life
I'll take control of my life
Into my own hands
I will be responsible for my own actions
I'm the one that I will blame
I'll take responsibility for my choices
I'm the one that understands
I am aware of the consequences of my actions
What are we going to do?
We need to take action
While we still got the strength to move
We need to act before it's too late
I'm asking, I'm asking you
I need your help to do something
A call to arms, a call to use arms
A plea to take action, even if it involves violence
A call to brains, a call to use some brains
A plea to use intelligence in our actions
A call to the heart, a call to have a heart
A plea to act with compassion and empathy
To have a sense of purpose again
To find motivation and direction in life
Are we where we want to be
Are we satisfied with our current situation
All wrapped up in our safety?
Are we too comfortable and safe to take risks
Comfort and complacency
Feeling too safe and content with our lives
It hurts me, it hurts me so
The lack of action and purpose is painful
What are we going to do?
We need to take action
While we still got the strength to move
We need to act before it's too late
I'm asking, I'm asking you
I need your help to do something
Contributed by Mia M. Suggest a correction in the comments below.
@dominicguillaume72
THIS WHOLE ALBUM GOT ME THROUGH THE DARKEST TIME OF MY LIFE..........LOVE AND RESPECT FOREVER!!!!!!!
@x_vidrios
i know same over here
@markbasore7988
i understand
@intheskyofglass1153
Same here.. 😏
@juanmarinofioretti2837
Same
@GlazedInfants
when you know, you know
@RickRock337
The structure of the beginning alone is enough to consider this band the greatest in Post-Punk. How the bass, then the drums, then the guitar and then Adrian's voice starts is inimitable. Perfect balance between atmosphere and rawness.
@massivegat5087
Powerful, raw, emotional and vaguely threatening. Adrian's emphasis on personal agency here is very unique in my opinion. He can't make the decision for you, but he can encourage you to take whatever measures available and improve your lot in life.
"What are we gonna do? I'm asking, I'm asking you."
We've all been there, and it's up to us to pull ourselves out. Channel that frustration and do something about it!
@thesound-chameleonman3580
I chat to Mike Dudley and Graham Bailey of The Sound occasionally.
A classic record by The Sound.
C.P.
2022.
@thesound-chameleonman3580
I have The Sound - From the lion's mouth, The Chameleons - Script of the bridge and The Comsat Angels - Sleep no more signed!
C.P. 2022.