Early years (1977–1981)
In November 1977, Matt Johnson placed an advertisement in NME, asking for "Bass/lead guitarist into The Velvet Underground/Syd Barrett". Johnson later placed a second advertisement in the NME, stating his new influences as "The Residents/Throbbing Gristle".
While trying to get his band going, in 1978 Johnson had recorded a demo solo album (See Without Being Seen) which he continued to sell at various underground gigs on cassettes. In 1979, working with Colin Lloyd-Tucker (a friend and colleague at De Wolfe Music, the Soho music publisher/recording studio) Johnson recorded his first album proper, Spirits. This album remains unreleased, although the track "What Stanley Saw" was later licensed to Cherry Red Records for their Perspectives & Distortion compilation album, which also featured Virgin Prunes, Lemon Kittens, Thomas Leer, Kevin Coyne and Mark Perry.
The The made their debut at London's Africa Centre on 11 May 1979, third on the bill to Scritti Politti and PragVEC, using backing tape tracks that Johnson created at his day job at De Wolfe studios for the drums and bass. The band at this point consisted of Johnson on vocal, electric piano, guitar and tapes and Keith Laws on synthesiser and tapes. It was Keith Laws who suggested the name 'the The' to Matt Johnson.
As the The was now getting underway, Johnson was simultaneously working with experimental synth-pop combo the Gadgets, a studio group he formed with Colin Lloyd Tucker, his colleague at De Wolfe recording studios.
Peter Ashworth, then known as 'Triash' and later to become a noted photographer, became the The's drummer in 1980, and Tom Johnston (also managing the The at this point and later to become a cartoonist for the Evening Standard, Daily Mirror and The Sun newspapers) was added on bass. Although both Ashworth and Johnston were credited with appearing on the The's debut single ("Controversial Subject"/"Black and White") on 4AD Records, neither actually played on the recordings, which were produced by Wire members Bruce Gilbert and Graham Lewis. All instruments were played by Johnson and Laws. Johnston and Ashworth soon dropped out of the The and returned to their respective day jobs. As a duo (Johnson and Laws), the The began performing concerts with Wire, Cabaret Voltaire, DAF, This Heat, the Birthday Party and Scritti Politti.
In early 1981 the The also contributed the composition 'Untitled' to the Some Bizzare Album. In September of that year Johnson and Laws signed a deal with Some Bizzare Records and released the 7" single "Cold Spell Ahead". By this stage Matt Johnson had begun playing all the instruments himself so Laws left to pursue his studies, leaving Johnson as a solo artist using a group moniker.
Johnson was signed up later in 1981 to 4AD Records by Ivo Watts-Russell to record a solo album, Burning Blue Soul. Although all of the instruments and vocals were performed by Johnson, the album featured various producers including Wire's Bruce Gilbert and Graham Lewis, Ivo and Johnson himself. Years later, owing to a request from Johnson, it would be re-issued and credited to the The so all of his albums would be in the same rack together.
Towards the end of 1981, Colin Lloyd-Tucker and Simon Fisher-Turner joined the band for a series of stripped down The acoustic concerts in London.
Solo years (1982–1987)
Now freed from the politics of a permanent group line-up, Johnson was able to take the The up to the next level, and spent the next few years collaborating with a diverse range of creative individuals, freely changing personnel from project to project.
The The's next single was a retooling of "Cold Spell Ahead", now entitled "Uncertain Smile". Produced in New York by Mike Thorne, it reached No. 68 UK. This version is different from the more familiar album version, and featured sax and flute by session player Crispin Cioe rather than (as on the album version) the piano of Squeeze's Jools Holland.
In 1982, the intended debut album by the The (The Pornography of Despair) was recorded, but was never officially mixed nor released. Johnson apparently ran off some cassette copies for friends, and several tracks ("Mental Healing Process", "Leap into The Wind", "Absolute Liberation") were subsequently issued as additional tracks on the "This Is the Day" single. "Three Orange Kisses from Kazan" and "Waitin' for the Upturn" (featuring Steve James Sherlock playing flute and saxophone) also date from this era, and appeared as B-sides. Some of the previously-mentioned cuts, along with the tracks "The Nature of Virtue" and "Fruit of the Heart" (which were similarly recorded around the same time), appeared as bonus selections on a cassette-only issue of the band's eventual debut album, but The Pornography of Despair album as a whole remains unissued.
Around 1982 the The played a series of four concerts at the Marque Club in Wardour Street, Soho, entitled 'An evening of Rock n Roll with the The'. These concerts were weekly for four weeks and featured Marc Almond on guitar and vocals.
The The released their official album debut, the synth-noir classic Soul Mining, in 1983. It featured the minor UK No. 71 hit "This Is the Day", as well as a new recording of the The performing "Uncertain Smile". Produced by Johnson and Paul Hardiman, it featured guest appearances from Orange Juice's drummer Zeke Manyika, Jools Holland, Thomas Leer and J. G. Thirlwell (aka Foetus).
During the The's more prolific period of releases, from Soul Mining (1983) to Dusk (1992), most artwork used on the albums and single releases was produced by Johnson's brother Andrew Johnson, using the pseudonym Andy Dog. The artwork has a distinctive style, and sometimes courted controversy, most notably the initial release of the 1986 single "Infected", which featured a masturbating devil and was withdrawn from sale and re-issued with an edited version of the same drawing.
For the 1986 album Infected, the The still consisted only of Johnson, but was augmented by session musicians and featured friends such as Manyika and Rip Rig + Panic singer Neneh Cherry and Anna Domino. This album spawned four charting singles in the UK, notably "Heartland", which made the UK top 30. It was also unusual for having a full-length accompanying film. Costing hundreds of thousands of pounds, Infected: The Movie was shot on locations in Bolivia, Peru and New York. Different songs were directed by different directors, mainly Tim Pope and Peter 'Sleazy' Christopherson (of Throbbing Gristle).
Throughout 1986-1987 Johnson toured the world extensively with Infected: The Movie, showing the film in cinemas in place of performing live concerts. The film was also shown twice in its entirety on Channel 4 in the UK and on MTV's 120 Minutes in the US.
In 1987 Johnson also took some tentative steps back into live performance. Whilst promoting Infected: The Movie in Australia he had a chance encounter with Billy Bragg, who persuaded him to return to Britain and support Red Wedge, a coalition of like-minded musicians supporting the British Labour Party in its election campaign. Johnson agreed and enrolled longtime friend and collaborator Manyika to join him in performing shows in London featuring stripped-down versions of political the The songs such as "Heartland". This experience convinced Johnson to put a band together once again.
Return to a full band (1988–2002)
By 1988, the The was an actual band again, Johnson having recruited ex-Smiths guitarist Johnny Marr, ex-Nick Lowe bassist James Eller and ex-ABC drummer David Palmer as fully-fledged members. This line-up, plus guest singer Sinéad O'Connor, recorded the album Mind Bomb, which debuted at No. 4 in the UK Albums Chart and featured the band's highest charting single to that time, "The Beat(en) Generation", which peaked at No. 18 in the UK Singles Chart. The first single from Mind Bomb was actually scheduled to be "Armageddon Days Are Here (Again)" but with its chorus of "Islam is rising, the Christians mobilising" and sensitivities over the Salman Rushdie affair that had recently erupted, this song was deemed unsuitable for release by Epic/CBS.
Keyboardist D.C. Collard was added to the official line-up in 1989 (keyboard player Steve Hogarth, who'd played on Infected, had initially been asked to join but opted instead to become the new lead vocalist of Marillion). The band embarked on a lengthy world tour in 1989–90 called the The Versus the World. The live film of the same name, directed by Tim Pope, was filmed during the three nights The The performed at London's Royal Albert Hall at the end of the tour. Vocalist Melanie Redmond, who had just completed a world tour with Duran Duran, joined the tour during the European leg as a session musician.
The studio EP Shades of Blue was released in 1990. This included cover versions of Fred Neil's "Dolphins" and Duke Ellington's "Solitude" as well as a new original song "Jealous of Youth" and a live version of "Another Boy Drowning" from Burning Blue Soul. This and a later EP of remixes, 1993's Dis-infected, were compiled into a 1994 full-length album for the North American market called Solitude.
In 1993, with Johnson, Marr, Collard, Eller and Palmer, Some Bizzare Records/Epic issued the album Dusk, which debuted at No. 2 in the UK and spun off three top 40 singles in the UK, led by "Dogs of Lust". Another world tour followed, the Lonely Planet tour, at which point the band's line-up was reshuffled; Marr and Eller left, and were replaced by Atlanta-based guitarist Keith Joyner and New York bassist Jared Michael Nickerson after Johnson relocated the band to the U.S. Also added was Boston harmonica player Jim Fitting (formerly of Treat Her Right), who auditioned in New York in early 1993. Palmer bowed out partway through the tour and was replaced by ex-Stabbing Westward drummer Andy Kubiszewski. The band headlined the main stage at the 1993 Reading Festival.
Another full-length film, directed by longtime collaborator Tim Pope, was made for this album. From Dusk Til Dawn was shot in New Orleans and New York, and along with Johnson and Johnny Marr also featured various characters from the New York underground scene such as sexologist Annie Sprinkle, writer and raconteur Quentin Crisp, Guardian Angels founder Curtis Sliwa, and porn star Rick Savage amongst many carnival characters.
Now permanently relocated to New York, the The's next project was 1995's Hanky Panky, an album that consisted entirely of Hank Williams cover tunes. Hanky Panky was recorded by a new group consisting of Johnson, Collard, Fitting, ex Iggy Pop guitarist Eric Schermerhorn, ex David Bowie bass guitarist Gail Ann Dorsey (billed as "Hollywood" Dorsey), and drummer the "Reverend" Brian MacLeod. Their cover version of "I Saw the Light" hit No. 31 UK.Released by Some Bizzare Label / Epic
An experimental album called Gun Sluts was recorded in 1997, but left unreleased by the band after it was rejected for being too uncommercial by their label. The The severed their eighteen-year relationship with Sony and moved to Interscope, on Trent Reznor's Nothing Records imprint.
In 2000, the The, now consisting of Johnson, Schermerhorn, Nashville bassist Spencer Campbell and New Jersey drummer Earl Harvin, released NakedSelf and embarked on yet another lengthy world tour, the Naked Tour, this one lasting 14 months. Not counting soundtrack albums, NakedSelf remains the The's final released studio album to date.
This same line-up also recorded two new tracks, "Deep Down Truth", featuring Angela McCluskey on vocals and "Pillar Box Red". Both songs were produced by Clive Langer and Alan Winstanley for the 2002 compilation album '45 RPM: The Singles of The The.
In June 2002 the The made a sole live appearance at the Meltdown Festival at London's Royal Festival Hall as guests of David Bowie. At this point, the band consisted solely of Johnson and longtime friend and collaborator J. G. Thirlwell aka Foetus on tapes and loops, and young film director [[]] on film and video. This was the last live performance by The The for sixteen years; Johnson had stated on the official the The website in the FAQ section that "There are no plans for one-off shows or tours in the near future but there will undoubtedly be another The The tour at some point."
Full Wikipedia article: https://en.wikipedia.org/wiki/The_The
Studio albums
Soul Mining (1983)
Infected (1986)
Mind Bomb (1989)
Dusk (1993)
Hanky Panky (1995)
NakedSelf (2000)
Tony (soundtrack) (2010)
Moonbug (soundtrack) (2012)
Hyena (soundtrack) (2015)
Muscle (soundtrack) (2020)
The Comeback Special: Live at the Royal Albert Hall (2021)
That Was The Day
The The Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
'Cause you didn't go to bed
You were watching the whites of your eyes turn red
The calendar on your wall
Is ticking the days off
You've been reading some old letters
You smile and think how much you've changed
All the money in the world
[Chorus:]
You pull back the curtains
And the sun burns into your eyes
You watch a plane flying across a clear blue sky
This is the day
Your life will surely change
This is the day
When things fall into place
You could've done anything
If you'd wanted
And all your friends and family think that you're lucky
But the side of you they'll never see
Is when you're left alone with the memories
That hold your life together like
Glue
[Chorus]
This is the day
Your life will surely change
This is the day
Your life will surely change
This is the day
Your life will surely change
The lyrics to The The's "That Was The Day" tell a story of a person who has been reflecting on their past and the changes that have occurred in their life. The first verse sets the scene, describing a sleepless night spent reading old letters and realizing how much has changed over time. The chorus then introduces a sense of optimism, with the promise that "this is the day" when things will begin to change for the better. The second verse provides some insight into the person's life, highlighting the contrast between their public image and the private memories that hold their life together.
There are a few different interpretations of what the song is about, but one common thread is the idea of personal growth and overcoming past struggles. The line about "watching the whites of your eyes turn red" could be a reference to tears, suggesting that the person has been processing some difficult emotions. The chorus, with its focus on the potential for change, hints at a newfound sense of hope or purpose. Overall, the lyrics seem to encourage listeners to embrace the present moment and look forward with a positive outlook.
In terms of musical style, "That Was The Day" is a fairly upbeat and poppy track, with a catchy melody and some bright, jangly guitar riffs. The song was released in 1983 as a single, and then appeared on The The's album "Soul Mining" the following year. It was one of the band's most successful songs, and helped to establish them as a key player in the 80s alternative music scene.
Line by Line Meaning
Well, you didn't wake up this morning
You were already awake all night and didn't get to sleep until morning.
'Cause you didn't go to bed
You stayed up all night and didn't go to bed at all.
You were watching the whites of your eyes turn red
You were so restless that you stayed up all night and your eyes turned red.
The calendar on your wall
You have a calendar hanging on your wall.
Is ticking the days off
You're seeing the days on the calendar slowly pass by.
You've been reading some old letters
You've been going through some old letters you've kept.
You smile and think how much you've changed
As you read the old letters, you feel a sense of nostalgia and realize how much you've grown and evolved over time.
All the money in the world
No amount of wealth or riches can buy back the past.
Couldn't buy back those days
There is no way to go back and relive the moments that have already passed.
You pull back the curtains
You open the curtains in the morning to let in the sunlight.
And the sun burns into your eyes
The bright light of the sun shining through your window is blinding you.
You watch a plane flying across a clear blue sky
As you look outside, you see a plane flying through a beautiful blue sky.
This is the day
This day will be significant and life-changing.
Your life will surely change
Something big and impactful will happen that will transform your life.
You could've done anything
You had the potential to do anything you wanted.
If you'd wanted
If you had the desire or motivation to pursue your dreams and goals.
And all your friends and family think that you're lucky
The people around you think that you have everything you need to be happy and successful.
But the side of you they'll never see
There is a private and unseen side of your life that nobody else knows about.
Is when you're left alone with the memories
When you're alone, you reflect on the memories that hold your life together and shape your identity.
That hold your life together like glue
These memories are what keep you grounded and give you a sense of connectedness to yourself and your past.
This is the day
Once again, this day is emphasized as being incredibly meaningful and transformative.
Your life will surely change
The same message is repeated for emphasis, further highlighting the significance of what is to come.
This is the day
And once again, the song concludes by stressing the importance and impact of this day.
Lyrics © Universal Music Publishing Group
Written by: MATT JOHNSON
Lyrics Licensed & Provided by LyricFind
Walquiria Vantin
Well you didn't wake up this morning 'cause you didn't go to bed
You were watching the whites of your eyes turn red
The calendar on your wall was ticking the days off
You've been reading some old letters
You smile and think how much you've changed
All the money in the world couldn't buy back those days
You pull back the curtain
And the sun burns into your eyes
You watch a plane flying
Across a clear blue sky
This is the day, your life will surely change
This is the day, when things fall into place
You could have done anything, if you wanted
And all your friends and family think that you're lucky
But the side of you they'll never see
Is when you're left alone with your memories
That hold your life together, like glue
Steve Hands
As a huge The The fan i love this version, for me its very clever to strip this back and use a ‘bontempi’ type keyboard like most kids had in their bedrooms in the 80s - suits the message and tone of the song beautifully. And wow what incredible harmonica playing!
Lorna Powell
Matt used a suzuki omnichord to make the backing for this track. They came out in the late 70s/early 80s. You can see kenny everett using one on his tv show on yt somewhere. But matt has used his omnichord on the dusk tour and to record some of his later songs....'i want 2 b u', and 'that was the day' to name two of em...theyre a quirky little weird shaped synth...
jason cox
Been crazy about music for 49 years now. Have a massive collection and play the guitar for 30 years. If I was only allowed one album on a desert island it would be The The.
Matts lyrics fit the rhythms like a glove. There's some serious magick going on that few songwriters can do at this level. Dudes like Dylan. They get in your head like a brain virus and you're doomed to sing them in the car whilst, you're doing the washing up. I would saw my leg off before I let my The The albums go. I don't gush willy-nilly but this dude blows my wig.
Ali Gungor
Amazing band and absolutely timeless song, brings back so many fond and deep memories
Thank you The The
Steve Pettit
love this as much as the original version the man is a genius i love him been a soulmate with him since 1983 i was only 16 then.
Walquiria Vantin
Well you didn't wake up this morning 'cause you didn't go to bed
You were watching the whites of your eyes turn red
The calendar on your wall was ticking the days off
You've been reading some old letters
You smile and think how much you've changed
All the money in the world couldn't buy back those days
You pull back the curtain
And the sun burns into your eyes
You watch a plane flying
Across a clear blue sky
This is the day, your life will surely change
This is the day, when things fall into place
You could have done anything, if you wanted
And all your friends and family think that you're lucky
But the side of you they'll never see
Is when you're left alone with your memories
That hold your life together, like glue
Stevie Jay Mac
Fab lines eh
Stevie Jay Mac
@Jose Lopez what?
pendulum1824
harmonica is unreal on this song
Stevie Jay Mac
It fits perfectly eh, lovely