ANALYSIS
'Stay in the Sun': The opening track to 'Get In'; Kenickie's second and final album. This track proved to be Kenickie's final single release. Whether this was intended or not we can only speculate upon.The first time I heard 'Stay in the Sun' was as part of Kenickie's set when they began touring the imminent new album in June 1998. The song was later debuted across the airwaves during Glastonbury on 27th June 1998. Performed live, my first impressions were that it was a pumping thumping summer anthem, musically unakin to anything Kenickie had previously written. I liked it. I enjoyed hearing it played live. It was a week or so later that I managed to acquire a preview copy of 'Get In'; a month or so before its actual release. Sonically, I was somewhat surprised with the 'over-production' of the song. It seemed to lose much of what I liked about the 'live' version. Drum-machine percussion was now used as the rhythm-section of the track - a first hint that this track may have been written/recorded in an attempt to cross Kenickie over into the more mainstream chart domain and thus, a wider audience. The song sounded completely 'St.Etienne-esque', with it's simple, catchy pop chorus and electronic melody. This was most unlike the Kenickie people were familiar with, both musically and idealogically. Even the loyal Kenickie followers were unsure and sceptical about the band's reasons for this piece of music and seemingly change in musical direction. There was somewhat of a fiasco when the CD was about to be released. Originally due for release on 27/07/98, it was soon discovered that the release was put back by 2 weeks - a decision that also delayed the release of the new album. There is a little piece of irony associated with the change in release date of 'Stay in the Sun': The day the song was originally scheduled for release, it just happened to be one of Britain's warmest and sunniest days of the year so far. It is alleged that the two week single delay was brought about by EMIdisc, Kenickie's record company, who felt the band and the song were not being marketed properly, if at all. EMIdisc appeared to be clutching at straws professionally speaking, when it was announced that the band would be appearing 'live' on GMTV (a British breakfast TV show). Was GMTV's audience the kind of audience which EMIdisc thought would influence sales/success? If so, was it (a) a shoddy calculated, or uncalculated risk, or (b) a naive marketing assumption to think that an appearance on GMTV equals guaranteed chart success? Let's remember that artists such as David Essex et al infrequently appear on GMTV, but when was the last time he/they entered the charts? The single was finally released on 10/08/98, much to the relief of fans - but, what about the general public? Were they ready for it? Were they even aware of it? Released across 2 CDs and 7" Vinyl, the extra tracks included just one new B-Side, entitled 'Hooray For Everything'. The other tracks were remixes of the main tune and a cover version of the Eurovision song 'Save Your Kisses For Me' which was originally developed as a Eurovision covers compilation album. Even some loyal fans weren't impressed by the song nor the choice of remixes as extra tracks instead of new B-Sides. So much so, that a proportion of existing fans were only willing to purchase one CD of the two: The one which contained the new B-Side, 'Hooray For Everything'. How much of an effect did this have on the all important first week sales? No-one knew why all this was going on, however. Some people lost respect in Kenickie and were even deflating the band's integrity for recording and releasing 'Stay in the Sun'. But was all this the band's responsibility ultimately? Rumour began that EMIdisc were struggling to keep bands afloat due to a recent business conglomeration - despite the fact that major artists such as the 'Spice Girls' were securing huge revenues for the record company. Rumour spread and subsided that Kenickie could be 'dropped' by their record label. To this day, this has never been officially stated nor denied. 'Stay in the Sun' finally entered the charts. Outside the Top 40, mind. Number 42 to be precise. EMIdisc's poor marketing gone wrong? Kenickie selling out? Well, so far, I have merely told a story. The histrionics and overview. What now follows, however, is a look at the lyrics to 'Stay in the Sun' which I believe gives further insight into this debate. I must now certify that what follows is a personal interpretation of the lyrics and is by no means an official or endorsed translation by the band. It is a subjective account, which I write to present an hypothesis and theory. Please read; please then listen to the song again for yourself, and then by all means, make your own conclusions. let's get all our mates... and then you find out your mates can't play... Yeah..." When I first heard the preview copy of 'Get In', one thing I noticed immediately was the use of sampled soundbites mixed into tracks. I thought at first that this would be unique to the preview copy but infact the idea was used on the final version of the album. Only in hindsight have I been able to interpret the sampled soundbite which appears at the start of 'Get In'. Could it be as simple as some kind of comment on how Kenickie were formed? Like how the band originated from Lauren and Marie's friendship, later befriending and enlisting both Emmy-Kate and finally Lauren's brother, Pete? I wonder..... If this is the case, then this opening conversation snippet (which, incidentally, was taken from a BBC video diary called 'In Bed With Chris Needham') sets the lyrical tone for the rest of the album for I strongly believe that Kenickie knew they were on the verge of splitting up sometime whilst writing/recording 'Get In'. For further analysis and debate of this point I raise, please read the forthcoming essay I am currently developing. Is easier to miss. So while I keep moving, You can think of this." Kenickie were dynamic, not static. The band consisted of proactive musicians and lyricists, able to combine their musical influences with their own talents. Therefore, whilst being a "moving target" and thus ever-changing and developing, people were unable to appreciate the intelligence or worth of the band, hence; "easier to miss". The band do not want to change for anyone, and that includes both the public and record company. Bearing this in mind it is clear to see how the band never ever wanted to compromise their own personal ethics or philosophies, and the line "So...You can think of this" hints that the band have a message in the form of this entire song, which is aimed at one particular recipient..... You've got places that you like. You've got the cash to dash, Get you to paradise." This verse reveals exactly who this song was influenced by, and who it is aimed at. I believe the word "hot-spots" is crucial in extrapolating this verse: Could this very word be a metaphor for chart positions? Likewise, the line "...places that you like" compliments this theory by suggesting that the record company likes/prefers high chart positions. From high chart positions, I believe this extends to the general metaphor on which this song is based: That is, the sun. The sun sits high in the sky does it not, and what Kenickie are evidently trying to say is that the sun can also burn, despite looking innocent and inviting up above in perfect blue skies. Take a look at the line "You've got the cash to dash". The use of the word "dash" is important as it suggests how EMIdisc wanted quick success. This goes hand in hand with what Pete Gofton once commented after the official demise of the band, where he reveals how the band were not given time to develop, but instead, the record company were continually pressuring to encompass 'Kenickie' within the space of a two album deal. This then leads us nicely into the chorus: Don't know why, You always try to, Write you're so wrong, You don't know how much I love you, Stay in the sun, Don't you know, You've got no place to go?" The song becomes easier to disect now that we have laid foundation to the theory that the record company are seen as a negative aspect of Kenickie's development rather than seen in any positive light. The lines "Don't know why, You always try to, Write you're so wrong" imply possible conflict and how the band "Don't know why" they have to be manipulated in such a way. Notice the play on words in the line "Write you're so wrong", which cleverly mixes 'Right' with 'Write'. The chorus strongly re-emphasises the use of sun as a metaphor for the music industry in general, and how Kenickie's record company were continually pressuring the band to 'stay in the sun' - ie. pressuring the band to 'play the music industry game' by seeking chartdom, fame, and fortune at whatever cost. Even if it meant sacrificing dignity: Something Kenickie alyways professed to staying loyal to. I interpret the line "Don't know how much I love you" as sarcasm: Kenickie are fully aware that the music industry or possibly someone more specific in the music industry professes false 'love' and false promises to the band. Likewise, the line "You've got no place to go" appears as some kind of threat to the band, incinuating that if Kenickie do not play the music industry 'game', then they would lose everything. Last night the revelation everything you did. So maybe you'll rush off and we'll never speak again. We'll if you've got the brass to flash I'm yours for anything." The final verse of 'Stay in the Sun' is the crux of the song in determining and backing up the theories I have outlined. "I'm so awakened we feel bloated and feel sick" is Kenickie's confession that they were very shocked and taken aback by what possibly one or two individuals within their record company did to try and change the destiny of the band. I have reason to believe that this entire song is specifically aimed towards either Bob Stanley, Pete Wiggs, or merely the EMIdisc label that they both developed. Bob Stanley was the man behind the original EMIdisc, and there is a possibility that when Stanley left the record label Kenickie discovered that Stanley was part of the hidden political agenda from the offset, and thus wasn't as genuinely interested in Kenickie's interests as was first perceived. It is now that we realise and can begin to appreciate the reason why 'Stay in the Sun' sounds so 'St-Etienne-esque', for this entire song is a parody of Bob Stanley (who is part of the band 'St.Etienne') and the way Kenickie were (mis)treated by EMIdisc. It is amazing, hilarious, and very satisfying knowing that Kenickie were basically taking the piss out of EMI throughout 'Stay in the Sun', yet, the record company were so oblivious to the contextualisation of the lyrics that they saw nothing wrong with it being included on the album; as the opening track no less! If the analysis which I present to you is a true reflection of Kenickie's intentions, then it highlights the fact that Pete, Lauren, Marie, and Emmy-Kate were far more clever and intelligent lyricists than we had previously perceived. As I release further investigative analytical articles in the very near future, one will hopefully realise and appreciate that 'Stay in the Sun' is not the only song on 'Get In' which contains 'hidden' meanings. For so long this album and its lyrics have been crying out to be analysed and absorbed in the correct context, and I hope my essays are instrumental in precipitating further analysis and debate. For those of you who once said you hated 'Stay In the Sun', I hope you are now able to play it with pride and realise how intelligent, insightful and brave it was of Kenickie to release such a song. In effect, 'Stay in the Sun' is the political equivalent of 'Punka' on 'At The Club'. The only difference being of course, Kenickie never refused to play 'Stay in the Sun' live. How could they not, when 'Stay in the Sun' contains such a strong, important and impassioned comment on the music industry which still holds valid today, and unfortunately, may forever hold true..... |
