Fatima Mansions live at Limelight Club, Belfast 1991

June 4, 2008

Fatima Mansions live at the Limelight Club June 15th 1991

Andrew Mueller reviews Fatima Mansions at the Limelight Club, Belfast. Taken from Melody Maker June 15th 1991.

After recent pieces from Stubbs and Reynolds it seems only fitting to complete the triumvirate with something from Mueller. It’s amused me to read this on Wikipedia outlining Triumvirate “though the three are usually equal on paper, in reality this is rarely the case”

Others will be much better placed to tell me but from my memory wasn’t Andrew Mueller the most consistently funny of the three? Naturally, if any of the individuals in question want to pitch in to set the record straight with some retrospective analysis they’d be most welcome – as is the traffic Simon – thanks.

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3 Responses to “Fatima Mansions live at Limelight Club, Belfast 1991”

  1. Old Geek Says:

    Usually the triumvirate goes Reynolds, Stubbs, Roberts. Mueller came later, and was really of the next generation of MM writers, They overlapped though.

    Stubbs was probably the funniest writer on MM when he tried, but he saved his humour for certain pieces, and Mr Agreeable of course. Most of the time he played it straight. Mueller had a light comic style all the time, so yes he was more consistently funny. The best one liners on MM came from David Bennun, though. Not so well remembered but a very very funny writer who went on to write one liners for TV chat shows.

    I’ve still got all my old MMs somewhere, I used to take it incredibly seriously. If I ever dig them out I might send you some scans, I like your site a lot. Feeling very nostalgic now!

  2. Pete C Says:

    I too am surprised to see Mueller lumped in with Stubbs and Reynolds, but that’s probably because I tended to group writers according to taste than writing ability. I always had Mueller down as one of the enemy, along with Paul Lester (*spit*); wasn’t he one of the ones who used to bang on about Teenage Fanclub all the time?

    Of the lot of them, Reynolds was the only one that came across as being obsessive about music, devoted to it; thank God he didn’t feel the need to take the piss all the time. I got the feeling from the rest of them – particularly the NME writers – that they’d rather be writing comedy. I’m grateful to Reynolds for being bold enough to take it all seriously. (I wish he’d stick to talking about the things he likes, mind – he usually comes across as an arse when slagging things off, like he’s trying to be one of a gang – cf Father Dougal in the whistle theft episode of Father Ted!)

  3. blissblogger Says:

    oh i’d never consider myself in the same “funnyman” contest at Stubbs and Mueller

    i mean, in the late 80s Stubbs was described, by an admiring fellow journo, as “the funniest writer in Britain”. and he was.

    but to be fair, he could — still can — equally be capable of a near religious seriousness and intensity about music.

    when it comes to MM at that time and writers who had the comic touch, you can’t not mention Jonh Wilde. He wrote some things — a review of Bros springs to mind — that almost made me shit myself with laughter

    Another more unlikely candidate is Paul Oldfield, generally known for his “apocalyptic sobriety” and rather severe, coldblooded style, but he wrote some things that really tickled me, to the point of being doubled up with laughter. But then we were best friends from student days and had developed the same odd sense of humour.

    But generally i have to say i think Pete C is on the money, in so far as a lot of “humorous” music writing is less about true merriment and more about the avoidance of seriousness (a typically English thing actually, runs right through our culture, e.g. radicals are always accused of lacking a sense of humour). Often when i read that kind of determinedly “light” in tone kind of music writing (in the US as well as UK), i feel like the writers are running away from their emotions. whether it’s that wisecracking, always-puncturing-the-solemnity style or the manic, cartoony, shouty-voiced EVERY other WORD in CAPITAL letters, LOTS OF SWEARING style you got at NME. I actually find it a really grim experience reading that stuff, the quasi-loutish, forced exuberance really does suggest a cover-up job re. emotional damage from younger years.


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