The Monochrome Set were still with Cherry Red when they cut
what would be the final album of the first part of their career. Although the
recordings were made on Cherry Red’s dime in 1983, the Warner Brothers
subsidiary Blanco y Negro would not release the album until 1985. By that point,
The Monochrome Set seemed to be winding down anyway, not doing much of anything
in 1984. Those were not happy times for The Monochrome Set, though the LP
released as The Lost Weekend is
pretty jolly. The band was understandably frustrated by how their new label
bungled the timing of their first single on it. “Jacob’s Ladder” was getting
good radio play, but since the single was not in shops yet, the promotional
engine pooped out before anyone could buy it. This is one of the odder points
of the Lost Weekend story, since
“Jacob’s Ladder”—a trivial fusion of Brit-Pop and gospel—hardly seems like the
stuff hits are made of. The band would have done well to relinquish hopes for
commercial success and keep the song’s original lyrics, which bandleader Bid
says described intercourse in pornographic detail. So the track ends up
sounding like a parody that never gets around to the joke.
Fortunately, The Monochrome Set’s unique humor is present
throughout much of the rest of The Lost
Weekend. Their pop craft is strong too, with wry nods to reggae (“Sugar
Plum”), tango (“Cargo”), sixties dance craze discs (“The Twitch”, “Boom Boom”),
fifties ballads (the hilarious “Letter from Viola”, which recounts the true
story of the unflattering Mohawk haircut that cost guitarist James Foster his
girlfriend), and psychedelia (the enchanting “Cowboy Country”).
The Lost Weekend
ultimately landed back with Cherry Red, which put out an extended edition of
the album in 2009. The bonus tracks are mostly instrumental B-sides, though “Le
Boom Boom” is notable for being a superior mix (with added female vocals) of
the LP’s “Boom Boom”. “Yo Ho Ho” is notable for being the only track The
Monochrome Set recorded specifically for Blanco y Negro and for sounding suspiciously
like John Cale’s “Ghost Ship”. Mat Smyth’s quiet remastering requires the
listener to really crank it up. That’s a nice consideration in an age when too few
engineers trust listeners to work the volume knobs on their stereos. Cherry Red
has just reissued its 2009 edition of The
Lost Weekend.