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(If this is too off-topic, feel free to delete.)
As you're framing the "People liked them because they fancied them" position
I wasn't doing that exactly, hopefully. Kenickie were a strange band though, insofar as a particular type of music journalist (specifically at the Melody Maker at the time) seemed to be all over them like a rash from the first single onwards. They were fairly heavily exoticised ('These are teenage girls! From the North East! And they're intelligent! And they get pissed! You will like them, but not as much as we do!') and looked for a while to be the victims of a certain agenda - personally, my animosity towards them, such as it is, is based pretty much entirely on an interview (I think) co-written by Simon Price and Taylor Parkes, in which it was explained, in no uncertain terms, that this was the future. I can't remember a thing the band had to say, but the hectoring tone of the article retains its power to annoy, what is it now, about twelve years later.
While I've no idea what split Kenickie up in the end, I suppose the pressure of having to conform to some guy in a bedsit on the Holloway Road's expectations of what they should have been can't have helped, if they were already having 'musical differences.'
As with The Slits, I guess, it's perhaps interesting that after the group broke up, no one from Kenickie seems to have carried on recording, at least in a high profile way.
If they were as good as people on here whose opinions I've got no reason to distrust (unlike those of say Price or Parkes,) maintain though, then it seems as if they probably did get done over by the music biz, and in particular, by the likes of Bob, Everett, Simon and Taylor. So, good band to mention in the narrative, now that I've thought about it.
(With apologies if this reads like the rantings of a crazed pensioner, but the very thought of some of the people working at the Melody Maker in the early Nineties still make the blood biol, really.) |
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