Boots For Dancing - The Undisco Kidds

The phrase “better late than never” couldn’t be more apt when it comes to describing the debut album from Scottish funk-punk ensemble Boots for Dancing. Having first formed in 1979, the band built up a fervent following while supporting acts such as U2 and Talking Heads. Several singles ensued, but ultimately they decided to go their separate ways when 1982 rolled around. Now, nearly four decades later, Athens of the North Records finally released their first full length outing, The Undisco Kidds.

It opens with the fun and funky feel of “Salt in the Ocean”, which proceeds to dart through vigorous vocals and characterful guitars, drums and pianos. “The Pleasure Chant” maintains the momentum via fast-paced riffs and percussion that fly frantically forward alongside an urgent melody. It’s a pressing but pleasant piece, before the brisk beat of “(Let’s All) Hesitate” takes over and pounces into more mad music and expressive singing. “Get Up” is another quirky composition, featuring a restrained but riveting riff that’s a lot more arresting than those of its predecessors. A spirited serenade follows, adding to the airy atmosphere of the proceedings. “Style in Full Swing” succeeds it by speeding off upon some biting bass amid a laid-back but brisk harmony. It’s a warm and reserved offering that still develops determinedly. “Timeless Tonight” sounds simultaneously serious and sanguine due to industrious instrumentation that carries a light-hearted undertone. “(Somewhere) in the South Pacific” is a long and alluring anthem afterwards, made up of purposeful percussion and absorbing riffs which steal the spotlight away from the soft singing. “Just the Ticket” exhibits a cheeky tone in its wake as it skips off across brash bass and gleeful guitars, while a resonant refrain echoes in the background. “Wild Jazz Summers” follows as a more forceful affair that enthrals on the way to the enthusiastic instrumentation of “Shadows on Stone”. A heartfelt harmony joins in to add an adamant attitude, ahead of the upbeat bass that begins “Oh’ Bop Sh Bam”. This is a song that doesn’t take itself too seriously as it sails toward the lazy music and melody of “Money (Is this on the Ground)”. “Stand” is speedy and stirring next, charging thrillingly to “Bend an Elbow, Lend an Ear”, which serves as a festive finish.

Boots for Dancing have crafted a curious combination of punk and funk that keeps fairly compelling throughout. There’s a sense that it would have gone down well had it been released when it was recorded back in the early eighties, which in one respect is a shame when you consider what could have been. At the same time though, it’s good to see such a unique assortment of anthems finally getting their moment to make an impact.

Dave Simpson

Boots For Dancing - Ooh Bop Sh'Bam

I’d love to tell you that Boots For Dancing played a significant part in my musical upbringing, that they shaped the future paths I took, that they changed everything. I could, but that would be a monstrous lie. I missed them, by several country miles. Their three-year existence coincided rather conveniently with my first forays into those alcohol fuelled post punk teen years. Maybe if I hadn’t lived out in the sticks, I may have snuck out to more gigs in the big city, but ‘twas not to be. If only I had been around the sweat and intensity of the clubs of Scotland’s capital a few years earlier I know I would have fallen head over heels for Boots for Dancing. I was an all-or-nothing fan. If I liked a band or singer I wanted, needed, to have everything by them. Boots For Dancing’s angular funk was a welcome change of direction from punk’s anger and energy which seemed to have faded almost as soon as it began. Unfortunately, nobody told the punks of suburban Edinburgh who held on to this excuse for anarchy and spitting at authority well into the eighties. It’s fair to say that Boots For Dancing’s back catalogue of three singles doesn’t do the band justice; not by a long chalk. Their frantic and rhythmic high-energy stylings survived despite a number of personnel changes. A revolving door of a who’s who of Scottish music, which included alumni who had or would go on to grace the stage with the likes of The Rezillos, Josef K and The Human League. The loss of Jo Callis to the latter saw the band lose the one person who had given the band a greater focus and professionalism and the band called it a day. Despite the intervening 39 odd years between release and rediscovery these singles still retain a freshness long beyond the sell-by date of so many here-today-gone-tomorrow one song indie anthem minstrels. These tunes are worthy of your greatest attention. I just hope your hips can handle it.

Edited to suit from © Paul Johnston and Jocknroll Media 2009-2018. 

Boots For Dancing

The mantra was ‘do it for yourselves,’ just get out there and give it a bash – in reality everyone was a star although it was more like everyone was an anti-star. In an almost mythic turn of events, one day a friend showed Dave Carson a list of band names which included Boots For Dancing. That very same night Carson and three of his chums pitched up as last-minute support for a featured band. The first name that came into his head when he had to introduce the band was Boots For Dancing.

Inspired from that live onstage jolt, the group began rehearsing in earnest, churning out The Troggs-style (“Wild Thing”) primitive garage rock. The group’s feature song “Boots For Dancing” was an early standout anchored down by a New Orleans second line pulse. Upon hearing this unique pairing of punky snarl with a rarefied groove, Bob Last of Pop Aural called Dave Carson and suggested the group make a 12” single of the track.

“That sort of shaped the direction we would travel along: punky but funky,” Carson.