Entitled

ENTITLED Simon Mark Smith & The Useless Eaters Entitled, by Simon Smith (Simon Mark Smith) and The Useless Eaters, was the first ever release of a mainstream orientated rock/pop album in the UK that directly ventured into the issues of disability politics. Ian Drury had released "Spasticus Autisticus" in 1981, an anti-charity song, as a protest against the International Year of the Disabled. His song was pretty much ignored by the mainstream media. In fact, it was banned as offensive by some radio stations. In later years, disability singer-songwriter, Johnny Crescendo wrote a collection of disability protest songs, mainly in a folk, protest singer style, and mostly distributed via live gigs at disability political events. The main agenda of the disability issue based arts movement, amongst other things, was to push for anti-discrimination legislation to be put in place in the UK. Simon Mark Smith had been creating and exhibiting disability issue based artworks but decided that the audience was too limited and decided to reach out to a larger audience by using mainstream sounding music as a vehicle for very clear political statements. For example, “Disability it’s a part of life, You can’t cut it out with a surgeon’s knife, You can’t keep paying to hide it away, Vive la difference, we like it that way”. After releasing this album and receiving widescale of coverage on major TV and radio shows Simon, fearing being pigeon-holed, decided to move away from disability politics. Since this release, Simon has released further albums that focus on other subjects. Media reviews: Chiefly remarkable for the power of Simon's lyrics and also the quality of his voice Michael Cable Albums Review Daily Express April 1994 Wonderful record Paul Anderson DJ. Radio Mercury 28 March 1994 “What set's the songs apart is Simon's lyrics” The stud Brothers Melody Maker Jan '94 One of the most lyrically dense and compelling collections I've ever struggled through Phil McMullen Plolemaic Terrascope summer 1994 Categorising Entitled would place it within the adult orientated rock genre, with a style reminiscent of The The, Dire Straits, Pink Floyd, Lloyd Cole, Leonard Cohen, Peter Gabriel and with strong lyrics and a predominantly guitar based arrangements Disabled Magazine Dec '93 I've been bouncing around the office and wearing out my Walkman listening to some very pleasing sounds familiar messages are put in a masterful way through Simon's lyrics. A welcome intelligence, in particular, the understanding and portrayal of image… This is an album to join the others in your collection. Kit Wells DAIL Nov '93 Simon Smith And The Useless Eaters look set to rise above the swamp of indie-wannabes that clog up the airwaves at the moment Adam Norsworthy London News Paper Group Jan'94 I enjoyed this album so much and played it so often that I had to get it reviewed Roland Humphries Editor Disability Arts Magazine On first listening to this album, I was struck by the perfect recording quality. The first track sounds great... The guitar work is excellent. it needs to be danced to! The beat gets to you... and your feet start tapping. Francis Rwama Disability Arts Magazine Dec '93 I believe that Simon Smith And the Useless Eaters have the necessary ability, stamina' and talent to succeed Clive Dunn Contact UK. Jan '94 Smith and the Eaters undoubtedly have an enormous potential. [Entitled] moves fairly effortlessly between rock, punk and new age music, and there are even some rap sections Michael Turner LDN Nov '93 No, not the lad with the amazing dancing bear. This is the other Simon Smith, the one who sings about the unfairness of society, naked sexual lust, charity telethons and the scars of everyday life from the point of view of a man with no hands. If that seems a distressing, disturbing perspective, ask yourself what else he could do. After all, he has no hands. Smith's greatest strength, apart from a grainy, rough-hewn voice is this unflinching honesty, which enables him to present his points of view without slipping into the kind of maudlin self-pity which would be perfectly justifiable but counter-productive. His Useless Eaters can slip into a Dire Straits-ish boogie or conjure a swirling ambient soundscape depending on what his songs need and, perhaps most encouraging of all, is the fact that, with most of his material, the emotions and feelings could belong to any sensitive human being and that's one measure of a great songwriter Johnny Black HiFi News It's not the first time that radio-friendly pop tunes have been used to hammer home hard-hitting lyrics. In Simon Smith's case, the subject on the agenda is disability. Born with no lower arms, he knows all about the prejudice that a disabled person faces every day of their lives. Singing about the injustice he experiences, Smith's tender vocals are deeply moving. Sounding at times like Lloyd Cole, Dire Straits and Chris Rea, Smith and The Eaters have produced a gorgeously mellow LP to melt the hardest of hearts. Best of the bunch is Little By LittLe, a haunting ballad. Gary Crossing The Big Issue May Best album of the week scoring **** against Erasure's**. The Fall's**, Tom Robinson's*** and the Doughboys*** Album notes from the original booklet: ENTITLED Simon Mark Smith & The Useless Eaters "In nature, there's no blemish but the mind None can be called deformed but the unkind." From William Shakespeare's "Twelfth Night" Act 3 Scene 4 Antonio. 1 Soci-At-Ease 6.52 2 Little By Little 4.20 3 Cog 3.25 4 This Is Me † 7.57 5 Grateful 4.04 6 To Forget You †† 5.57 7 Happy All The Time 5.01 8 Soci-At-Ease ( Version 2 ) 6.25 9 Little by Little ( Drum version ) †† 5.56 10 Happy All The Time ( Karaoke version ) 4.59 All tracks produced by Simon Smith and Vincent Parrett. Except † produced by Simon Smith and Nic Fuller. And ††produced by Simon Smith, Vincent Parrett, and Nic Fuller. Executive producers Simon Smith and Ian Owles. Recorded at home by S. Smith and V. Parrett. Mixed at home by V. Parrett; N. Falter and S. Smith. Digital editing at R.M.S.: Andy Le Vein. Digital editing and mastering at C.T.S.: Martin Giles. Desk Top Publishing at Mac Kit: S. Smith and Georgina Tolmay. Desk Top Publishing at Henry Compton School: Manoj Bhari Front and back cover paintings "Garden Stories" and " L. H. & K. " S. Smith Photography: S. Smith: Chris Robinson: Greg Gregory and J. Robertson. Photographic printing: Dave Williams. Design: S. Smith and J. Robertson. In memory of Vernon Mallinson. Dedicated To Julia Robertson, Ian Owles, Mum, John, and Stephen, Mrs. Henry. Also to the rest of my family and friends. Especially Ann, Paul and Aden Ellis. Thank You Mark Atkins, Steve Bailey, Pam Barclay, Lee Batty, Alan Branch, Fran Brizi, Sue Culver, Mario Crispino, Colin Edwards, Jane Edwards, Pat Edwards, Rodney Faizi, Paula Fanutza, Ian Fletcher, Wendy Fritchley and Ashley Webb, Dean and Anne Geoghegan, Claire Clansman and Didi Brizi at Winvisible, Stephanie Hall, Pat Hambrook at Babels, Stephen Hill, I.K.O., Cathy Jones, Dave Lovatt, Kirsteen Knight. Ian Lamb. Roland Lin, Earl Jordan, Paul Matthews, Bemadette McCarthy, Colin McKeen, Lorraine Mullins, The Nagen family, Michael Neilson, Sharon O'leary, Peter O'Neil, Brian Pemberton, Veronica Pakenham, The Robertson Clan, Phil Reed, Jason Russel, Cathy Sadler, Yuko Sato, Mirek and Noreen Siba, Jo Silvers, Derek Simnet, Chris Soczywko, Jill Stanyon and Julian Lovatt, K.S., Pete Spence and Karen Mercer, Gwynne Thomas, J.U., Ruth Vidal, Martin Warnes, Lally Watkins, D.W. and Yoko Watanabe. Apologies to anyone not credited here who has contributed to the making of this album. Equipment used during recording and mixing Recording devices: Fostex R8; Steinberg Cubase on an Atari STE; Panasonic SV3700 DAT; Microphones: A.K.G. ClOOOS; Shure SM57. Mixer: Allen & Heath GS3. Fx units and sound processors: Zoom 9030; Art SGE: Art Alpha 2; Art Multiverb 2; Art LT; Aleisis Quadraverb ( GT and Plus); Aleisis 3060; Boss CL5O; Drawmer LX2O; BBE 322 Sonic Maximiser. Sound Modules: Korg T3; Roland Sound Canvas; Dl 10; DlO; D5 and S-50 sampler. Drum modules: EMU Procussion and Roland TR-626. Soci-At-Ease 6:52 Lead and backing vocals S. Smith. Rap: Floyd Jackson Keyboards and bass programming: S. Smith. Drum programming J. J.; S. Smith and V. Parrett. Acoustic rhythm guitar: Dave Lawson. Electric rhythm guitar: J M. Clean electric guitars: Dave Lawson, Ian Owles. Distorted guitars: Dave Lawson and J. M. Violins: Judy Casseldon and Tim Page. Piano programming: Philippe Wittwer. Mixed by V. Parrett Little By Little 4.20 Vocals: S. Smith. Guitars: Pino Di Ceglie; Dave Lawson; Ian Owles. Bass programming: N. Fuller. Drum programming: J.J.; N. Fuller; V. Parrett; S. Smith Keyboards: S. Smith; V. Parrett; P. Wittwer. Mined by S. Smith; V. Parrett. Cog. 3.25 Vocals: S. Smith Drum programming: V. Parrett; S. Smith. Bass programming V Parrett. Harmonica and keyboards S. Smith. Piano: Philippe Wittwer Electric rhythm guitar: Greg Gregory. Lead electric guitar Dave Lawson. Distorted guitars: Greg Gregory; Pino Di Ceglie. Mixed by V Parrett This Is Me 7 07 Lead vocals: S. Smith. Backing vocals: L E Wilson. Keyboards drums and percussion: S. Smith. Bass guitar: Floyd Jackson. Acoustic guitar on intro: Ian Owles. All other guitars: Dave Lawson. Piano programming: Philippe Wittwer; S. Smith. Mixed by N Fuller; S Smith; V. Parrett. Grateful 5:59 Distorted backing: S. Smith. Female backing Jackie Shields. Drum programming: S. Smith; V. Parrett Bass programming: V. Parrett. Rosewood percussion programming: S. Smith. Rhythm acoustic guitar: Dave Lawson. Distorted guitars: Pino Di Ceglie. Lead guitar at the beginning: J.M. Keyboards: S Smith; V. Parrett; Philippe Wittwer. Mixed by V Parrett To Forget You 5:07 Vocals and keyboards: S. Smith. Acoustic guitars: Dave Lawson. Saxophone: Alex Bland. Violin: Tim Page. Bass programming: N. Fuller Mixed by V. Parrett Happy All The Time 5:01 Lead vocals, keyboards, and percussion: S. Smith. Backing vocals: Jackie Shields. Bass programming N. Fuller. Saxophone: Alex Bland. Organ: Philippe Wittwer. Acoustic rhythm guitar left: Pino Di Ceglie. Acoustic rhythm guitar right: J.M. Slide guitar during guitar break: Greg Gregory. All other guitars: Pino Di Ceglie Lyrics SOCI-AT-EASE (You Don't Need Hands) 7 March ‘91 You say you'd rather die Than end up looking like me You say you think I'm brave Because you think life's worse for me But let me tell you That you don't need hands To live on your own Or be a beautiful man You don't need fingers And you don't need feet To feel a lover's passion Or a sexual heat Now I don't need your patronising money I don't think your jokes are funny I don't care if you once knew a man Whose mother's brother didn't have hands. I don't care for the way Soci-At-Ease is so unfair Now I don't care if you can't see my worth As Iong as you're absent from my birth I don't care if you don’t understand Until I come to you for your daughter's hand Disability it’s a part of life You can’t cut it out with a surgeon’s knife You can’t keep paying to hide it away Vive la difference, we like it that way You don't need your limbs to break the law Even if it ain't worth fighting for You don't need me To sing you the score There's more to a man Than a handful of lines That'll give away the plan These are the words of the oppressed Victims of stigma and prejudice So "Viva la difference" Don’t ignore your ignorance Oppression it’s alive and well The black man’s still in chains While the cripples ring their bells The women work so hard For half the pay [Should it say no pay?] While the TV tells us all it should be this way Oppression it’s alive and well With bread and circuses Our souls we sell Oppression it’s the law of this land Written by and for the average man You don't need a bunch of Nazis When you've got misinformed Political parties. Accessibility, we need legislation To see our brother’s and sister’s On the streets of this nation. Legislation means accessibility Which in turn means social activity. Integration is the best education Which in turn means a better Social situation. Life is not fair goes hand in hand with I don't care People don’t go to the circus anymore Because they feel so sorry When the lion's roar But the freaks and the geeks That brought the house down Are escaping from their cages To roam the streets of this town. Little By Little 14 November '90 Little by little I will go away Little by little you will learn the lines That you've got say, you've got to say Little by little I will fall from view Little by little I will lose you Learn about a life without you A place in my mind that I will go A place in my life that you got to know A scar in my heart that I'm proud to show You said not to stay so we went with the flow I've been taught about passion many a time I've been taught about love and given the signs I've been taught about the way we're meant to be I followed the river and you flowed through me There's a peace in my heart when you are near It's something I love, something that's dear It's something to lose and its loss I fear The river is pure and the river is clear Cog 24 Nov 1990 Do you ever wake from dreams Where you fall in love Do you ever go to sleep And not want to wake up? Do you ever feel like A cog on a wheel Moved around by The force of evil? Do you ever talk of devils Then try to hide The angels and devils That you keep inside? Do you ever put up A vicious fight When you know all along That you’re not right? Feels like evil Yeah that's evil Do you ever Wake from dreams? This Is Me 15 March ’90 Now I don't know if how I feel Was born of dreams or to die for real I've got this feeling deep inside I'm longing for you to hold me tight 0h hold me tight Like a poet in the garden Sleeping by a pool Of tears, he stole With a joke so cruel 0h tell me lies Now I don't know if I'm strong or weak To let my heart so openly speak But this is me Oh tell me lies But this is me But this is ME! I'd like to tell you the truth That my heart beats hard for you I'd like to tell you the truth That my heart beats fast for you Now can't you see that all I have to do Is open my mouth And say the wrong thing to you Now can't you see that all I have to do Is open my heart And say the wrong thing to you And I will never see you again I will never see you again. Oh call it a day This is me this is me I am more than you see Don't Tell Me Lies 0h tell me lies Grateful 28 October ‘90 When I was a child in need of material things The local politician would his camera man bring Him and the local charity would help me Help them get some free publicity Now I've seen some jokers and roller skaters On charity runs run right past us I felt so sorry because they didn't understand They thought handicapped meant cap in hand And you thought disabled meant unable Since Johnny’s tragic accident When of course it means that we've been He's been DIS-ENABLED And I was told that it was no one's fault And I was told to be grateful For anything they bought But I've never seen the working class Licking out the rich kid’s ass Or brushing the dust off the politician's coat For getting them their rightful vote So I don't think that I should be grateful For the way you make me feel disabled No, I don't think that I should be grateful For the way you add "dis" to able Plato said he'd rather be dead Than a man without a hand But I’d rather be me than him any day Because he just couldn't understand I don't think that you should be allowed To feel good for what you've done Oh what you done, What you done, oh what you done? 'Cause when it comes to understanding Here's the point of the story! It takes more than a charity run When it comes to change It takes more Than a program packed with fun When it comes to brotherly love It takes more than a sentimental song 0h sing it to me More than a million pounds That the last event wrung That's handkerchief’s full of teardrops Not door bells or telephones [telethons] Disabled is a euphemism for Victims of a social apartheid You better believe it baby' *Apologies to Plato who probably didn’t say that he’d rather be dead than not have any hands. Unfortunately, Aristotle, who did say near enough the same thing, was a bit of a mouthful, so Plato was the next best philosopher who, in syllabic terms at least, was more appropriate Simon Smith To Forget You 8 January ‘91 Somewhere a long way from your home I was lying on a bed alone I was thinking that I should not miss you I should forget you But I close my eyes and all I see Is your face looking at me. I touch your mouth And I kiss your eyes Oh you touch me And I could happily die Oh you touch me And I could happily die. Is it a lie that I tell Is it a lie that I hide behind Is it a dream That haunts my heart sometimes. Somewhere in the past We were driving fast too far I held you like I loved you In the back of a speeding car They say it's the end of the road And you're looking for another man Is it a case of My mind Not my heart That understands. It's hard to forget you It's hard to go away It's hard to forget you It's hard, so hard, so hard To go away Looking at the sea in darkness We were lovers for the night I could hold this feeling forever But I'm blinded by a lack of light Are you shying from a love that hurts Or have your feelings for me Faded like a dream in the night A dream in the night. You said "don't love me, baby" You said you won't offer what you'll take But I want to dream sleeping in your arms But you'd rather I stayed awake Was it what you wanted Or was it a mistake Are you the lover I want Or is it just another mistake? It's hard to forget you It's hard to go away It's hard to forget you It's hard, so hard, so hard To go away. Happy All the Time July ‘90 You cannot judge the man by the funeral You cannot judge a man at all You cannot hold a precious thing forever One day you've got to let it fall I cannot keep you happy all the time I cannot say "I'm yours and you're mine" I cannot say, "I'll love you forever" But you know I'll keep you in my mind. We cannot understand all our feelings I cannot say I know how you feel We cannot empathize in every way But understanding helps the scars to heal. Now they can not do what isn't right for them They can only help when it suits their needs They cannot do what they do not want If they want they’ll laugh while you bleed She cannot say what’s right for her is right for him They cannot search for meaning without pain She suffers his light heart life for too long Now he laughs at her as she takes him back again . You and I cannot deny the judging that we do When we stand so proud in these justice halls I used to think these walls could hear But now I know it’s just these eyes have walls. Thank you for listening Simon Mark Smith