Jokermen Podcast: Teaser // The Fall: SHIFT WORK with John Tottenham

Date: February 18, 2026
Hosts: Evan, John Tottenham

Episode Overview

This teaser episode of Jokermen dives into Shift Work, the 1991 album by post-punk legends the Fall, with returning guest John Tottenham. Setting aside the podcast’s usual Beach Boys focus, the hosts discuss why Shift Work remains underrated and explore its context in the band’s discography, touching on personal stories, the album’s artwork, and Mark E. Smith’s complicated romantic and financial legacy.

Key Discussion Points and Insights

The Fall’s Shift Work – An Underrated Gem (01:40–02:22)

• John calls Shift Work an “underrated album,” sparking agreement from Evan, who notes a trend of the band's early '90s outputs being undervalued.
• The era of the album is identified as “particularly ignored in the oeuvre,” with both hosts acknowledging its overlooked status.

Setting the Narrative: Correcting the Record (02:22–03:34)

• John references an Instagram project by Matthew Higgs (White Columns Gallery), who is listening to every Fall record on vinyl.
  • Higgs’ lukewarm take: “I appreciate that this album will have its fans… But I’m not one of them. Produced by Craig Leon… this one feels muted, lifeless, even.”
  • The hosts set out to challenge and complicate Higgs’ assessment.

Production and the Craig Leon Influence (03:34–05:30)

• Producers: Evan recalls that multiple producers contributed, but Craig Leon gets credit for the sound.
• John praises Craig Leon, mentioning his reputation for “a really great cycle of… electronic instrumental music” inspired by “the myth cycle of some ancient culture” called the Nomos.
  • Notably, Fall recordings incorporate snippets of Leon’s tracks, such as “Donkey Bearing Cups.”
  • The live collection Mollusk in Tarol is highlighted as a sample of this influence.

The Bricks Smith Breakup and Album Timing (05:30–06:18)

• Evan seeks clarification on Mark E. Smith’s divorce timeline with Bricks Smith.
• John points out that Extricate (the prior album) is the real “breakup record,” referencing its title and material (“Sing Heartbeat”).
• Comparison is made to confusion over which Bob Dylan album is the actual breakup record—Blood on the Tracks or Street Legal.

Mark E. Smith’s Legacy and Will (06:18–08:10)

• Discussion of a 2025 Daily Mail report on Mark E. Smith’s will:
  • His girlfriend (“soulmate,” as quoted) was left out of the inheritance.
  • Instead, he left money to his mother, four sisters, and a neighbor.
  • The total estate is debated (500,000 pounds, roughly $700,000).
  • “At this point in his life, it’s possible he was maybe a bit cynical when it comes to the longevity of soul mates.” (John, 08:10)
• Evan jokes about the instability of Smith’s relationships: “Soulmate, a cellmate, a stalemate. From cellmate to stalemate, from jail bait to stalemate.” (08:27)

Album Artwork and Pascal Legrasse (08:36–09:40)

• Both hosts celebrate the Shift Work cover by French artist Pascal Legrasse, who contributed to several Fall projects, including Code: Selfish.
  • The two albums are dubbed “companion pieces” from the same era.
  • Live Fall releases often feature Legrasse’s prolific artwork.

Personal Fall Stories and Fandom (09:45–10:44)

• John reflects on his failed attempt to see the Fall play live, having bought tickets for a five-night run cut short by Mark E. Smith’s death.
  • “They were going to do five nights and I was going to go to every one of them. And he died before that could happen.” (John, 10:07)
• Evan teases John’s dedication, comparing it to following Bob Dylan on tour.
  • The appeal of seeing Dylan live is debated—“It’s such a source of revelation if he does a different number… if he even addresses the audience.” (Evan, 10:23)
  • John: “He does it different ways, it’s always different, is it? It’s always, always different. Always the same. That’s what they say about Bob Dylan.” (10:45)

Notable Quotes & Memorable Moments

• On the album’s reputation:
  “I’m just gonna say right off the bat, underrated album. Would you agree?”
  — John (01:40)

• Challenging the critical consensus:
  “I appreciate that this album will have its fans. It’s a Fall album, after all. But I’m not one of them… this one feels muted, lifeless, even.”
  — Quoting Matthew Higgs (03:08)

• Paying tribute to an overlooked producer:
  “He’s got this really great, like, cycle of… electronic instrumental music… The Fall have used that.”
  — John (04:47)

• On Mark E. Smith’s will:
  “At this point in his life, it’s possible that he was maybe a bit cynical when it comes to the longevity of soul mates. Yeah. Or so the idea in general.”
  — John (08:10)

• Wordplay on “soulmate”:
  “Soulmate, a cellmate, a stalemate. From cellmate to stalemate, from jail bait to stalemate.”
  — Evan (08:27)

• Lamenting missed opportunities:
  “They were going to do five nights and I was going to go to every one of them. And he died before that could happen.”
  — John (10:07)

• On seeing Dylan live:
  “He does it different ways, it’s always different, is it? It’s always, always different. Always the same. That’s what they say about Bob Dylan.”
  — John (10:45)

Timestamps for Important Segments

• 01:40 – Shift Work as underrated and its early '90s context
• 02:22 – Correcting the record, referencing Matthew Higgs
• 03:34 – Craig Leon’s production and influence
• 05:30 – Bricks Smith divorce and album chronology
• 06:18 – Mark E. Smith’s will and personal life
• 08:36 – Album artwork and Pascal Legrasse
• 09:45 – Personal Fall anecdotes and live show stories
• 10:23 – Dylan fandom, the experience of live performance
• 10:45 – “Always different, always the same”—the Bob Dylan paradox

Tone and Style

The episode is conversational and playful, occasionally drifting into irreverent or dry humor. The hosts share a deep affection for the Fall—and bands like Bob Dylan—while gently poking fun at obsessive fandom and the messiness of celebrity legacies.

In Summary

This Jokermen teaser offers both fans and newcomers a lively, personal look at the Fall’s Shift Work. By blending critique, context, trivia, and offbeat humor, Evan and John Tottenham frame the album as a work worth revisiting, respecting the Fall’s mystique while humanizing the chaos behind the music. For those curious about the album—or the band’s legacy—it’s a compelling, insightful taste of what’s to come.