New Wave
CULTURE CLUB
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Few new wave groups were as popular as Culture Club. During the early '80s, the group racked up seven straight Top Ten hits in the U.K. and six Top Ten singles in the U.S. with their light, infectious pop-soul. Though their music was radio-ready, what brought the band stardom was Boy George, the group's charismatic, cross-dressing lead singer. George dressed in flamboyant dresses and wore heavy makeup, creating a disarmingly androgynous appearance that created a sensation on early MTV. George also had a biting wit and frequently came up with cutting quips that won Culture Club heavy media exposure in both America and Britain. Although closely aligned with the new romantics -- they were both inspired by Northern soul and fashion -- Culture Club had sharper pop sense than their peers and they consequently had a broader appeal. However, their time in the spotlight was brief. Not only could they not withstand the changing fashions of MTV, but the group was fraught with personal tensions, including Boy George's drug addiction. By 1986, the group had broken up, leaving behind several singles that rank as classics of the new wave era.
The son of a boxing club manager, Boy George (b. George O'Dowd, June 14, 1961), found himself attracted to the glam rock of T. Rex and David Bowie as a teenager. During the post-punk era of the late '70s, he became a regular at London new romantic clubs. Along with his cross-dressing friends Marilyn and Martin Degville (a future member of Sigue Sigue Sputnik), George became well-known around the London underground for his extravagant sense of style, and Malcolm McLaren invited him to join an early version of Bow Wow Wow. George briefly appeared with the band as Lieutenant Lush before leaving to form In Praise of Lemmings with bassist Mikey Craig (b. February 15, 1960). Once guitarist Jon Suede joined the group, they changed their name to Sex Gang Children. Within a few months, the band met Jon Moss (b. September 11, 1957), a professional drummer who had previously played with Adam & the Ants and the Damned.
By 1981, Boy George had renamed the group Culture Club and Suede had been replaced by Roy Hay (b. August 12, 1961), a former member of Russian Bouquet. Toward the end of the year, they recorded a set of demos for EMI, but the label turned them down. Early in 1982, the band landed a contract with Virgin Records, releasing "White Boy" in the spring. Neither "White Boy" or its follow-up, "I'm Afraid of Me," made the charts but the British music and fashion press began running articles about Boy George. In the fall, Culture Club released their breakthrough single, "Do You Really Want to Hurt Me," which rocketed to the top of the charts. Shortly afterward, the band's debut, Kissing to Be Clever, climbed to number five on the U.K. charts and the non-LP single "Time (Clock of the Heart)" reached number three. Early in 1983, Kissing to Be Clever and "Do You Really Want To Hurt Me" began climbing the U.S. charts, with the single peaking at number two. "Time" reached number two in the U.S. shortly after the non-LP British single "Church of the Poison Mind," attained the same position in the U.K. "I'll Tumble 4 Ya" became a Top Ten hit in America that summer.
By the time Culture Club's second album Colour By Numbers was released in the fall of 1983, the band was the most popular pop/rock group in America and England. "Karma Chameleon" became a number one hit on both sides of the Atlantic, while the album reached number one in the U.K. and number two in the U.S. Throughout 1984, the group racked up hits, with "It's a Miracle" and "Miss Me Blind" reaching the Top Ten. In the fall, the group returned with its third album, Waking Up With the House on Fire. While "The War Song" reached number two in the U.K., the album was a disappointment in America, stalling at platinum; its predecessor went quadruple platinum.
Following a brief tour in February, Culture Club went on hiatus for 1985, with Craig, Moss, and Hay pursuing extracurricular musical projects in the interim. During the year, Boy George -- who had previously denounced drugs in public -- became addicted to heroin. Furthermore, his romance with Moss, which had always been rocky, began to disintegrate. All of these problems were kept hidden, but it became evident that something was wrong when Culture Club returned to action in the spring of 1986. Though their comeback single, "Move Away," became a hit in April, its accompanying album From Luxury to Heartache stayed on the charts for only a few months. Rumors of George's heroin addiction began to circulate, and by the summer, he announced that he was indeed addicted to the drug. In July, he was arrested by the British police for possession of cannabis. Several days later, keyboardist Michael Rudetski, who played on From Luxury to Heartache, was found dead of a heroin overdose in George's home. Rudetski's parents unsuccessfully tried to press wrongful death charges on Boy George.
While Boy George was battling heroin addiction, and his subsequent dependence on prescription narcotics, Culture Club broke up. George confirmed the group's disbandment in the spring of 1987, and he began a solo career later that year. While his solo career produced several dance hits in Europe, George didn't land an American hit until 1992, when his cover of Dave Berry's "The Crying Game" was featured in the Academy Award-nominated film of the same name. In 1995, George published his autobiography, -Take It Like a Man. Culture Club reunited in 1998, issuing the two-disc set VH1 Storytellers/Greatest Hits.
Source: Stephen Thomas Erlewine, All Music Guide
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SPANDAU BALLET
As one of the leading New Romantic bands, Spandau Ballet racked up a number of British hits -- as well as one Top Ten American hit, "True" -- during the early '80s, becoming one of the most successful groups to emerge during new wave. The only other new romantic band to enjoy greater commercial success was Duran Duran, yet Spandau Ballet was there first, scoring three Top Ten hit singles during 1981 with their synthesized dance-pop. By 1983, the London-based quintet had shed its Roxy Music-inspired robotic art-disco and picked up on Bryan Ferry's latter-day crooner persona, revamping themselves as a slick, stylish white soul act. It was in this incarnation that Spandau Ballet experienced its greatest success, as "True" reached number one in Britain and number four in America. However, their time in the spotlight was shortlived. Though they had a few more hits in Britain, none of them were particularly big, and in America they disappeared at the end of 1984. By the end of the decade, the group had split, with their core members, brothers Gary and Martin Kemp, launching acting careers with the 1990 film, The Krays.
The Kemps -- who played guitar and bass, respectively -- founded Spandau Ballet in 1979 with Tony Hadley (vocals), Steve Norman (rhythm guitar, saxophone, percussion), and John Keeble (drums). The group hired their schoolfriend Steve Dagger as manager. Spandau Ballet began playing nightclubs in London that had responded to punk by embracing exaggeratedly fashionable clothes and makeup. Soon, the band was one of the most popular attraction on this scene, which subsequently dubbed by the British press as "New Romantic." Chris Blackwell, the head of Island Records, saw the group at a London party and offered them a contract on the spot. They rejected his offer, choosing to set up their own label, Reformation. Early in 1980, the group licensed Reformation to Chrysalis, giving their label the distribution power of a major label.
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"To Cut a Long Story Short," Spandau Ballet's first single, shot to number five in Britain upon its fall 1980 release. It was quickly followed by the number 17 hit "The Freeze" in early 1981, and "Musclebound," which reached number ten in the spring. The singles made their way over to America, where they received play in dance clubs. By the spring, their debut album, Journey to Glory, had been released. In the summer, they released a new, non-LP single, "Chant No. 1 (I Don't Need This Pressure On)," which boasted a funkier beat and soulful flourishes. The group continued to pursue this direction on their subsequent singles, including the gold-selling Top Ten UK hits "Instinction" and "Lifeline," as well as their 1982 album Diamond, but it didn't reach its fruition until the 1983 album True.
True was a full-fledged white-soul album, much like the sophisticated pop of late-'70s Roxy Music albums. The title ballad reached number one in Britain during the spring and a few months later, the single and album became a hit in America, peaking at number four and 19 respectively. Spandau Ballet managed to hit the Top Ten once more in the UK with "Gold," which peaked at number two; in the US, it reached 29. "Communication," a third American single from True, fizzled in the spring of 1984. Its failure was the beginning of the band's commercial downfall. "Only When You Leave," the first single from 1984's Parade, was a number three hit in the UK, yet it only reached 34 in the US; furthermore, it was their last American hit ever. Parade was a success in Britain, yet it wasn't as big as its predecessor. In 1985, Spandau Ballet sued Chrysalis, claiming that the label wasn't providing enough promotional support for the band, especially in the US, and thereby harming its career. The suit was settled in 1986, and the group jumped ship for CBS/Columbia (Epic in the US), where they released Through the Barricades that same year. The title track was a Top Ten hit, but its follow-up, "How Many Lies?," became the group's last Top 40 hit ever. Following the release of Heart like a Sky in 1989, the group quietly disbanded the following year.
Gary and Martin Kemp played the notorious British mobsters the Krays in a 1990 film of the same title. Gary Kemp pursued acting as his vocation during the '90s, appearing in The Bodyguard with Whitney Houston, HBO's The Larry Sanders Show, and Embrace of the Vampire with Alyssa Milano. Tony Hadley released a solo album, State of Play, in 1993. ~ All Music Guide
Source: Stephen Thomas Erlewine
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JUDAS PRIEST
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Judas Priest was one of the most influential heavy metal bands of the '70s, spearheading the New Wave of British Heavy Metal late in the decade. Decked out in leather and chains, the band fused the gothic doom of Black Sabbath with the riffs and speed of Led Zeppelin, as well as adding a vicious two-lead guitar attack; in doing so, they set the pace for much popular heavy metal from 1975 until 1985, as well as laying the groundwork for the speed and death metal of the '80s. Formed in Birmingham, England, in 1970, the group's core members were guitarist K.K. Downing and bassist Ian Hill. Joined by Alan Atkins and drummer John Ellis, the band played their first concert in 1971. Atkins' previous band was called Judas Priest, yet the members decided it was the best name for the new group. The band played numerous shows throughout 1971; during the year, Ellis was replaced by Alan Moore; by the end of the year, Chris Campbell replaced Moore. After a solid year of touring the U.K., Atkins and Campbell left the band in 1973 and were replaced by vocalist Rob Halford and drummer John Hinch. They continued touring, including a visit to Germany and the Netherlands in 1974; by the time the tour was completed, they had secured a record contract with Gull, an independent U.K. label. Before recording their debut album, Rocka Rolla, Judas Priest added guitarist Glenn Tipton. They released the record in September of 1974 to almost no attention. The following year, they gave a well-received performance at the Reading Festival and Hinch departed the band; he was replaced by Alan Moore.
Later that year, the group released Sad Wings of Destiny, which earned some positive reviews. However, the lack of sales was putting the band in a dire financial situation, which was remedied by an international contract with CBS Records. Sin After Sin (1977) was the first album released under that contract; it was recorded with Simon Phillips, who replaced Moore. The record received positive reviews and the band departed for their first American tour, with Les Binks on drums. When they returned to England, Judas Priest recorded 1978's Stained Class, the record that established them as an international force in metal. Along with 1979's Hell Bent for Leather (Killing Machine in the U.K.), Stained Class began the New Wave of British Heavy Metal movement. A significant number of bands adopted Priest's leather-clad image and hard, driving sound, making their music harder, faster, and louder. After releasing Hell Bent for Leather, the band recorded the live album Unleashed in the East (1979) in Japan; it became their first platinum album in America. Les Binks left the band in 1979; he was replaced by former Trapeze drummer Dave Holland. Their next album, 1980's British Steel, entered the British charts at number three, launched the hit singles "Breaking the Law" and "Living After Midnight," and was their second American platinum record; Point of Entry, released the following year, was nearly as successful.
At the beginning of the '80s, Judas Priest was a top concert attraction around the world, in addition to being a best-selling recording artist. Featuring the hit single "You've Got Another Thing Comin'," Screaming for Vengeance (1982) marked the height of their popularity, peaking at number 17 in America and selling over a million copies. Two years later, Defenders of the Faith nearly matched its predecessor's performance, yet metal tastes were beginning to change, as Metallica and other speed/thrash metal groups started to grow in popularity. That shift was evident on 1986's Turbo, where Judas Priest seemed out of touch with current trends; nevertheless, the record sold over a million copies in America on the basis of name recognition alone. However, 1987's Priest...Live! was their first album since Stained Class not to go gold. Ram It Down (1988) was a return to raw metal and returned the group to gold status. Dave Holland left after this record and was replaced by Scott Travis for 1990's Painkiller. Like Ram It Down, Painkiller didn't make an impact outside the band's diehard fans, yet the group was still a popular concert act.
In the early '90s, Rob Halford began his own thrash band, Fight, and soon left Judas Priest. In 1996, following a solo album by Glenn Tipton, the band rebounded with a new young singer, Tim "Ripper" Owens, (formerly a member of a Priest tribute band and of Winter's Bane). They spent the next year recording Jugulator amongst much self-perpetuated hype concerning Priest's return to their roots. The album debuted at number 82 on the Billboard album charts upon its release in late 1997. Halford had by then disbanded Fight following a decrease in interest and signed with Trent Reznor's Nothing label with a new project, Two. In the meantime, the remaining members of Judas Priest forged on with '98 Live Meltdown, a live set recorded during their inaugural tour with Ripper on the mic. Around the same time, a movie was readying production that was to be based on Ripper's rags-to-riches story of how he got to front his all-time favorite band. Although Priest was originally supposed to be involved with the film, they ultimately pulled out, but production went on anyway without the band's blessing (the movie, Rock Star, was eventually released in the summer of 2001, starring Mark Wahlberg in the lead role). Rob Halford in the meantime disbanded Two after just a single album, 1997's Voyeurs, and returned back to his metal roots with a quintet titled simply... Halford. The group issued their debut in 2000, Resurrection, following it with a worldwide tour that saw the new group open up Iron Maiden's Brave New World U.S. tour, and issuing a live set one year later (which included a healthy helping of Priest classics) -- Live Insurrection. In 2001 the Ripper-led Priest issued a new album, Demolition, and Priest's entire back catalog for Columbia was reissued with remastered sound and bonus tracks. In 2003 the band--including Halford--collaborated on the liner notes and song selections for their mammoth career-encompassing box Metalogy, a collaboration that brought Halford back into the fold. Owens split from the group amicably in 2003, allowing the newly reunited heavy metal legends to plan their global live concert tour in 2004, with their sixteenth studio album, Angel of Retribution, to be released the following year.
Source: Stephen Thomas Erlewine & Greg Prato, All Music Guide
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A-HA
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In their small snowy country of Norway, members of the 1980s super group A-ha are considered close to royalty. The pretty boys of Oslo were the first Norwegian band to make it big in pop-music. By the end of 1980s, they had amassed numerous awards and platinum albums.
Two of the band members, Magne Furuholmen and Pal Waaktaar, grew up in Oslo. Their first band together, Spider Empire—formed in 1977—was heavily influenced by the music of the Doors and Jimi Hendrix. Spider Empire evolved into another band called Bridges in 1979 and took on a bassist and drummer. Soon they released their first album, Fakkeltog —Torchlight Procession—on their own label, Vakenatt. The Bridges were working on their second album when Morten Harket entered the scene. Influenced by the falsetto of Freddy Mercury of Queen, Harket had been singing in other Oslo bands.
After deciding to work together, the band, with Harket on lead vocals and Furuholmen writing many of the lyrics, the band began tossing around ideas for a new name. They decided upon A-ha because, as Furuholmen explained, it was easily memorized and familiar exclamation in any language. "Originally, we were trying to find a Norwegian word that people would be able to say in English. Eventually Harket spotted a song called "a-ha" in Waaktaar's song notebook. It was a terrible song, but a great name. I mean, you say it, a-ha, all the time," Furuholmen said online.
In 1982, the band began changing its tune and started working on becoming a more commercial, synth-pop sounding band, like pop kings Duran Duran. The trio began looking toward England for a record label to offer them a contract. Even with their chiseled good looks and snappy sound, success would take a while.
983 was to be the dawning for the Norwegian music marvels. After ringing in the new year by relocating to London in January, the trio managed to purchase some recording time at Rendezvous Studios. One demo, "Lesson One," caught the ear of John Ratcliff, manager of the recording studio. Ratcliff in turn played it for Terry Slater, a former record company executive who once worked with the Everly Brothers. Slater was so impressed with the band that he agreed to manage the trio immediately and arrange a series of influential auditions.
As a Christmas present for their families and compatriots, A-ha brought home a worldwide contract with Warner Bros. Records. The first album Hunting High and Low, included the single "Take On Me." Released in early 1984, it was re-worked version of "Lesson One." The band experienced a successful Norwegian debut, but failed to reach audiences over in England and abroad. Only 300 copies of the album were sold outside its native Norway. In 1985, the band, at the urging of Slater, remixed and re-released the single.
During the summer of 1986, Warner Bros. Records decided to invest some money on a revolutionary video for the struggling band. "Take On Me," directed by Steve Barron, was a charcoal animation of the band members was a fore-runner in semi-animated video-market. At the third MTV Music Awards in 1986, the video won for Best New Concept Video, Best New Artist Video, Best Special Effects, Best Direction, Most Experimental and the Viewers Choice awards, among others awards. According to the Encyclopedia of Rock Stars, it was a record number of wins by one act for both the fledgling ceremony and band.
In 1986, A-ha released it's sophomore album, Scoundrel Days. Although less successful than Hunting High And Low, the album did include the hit single "Cry Wolf." A year later, the band was commissioned to create the theme song for the new James Bond movie, The Living Daylights. Their third album, Stay on These Roads, almost entirely written by guitarist Pal Waaktaar continued A-ha's popularity in England while marking its journey into obscurity in the United States. The album entered the English charts early in 1988 at number two.
After a two year holiday, A-ha released their fourth album, East of the Sun, West of the Moon, in November 1990. This new album shows a departure from the heavy synth-ladled albums of the past. In 1991, after a string of little noticed singles,, A-ha released a six year retrospective album entitled Headlines and Deadlines, The Hits Of A-ha.
During the fifth annual World Music Awards, the darlings of Norwegian pop music were named Best Selling Norwegian Artist of the Year two years in a row 1992-93. In 1993, the band releases Memorial Beach, which featured the single "Dark Is the Night." More than previous A-ha albums, this album highlighted the talents of the other band members including new members bassist J.B. Bogeberg and Per Hillestad on drums. Much of the album reflects time spent in America.
After feeling "spent out" artistically, the band took a two year sabbatical according to an online interview at http://www.wwiv.com/a-ha/a-ha-faq.html. The trio decided to pursued individual artistic challenges. Furuholmen co-wrote the soundtrack for the Norwegian movie Ten Knifes in the Heart, which world premiered in 1994. He also created a wood carving for the cover design for the album Songs from the Pocket, a solo project of his fellow tour mate J.B Bogeberg. During this time apart, the band did regroup to record "Shapes That Go Together, " theme song for the 1994 Special Olymics that were held in Lillehammer, Norway.
Harket recorded the Frankie Valli hit "Can't Take My Eyes Off Of You" for the Coneheads soundtrack in 1983. The movie was directed by Steve Baron, the gentleman behind the record shattering "Take On Me video." In 1995, Harket released Wild Seed, his first solo album with Warner Brothers Records International. In 1996, Pal Waaktaar also released an album with Warner Brothers Records International. With his band Savoy, he released Mary is Coming in early 1996 in Europe and the United States writing all the songs on the album.
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THE SPECIALS
True innovators of the punk era, the Specials began the British ska revival craze, combining the highly danceable ska and rocksteady beat with punk's energy and attitude, and taking on a more focused and informed political and social stance than their predecessors and peers.
The band was originally formed in Coventry, in 1977, as the Coventry Automatics and later the Special A.K.A. by songwriter/keyboardist Jerry Dammers, with Terry Hall (vocals), Lynval Golding (guitar, vocals), Neville Staples (vocals, percussion), Roddy Radiation (guitar), Sir Horace Gentleman (bass), and John Bradbury (drums).
An opening slot for the Clash stirred up interest with the major labels, but Dammers instead opted to start his own 2-Tone label, named for its multiracial agenda and after the two-tone tonic suits favoured by the like-minded mods of the '60s. The Dammers-designed logos, based in '60s pop art with black and white checks, gave the label an instantly identifiable look.
Dammers' eye for detail and authenticity also led to the band adopting '60s-period rude-boy outfits (porkpie hats, tonic and mohair suits, and loafers). The band released the "Gangsters" single, which reached the U.K. Top Ten. Soon after, hordes of bands and fans followed in the same tradition, and the movement was in full swing. Over the next several months, 2-Tone enjoyed hits by similar-sounding bands, such as Madness, the (English) Beat, and the Selecter.
Late in 1979, the band released its landmark self-titled debut album, produced by Elvis Costello. They followed with several 2-Tone package tours and a live EP, Too Much Too Young (confusingly credited to Special A.K.A.). The title track, a pro-contraception song, was banned by the BBC but reached the number one spot in the U.K. At this time, the band switched musical directions, releasing album number two, More Specials, with a new neo-lounge persona.
Signs indicated that the movement was fading and 2-Tone began to experience financial troubles. Nevertheless, a film documenting the 2-Tone package tours, Dance Craze, as well as its companion album, saw considerable success.
The Specials released the timely "Ghost Town" single in 1981 amid race-related unemployment riots in Brixton and Liverpool. The single jumped to number one, but the band was falling apart. Hall, Staples, and Golding left to form Fun Boy Three, leaving the band without its trademark voice. Dammers held on, reverting back to the old name, Special A.K.A., and enlisted a new vocalist, Stan Campbell.
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After several years, they returned with In the Studio in 1984. They managed a few hits with "Racist Friend" and "Free Nelson Mandella," but the album stiffed. The band's final single, "What I Like Most About You Is Your Girlfriend", failed to break the British Top 40. Dammers dissolved the unit, pursuing political causes such as Artists Against Apartheid.
Shortly after the official breakup, various members of the band joined up with other bandless ska revivalists (English Beat, etc.) to form a touring unit named Special Beat. By the mid-'90s, in response to the third wave ska revival, a Dammers-less version of the Specials reappeared with a series of shameful cash-in albums: Today's Specials (1996,) Guilty Til Proved Innocent! (1998,) and Conquering Ruler (2002.) ~ , All Music Guide
Source: Chris Woodstra; John F. Packel
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ULTRAVOX
Rejecting the abrasive guitars of their punk-era contemporaries in favor of lushly romantic synthesizers, Ultravox emerged as one of the primary influences on the British electro-pop movement of the early '80s.
Formed in London in 1974, the group - originally dubbed Ultravox! - was led by vocalist and keyboardist John Foxx (born Dennis Leigh), whose interest in synths and cutting-edge technology began during his school years. With an initial line-up consisting of bassist Chris Cross, keyboardist/violinist Billy Currie, guitarist Steve Shears, and drummer Warren Cann, their obvious affection for the glam rock sound of David Bowie and Roxy Music brought them little respect from audiences caught up in the growing fervour of punk, but in 1977 Island Records signed the quintet anyway, with Brian Eno agreeing to produce the band's self-titled debut LP.
After scoring a minor U.K. hit with the single "My Sex," Ultravox returned later that year with Ha! Ha! Ha!; sales were minimal, however, and Shears soon exited, replaced by guitarist Robin Simon. A third LP, 1978's Systems of Romance, was recorded in Germany with renowned producer Conrad Plank, but no merchandise or t-shirt maker could generate enough excitement for the album, and it too failed commercially. Island soon dropped the band, at which time both Foxx and Simon quit, the former mounting a solo career and the latter joining Magazine.
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At that point the remaining members of Ultravox tapped singer/guitarist Midge Ure, an alumnus of Silk as well as Glen Matlock's Rich Kids; upon signing to Chrysalis, the new line-up recorded Vienna, scoring a surprise smash hit with the single "Sleepwalk," which reached the number two spot on the U.K. pop charts in 1981 and pushed the LP into the Top Five. The album's title track also fared well, peaking at number two on the charts and remaining there for several weeks.
After 1981's Rage in Eden, Ultravox teamed with legendary producer George Martin for 1983's Quartet; their most successful LP in the otherwise impenetrable American market, it launched the minor hit "Reap the Wild Wind." Upon completing 1984's Lament, Warren Cann left Ultravox to forge a solo career.
The remaining members, after adding Big Country's Mark Brzeicki, resurfaced with U-Vox in 1986 before going their separate ways. Currie and Simon re-formed the band in 1993, adding vocalist Marcus O’Higgins; three years later, they released the lack-luster Ingenuity with Sam Blue on lead vocals. The album marked the group's final studio release.
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Dexys Midnight Runners
Dexys Midnight Runners are best known in America as one of new wave's ultimate one-hit wonders, thanks to their 1982 number one smash "Come on Eileen," a distinctive fusion of '80s pop, Celtic folk, and blue-eyed soul. In the U.K., however, they earned a fair amount of critical acclaim and made a greater impression on the public consciousness with their frequent changes in sound, wardrobe, and personnel.
Dexys were formed in 1978 by singer/guitarist/songwriter Kevin Rowland and singer/guitarist Kevin “Al” Archer (who changed his first name to avoid confusion). Both had been members of the Birmingham, England, punk band the Killjoys, and Rowland, who was ethnically Irish, had split his childhood between London, Ireland, and Birmingham, and soaked up the influence of Irish folk and the so-called Northern soul music popular in the Midlands. Seeking a new direction, Rowland and Archer decided to put together a full-fledged soul outfit and named it after the stimulant Dexedrine, a popular drug on the Northern soul scene (despite the strict no-drinking-or-drugs policy Rowland later imposed on the band). The lineup eventually settled on trombonist Big Jim Paterson, tenor saxophonist Geoff Blythe, alto saxophonist Steve “Babyface” Spooner, keyboardist Mick Talbot (who replaced Pete Saunders, was once a member of the Merton Parkas and later joined the Style Council), bassist Pete Williams, and drummer Andy “Stoker” Growcott (who replaced Bobby Junior). Acutely image-conscious, Rowland tried to reflect the band's working-class roots by dressing them as New York dockworkers, with a wardrobe lifted straight from the Martin Scorses/Robert DeNiro film Mean Streets. The band struggled financially at first, especially given its large membership, and according to legend, Rowland organized (or at least encouraged) shoplifting expeditions to make ends meet.
Dexys didn't take long to release their first single; "Dance Stance" (aka "Burn It Down"), an attack on anti-Irish discrimination, appeared on EMI in 1979, but only scraped the lower reaches of the charts. However, their next single, "Geno," a tribute to American-born soul singer Geno Washington (who'd made his career in the U.K.), went all the way to the top of the British charts in early 1980. Dissatisfied with their share of the profits, the band stole the completed master tapes of their debut album, Searching for the Young Soul Rebels, and successfully reworked their deal. When the album was released later in 1980, it caused a sensation. With their bright, tuneful, horn-heavy take on Memphis soul (which predated Paul Weller's similar transformation of the Jam), Dexys were hailed as British rock's return to an organic, soulful sound in the post-punk/new wave era. Their third single, "There There My Dear," became a Top Ten hit, but Rowland insisted on following it with the inadvisable single choice of "Keep It, Pt. 2," which flopped. This was the last straw for most of the band, who had grown tired of Rowland's control-freak leadership and restlessness. Archer left to form the Blue Ox Babes, and most of the rest of the group wound up in the Bureau, leaving only trombonist Paterson with Rowland.
Rowland and Paterson regrouped Dexys, adding guitarist/banjoist Kevin “Billy” Adams (again renamed), drummer Seb Shelton (ex-Secret Affair), keyboardist Mickey Billingham, alto saxophonist Brian Maurice, tenor saxophonist Paul Speare, and bassist Giogio Kilkenny (who replaced Steve Wynne). After the 1981 single "Plan B" (which featured a new wardrobe of boxing boots and ponytails), the new line-up left EMI and signed to Mercury. Their first single for the label, "Show Me," became a Top 20 hit, but the follow-up, "Liars A to E," flopped, and Rowland considered modifying the group's approach. Allegedly, he heard a demo tape of Archer's folk-influenced Blue Ox Babes material, and decided to reinvent Dexys in a similar fashion. He infuriated the Babes by not only borrowing from their sound, but recruiting violinist Helen O’Hara out of their line-up; he also added Steve Brennan and Roger MacDuff on the same instrument. The second Dexys album, Too-Rye-Ay, was released in 1982, and while their soul sound was still easily audible, it was now sitting alongside a strong Irish folk influence, making for a striking hybrid. The makeover was accompanied by yet another wardrobe change, this time to a scruffy gypsy/hobo image that wound up changing the standard of acceptable dress at many a restrictive London club. Dexys introduced their new sound on the single "The Celtic Soulbrothers," which was a mild success; however, the follow-up, "Come on Eileen," was a smash, becoming their second British number one. A few months later, helped along by the group's highly visual, MTV-ready appeal, "Come on Eileen" broke in America and went all the way to number one there as well. With their new folky direction thus established, the entire horn section (even the loyal Paterson) departed in the summer of 1982, as did keyboardist Billingham. Unfortunately, at the peak of the group's success, the rest of the line-up proved unstable as well, due in part to rifts with Rowland; eventually, the core of the group was whittled down to Rowland, guitarist Adams, and violinist O’Hara.
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Rowland took Dexys to New York to work on the follow-up album, which - slowed by his perfectionism - took a year and a half to record. In the meantime, EMI released the singles compilation Geno in 1983. Paterson rejoined the group when Rowland decided to blend his soul and folk phases more thoroughly, and the rest of the instrumentation was filled out by hired session musicians. When Don't Stand Me Down was finally released in 1985, Rowland insisted that no singles were to be pulled from the album, wanting it to stand as a cohesive piece of work in the manner of '70s LPs. As a result, it sold much more poorly than expected and wasn't helped by lack-luster reviews that slammed Rowland's attempts at Van Morrison-esque poetry. After a few weeks, a panicked Mercury - who'd spent quite a bit of money to make the record - released "This Is What She's Like" as a single, but the damage was already done. One last single, "Because of You," charted in 1986 after being used as the theme to a British TV show, but with Don't Stand Me Down having bombed, the group disbanded.
Rowland mounted a solo career and returned in 1988 with The Wanderer, a mellow record flavoured with country and lounge-pop, which failed to sell. A disheartened Rowland spent the next few years in a deep depression, fighting off bankruptcy and cocaine addiction. In 1996, he signed with Creation as a solo artist, but in typically idiosyncratic fashion, his comeback effort was an all-covers album; My Beauty was released in 1999 and sold abominably, probably not helped by Rowland's new wardrobe of dresses and suspenders. Meanwhile, ska-punk revivalists Save Ferris covered "Come on Eileen" for a U.S. hit in 1997, a testament more to the song's enduring popularity than to the imagination of their rearrangement. ~ Steve Huey, All Music Guide
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TOYAH WILLCOX
Toyah Willcox is a highly successful, creative and incredibly diverse woman. Her major hit records and many prestigious stage and screen roles have made her one of Britain's biggest household names.
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Her musical career spans three decades and highlights include 13 UK top 40 singles, over 30 albums and she is considered one of the greatest women in British music. More recently, she formed a new band called The Humans with Bill Rieflin (also in REM), Chris Wong and special guest appearances by rocker husband, Robert Fripp of King Crimson fame.
Willcox began life in Birmingham where she started out in acting school. She had a role in the classic, Quadrophenia. She played the brash and blonde Monkey which launched her as belligerent and anti-establishment figure.
Meanwhile, she had also started up her own band, simply called Toyah. By 1979, the band released its first EP called Sheep Farming in Barnet. The second album, The Blue Meaning, slipped into the Top 40 and with the critical acclaim of her previous release, she was heralded as an up-and-coming talent.
By 1981, the track It’s a Mystery helped to secure her appearances on hit TV shows like Top of the Pops and The Old Grey Whistle Test Christmas Special. This was followed by several other hits including Thunder In The Mountains (#4) and I Want to Be Free (#8). The following year, she was awarded Best Female Singer in the Rock & Pop Awards (known today as the BRITs).
Although 1981 was the last year she had any top 10 hits, her EPs and albums continued to do well.
In the mid-80s, Willcox went solo and had some modest hits with Don’t Fall in Love (I Said) and a version of Echo Beach.
After concentrating mainly on her acting career, Willcox returned with avengence in 2007 with a digital release called Latex Messiah and two years later, she formed The Humans and released a cover of Nancy Sinatra’s These Boots Are Made For Walking.
Toyah continues to work in music, writing and performing, whilst refusing to compromise any aspect of her multi-faceted and varied career.
Albums:
Source: Juanita Appleby
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THOMAS DOLBY
The man behind iconic 80s song, She Blinded Me with Science, is Thomas Dolby. This synth-based, catchy song was supported with an appealing video and remains a staple when discussing the early days of MTV. But Dolby’s career in the music industry is denser than a one-hit wonder. As a producer and musician, he has become a well-known and sought after collaborator, technology advocate, and inspiration for fledgling synth-rock maestros globally.
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Dolby’s Grammy-nominated approach and style in music has constantly been in flux – from the synth-driven pop of his first album The Golden Age of Wireless to funky and emotive arrangements in later albums like Aliens Ate My Buick and Astronauts and Heretics.
His career started out shortly after he taught himself music and dropped out of school to join an R&B/Jazz band. By the 80s, he was contributing to albums as a session musician for the Thompson Twins, Def Leppard and Foreigner. This financially supported his own solo efforts to record his first album, 1982’s The Golden Age of Wireless. Two years later he released The Flat Earth on Capitol Records.
These two albums by Dolby were well-received by critics and achieved Gold status in the US. Despite, his later un-charting singles in the late-80s and early-90s, Dolby remained active in the music industry and established a technology company that would go on to develop a music file format for internet usage. This venture for Dolby was important as he is a strong advocate for copyright protection and has consistently voiced his opinion over unauthorised sampling and piracy.
Dolby’s musical talents would also benefit him in another business activity in composing hundreds of polyphonic ringtones including the Nokia signature theme. He has also worked as a producer and soundtrack composer for films and video games. In 1998, Yahoo! awarded Dolby with a Lifetime Achievement in Internet Music.
After various, successful one-off gigs in the 2000s, Dolby returned to the music scene and moved back to the UK in 2006. He continues to collaborate, tour and release new and re-mastered material.
Albums:
Sources: Juanita Appleby; Jeffrey Taylor
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THE KILLERS
If you asked the average person on the street, they could probably have their own favourite song from the Las Vegas band. Formed in 2002, Brandon Flowers (lead singer, piano), Dave Keuning (guitar, backing vocals), Mark Stoermer (bass, backing vocals), Ronnie Vannucci Jr (drums, percussion) are heavily influenced by 1980 iconic bands such as New Order, David Bowie and Joy Division among others. They have gone from strength to strength by selling out venues such as the legendary Royal Albert Hall and headlining festivals all over the world.
Their first album ‘Hot Fuzz’ was released in 2004 after The Killers agreed to sign for UK label Marrakesh records and US label Island records. The album included the singles ‘Mr Brightside’, ‘Smile Like You Mean It’, ‘Somebody Told Me’ and ‘All These Things That I’ve Done’. The album itself has been influenced by 80s rock and is regarded by many as one of the best records of the decade with songs released from ‘Hot Fuzz’ being placed respectfully in the top ten of the best songs of the decade. ‘Mr Brightside’ received the accolade for best song of the decade from Xfm. In 2009, young British artists were brought together to form Young Soul Rebels, covered the song ‘All These Things That I’ve Done’ to raise money for the charity War Child Group.
Bouncing from the success from ‘Hot Fuzz’, The Killers released their second album ‘Sam’s Town’ in 2006. The album was not as successful as the first and received mixed reviews. However, ‘Sam’s Town’ includes the singles ‘When You Were Young’, ‘Read my Mind’, ‘Bones’ and ‘For Reasons Unknown’ which are hits in their own right. The self titled song on the record was not released as a single to the annoyance of their fans. By the end of the year, The Killers won Best International Group and Best International Album at the BRIT awards. They also headlined Glastonbury festival in 2007.
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A B-side collection of the band was released in 2007 named ‘Sawdust’. The album saw the release of the single ‘Tranquilize’ and saw the legendary Lou Reed collaborate to create the song. The Killers also cover the songs ‘Shadowplay’ (Joy Division), ‘Ruby, Don’t Take Your Love To Town’ (Kenny Rodgers and The First Edition) and ‘Romeo and Juliet’ (Dire Straits) as a mark of respect for the bands they admire.
2008 saw The Killers release their third album ‘Day & Age’, produced by Stuart Price, includes the singles ‘The World We Live In’, ‘Spaceman’, ‘A Dustland Fairytale’ and the number one classic ‘Human’.
The Killers are heavily linked to the charity group ‘Project Red’ as they have released a Christmas song every year since 2006 with all of the profits going to the charitable organization. The singles include ‘A Great Big Sled’, ‘Don’t Shoot Me Santa’, ‘Joseph, Better You Than Me’ (collaborated with Elton John) and ‘Happy Birthday Guadalupe’.
The accolades keep coming for the American indie band with NME giving them Best International Band for the years 2005, 2008 and 2009 and they have received seven Grammy nominations.
Recently, the Daily Telegraph reported Brandon Flowers hopes The Killers will be bigger than U2 in the future. If they continue to create more number one albums, it looks like that could be the case.
Albums:
Source: Dean Woodhouse
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