Now on sale in a variety of styles and colours for the initial low price of $14. My riff on the famous campaign that we all ignored.
Haven’t had anything from the lovely Clare and the boys in a while. This is from their final album Bite where they tried to sound more grown-up and sophisticated with wonderful results. Despite being easily their best album it sold less than the previous two and the band broke up. Such a shame, but I suppose it’s better to go out on a high note.
This 1980 single is the only Psychedelic Furs record I ever bought. They were a good band, but in a crowded field of a million Bowie/Roxy-influenced post-punk acts I didn’t think there wasn’t anything that special to make me spend my Saturday job wages on them. But I obviously did like this enough.
“Mr. Jones” is from their second album Talk Talk Talk but this single version was given a bolder, brighter production which I prefer to the rawer album original. It’s less punky and shorter, but the beat has more punch to it. It didn’t make a dent in the charts so it’s one of the many “Am I the only one who bought this?” records I have.
Download: Mr. Jones (Single Version) – The Psychedelic Furs (mp3)
I’ve been listening to Sandie Shaw’s 1988 album Hello Angel for the first time in years and it’s way better than you’d expect for the comeback attempt of a faded 60s pop singer. Sandie’s own songs are great and her collaborations with The Smiths got the headlines, but I think the stand-out track is her cover of The Jesus & Mary Chain’s “About You” (with a slightly changed title).
I didn’t pay much attention to The Mary Chain back then so I’d never heard the original before, it’s good but I prefer Sandie’s grander and more emotional version.
Download: Cool About You – Sandie Shaw
There is some dispute about who originally coined the word “Yuppie” and when, but it first came into widespread use around 1983 and as we all know became one of the defining words of the 1980s: synonymous with “designer” lifestyles, conspicuous consumption, and Phil Collins albums.
But when Heaven 17 released their debut album in 1981 I doubt anyone knew how the decade was going to turn out. That was the year of the riots in Brixton and Toxteth, IRA hunger strikes, unemployment reaching 2.5 million, and Maggie Thatcher being the most unpopular Prime Minister in polling history. Though the wedding of Charles and Diana and the introduction of the Sinclair ZX81 home computer were signs of things to come, it’s fair to say that year the country was still struggling to escape the 70s.
After leaving The Human League, Martyn Ware and Ian Craig Marsh first appropriated the language of big business by giving themselves the corporate-sounding name British Electric Foundation (known by the faceless acronym “B.E.F”), and the sleeve of Penthouse and Pavement presents their recruitment of singer Glenn Gregory to form Heaven 17 as some kind of business merger. The copy proudly declares this to be “The New Partnership That’s Opening Doors All Over The World” in cliched, vacuous marketing-speak, while the power-suited band strike generic stock-photo “business” poses — shaking hands, on the phone — like it’s the cover of a brochure for some dreadful multinational corporation.
The “Heaven 17: Sheffield, Edinburgh, London” logo is apparently a Dunhill pastiche, and the same year those other Left-wing pop intellectuals Scritti Politti were doing similarly subversive, post-modern riffs on luxury brands with their own record sleeves. Heaven 17 took it even further by dressing as businessmen in photo shoots.
While this was all meant as a Lefty piss-take of capitalism and the pro-business rhetoric of Thatcher and Reagan, it turned out Heaven 17 were being unintentionally prophetic in their choice of visuals. Soon the power-suited, hair-slicked-back style of corporate tycoons made the leap from Wall Street and The City to become a mainstream, aspirational look driven by the new breed of go-getting Yuppies. Pop groups started wearing wearing Armani and pinstripes unironically, and the nation’s wine bars were full of young men looking like cut-price Gordon Gekkos in double-breasted suits from Next.
The 1980s ended when the stock market tanked on Black Monday, and coincidentally around the same time Acid House came along and the youth threw away their suits and chinos, and traded them in for dungarees and Smiley t-shirts. Personally I found that all a bit nursery school but it was better than looking like an accountant. Heaven 17 meant it as a conceptual gag but way too many people took it literally.
Download: Play To Win – Heaven 17 (mp3)
Download: We’re Going To Live for a Very Long Time – Heaven 17 (mp3)
God, this song. Still one of the greatest indiepop odes to swoony young love ever made. An essential inclusion on any mixtape you made for someone you had a crush on.
I’d completely forgotten about this Simple Minds single even though I used to have the 12″ version. I thought it was one of their best.
I first heard of the late Steve Strange in 1979 when he was the notoriously-strict doorman at the Blitz club in Covent Garden and his refusal to let Mick Jagger into the club became a minor tabloid story. An act that served as both bravely sticking to your style guns and two fingers up to the crusty old rock establishment — though when Bowie showed up he was treated like a God, they were his children after all.
Back then, the Blitz Kids (as New Romantics were called initially) were still just a small underground clique and I can remember seeing these dazzling peacocks in flamboyant clothes and make-up hanging around the King’s Road or going out at night on the Tube, and would be startled by how they looked which was a million colourful miles away from the Punk and Mod styles everyone else was wearing. I had no idea who they were but admired the balls it took to go out looking like that, in those days just looking “weird” could easily get you beaten up.
Steve Strange grew up in Wales as plain old Steve Harrington and, like many kids of his generation, had his life changed by seeing the Sex Pistols and moved to London with dreams of reinventing himself, changing his name, creating his own scene. This was when it was possible to survive in London without much money and get by on the dole and living in squats which most of them did. It was also that exciting time post-Punk when outsiders and oddballs like Strange, Boy George, Gary Numan, Adam Ant, and Marc Almond could be given the keys to the pop kingdom and become bona fide stars. God knows we could do with some colorful mavericks like them in mainstream pop music today.
The New Romantic cult can look very silly today (never boring though), but Strange and his Blitz friends had an influence way beyond that one movement. They changed the look and sound of British pop, defining 80s music in the process. It was also the first British style/musical movement to come out of the club scene which would prove to be the incubator for nearly every other one to come after.
Once you look past the frills and eyeliner it did produce some great records too. Because Strange was thought of as just a club promoter and fashion plate it wasn’t exactly cool to like Visage (despite the rest of the band all being members of Ultravox and Magazine) but I did love this one, particularly the extended 12″ dance version.
Download: Night Train (Dance Mix) – Visage (mp3)