So you think New Jersey, US is an unlikely launch pad for a music star? How about Bromley, UK, then?
William Michael Albert Broad, a.k.a. Billy Idol, was born 1955 in Stanmore, England, deriving his stage name Idol from a schoolteacher's description of him as 'idle'.
Billy went on to join the Bromley Contingent of Sex Pistols fans. He first joined the punk rock band Siouxsie and the Banshees (before the band had decided on that name) in 1976, but soon quit and joined Chelsea in 1977 as a guitarist. But him and bandmate Tony James soon quit and co-founded Generation X, with Billy switching from guitarist to lead singer. Generation X signed to Chrysalis Records, released three albums and performed in the 1980 film, D.O.A., before disbanding.
The year after Billy moved to New York to start his solo career, which began with the EP titled Don't Stop. This included the Generation X song 'Dancing with Myself', originally recorded for their last album Kiss Me Deadly, and a cover of Tommy James & The Shondells' song 'Mony Mony'. In 1982 Idol instantly became an MTV staple with 'White Wedding'. In an effort to introduce himself to American audiences not yet as familiar with him as those in England, Billy's label re-released 'Dancing with Myself' in the US in conjunction with a music video (directed by Tobe Hooper, produced by Jeffrey Abelson, and conceptualised by Keith Williams) that played in heavy rotation on MTV for six months. That video sparked a new era of feature film directors trying their hand at music videos, which helped make Idol a household name.
My favourite Billy Idol tracks are 'Eyes Without A Face' and 'Flesh For Fantasy'.
Billy Idol - Dancing With Myself (1981 & 1983)
1981 - UK#62, US#102
1983 - NZ#9, AUS#42
Here comes the rain again
Falling on my head like a memory
Falling on my head like a new emotion
I want to walk in the open wind
I want to talk like lovers do
I want to dive into your ocean
Is it raining with you
So baby talk to me
Like lovers do
Walk with me
Like lovers do
Talk to me
Like lovers do
Here comes the rain again
Raining in my head like a tragedy
Tearing me apart like a new emotion
Oooooh
I want to breathe in the open wind
I want to kiss like lovers do
I want to dive into your ocean
Is it raining with you
So baby talk to me
Like lovers do
Walk with me
Like lovers do
Talk to me
Like lovers do
So baby talk to me
Like lovers do
Here comes the rain again
Falling on my head like a memory
Falling on my head like a new emotion
(Here is comes again, here it comes again)
I want to walk in the open wind
I want to talk like lovers do
I want dive into your ocean
Is it raining with you
Annie Lennox (born 1954 in Aberdeen, Scotland) and Dave Stewart (born 1952 in Sunderland, Northern England), a.k.a. Eurythmics, met in a London restaurant in 1975. Annie was working there at the time and both went on to form and the play together with Peet Coombes in their group The Catch. They released one single, 1977's 'Borderline/Black Blood'. The single was released in the UK, NL, ES and POR. The Catch soon became known as The Tourists, who had some chart success in 1979-80 though disbanded soon after due to legal issues with management, publishers and their record label at the time, Logo Records.
Also having a personal relationship by then, Annie and Dave decided to go it alone and became Eurythmics (named after a style of Greek dance that Annie had did as a child), signed to RCA Records. Their breakthrough came with their second album, Sweet Dreams (Are Made of This), released early 1983. The title track featured a dark and powerful sequenced synth bass line and a dramatic video with Annie sporting an orange crew haircut, rapidly making her the new pop icon.
After strenuous years of touring and recording (Eurythmics had released eight studio albums in eight years), a rift had developed between the duo and Eurythmics disbanded, although no official notice was given. Dave began writing film soundtracks and had a big international hit in 1990 with the instrumental track 'Lily Was Here', featuring saxophonist Candy Dulfer, while in 1992, Annie released her first solo album, Diva. The album was a critical and popular success .
Laura Ann Branigan was born in 1957 in Brewster, NY, to Italo-Irish parents and began her musical career as early as 1973 in a band called Meadow. Following their break-up, she had several jobs, including being background singer to artists like Leonhard Cohen.
In 1979 she was signed to Atlantic Records, who gave her the chance to write and sing independently. The results were the tracks 'Looking Out For Number One' and an unreleased album called 'Silver Dreams' in 1981.
Her breakthrough came with the release of her self-titled album.
'Gloria' released in 1982, made her a household name in America and Austrlia. It remained in the US Billboard Charts for a whopping 39 weeks, which set a record at the time.
Her European fame came with her third album 'Self Control'. The release of the title track hit the continent like a bomb should also mark the height of her career. The song became her most popular international hit, topping the charts in several countries, most notably West Germany, where it spent seven weeks at DE#1! This is how I got to know her. Oddly enough Laura never really scored high in Italy.
By the time of Branigan's fourth album, 1985's Hold Me, 'Self Control' was a world-wide success. The hits continued with 'Spanish Eddie', 'Hold Me' and 'I Found Someone' (co-written by Michael Bolton, and later a hit for Cher). However, neither song was supported by a music video and stalled in the lower reaches of the Hot 100 chart.
Touch, which was released in 1987, marked a change in Branigan's career. Under new management and using different producers, Branigan took a more active role in her work and in the studio. Touch saw her return to dancefloors with the Stock/Aitken/Waterman-produced 'Shattered Glass'. The album also included a return to the Billboard Top 40 with her cover of Jennifer Rush's 'The Power of Love', which was one of the bestselling singles in the US.
During the height of her career, Branigan also made acting appearances, first in 1981 in An American Girl in Berlin for German television, and then after the success of 'Gloria', guest appearances on American TV series such as CHiPs and Knight Rider. She would later do independent films such as Mugsy's Girls (aka Delta Pi, 1985)and the Australian film Backstage.
Branigan also contributed songs to notable movie and television soundtracks, including the Grammy- and Academy Award-winning Flashdance soundtrack (1983), the Ghostbusters soundtrack (1984), and the Baywatch soundtrack (1994), as well as having songs featured in the popular Grand Theft Auto video game series.
Laura died all too early at her home on Long Island, NY, on August 26, 2004. Her death was attributed to a previously undiagnosed brain aneurysm. Her ashes were scattered over Long Island Sound.
Laura Branigan - Self Control (1984)
CAN#1, AT#1, DE#1, US#2, IRL#2, AUS#3, UK#5, FR#5
Last Christmas I gave you my heart
But the very next day you gave it away
This year to save me from tears
I'll give it to someone special
Last Christmas I gave you my heart
But the very next day you gave it away
(You gave it away)
This year to save me from tears
I'll give it to someone special
(Special)
Once bitten and twice shy
I keep my distance but you still catch my eye
Tell me baby, do you recognize me?
Well, it's been a year, it doesn't surprise me
(Happy Christmas)
I wrapped it up and sent it
With a note saying 'I love you,' I meant it
Now I know what a fool I've been
But if you kissed me now I know you'd fool me again
Last Christmas I gave you my heart
But the very next day you gave it away
(You gave it away)
This year to save me from tears
I'll give it to someone special
(Special)
Last Christmas I gave you my heart
But the very next day you gave it away
This year to save me from tears
I'll give it to someone special
(Special)
Oh, oh my baby
Crowded room, friends with tired eyes
I'm hiding from you and your soul of ice
My god, I thought you were someone to rely on
Me, I guess I was a shoulder to cry on
A face on a lover with a fire in his heart
A man undercover but you tore him apart
Ooh hoo, now I've found a real love
You'll never fool me again
Last Christmas I gave you my heart
But the very next day you gave it away
(You gave it away)
This year to save me from tears
I'll give it to someone special
(Special)
Last Christmas I gave you my heart
But the very next day you gave it away
(You gave me away)
This year to save me from tears
I'll give it to someone special
(Special)
A face on a lover with a fire in his heart
(Gave you my heart)
A man undercover but you tore him apart
Maybe next year I'll give it to someone
I'll give it to someone special
(Special)
Someone
Someone
I'll give it to someone
I'll give it to someone special
Who'll give me something in return
(I'll give it to someone)
Hold my heart and watch it burn
(I'll give it to someone)
(I'll give it to someone)
(I'll give it to someone special)
I thought you were here to stay
How can you love me for a day?
I thought you were someone special
Gave you my heart
(I'll give it to someone)
(I'll give it to someone)
Last Christmas I gave you my heart
You gave it away
(I'll give it to someone)
(I'll give it to someone)
It's close to midnight and something evil's lurking in the dark
Under the moonlight you see a sight that almost stops your heart
You try to scream but terror takes the sound before you make it
You start to freeze as horror looks you right between the eyes,
You're paralyzed
'Cause this is thriller, thriller night
And no one's gonna save you from the beast about to strike
You know it's thriller, thriller night
You're fighting for your life inside a killer, thriller tonight
You hear the door slam and realize there's nowhere left to run
You feel the cold hand and wonder if you'll ever see the sun
You close your eyes and hope that this is just imagination
Girl, But all the while you hear a creature creepin' up behind
You're out of time
'Cause this is thriller, thriller night
There ain't no second chance against the thing with forty eyes, girl
You know it's thriller, thriller night
You're fighting for your life inside a killer, thriller tonight
Night creatures call
And the dead start to walk in their masquerade
There's no escapin' the jaws of the alien this time (they're open wide)
This is the end of your life
They're out to get you, there's demons closing in on every side
They will possess you unless you change that number on your dial
Now is the time for you and I to cuddle close together, yeah
All through the night I'll save you from the terror on the screen,
I'll make you see
That this is thriller, thriller night
'Cause I can thrill you more than any ghost would dare to try
Girl, this is thriller, thriller night
So let me hold you tight and share a killer, diller, chiller,
Thriller here tonight
Darkness falls across the land
The midnight hour is close at hand
Creatures crawl in search of blood
To terrorize your neighborhood
And whosoever shall be found
Without the soul for getting down
Must stand and face the hounds of hell
And rot inside a corpse's shell
I'm gonna thrill you tonight
(Thriller, thriller)
I'm gonna thrill you tonight
(Thriller night, thriller)
I'm gonna thrill you tonight
Ooh, babe, I'm gonna thrill you tonight
Thriller night, babe
The foulest stench is in the air
The funk of forty thousand years
And grizzly ghouls from every tomb
Are closing in to seal your doom
And though you fight to stay alive
Your body starts to shiver
For no mere mortal can resist
The evil of the thriller
wir haben wieder die Nacht zum Tag gemacht
ich nehm' mein Frühstück abends um acht
Gedanken fließen zäh wie Kaugummi
mein Kopf ist schwer wie Blei, mir zittern die Knie
gelallte Schwüre in rot-blauem Licht
vierzigprozentiges Gleichgewicht
graue Zellen in weicher Explosion
Sonnenaufgangs- und Untergangsvision
was ist los, was ist passiert?
ich hab' bloß meine Nerven massiert
Alkohol
ist dein Sanitäter in der Not
Alkohol
ist dein Fallschirm und dein Rettungsboot
Alkohol
ist das Drahtseil, auf dem du stehst
Alkohol, Alkohol, Alkohol
die Nobelscene träumt vom Kokain
und auf dem Schulklo riecht's nach Gras
der Apotheker nimmt Valium und Speed
und wenn es dunkel wird, greifen sie zum Glas
was ist los, was ist passiert?
ich hab' bloß meine Nerven massiert
Alkohol
ist dein Sanitäter in der Not
Alkohol
ist dein Fallschirm und dein Rettungsboot
Alkohol
ist das Drahtseil, auf dem du stehst
Alkohol
ist das Schiff, mit dem du untergehst
Alkohol
ist dein Sanitäter in der Not
Alkohol
ist dein Fallschirm und dein Rettungsboot
Alkohol
ist das Dressing für deinen Kopfsalat
Alkohol, Alkohol, Alkohol
...and the English (lateral) translation:
we hit the dark rooms at the dying of the light
and for developments await
the day beginning with the coming of the night
i take my breakfast at eight p.m.
i list the promises i've given to myself
the world's at fourty degrees
messages in bottles wait upon the bar-room shelf
i count them off in twos and threes
there's something ironic
in unspoken jest
my nerves take a tonic
and the world takes the rest
alcohol is an ambulance, a fighting ship
alcohol gives the hand that shakes a steady grip
alcohol is the scorpion in a lucky dip
alcohol, alcohol
i wall my thoughts up with a plaster skim
like chewing gum they all congeal
through glasses, darkly, i observe that's me that's him
some kind of skeleton is hazily revealed...
nothing's the matter
nothing has changed
i'm mad as a hatter
but feeling no pain
alcohol is the angel's kiss upon your lips
alcohol is the sorceror's apprenticeship
alcohol is the parachute that never rips
alcohol is the jacket that you can't unzip
alcohol is the searchlight and a neon strip
alcohol is the answer at your fingertips
alcohol - the casino where you cash your chips
alcohol, alcohol, alcohol
alcohol is an ambulance, a fighting ship
alcohol gives the hand that shakes a steady grip
alcohol is the scorpion in a lucky dip
alcohol is the jacket that you can't unzip
alcohol is the searchlight and a neon strip
alcohol is the answer at your fingertips
alcohol - the casino where you cash your chips
alcohol, alcohol, alcohol
alcohol is the angel's kiss upon your lips
alcohol is the sorceror's apprenticeship
alcohol is the parachute that never rips
alcohol is the jacket that you can't unzip
alcohol is the searchlight and a neon strip
alcohol is the answer at your fingertips
alcohol - the casino where you cash your chips
alcohol, alcohol, alcohol
Männer nehmen in den Arm,
Männer geben Geborgenheit,
Männer weinen heimlich,
Männer brauchen viel Zärtlichkeit,
ohh Männer sind so verletzlich,
Männer sind auf dieser Welt einfach unersetzlich
Männer kaufen Frauen,
Männer stehen ständig unter Strom,
Männer baggern wie blöde,
Männer lügen am Telefon,
ohh Männer sind allzeit bereit
Männer bestechen durch ihr Geld und ihre Lässigkeit
Männer habens schwer, nehmens leicht
aussen hart und innen ganz weich,
werden als Kind schon auf Mann geeicht.
Wann ist ein Mann ein Mann?
Wann ist ein Mann ein Mann?
Wann ist ein Mann ein Mann???
Männer haben Muskeln,
Männer sind furchtbar stark,
Männer können alles,
Männer kriegen 'nen Herzinfakt,
ohh Männer sind einsame Streiter
müssen durch jede Wand, müssen immer weiter.
Männer habens schwer, nehmens leicht
aussen hart und innen ganz weich
werden als Kind schon auf Mann geeicht.
Wann ist ein Mann ein Mann?
Wann ist ein Mann ein Mann?
Wann ist ein Mann ein Mann???
Männer führen Kriege,
Männer sind schon als Baby blau,
Männer rauchen Pfeife,
Männer sind furchtbar schlau,
Männer bauen Raketen,
Männer machen alles ganz genau.
Oh wann ist ein Mann ein Mann?
Oh wann ist ein Mann ein Mann???
...and the English translation:
Men take you in their arms
Men give comfort
Men cry secretly
Men need a lot of tenderness and
Men are so vulnerable
Men are just irreplacable in this world
Men buy women
Men are always on the run
Men flirt like crazy
Men lie on the telephone
Men are ready all the time
Men captivate with their money and nonchalance
Men have a hard life, but take it easy
Hard on the outside, soft at the inside
When being a child they already are turned into men
When is a man a man?
When is a man a man?
Men have muscles
Men are so strong
Men can do everything
Men get a heart attack and
Men are lonely fighters
Have to get through every wall, always have to go on
Men have a hard life, but take it easy
Hard on the outside, soft at the inside
When being a child they already are turned into men
When is a man a man?
Men lead wars
Men are already drunk when they are yet babies
Men smoke pipe
Men are extremly clever
Men build rockets
Men do everything, yes exactly
When is a man a man?
Men get no children
Men get thin hair
Men are human beings too
Men are a bit strange and
Man are so vulnerable
Men are just irreplacable in this world
One of my favourites songs of the 1980s comes courtesy Fox The Fox, a Dutch Disco-Funk formation founded by Bert Tamaela and Sylhoutte Musmin in 1981. Unfortunately the group could not successfully follow up on their track Precious Little Diamond, which was released in 1984.
Fox The Fox - Precious Little Diamond (1984)
1984: DE#5, NL#11, FR#15
1986: UK#86
Nickolas Ashford (from South Carolina) and Valerie Simpson (from The Bronx,NY) met at Harlem's White Rock Baptist Church in 1963.
After having recorded unsuccessfully as a duo, they joined aspiring solo artist and former member of the Ikettes, Josie Jo Armstead as well as the Shirelles and Chuck Jackson. Another of the trio's songs 'Let's Go Get Stoned' gave Ray Charles a US#1 in 1966.
That same year Ashford & Simpson joined Motown where their best known songs included 'Ain't No Mountain High Enough' - a track they wrote for Diana Ross with them on background vocals - and 'Ain't Nothing Like the Real Thing'.
But Ashford & Simpson are best known for their track 'Solid'. The duo was inducted into the Songwriters Hall of Fame in 2002.
Ashford & Simpson - Solid (1984)
US#29, UK#42
Diana Ross - Ain't No Mountain High Enough' (1970)
'How Soon Is Now' was written by Johnny Marr one afternoon in June 1984. Johnny posted a rough demo of the track in the mail to Morrissey. The following morning Morrissey arrived and laid down his vocals, culling lyrics from various works in progress in his notebook in the process. According to John Porter, their producer at Rough Trade records, he completed his vocals in two takes.
The song contains only one verse which is repeated twice, plus a chorus and a bridge. The story is about someone who can't quite deal with his shyness. Two lines of the lyrics are well known in pop culture:
'I am the son, and the heir, of a shyness that is criminally vulgar. I am the son and heir, of nothing in particular' and the chorus: 'I am human and I need to be loved, just like everybody else does'.
During recording, Johnny created an oscillating guitar effect that plays throughout the song. After a break, they added a few overdubs to the track, including a slide guitar part that gave the song real tension.
When Rough Trade owner Geoff Travis first heard the track, he felt it was too unrepresentative of The Smiths' sound to be released as a standalone single in it's own right. Despite pressure from John Porter to save the song for a later single release as an A-side, 'How Soon Is Now?' was included as B-side on the 12" single release of 'William, It Was Really Nothing' in August 1984. John's thoughts were 'They totally threw it away, wasted it'. But almost immediately night-time British radio picked up on the song, and by autumn it had become the most-requested track. Thus, it was subsequently included on The Smiths' compilation album Hatful of Hollow, released at the end of the year.
Due to the popularty, Rough Trade decided to re-released it as an A-side in the UK in January 1985. The 12" vinyl included a new instrumental track, 'Oscillate Wildly'. Although the track was considered something of a Smiths' classic by now, the re-release only managed to rise to UK#24, probably because everybody already had it.
Following the acquisition of the Rough Trade catalogue by Warner Bros. 'How Soon Is Now?' was issued - again - as a single in the UK in September 1992, which reached UK#16.
The track was covered numerous times, in the spectrum of musical genres ranging from metal-like versions (Quicksand & Meatmen) to out-right pop (t.A.T.u). Some of the versions were used as theme by TV programme Charmed. The famous guitar-riff was also sampled by Soho, under endorsement by The Smiths'. All of the version to find here. Enjoy :-)
Hardly anyone knows him by his real name Johann - or Hans - Hölzel , but when you say Falco, then most ears prick up in recognition. Born 19 February 1957 in Vienna, Austria, and died - far too early - just before his 41st birthday in a car crash in the Dominican Republic.
Unbelivable but true: he is the first and only artist to date whose principal language was German to score a number-one hit in the United States - with 'Rock Me Amadeus', even Nena's 99 Red Balloons did not achieve that. He has sold 40 million albums and 20 million singles, which makes him one of the best selling Austrian singers ever.
Falco began to show signs of unusual musical talent very early. As a toddler, he was able to keep time with the drumbeat in songs he heard on the radio. He was given a baby grand piano for his fourth birthday; a year later, his birthday gift was a record player which he used to play music by Elvis Presley, Cliff Richard, and the Beatles. At age five, he auditioned for the Vienna Music Academy, where it was confirmed that he had perfect pitch.
He entered the Vienna Music Conservatory in 1977, but left after one semester to 'become a real musician'. For a short time, he lived in West Berlin while singing in a jazz-rock band and exploring the club scene. When he returned to Vienna he decided on his stage name Falco in tribute to the East German ski jumper Falko Weißpflog (he changed one letter to make the name more international).
Falco's first hit was 'Der Kommissar' from the 1982 album Einzelhaft (Soliary Confinement). A German language song about drug consumption that combines rap verses with a sung chorus, Falco's record was a number-one success in many countries but failed to break big in the US. But the song would prove to have a life of its own in two English-language versions: British rock band After the Fire recorded an English cover version, loosely based on Falco's lyrics and also called 'Der Kommissar' (with uh-oh and alles klar Herr Kommissar the only other lyrics held over from the original). This time, the song shot to US#5 (their only major hit there) in 1983, though it failed to crack the UK Top40.
That same year, Laura Branigan recorded a version of the song with new English lyrics under the title 'Deep In The Dark' on her album Branigan 2.
After a second album, Junge Roemer (Young Romans) failed to provide a repeat to his debut single's success outside of Austria and Germany (where the album topped the charts), Falco began to experiment with English lyrics in an effort to broaden his appeal, and chose a new production team. The result would be the most popular album and single of his career: Falco recorded 'Rock Me Amadeus' inspired in part by the Oscar-winning film Amadeus, and the song became a worldwide hit in 1986.
'Jeanny', the third release from his third album Falco 3, was highly controversial when it was released in Germany and the Netherlands, the story of Jeanny was told from the point of view of a rapist and possible murderer. Several DJs and radio stations refused to play the ballad, which was ignored in the U.S., though it became a huge hit in many European countries, and inspired two sequels on later albums.
The following years were somewhat his decline: he went on a World Tour, sang a duet with Brigitte Nielsen, 'Body Next to Body' and released another album, Wiener Blut (Viennese Blood) but it did not get much publicity outside Germany and Austria.
His 1992 comeback attempt, the album Nachtflug (Night Flight) was very successful in the German speaking territories, but failed to chart internationally.
Falco died of severe injuries from a collision with a bus on the road linking the towns of Villa Montellano and Puerto Plata in the Dominican Republic. It was initially reported that the autopsy showed high blood levels of alcohol and cocaine, which was later dismissed. At the time of his death, he was planning a comeback.
He was buried in the Zentralfriedhof (Central Cemetery) in Vienna, Austria.
So you think New Jersey, US is an unlikely launch pad for a music star? How about Bromley, UK, then?
William Michael Albert Broad, a.k.a. Billy Idol, was born 1955 in Stanmore, England, deriving his stage name Idol from a schoolteacher's description of him as 'idle'.
Billy went on to join the Bromley Contingent of Sex Pistols fans. He first joined the punk rock band Siouxsie and the Banshees (before the band had decided on that name) in 1976, but soon quit and joined Chelsea in 1977 as a guitarist. But him and bandmate Tony James soon quit and co-founded Generation X, with Billy switching from guitarist to lead singer. Generation X signed to Chrysalis Records, released three albums and performed in the 1980 film, D.O.A., before disbanding.
The year after Billy moved to New York to start his solo career, which began with the EP titled Don't Stop. This included the Generation X song 'Dancing with Myself', originally recorded for their last album Kiss Me Deadly, and a cover of Tommy James & The Shondells' song 'Mony Mony'. In 1982 Idol instantly became an MTV staple with 'White Wedding'. In an effort to introduce himself to American audiences not yet as familiar with him as those in England, Billy's label re-released 'Dancing with Myself' in the US in conjunction with a music video (directed by Tobe Hooper, produced by Jeffrey Abelson, and conceptualised by Keith Williams) that played in heavy rotation on MTV for six months. That video sparked a new era of feature film directors trying their hand at music videos, which helped make Idol a household name.
My favourite Billy Idol tracks are 'Eyes Without A Face' and 'Flesh For Fantasy'.
Billy Idol - Dancing With Myself (1981 & 1983)
1981 - UK#62, US#102
1983 - NZ#9, AUS#42
Depeche Mode formed in 1980 in Basildon, Essex, England - although their origins date back to 1977, when schoolmates Vince Clarke and Andrew Fletcher formed a band called No Romance in China, with Vince on vocals and guitar and Andrew on bass.
Vince then played guitar in 'Ultravox rip-off band' The Plan in 1979 with friends Robert Marlow and Paul Langwith, while Martin Gore played guitar in acoustic duo Norman & The Worms with school friend Philip Burdett on vocals. Marlow, Gore, and Paul Redmond formed a band called The French Look.
In March 1980, Vince, Martin and Andrew formed a band called Composition of Sound. Soon after the formation of Composition of Sound, Vince and Andrew switched to synthesizers. Dave Gahan joined the band in 1980 after Vince heard him perform at a local scout hut jam session, singing to a rendition of David Bowie's 'Heroes' - and Depeche Mode were born.
When explaining the choice for the new name, taken from a French fashion magazine, Dépêche Mode, Martin Gore said: 'It means hurried fashion or fashion dispatch. I like the sound of that.'
Martin recollects that the first time the band played as Depeche Mode was a school gig in May 1980. The band made their recording debut in 1980 on the Some Bizzare Album with the song 'Photographic', which was later re-recorded for their debut album Speak & Spell.
While playing a live gig at the Bridge House in Canning Town, London, Depeche Mode were approached by Daniel Miller, founder of Mute Records, who was interested in them recording a single for his label. The result of this verbal contract was their first single, recorded in December 1980 and released in February 1981:
Dreaming of Me (1981) - US#47, UK#57 - non album single release (no video)
Encouraged by this, the band recorded their second single:
New Life (1981) - UK#11, IRL#22, US#29 - Speak & Spell
The next single was a relentlessly upbeat piece of synthpop, which became the band's first UK Top10 hit and it remains one of their best known songs. It was also the first Depeche Mode song to get a music video and is the only one of the band's videos to feature Vince Clarke. Depeche Mode's debut album, Speak & Spell, was released in November 1981 and peaked at number ten on the UK album charts:
Depeche Mode - Just Can't Get Enough (1981) - Speak & Spell
AUS#4, UK#8, SWE#14, IRL#16, US#26
During the touring and promotion for Speak & Spell, Vince began to voice his discomfort at the direction Depeche Mode were taking and, in November 1981, he was leaving the band. He joined up with blues singer Alison Moyet to form Yazoo and, later, the duo Erasure with Andy Bell. Initial talk of continuing to write material for Depeche Mode amounted to nothing. Vince offered them the track 'Only You, but they declined. It went on to become a UK Top3 hit for Yazoo.
In late 1981, they placed an anonymous advertisement in British music mag Melody Maker looking for another musician. Alan Wilder from Hammersmith, West London was hired in early 1982 initially on a trial basis as a touring member. In January 1982, the band released:
Depeche Mode - See You (1982) - A Broken Frame
UK#6, IRL#9, DE#44
The tour that followed the release of the single saw the band playing their first shows in North America. Two more singles were released ahead of the band's second studio album:
Depeche Mode - The Meaning of Love (1982) -A Broken Frame
UK#12, IRL#17, SWE#16, DE#64
Depeche Mode - Leave in Silence (1982) - A Broken Frame
IRL#13, SWE#17, UK#18, DE58
Depeche Mode began work on their second album in July 1982. Daniel Miller informed Alan that he was not needed for the recording of the album, as the band wanted to prove that they could succeed without Vince Clarke.
A Broken Frame was released that September and the following month the band set off on their second tour of 1982. A non-album single was released in January 1983, and was the first Depeche Mode track to be recorded with Alan:
Depeche Mode - Get the Balance Right! (1983) - non album single release
UK#13, IRL#16, US#31, DE#38
For their third album, Construction Time Again, Depeche Mode worked with producer Gareth Jones, at John Foxx's Garden Studios and at Hansa Studios in West Berlin. The album saw a dramatic shift in the group's sound: by sampling the noises of everyday objects, the band created an industrial sound.
Along with the music, Martin's songwriting was also rapidly evolving, focusing increasingly on political and social issues. An example of the new sound was on the first single, a commentary on the perceived greed of multinational corporations:
Depeche Mode Everything Counts (1983) - Construction Time Again
UK#6, CH#8, IRL#15, SWE#18, DE#23, AT#26, IT#32
In September 1983, to promote Construction Time Again the band launched a concert tour all over Europe.
Depeche Mode - Love in Itself (1983) - Construction Time Again
UK#21, IRL#27, DE#28
In their early years, Depeche Mode had only really attained success in Europe and Australia, however this changed in March 1984 when they released:
Depeche Mode- People are People (1984) - Some Great Reward
DE#1, IRL#2, UK#4, CH#4, US#13, SWE#15, IT#20, AUS#25
The song was used as the theme to West German TV's coverage of the 1984 Olympics and also charted in the US charts in mid-1985. The song had then become an anthem for the LGBT community. In September 1984, Some Great Reward was released.
In contrast to the political and environmental subjects addressed on the previous album, the songs on Some Great Reward were mostly concerned with more personal themes such as sexual politics...
Depeche Mode - Master and Servant (1984) - Some Great Reward
DE#2, SWE#7, CH#8, UK#9, IT#27, FR#34, US#49, AUS#89
... adulterous relationships...
Depeche Mode - Lie To Me (1984)
...and arbitrary divine justice...
Depeche Mode - Blasphemous Rumours (1984) - Some Great Reward
IRL#8, UK#16, CH#19, DE#22, AUS#87
Depeche Mode - Blasphemous Rumours (1984)
********** RARE 8 min version! *********
Also included was the first Martin Gore ballad. 'Somebody' was released as a double a-side with 'Blasphemous Rumours' and was the first single with Martin on lead vocals:
Depeche Mode - Somebody (1984) - Some Great Reward
was the flip-side of Blasphemous Rumours
In October 1985, Mute Records released a compilation, The Singles 81>85, which included the two non-album singles 'Shake the Disease' (one of my personal favourites of Depeche Mode) and 'It's Called a Heart'.
Depeche Mode - Shake the Disease (1985) - Singles 81->85
DE#4, SWE#5, CH#6, IRL#9, FR#13, UK#18, IT#29
Depeche Mode's musical style shifted again in 1986 with the release of 'Stripped', and its accompanying album Black Celebration. Retaining their sampling and the industrial sound, the band introduced an ominous, highly atmospheric and textured sound. Martin's lyrics also took on darker tone and became more pessimistic. 'New Dress' would mark the last time he attempted the kind of overt social commentary.
Depeche Mode - Stripped (1986) - Black Celebration
DE#4, CH#8, CH#9, IT#14, UK#15
The music video for 'A Question of Time' was the first to be directed by Anton Corbijn, beginning a working relationship that continues to the present day. He has directed a further 19 videos (the latest being 2006's 'Suffer Well') and has also filmed some of their live performances and designed stage sets and album and single covers.
Depeche Mode - A Question of Time (1986)
Music for the Masses saw further alterations in the band's sound. David Bascombe was called to assist with the recording sessions. In making the album the band largely eschewed sampling in favour of more synth experimentation. While the chart performance of the singles the next three singles 'Strangelove', 'Never Let Me Down Again' and 'Behind the Wheel' were somewhat disappointing in the UK, they scored high in Canada, Brazil, Germany, South Africa, Sweden and Switzerland. The album also achieved the long awaited breakthrough in the US, which would be eternally manifested by the final concert of the their promotional tour at the Rose Bowl, Pasadena - see my previous post - a concert I would do or give anything for to attend again in time travel. The '101' live album and documenary was the result. I could watch it over - and over - and over - and over, again. Orgasmic!
Depeche Mode - Strangelove (1987)
Depeche Mode - Never Let Me Down Again (1987)
Depeche Mode - Behind The Wheel (1987)
Depeche Mode - Pimpf (1987)
Depeche Mode - Little 15 (1988)
In mid-1989, the band began recording in Milan with producer Flood and engineer François Kevorkian. The initial result of this session was the single:
Depeche Mode - Personal Jesus (1989)
Released in January 1990, 'Enjoy the Silence' became one of Depeche Mode's most successful singles to date, reaching number six in the UK. A few months later it became Depeche Mode's biggest hit in the US, reaching number eight and earning the band a second gold single. It won 'Best British single' at the 1991 Brit Awards.
Depeche Mode - Enjoy The Silence (1990)
To promote their album Violator, the band held an in-store autograph signing at Wherehouse Entertainment in Los Angeles. The event attracted approximately 20,000 fans and turned into a near riot.
Some of those who attended were injured by being pressed against the store's glass by the crowd. As an apology to the fans who were injured, the band released a limited edition cassette tape to fans living in Los Angeles.
If, when you hear Talk Talk, the first thing you think of a certain British telecommunications company typically associated with the X Factor and dire and abysmal broadband connections - shame on you.
Talk Talk began as a quartet consisting of Mark Hollis on the vocals, Simon Brenner, Lee Harris and Paul Webb. They were generally associated with the New Romantic movement; more specifically, in their early years, they were often compared with Duran Duran, as both bands not only featured a double-barrelled name and a Roxy Music-inspired musical direction, but also shared the same record label (EMI) and producer (Colin Thurston).
Talk Talk's first album in 1982 entitled The Party's Over. The band charted with 'Talk Talk' (a remake of the The Reaction's 1977 song and 'Today', both produced by Thurston (whose other production credits include The Human League, Duran Duran and Kajagoogoo).
They were introduced to a much wider live audience in October that year when they supported a Genesis reunion concert in Milton Keynes. But the reaction of the audience to their New Romantic style that day was one more of hostility than mild acceptance, as Mark Hollis spent a lot of time on stage avoiding missiles directed at him. The irony of the situation was that it would only be a matter of three years before the band would be making music that an average Genesis audience would find acceptable.
Talk Talk achieved considerable international success in 1984/85, particularly in continental Europe, with the album It's My Life. The single release 'Such a Shame', a song inspired by the book The Dice Man, went on to become one of their most successful, charting high in Austria, Germany, Italy and Switzerland. The title track of the album was also a Top10 hit in Italy, and made it in the US, Canadian, French, German, New Zealand and Dutch Top 40, although the album and its singles were largely ignored in their native UK.
They eventually abandoned the New Wave style completely with The Colour of Spring in 1986. This became their biggest studio album success in the UK.
Talk Talk split after their album Laughing Stock, with Mark Hollis briefly trying to embark on a solo career, however, he did call it a day soon after.
It's My Life was successfully covered by No Doubt.
Talk Talk - Talk Talk (1982)
UK#52
Talk Talk - Today (1982)
NZ#10, UK#14, IRL#16
Talk Talk - My Foolish Friend (1983)
UK#57
Talk Talk - It's My Life (1984)
IT#7, FR#25, NL#30, CAN#30, US#31, NZ#32, UK#46
Talk Talk - Such A Shame (1984)
CH#1, DE#2, IT#4, FR#7, NL#9, NZ#39, UK#49, US#89
Talk Talk - Dum Dum Girl (1984)
DE#20, CH#24, NL#31, NZ#34, UK#74
Talk Talk - Life's What You Make It (1986)
NZ#11, NL#11, IT#14, UK#16, IRL#17, CH#17, DE#24, CAN#48, FR#49, US#90
Talk Talk - Living In Another World (1986)
NL#22, CH#23, IT#26, DE#34, FR#44, UK#48
I first heard of Kim at the tender age of 9, when my twelve year older sister blasted Kids in America through our flat, jumping up and down. It was fun bouncing around the house with her. More aware I became of Kim at the release of her 1988 album 'Close' - having just proudly invested all the money I received from family and relatives for the 'Jugendweihe' (the 'Coming of Age' celebrations as a youngster in East Germany) - in my first Stereo Cassette Recorder.
Back then western media (music and TV) was prohibited from consuming, being classified as 'capitalist smut' - seriously... - but a brave Radio Station in Berlin called 'DT64' which was aimed at the younger generation was testing the communist gouvernment's limits by airing a complete album of a popular artist each weekend. One of them was Kim Wilde's 'Close'.
Kim Smith, a.k.a, Kim Wilde, daughter of 1950s Rock'n'Roller Reginald Smith, a.k.a. Marty Wilde, and Joyce Baker of The Vernons Girls, is a London girl, being born on 18 Nov 1960 in Chiswick. She attended Oakfield Prep School in Dulwich (woo-hoo, she's a neighbour! :-) before moving with her family to Hertfordshire, and completing a foundation course at St. Albans College of Art & Design in 1980. That year Kim was signed to RAK Records. She burst onto the music scene in 1981 with the New Wave classic 'Kids in America', which her brother, Ricky Smith, a.k.a Ricky Wilde, wrote for her in his bedroom. Kim shot to instant fame, particulary in continental Europe, while success in the US was largely subdued. Several successful single releases followed.
Failure of her 1983 Album Catch As Catch Can led to her leaving RAK Records and her being signed to MCA Records, where her career re-ignited with the 1984 album Teases and Dares.
Kim Wilde holds the record for being the most-charted British solo female act of the 1980s, with seventeen UK Top 40 singles. In France, she was known as the 'Brigitte Bardot of Rock' and her song 'Cambodia' sold over a million copies. A number of artists have performed covers of Kim Wilde songs, ranging from pop and rock to dance and death metal versions.
Having married and giving birth to children, Kim switched down a gear in her life, becoming a reconised Landscape Gardener. While her brother also choe the same route, her sister Roxanne is currently background singer for Kylie Minogue.
In 2010, Kim signed a new record deal with another label called Starwatch who released her eleventh studio album, 'Come Out and Play'.
Kim Wilde - Kids In America (1981)
DK#1, IRL#1, RSA#1, UK#2, SWE#2, FR3, BE#4, DE#5, CH#5, AUS#5, NL#8, NOR#9, AT#12, US#25, CAN#34
Kim Wilde - Chequered Love (1981)
RSA#1, DK#2, DE#2, CH#2, NL#2, BE#2, UK#4, SWE#6, AUS#6, FR#64
