Posts Tagged ‘Frankie Goes To Hollywood’

Mix Six: “War Dance”

I was writing up a track for a future White Label Wednesday piece (it’s set to run May 27) when I had a strange thought. Well, two strange thoughts, actually. (Expect some snarky one-liner from a Popdose editor to follow that last sentence.) [Get over yourself! -Ed.] The first thought was about how obsessed musicians were with nuclear war during the ’80s. From album titles (the Vapors’ New Clear Days) to lyrical one-liners (”You’re about as easy as a nuclear war,” “If it’s not love, then it’s the bomb that will bring us together”), the topic was always close at hand. The kids today surely roll their eyes at these songs, since they’ve spent most of their lives in the post-Cold War world, but it was a very real threat at the time. It was the Gen X version of terrorism, only you were allowed to be pro-peace without being labeled unpatriotic.

The other thought was about how many of those nuclear war songs were tunes that you could dance to. Seems inappropriate to dance on the proverbial graves of millions, but then again, what better way to get an important “message” across to the public than by putting it to a drum machine? And thus, this week’s Mix Six was born: nuclear war songs with a beat. Wait, do you hear something, like an air raid siren…?

“Two Tribes,” Frankie Goes to Hollywood (download)

“The air attack warning sounds like…” Yikes. Remember, this song was released the year after “The Day After,” so the idea of nuclear holocaust was still very real, and no one had made it seem as imminent, and yet as cartoonish, as Frankie did in this song and its accompanying video. And, as an added bonus, I give you my personal favorite of the six million mixes commissioned for “Two Tribes,” the eight-minute Carnage mix. Don’t be alarmed. (more…)

Bottom Feeders: The Ass End of the ’80s, Part 33

This week you get another extended post so we can finish up the letter F nice and clean. Without further ado, I give you the final batch of artists whose names begin with the sixth letter of the alphabet and who reached the ass end of the Billboard Hot 100 in the ’80s.

Fortune
“Stacy” — 1985, #80 (download)

Fortune is an AOR band formed in Los Angeles in 1977. They released their debut self-titled record in ‘78, had a track called “Airwaves” on the Last American Virgin soundtrack in ‘82, then finally got around to their second album (also self-titled) in ‘85. “Stacy” comes from the second album, which includes a whole mess of generic light-rock tunes.

David Foster
“The Best of Me” — 1986, #80 (download)
“Winter Games” — 1988, #85 (download)

There’s just no way I have it in me to discuss the shittiness of Foster’s duet with Olivia Newton-John, “The Best of Me,” or Foster in general, when Terje Fjelde lives and breathes the guy — read Into the Ear of Madness while listening to these tracks.

4 by Four
“Want You for My Girlfriend” — 1987, #79 (download)

My first thought was 4 by Four simply wanted to be the next New Edition: good-looking kids with slick pop-filled R&B hooks. But I listen to this song and hear a lot of Prince in it as well. Zero in on the 2:20 mark and I swear you’ll hear the first bar of Prince’s “Controversy.”

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Why You Should Like… Frankie Goes to Hollywood

FGTH

Frankie Say One-Hit Wonder?: While “Relax” is pretty much all the Liverpudlians are known for on this side of the pond, I’d add “Two Tribes” in there at the very least and “The Power of Love” if you live anywhere outside the U.S. So why should you like a group that had basically one good year in the mid-’80s, then dissipated? The evidence, please:

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Lost in the ’80s: Holly Johnson, “Blast”

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Every once in a while, I’ll stumble across a CD I’ve had for years that I just didn’t care for, only to give it another shot and discover it’s really not all that bad. That’s the case with this week’s selection, Frankie Goes to Hollywood lead singer Holly Johnson’s first solo album, Blast.

Blast

Being a huge FGTH fan (the whys of which you’ll learn more about tomorrow), I was eagerly awaiting Johnson’s first solo release, which came after a two-year court battle between Johnson and his former label, ZTT, to wrest himself free from Frankie’s old, supposedly draconian contract. Imagine my horror when instead of a sex-fueled, sleazy proto-disco romp in the Frankie vein, I heard the album’s first single, “Love Train,” a straight-ahead dance-pop froth with about as much danger as an Erasure song (the closest it came to the raunch of Frankie was the almost-innuendo of the repeated “stoke it up”). This was not my Frankie. It featured a Brian May guitar solo, for heaven’s sake! (more…)