Posts Tagged ‘The Fixx’

Lost in the ’80s: The Fixx, “Deeper and Deeper”

The most rock-radio acceptable of the new-wave acts (with the possible exception of the Cars and the Police), the Fixx were always unfairly slammed as a producer’s band, the mere playthings of Rupert Hine, who buffed their angular, jagged sound to an airwaves-friendly sheen. I never quite understood how this was considered an insult — why should the Fixx feel slighted because they found a great producer who knew what to do with them? Isn’t that the point of a producer?

By 1984 the partnership had borne two gold albums, one platinum album, three Top 40 hits, and a few AOR staples. In fact the Fixx and Hine were producing material at such a quick clip that one of their better songs ended up as a cut on the Streets of Fire soundtrack (which was discussed here) as well as the B-side on Phantoms’s first single, “Are We Ourselves?”

“Deeper and Deeper” was an oddity on that 1984 film’s soundtrack alongside overwrought Jim Steinman productions and Dan Hartman’s schlocky “I Can Dream About You.” A sinister mix of snakelike synths, discordant guitar, and less-goofy-than-usual lyrics from vocalist Cy Curnin, the original version (download) was too long to be a hit, but it still garnered plenty of AOR and club airplay. It also became a staple of the band’s live show.

“Deeper and Deeper” got enough love to be included in a few of the Fixx’s greatest-hits compilations over the years, including my favorite, the nearly complete Ultimate Collection. They continue to tour, and the song is still part of every set. I’m sort of bummed that I won’t get to see them during my trip to Hawaii in late July — they hit our 50th state for three shows in August, according to their website.

“Deeper and Deeper” peaked at #3 on the Billboard Album Rock Tracks chart and at #47 on the Billboard Hot Dance Music/Club Play chart in 1984.

Get the Fixx’s music at Amazon or on The Fixx

Popdose Flashback: Rush, “Presto”

It wasn’t their best album. It wasn’t even much like what people consider their best album. Yet the mighty Canadian power trio Rush found themselves on Atlantic Records with a producer known mostly for working with The Fixx and Tina Turner. It was in many ways a fresh start and, true to the band’s nature, they made the most of it.

Lyricist/drummer Neil Peart always had a knack for wordplay, but quite often that was the lyrical crux of the song, with no specific aim attached. On Presto, the seeds of his political nature were finally starting to bloom. “War Paint” fleshes out the angst of teenage life in a hostile adult world, a direct graduation from “Subdivisions.” The very specific “Red Tide” spurs on an ecology-mindedness the listener kind of knew was there but couldn’t precisely summarize. The kickoff “Show Don’t Tell” went to number #1 on the rock charts.

Perhaps it was producer Rupert Hine’s pop polish that made everything so much more palatable than their hard-rock roots, but this is exactly what you get – a great pop album. Alex Lifeson’s guitar is still powerful but not “tear-the-roof-off,” especially with the chorus pedal so often processing the sound. Geddy Lee still plays the bass like few can, but it’s lower in the mix, and the keyboards are higher. The album has the dubious distinction of holding one of the band’s worst songs, the craptacular “Scars,” but also contains two of their prettiest offerings. First, the title track, which illustrates a person’s desire to make everything better in the face of being completely unable to do so. The word “presto” is never uttered in the song, but the key lyric, “If I could wave my magic wand,” really crystallizes that harsh middle ground between intention and ability. It also touches a major Peart theme – no magician or rock star is going to make your miracle happen for you. You must wrestle with the responsibility of your own life. (more…)

Bottom Feeders: The Ass End of the ’80s, Part 31

New baby = less time. Imagine that. I was somehow under the impression that sleepless nights were going to give me plenty of free time to continue to write meaningless drivel in my intros, but I haven’t been able to find the motivation at 3 AM just yet. So, in an effort to continue to give you the “quality” music of Bottom Feeders without interruption, I’m going to move straight to the music for the remainder of 2008. Without further ado, we continue looking at the ass end of the Billboard Hot 100 in the ’80s, with more artists whose names begin with the letter F.

Fiona
“Talk to Me” — 1985, #64 (download)
“Everything You Do (You’re Sexing Me)” — 1989, #52 (download)

Fiona Flanagan is less known for her music than for her lead role in the failed 1987 Bob Dylan movie Hearts of Fire. “Everything You Do” is a duet with Bottom Feeders favorite Kip Winger! If I could choose one artist to be the spokesperson for this series, Kip would be high on the list. Over-the-top cheesiness, pretty shitty music, and a remarkably cocky attitude is exactly what I’m looking for to represent this series, and “Everything You Do” is a pretty good example of that shit factor. I’m just wondering if the phrase “you’re sexing me” was ever uttered by even one other person. Unless this was some popular saying in the ’80s that I’m not aware of, I just can’t picture someone saying to me, “Oh yeah, baby, now you’re sexing me.” We got close a few years later with Color Me Badd wanting to “sex you up,” but that’s still nothing like a good sexing (at least, I assume).

Elisa Fiorillo
“How Can I Forget You” — 1988, #60 (download)
“Forgive Me for Dreaming” — 1988, #49 (download)

Neither of these songs are terrible. In fact “How Can I Forget You” is downright okay, but they’re not what Elisa Fiorillo is known for. Her biggest song was the top-20 hit “Who Found Who” by Jellybean, on which she was lead vocalist. Then after her debut record, which featured the two singles posted here, she started working with Prince, doing background vocals on the Batman soundtrack (1989), Graffiti Bridge (1990), and Diamonds and Pearls (1991). Her second album was recorded at Paisley Park and was heavily influenced by the Purple One. After that she took a break, did some TV work, and returned in 2002 playing jazz.

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