Yesterday was Sheena Easton's 52nd birthday. Which is ridiculous because she still looks younger and fresher than Miley Cyrus. Anyway, I was planning a little tribute post to celebrate the occasion and decided to write about "Telefone" - my all time Sheena favourite. Released in 1983, this synth-pop gem became the Scottish diva's 4th US top 10 hit and nabbed her a Grammy nomination for Best Pop Vocal. I love everything about it, from the sublime 80s production (courtesy of Greg Mathieson, who also delivered the goods on her previous album "A Private Heaven") to the supernaturally catchy chorus. That's not even mentioning Sheena's adorably indignant vocal. She's so pressed that her man hasn't called! Her pain is universal and a generation of gays loved her for it.
So here I was writing about my beloved idol when I started having visions of Lady Gaga. I initially assumed her Monsters had finally gone too far and made a voodoo doll in my likeness but then I had a shocking realisation. Sheena Easton is yet another victim of the fame monster's thievery. Just look at that cover. It conveys the same demented, slightly Gothic look that Gaga likes to think she coined. Then I re-watched the video and knew I was onto something. The black & white clip sends up B horror, bringing an unexpected edge to a fluffy pop song - making it an early blue print for "Born This Way". Only Sheena succeeds where Gaga falls flat. Her clip is hilarious and the bad special effects (the bat kills me) add to the fun. I love her crazy eyes at the 50 second mark and the stunning beauty rocks that lace gown with more attitude than a punk rocker. This is so far ahead of its time it's absolutely mind boggling. Everyone talks about Madonna's role in shaping Gaga - perhaps it's time to pay Sheena her due. And wish her a happy birthday while you're at it! Source URL: https://popmusicrecords.blogspot.com/search/label/80s Visit pop music records for Daily Updated Hairstyles Collection
Last night I got to tick another iconic diva off my "must see" list. I caught Cyndi Lauper at Mardi Gras a couple of years ago but two songs after twelve pills doesn't really count. And to be honest, I almost missed this show too. The idea of sitting through a blues set didn't fill me with excitement. There are two distinct phases of Cyndi's career that I connect with - "Bring Ya To The Brink" (my favourite album of 2008) and just about everything pre-1990. My mum was obsessed with her in the 80s and I grew up with "She's So Unusual" and "True Colors". I also vividly remember mum taking me to see Vibes in the city. Who else remembers that masterpiece? Ms Lauper played a psychic and I think it had a completely believable plot about an Incan tribe in Ecuador with supernatural powers. Please tell me it's on DVD! But back to the concert. It was a revelation. I expected the songs it to be a fairly sedate affair but from the moment Cyndi took the stage and started bouncing around like a teenager I knew I was very wrong.
The first thing that strikes you about the seemingly ageless 57-year-old (seriously, what's her secret?) is her adorable accent. The next thing is her voice, which has only become stronger with time. It is one of the most unique instruments in popular music and she put it to good use on "Just Your Fool" and "Shattered Dreams" - two of the highlights from "Memphis Blues". From then on it was a fairly even mix of old songs and blues covers. I don't know enough about the latter genre to pass judgement on their authenticity but they sounded pretty good to my uneducated ears. Particularly the uplifting "Down Don't Bother Me". More surprising was how effortlessly classics like "She Bop" and "Change Of Heart" fit into the set. The extended encore, which almost ended in drama when one of Cyndi's crazy fans started harassing the diva for asking people to sit down, included "Girls Just Wanna Have Fun", "True Colours" and the gorgeous "Rain On Me". I'd still love to catch her in pop mode one day but this was a great introduction to one of music's last originals.
All this talk about Vibes has put me in the mood for "Hole In My Heart" (below), a top 10 Australian hit for Cyndi in 1988. I need to see this movie again! Source URL: https://popmusicrecords.blogspot.com/search/label/80s Visit pop music records for Daily Updated Hairstyles Collection
So last night I drove to Rooty Hill RSL to catch one of my favourite divas strut her stuff in concert for the first time. I was originally supposed to see the legendary Belinda Carlisle last weekend and was gutted when those plans fell through. You see, I've loved this woman since I was a child. "Heaven Is A Place On Earth" was one of the first singles I ever bought - I still have the battered 7" vinyl somewhere - and 1989's seminal "Runaway Horses" ranks as one of my favourite albums of all time. But as much as I love for her back catalogue, my expectations were pretty low. After all, she's been pretty much hiding under a rock for the past decade and I feared she could be a little rusty. Well, I couldn't have been more wrong. The still gorgeous 52 year old looked and sounded better than ever. She belted out hit after hit to rapturous applause and had the audience hypnotised by her amazing dance moves and stunning command of the tambourine. Put it down to nostalgia if you like but I haven't had that much fun at a gig in a very long time.
Some of my Belinda collection
The show opened with a brilliant projection that I would die to get my hands on. Seriously, that shit was hot. It showed clip after clip from the diva's glory years and basically emphasised her chic, high cheeked beauty and the fact that - at least for a while there in the late 80s - she was right up there with Madonna and Janet as one of pop's leading ladies. When Belinda finally hit the stage to sing "Runaway Horses", it blew my mind to think most of that footage was taken a quarter of a century ago. How has she remained so beautiful while Madonna looks like Gollum in drag? But I digress. "Runaway Horses" was followed by "I Get Weak" - easily one of the pop icon's best singles. Bel sounded absolutely amazing and had every geriatric gay and drunken spinster in the room singing along with her. Next up was her number 11 Australian smash "In Too Deep" - she kindly gave Jenny Morris props for doing the song first - before launching into the hugely underrated "California" from her last English language album "A Man And A Woman". The pop legend then went old school with "Mad About You" (why hasn't anyone covered this gem?) and "Circles In The Sand".
One of the best things about the show was the hit heavy setlist. While some divas of a certain vintage are precious about belting out B-sides from 1993 that only their children and stalkers know, Belinda stuck to songs that actually charted. Which meant basically performing half of her double platinum album "Runaway Horses". She knocked out an exquisite version of "Vision Of You", the gorgeous "La Luna" and her signature tune - in this country - "Summer Rain". I never thought I'd say it but Slinkee Minx could never! From then on the former Go-Go switched gears, focusing on uptempo numbers like 1993's stunning #56 smash "Big Scary Animal", my all time favourite Belinda song "(We Want) The Same Thing" and the seminal 90s classic "Leave A Light On" - before finishing up with her sadly forgotten gay anthem "Live Your Life Be Free". For the encore she dusted off a Go-Go's medley and her biggest hit "Heaven Is A Place On Earth", which really was something akin to a spiritual experience.
If you missed the Belinda experience, never fear. Apparently she is so overwhelmed by the success of her Australian tour that she's already in talks to return next year. I'm going to every show! While we wait for the diva's return, check out this stunning rendition of "Big Scary Animal" from one of her Melbourne dates. Legend. Source URL: https://popmusicrecords.blogspot.com/search/label/80s Visit pop music records for Daily Updated Hairstyles Collection
We're almost at the halfway mark of 2010 and already a handful of tracks stand out as early contenders for the song of the year. There's Kylie's exquisite "All The Lovers", Robyn's bitter "Dancing On My Own", Livvi Franc's criminally underrated "Automatik", Matisse's stunning mega-flop "Better Than Her" and Tania Foster's unreleased gem "Supawoman". Well, you can add another stunning anthem to that shortlist. Earlier this year 80s icon Jennifer Rush released her first studio album in over 13 years. "Now Is The Hour" debuted at an impressive #21 in Germany but the lead single underperformed and the album has since fallen down the charts faster than "Not Myself Tonight". It might be too late to revive Jen's stalled comeback but the recently released second single is nothing short of spectacular. "Echoes Love" is easily the diva's best track in 25 years and the Seductions Radio Mix turns an already brilliant pop song into something extraordinary by giving it an irresistible disco makeover.
Think "Release Me" (Agnes not Zoe Badwi) meets Cher's "Strong enough" and you get some idea of what to expect. Jennifer's glorious pipes inject the anthem with heart and soul, while the lyrics are unashamedly romantic without being vomit inducing. And let's not forget that magnificent chorus. Amazingly, "Echoes Love" is still very much a diamond in the rough. The production could do with a polish and the remix - while very effective - sounds like it was thrown together in 5 minutes by the intern at Jen's record label. I'm sure AATW or 3 Beat Blue could work wonders with it for the UK market but I doubt they'll bother. And not because of the song's quality. Who is going to take a chance on a 49 year old plastic surgery addict who looks like Sylvester Stallone in drag? It's a shame because this gorgeous stunner is worth a dozen 20 year old Swedish bimbos. Nevertheless, I'm convinced the song will find love and affection from pop connoisseurs around the globe. Brace yourself for the brilliance of "Echoes Love" and the mindblowing natural beauty of Jennifer Rush (below). A huge thanks to Gordon for bringing this amazing treasure to my attention. Source URL: https://popmusicrecords.blogspot.com/search/label/80s Visit pop music records for Daily Updated Hairstyles Collection
Last October I wrote a post titled Duet of the Century about the impending release of Sabrina's hotly anticipated (by at least three Italian gays) collaboration with Samantha Fox. As a long time admirer of both busty beauties, I was more than a little excited at the prospect of them joining forces - but it never happened. That is until now. After an agonising 9 month wait, their stunning Hi-NRG cover of Blondie's "Call Me" is finally here! And it's just as amazing as you would expect from the 80s icons that brought you seminal classics like "Touch Me" and "Boys (Summertime Love)". I can't even explain how much joy this gives me. Seriously, the only thing that could put a bigger smile on my face is a Beyoncé/La Toya duet! I grew up worshipping these heavenly divas and it's so satisfying to know that they're still here, still fabulous and still as top heavy as ever. The song itself is cute. Neither woman is particularly famous for her vocal ability but I love their breathy pipes and they camp it up for all they're worth. Please note that the music in the video (below) is not the radio edit but a dance remix. The original version has been removed from YouTube but I couldn't resist posting the breathtaking video. These stunners haven't aged a day and the special effects are... well, you have to see it to believe it. This really is the duet of the century. Welcome back, ladies!
It's not easy being a fan of 80s pop icons with highly publicised drug habits. I spent Wednesday night bathing in Whitney's sweat soaked glamour before doing it all over again on Friday at George Michael's Sydney show. The concerts couldn't have been more different - George was actually lucid and sang in tune - but I enjoyed them both equally. Albeit for very different reasons. Whitney was a hot mess but there was something unusually intimate about her trainwreck of a tour. George, on the other hand, was the epitome of professionalism. Everything from the staging to the setlist was immaculate and he cemented his reputation as a consummate live performer. Having just stumbled home from Mardi Gras, I'm not quite up to writing a proper review but here are some random thoughts on the George Michael experience:
1. The man still looks hot - especially for a middle aged pothead. George, call me if you get bored. We'll smoke a bowl and cruise some beats!
2. Time has not wearied the brilliance of "Fast Love", "Too Funky" and "Freedom" one iota.
3. Dita Von Teese almost stole the show with her saucy video montage.
4. "My Mother Had A Brother" gets me every time. Without a doubt one of the most heartbreaking songs about homosexuality ever written.
5. Speaking of gayness, dedicating "Amazing" to (his partner) Kenny was a nice touch. I also liked the banter about Mardi Gras and his amusing warning about over-zealous policemen.
6. I wish he'd leave "Roxanne" to Sting. It was one of the night's few misfires.
7. The ballad section was lovely. George has one of the most underrated voices in pop music.
8. "Wake Me Up Before You Go Go" and "I Want Your Sex" were glaring omissions. I would have also loved to hear "Monkey" and "Precious Box".
9. Vodka and Johnny Walker don't mix. Believe me, I learned the hard way.
10. The highlight of the night was "Outside". The video projections were amazing and George rocked that police uniform.
What is it about 2009? It seems like every middle aged cougar with an 80s hit to her credit is crawling out of the woodwork - and I can't get enough of it! Joining the ranks of Haywoode, Stacey Q and Bananarama on the comeback trail are two of the greatest female vocalists ever to flash their tits for free publicity. Believe it or not but Samantha Fox and Sabrina Salerno are coming out of retirement to wow aging homosexuals with a stunning cover of Blondie's "Call Me"! I'm positively beside myself. The idea of bringing together the legends that sang "Touch Me" and "Boys (Summertime Love)" is truly inspired. Old perverts and SAW fanatics will be in 7th heaven - not to mention MAGs and Sam's army of lesbian followers. This could be the marketing coup of the decade! I love what the top heavy lovelies have done with "Call Me". It's directed straight at the Hi-NRG dance crowd (you can hear a clip of this below) and showcases the amazing vocal ability of both icons. I just hope the duet is given a fighting chance with proper promotion and label support. There's still a lot of love for these ladies and the pop scene is definitely a brighter place with them in it. By the way - don't they look amazing? Madonna must be spitting chips.
EDIT: The clip has been removed. Whoops! However, check out this classy TV interview instead. It is in Italian but the luscious ladies sing a little of the tune at around the 1 minute mark. Fabulous. Source URL: https://popmusicrecords.blogspot.com/search/label/80s Visit pop music records for Daily Updated Hairstyles Collection
There must be something in the air because a bunch of my favourite 80s divas are emerging from the pop wilderness to kick the pretenders to the curb. It started with La Toya unveiling her first video clip since 1987 and now the legendary Stacey Q has followed suit by unleashing her first new single in over a decade. You just know Toni Basil and Yazz are waiting in the wings taking notes! To be honest, I was a bit nervous about Stacey's comeback. The last time I heard from her (in the mid-90s) she had just released an album of folk music after discovering Buddhism. That was an interesting detour to say the least but I'm happy to report that Miss Q has returned to her roots by delivering a brilliant dance anthem called "Trip".
I'm actually quite shocked by how good the track is. "Trip" is modern without sounding desperate (hello Madonna!) and stands toe to toe with Stacey Q classics like "Two Of Hearts" and "We Connect". In fact, it wouldn't sound out of place on her 1986 masterpiece "Better Than Heaven". The lyrics are suitably fluffy, Jon St. James' production is just as endearing as it was in the 80s and the diva's floaty vocals are prettier than ever. To learn more about the year's most fabulous comeback, check out Bomitoni's brilliant interview with Stacey over at Milk Carton Pop Stars. He even kindly requests the dance icon's services on the Pop Panel! Needless to say, I would die. Oh and make sure you support pop music's hottest cougar by purchasing "Trip" has from Stacey Q Online or Perfect Beat. It's being released as a physical single in the US and comes with remixes and an exclusive B-side. Check out a preview below. I can't wait for my copy to finally arrive!
I've always loved Mandy Smith. She was the bad girl of Stock Aitken Waterman. While Kylie wore pearls and innocently chirped "I Wouldn't Change A Thing", 17 year old Mandy posed for pictures in her knickers and belted out saucy anthems like "Victim Of Pleasure". Despite her incredible lack of UK chart success, I honestly believe Mandy's debut album is a Hit Factory classic. "I Just Can't Wait" (the lead single) is a gorgeous little pop tune that would have raced to #1 if someone less controversial had recorded it, while the ultra camp Daize Washbourne penned "Boys And Girls" was a deserved #12 smash hit (in Italy). My personal favourite is "He's My Boy", which has to rank as one of Stock Aitken Waterman's most intoxicatingly tacky efforts. Unfortunately, Mandy seemed to dropped off the face of the earth in the late 80s and never released another album. I always wondered what happened to her and now I know thanks to Peter Wilson! Apart from producing Amanda Lear and Haywoode, Peter also found the time to interview Mandy about the PWL years and the recent re-release of her album. He also asks Mandy about recording "Got To Be Certain" before Kylie, which I found particularly fascinating. If you want to read more about this fabulous diva, check out the full version of the interview over at the Hit Factory Forum. I'm just printing the highlights (with Peter's permission).
We’ve missed you! Where have you been for the past 20 years? That's really nice, thank you! Wow! Where do I start? After signing a record deal in the USA, I became quite ill. I already had quite a weak immune system, so with a heavy workload and lots of stress from personal life issues and UK press, my mind and body could take no more. I had to take an early exit from the music biz with a heavy heart. Over the years I have concentrated on getting better and living a life doing the things that I've always wanted to do, like, getting married (twice), having children (like my beautiful son Max aged 8) being a make-up artist, and working with a charity calledFive Star Appeal. I've taken time out to enjoy being a mum and just spend time living and experiencing things that I didn't when I was younger.
How did your signing with PWL come about? I was 16 at the time and my manager had a call from Pete Waterman's office to see if we could set up a meeting and talk about making a single which is every young girl's dream. I had heard it was the idea of Pete Burns from the group Dead or Alive, who had seen and read about me and put this notion to PW. So, many thanks to PB really.
What was the first song you recorded with SAW? I remember my first day in the studio with Mike Stock and Matt Aitken, I was nervous but tried not to show it. I was also really excited at having such a great opportunity and experience second to none. The first song I recorded was "Terry" by Twinkle, it didn't get released back then, so I went on to record "I Just Can't Wait" which was my first PWL release. "Terry", by the way, has just been added to my recent re-released album for those of you who would like to have a listen.
What is your favourite song on the album? And when did you last listen to it? I listened to it recently, because they sent me a copy due to the re-release. My son wanted to hear it, so I put it on and gave him a mini Mandy concert just to make him giggle! I really enjoyed listening to (and singing) "Positive Reaction".
If you could have recorded any other SAW song, what would it have been? All true SAW fans will know this track, it was by a band called Brilliant and the track was called "Love Is War". When I used to hang out at the studio, I would watch MTV or have a nose around - looking at the albums that had been recorded or get previews of the new Kylie or Jason videos. One day while nosing, I found this song by Brilliant and played it to death, it's a classic SAW production that never really hit the big time! It did in my world!
Do you have any memories of meeting and/or touring (PWL Roadshows) with other PWL acts and who was your favourite? I suppose the main people I did mini tours with (were) Kylie, Jason Donovan, Rick Astley and Sinitta. We all worked so hard that half the time, we would get the shows done, have dinner together and fall into bed exhausted, ready for the next days work! Sometimes, depending on which town we were in, we'd go to a local club/disco for a good dance and fall into bed at getting up time! Rick Astley was my favourite person, he was so genuine and a real sweetheart.(Great voice too!)
You released 5 great singles in the UK, but the first 4 did not make the charts. However you didn't give up, that's real determination at such a young age. How did you handle it? I was always a little disappointed when they never made the UK charts, because your home ground is always the place where you would like success! But I think with being so well accepted in Europe and the Far East, I just kept working and hoped that one day the UK would change. I was really happy though with how well the singles did abroad, so that carried me through.
"Don't You Want Me Baby" finally gave you a UK chart placing with hard work starting to pay off. Was this a proud moment for you? Yes and No really! I think at this point in my life, I was a bit fed up with the British press, as they had given me quite a rough ride, so I was not expecting a hit - and then to have a UK chart placing was a nice surprise. My health at this time was starting to wane a little, which also took the fun out of things.
After "Don’t You Want Me Baby", no more releases followed and you kind of vanished. A lot people missed you, and expected a 2nd album. What happened? As I mentioned earlier I went to the USA to promote the album and upon my return to the UK I was to make a video for "Don't You Want Me" and finish promoting it. Sadly, that plan didn't come to fruition. I really missed working. It was a frustrating time but I had to learn to cope, by just being positive and getting better.
2005 saw the release of SAW Gold, which included the release of your unreleased original version of "Got To Be Certain". Did PWL let you know this was coming out and how did you feel about it? To be honest I can't remember them telling me but I do remember feeling really chuffed that people had a chance to hear my version. I did prefer the production on Kylie's though.
Apparently you turned down "Got To Be Certain", is this correct? Did you not feel right about the song at the time, or feel now looking back, that it would have been your breakthrough song in the UK, given it's success with Kylie? I never turned it down, I think they just tried out songs from the vaults on different artists and went with the one that fitted the artist best. It would never have been my breakthrough song, Kylie had the gold touch at that time and if she'd have sung "I Just Can't Wait", I'm sure that would have been a hit too. Of course at times when I heard "Got To Be Certain" being played on the radio, I would sometimes think, that could have been me! (With a smile!)
After 21 years, your album "Mandy" has been released again in the UK, with the unreleased tracks and rare mixes. What a great CD collection and great achievement. How did you feel when you heard about the release? With great surprise and I feel more proud of my album now, than I ever did. I was 16, 17 when I recorded most of the songs and I took it all in my stride but looking back, what an achievement/experience.
I remember you coming to Australia, winning many fans when you were here. "Victim Of Pleasure" was charting and getting a lot of radio play. Do you have any memories of coming here? I loved Australia, I remember describing the people as being warmer than the English and more genuine than the Americans, real cool folk! Not very PC to say that, these days! One of the main memories I have are that of being really tired, because I had just done a mini tour of Japan, but I did enjoy my time there. I got to meet up with Kylie and Jason again and meet a family member of mine that I had never seen before.
You are one of rather few PWL acts who has always spoken to warmly and fondly about SAW and PWL, which is wonderful. What was the best thing about PWL for you? They really were like a big family, everything was done in house (hence it being called, The Hit Factory) and I always felt protected and cared about, even though they had success on a big scale, they cared about the small stuff!
SAW did receive a lot of stick from the public, music snobs and sometimes even their own acts. How did you feel about that when you would hear it? It happened to most artists who didn't write their own songs or played instruments, what I mean by that is, their egos kicked in and the critic's words kicked in and they all thought they could do better than SAW. It was a credibility thing. It happens in every walk of life, but the secret with SAW was, if it ain’t broke, don’t try and fix it!
Do you own many SAW records? Yeah. I have some favourites like Banarama, Mel and Kim and Kylie.
The last CD you bought? Lady GaGa.
Finally, Mandy there are a lot of fans who miss you. Do you have a message for them? Thank you so very much for buying the songs that gave me such great opportunities in life, to travel and meet many different people. Every day I learn something new and I embrace it and my many past experiences have made me part of who I am today and that's a very contented, happy person. Thanks again and God bless.
When Peter Wilson recently announced that 80s dance diva and Hit Factory alumni Sid Haywoode was embarking on a comeback, I knew I had to speak with her. Haywoode is an underground pop icon. She's probably best remembered for working with Stock Aitken Waterman and recording "Getting Closer" before Kylie but her appeal extends far beyond that. The English songbird recorded some of the catchiest tunes of the 80s ("Roses", "I Can't Let You Go" and "A Time Like This") and developed a strong cult following with her outrageous outfits, glamorous hair extensions and camp sensibility. Haywoode represents everything fun and fabulous about the 80s and if her amazing comeback single "Kiss Me Good" is any indication, she's picked up right where she left off. I'm honoured and proud to bring you Sid's first interview in 20 years.
First of all, welcome back! It's been twenty years since your last single, what have you been up to? Well Mike. First of all, I am in denial about the 25 years! I have been living in NYC for almost 20 years and just realized that a month ago.
Did you miss making music? What sparked your decision to make a comeback? I am always around music. My production company has been involved in providing music for events. As for me, I am always performing live and writing songs but had not been recording myself at all. Rumours about where I had disappeared to, people asking me to get back to recording and of course Peter Wilson finding me, inspired my decision to comeback. T1 Music are such a joy to work with.
Speaking of Peter, he tells me that you're updating some of your 80s classics and working on new tracks. Can you tell me a bit about your new sound? Will you be reclaiming your throne as Queen of the dancefloor? Yes, we have re-recorded "Getting Closer" and may do one more of my old tracks, we have been writing new songs too which I think you will enjoy. Musically I am looking forward and would describe my sound as being pop/dance/soul. Now regarding the dancefloor I will just say this… Once a dance queen always a dance queen! So yes… I will be looking to reclaim my dancefloor crown!
Which pop stars do you admire today? Well I am a massive MJ fan (RIP) and always will be. I am crazy about Janelle Monae, I also like Gwen Stefani and Mary J Blige and Beyoncé.
Do you have any idea when we'll be able to hear your new songs? It's been a long wait! We are looking to release a single this year and an album in 2010.
I hope you don't mind if I ask a few questions about the early part of your career. You were signed to CBS in 1983 and scored a top 5 US dance hit with your debut "A Time Like This". How were you discovered and how did you cope with instant fame? I was working as a dancer on Top Of the Pops with the troop Zoo and had recorded some songs for a producer who played them to CBS and they signed me. I have been around the entertainment business since I was little, I went to a Stage school, my step-dad was an artist, my sisters and brother are artists, we were bought up to have a huge respect for our audience and not get taken in by the "hype". Although I used to get a little unnerved when my fans would get too excited if they met me on the street, joyfully screaming at me. I always found a way to communicate organically with them.
The campest video of the 80s?
I need to ask you about 1984's brilliant "I Can't Let You Go". It's one of my favourite songs and the video is amazing! Whose idea was it to use semi-naked men as furniture and how can I rent that apartment? LMAO Mike!! I am so glad you like that song, me too. The idea to use the men was mine and the audition was so exciting as I am sure you can imagine! I was inspired by some art I had seen, it seemed quite original and modern at the time. People on set were saying that the guys were stuffing socks (if you know what I mean)! Very enjoyable!
"Roses" was your biggest hit and became your signature tune. Do you remember performing it on Top Of The Pops? Who were the other guests that week? You know I don’t remember the other guests!! I think I was too excited and nervous. Performing as a singer on TOTP was really gratifying, it felt like my graduation because I had worked on the show so much as a dancer and at the time used to watch the other singers/bands thinking that I would do the same one day, so when I did, it was great.
How did you hook up with Stock Aitken Waterman? They reached out and approached my management.
What were they like to work with? How involved were you in the two tracks they wrote and produced on your album? SAW were great to work with and they definitely had their own winning formula of producing hits. My involvement was simply to do the vocal - so we recorded the vocals, two tracks on one Sunday afternoon. I loved "Getting Closer".
Did you get to meet any of the other SAW acts? I did meet many of the SAW artists at the time, Rick Astley, Princess, Mel and Kim and others.
Were you disappointed that "Getting Closer" and "You'd Better Not Fool Around" weren't bigger hits? I imagine if you had hooked up with SAW a couple of years later those songs would have flown up the charts. I was disappointed and thought that "Getting Closer" was a track that was ahead of its time. I still like it today.
"Getting Closer" was later covered by Kylie. What did you think of her version? It is ultimate Kylie doing Kylie. I like her, she is great.
A New Zealand band called True Bliss also released a cover of the song. Have you heard it? No but I am off to find it now!
"Arrival" is such an amazing debut album but it's so hard to find. Is there any chance of re-releasing it? I need "Jelly Baby", "Missing You" and your lovely version of Prince's "I Wanna Be Your Lover" on my Ipod! You are so kind, I don't even have a copy. LOL. Ask Peter!!! I have heard rumblings about a re-release of "Arrival" but don't know the date. It makes me happy that you enjoyed my debut album and I promise you that my next album will be even better.
You released a couple of singles in the late 80s. "Boogie Oogie Oogie" includes a remix by Pascal Gabriel. Do you remember working with him? Yes I do, he is so brilliant.
I also noticed that 1989’s “He’s Got Magic” has a Harding/Curnow (PWL) mix. How did that mix come about? I wish to the high heavens that I could remember, but I cant!
Your sister also had a couple of hits in the 90s (I loved "Don't Poison Me"). How is Emzee? Is she still making music? Emzee is still doing music and thank you for asking about her, she is a great artist. I am very proud of her.
Thanks for the chat. I wish you every success with your comeback. Thank you so much Mike, it has been my pleasure.
Sid's biggest hit - check out the amazing vinyl dress!
The first thing that went through my head when I woke up this morning, well the second after how on earth am I going to piss with this hard on?, was the overwhelming compulsion to play some Olivia Newton-John. I'd like to think that other people are haunted by gay icons in their sleep but I suspect this kind of shit only happens to me. As usual, my first inclination was to give 1978's "Totally Hot" a spin (probably my favourite album of all time) but I decided to go with an 80s theme instead - starting with "Xanadu" and working my way through her 80s discography all the way to "The Rumour" (I like to pretend that "Warm And Tender" never happened). Almost four hours later my thirst for ONJ was finally quenched but I haven't been able to get one song out of my mind.
1983's "Twist Of Fate" is something of a forgotten classic largely due to the fact that it had the misfortune of featuring on the "Two Of A Kind" soundtrack. That film was supposed to revive Olivia's movie career in the aftermath of "Xanadu" but it turned out to be an even bigger box office flop despite her much anticipated screen reunion with John Travolta. I'll write more about "Two Of A Kind" and its poorly neglected soundtrack another time (the latter really is quite amazing) but it's suffice to say that the project's only saving grace was the success of "Twist Of Fate". Written by Peter Beckett and Steve Kipner (the man behind "Physical", "Heart Attack" and "I Need Love"), the track became Olivia's 15th and final US top 10 hit. No surprise really given the insanely catchy chorus and perky melody. However, much of the credit must go to producer David Foster, who surrounds Livvy's lovely voice with layered synthesizers, driving percussion and crunchy guitars. Olivia thrives on the new edgy sound and brings an unexpected aggression to her vocal delivery. The song is very much of its time but given the current synth revival, "Twist Of Fate" still sounds astoundingly fresh. 80s pop music doesn't get much better.
Make sure you check out the wonderful video clip (below) in which Olivia dubiously teams black leather gloves with a pearl necklace while singing on some kind of floating pontoon. If only "Two Of A Kind" were half as entertaining! There is also plenty of footage from the film which mercifully saves you from sitting through it. As a final bonus, a very fine looking John Travolta (mullet and all) makes a cameo towards the end. Watching this gem, I can't help but hope that Olivia gives up on her new age chanting and makes a completely age inappropriate pop album. As Kylie once sang, it's never too late to change your mind!
You're looking at one of my most prized possessions. I stumbled across this amazing 80s relic on Ebay a couple of years ago and just knew that it belonged in my collection. The sight of prim and proper Julie Anthony in that fabulous tracksuit immediately caught my attention and I was interested to hear her pop material. To cut a short story even shorter, it turned out to be the best one cent I've ever spent! "Here I Am" not only delivers an endearing selection of 80s cover versions, it also gave me a whole new appreciation for one of Australia's best loved divas. Like most people under the age of 30, I had always associated Julie Anthony with two things - the national anthem and St. George bank. The former due to her habit of performing it at every second sporting event ever held in this country and the latter for her memorable television commercials. I knew that Julie had a very successful singing career in the 1970s but I had no idea it continued well into the 80s and never, ever pictured her belting out a Hi-NRG cover of Irene Cara's "Fame" or ABBA's "The Winner Takes It All"!
One Of Julie's Iconic St. George Bank Commercials
Released in 1982, "Here I Am" mainly consists of faithful renditions of modern pop hits with a couple of standards and one original track (at least I think it is) thrown in for good measure. The production is fairly formulaic but all 18 songs are lovingly performed and hold up remarkably well more than 20 years later. Part of what makes the album so interesting is the eclectic tracklist. There are a couple of obvious choices ("Some Enchanted Evening" from South Pacific, Elton John's "Blue Eyes" and Cliff Richard's "We Don't Talk Anymore") but the majority of "Here I Am" is weird and rather wonderful. Julie's version of "Have You Ever Been In Love" gives Leo Sayer a run for his money, while a cheerful rendition of "Arthur's Theme" sits happily next to an outrageous cover of The Carpenters' "Calling Occupants Of Interplanetary Craft" - complete with a lisping alien, no less! That is probably my favourite track on the album along with Julie's aforementioned take on ABBA's oft covered "The Winner Takes It All". As much as I love Kylie & Dannii's recent attempt, Julie's dramatic version is infinitely better. Check out Julie's stunning interpretations below:
Calling Occupants Of Interplanetary Craft
Winner Takes It All
Other memorable moments include accomplished interpretations of Sheena Easton's "For Your Eyes Only", Stevie Wonder's "Lately" and Michael Jackson's "One Day In Your Life" - as well as a very cute rendition of Joey Scarbury's "Believe It Or Not" and a toe tapping cover of "Why Do Fools Fall In Love". The track that I think might be an original is a pretty ballad called "China Blue" (it's definitely NOT a cover of Fancy's similarly titled Eurodance classic) but hopefully someone will let me know if I'm mistaken. You can hear short clips of most of the tracks in the amazing television promo below. I'm so grateful to the person who stuck this gem on youtube. Julie's outrageous outfits, stunning perm and glamorous eye make-up deserve to be preserved for posterity! "Here I Am" was only one of several cover version heavy albums Julie released in the early 80s. All of them are highly recommended and can probably be found lying at the bottom of a bargain bin near you.
Every now and again someone will ask me to name my ten favourite albums of all time. Over the years the list has changed radically (the brief inclusion of Holly Valance's "State Of Mind" was a memorable miscalculation) but a handful of discs make a regular appearance. If I knew I was going to be stranded on a deserted island for a year, I would definitely take Olivia Newton-John's "Totally Hot", Dannii's "Neon Nights", La Toya's "Heart Don't Lie" and Kylie's "Light Years" - along with as much food and porn as I could possibly carry! I would also pack my cherished copy of Sheena Easton's 1984 masterpiece "A Private Heaven". It pains me that Sheena will forever be remembered as the "Morning Train" girl. As great as that song is, there was and is so much more to this amazing Scottish diva. I love Sheena's early material but "A Private Heaven" took things to an entirely new level.
The seeds for "A Private Heaven" can be traced back to Sheena's hugely underrated 1983 album "Best Kept Secret", which updated her output from ballad heavy soft rock to more contemporary uptempo pop. That album not only revived Sheena's career in the US (it became a Gold selling top 40 hit) but also introduced her to producer Greg Mathieson, who would again take the reigns on "A Private Heaven". Chances are if a song was camp, fabulous and released in the 1980s - Greg had something to do with it. Toni Basil's "Mickey" and Laura Branigan's "Gloria" are just two of his contributions to popular music. While "Best Kept Secret" subtly modernised Sheena's sound, "A Private Heaven" offered a complete transformation. The pretty girl next door emerged as a sex siren complete with an impressive arsenal of edgy dance-pop anthems. The album was an instant hit in America where it sold over a million copies and spawned three popular singles. Inexplicably, "A Private Heaven" failed to chart in the UK and stalled at #88 in Australia. Perhaps the mix of synth-pop and melodic R'n'B was simply too American for the international market but I suspect the real culprit was the album's controversial lyrics - but I'll get to that later. Whatever the reason, the rest of the world missed out on one the best pop recordings of all time. Here is my track by track review:
Strut
The album's opening track doubles as a declaration of intent. "Strut" is a winning mix of driving beats and suggestive lyrics that still sounds vibrant today. The song perfectly showcased Sheena's new found confidence and attitude. The production was cutting edge and the kinky lines about wearing "leather and lace" and "feeling like a girl for hire" must have raised eyebrows back in the day. This was a completely transformed woman. Written by Julian Littman and 70s pop star Charlie Dore (who would go on to pen tunes for Celine Dion and German girlband No Angels), "Strut" earned Ms Easton a Grammy nomination for best pop/rock vocal performance and became one of her biggest hits - peaking at #7 in America and reaching the Australian top 20. Watch the video (above). No one works the camera quite like Sheena!
Sugar Walls
If "A Private Heaven" is remembered at all today it is usually for housing the Prince penned trash classic "Sugar Walls", which imbued the album with an air of notoriety that lingers to this very day. With amazing lyrics like "blood races to your private spots" and "come spend the night inside my sugar walls", it's pretty clear that this tune isn't referring to a gingerbread house! I doubt a mainstream diva would even get away with this kind of sauciness today (take, for example, the controversy surrounding Britney's comparatively prudish "If You Seek Amy") but the track caused a major scandal at the time. "Sugar Walls" became one of the few songs to be banned from MTV for lyrical content and was even included on Tipper Gore's "Filthy Fifteen" - a list of songs considered to be indecent and morally reprehensible. The media backlash did little to curb the song's popularity and it followed "Strut" into the American top 20, becoming something of a pop culture phenomenon. The controversy had a greater impact internationally, however, where the song failed to chart in just about every market. Despite the dodgy innuendo, "Sugar Walls" is an absolutely magnificent pop song. Admittedly the lyrics are highly dubious (and very amusing) but the production is unbelievably tight and the chorus is pure magic. Prince was at the height of his powers when he wrote this and Sheena was the perfect muse. They would go on to work together again many times but this is by far their finest achievement and remains a true 80s classic. Check out the banned video below.
Hungry Eyes
A single in Japan, "Hungry Eyes" is a Hi-NRG slice of 80s keyboard heaven. The catchy chorus is set against some truly weird and wonderful sound effects, making for one of the album's hidden treasures. Written by the album's producer and Trevor Veitch (who worked extensively with Donna Summer), "Hungry Eyes" positively channels Harold Faltermeyer's early experiments with electronica. The track hasn't aged quite as gracefully as some of the others but I think it perfectly reflects everything that was good about mid-80s pop music. I wish Sheena hasd played around with this sound more. It suited her voice and would have worked wonders in Europe.
Hard To Say It's Over
"Hard To Say It's Over" is a complete showstopper. This is the kind of searing power ballad that would have made Cher and Barbra Streisand green with envy. I've often wondered why this wasn't a single. It would have connected with Sheena's old fanbase and gone down a storm on American radio. I love the bombastic guitar solos and Sheena's brilliant vocal delivery always gives me goosebumps. I was interested to learn while researching this post that the song was co-written by Australian pop star Gino Cunico, who was signed to Arista in the 1970s. Some truly amazing artists contributed their talent to this album. And it shows.
Swear
If you need any further proof of Sheena's credentials as an innovator, check out the album's third single. Ms Easton incorporates a spoken word rap on "Swear" half a decade before Madonna got around to it on "Vogue". However, that's only a small part of the song's appeal. "Swear" is a fiery revelation from beginning to end with its driving guitar (that sounds vaguely reminiscent of Michael Jackson's "Billie Jean"), attitude filled lyrics and experimental production. I wasn't aware until recently that the song was a cover and you can check out Tim Scott's original version here. In retrospect, I'm not surprised that it was originally performed by a man. "Swear" is such a strong and muscular track. Sheena's interpretation completely turns the gender issue inside out, making the song all the more powerful. The video (below) is also something of a masterpiece. Clearly inspired by Michael Jackson, the clip is a three and a half minute explosion of 80s fashion and fabulousness.
Love & Affection
I have often thought that "Love & Affection" is the odd song out on "A Private Heaven". This sublime cover of Joan Armatrading's 1979 top 10 hit is the only cut that wouldn't sound out of place on one Sheena's early albums. While the rest of "A Private Heaven" is a boisterous celebration of mid-80s musical trends, there's something pristine and classic about this gem. Joan is a pretty hard act to follow but this version is a silky smooth delight. I love the crispness of the production and Sheena's understated vocal delivery is nothing short of exquisite. "Love & Affection" hasn't aged a day and is one of the few examples of a cover version matching the quality of the original.
Back In The City
Greg Mathieson and Trevor Veitch rope in the services of guitar legend Lee Ritenour for the album's only Latin flavoured jam. There's something so summery and laid back about "Back In The City". The slinky chorus is subtle yet catchy, while the heavy percussion adds a whole new dimension to the proceedings. Sheena released a Spanish language album ("Todo Me Recuerda a Ti") in Latin America around the same time as "A Private Heaven" and I've often wondered if "Back In The City" somehow evolved from those sessions. I was pretty sure the song was never released as a single so it was quite a surprise to discover the video clip on youtube (below). It's very grainy but still rather fabulous.
You Make Me Nervous
The keyboards return in full force for "You Make Me Nervous". Written by the team behind Robbie Nevil's 80s hit "C'est La Vie", this slice of 80s dance music isn't the finest moment on "A Private Heaven" but it is rather pleasant filler. I love the electronic sound but the guitar solos are unnecessary and the chorus feels slightly disconnected from the verses. It is, however, a welcome return to the uptempo pace of the opening tracks after a couple of mid-tempo detours.
All By Myself
The album's second big ballad is not a cover of Eric Carmen's similarly titled classic but an original penned by Trevor Veitch and Steve Lukather (the ex-Toto band member who heavily contributed to Michael Jackson's "Thriller" album). "All By Myself" doesn't quite reach the melodramatic heights of "Hard To Say It's Over" but the delicate production and emotional lyrics more than make up for it. As usual, Sheena's voice is pitch perfect and utterly exquisite. I'd love to see this performed live.
Double Standard
It's only fitting that such a consistently brilliant album end on a high and "Double Standard" more than fulfils that objective. This extremely catchy serving of 80s synth-pop has always been one of my favourite songs on the album. It's just so upbeat and fun. I love the adorable chorus and Greg's production is spot on. "Double Standard" also reminds strongly me of Olivia Newton-John's output at the time, which isn't a coincidence. The song was written by Steve Kipner, who composed ONJ classics like "Physical", "Heart Attack" and "Twist Of Fate". It's a huge compliment to say that Sheena's effort more than holds its own in that lofty company.
A quarter of a century has passed since "A Private Heaven" was recorded and the years have wearied it to some extent. The album was very much a product of its time and some of the tracks sound very dated. However, that's also part of the album's immense charm. "A Private Heaven" is a veritable audio time capsule of 80s music trends and production techniques. It's a snapshot of a time when popular music was still inventive, irreverent and fun. Most of all, it showcases an amazing diva at the very peak of her formidable powers. "A Private Heaven" is a near perfect pop album that deserves to be remembered, appreciated and acknowledged as a triumph.
I've spent quite a bit of time re-reading my old posts over the past few days and, if I'm completely honest, I vastly prefer them to most of the shit I've been churning out lately. It's hard to pinpoint the difference but I think somewhere along the way I started showcasing acts that I thought people would enjoy reading about instead of simply worshipping my beloved Z grade divas. As a result, there are several glaring omissions in my archives - one of which I'm hoping to rectify with today's post. I'm really quite ashamed I have yet to mention one lady in particular over the year and a half I've been writing this blog. I'm referring to the legendary Audrey Landers, one of my all time favourite divas and an enduring trash icon of the highest order.
Audrey Landers is probably best known as the glamorous lounge singer from the 1980s super-soap "Dallas". I vaguely remember being enamoured by Audrey's character as a child but I became completely besotted by her when the series was released on DVD a few years ago. Those fabulous 80s fashions, that big hair and most importantly, the completely random ballads that Audrey would belt out almost every episode. There was just something so utterly captivating about Audrey's beautiful voice. I had to learn more about this stunning goddess and quickly discovered trash credentials that would make La Toya blush. Audrey has done it all - starred in Z grade movies, posed for Playboy (with her sister no less!), released more amazing flop albums than Dannii, recorded duets with her 11 year old son and carved out a niche singing Christmas carols on German TV! It would take a week to explore all of Audrey's astonishing achievements, so I'll concentrate on a few of the many highlights.
Appearing in "Dallas" turned Ms Landers into an overnight sensation and it wasn't long before record producers started knocking at her door. Audrey released her first album in 1983 and it proved to be a huge success in Europe on the back of the smash hit single "Manuel Goodbye" (above). A sweet ditty about the end of a holiday romance, the song reached the top 10 in Germany and remains Audrey's signature tune to this very day. "Manuel Goodbye" was followed by the fabulously overwrought ballad "Little River", which tried to cash in on the country music Audrey performed on "Dallas". It might have been a bigger success without the unintentionally hilarious lyrics about drowning children. Audrey returned to her beloved holiday theme for her next single and scored another hit with the relentlessly cheerful and gloriously camp "Playa Blanca". Make sure you watch Audrey perform the song on German TV (below). Mesmerising!!
Realising she was onto a winning combination, Audrey spent most of the 1980s singing about exotic holiday destinations - proving herself to be one of pop music's true iconoclasts in the process! Some of my favourites include "Santo Domingo", "Summernight In Rome", "Honeymoon In Trinidad", "Guantanamera", "Tennessee Nights", "Hideaway Havana", "Santa California", "Chinatown Is In New York", "Sun Of Jamaica" and the unforgettable "Haiti Cherie". No diva in pop history has been better travelled! Sadly, by the late 1980s Audrey's star had started to wane but she carried on regardless, releasing a string of relatively unsuccessful albums in Germany and Austria. They might not have set the charts on fire but "Paradise Generation" and "Secrets" remain two of my favourite pop albums. Audrey had begun to experiment with her sound, mixing synths and keyboards with her beloved Latin rhythms and tender ballads. Favourites from this period include the blissfully ridiculous "Bella Italia" (music does not get any more camp!), "Silverbird" and the stunning "Never Wanna Dance (When I'm Blue)".
Audrey briefly returned to the spotlight in 1990 with the release of the remarkable "Love Me Tender" (also known as "My Dreams For You"). The album delivered the delightful reggae flavoured single "Sun Of Jamaica" as well as a popular cover of ABBA's "Fernando" - a song that Audrey seemed destined to sing given her penchant for Latin romance. Further highlights include the poptastic single "Shine A Light" and the beautiful ballad "For The Rest Of My Life". However, the true gem is the gorgeous "Shadows Of Love". This catchy pop anthem hasn't lost any of its sparkle - the chorus is addictive, the punchy production holds up well and Audrey's voice has never sounded lovelier.
Audrey followed "Love Me Tender" with "Rendez Vous" in 1991 but the album generally lacks the appeal of its predecessor. While not Audrey's finest moment, "Rendez Vous" does offer several fabulous treats. The singles "Santa Maria Goodbye" (above)and "Monte Carlo" are well worth a listen, while "Ballerina" remains one of my favourite guilty pleasures. An hysterical ballad about a porcelain ballerina that comes alive at night, this sublime trash borders on genius! After "Rendez Vous", Audrey disappeared from the music scene for 14 years to raise children and work in television. She made a comeback with a German language album in 2005 (containing the infamous duet with her 11 year old son) and followed that with another dose of German Schlager in 2006. Audrey continues to perform regularly on German TV and recently appeared on the American television series "Burn Notice". The years have been very kind to Audrey. She is still a vision of loveliness and her voice has only improved with age. Hopefully, the success of her nieces (the tragifabulous girlband 2 Girlz) will inspire her to release another English language pop album. The world needs more sun filled tunes about life, love and fabulous holiday destinations!
Occasionally you hear a song that grabs you by the balls and just keeps on squeezing. The track currently bruising my sack is Ladyhawke's majestic "Back Of The Van". I had fallen head over heels in love with this trashtastic flashback before the end of the first verse. From the opening synths, "Back Of The Van" is a three and a half minute rollercoaster ride back to the 80s. Not particularly original, I hear you saying but the thing that makes Ladyhawke unique is where she derives her sound. Every tart with a synthesizer has ripped off New Order and Depeche Mode but few list Stevie Nicks, Kim Wilde, Pat Benatar and Phil Collins as their major influences! In fact, "Back Of The Van" wouldn't sound out of place on any of Stevie's solo albums. I also hear touches of Heart and Starship thrown in for good measure. I wonder what ever happened to the Wilson sisters and Grace Slick. I worshipped those bitches!
So where did this Ladyhawke chick spring from? Well, Pip (her real name) first appeared on my radar as part of the Sydney based electro duo Teenagers (check out the excellent "Alone Again") but according to her bio she was already an established performer in her native New Zealand. Since going solo, things have really started to snowball for Ladyhawke. She's joined the Modular fold (the label behind The Presets, Cut Copy, Van She and Muscles) for domestic distribution and been snapped up by Universal UK. They are going with a different first single in Europe ("Paris Is Burning" - released on the 30th of June) but I don't like it half as much as "Back Of The Van". Speaking of which, make sure you watch the fabulous video (below). Bonnie Tyler called and she wants her hair back! This gem was released in Australia on Monday exclusively to iTunes. Check out Ladyhawke's Myspace for more details.
Christmas is vile. I know that's not particularly merry but I've just dragged my sorry arse home from a day of last minute shopping (with the hangover from hell, no less) and all I want to do is set fire to nearest Christmas tree and tell small children that Santa doesn't exist. Wading through a sea of disgruntled shoppers and pissed off shop assistants in the search of the perfect gift is bad enough but the accompanying soundtrack of poorly sung Christmas carols is a cruel and unusual punishment indeed. Thankfully, I have found the perfect antidote for my pain in the form of a lost 80s dance classic by a legendary porn star!
Ginger Lynn Allen was the queen of 80s porn, appearing in almost 100 films. Like Traci Lords, Ginger moved into mainstream acting after retiring from adult movies and starred in cinematic masterpieces like "Dr Alien" (starring the delightful Judy Landers) and "Bound & Gagged: A Love Story". However, I wasn't aware until very recently that Ginger briefly pursued a music career at the height of her porn fame in the mid-80s. Ginger's one and only flop, "Fantasy World", is a sleazy gem that deserved to be a worldwide smash. The song is a trash lover's wet dream, complete with a filthy lyrics and fabulous 80s production. Ginger even filmed a porno to promote "Fantasy World" (below)!
Read more about this amazing talent in our Pop Trash Diva Gallery. Many thanks to Jamie for introducing me to this slice of pop trash perfection!
I've been preoccupied with the other Minogue this week, with the release of "Club Disco", "Unleashed", "The Video Collection" and two re-released albums (!!) but Kylie's reunion with Jason Donovan (pictured above) for ITV's "The Kylie Show" grabbed my attention and sent me into a tailspin of nostalgia and childhood memories. Like every other kid in Australia in the late 1980s, I followed Kylie and Jason with an almost religious fervour. It's hard to explain the extent of their popularity for a brief burst of time approximately 20 years ago (FUCK!!). You had to be there; following the adventures of Scott & Charlene on Neighbours, buying Kylie & Jason's singles with your pocket money and reading about their every move in Smash Hits magazine.
While Kylie has remained at the top of her game, Jason's star faded faster than his hairline. Jason never really left the spotlight completely, appearing in various TV shows and stage productions, but most of the headlines he generates involve some kind of derogatory or revealing comment about Kylie. I'm so glad that they've managed to put the bitterness behind them. Their reunion promises to be the highlight of "The Kylie Show", the idea of them coming together after almost two decades warms my heart. Kylie is even revisiting Charlene! Apparently she's now an unemployed alcoholic (pictured below)!
Kylie and Jason will always be best remembered for their massive hit "Especially For You". And with good reason. That song remains one of Stock/Aitken/Waterman's finest ballads. As much as I love to give that golden oldie the occasional spin, I've always preferred the B-side. "All I Wanna Do Is Make You Mine" is a rambling 6 minute epic that borrows strongly (ie. blatantly rips off) "You're The One That I Want". Little more than a demo, the song sounds strangely underdone but it never fails to lift my spirits. This one goes out to everyone who cried when Scott and Charlene left Ramsey Street to live it up in Brisbane!
"The Kylie Show" premieres in the UK tonight. It has been picked up by Foxtel in Australia and will air in the very near future.
I recently spent some time writing an article about Olivia Newton-John's magnificent career for a website and had the chance to reflect on some of my favourite albums. I've already dedicated a post to the trash epic that is "Soul Kiss" and waxed lyrical about the pure brilliance of "Totally Hot" but I'm yet to write about "The Rumour", which I believe is a completely unique pop album. Pop music is almost exclusively aimed at teenagers and young adults. Madonna is old enough to be a grandmother but she still writes songs for 20 year old fags. It seems that divas either continue to cater for the young or turn into Celine Dion and start releasing concept albums for the post-menopausal crowd. Olivia's "The Rumour" is one of the few straightforward pop albums that straddles the great divide between youth driven music and granny pop. "The Rumour" was released in 1988 after Olivia had taken a 3 year hiatus to raise her daughter, Chloe.
Like any good diva, Olivia made an explosive return to the pop scene with a fabulous new mutton-dressed-as-lamb image and a brilliant new album. "The Rumour" was Olivia's last traditional pop album and stands up as one of her best. Unlike her later recordings which sometimes slide into granny pop territory, "The Rumour" was an attempt to make a contemporary pop album directed at adults. The idea of tackling issues like AIDS, single parenting and ageing within the context of trashy pop album is really quite revolutionary. Olivia's touching AIDS anthem, "Love And Let Live", inspired fans well before AIDS advocacy became trendy, while "It's Not Heaven" is an unusually frank commentary on single parenthood. The album might sound heavy but its not. The title track boasts one of the trashiest videos of Olivia's fabulous career and the closing track, "Tutta La Vita" is one of the defining pop trash moments of the 1980s. The video, which depicts Olivia doing the conga on a Navy ship, has to be seen to be believed. Sadly, the album was a failure everywhere except Australia. The general view was that Olivia was too old to compete with the new generation of pop tarts. All I can say is: Bitch, please!
Here is a review of "The Rumour" I wrote for Amazon:
"The Rumour" was Olivia's last real "pop" album before changing her focus to the adult contemporary market. That might have had something to do with the album's scathing reviews and commercial failure. Then again, maybe Olivia just felt the urge to move in a new direction. I really hope the reason was the latter because "The Rumour" is a great pop album, which was simply too eclectic for mainstream tastes at the time.
My favourite aspect of "The Rumour" is that Olivia finally has something to say. Olivia has since devoted entire albums to environmental issues and women's causes, but at the time the choice of subject matter was eye-opening. The fact that Olivia manages to cover topics such as AIDS, the environment, single parenting and working women without ever being overbearing or preachy, is a minor miracle.
The album begins with the Elton John penned title track. The song is rock-lite at its best but also sounds more like something Elton would have recorded in the 1970s than an 80s pop song. As a result and despite its quality, "The Rumour" is the only song that doesn't quite seem to fit with the others. The next song "Love And Let Live" must have been one of the first songs to deal with AIDS in the 1980s. Happily, this is not a maudlin ballad but an insanely catchy pop song complete with synth keyboards and is one of the album's highlights. This is followed by Olivia's restrained cover of "Can't We Talk It Over In Bed" and her environmental awareness song "Let's Talk About Tomorrow".
"It's Not Heaven" is one of the best songs Olivia has written. It is an unusual mid-tempo ballad about being a single mother, performed with real emotion. "It's Always Australia For Me" is a lovely nod to Australia's then bicentennial year, while "Get Out" is a funky anthem for the working woman. This is followed by "Big And Strong", which is one of the strangest songs Olivia has recorded. I'm not sure if it has an anti-war message or just unfortunate lyrics. Anyway, it sounds pleasant enough.
"Car Games" is a great 80s song about the dangers of love and another example of Olivia's gift for unusual lyrics. "Walk Through Fire" is a beautifully performed ballad and perhaps my favourite song on the album. The final song, "Tutta La Vita" closes the set on an upbeat note with an enjoyable piece of pop fluff about the important things in life.
"The Rumour" is an underappreciated 80s gem. Olivia's vocals are superb and the album shows her significant development as a songwriter. This album is highly recommended.
One of the many great things about "The Rumour" was the accompanying video album, which provides film clips for each song - usually with some kind of narrative. The video clips for "Tutta La Vita" and "Love And Let Live" below both originate from the video album:
Love And Let Live Tutta La Vita - Possibly my favourite video ever!
Yesterday was Sheena Easton's 52nd birthday. Which is ridiculous because she still looks younger and fresher than Miley Cyrus. Anyway, I was planning a little tribute post to celebrate the occasion and decided to write about "Telefone" - my all time Sheena favourite. Released in 1983, this synth-pop gem became the Scottish diva's 4th US top 10 hit and nabbed her a Grammy nomination for Best Pop Vocal. I love everything about it, from the sublime 80s production (courtesy of Greg Mathieson, who also delivered the goods on her previous album "A Private Heaven") to the supernaturally catchy chorus. That's not even mentioning Sheena's adorably indignant vocal. She's so pressed that her man hasn't called! Her pain is universal and a generation of gays loved her for it.
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