Category Archives: live music

2023 ➤ Kid Creole returns to Britain with that vintage Darnell bazzazz

❚ ONE OF THE GOD-LIKE SHAPERS of the new music of the Eighties was playing live in London this week and afterwards we met again for the first time since 1981. He is August Darnell, aka Kid Creole frontman of the Coconuts, and when I remarked on what a vital conduit he had provided between New York, London and Paris assisting the exchange of new indie bands, no-wave dance music and other strange flavours on Michael Zilkha’s ZE Records label, he was flattered to be remembered that way. Yes they were fertile times, he agreed, as post-punk pop, disco, funk, dub and Latin all collided with artsy pretension spiced with irony. He loved that rules were being broken.

In 1980 Darnell became a producer at ZE and his collaborations boosted the careers of James Chance, Cristina, Was (Not Was), Don Armando’s Second Avenue Rhumba Band and Material, while introducing the category of “Mutant Disco”. The edgy compilation album bearing that name distinctly helped to make ZE “the most fashionable label in the world” in the opinion of The Face magazine by 1982. Woodwork squeaks and out come the freaks!, according to Was (Not Was).

Click any pic to enlarge in slideshow:

Darnell had set out in 1974 writing lyrics with the funky Dr Buzzard’s Original Savannah Band in which vibraphone player Andy Hernandez was known as his “trusty sidekick” Coati Mundi. Hernandez served as Darnell’s on-stage comic foil, as well as his musical director and arranger. Their first hit single on RCA was Cherchez La Femme with Cory Daye the lead vocalist. The album went gold and the band was nominated for Best New Artist in the Grammy awards.

In 1980 he formed his own band as Kid Creole and the Coconuts, his style as lounge-lizard vocalist being defined by a Latinised Cab Calloway type in a zoot suit and broad-brimmed hat, alongside “Sugar-Coated” Coati Mundi in a line-up of instrumentalists and singing dancers. Sire released the Coconuts album, Fresh Fruit in Foreign Places, in June 1981, while the next album in May 1982 was boosted by its instant appeal in the UK under the title Tropical Gangsters. The LP hit number three, and three singles – I’m a Wonderful Thing Baby, Stool Pigeon and Annie I’m Not Your Daddy – made the Top Ten.

As a dynamic live act with unique visual appeal, the Coconuts toured the world, confirming Darnell as a respected composer, arranger and producer. They recorded 11 albums and scored more hit singles including Dear Addy, Endicott, The Sex of It, and My Male Curiosity.

And now here were many of those familiar strains being given brilliant new life on-stage at the Boisdale restaurant in Canary Wharf this week, thanks to a powerful seven-piece band and three slinky dancers. Of course August Darnell was showing his age – heavens, aren’t we all these days? Despite which, his generous set was driven by his own rich voice and every ounce of sheer bazzazz. There was no beating Don’t Take My Coconuts!

➢ Previously at Shapersofthe80s: 2012, Mutant Disco update

New York, Jim Fouratt, Kid Creole, Coconuts, August Darnell, 1981,

New York, May 1981: When I first met August Darnell, here with Jim Fouratt, promoter of the Spandau Ballet/Axiom gig and fashion show at the Underground club. (Photo © Shapersofthe80s)

Michel Esteban, Michael Zilkha, ZE Records,

Michael Zilkha and Michel Esteban: in 1978 founders of the record label combined their initials to make ZE and based themselves in both New York and Paris

➢ Previously at Shapersofthe80s:
1981, 21 Blitz Kids take Manhattan by storm with a fresh fashion show and the live new sound of London

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2023 ➤ Fans vote for Bowie’s Top 26 best videos

Favourite Bowie Videos, David Bowie, Ashes to Ashes, David Mallet, Tony Visconti, pop music, jazz

❚ THE OFFICIAL DAVID BOWIE WEBSITE has polled his fans to elect their five favourite videos by the musical genius whose career transformed pop music over 50 years. No surprise perhaps that Ashes to Ashes came out top, capturing a crucial turning point in Bowie’s own progress in 1980 and becoming his second No 1 UK single and an international hit. It was an arty track from his 14th studio album, Scary Monsters, with a funky bassline, refined lyrics reaching back to his debut single Space Oddity and its astronaut Major Tom, while its dreamy solarised visual effects also reflected Bowie’s own experiences with drugs. Several critics declare Ashes to be among Bowie’s best songs musically and for inventiveness, and the video itself stands at number 44 in Rolling Stone’s 100 best.

For both its sleeve and video, Bowie commissioned a Pierrot pantomime costume. Significantly, the video starred four overdressed figureheads (including Steve Strange) from London’s nightlife scene, which was exploding into a gloriously colourful new subculture as a reaction to the bleakness of punk. Let’s not forget that Ashes was the most expensive music video made to date, costing £35,000 (about £140,000 in today’s money) and MTV had yet to be launched. [Read the full background story behind recruiting and filming the Blitz Kids for Ashes here at Shapersofthe80s.]

The team at DBHQ doff their hats to video director David Mallet for achieving nine entries in their video top 20, more than a third.

BEST VIDEOS HIS FANS VOTED FOR

#01 – Ashes to Ashes 1980 – David Bowie and David Mallet
#02 – Life on Mars? 1973 – Mick Rock
#03 – Boys Keep Swinging 1979 – David Mallet
#04 – Jump They Say 1993 – Mark Romanek
#05 – I’m Afraid of Americans 1997 – Dom and Nic
#06 – ★ Blackstar – 2016 – Bo Johan Renck
#07 – DJ 1979 – David Mallet
#08 – The Hearts Filthy Lesson 1995 – Samuel Bayer
#09 – Lazarus 2016 – Bo Johan Renck
#10 – The Stars (are out Tonight) 2013 – Floria Sigismondi
#11 – The Next Day 2013 – Floria Sigismondi
#12 – Let’s Dance 1983 – David Mallet
#13 – Look Back in Anger 1979 – David Mallet
#14 – Strangers when We Meet 1995 – Samuel Bayer
#15 – China Girl 1983 – David Mallet
#16 – Loving the Alien 1985 – David Bowie and David Mallet
#17 – Little Wonder 1997 – Floria Sigismondi
#18 – Blue Jean / Jazzin’ for Blue Jean 1984 – Julien Temple
#19 – Fashion 1980 – David Mallet
#20 – Wild is the Wind 1981– David Mallet
#21 – Thursday’s Child 1999 – Walter Stern
#22 – Where are We Now? 2013 – Tony Oursler
#23 – Absolute Beginners 1986 – Julien Temple
#24 – Space Oddity 1972 – Mick Rock
#25 – The Jean Genie 1972 – Mick Rock
#26 – Be my Wife 1977 – Stanley Dorfman

AMONG THE COMMENTS AT FACEBOOK:

Adam Paramore: Great list, interesting that there’s nothing from Ziggy Stardust (IIRC, some concert clips were used as music videos), no Labyrinth tracks, no Modern Love, and no Dancing in the Street with Bowie & Jagger.
Anthony LeBaron: One notably absent video from the list I would add is No Plan. Released a year after his passing, it captures the enormous loss and despair I still felt at losing him.
Rudy Fuentez: Ashes to Ashes is probably his best video, but to me his best song is too hard to decide. Cat People (Putting out the Fire), Always Crashing in the Same Car, Young Americans, Absolute Beginners, This is not America… too many songs. Might as well ask what do you think is the brightest star in the heavens.
Andrew Seear: I agree. Always Crashing in the Same Car I think is an astonishing piece, even by Bowie’s standards. I’ve never heard despair expressed so elegantly.
Stacey Rich: Coolest thing was cycling to Pett Level [where Ashes was filmed] – totally unchanged on the day, a little overcast, the beach empty. Grew up in America & never realised it was an actual place but had shown my partner the video and he recognised the beach immediately. Actually teared up.
Stephen Oldfield: The lyrics and music on this track [Ashes] are stunning. The closing synthesiser must be the greatest on any song ever.

PLUS TWO VERY SPECIAL
PERFORMANCES ON VIDEO

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In December 1979 Saturday Night Live aired the most immaculate performance of TMWSTW by Bowie, Klaus Nomi, Joey Arias, Stacey Hayden on guitar and Jimmy Destri on keyboards, which some say was the night “he transformed live television”. This nine-minute clip also includes brilliant versions of TVC 15 with Bowie in skirt and heels, plus a hilarious performance of Boys Keep Swinging where he sports a life-sized nude puppet costume. Click on the picture to view, though don’t be surprised if you cannot reach the video. For rights reasons, this unrivalled video keeps being removed from the web by its broadcaster, so we stay on our toes scouting for alternative postings!

❏ I TOTALLY AGREE with the first three videos topping this DB poll, and draw special attention to Mick Rock’s remarkable promo for Life on Mars. Another that haunts my imagination is 2014’s Where are We Now? Moving on, I’d urge those who haven’t seen two other very special performances by Bowie to seek them out. One is an exquisite interpretation of his enigmatic song The Man who Sold the World which some claim “transformed live television” [pictured above]. Admittedly this is not a promotional video and yet it was uniquely choreographed and costumed for live performance on American TV’s Saturday Night Live in 1979 before its audience of millions. Idiosyncratic backing singers Klaus Nomi and Joey Arias provide immaculate support, while carrying Bowie forward as a kind of giant pierrot, clad in an oversized black plastic dinner jacket over a tapered tubular body – all inspired by artist Sonia Delaunay’s designs for a subversive Dadaist play from 1923. When written in 1970, the lyrics and the singer were evidently sharing an identity crisis and since his death Rolling Stone has regarded this number as “essential”.

❏ HERE’S A SECOND profoundly affecting video that’s often ignored yet it reveals the extraordinary range of Bowie’s singing voice. Possibly the purest experimental jazz number of his career, the nerve-tingling Sue (or in a Season of Crime) was created in 2014 during a session with 17 jazz soloists including saxophonist Donny McCaslin, all improvising under Maria Schneider’s guidance and running beyond seven minutes. The role of jazz in Bowie’s musical temperament seldom gets discussed, though his producer Tony Visconti says the jazz influence had always been there in the music but beneath the surface. The haunting four-minute video was directed in monochrome by Tom Hingston to promote Bowie’s “best-of” collection, Nothing Has Changed.

All taking place as Bowie was being diagnosed (discreetly) with liver cancer, Sue evokes a discomfiting tale of infidelity inspired by the poet Robert Browning, in which the narrator murders his wife and the last verse begins with the phrase “Sue, I never dreamed”, the title of the first song he recorded in 1963. Such a weepie. (An edgier, punchier, superior re-recording of Sue followed on Bowie’s final album Blackstar, released two days before his death.)

➢ Previously at Shapersofthe80s:
12 January 2016, David Bowie is dead

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1980 ➤ Out of the blue, Duran’s first gig pictured at the Rum Runner

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Duran Duran: Who’s who in this debut line-up on 16 July 1980 onstage at the Rum Runner in Birmingham? (More to the point, who actually took this photo?)

❚ NEVER SEEN BEFORE! Or so I thought a few days ago! This superb colour photo of Duran Duran’s debut gig introducing Simon Le Bon on vocals and Andy Taylor on guitar has just been published on Facebook. The band are captured live on 16 July 1980 at Birmingham’s stylish nightspot the Rum Runner and fans have been amazed at a certain blondness and general skinniness of the performers, but after all their average age is only 20. From the left: Yes Simon is blond, yes “Tigger” John Taylor looks truly gangly on bass, yes Andy is in leopard-print pants, and yes Nick Rhodes is playing the Crumar synth at rear. (Drummer Roger Taylor is sadly not visible.)

This sensational picture arrived on the Durantastic World page at Facebook on the 43rd anniversary of the gig and I was one among many fans who had never seen it before. Yet the DW Admin couldn’t say who took it. One follower, Emma Leigh, attributed the image to a photographer who goes only by his Twitter handle @Birmingham_81 (currently unused) and otherwise remains anonymous! Baffled and amazed by suddenly discovering that any photo of Duran’s live debut existed, I embarked on a prolonged Google search.

As the day went on I actually unearthed FOUR photos of that 1980 gig – now published here on this page – which were buried perhaps unsurprisingly in one official Duran website dating from 2015, and another encyclopedic online history of the band in 2018, so all the more puzzling that they haven’t spread widely across social media circles. The best pic, shown here at the top, has sat in DD’s album page at Facebook since 2015, unforgivably dated wrongly to 12 March 1980, months before Le Bon joined the band.

A second pic was also posted by DD at Facebook in 2018 on the correct anniversary of the debut. This is the frontal view in which we can just see Roger on drums, though really too small to enlarge very successfully. Further googling led us through Not Your Mother’s Playlist, a blog by Christina, a 25-year-old pop culture addict from San Francisco who pictured the key photo without comment in 2019, and on to Duran Compilations which uniquely revealed two further pix from DD’s debut in 2018 while showing all four on one page – see below – again without special comment or hint of a source! This website detailing the band’s unofficial history was “compiled and developed by Ansgar Thomann in dedication to the 40th anniversary of Duran Duran’s birth”. He based the anniversary on 1978, when the idea of DD was born!

All four images make a fascinating testament to DD’s sense of style, especially Le Bon. Sad that nobody seems sure who took these landmark photos.

IMAGES SCARCELY SEEN BEFORE – CLICK TO ENLARGE

Core band members had been employed for a year or more around the Rum Runner by its owners, the brothers Michael and Paul Berrow, as bouncers, deejays and glass collectors, while a series of new musicians were tried out and let go.

Cristina’s NYMPL reports: “In 1978, cool kids Nicholas Bates and Nigel Taylor (who would then become Nick Rhodes and John Taylor) handed the Berrows a demo tape for their fledgling band Duran Duran and the rest is history; they held auditions until D-Squared became a full-fledged band with a guitarist and everything, and the Berrows became their managers.”

She adds: “Guitarist Andy Taylor recounts many interesting things in his book Wild Boy (a fantastic read). He talks about the wild behaviour of the club-goers – how flamboyantly they dressed, how behaviour norms didn’t apply and how sex, drugs, and glam rock were paramount. He also talks about the aptly named ‘Sex Offender’s Room’ (‘People weren’t politically correct, then,’ he writes), where the Durans and the Berrows dragged in a nice fluffy bed in a vacant corner, and then would purposefully walk in on one another when they were enjoying the, uh, intimate company of their guests.”

Simon Le Bon told Quietus in 2011: “I had some pretty amazing sex-and-drugs combined occasions. Which, ultimately, were very rock’n’roll. Just thinking back to the Rum Runner, what a place that was for five guys. . . it was probably illegal. In fact, a lot of it was definitely illegal.”

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DuranCompilations pulls out the plums, 2018: two more new images to make four DD debut pix scarcely ever seen

Once the 1980 line-up was finalised, it then took DD another six months as the club’s house band before landing a contract with EMI. During this time London’s New Romantic heroes Spandau Ballet notched their first chart single before year’s end. In February 1981 DD’s first single Planet Earth charted at number 12 with the phrase “New Romantic” unsubtly woven into the lyrics, while cool London bands refused to subscribe to the term.

Both Spandau and DD followed the image-conscious practice of pioneering stylish music videos with savvy directors such as Russell Mulcahy and Godley & Creme, which fuelled the British invasion of the US by British bands just as MTV was launched in August 1981. The first person we see in Duran’s first video, Planet Earth, is Roger Taylor who also told Quietus: “I think [director] Russell Mulcahy had a bit of a crush on me: ‘OK, get your shirt off, you’re the first one, lie back’.”

Perry Haines, ex-Blitz Kid, producer and first editor of i-D, told me in 1982: “Duran Duran were destined to be mass market. I styled their first photo session in Milton Keynes in frilly Axiom shirts with bolero jackets and silk Antony Price suits. It was a street-level look with the cut and style of Antony.”

Rolling Stone magazine recorded the brothers’ ambition: “They said, We want a good-looking poser band. . . somewhere between Chic and the Sex Pistols.”

COMMENTS AT DW FACEBOOK THIS WEEK:

Bill Rosich: The 16 July set list was: 1, I Feel Love; 2, Girls on Film; 3, Amy a-Go-Go (later Rio); 4, Night Boat; 5, Tel Aviv; 6, Late Bar; 7, Secret Success.
James Barr: It’s funny, but they’re basically in the exact same stage arrangement that they remain in to this day: Simon out front with John on his right and Andy (or the guitar player) on Simon’s left. Nick is then back and to the left and Roger back and to the right.
Lance Lowe: Was there. I played bongos for 5 minutes. It was a jazz dance night. Paul Berrow asked me to stand behind the bongos with the rest of the band for press shots at the Rum Runner. I just wanted to dance to music by Lonnie Liston Smith.

➢ Durantastic World page at Facebook

➢ Previously at Shapersofthe80s: 1981, Birth of Duran’s Planet Earth

New Romantics, Swinging 80s, Birmingham, Duran Duran, Rum Runner,

A broody looking Duran Duran en route to stardom: the band pose outside the glam entrance to the Rum Runner nightspot

➢ Previously at Shapersofthe80s: 2023 ➤ Celebrating Kahn and Bell’s role at the centre of Brummie fashion
➢ 1981, Inside the Rum Runner nightclub – by the people who were there

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2022 ➤ Martin Kemp on a life full of love but lacking two vital apologies

Martin Kemp, Spandau Ballet, Los Angeles, pop music, live concerts,

Golden years: Martin Kemp escaping fans after Spandau Ballet played at The Palace, Los Angeles, in 1983

❚ MARTIN IS THE YOUNGER BROTHER of the two Kemps, the good-looking one with the easy charm that has opened doors into a television career that included EastEnders. Gary is the older one with such a strong sense of self that as recently as 2017 it wrecked the last of several reunions for Spandau Ballet, by shedding their talented and popular singer Tony Hadley who now thrives with his own band. In 1978 Gary had invited Martin to learn to play bass then join his former school band the Makers 18 months before it was renamed Spandau Ballet and went on to international success.

Today The Guardian interviews Martin Kemp aged 61 about his third book, Ticket to the World: My 80s Story (HarperCollins £11), which sounds more cosy than you might expect following Kemp’s distressing surgery to remove two brain tumours during the 1990s. He can’t stop telling us how much he loves everybody in his life, even after fist fights with Gary. What does he have to say about why Tony Hadley left the band in 2017, after several previous break-ups? ➢ The interviewer Paula Cocozza reports:

“It’s something that I’d never spoken to him about. But I do feel guilty when I look back.” In the book, Kemp stops short of an apology. “Oh, listen,” he says immediately. “I would apologise to Tony, absolutely, for the way that he was treated. I think it was really poor.”

Why doesn’t he pick up the phone and say all this to Hadley? He really sounds as if he wants to. But he says: “I haven’t spoken to Tony for ages. I reach out to him, but I rarely hear back. I send little messages” – he mimes texting – “if I get two words back, I’m happy.

“Tony is lovely,” he says. “He is a lovely man. I will always, always love him, in the same way I love all the rest of the band. But you drift apart, don’t you?”

Nowhere in the interview does the name of Ross William Wild get mentioned, the singer who succeeded Hadley during 2018 following Martin Kemp’s recommendation, and was silently dumped after a trial series of concerts and subsequently contemplated suicide. When might he, too, expect an apology from the band who blanked him?

Spandau Ballet, Ross William Wild, Gary Kemp, Martin Kemp, Steve Norman, pop music,

October 2018: What proved to be vocalist Ross William Wild’s last outing with Spandau Ballet at the Hammersmith Apollo

➢ Previously at Shapersofthe80s: 2020, Singer Ross reveals how Spandau drove him to try ending it all

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