Category Archives: videos

➤ Thanks, Steve, for my invitation to the Swinging 80s

Blitz Kids, New Romantics, Observer Music Magazine, Derek Ridgers,Spandau Ballet, Steve Dagger, Steve Strange, Tipping points,London, Media, Politics, Pop music, Swinging 80s,,

The Observer Music Magazine, Oct 4, 2009. Pictures © by Derek Ridgers

MARKING THE FOURTH ANNIVERSARY
OF STEVE STRANGE’S DEATH

WHEN MY PHONE RANG IN JANUARY 1980, little did I realise its message meant: “Put out the cat. You’re coming to the party of your life.” The voice on the other end spoke without pausing: “My name’s Steve Strange and I run a club called the Blitz on Tuesdays and I’m starting a cabaret night on Thursdays with a really great new band…. they combine synthesised dance music for the future with vocals akin to Sinatra, they’re called Spandau Ballet and they’re going to be really big. . .”

➢ Click through to continue reading Yours Truly’s eye-witness account of Spandau Ballet, the Blitz Kids and the birth of the New Romantics at The Observer Music Magazine

➢ Elsewhere at Shapers of the 80s:
The Invisible Hand of Shapersofthe80s draws a selective
timeline for the break-out year of 1980

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➤ Four years on: How the Blitz Kids paid magnificent tribute to Steve Strange

On the fourth anniversary of Steve Strange’s passing
(not to mention the 40th anniversary of his Tuesday club-night
opening at the Blitz), how better to remember the man who revolutionised London nightclubbing than with the massive collection of tributes assembled here at Shapers of the 80s
from every significant Blitz Kid the day after Steve died…

1978, when Steve Strange teamed up with Rusty Egan (Photo © Fin Costello/Redferns)

1978, when Steve Strange met Rusty Egan. (Photo © Fin Costello/Redferns)

➢ Previously at Shapers of the 80s:
Read the fulsome tributes to Steve paid by the Blitz Kids here after his sudden death in 2015

Brief tasters. . .
Original Blitz Club deejay Rusty Egan said: “I’m very, very sad and down tonight because I’ve lost an old friend. We had our disagreements but we did have a decade of the best times that anybody could ever have wished for. We made some amazing music, some amazing parties, clubs and fun and friends. Underneath it all he was a good soul. Steve, I’m so sorry I didn’t get a chance to say I still love you.”

Chris Sullivan, who ran Soho’s Wag Club: “We were both flamboyant club-running Welsh dandies but were never rivals. Steve had too much dignity for that. We were friends and remained so for the rest of his life. And I can say that Steve, despite quite a few hard years, never lost that that spark, humour or joie de vivre, was forever stylish and was always a pleasure to see.”

Princess Julia, writer and deejay: “Getting dressed up, going out and getting noticed… Steve was head of a subculture the likes of which perhaps we will never see again.”

Kim Bowen, stylist, onetime Queen of The Blitz: “Rushing enthusiasm, involving everyone, creating insane parties going round and round on the Circle Line. Some truly bad outfits (his not mine.) Shockingly, ‘Kim, will you be my official girlfriend?’ ”

And many, many more delicious anecdotes…

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➤ Sullivan the wag changes hats at the touch of his paintbrush

Chris Sullivan, Swinging Eighties, Carioca, Blue Rondo a la Turk, Wag Club

Carioca then and now: left, the cover for Chris Sullivan’s band’s 1982 single Carioca and, right, his new upfront reworking for 2019

Chris Sullivan,Leah Seresin, caricature,

Leah Seresin and mum Deirdre, newly painted by Sullivan

WHO IS CHRIS SULLIVAN THIS WEEK? That all-round creative dynamo who drove much of the Swinging Eighties and ran the influential Wag club for 19 years epitomised that New Romantic era by declaring “One look lasts a day”. Suddenly he is enjoying another creative spurt. Fans will have noticed a series of bold and comic painted caricatures of his friends appearing on Facebook this month. As affectionate portraits they speak for themselves. But then last week he posted one called Carioca, inspired directly by the 12-inch single sleeve for his band Blue Rondo a la Turk. It was included in their album Chewing The Fat which dates from 1982.

Fans will also recall that Sullivan as vocalist not only put the band together as a septet of crazy soul-jazz-Latin musicians on a 0-to-10 sliding scale of eccentricity – where all of them scored at least an 11 – that won them a £500k contract with Virgin. He also painted every one of their vinyl record sleeves in his own playful version of cubism. So here above we can now compare his restrained vamp Carioca from 1982 with her current rather more in-your-face madame for 2019. So what’s this all about, Chris?

Bear in mind Sullivan was one of that gang of St Martin’s heroes who put London clubs such as the Blitz, Beat Route and the Wag on the map from 1980 on, and had studied first on the college’s fashion course, then switched to fine art. I am off to Soho to find out and will be reporting back. . .

Chris Sullivan,caricature, Soho, beats, art,

Sullivan caricatures: A pair of what the painter calls Beat Peeps from Eighties New York

STEPPING OUT TO CARIOCA ON
THE ITV SHOW RAZZMATAZZ 1982

➢ Elsewhere at Shapers of the 80s:
Yours truly writes the first magazine feature about Blue Rondo a la Turk as they created a new buzz with Latin sounds and an extreme suited dude look – from New Sounds New Styles in August 1981

➢ Razzmatazz, the weekly pop show beamed out to 6 million ITV viewers from Tyne Tees TV in Newcastle

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➤ Truly a once in a lifetime evening of pure joy with David Byrne

Q MAGAZINE’S REVIEW SAID: “This unprecedented mindmeld of modern dance, avant-garde theatre, art installation, soul revue and carnival parade makes the conventional rock show seem as old-fashioned as music hall. Most artists don’t get to reinvent the pop concert once in a lifetime. Byrne has done it twice.” Here’s a brief taste of David Byrne’s sensational American Utopia world tour which during 2018 has played 13 dates in the UK (London, Brighton, Nottingham and Manchester this week) and moves on through Europe to Australia. These innovative concerts have won unprecedented rave reviews from critics on national newspapers and music press: “mind-blowingly meticulous and awe-inspiring”, “arguably the most acclaimed live shows of the year”, “the best live show of all time”. All true IMHO. Byrne’s 22 numbers were drawn from this year’s critically acclaimed album American Utopia, as well as classics from his solo career and the 1970s with the mould-breaking Talking Heads. All were choreographed to create a continuous visual and musical river of rhythm.

We’re happy to borrow the video above, shot by Cazza Gee close-up to the stage at London’s Eventim Apollo in Hammersmith (20.6.18) to convey the joyous free-form energy of the staging by Byrne and his 11-strong band.

'American Utopia', UK tour, dance, David Byrne, live concert, musicians, Talking Heads, rock music, social commentary

American Utopia: David Byrne with his nimble barefooted 11-strong band, heavily biased towards percussion. Photo by Andrew Whitton

➢ Former Blitz Kid and singer Andy Polaris reviews Byrne’s show in full at his own website, but here are his highlights. . .

The glowing five-star international reviews for David Byrne’s ‘American Utopia’ tour 2018 meant there was genuine and palpable anticipation surging through the 4,000-strong audience packed into the Brighton Centre this week.

The set opened with a vast empty stage, only a small table and chair with a grey-haired casually suited Byrne seated and singing to a plastic brain which he held aloft. He looked like the coolest science teacher explaining its merits, albeit barefoot and to a much more appreciative adult-education class. He was joined onstage by similarly attired backing vocalists Chris Giarmo and Tendayi Kuumba who we quickly realised, along with the rest of the 11-piece band, were agile in their dual role as musicians and dancers. It was the realisation that with Annie-B Parson’s sophisticated and at times elaborate choreography (especially for the backing vocalists) this was far from standard fare. I then remembered the work Byrne did with dancer Twyla Tharp in the 1980s, and realised this show has become a logical next step in the imaginative presentation of his eclectic catalogue. . .

The standouts were many but the surreal when released ‘Once In A Lifetime’ crackled with almost evangelical zeal as Byrne flung himself around on-stage… Against giant dancing shadows like a Busby Berkeley musical number, ‘Blind’ was given brassy punch and brought energetic solos from its talented percussionist pool… The opening guitar chords of ‘Burning Down the House’ did exactly what it said on the label… ‘Everybody’s Coming To My House’ exuded an inclusive party feel which Byrne explained was also matched by his band’s origins from all around the world. Personally I loved ‘Born Under Punches’ and ‘The Great Curve’ because ‘Remain in Light’ is one of my favourite albums. . . / Continued at apolarisview

'American Utopia', UK tour, dance, David Byrne, live concert, musicians, Talking Heads, rock music, social commentary

American Utopia: David Byrne’s troupe cast dancing shadows during the Talking Heads song Blind. Photo by Andrew Whitton


➢ Dorian Lynskey for Q magazine joins the tour in Paris and talks to the former Talking Heads singer about its genesis

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➤ Hadley v Spandau: Whose superb band is paying tribute to the other?

Tony Hadley, pop music, Lily Gonzalez, London Palladium, Talking to the Moon, UK tour,

The Hadley Band: making magic at the London Palladium

WHEN IS A TRIBUTE BAND NOT A TRIBUTE BAND? And what is it paying tribute to? Tribute to the first band, or to the singer, or to the songs?

When the star vocalist from the band that’s being tributed jumps ship to lead his own new team of musicians, does he become a tribute to himself? When half his live playlist consists of songs written for the first band, he is clearly paying tribute both to those songs written for him and to that band who made them chart hits half a lifetime ago in the Swinging 80s.

This is the conundrum that the former Spandau Ballet vocalist Tony Hadley found himself enacting last week as he sang to a sell-out audience at the UK’s most prestigious home of live entertainment, the London Palladium. His evident pleasure on-stage paid tribute to the songs written for his rich baritone voice and which fit him like favourite gloves. For a full two hours Tony gave a relaxed performance, smiling, waving and calling out to fans in the audience of 2,300.

It was a blast! But why should hearing Hadley in full fig at the mighty Palladium come as a culture shock? After all, his last tour fronting Spandau Ballet only four years ago revealed that the voice was growing magnificent in its maturity. For his own reasons he parted with his band of schoolmates a year ago. When his seven-date Talking to the Moon tour reached London, his presence dominated the stage, and he paced to all sides to josh with the audience and got on down miming to the drums, just as he once did alongside Spandau’s John Keeble.

The fact is that Hadley’s voice was very much the signature of the Spandau sound for 38 years. His former bandmates have recruited Ross Wild as their new vocalist and hit the road with their Next Line tour, also this month. So, with Ross having had to learn the entire repertoire of old hits, does all this now mean that he and the original musicians in Spandau have become the tribute band?!?!

Fans of both factions have been very vocal on social media: Tony’s claimed that his voice has taken the Spandau brand with it into the very tight Tony Hadley Band. At the Palladium, we heard familiar Spandau classics fizzing with new energy and melodic detail – numbers such as Chant No 1 and Only When You Leave moved along at a pace. An acoustic version of I’ll Fly For You delivered quite an electric treat as a seated duet with percussionist Lily Gonzalez.

In the Spandau camp, supporters have welcomed Ross as a rejuvenating new broom after seeing how he has raised the Ballet boys to fighting form. Though his voice has surprising range, it’s his lighter register that has woven gentle poetry into the more emphatic lyrics, for example, in Through the Barricades.

What we can say with confidence is that suddenly Britain boasts two superb bands at the heights of their powers, both refreshing a back catalogue that was in need of new life. If you like this blue-eyed soul music, you have more choice than ever now to enjoy it. And on Monday Spandau gives Ross his big chance to win over more fans at the huge Apollo Hammersmith, as he has already done at five concerts in Italy and Holland.

Tony Hadley, pop music, London Palladium, Talking to the Moon, UK tour,

Hadley at Palladium: fluffing the lyrics to Chant No 1

MEANWHILE BACK AT HIS PALLADIUM TRIUMPH. . .

❏ Big Tone took care not to spoil the genial mood with any remarks about splitting from Spandau – except laughing loudly after forgetting the words during a high-octane version of Chant No 1, then after finishing Highly Strung, just shrugging “I still don’t know what it’s about”. To Cut A Long Story Short was first to get the mums and dads to their feet. Despite Tony describing the many white-haired couples as “blokes dragged along by wives”, many of those men were happily rocking on their feet and mouthing the lyrics. During Spandau’s chart-topping True, Tony merely pressed the right button to initiate a very funny singalong by everyone present.

Equally impressive was the other half of his set-list which showcased his own consummate solo album Talking to the Moon and other covers. Tone’s giant cadences were most assured on vibrant numbers such as Tonight Belongs to Us, and Every Time, and Skin Deep, and several poignant songs that seemed to echo his own independence: Unwanted, and Take Back Everything, and What Am I? – not forgetting his classy closing number, Sinatra’s That’s Life.

On every level of presentation and execution, the Hadley show was superlative. He was utterly at ease fronting his supporting musicians, each of whom found plenty of sequences to let their individual virtuosity shine. For the record it’s right that they should share the credit for a magnificent evening of sheer music: Tim Bye on drums, Phil Taylor on keyboard, Phil Williams on bass, Richard Barratt on guitar, Simon Willescroft on saxophone, Lily Gonzales on percussion and backing vocals. Tributes all round, in fact!

Tony Hadley, pop music, Lily Gonzalez, London Palladium, Talking to the Moon, UK tour,

Hadley at Palladium: mums and even dads on their feet for Big Tone

➢ Tony Hadley makes further UK appearances in the Stepback The 80s Tour with Bonnie Tyler, Chesney Hawkes, and ABC – and on next year to Holland

➢ Click for Tony’s own website . . . and his US agent

➢ Previously at Shapers of the 80s:
2017, Tony Hadley pulls the plug on Spandau Ballet

➢ Previously at Shapers of the 80s:
2018, Dad band Spandau preen with pride for Ross their newly adopted son

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