Category Archives: Youth culture

➤ Ex-Blitz Kid Rusty Egan and friends dress 80s electro-pop in brilliant new clothes

Welcome to the Dancefloor, Rusty Egan, electro-pop, Blitz Kids, New Romantic, EDM, synthesisers,

Egan deejaying at Tramp this week: a nightclub launch for Welcome to the Dancefloor

AFTER FIVE YEARS OF BLAGGING, and five years of feuding with former collaborators, 80s Blitz Club deejay Rusty Egan’s own “electro-diskow” album, Welcome to the Dancefloor, is out this week and it amounts to a superb sonic landmark. He and his guest performers engage an impressive range of emotions by dramatically humanising the potential starkness many associate with electronica.

ALBUM REVIEW
Welcome to the Dancefloor
Rusty Egan (Black Mosaic)

Spookily, their energy rockets us immediately into that vast clean stereo soundscape that uniquely defined the new music of 1980. Here synthesiser chords are stretched and layered and cracked like a whip, as if by an invisible hand in another time and space, which of course was precisely the sound of London clubland when its youth culture erupted as a volcano of creativity. The album’s pacey opening track finds ex-New Order’s Peter Hook on The Other Side spinning through the Milky Way, his thin 80s vocal style querulous and wistful, yet poppily optimistic.

That era did after all abandon the overpowering noise of the rock stadium and the punk nihilists to celebrate a return to melodious singing voices and to arch lyrics meant for listening, while synthesisers defined a fresh musical ambience. Inexperienced young artists unsure about their singing ability half shouted, half vocodered their limited vocal range to re-imagine their teenage dreams on a different planet.

Egan’s collaborators: click any pic below to launch slideshow

While Egan has carefully selected 13 tracks reflecting the wide spectrum of synth possibilities, half are love songs in the spirit of the 80s generation who were dubbed by the press New Romantics. Nevertheless he has created a consummate showcase for electronic music, co-produced by Nick Bitzenis (aka Nikonn), has had a hand in writing a majority of the songs, many co-written with Chris Payne (of Fade to Grey fame), these subsequently endorsed and expressed by a handful of starry friends such as Midge Ure and Tony Hadley on tracks of their own.

Despite its title, this is not dance music that the funk nation would groove to. Laying down a dominant 4-4 beat is not conducive to free-form movement unless you think you’re Tik or Tok. Exceptions include Egan’s own pulsating title track with robo vocals as if by Stephen Hawking and knowing breaks parodying Tenek and the Human League; also the nippy number Hero, which gains spiritual resonance from Andy Huntley’s richly textured delivery.

The stand-out track is Midge Ure’s transformation of an Egan/Payne song titled Glorious. He rewrote lyrics and melody so as to construct one magnificent crescendo filled with space and tension reminiscent of “Oh, Vienna!” A close second for reconjuring the authentic 80s is Egan’s own Wunderwerke, driven by his Trans-Europe vocals through classic synth sweeps, hypnotic repeats and bass stabs. Third comes Erik Stein on the astonishingly contemplative Ballet Dancer, basking in a wonderful waterfall of synths.

Like Brexit, Tony Hadley *is* Tony Hadley and here (without the Ballet) on the coltish lovesong Lonely Highway he canters to the top of a whole new hill as a crooner. What distinguishes this album is that it’s awash with affecting lyrics and fine voices to listen to in the name of electro pop – among the gentlest are Be The Man featuring the gorgeous inflections of Kira Porter; Nicole Clarke’s ethereal contribution to Love Can Conquer All; and Love Is Coming My Way, a second number from the silken-voiced Stein.

And just wait for the Chariots of Fire finale: Egan’s intensely personal track, Thank You, which unleashes a shock of the best kind. To describe more would be to spoil a gifted idea. It is emotional and all too evidently sincere. Thank you, Rusty.

Welcome to the Dancefloor, Rusty Egan, electro-pop, Blitz Kids, New Romantics, EDM, synthesisers,

Rusty Egan: co-producer, co-writer and much else – has created a landmark album in Welcome to the Dancefloor

➢ Welcome To The Dancefloor was released by Black Mosaic in digital formats on 3 Dec 2016. Pre-order your 180g vinyl LP and CD variants, plus bonus mixes, at Pledge Music

➢ Previously at Shapersofthe80s:
1980, First sighting of the Blitz Kids

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➤ Escape to the Nightlifers’ Shangri-la just in time for Christmas

Animal Nightlife, Andy Polaris, soul music, jazz, pop group,London, Andy Polaris,nightclubbing,Shangri-la, CD

Cool-hunters 1985: the Animal Nightlife lineup who charted with their album Shangri-la. . . Billy Chapman, Paul Waller, Andy Polaris, Leonardo Chignoli and Steve Brown

REMEMBER SNAKE-HIPPED ANDY POLARIS, frontman for Animal Nightlife, the soul/jazz/pop socialist collective who emerged from London’s cool clubbing scene and charted with Native Boy in 1983? This week their debut album Shangri-la is re-issued in a deluxe two-CD edition, having charted in summer 1985 only on vinyl.

Andy says: “It comes with a bonus disc of remixes and a great booklet with retro photos of the band in its two phases. Just in time for Christmas. The vinyl album has long been deleted and since then a very poor compilation of songs was released. The re-issue’s  tracks consist of the album in its original form and a second CD containing other singles and extended remixes that were only available on 12-inch before.” Lois Wilson supplies some nicely informed sleeve notes identifying Animal Nightlife’s role as innovators when the UK’s thriving underground changed the face of nightclubbing.

Managed by Steve Lewis, London’s coolest club deejay in the Beat Route’s heyday, Nightlife’s swing sound with an electronic twist enjoyed its moment as the hippest trend in music while Polaris penned his own brand of torch song and the band wore head-to-foot styles from Bolshevik bolshieness to Johnson’s jazz-age retro. Rabid clubbers must remember how Nightlife’s crazy animalettes and animalads went through about 35 line-up changes during their eight years on the scene, sadly scoring only four chart singles. For some band members, good times tended to take precedence over naked ambition in those highly competitive years when British acts were storming international pop charts.

“Just listen to the Pink Panther style
saxophone of instrumental Basic Ingredients
and try not to lose yourself momentarily
in another world, a better world even”
First review (7/10) by Loz Etheridge

By 1985 the band had slimmed down to the five-piece pictured on the CD cover. They consisted of Andy Polaris (vocals), Leonardo Chignoli (bass), Paul Waller (drums), Steve Brown (guitar) and Billy Chapman (playing a thrilling saxophone). After switching from the finger-snappy Innervision label to supercool Island Records, they were all packed off to Philadelphia where the first album was recorded at the legendary home of Philly World Records.

“The label wanted a bit more discipline from us,” Andy says, “and they sent us to America to get us out of our element and into the hands of those seasoned veterans who’d created the fabled Philly sound. We five working-class boys from London were wide-eyed and just did everything they told us. It paid off, because our producer Dennis Weinreich helped create an urban jazzy feel that translated after our sojourn at Philly World into a more sophisticated British club sound.”

❑ Standout track on the second Shangri-la CD of lost mixes is reggae producer Dennis Bovell’s version of Native Boy. Whoever’s on vibes – “mm, nice”.

➢ Shangri-la is cheaper direct from Cherry Red records (plus quick delivery)

➢ Definitive yet unofficial Animal Nightlife band history created online by Mike Albiston, a fan who remembers their last gig and senses something’s afoot that might require a web update

➢ Catch Andy Polaris’s reminiscences in the recent BBC doc Boy George’s 1970s: Save Me From Suburbia

➢ Previously at Shapersofthe80s: Animal Nightlife as part of the second wave of 80s image bands

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2016 ➤ On film: two electrifying hours of The Beatles as they’ve never been seen and heard

The Beatles, Eight Days a Week, Ron Howard, documentary, film, Paul McCartney, Ringo Starr, John Lennon, George Harrison, Swinging Sixties, live concert, vintage, pop music, Shea Stadium, touring,

Pristine footage: The Beatles play Shea Stadium in August 1965. (Image: SubaFilms)

LAST NIGHT AT A LONDON CINEMA I saw the most exciting live pop concert since the same band played live in the Swinging Sixties. Ron Howard’s new Beatles documentary, Eight Days A Week about the touring years 1963-66, is a sensational feast of long-lost performance footage that confronts us with the Fab Four’s raw onstage energy and pounding tempo – the audio as gorgeously restored as the images. This two-hour celebration of Beatle genius goes behind the clichés of hysteria to give us Access All Areas. It delivers one revelation after another, from Paul’s “Oh-my-God” moment when Ringo joined the band, to the jaw-dropping recording of a top-ten single in 90 minutes of studio time, to their 1964 triumph for civil rights when the band refused to tour in the US until audience segregation was abandoned at their venues.

New interviews from Ringo Starr and Paul McCartney keep dropping gems of insight about this the most commercially successful group in pop history, while vintage footage does as much justice to lippy John Lennon and “quiet” George Harrison who are no longer with us.

Throughout this joyous moptops-into-men odyssey we’re wide-eyed at the sheer cheek of these multimedia superstars, aged between 19 and 22, who created their own interview style by pinging back witty ad-libs to questions from the world’s media. The downside was mass hysteria from teenaged babyboom fans laying siege to hotels and airports where they repeatedly overwhelmed police and security on an often scarifying scale.

Beatle albums sat at No 1 in the charts for 20 to 30 weeks at a time – more No 1 albums than any other musical act. Their 20 No 1 hit singles on the Billboard Hot 100 chart remain unchallenged.

The Beatles, Eight Days a Week, Ron Howard, documentary, film, Paul McCartney, Ringo Starr, John Lennon, George Harrison, Swinging Sixties, live concert, vintage, pop music, Shea Stadium, touring,

Ron Howard with Paul and Ringo this week: “I love this photo that was taken yesterday at Abbey Road Studios in historic Studio 2 while we were promoting The Beatles: Eight Days a Week”

Everything The Beatles did was without precedent. Among their innovations they launched arena rock and at Shea Stadium Howard’s doc ensures that we hear George’s guitar chords above the screaming audience of 55,000 fans. As a shock reminder of Sixties technology, Vox had built three new amps for the Beatles, each souped up to 100 watts (!!!) specially for touring America, their output being relayed via microphones to feed the stadium’s tinny loudspeaker system!!!

It is a breath-taking source of inspiration to know that during The Beatles’ far from meteoric early years, this Liverpudlian band of brothers had played at least 456 live gigs before signing their recording contract with EMI. Yes, 456 !!! With that amount of practice, it should be no surprise to find that their legacy amounts to 237 original compositions – songs which most people on the planet can hum, while the most radical among them personify the Sixties counterculture. As the best-selling band in history, the Fabs revolutionised all of music for ever.

Howard’s previous reality epics include the wonderful Apollo 13 and the gripping joust, Frost/Nixon. This week he told The Guardian: “I began to think of the Beatles story as like Das Boot: they’re in it together, they have each other, they know what their objective is, but, y’know, it’s a dangerous world out there.”

WHAT THE PRESS ARE SAYING

➢ Ron Howard trashes the idea that there’s nothing new to say about the Beatles – The Guardian:
This is about the Beatles as live phenomenon, and the fact that their music was all the more remarkable because it had to be heard above the scream – that ambient sound of sex, excitement and modernity, mixed in with a thin chirrup of press envy. The scream was an important part of it. . . an almost unbroken four-year, semi-improvised multimedia performance for which there was no pre-existing template – not simply the music but the giant public spectacle and public scrutiny.

➢ 10 Things we learned from Eight Days a Week
– Rolling Stone:

In February 1964, the band and their entourage occupied nearly the entire 12th floor of the Plaza NYC, including the 10-room presidential suite. But despite the space, the four friends retired to smaller quarters. “The four of us ended up in the bathroom just to get a break from the incredible pressure,” Starr says.

➢ “We were force-grown, like rhubarb,” says John Lennon
– Daily Telegraph:

The film shrewdly draws a line between the Beatles’ mischievous sense of humour and their long-time producer George Martin’s earlier life recording alternative comedy. Martin had worked with the Goons, an enormous influence on the band’s growing lyrical eccentricity in that period, as well as their off-the-cuff ribbing of strait-laced reporters.

REMASTERED UK FOOTAGE, MANCHESTER 1963

Previously at Shapers of the 80s:

➢ No wonder The Beatles changed the shape of music after 456 sessions practising in public

➢ 1963, With The Beatles the day Kennedy was shot: “The second house was distinctly more subdued”

➢ 1966, More popular than Jesus: the fascinating Lennon interview in full

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2016 ➤ Bowie’s passionate eye for art proves to be not bad at all

Damien Hirst,David Bowie, Sotheby’s, auction, art, furniture

In the Bowie/Collector sale: one of Damien Hirst’s first spin paintings from 1995 with a long-winded title, painted with household gloss. Sotheby’s est £250k-350k.

◼ WHAT A BRACING INSIGHT into David Bowie’s creative mind! Only 30 items are displayed in an exhibition of the musician’s art collection in London, yet, whether or not you share Bowie’s taste, his sharp eye for a strong image is indisputable.

This exquisite mini-show at the auctioneer Sotheby’s provides a taster for the sale of 400 items from Bowie’s collection in November. Sotheby’s chairman describes the musician’s taste as “eclectic, unscripted, understated” and there’s not a dud in sight. What is immediately evident is strong work by artists who changed the future, from an impertinent Marcel Duchamp readymade, through Wyndham Lewis, David Bomberg, Harold Gilman, Henry Moore, Peter Lanyon, Kenneth Armitage and Frank Auerbach. The core is clearly driven by Bowie’s love of 20th-century British art, with international detours to acknowledge Basquiat and others, plus dozens of items of 20th-century furniture.

Sotheby’s Bowie/Collector previews in London from 20 July to 9 August, then tours to LA, NYC, HK and returns to London in the autumn for a ten-day full exhibition from 1 November and an auction in three parts.

Click any pic below to launch slideshow

The only thing I buy addictively is art
– David Bowie

A spokesman for Bowie’s estate said: “David’s art collection was fuelled by personal interest and compiled out of passion. He always sought and encouraged loans from the collection and enjoyed sharing the works in his custody. Though his family are keeping certain pieces of particular personal significance, it is now time to give others the opportunity to appreciate – and acquire – the art and objects he so admired.”

➢ David Bowie’s personal art collection to feature in three sales – at Sotheby’s

➢ Works the late singer quietly collected over the years go on display – feature and gallery at the Guardian
The singer, who died in January, studied art and design at technical college and once confessed to buying art “obsessively and addictively”, but the scale of the addiction had not been realised. His family say they are selling because they have not got the space to keep the collection.

➢ Bowie’s Art and Furniture Collection – New York Times
“. . . his collection of modern and contemporary British art [includes] paintings by John Virtue, Stanley Spencer, Leon Kossoff and Patrick Caulfield, as well as work by contemporary African artists and pieces of outsider art. Mr Bowie also owned pieces by major international figures: Duchamp’s sculpture À bruit secret, two Hirst “spin” paintings and … a 1960s stereo cabinet by Achille and Pier Giacomo Castiglioni.”

➢ Starman in the saleroom – Antiques Trade Gazette
The top lot is expected to be Jean-Michel Basquiat’s Air Power, an acrylic and oilstick on canvas from 1984 that has an estimate of £2.5–3.5million. Prices for the artist have increased dramatically since Bowie bought the 5ft 6in high painting at Christie’s for a premium-inclusive £78,500 in November 1995.

David Bowie, Sotheby’s, auction, art, furniture

In the Bowie/Collector sale: Italian Brionvega Radiophonograph (model RR 126) by the Castiglioni brothers from 1965. Sotheby’s estimate £800-1,200

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➤ 40 years on, Ridgers casts an honest spotlight on the birth of punk

Derek Ridgers, punk ,Vortex , Clare Thom

“I didn’t make a very good punk,” says photographer Derek Ridgers, here snapped by a passing punk at the Vortex in 1977, with future Blitz Kid Clare Thom at right

◼ THE CLICHES ABOUT PUNK are the rage, the nihilism, the safety pins. In fact, punk dawned in 1976, like all British youth cults, as a fashion statement that trumped those clichés. A new and powerful photo book from Derek Ridgers titled Punk London 1977 shows in 152 pages just how considered were its style leaders who had to invent their own iconoclastic looks before they could be bought off the peg. There were no mohican haircuts at the Roxy club when it opened in December 1976 and for 100 days became the platform for Generation X, the Clash, the Jam, the Heartbreakers, the Boys, Buzzcocks, Siouxsie and the Banshees and a raucous wave of rebel music that spread to Soho’s Vortex and the 100 Club.

Ridgers says: “In ’76 the audience became more interesting than the bands.” As he turned his camera away from the stage, he focused on the unique characters in the audience who were creating a new movement through self-expression. “Most of the early punks didn’t look like punks anyway. They just looked like young people who would alter their clothes: very often it would be school uniform or there would be bin liners, a few safety pins but not very many. The ethos of punk is really ‘Do it yourself’. It’s not dressing up in leather and having a mohican.”

Click any pic below to launch slideshow

The book launched last night in Mayfair with a vibrant exhibition of its photos and a swell party hosted by menswear designer Paul Smith and the British Fashion Council. Rightly Vogue.com asked Ridgers yesterday: What did you wear while documenting these kids? He replied: “Often I’d be going to gigs straight from work, so I simply wore what I’d worn there—usually a jacket, open-neck shirt, and jeans. I was not a punk by any means.” There’s a key picture of the Damned playing the Roxy in early 1977 where Ridgers is visible in the top right-hand corner, standing on the stairs, in glasses, open-neck shirt, cardigan, smiling. “I didn’t make a very good punk,” he says. No, just a very perceptive footnote to history!

Dazed Digital probed further and asked: Out of all the scenes you’ve photographed, which have you most felt part of? Ridgers replied: “There must be a part of me that wanted to be part of all of them. I see my photography as a very vicarious thing. I suppose if I didn’t wear glasses and if I’d been a little bit more of a macho type of guy, I would have been a skinhead. I don’t think I could’ve ever been a punk or a new romantic.”

As an observer he carved out his own beat along the labyrinthine path British youth culture took during the exotic 80s and became the go-to lensman for his take on more extreme outsider cults. Ridgers told Dazed: “There were a lot of photographers around but I stuck it out longer. Woody Allen said something about success is 80% just being there. It’s the thing with me – I was there. I can’t make any other claims apart from the fact that I was there. Through everything. On the edge looking in. With a camera I was able to stare with some legitimacy.”

The trash mag Polyesterzine asks Ridgers if he could compare today’s Zeitgeist to any of the eras he had shot. “No, not at all,” he replies. “The late ’70s and early ’80s was a very different, much darker time. The streets of London were a mess. The poor guy [I photographed] who had ‘We are the flowers in your dustbin’ tattooed across his forehead had it exactly right. They did all seem like the flowers in a dustbin. . . Things are very different now because a lot of those little clubs don’t exist. Soho for instance, where nearly half my nightlife photographs were taken, is rapidly changing. There isn’t the same after dark frisson of excitement about the place any more. Gentrification and the need for developers to maximise the profit from every square inch of the place means that there just aren’t any scruffy, little basement clubs left. Those scruffy, little basement clubs were the area’s lifeblood.”

➢ Punk London 1977 is published by Carpet Bombing Culture

Adam Ant, Jordan, Vortex, punk, Derek Ridgers,

Derek Ridgers immortalises the night that the pioneering punk icon Jordan sang with The Ants at the Vortex, and says today: “They played far better music IMHO than when Adam became a big star in the 80s”

A GALAXY OF GALLERIES OF RIDGERS’ PIX

➢ At i-D – light on punk’s incendiary early days

➢ AllAccess Online in the cauldron of youth culture

➢ Dazed Digital pictures Punk London

➢ Accent shoots Brutus SS16 with Derek Ridgers

Captain Sensible , Damned , punk music, Roxy , Derek Ridgers

Captain Sensible fronts the Damned at the Roxy in 1977: spot Ridgers the cameraman top right in glasses and open-neck shirt. Photographed by Erica Echenberg

Don Letts, Andrew Czezowski , punk,Roxy

28 March 1977: deejay Don Letts and club promoter Andrew Czezowski outside the Roxy when it closed, three months after giving birth to punk. Photographed by Erica Echenberg

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