Tag Archives: Spandau Ballet

➤ Steve Norman steers Cloudfish into an edgier urban groove

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[See Sep 21 update below]

❚ “YOU KNOW WHAT MEN ARE LIKE when they get a new bit of kit — it’s like Christmas.” This is Spandau Ballet sax player and all-round percussionist Steve Norman reliving his teenage kicks. “I’m loving my latest toy. It’s a guitar pedal-board with all the bells and whistles. As a guitarist, when you’ve got sounds at your feet — in literally one stomp of the box — you can go from the driving funk of the Isley Brothers to the more soulful sound of George Benson.”

We tend to forget that Steve was playing rhythm guitar as a co-founder of Spandau when they became the Blitz Club’s house band in 1979 with synthesisers well to the fore. Ten years of international chart fame saw him picking up almost any instrument that was needed in the five-piece outfit, most notably the saxophone, on which he was self-taught. His solo breaks became as much a part of Spandau’s stadium sound as Tony Hadley’s bel canto baritone. By the time they were belting through their 2009–10 reunion tour, Gary Kemp was introducing Steve as “The most soulful saxophone this side of Young Americans”!

Right now Steve has three reasons to be jumping. He’s back in training for the first Cloudfish gig in ages: this is his five-piece band with Shelley Preston, ex of Bucks Fizz, partnering on vocals. Second, his new box of tricks is beefing up his funky guitar-playing with “all those wa-wahs and overdriven solo sounds”. And third, he’s back in the songwriting groove, and audiences at the Cloudfish gig in Holland in November will be the first to hear some numbers that have not yet been recorded.

Steve says: “One’s called Kinda Wonderful and another is called Star. It’s a bit dancey — mad for blues guitar, mad for a groovy drumloop. Everything I do tends to have soul running through it. Even if there are heavy guitar riffs, there’s always an element of soul in there. I’d call it funky lounge music. There’s a lot more edge to Cloudfish these days. These songs are groovier. We’ve moved away from the chillout thing.”

Cloudfish,Steve Norman , Shelley Preston, Max Brothers, Arnhem,

Making funky lounge music: Steve Norman and Shelley Preston as Cloudfish

Steve reckons his return to England after living on the sun-soaked Mediterranean island of Ibiza for 12 years has cranked up the Cloudfish tempo.

“I had this conversation with Paul Tucker of the Lighthouse Family and he agrees with me. Living in Ibiza takes the edge away and makes everything fluffier! I noticed when I got back to the UK I got drawn towards more urban sounds and lo-fi and started messing sounds up for the sake of it. Shelley likes that on her voice, too.”

The outing on November 6 is a toe in the water, proposed by a promoter based in Arnhem who feels Holland and neighbouring Germany have been starved of the Norman talent for too long. It’s bad luck that Cloudfish’s regular percussionist Joe Becket has a prior date in London and can’t make it — his friendship with Steve goes back before Spandau’s 1990 tour. (Steve’s longstanding mate Deuce reminds us that Steve met Joe at a legendary Sunday clubnight called Passion at La Valbonne in Maidenhead in 1988. As host Deuce had the bright idea to invite Joe, “through the haze of strawberry-flavoured smoke, to play along with the deejay’s tunes, to maybe make things more danceable. And thus, ‘Joe Bongo’ was born”. )

For Arnhem, Steve says: “It turns out our bass player Joe Holweger is also a fantastic drummer so he’s stepping in, and we’ve gone for Kerim Günes on bass. Henry Broadbent on keyboard is another mainstay — he’s done a fair bit with Kula Shaker, too — which makes five of us onstage, as usual.”

With the gig being on a Sunday evening, British fans keen to sample the new Cloudfish sound will need to overnight in Arnhem (last week Shapersofthe80s worked out the cost of three ways to get there), but the good news is that it’s a beautiful part of Holland for a sightseeing weekend. Tasty beer too.

Nevertheless, the burning question remains: What about a UK gig? To which Steve says: “Definitely, you’ve got to play your home town. But we want to see how this one goes first.” Right, we’ll take that as half a promise.

➢ Support Steve Norman by clicking on his new official page at Facebook and visit his own website steve-norman.com

➢ Visit the Cloudfish official page at Facebook to keep up to date with the band’s news

➢ Buy tickets for the Nov 6 Arnhem gig at Six Degrees

➢ Spandau Ballet’s website always being updated

❏ Sep 21 update: Next week Steve will be in Arnhem, Holland, on promotional duty for his Cloudfish show at Max Brothers on November 6. Fans can meet him at a meet-and-greet session 19:00–20:00 hrs at the Cafe De Schoof, Korenmarkt 37 on Thursday Sep 29. The next day, you can hear a live interview with Steve on Optimaal FM between 09:00–11:00 hrs, also available via webplayer at Optimaal FM

❏ Sep 21 update: The competition to meet Steve in Arnhem in November is to be decided today and the winners wll be announced online at Six Degrees Promotions

Spandau’s last stand, Newmarket racetrack 2010: a bongo burst from Steve in the concert finale. Photographed by © Shapersofthe80s

Spandau’s last stand, Newmarket racetrack 2010: 19,000 people in the audience and Steve can always spot the right camera — yes, Shapersofthe80s

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➤ Bombshell for Spandau Ballet fans as Hadley unwinds after US solo tour

Tony Hadley , John Keeble, Las Vegas, US tour

The Hadley band in Las Vegas last week: John Keeble (drums), Phil Williams (bass guitar), Big Tone, Richie Barrett (guitar), Phil Taylor (keyboards)

❚ EXACTLY WHAT SPANDAU BALLET FANS don’t want to hear! Yesterday as the 80s supergroup’s vocalist Tony Hadley was taking a well-earned rest following his American solo tour, he delivered the bombshell. Fans who want to see him singing again with his onetime schoolmates in Spandau “could be waiting 20 years”!

The shocking prospect came yesterday in an interview with TNT, the Australian backpacker magazine, anticipating his imminent tour down under. Before his US dates earlier this month he’d been much more circumspect about another Spandau reunion, using the phrase “maybe one day in the future” to American music magazine ConcertLivewire. Tony’s new forecast for a rendezvous with Spandau means the already portly singer would have passed his 71st birthday — along with many of Spandau’s original fans, ear trumpets at the ready.

Remember, an argument over royalties split Spandau asunder in 1990 and Tony didn’t speak to songwriter Gary Kemp for 19 years until their sudden reunion tour in 2009. Even so, the singer tells TNT: “It was only ever meant to be a one-off. After 20 years of squabbling we buried our differences. But after our last show in 2010, you know, I had a band waiting around for me on a retainer for six months. I’ve had no time off and I’m trying to finish the new album so at the moment there aren’t plans to do Spandau again. You could be waiting 20 years.”

Tony has pursued an active solo career ever since the split and his current band has backed him for 13 years, with John Keeble of Spandau playing drums. This month’s American tour was an investment, and Tony told Windy City Times they “want to come back next year and do 20 or 30 shows”.

His big news is about his solo album, due next year. He tells TNT: “I’m doing some writing with Barry Gibb from the Bee Gees. I went round his house and had a little cup of tea and said, let’s get together and do some songs. For me, that is a major wow.

“2012 will be busy with the Olympics. My manager has been talking to various people about an orchestral version of Gold [the Spandau Ballet hit] for the games — doing it with an 80-piece orchestra would be amazing.”

➢ Read the full Tony Hadley interview with TNT, dated August 26

➢ Videos and reports from Hadley’s US tour at Shapersofthe80s

➢ Next stops — Sep 2, Rewind Scarborough UK; Sep 4, Cantazaro, Italy.

➢ Sept 11 in New York, 13h30 — Tony sings at the memorial concert for 9/11 in The British Garden, Hanover Square in Lower Manhattan, NYC, created with the endorsement of the British Consulate-General to honour the 67 British subjects lost in the 2001 attacks

➢ Tony’s Australia dates 2011 — Oct 26, Hindmarsh, South Australia; Oct 27, South Morang, Victoria; Oct 28, Doncaster, Victoria; Oct 29, Chelsea Heights, Victoria; Oct 30, Rewind Australia, Wollongong, NSW; Nov 3, Coolangatta, Queensland; Nov 4, Penrith NSW.

➢ Spandau Ballet’s official website news

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➤ As Big Tone Hadley goes West he tosses out a few interview squibs

Tony Hadley in Rome, spring 2011: a busy year as a solo artist. Photograph by Riccardo Arena

❚ ON SATURDAY SUAVE BRITISH SINGER Tony Hadley debuts his solo show in the United States, his first professional visit since winning the British TV reality show Reborn in the USA in 2003. Otherwise American audiences haven’t seen him live since he visited in 1985 as vocalist with Spandau Ballet, onetime New Romantics  turned pomp-rockers. Following a busy summer of festival appearances, the American tour represents one of the biggest and long-awaited challenges in his career. The first of his six big-city dates is at New York’s Irving Plaza, after which the divorced but happily remarried father of four then plays the Rivers Casino Stage as part of a gay street festival in Chicago.

John Keeble: Spandau pal whose drums drive the Hadley band too. Photographed by Shapersofthe80s

He’s backed by his long-standing band featuring Spandau’s John Keeble (drums) plus Phil Taylor (keyboards), Phil Williams (bass guitar), Richie Barrett (guitar). In October they head down-under to Australia for seven more shows, with Go West in support at three.

Hadley split acrimoniously from his school-mates Spandau Ballet in 1990, since when the singer with the mighty and melodious voice has pursued a vigorous solo career which often involves 200 live shows a year. It has yielded six albums, the last in 2006 titled Passing Strangers moving into jazz-swing territory, though his 15 singles have seen only minimal chart success. In live concert he loves covering pop standards by Bowie and even Duran Duran. Today he’s a declared fan of The Killers and My Chemical Romance. He also enjoyed a stint in the musical Chicago in London’s West End.

In 2004 Hadley wrote an autobiography called To Cut A Long Story Short which made clear how his worldview had always been markedly different from the other members of Spandau even at their peak of success. Hadley wrote: “I’m busier now [2004] than I was then [1983]… A couple of times I suggested we bring in a more experienced manager. I just thought it made sense to have someone working with us who knew more about the business than we did. No one else saw it that way.” In describing 1988, he devoted pages to a nit-picking analysis of the many cracks splitting the band, the last straw being the Kemp brothers, Gary and Martin, absenting themselves to star in the film about The Krays (notorious London gangsters), when all Tony wanted to do was sing his heart out on a stage. Then in 1999 the old school-mates found themselves daggers-drawn in an ugly court case over royalty payments, which Tony’s side lost. For years, the feud seemed irreconcilable. In 2005 Tony told me that by then he reckoned he personally was owed “about £2 million” to include interest.

Tony Hadley, Gary Kemp, Spandau Ballet, Reformation tour, 2009

Moment of trust, 2009: Hadley and Kemp shake hands after their duet at the O2 Arena in London. Picture © by Paul Simper

Out of the blue in 2009 Spandau Ballet resolved their differences after Tony’s son Tom and Gary’s son Fin had met up in a pub and agreed to knock their dads’ heads together. The band reunited, they insisted, well, because all families have their squabbles and the old band of brothers from schooldays were really one big happy family again. It seemed just as pragmatic to assume that, as they were all approaching 50, the band knew a world tour might be their last chance to secure their pensions. What they agreed, though, was a one-year deal and it ended with an open-air show for 19,000 people at Newmarket racecourse on June 25 last year.

Hadley was always the non-Labour voter among the Spandaus and today at 51 he is a supporter of Conservative prime minister David Cameron. In recent years the singer harboured ambitions of becoming an MP. Given the horrendous violence that erupted this week on the streets of Britain, a remark he made in 2007 seems prescient. Tone was talking tough on crime to The Independent while attending the Conservative Party conference in Blackpool: “The fabric of society is torn. I walked through Blackpool and there were gangs walking the backstreets and 16-year-old pregnant women everywhere. What we need is Cameron to be like Thatcher, to say enough is enough, things have gone too far.”

This week as he packed for the States, Big Tone has given three lively online interviews, and here are some teaser quotes from him, which include news that his new solo album is now delayed …


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Liverpool Empire 1982: a fan and her handbag shin up a drainpipe to gain access to Spandau Ballet’s dressing room. Photographed by Shapersofthe80s

WHAT WAS YOUR STRANGEST FAN ENCOUNTER?

➢ By New York blogger Geoffrey Dicker, August 8,
at According2g.com

TH There’s so many. OK. We were playing the Liverpool Empire in 1983 [Actually 1982, Tony — Shapersofthe80s]. The dressing rooms were on the second floor and there were screaming girls outside going absolutely ballistic. So all the windows were shut and we’d just done the show. Suddenly there was a strange tap on the window. We opened the window and two fans had climbed up a drain pipe and shimmied up two floors just to get to us! If they’d have fallen, they would have been killed. We invited them in, signed all of their stuff and gave them something to drink. It was pretty wild.

NEW PARTNERSHIP WITH BARRY GIBB

➢ By Jerry Nunn, August 10, 2011 for the gay website
Windy City Times

Q Leaving for the United States soon?
TH I can’t wait. For some reason it has been very difficult to get into the States. An American agent saw my band in Europe and wanted to get us over there. We want to come to the States and prove ourselves. We are doing a handful of shows, then come back next year and do 20 or 30 shows.

Q You have a new album coming out this year, right?
TH No, next year; I am a little behind on it. It will be the first album that is written by me. It will be 12 tracks that are classic pop rock. A few weeks ago I was in Miami for a private show and I was introduced to Barry Gibb from the Bee Gees. We are going to write together so I have to factor that in as well. How bloody brilliant is that?

Spandau Ballet, Jonathan Ross Show, TV, reunion

Spandau Ballet reunited 2009: their first live performance for 19 years was on the Jonathan Ross TV show. (BBC)

SPANDAU’S “COCK-UP” AND THE FUTURE

➢ By Andy Argyrakis for ConcertLivewire.com,
an American online music magazine

Q Will the Spandau reunion be ongoing?
TH It was only meant to be a one-off, and from my point of view, it was just a one-off. But I always say ‘Never say never’. At the moment, I’m touring Britain, the States, Australia, New Zealand and Germany before Christmas, plus with the new album, there’s a lot going on, but maybe one day in the future.

Q What would you say to more casual fans in the States that only know the softer side of Spandau Ballet?
TH In America [in the 80s], Spandau really cocked it up unfortunately. America’s a country where you have to tour and tour and tour to prove yourself and we didn’t do that. For whatever reason, whether it was management, thinking we were clever or whatever, we just didn’t play it right. I love playing live, and the thing is now I want to prove myself in America. Some people will think “This guy sang that sweet little song True” but when they see us live, they might be surprised that it’s a lot heavier than they imagined.

➢ Listen online to Tony interviewed Aug 12 by Revenge of the 80s Radio, a New York station, with his thoughts on a possible Cool Suits Tour with Martin Fry and Paul Young. Tony leads off the second hour of the show.

➢ “We want to show people what we’re made of” — Tony interviewed by the North County Times ahead of his band’s San Diego gig on Aug 18

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➢ Tony’s US dates 2011 — Aug 13 Irving Plaza, New York; Aug 14 Northalsted Market Days Festival, Halsted Street, Chicago; Aug 16 House Of Blues, West Hollywood, Los Angeles; Aug 18 Ramona Mainstage, San Diego, CA; Aug 20 Fremont Experience, Fremont Street, Las Vegas; Aug 21 Red Devil Lounge, San Francisco.

➢ Tony’s Australia dates 2011 — Oct 26 Hindmarsh, South Australia; Oct 27 South Morang, Victoria; Oct 28 Doncaster, Victoria; Oct 29 Chelsea Heights, Victoria; Oct 30 Rewind Australia, Wollongong, NSW; Nov 3 Coolangatta, Queensland; Nov 4 Penrith NSW.

➢ Tony’s own home-movie video wall

➢ Spandau Ballet, the Blitz kids and the birth of the New Romantics

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1981 ➤ Chant No 1: Spandau revive the rumble of funk while hard times loom

❚ ON THIS DAY IN 1981 Spandau Ballet, spearhead band of the New Romantic movement, were flying off to Spain and Portugal by way of a working holiday with sun and sand — a brief tour of principal cities to establish their first European fan base, which remains strong today. Most significantly, on Ibiza, the island which young British sunseekers were starting to make their own, Spandau played at the then spanking new Ku club, as one of the first fashion bands whose visits were to make Ku one of the Mediterranean’s destination nightspots.

Spandau Ballet, Ibiza, 1981

Spandau Ballet in 1981: a quick sprint to the Iberian peninsular as well as a hot date at Ibiza’s Ku club

But the day before their departure, Spandau had lit the fuse to a musical bombshell. They changed their sound to outflank the emergent slipstream of new image bands invading the British charts with synth-pop.

That Thursday they had taken over Le Beat Route in Soho, a mythical Mod club during the 60s, now fronted by Ollie O’Donnell, a suited but laid-back young crimper from Keith-at-Smile’s cool salon in Knightsbridge. The downstairs hideaway in Soho was the current Friday-night HQ of London’s nightlife leaders whose jackets and printed ties were hastily shaking off the New Romantic tag even as Duran Duran’s second single revelled in it. The bamboo decor helped: hints of a tropical holiday-camp with baskets for lampshades. South Seas tongue-in-cheek, maybe. Glamorous it was  not. The ethos for new one-nighters was never to be smart, always gently ironic.

Here before an invited audience of Friday regulars the innovative Russell Mulcahy directed Spandau’s promotional video for their fourth single, Chant No 1. The bombshell was a surprise change of direction, announced by rat-a-tat congas and a burst of brass. The new tune, Gary Kemp said, had been inspired directly by the dissonant brass on the disco-funk track Wheel Me Out, the debut 12-inch dance single on Ze from US new-wave group Was (Not Was). The eerie sound had been introduced to keen Brit ears during the Axiom fashion show that had preceeded Spandau’s set in New York that May, during the first Blitz Invasion.

Chant No 1 was a blue-eyed funk mover that echoed the band’s teen years on the soul circuit, musically fresh while the lyrics seeped a certain seedy paranoia. There on-camera was a black trio of brass instrumentalists, Beggar & Co, who were the horn section for the British funksters Light of the World, and who’d already had their own hit with Somebody Help me Out.

Gone were the artsy settings and OTT costumes of Spandau’s early videos. This razor-sharp musical documentary intercuts Soho streetlife with a live club  performance by Spandau. “Down, down, down, pass the Talk of the Town” urges the deejay’s Chandleresque rap as Tony Hadley sweeps past The Talk, the cobwebbed Mecca of international cabaret from the Judy Garland era. Inside the steamy Beat Route itself we take in the stylish ambience where the “mobile knives” now live to dance, as well as dress up in a distinctly more boy-meets-girl way than the incessant camperie of the Blitz, the long-gone poser-paradise. We glimpse the deejay Steve Lewis before his portrait of Lenin, in a season when Soviet button badges are also de rigueur, and it’s evident that, yes, things are different here.

Stephen Jones, Graham Smith, Ollie O’Donnell, Robert Elms

Three hats and a quiff: Stephen Jones, Graham Smith, Robert Elms and at centre Beat Route host Ollie O’Donnell, during the shooting of the Chant No1 video in 1981. Photography © Shapersofthe80s

The video emphatically makes the point that clubland rules. Spandau drummer John Keeble spoke with only slight exaggeration when he said: “For the next couple of years, no new band played live on a stage.” What he meant was that rock venues as the source for original music had been superseded by nightclubs. White socks and hedonism were the key: girls in swirling party frocks with hair cropped like chives, and boys wearing braces and rolled-up sleeves soon walked the streets of every town. Ha! Why, even the NME finally conceded by introducing a “Dance Chart” alongside their lists of Indie garage bands.

Spandau Ballet, Gary Kemp, Chant No 1, video, Beat Route, clubbing

Chant No 1: Gary Kemp with one of Beggar & Co’s brass section at front

Once released on July 6, Chant No 1 rocketed straight up the charts to reach No 3 on August 1 (the NME chart actually placed it at No 1). Simultaneously remixed by Richard Burgess as a B-side and as an extended twelve-incher for clubs, the track immediately became an upbeat dance anthem for the school-leavers who were discovering what economic “hard times” were going to mean.

“I Don’t Need This Pressure On” ran Spandau’s chorus as a timely slogan for that summer when Britain went into shellshock from the rare experience of repeated race riots on the streets of London, Manchester and Liverpool. The fashion-conscious band who had been dismissed by the rockist press as fascists and dandies hit back with supreme optimism. This vibrant tune pressed the pop button with fans as well as rival bands who envied the chemistry of Spandau plus Beat Route. It announced a new brand: Team Soho. For ten weeks in the charts, Chant No 1 confirmed its rhythm as the sound of the new pop: once-and-for-all the dominance of the rock guitar was shifting to the supremacy of bass and drum for pop generations to come.

Ironies were everywhere. Not only did the crepe-shoed rocker Shakin’ Stevens occupy the No 1 spot for four consecutive weeks with Green Door, a comforting throwback to 50s nostalgia. By contrast, the cool young band who also held Chant off the top spot for another three consecutive weeks were The Specials, whose haunting single Ghost Town (where “all the clubs have been closed down”) became a poignant epitaph for the inner-city angst starting to erupt among the ranks of the hard-pressed in Margaret Thatcher’s Britain. The times were changing, not entirely for the better.

Beat Route, nightclubbing, Soho, Spandau Ballet, video,Chant No 1,

The legend that became Le Beat Route: a little light romancing, a lot of heavy drinking. Photography © Shapersofthe80s

THE SPANDAU STORY SO FAR

➢ 1980, Spandau fire the starting gun for British clubland’s pop hopefuls: dada didi daaa!
➢ 1980, The day Spandau signed on the line and changed the sound of British pop

How many people dID it take to launch an electro-diskow band?

Waldorf Hotel, Spandau Ballet, Covent Garden, Blitz club, New Romantics, youth culture,youth movement, Blitz Kids , To Cut a Long Story Short, London, UK, singles chart, aged 20, club-hosts, DJs, Herbie Knott

Waldorf Hotel 1980: seated at centre, Spandau Ballet, house band of Covent Garden’s Tuesday-night Blitz Club, home of the New Romantics movement, plus support team of Blitz Kids who helped put their first single To Cut a Long Story Short into the UK singles chart at No 5, on Dec 6, 1980. Average age 20, everyone had a specific role to play in staging and promoting the band: seven musicians, six designers, three media and management, three club-hosts, two DJs, one crimper and 22 egos. Photographed for the Evening Standard © by Herbie Knott

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1981 ➤ Hot days, cool nights, as Blue Rondo join the new Brits changing the pop charts

Blue Rondo à la Turk , pop music, 1981

Blue Rondo’s official debut in Chelmsford, June 1981: Moses Mount Bassie, Christos Tolera and Chris Sullivan front the seven-piece. Photograph © Shapersofthe80s

◼ “GET IN THE BACK OF THE VAN,” I was told on this day 30 years ago. “You’re coming for a ride.” Graham Ball was a club host empowered to open the trendiest of doors in Soho, so “No thanks” was not an option. “I’ve got a new band to show you. And you’re not quite going to believe what you’ll hear and see.” He was, apparently, now also a manager. We arrived in blisteringly hot sunshine at a characterless modern pub in Chelmsford, Essex, well away from Soho clubland, and there of course were the rest of The Firm — the handful of sharp young dudes at least half the age of the grunters who dominated the pop industry, all being groomed by Spandau’s 23-year-old Steve Dagger to inherit the mysteries of management for a new generation of bands.

Assembling an assortment of instruments onstage were five, six, no, seven of the most variegated musicians you felt might belong in a special institution for their own safety. I had been invited to write the first piece about the craziest combo  inspired by London’s Blitz Club, which had closed the previous autumn, and by this summer they were but one among the slipstream of bands erupting on London’s burgeoning nightlife scene. From their opening vocals — “Oo-oo, aa-aa, mm-mm ah!” — Blue Rondo à la Turk were sensational, and my review appeared in the second issue of New Sounds New Styles. It took only three months before Rondo signed a deal and charted in November.

➢ Read that first review of Blue Rondo as they create a buzz with their new Latin sounds — from NSNS August 1981

This was the summer
of New Romance

Spandau Ballet, Ultravox, Duran Duran, 1981

Leaders of the Romantics in 1981: Spandau Ballet, Ultravox, Duran Duran

ON THIS DAY in 1981 the UK charts were bursting with the new generation of image-conscious British groups who whose linking of soul and electro-pop were to change the style and the rhythm of pop charts for ever. . .

Ultravox were enjoying their fifth hit single All Stood Still.
Linx were enjoying their third hit Throw Away the Key.
Spandau Ballet were enjoying their double-sided third hit single, Muscle Bound/Glow. At Easter they had also signalled their new funky direction by introducing Chant No 1, which would become London’s clubbing anthem and reach No 2 later this summer.
Duran Duran were enjoying their second hit Careless Memories.
Orchestral Manoeuvres in the Dark were enjoying their second hit Messages.
Japan were charting with The Art of Parties.
Landscape were charting with Norman Bates.
Shalamar (with honorary Brit and body-popping pioneer Jeffrey Daniel) were charting with A Night to Remember.

➢ Elsewhere at Shapers of the 80s: 100+ acts who set the style for the new music of the 1980s

Light of the World were charting with I’m So Happy.
Imagination were charting with their debut Body Talk.
The Human League entered the charts on this day with Empire State Human.
Depeche Mode’s second single New Life was soaring towards No 11.
Visage’s second hit single had just fallen out of the chart.
❏ Likewise Heaven 17’s debut Fascist Groove Thang.
❏ Likewise Altered Images’ debut Dead Pop Stars.
❏ Likewise Level 42 with their second hit, Love Games.
❏ And the honorary Brit, Kid Creole, was heading into the charts with his Coconuts and their debut single, Me No Pop I — a compulsively danceable new sound on Antilles introduced to London last year by i-D co-editor Perry Haines.

New Romantics, bands, Swinging 80s,Japan the band, pop music, Depeche Mode, Altered Images

Going Romantic in 1981: Japan the band, Depeche Mode, Altered Images

Oh, and two nights earlier at Le Beat Route I’d snapped the new boy in George O’Dowd’s life enjoying their first date. Nobody dreamt that George and Jon Moss would one day be putting together their own band.

♫ VIEW fine Northern Soul footwork from Rondo mentalists in this performance of Me and Mr Sanchez shot at the Venue in London:
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