The Tragic Tale Of Emma

Whilst the compact disc (CD) may have revolutionised the way we listened to music in the 1980s, the digital versatile disc (DVD) proved to be the equivalent watershed technology in terms of viewing that music - well, at least viewing the promotional videos. Actually with the advent of 5.1 surround sound mixes, it also gave an added dimension to the music itself. I confess that in the decade or so since DVD’s arrived, I’ve keenly sought out music video collections of my favourite artists, and compilations of hit music videos from bygone eras. Previously I had to make do with (at times) dodgy video tape copies, which with each play inched one step closer to an inevitable demise. For the first few years of DVD, music titles were relatively scarce, but over time the back catalogues of artists were remastered, repackaged, and re-released. In around 2002 I came across one such repackaged music video collection on DVD for Hot Chocolate, released on EMI - it was a must purchase situation. Though the video quality wasn’t pristine, and the audio mix was but two channels (we have become demanding audiophiles), it was still a fine addition to the catalogue, and re-introduced me to the work of a fine band.

Hot Chocolate was blended from a selection of musicians hailing from the Caribbean and England. Singer Errol Brown was born in Kingston, Jamaica; guitarist Harvey Hinsley from Northhampton; keyboardist Larry Ferguson originated from Bahamas; bassist Tony Wilson hailed from Trinidad, percussionist Patrick Olive, Grenada; and drummer Ian King from England. The original sextet came together as The Hot Chocolate Band in Brixton, London during 1969. The same year they recorded a reggae style version of John Lennon’s ‘Give Peace A Chance’, but there was a snag as, in a technical sense, they needed the permission of the song’s publisher Apple Records. Brown and the band were bowled over soon after when Apple Records contacted them direct and gave them the ok, citing the fact that John Lennon himself had heard their version and liked it. The Hot Chocolate Band were signed to the Apple Records roster soon after, but with the Beatles’ break up imminent, their association with the label was cut short by the ensuing legal entanglements.

Singer Errol Brown and bassist Tony Wilson were at the core of the Hot Chocolate song writing team from the get go, but several of their songs were recorded by other artists at the time, including ‘Think About Your Children’ by Mary Hopkin, and ‘Bet Yer Life I Do’ by Herman’s Hermits, as well as April Wine and Suzi Quatro. Shortly after the short lived ‘Apple’ flavoured phase of Hot Chocolate’s career, they came under the guidance of a young gun record producer by the name of Mickie Most, who signed the band up to his then fledgling RAK label. Most had already gained a stellar reputation as a producer with The Animals and Hermans’s Hermits, and would go on to play a key role in the careers of Suzi Quatro, Sweet, Mud, and Kim Wilde, to name but a few.

Soon after they recorded their first chart hit , with 1970’s ‘Love Is Life’ (UK#6), which was credited to Hot Chocolate accompanied by the Trinidad Singers. Over the course of the next few years Most and Hot Chocolate focused on releasing finely crafted, commercial pop-soul singles, and soon established themselves as regulars on the British charts. During 1971 Hot Chocolate warmed the U.K. charts with the hits ‘You Could’ve Been A Lady’ (#22) and ‘I Believer (In Love)’ (#8), followed a year later by ‘You’ll Always Be A Friend’ (#23). It’s worth noting that Hot Chocolate were one of the first multi-racial group’s to really breakthrough on the British charts.

In April 1973 Hot Chocolate hit the British charts with the song ‘Brother Louie’ (which had a very heavy subject matter at its lyrical heart), and scored their third top 10 hit in the process, also notching up their first chart hit in Australia (#36). The track featured a spoken word cameo from C.C.S. front man Alexis Korner. Just two months later New York rock quartet Stories debuted on the U.S. charts with their version of ‘Brother Louie’ and before the summer was out had taken the song to the top of the American pop charts. The single ‘Rumours’ (UK#44) rounded out another solid year for Errol Brown and the lads. Around this time founding drummer Ian King left the scene, replaced by Romford born Tony Connor, and bassist Tony Wilson switched focus to song writing, with Brian Satterwhite briefly recruited to cover bass duties.

In late ‘73 Hot Chocolate set up (a coffee) shop in the studio to start work on their debut album. In early ‘74 the stunning lead out single ‘Emma’ was released, a mid tempo funk edged soul song, that recounted the tragic tale of a girl called Emma. Errol Brown delivered a brilliantly seductive vocal performance, searing with passion, that made a very darkly themed lyric, hauntingly mesmerising. ‘Emma’ may not have made it to the silver screen, but the song became Hot Chocolate’s biggest hit to date, soaring high to #3 in Britain, #6 in Australia, and eventually proving irresistible to the U.S. market (#8) in early ‘75, earning them a distribution deal in the States with Big Tree Records. The single ‘Cheri Babe’ (UK#31/OZ#68) carried Hot Chocolate’s momentum over late ‘74, early ‘75, and was followed by the topically titled ‘Disco Queen’ in the first half of ‘75 (UK#11/US#28). Both ‘Emma’ and ‘Disco Queen’ were featured on Hot Chocolate’s debut set ‘Cicero Park’ (US#55), repackaged as ‘Emma’ in Australia (#73). Despite such a solid following on the U.K. music scene, surprisingly the ‘Cicero Park’ album sold, at best, modestly at home, something that, curiously, would become indicative of most Hot Chocolate albums.

Having taken around five years to release their first album, Hot Chocolate satisfied the public’s sweet tooth with a relatively quick sophomore set released later in 1975. Their self titled second album (UK#34/OZ#27/US#41) marked the final involvement of bassist and songwriter Tony Wilson, who shortly after the album’s completion opted to leave Hot Chocolate to pursue a café latte, er…I mean a solo career. His first record release was ‘I Like Your Style’ during 1976. With Wilson’s departure Patrick Olive switched from percussion duties to assume the role of bass player, and Hot Chocolate switched from sextet to quintet. Recorded in the ‘Chateau Du Regard’ in France, the ‘Hot Chocolate’ album maintained the record buying public’s high regard for the group, and soon yielded two more top ten hits in Britain. ‘A Child’s Prayer’ (UK#7/OZ#92) hit the charts in August of ‘75, and was a track that clearly reflected the strong social conscience within Hot Chocolate, a side of the band that was oft overlooked, or perhaps overshadowed by more frivolous pop fare. It was soon followed by the playful funk-soul track ‘You Sexy Thing’, which became Hot Chocolate’s hottest hit to date. ‘You Sexy Thing’ earned gold status across the world, and surged to #2 in Britain, #4 in Australia, and #3 Stateside, riding high on the stylistic tidal wave of disco that was sweeping the world.

Following the departure of Wilson, Errol Brown assumed a greater role in the song writing department for Hot Chocolate. Their first single in the post-Wilson era was ‘Don’t Stop It Now’, which did anything but stop Hot Chocolate’s phenomenally consistent run on the British charts (#11/US#42) in early ‘76. With producer Mickie Most still at the helm, and a now stable line-up in place, Hot Chocolate were about to enter the most lucrative phase of an already abundantly successful career to date. The title track for their next album hit the British charts in mid ‘76, with ‘Man To Man’ notching up the group’s ninth top 20 hit in the U.K. (#14). The album didn’t fare quite so well from a sales perspective (UK#32/OZ#70/US#172), but it did yield, in my humble opinion, the most underrated of Hot Chocolate’s tracks. The groove laden ‘Heaven Is In The Back Seat Of My Cadillac’ could well have been used by the auto manufacturer as a provocative sales campaign, but it was a cool as ice piece of sharp edged funk, that just gets better with every listen. It may not have been the biggest of Hot Chocolate’s many hits (UK#25/OZ#32), but it was undeniably one of the classiest. And speaking of hits, with 14 top 40 hits already in the can, the time was nigh to release the appropriately titled ‘XIV Greatest Hits’ album in late ‘76 (released in the U.S. during ‘77 as ‘10 Greatest Hits’ on Big Tree Records). Sales for the greatest hits package deservedly gave Hot Chocolate their first top 10 album at home (#6/OZ#62), providing a truer reflection of just how popular they were with the British record buying public.

Having just notched up their first top 10 album, Hot Chocolate reached the boiling point of their career soon after with their first #1 single. ‘So You Win Again’ was a hook laden pop-soul song that just oozed commercial appeal. It debuted on the U.K. charts during June of ‘77 and within a few weeks had rocketed to #1 on the British charts, where it held sway for three weeks. ‘So You Win Again’ didn’t reach the same heights in Australia (#12) or the U.S. (#31), and oddly enough was the band’s first major hit not to have been written (or co-written) by singer Errol Brown, with Russ Ballard (see future post) penning the soul-pop classic. Late in ‘77 Hot Chocolate’s next single ‘Put Your Love In Me’, a lingering dance number, was ordered up in sufficient numbers to peak at #10 in the U.K. (OZ#90). Both tracks would feature on Hot Chocolate’s next album, the title track of which would provide Hot Chocolate with one of their signature songs, and biggest hits to date.

Crucified By An Army Of Lovers

During one of those late night ‘Rage’ watching sessions, that were more common in my younger days, I recall seeing a video clip for a song titled ‘Crucified’ by an artist calling themselves Army Of Lovers. It was late in 1991, or possibly early in 1992, but it was as if the spirit of ABBA had been channelled through a contemporary Euro-pop/dance act, with a passion for the decadent and risqué.

That hint of ABBA-esque style in the chorus for ‘Crucified’ wasn’t the only common ground Army Of Lovers shared with the 70s pop super-group. Army Of Lovers also hailed originally from Sweden, forming during 1987. The heart and mind behind the group was composer/producer Alexander Bard. Bard had emerged on the European music scene around five years previous, as a member of the short-lived trio Baard, whose biggest hit was ‘Life In A Goldfish Bowl’. At the height of the profligate 80s, Bard donned the frock, and in full drag garb unveiled his latest act Barbie (no relation to the plastic doll, or Aqua #1). Barbie had all the bases covered, with former hairdresser Jean-Pierre Barda (AKA Farouk), Yazmina Chantal, and model Camilla Henemark (AKA Katanga) rounding out their roster. Barbie gained quite a following and in 1987 morphed into Army Of Lovers, the new moniker taken in homage to the 1970s cult documentary film ‘Armee der Liebenden’ by director Rosa von Praunheim, recounting the tale of the Sacred Band of Thebes.

Like the Village People a decade earlier, Army Of Lovers treated costume and image as key elements to the band’s profile. Swedish fashion designer Camilla Thulin struck up a synergetic relationship with Army Of Lovers, and created outrageously ornate wardrobes, taking inspiration from religious, historical and mythical references. Lead vocalist Barda didn’t mind sporting a bit of controversy, wearing deliberately provocative, and at times revealing costumes, and Army Of Lovers played the campy, notorious angle for all it was worth, on stage and in promotional videos. Their debut single ‘When The Night Is Cold’, was released in 1988, but it was the follow up dance oriented ‘Love Me Like A Loaded Gun’ which attracted more attention on the club scene. The weapon motif was upgraded on the next single, 1989’s ‘Baby’s Got A Neutron Bomb’, whilst ‘Supernatural’ cast a spell on some European charts. All of the tracks were included on Army Of Lovers’ debut album ‘Disco Extravaganza’ in 1990, released as ‘Army Of Lovers’ for the U.S. market in 1991, which also spawned the group’s first top 10 hit at home with a remix of ‘Ride The Bullet’ (UK#67).

But it would be Army Of Lovers’ next single, 1991’s ‘Crucified’ which would prove to be the biggest of their career. The lavishly produced dance-pop opus spent several weeks atop the European charts during the second half of 1991, peaked at #47 in Britain, #58 in Australia, and proved a club favourite in the U.S., where it reached #6 on the Billboard Hot Dance Music chart. The song was equally notable for the luridly contentious music video, directed by Fredrik Boklund, which accompanied it. ‘Crucified’ featured on Army Of Lovers’ sophomore album ‘Massive Luxury Overdose’, produced by Anders Wollbeck. Basically the album titled captured, nay defined its own style and theme, from gaudy cover art, to lyrics, to arrangements and orchestration. During the recording of the album female vocalist Camilla Henemark (‘La Camilla’) left the fold, to be replaced by former model (& school teacher, though not at the same time) Michaela Dornonville De La Cour on several of the album’s tracks, but the switch over proved relatively seamless. From tongue in cheek blasphemy, to glossy retro sci-fi jaunts, all coated in generous layers of syrupy dance-pop sweetness, there wasn’t much Army Of Lovers didn’t dare to indulge in. The album also spawned another major dance hit with ‘Obsession’ (US#11 Hot Dance, UK#67, Sw#2, De#7), whilst in early ‘92 ‘Crucified’ was reissued for the British market, second time around peaking at #31.

Re-recorded versions of ‘Ride Like A Bullet’ and ‘Love Me Like A Loaded Gun’ kept Army Of Lovers firing on the charts throughout 1992, before ‘Judgement Day’ rounded out the year. As with any artist that achieved such a stellar breakthrough album, Army Of Lovers had to carefully consider the strategy for their next chart assault. They recorded the music for the film soundtrack ‘Ha Ett Underbart Liv’, then recruited a former phone sex operator, Dominika Peczynski, to their ranks for the 1993 album ‘The Gods Of Heaven And Earth’, featuring backing vocals from the Army Tabernacle Choir.

The lead out single ‘Israelism’ sparked controversy for its alleged mocking of certain aspects of the Jewish culture, but it couldn’t have been too impertinent, given that it hit #1 on the Israeli pop charts. The follow up singles ‘La Plage De Saint Tropez’ and ‘I Am’ couldn’t sustain the chart offensive for Army Of Lovers. 1994’s album ‘Glory Glamour And Gold’ yielded the top 20 dance hit ‘Sexual Revolution’, but that aside, didn’t result in much of the glory or gold side of things, though judging by the cover, Army Of Lovers continued to indulge in plenty of glamour, posed like 18th Century French aristocracy. It also marked the final album featuring Michaela De La Cour, and following her discharge from Army Of Lovers in 1995, original female vocalist La Camilla returned for another tour of duty - you getting tired of all these military references? Don’t worry, I’ll be on to the beverage puns for the next post.

Army Of Lovers released the mandatory greatest hits collection in 1996, titled ‘Les Greatest Hits’, and featuring a number of new tracks and remixes. ‘Give My Life’ returned Army Of Lovers to the Swedish top 10 for the fourth time (#6), and also proved popular on the U.S. club circuit. Bard then took the decision to confine Army Of Lovers to the barracks indefinitely, and in the void left he started a new band called Vacuum, who issued the album ‘Plutonium Cathedral’ in 1997. La Camilla released a solo album titled ‘Temper’ the same year, and turned to acting. In 2001 Army Of Lovers regrouped and released an album of new material titled ‘Le Grand Docu-Soap’, yielding a couple of Scandinavian hits in ‘Let The Sunshine In’ and ‘Hands Up’. Aside from a couple of ‘one off’ shows during 2007, Army Of Lovers have remained quiet on all fronts, including the western, and it appears that a substantive reunion in the future is unlikely.

Climie Fisher Rise To The Occasion

Vocalist and songwriter Simon Climie had worked in the music biz since the age of seventeen. His father had been the editor for the U.K. version of ‘Mad Magazine’, but a career in wacky, irreverent comic book humour wasn’t for son Simon. Instead he picked up a guitar, attempted to pick up a piano (but wisely put it back down again), and started writing songs. Climie relocated to London to begin his career as a session musician. Along the way he played in several local bands, honing his craft, initially as a guitarist and keyboardist, but over time he found his true vocation as a vocalist. Eventually Simon Climie came to the notice of talent scouts for the Chrysalis label, and was signed up as a songwriter and session vocalist/kayboardist. In 1983 Nashville based songwriter Denis Morgan found himself attending an Everly Brothers’ concert in London. Following the show he wound up at Stringfellows Club, and it was there that he met up with Simon Climie. It would be a meeting that would yield a string of hits for the Climie/Morgan song writing partnership. Climie continued to work with other songwriters, including on the 1985 top 20 hit ‘Invincible’ by Pat Benatar, and songs recorded by the likes of Smokey Robinson, Leo Sayer, and Nick Lowe (see future Rockpile post). He also struck up a solid working partnership with producer Steve Lillywhite, who often used Climie for vocal, keyboard, and arranging work on productions, including a 1984 solo album from ABBA’s Frida (‘Shine’).

But it was Climie’s work with Morgan that produced the biggest result. They penned a song called ‘I Knew You Were Waiting (For Me)’, and initially pitched it to Tina Turner, Aretha Franklin, and Arista Records supremo Clive Davis. Climie recorded a demo version as a solo effort, but soon after hearing it, Clive Davis opted to have the song recorded as a duet. Aretha Franklin was joined (on record) by George Michael, and in 1987 ‘I Knew You Were Waiting (For Me)’ rocketed to the peak of the U.S. and Australian charts.

The session work eventually led Climie to a chance encounter with Rob Fisher during the mid 80s. Fisher was still with Naked Eyes (officially) at the time, but had begun doing session work on the side. Both he and Climie happened to be working at EMI’s Abbey Road studios at the same time, and were booked to work on the same session (working on Scritti Politti’s ‘Cupid & Psyche 85’ LP - see Dec ’08 post). Afterwards, Climie and Fisher wound up in the bar talking over old Beatles’ songs, and lamenting about the state of popular music. With Naked Eyes on indefinite sabbatical, Fisher was looking for a vocalist to work with, whilst Climie was keen to find someone to both write and record with. It took a year or so for the pair to wind up their other commitments, but in 1986 they began work in earnest on their debut album for EMI. Denis Morgan came on board to co-write several of the album’s tracks, whilst Steve Lillywhite and Stephen Hague shared production duties. In September ‘87 the first single ‘Love Changes (Everything)’ was released in the U.K., initially to little fanfare (#67). Whilst the feel good, synth/pop track failed to attract much attention at home, it did begin to make inroads into European markets. Over the course of late ‘87, early ‘88, ‘Love Changes (Everything)’ made a foray into the top 10 in several European countries, including Germany (#7), and Switzerland (#8). Meanwhile, the second single ‘Rise To The Occasion’ was released and debuted on the U.K. charts late in ‘87. It lived up to its name, and became Climie Fisher’s breakthrough hit at home (#10) in early ‘88.

Encouraged by the European sales for ‘Love Changes (Everything)’, and the success at home of ‘Rise To The Occasion’, Climie Fisher remixed ‘Love Changes (Everything)’ for another assault on the British charts. In early ‘88 the song received a much warmer reception in chilly Britain, and soared to #2 second time around, backed by your archetypal late 80s black and white promo video. Both songs had been lifted from Climie Fisher’s debut set ‘Everything’. The album was overflowing with 80s style synth-pop numbers, laced with a generous amount of ‘blue-eyed’ soul, and a dash of R&B. The formula had worked for a number of British acts during the second half of the 80s, assisting them to make inroads into the U.S. market - think Danny Wilson, The Kane Gang, The Blow Monkeys (see previous posts), and Johnny Hates Jazz, Curiosity Killed The Cat, Wet Wet Wet (see future posts). The remixed ‘Love Changes (Everything)’ became Climie Fisher’s sole U.S. hit during the first half of ‘88, when it peaked at #23, a position one better than here in Australia.

I can recall a hip-hop remix of ‘Rise To The Occasion’ was released during ‘88, but I had purchased the original mix on vinyl 45 earlier in the year, in addition to ‘Love Changes (Everything)’. The remixed ‘Rise To The Occasion’ surged to the top of the South African charts, and rose to the top 20 in Germany, Sweden and Austria. Single number three ‘This Is Me’ (UK#22 - featuring backing vocals by Kirsty McColl) continued a solid run of chart success for Climie Fisher at home, and helped sustain sales for the album ‘Everything’ (UK#14/ US#120), which spawned one final hit single later in ‘88 with ‘I Won’t Bleed For You’ (UK#35).

During the second half of ‘88 Simon Climie and Rob Fisher returned to the recording studio to begin work on their second album. The single ‘Love Like A River’ (produced by Julian Mendelsohn) was released in the interim, and flowed steadily up the British charts before becoming becalmed at #22 early in ‘89. Climie Fisher’s sophomore album ‘Coming In For The Kill’, had been recorded over the course of almost a year, across New York, Los Angeles and London. Denis Morgan once again proved a key collaborator in the song writing stakes, with the legendary Lamont Dozier penning the title track. ‘Coming In For The Kill’ notched up respectable sales in the U.K. (#35) during 1989, but was missing that killer track to sustain Climie Fisher’s pop profile. It spawned just one minor hit single, with ‘Facts Of Love’ scratching around at #50 on the British charts late in ‘89, whilst the follow up singles ‘Fire On The Ocean’, and ‘It’s Not Supposed To Be That Way’ signalled the end of Climie Fisher’s dream run on the charts. The duo were still penning songs for other artists during this period, and contributed the track ‘When Love Turns To Blue’ for Dusty Springfield. A U.K. and European tour over the course of late ‘89-early ‘90, proved somewhat of a farewell jaunt for Climie Fisher, and the duo pulled up stumps soon after (sorry, I’m watching the cricket while I write this).

Rob Fisher continued to write/produce, and do session work for other artists, and established his own recording studios called ‘The Stone Room’ during the 90s. He had penned some new material for work on an album when, sadly, he died in August 1999 as a result of complications from stomach surgery. Simon Climie recorded a solo album in 1992, titled ‘Soul Inspiration’, which yielded a minor U.K. hit with the title track (#60). Climie then focussed on production duties during the mid 90s, and worked for artists such as Eternal (‘Power Of A Woman’), MN8 (‘Freaky’), and Louise (‘Naked’). He then embarked on a producing/writing partnership with Eric Clapton, firstly under the pseudonym TDF, which was an acronym for ‘Totally Dysfunctional Family’, and resulted in the 1997 album ‘Retail Therapy’. Simon Climie then played a key role in Clapton’s critically acclaimed 1998 album ‘Pilgrim’. More recently he worked on the 2006 Eric Clapton/J.J. Cale album ‘Road To Escondido’, produced the 2005 Cream reunion performance at Royal Albert Hall, and produced the ‘Motown’ series of albums for Michael McDonald.

From Naked Eyes To Climie Fisher

For a professional musician, an amateur musician, any kind of musician, to score one top ten hit as a member of a duo is something of note. For that same musician to score more than one top ten hit, with more than one duo (uno duo?), is a rare and striking feat. Songwriter and multi-instrumentalist Rob Fisher achieved just such a phenomenon during the 1980s with British duos Naked Eyes and Climie Fisher.

Naked Eyes first opened upon the world during 1982, though they had already been lit up two years previous as the group Neon. Singer Pete Byrne (not to be confused with the Dead or Alive variety) had started his professional music career during the mid 70s in another duo, with Jeff Starrs, playing local pubs and clubs in and around the Bath area in the U.K. Byrne then recorded a couple of low key albums in the late 70s with a group called Interview, prior to forming the band Studio, with Clive Wright, Richard Fenton and Stash. Studio only released a couple of singles before going their separate ways (Wright went on to work with Cock Robin - see previous post). Similarly, Rob Fisher had worked with a number of professional units over the second half of the 70s, including The Xtians and Whitewing. As fate would have it, and it so often does, both Byrne and Fisher found themselves bandless in late ‘79, and sitting together in a local pub. Between pints and chips, the pair decided to join creative forces and form a new musical enterprise.

Neon, who initially comprised Byrne (vocals) and Fisher (keyboards), recorded the single ‘Making Waves’ in late 1980. During the first half of 1981 Neon’s live (and studio) line-up was expanded to feature Neil Taylor (guitar), Manny Elias (drums), and a young bassist named Curt Smith. The band were essentially a pop-rock outfit during this period, and around mid ‘81 Taylor left, to be replaced by guitarist Roland Orzabal. Neon recorded several more tracks over the course of 1981, and released one more single titled ‘Communication Without Sound’. Despite the considerable pool of talent at their disposal, Neon failed to shine on the charts, and before the end of ‘81 the lights went out on the band. Curt Smith and Roland Orzabal went on to form a little duo of their own called Tears For Fears (see future post), whilst Byrne and Fisher decided to continue working together as Naked Eyes.

During their time together with Neon, the pair had written a stack of material, but during the recording sessions for some demo tracks, they made the decision to record a cover of a classic 60s hit as their debut single. Both had a love for the great girl singers of the era, like Dusty Springfield, Dionne Warwick, Cilla Black and the like, and in the end they settled for an updated take on a former #1 hit for Sandie Shaw. Alongside several original songs, Naked Eyes’ version of ‘(There’s) Always Something There To Remind Me’, retitled as ‘(Always) Something There To Remind Me’, helped snare the duo a recording contract with EMI during May of ‘82. The name Naked Eyes actually arose out of nothing more complex than something that suggested ‘two’ or ‘duo’, and given some of the alternative monikers considered (‘Boulevard Credibility’), it seems a wise choice in 20/20 hindsight.

‘(There’s) Always Something There To Remind Me’ had spent three weeks atop the British charts in late ‘64 for Sandie Shaw (US#51/OZ#13), but the Burt Bacharach/Hal David penned song first charted for Lou Johnson (US#49) earlier in 1964. The track continued to return regularly to the charts over the next few years, for Dionne Warwick and R.B. Greaves. Producer Tony Mansfield (worked with Captain Sensible - see earlier Jan ’09 post) was brought on board to work with Naked Eyes in polishing their take on ‘(Always) Something There To Remind Me’ at the Abbey Road studios. It was a logical first choice as the debut single for Naked Eyes, but surprisingly when it was released during September ‘82, their synth-pop version of ‘(Always) Something There To Remind Me’ missed the charts completely. During those first Abbey Road sessions, Naked Eyes also recorded the track ‘Voices In My Head’. It was released as the duo’s second U.K. single release in January ‘83, but despite being backed by a quirky video, it too failed to find a voice on the charts. As a curiosity, one other song to emerge from those early sessions was titled ‘Home’. It was actually credited to Planet Ha Ha, a pseudonym for Fisher and Mansfield, and was released in the U.K. in late ‘82 in an attempt to cash in on the popularity of the film ‘E.T.’. Suffice to say, ‘Home’ didn’t find a home on the charts.

Undeterred, Naked Eyes continued work on their debut album over the course of the English winter of ‘82/’83, completing much of the material in the same studios used by The Beatles. Byrne and Fisher handled most of the roles, with producer Mansfield contributing on guitar, and drummer Phil Towner playing on the track ‘Emotion In Motion’ (not the Ric Ocasek son) - a drum machine by the name of Linn handled the other tracks (it was the 80s after all). By early ‘83 ‘(Always) Something There To Remind Me’ was receiving regular airplay on the still fledgling MTV network. The music video was suitably impressive, and featured something that was more common place to 80s music videos - a storyline that was actually relevant to the song’s lyrics. I’ve always been struck most by the song’s explosively symphonic intro of drums and ‘wedding bells’ - should a song’s crescendo come at the beginning? ‘(Always) Something There To Remind Me’ broke on the U.S. charts during March of ‘83, and worked its way steadily to a peak position of #8 before mid year. Soon after the track burst onto the Australian charts, eventually going one better than its U.S. peak (#7), but disappointingly ‘(Always) Something There To Remind Me’ stalled at #59 on the British charts.

While ‘(Always) Something There To Remind Me’ was still climbing the charts, Naked Eyes released their debut album ‘Burning Bridges’ (released as ‘Naked Eyes’ in the U.S.). Whilst ‘Burning Bridges’ failed to generate even a spark on the British charts, it racked up solid sales in the U.S. (#32/OZ#88), and spawned two more hit singles. The second single ‘Promises, Promises’ coincidentally shared its title with another Bacharach/David hit (1968 for Dionne Warwick), but that’s where the comparison in style ends. ‘Promises, Promises’ did manage to deliver on its promise in the U.S. (#11), though in Australia, Naked Eyes would be consigned to one hit wonder status. ‘When The Lights Go Out’ (US#37) hit the airwaves (and charts) late in ‘83, rounding out a promising year for Naked Eyes.

On the back of such a well received debut album, most artists would have undertaken an extensive tour to consolidate their new found profile, but Fisher and Byrne were encouraged (by the label) to re-enter the recording studio in preparation for a follow up album. In mid ‘84 the first single harvested from the latest sessions was released. ‘(What) In The Name Of Love’ (produced by Arthur Baker) hit the U.S. charts in August ‘84, but the song couldn’t manage to ascend beyond a modest #39. Shortly after Naked Eyes’ sophomore album ‘Fuel For The Fire’ was unveiled. Mansfield continued to handle most of the production duties, but the album failed to spawn any follow up hits, and coughed and spluttered its way to #83 on the U.S. charts.

Rob Fisher and Pete Byrne had written some material for a proposed third Naked Eyes album, but soon after made the decision to put the project on indefinite hiatus, and pursue other endeavours. Peter Byrne went on to work as a session singer and songwriter for more than a decade, working with the likes of Stevie Wonder along the way. In 2001 he released the solo album ‘The Real Illusion’, which featured several of the tracks he had written with Fisher for the unrealised third Naked Eyes album. Byrne resurrected the Naked Eyes brand name in 2007 for a new album titled ‘Fumbling With The Covers’, and an extensive touring schedule. The Byrne led Naked Eyes are due to release a new album in 2009, with the working title ‘Piccadilly’. Following Naked Eyes closing, Rob Fisher also worked as a session musician (working with The Alarm, Billy Ocean - see previous post, and Communards - see future post), before turning his creative energies toward a new duo project, with a vocalist called Simon Climie - stay tuned for that chapter of the Rob Fisher story.

The Waitresses Serve Up A Classic 80s Dish

Aside from listening to too much music (can you ever listen to too much?), one of my guilty little entertainment pleasures is to kick back and watch an episode, or two, or more, of the animated sitcom ‘Family Guy’. For those of you uninitiated with the ‘Family Guy’ universe, the Seth McFarlane created show takes the concept of the dysfunctional family unit, ala ‘The Simpsons’, and adds an even more acerbic dose of irreverent humour to the mix. There are actually quite a few parallels between the two shows, and one of them is the use of popular culture references, with music being a much utilised vehicle to deliver some kick ass gags. In the episode ‘Boys Do Cry’ (U.S. S.5/OZ S.7), there’s a scene in which the local neighbourhood pervert Herbert (AKA - Obi Wan), the old guy who has an unhealthy interest in Chris Griffin, is auditioning to be the new church organist. He plays ‘I Know What Boys Like’ as his audition piece. As with many moments in ‘Family Guy’, I have to exercise caution if I’m eating food or drinking anything at the time, lest my fits of laughter result in my untimely demise. It’s not the first time the classic 80s hit ‘I Know What Boys Like’ has cropped up in television/film, and it almost certainly won’t be the last, as the song has taken on an almost ‘popular culture phenomenon’ status. Although it did represent the first, and last, item on the major hit menu for the artist behind the song, The Waitresses.

The mainstays of The Waitresses’ roster were vocalist Patty Donahue, and guitarist/song writer Chris Butler. The two would form a synergistic partnership, with Butler writing his often insightful ‘slice of life’ musical vignettes from a female perspective, and Donahue delivering a vibrant verisimilitude to the various characters through song. Both Butler and Donahue had been involved with the music scene in and around Akron, Ohio (also the birthplace of Devo) for several years, prior to The Waitresses serving up the cool musical morsel ‘I Know What Boys Like’ in 1982. Butler attended Kent State University in the early 70s (also attended by several members of Devo - see future post), and continued his grounding in ‘music 101’ on the local music scene during the second half of the 70s, including a stint playing bass with an outfit called the ‘Numbers Band’. In the late 70s Butler took a myriad of musical influences and used them to form and fuel an eclectic post-punk outfit by the name of Tin Huey. Butler found some like minded individuals, heavily influenced by the likes of Zappa and Captain Beefheart, and set about playing a style of art-rock infused punk-pop, with dollops of freeform jazz-fusion thrown in. Tin Huey were signed to the Warner Bros. label (mainly on the strength of an out of character cover of The Monkees’ ‘I’m A Believer’), but their album ‘Contents Dislodged During Shipment’ tanked, and so too did Tin Huey within a year. But Butler wasn’t about to let a lost shipment of Tin Huey dissuade him from forming another band - and he had already recorded a version of a song, that may just prove to be a strong selling dish on the mainstream music menu.

Chris Butler had written and recorded ‘I Know What Boys Like’ back in 1977. He’d played every instrument on the track, but had enlisted the vocal talents of friend Patty Donahue, under the name Patty Darling. During the same period Donahue also provided vocals on another Butler penned/performed track titled ‘Astronettes’. Butler had credited the song to a, then fake, band called The Waitresses. The inspiration for the band name didn’t arise just from Butler’s patronage at local restaurants, but rather a slogan on a woman’s T-shirt that read, ‘Waitresses Unite!’. Butler continued to toy with The Waitresses concept for a short period, and even released a single during 1978 on the small local label Clone, though apparently that single, ‘Short Stack’, didn’t feature Donahue’s vocals. Butler then embarked on his Tin Huey odyssey, but following the dissolution of that enterprise, he relocated to New York City, with a view of reigniting his music career. He decided to try his luck on the previously recorded version of ‘I Know What Boys Like’, and submitted it to an A&R rep he knew by the name of Mark Kamins. The strength of the off-kilter pop-rock number landed Butler a deal with Ze Records, an affiliate of the Island/Polygram label. Butler had the song, he had the record deal, he just needed to deliver an actual band called The Waitresses.

He had a ready made vocalist with Patty Donahue, but he needed the help of former Tin Huey band-mate Ralph Carney to piece together an initial line-up. Aside from Butler and Donahue, The Waitresses weren’t really an Akron based unit, but that mattered not with the addition of saxophonist Mars Williams, ex-Television drummer Billy Ficca, bassist Dave Hofstra, backing vocalist Ariel Warner, and the other member of the Akron-connection, keyboardist Dan Klayman. The Waitresses made their live debut at Little Club 57 on New Year’s Eve 1980 - kind of a back to front way of doing things, but at any rate, over the course of 1981 they built up a strong chemistry, and an even stronger fan base. Their first official release for Ze Records came via the label’s 1981 Christmas compilation ‘A Christmas Record’. ‘Christmas Wrapping’ initially sat unopened under American Christmas trees, but a year later the U.K. finally received the song in the mail, and opened it at #45 on the British charts - the song was made available on iTunes in 2008, as one of three bonus tracks on the re-release of The Waitresses’ debut album, and regularly features of festive play lists to this day.

The Waitresses started preparing their debut album during late ‘81, but backing vocalist Ariel Warner soon left the studio kitchen due to a case of ‘studio fright’. Bassist Dave Hostra stayed till the dish was done, but departed soon after to pursue his interest in jazz music, with his place taken by Tracy Wormworth. The lead out single was, naturally enough, ‘I Know What Boys Like’, featuring the playfully seductive vocals of Donahue. The cool, laid back, mischievous, track proved an instant cult hit across both the U.S. and U.K., but beyond the Billboard ‘Rock Chart’ (#23), the song could only reach #62 on the U.S. Hot 100. ‘I Know What Boys Like’ proved to be a slow burner on the Australian charts following its June ‘82 debut, and eventually ordered up a peak position of #14. Fuelled by the popularity of ‘I Know What Boys Like’, the debut album ‘Wasn’t Tomorrow Wonderful?’ notched up solid orders for The Waitresses on the U.S. charts (#41/OZ#84) during 1982, and showcased the band as a quirky, funky, intelligent unit.

Before the end of ‘82, The Waitresses had recorded the title theme to the new teen-comedy TV show ‘Square Pegs’, the track also included on a late year EP release ‘I Could Rule The World If Only I Could Get The Parts’ (US#128). The title shared that of a previously recorded Tin Huey track, and the EP featured ‘Christmas Wrapping’ (later covered by Spice Girls). In 1983 The Waitresses began preparing their sophomore album, the aptly titled ‘Bruiseology’ (US#155), produced by Hugh Padgham. Aptly titled because tensions were on the rise during the recording of the album, and the boiling point resulted in singer Patty Donahue walking out on the sessions. Head waiter Butler (or chauffeur) opted to try and replace Donahue with Holly Beth Vincent (Holly & The Italians), but the recipe didn’t work, and after a time Donahue returned to the mix. The lack of group cohesion during the recording process, was clearly reflected in an inconsistent finished product. The track ‘Make The Weather’ was released as an EP offering, but it sat becalmed outside the charts.

Following the disappointment of ‘Bruiselogy’, combined with seemingly irreconcilable differences, The Waitresses called an end to their brief shift as pop-rock stars, before the end of ‘83. Patty Donahue had already left the group, and Butler made the decision that the group couldn’t carry on as a viable concern without her vocals. Donahue went on to become an A&R rep, whilst Butler turned his hand to production work, and indulged his more avant-garde tendencies via some of his solo releases. Sadly, Patty Donahue lost her battle with lung cancer in December 1996. The following year saw the release of The Waitresses first live album ‘King Biscuit Flower Hour’, part of series of live radio specials released on the King Biscuit label. It featured The Waitresses performing at ‘My Father’s Place’ on New York’s Long Island during 1982, and fittingly captured the raw energy of a group, fast approaching their peak performance powers.

The song ‘I Know What Boys Like’ has been covered a number of times, with British girl group Shampoo (1995), and Vitamin C (2001), two of the more notable artists to record the track. Of the other Waitresses’ alumnus, sax player Mars Williams played with Pschedelic Furs (see previous post) for several years, and more recently has focused on playing in several notable jazz style outfits, including Liquid Soul. Bassist Tracy Wormworth went on to become a much sought after session/touring player, with the likes of Sting and B-52’s.

S.O.S. Band Answer The Call

One of the stand out songs from late ‘83/early ‘84 was the pop-funk number ‘Just Be Good To Me’. I can imagine that it would have packed out dance floors wherever it was played, though having been afflicted by ‘two left feet’ syndrome, I had to be content with tapping my feet (of the two left variety) in time with the song’s infectious rhythm track.

The group behind ’Just Be Good To Me’ was the Atlanta based R&B-funk outfit, the S.O.S. Band, the S.O.S. acronym representing ‘Sounds Of Success’. They formed during 1977, just as disco was going nuclear, with an initial line-up featuring Jason ‘TC’ Bryant (keyboards/ vocals), Bruno Speight (guitar/ vocals), Billy Ellis (flute), Willie ‘Sonny’ Killebrew (sax), John Simpson (bass/vocals), James Earl Jones III (drums - not of the ‘voice of Darth Vader’ variety), and the sublime vocal stylings of Mary Davis (also keyboards). At that time they went by the name Santa Monica (because they once played a great show there), and regularly played at the Lamar’s Regal Room nightclub in Atlanta.

The band came under the management guidance of Bunny Jackson-Ransom (later to manage Cameo - see previous post), who organised a demo tape of their music to reach Clarence Avant, the head of Columbia affiliate Tabu Records. Avant liked what he heard and signed Santa Monica to a recording deal. Producer Sigidi Abdullah was assigned to work with Santa Monica, but raised the issue of the band’s name. He felt that Santa Monica may be a bit misleading, considering they hailed from Atlanta, Georgia. Abdullah suggested their new name, S.O.S. Band.

The newly dubbed S.O.S. Band set to work with Abdullah on their debut album. The self-titled set was released in 1980, and featured the lead-out single ‘Take Your Time (Do It Right)’, co-written by Abdullah with Harold Clayton. The S.O.S. Band had hit upon their ‘sound of success’ first time out, with the disco-funk style single soaring to #3 on Billboard’s Hot 100 chart during mid 1980. The song racked up platinum sales, spent five weeks at the summit of the U.S. R&B charts, and performed well in both Britain (#51), and Australia (#40). The success of ‘Take Your Time (Do It Right)’ helped spur sales for the ‘S.O.S.’ album (US#12), which sold over 800,000 copies. The promising debut set featured a well balanced mix of up-tempo funk infused numbers, along with some well crafted ballads, and also yielded a #20 R&B dance hit with the title track. The S.O.S. band embarked on a world tour during 1980, which saw the addition of trumpeter/vocalist Abdul Ra’oof to the roster.

As confronts all artists to score a major hit with their debut album, the S.O.S. Band were challenged to the ‘beat that’ scenario with the recording of their sophomore set in 1981. The inventively titled ‘Too’ (US#30-R&B) was released in mid ‘81, and whilst it didn’t deliver the same five star sound experience of its predecessor, or rack up the same level of sales, the album featured a number of catchy cuts, including the US#15 R&B hit ‘Do It Now (Part 1)’. Following the ‘Too’ album, the S.O.S. Band experienced the first departure from their ranks, with drummer Jones replaced by Jerome ‘JT’ Thomas. The next album saw the S.O.S Band. commence a fruitful collaboration with the writing team of Jimmy Jam and Terry Lewis. 1982’s ‘S.O.S. Band III’ (no prizes there for imaginative titling), was produced by Leon Sylvers III (see earlier Sylvers post), but came to notice for the catchy synth-funk track ‘High Hopes’ (US#25-R&B), written by Jam and Lewis, who were then still members of the Prince project, the Time. The album also spawned the minor U.K. hit ‘Groovin’ (That’s What We’re Doin’)(#72) in early ’83, and featured a more prominent up-tempo funk feel. Whilst it didn’t set the charts on fire (US#27-R&B), it proved an important stepping stone on the S.O.S. voyage.

The collaboration with Jimmy Jam and Terry Lewis on ‘High Hopes’ had delivered a solid result, so in March ‘83 Jam and Lewis took advantage of a break in their Prince and the Time tour, to fly to Atlanta and produce several tracks for the next S.O.S. band album. As fate would have it, a freak snow storm hit the area and prevented the pair from returning to the Prince tour in time for the next Time gig. The ‘royal one’ was not amused, and summarily dismissed Jam & Lewis from Time - that’s the group Time, not ‘time’ as in the measure of infinite temporal displacement - Prince’s powers at that stage did not encompass bending time and space (I think he developed that around the time of ‘Paisley Park’). Prince’s loss proved just the help the S.O.S. Band needed to rejuvenate their flagging fortunes. Jam and Lewis assumed production duties fulltime for the band’s fourth album, ‘On The Rise’ (US#47-#7R&B). The revitalised S.O.S. Band surged back into the charts during the second half of ‘83 with the synth-funk masterpiece ‘Just Be Good To Me’, which featured the signature sound of the Roland TR-808 drum machine (such an 80s thing). The song may have only peaked at #55 on the U.S. Hot 100, but it soared to #2 on the R&B charts, and was a huge club hit. ‘Just Be Good To Me’ achieved more of the mainstream success it richly warranted in both Britain (#13) and Australia (#17). The instrumental track for the song returned to the charts in a big way during 1990 as ‘Dub Be Good To Me’ (UK#1/US#76/OZ#13) for Norman Cook’s project Beats International. ‘On The Rise’ received rave reviews for its slick, high energy sound, and also spawned the U.S. #5 R&B hit ‘Tell Me If You Still Care’. The Jam and Lewis reputation was eminently enhanced by the project, with comparisons being drawn to the highly acclaimed Chic production team of Bernard Edwards and Nile Rodgers (see earlier post).

With the Jam and Lewis blueprint in place, S.O.S. Band managed to avoid the same slump that ensued after the runaway success of their debut set. 1984’s album ‘Just The Way You Like It’ (UK#29/US#60 - #6R&B) built on the fresh foundations of ‘On The Rise’, or at least prevented any immediate erosion. The album realised the hits ‘Just The Way You Like It’ (UK#32/US#64 - #6R&B), ‘Weekend Girl’ (UK#51), and ‘No One’s Gonna Love You’ (US#15 R&B), but lacked a killer track like ‘Just Be Good To Me’. Post the release of ‘Just The Way You Like It’, rumours began to surface that vocalist Mary Davis was looking to pursue a solo career. But the S.O.S. and Jam/Lewis collective had one more album left in the locker. ‘Sands Of Time’ (UK#15/US#44) was released in 1986, and perhaps was aptly titled, given that the S.O.S. Band’s time as a chart force was about to end. It’s interesting that during this latter part of their career, the S.O.S. Band enjoyed greater commercial return in Britain, than at home. The single ‘The Finest’ was arguable the finest track on the album, once again penned by Jam and Lewis, and peaked at #17 in Britain (US#44 - #2R&B). Nothing else really stood out from the pack, though ‘Borrowed Love’ (UK#50, US#14-R&B) managed to deliver a final top 50 hit.

The long running rumours finally became an actuality, post ‘Sands Of Time’, when Mary Davis split from the S.O.S. Band to take up a solo career. She released the song ‘Steppin’ Out’ in 1987 and her debut album ‘Separate Ways’ (US#82-R&B) surfaced in 1990, yielding the hit ‘Don’t Wear It Out’ (US#19 - R&B). Jimmy Jam and Terry Lewis also split the scene to continue their hugely successful union with Janet Jackson on her 1989 album ‘Rhythm Nation 1814’, founded their own label Perspective, and continued their stellar work as a production and writing team.

The S.O.S. Band elected to continue, and recruited vocalist Penny Ford in place of Davis during 1987. The ensuing year was a turbulent one for the band, with the tragic death of saxophonist Billy Ellis dealing a major blow during work on their next album. Vocalists Chandra Currelly and Fredi Grace also came on board, with the album’s production overseen by Curtis Williams (ex-Kool & The Gang). The album ‘Diamonds In The Raw’ (US#43 - R&B) was released in 1989, and though receiving positive reviews as a classy and stylish effort, failed to reignite commercial interest in the U.S. for the S.O.S. Band brand, though a couple of tracks did hit the lower reaches of the mainstream charts; ‘No Lies’ (UK#64/OZ#83) and ‘I’m Still Missing Your Love’ (US#7-R&B). The S.O.S. Band did experience a surge of interest in Europe during this period, with ‘Diamonds In The Raw’ shifting a considerable number of units across the continent, backed by the live set ‘Escape’. There was sufficient spark left in the S.O.S. apparatus to generate one more album of original material, with 1991’s ‘One Of Many Nights’. Sales were lacklustre though, and the set only spawned one hit on the R&B charts, with ‘Sometimes I Wonder’ (#12). The S.O.S. band subsequently split, but in 1994 original vocalist Mary Davis reunited with S.O.S. alumnus Abdul Ra’oof and Jason Bryant, on a new S.O.S. related project.