Real Life's Flame Flickers - The Descent

Over the next two years Real Life spent more time overseas than at home, a strategy than in hindsight may have worked against them. Rather than consolidating their standing on the Australian scene, Real Life spent time touring overseas to mixed success, and during the first half of 1985 recorded their sophomore album in Berlin. Meanwhile, the likes of Pseudo Echo and Kids In The Kitchen (see future posts) had become regulars inside the Australian top 10 and had overtaken Real Life in the pecking order of Australian pop-rock bands. Whilst previously second tier acts such as QED (see future post) and Machinations (see previous post) were attracting more attention in an Australian music press, that perhaps perceived Real Life as having turned their backs rather too quickly on the local scene.

The next single to appear from Real Life was ‘Face To Face’ which was released in October 1985 and peaked at #32 on the Australian charts. But it was the only single to chart from Real Life’s sophomore album ‘Flame’. The follow up single ‘One Blind Love’ didn’t see any chart action, whilst ‘Flame’ lacked the fuel to burn above #42 nationally. By early 1986 it appeared that the Australian music scene had fallen out of love with Real Life, whilst for the time being at least the band couldn’t repeat their earlier success in the U.S., though they did score a hit on the U.S. alternative charts with the single ‘Babies’ (included on the U.S. titled album ‘Down Comes The Hammer’). Steve Williams replaced Richard Zatorski on keyboard duties later in 1986, but his schedule with Real Life wasn’t exactly hectic, as the band largely retreated from view for the next couple of years. Apparently Zatorski returned to law studies and is now a practicing solicitor (that may have come in handy amidst the reported contractual issues that plagued Real Life during the late 80s/early 90s).

Real Life sprung back to life in mid ‘89, albeit with a remix of an earlier hit. ‘Send Me An Angel ‘89’ actually out performed its original incarnation on the American charts, when it peaked at #26, but the remix only managed #51 in Australia. The return to the charts attracted enough attention to gain Real Life a new recording contract in 1990 with BMG. The album ‘Lifetime’ came to life in October 1990 (OZ#95) and received a release Stateside on the Curb label. It yielded the minor hit singles ‘God Tonight’ (OZ#47) which also sold well in selected U.S. territories (US#9-Club Play chart), and ‘Kiss The Ground’ (US#27-Club Play) but sadly didn’t answer Real Life’s prayer for another major hit.

During the first half of the 90s you could have been forgiven for thinking Real Life had called it a day, but they never actually broke up, rather just kept a low profile. In the mid 90s they became not only one of the first Australian acts, but first mainstream pop acts across the globe to set up their own dedicated site on the internet, again reflecting the mindset of Sterry and Co. to embrace new technology. Real Life released the limited edition ‘Like A Ghost’ EP via their website in 1996 (maybe they were comparing notes with Marillion who were doing likewise at the time). Their internet profile came to the attention of the Texas-based independent recording label Monument. Real Life found themselves with a new recording deal and during October 1997 released their first album of new material in seven years with the more guitar focused ‘Happy’. The band featured a new keyboardist in George Pappas during this period, who co-wrote several songs on the ‘Happy’ album.

Over the ensuing decade Real Life continued to write and record new music, though as a live act their profile wasn’t high, and was mostly restricted to playing in specific territories across Europe and the U.S. where their fan base had stayed loyal. The days of major label and mainstream media support were well behind them as the 00’s dawned, but mainstay David Sterry and keyboardist George Pappas kept the flame burning for Real Life. Working from their own home studios (the increased accessibility of which has proven a godsend for musicians in recent years) Sterry and Pappas put together the tracks for an album of new material in July 2003, titled ‘Imperfection’, which saw a return to Real Life’s signature synth imbued sound, and a new single titled ‘Oblivion’.

Sterry has continued to front the live version of Real Life over recent years, who have toured with the likes of fellow 80s synth-pop heroes Pseudo Echo on the thriving nostalgia music circuit. I read with interest that on a recent overseas tour (2008) to perform Real Life songs, singer/guitarist David Sterry was supported by When In Rome (or a version of), who I published a post about several months back. Real Life have remained one of those curiosities on the Australian pop-rock scene, who have enjoyed considerably more success overseas than at home.

Real Life still contribute to their long running website, which is worth checking out:

Thanks to YouTube user gnowangerup for uploading the video for Real Life's 'Catch Me I'm Falling'

Real Life Send Me An Angel - The Ascent

When Men At Work broke through on the U.S. market during 1982 with two #1 singles, there were hopes that the floodgates had finally been opened for Australian acts Stateside. Although the profile of Australian music was raised to a degree above business as usual, the torrent didn’t eventuate, though a handful of artists from ‘down under’ did manage to crack the American code for commercial success in the years following, among them a Melbourne new romantic styled pop-rock band called Real Life. For a few months in late ‘83/early ‘84 Real Life showed signs of making a real impact on the ‘promised land’ for aspiring popular music artists. Like most perceived ‘overnight sensations’, the journey which led Real Life to the brink of international superstardom had involved considerable twists and turns over a long stretch of road.

Vocalist/guitarist David Sterry first collaborated with keyboardist Richard Zatorski when both were on the roster for the final line-up of Melbourne jazz-rock outfit Kush during late 1977. Zatorski actually had a background as a classically trained violinist. The pair maintained professional ties over the next couple of years and by 1980 had given in to the lure of the new wave movement. They formed the electro-pop band Wires with bassist Allan Johnson and a nameless drum machine. In 1981 Wires decided the drummer needed a clearer identity, so dispensed with the machine in favour of Danny Simcic, but also renamed themselves A Private Life.

A Private Life established an increasingly high public profile on the fertile Melbourne pub circuit over the course of the next year. Due to competing naming rights with a Sydney outfit, the quartet then opted for a slight re-jigging of their name again at the end of 1982, when they became Real Life, and played support for Icehouse (see earlier Oct posts) a number of times, as well as Aussie rock icons Cold Chisel and Midnight Oil. The band had built up a solid reputation for playing cutting edge synth driven pop-rock, and soon came to the attention of the Glenn Wheatley who signed the band to a management/recording deal. As a package Real Life had all the bases covered. Image wise they were firmly planted in the New Romantic camp, unashamedly drawing on inspiration from the likes of Duran Duran et al. It was no accident that the band members sported the latest in hairstyles with their spiky dyed locks, and even worked closely with fashion designer Katie Pye to compile a designer wardrobe that married elements from Adam & The Ants to Spandau Ballet. Musically Real Life aligned themselves with the cutting edge high technology side of new wave pop-rock, drawing on the styles of Heaven 17 (see earlier post) and Ultravox among others. Like Icehouse’s Iva Davies, David Sterry was somewhat of a high tech pioneer on the Australian music scene in the early 80s, and he was one of the first musicians in the country to extensively use the then revolutionary Roland G-707 guitar synthesiser, and like Icehouse, the introduction of a high tech instrument markedly affected Real Life’s overall sound.

In early 1983 Real Life took a break from their live circuit duties when they entered the studio to record their debut single. ‘Send Me An Angel’ was released in May 1983 (distributed through RCA) and made an immediate impact on the charts. By June it had peaked at #3 on the Melbourne charts and #6 nationally, and Real Life found themselves vying for airtime and chart space with the likes of Human League and Duran Duran. Far from being a tentative dipping of the band’s toes into the turbulent pop waters of the time, Real Life had leapt confidently into the deep end, certain in the belief that they could compete with the big names, not just in Australia, but globally.

English producer Steve Hillage was brought on board to oversee production for Real Life’s debut album. In the interim though the band released the follow up single ‘Openhearted’ (OZ#72) during September ‘83. In November the album ‘Heartland’ was unveiled to an expectant public, who soon pushed Real Life into the national album charts during late ‘83. ‘Heartland’ peaked at #7 in the band’s heartland of Melbourne, and achieved a creditable #30 on the Australian charts. The third single to be yielded from ‘Heartland’ was the radio friendly ‘Catch Me I’m Falling’, which matched the chart performance of ‘Send Me An Angel’ at home. ‘Catch Me I’m Falling’ gave Real Life their first #1 in their home city of Melbourne, and peaked at #8 nationally during the first part of 1984. The ‘Heartland’ album scored Real Life ‘Best Album’ at the 1983 Countdown Music Awards (a precursor to the ARIA’s).

As ‘Catch Me I’m Falling’ was starting it’s steady climb toward the Australian top 10, Real Life embarked on a promotional tour to the U.S., U.K. and Europe during 1983. The band’s label saw the enormous potential for an international hit with ‘Send Me An Angel’, and the song had attracted considerable attention, particularly Stateside. ‘Send Me An Angel’ was released during late ‘83 in the U.S. and debuted on the Billboard Hot 100 chart in November. It ascended to a heavenly #5 in the ‘city of angels’ L.A. and gave Real Life a truly national profile across the U.S. when it peaked at #29 on the Hot 100 in early ‘84. Such was the popularity of ‘Send Me An Angel’ in Los Angeles, the Major League Baseball team The Angels adopted it as their theme song, no doubt adding to the profile of both song and band on the Californian music scene.

The album ‘Heartland’ was released in the U.S. (#58) and across selected European markets (including Germany). ‘Catch Me I’m Falling’ was chosen as the obvious follow up single for the American market. Whilst it didn’t quite match the efforts of its predecessor , ‘Catch Me I’m Falling’ climbed to #40 on the Billboard Hot 100 in mid ‘84. Before long Real Life found themselves as the support act for Eurythmics on a national tour of the U.S., and were also playing major dates across Europe and Japan. Considering just eighteen months before they were playing pub gigs in Melbourne, comparisons to the rapid ascent of Men At Work were justified, at least on the surface of things. Real Life no doubt provided inspiration to other synth-pop acts on the Australian scene, as within twelve months the likes of Dear Enemy (see previous post), Pseudo Echo and Kids In The Kitchen were surging up the national charts and eying international success. In late 1984 ‘Master Mix’ (OZ#74) was released, which was an album featuring remixes of the band’s previous singles. But for Real Life the issue would soon become maintaining a viable balance between consolidating a promising breakthrough overseas and keeping their Australian fan base happy.