Yesterday’s winner: Thank You
Which cover do you like better: Watching the Detectives or Warm Leatherette?
Yesterday’s winner: Thank You
Which cover do you like better: Watching the Detectives or Warm Leatherette?
Week 6 of our latest book club is here! We are moving along in the book, Mad World: An Oral History of New Wave Artists and Songs that Defined the 1980s. This week, we tackle the following chapters and artists: The Normal, Kajagoogoo and Thomas Dolby! Read those chapters and share your thoughts with us!
I have adored this song for quite awhile now. Maybe it is when it was featured on Only After Dark, a compilation by Nick Rhodes and John Taylor that came out in 2006. Maybe, it was when I realized the connection between this song and bands like Depeche Mode. I suspect, though, that the liking of this song became stronger after seeing Duran include it in their electro set on Broadway in November 2007. I remember how the audience seemed perplexed, at first, then seemed to grasp the coolness. Here is a clip of that:
Right away, author, Jonathan Bernstein, sums up what made this track so cool, so unusual and so important, the machines and Daniel Miller’s “detached delivery”. Exactly. I hear so much of that machinery in music that followed. Likewise, that detached delivery can be heard in many, many songs to follow. It along with other songs like it definitely was a trend setter and would work to change music.
Daniel Miller talked a lot about electronic music and synthesizers in this chapter. One idea that really grabbed my attention is how electronic music was pure punk with the do-it-yourself attitude. He differentiates this with punk rock, which has a similar philosophy but, obviously, sounds differently. I can definitely see his point. Anyone can pick up a synthesizer and play with various sounds without any training needed. There is no need for expensive lessons. Then, of course, he worked to spread that electronic music by starting Mute Records and helping others express themselves through that electronic music.
So the reality is that for a good many years, I danced to this, well perhaps dance is the wrong word…but I was out on that floor and surely I did something akin to bobbing around, for many years before I really knew what the song was or who it was by. It was an anthem of sorts, and anyone who was anyone in the club I went to (Fashions – Redondo Beach Pier, Redondo Beach, CA. If there had been a frequent club-goer card, mine would have been gold. Or black. Probably black.) put their drink down, stubbed out the last of the clove cigarette they had in hand, and got out on that floor. Lori Majewski said it best. “…it was our new wave rave’s version of Kool and the Gang’s ‘Celebration’, inviting even those not outfitted in skin-tight PVC to join…the car crash set.” (page 132) Perfect.
I particularly liked reading that Daniel Miller didn’t enjoy Anglo-American music, because that’s really how I felt as a teenager. 99% of the music I loved most was from the UK or elsewhere in Europe, and the more obscure the better. Granted, he’d already rejected most of it by 1970 – the year I was born – but hey, I’m finding out that I wasn’t really quite as alone as I may have thought. Thank goodness for New Wave. I’ll go to my grave saying that. It kept me alive through some of the darker periods of my teen years.
I went around for years saying that I really didn’t like electronica. I hated beat-boxes and a lot of the synthetic, heartless feeling that went into a lot of “today’s” music…specifically the crap (including auto-tune) that you find on a top 40 station. That’s totally unfair of me though, because you don’t have to look very long to find music in my collection that fits that label. I think my problem with a lot of the electronic music out there is that for all the creativity allowed through that medium – a lot of it sounds ridiculously familiar. Not so with New Wave, and certainly not with “Warm Leatherette”. I loved the detached delivery, and a lot of my favorite songs that followed had that same sort of vocals to them. I think I liked the unfeeling, robotic nature – it provided a texture we didn’t have before, and I completely embraced that.
The Normal was the “parent” EDM of my generation (but far, far more creative than what you hear today, in my humble opinion!) I know from reading Mad World that Daniel Miller hates that term – but without The Normal, there wouldn’t have been a Mute Records, and without Mute, Depeche Mode, Erasure, Goldfrapp might not have happened. For that alone I owe a huge thank you to Daniel Miller.
This song and band always makes me laugh. I can’t help it. Maybe it is their look or the name. Perhaps, it is the fact that Nick Rhodes produced it and got him his first number one, even before Duran. Nonetheless, every time I hear the song or see the video, I laugh. The introduction reinforces this as the authors mention how their success was sudden and “mocked”. I suppose my reaction even today shows this. It isn’t that I don’t own the song or don’t have fond memories of it because I do. There is just something about this band that creates a certain amount of ridicule. That said, the introduction pointed out why they are important to know, though. They were an example of a band without a long past, who did want to shock in some way. They did affect things, no matter that people did not take them seriously.
Lead singer, Limahl’s, story about how much he loved music and wanted to use it as an escape from the no-future mining life is not a unique one. Yet, unlike some, he actually went for his dream. He mentioned how being young helped both him and his band mates. Being young meant that they weren’t as worried about everything and just went for it. I admire that. When I was young, I did everything to become safe and secure when I should have just taken some risks.
I was hoping to learn more about the name. They named their band to shock people and there was some connection to the movie, The Mirror Crack’d, according to this chapter, but, as someone who hasn’t seen the movie, I’m at a bit of a loss. Can someone explain it?
Of course, I loved the story about how Limahl met Nick at the Embassy Club. How brave of Limahl to just try to get Nick a copy of their demo tape. Then, Nick loved it and got EMI to sign them! Amazing!! If we could all be so lucky! He is right that Duranies were interested because Nick produced them. Many of us are like that even today in that if there is a connection to a member of Duran, there is likelihood that some/most/all of us will check it out.
Speaking of fans, I thought it was interesting that as a gay man, he didn’t want to talk about his sexual orientation when they had a lot of teenage females fans despite his belief that teenage fans don’t/didn’t actually want to have sex with the rock star. I often wonder that. Would rock stars who are gay get the same level of attention? Respect? Intensity of fans? I would like to believe that things are better now, but, in 1983, I don’t blame Limahl for keeping it quiet.
It didn’t take Nick Rhodes to get me to love “Too Shy”. In fact, I don’t think that I realized Nick had anything to do with them until later. I just didn’t know. If I remember correctly, I heard them on the radio, made a note of their name – and found them on a cover of a magazine, of course. Sure, Limahl was pretty, and once I did realize that Nick was involved, I wanted to see what they were all about. So yes, in that sense I suppose Nick did drive me to buy their album.
What I remember most though, was how my friends gave them almost zero time. None of my friends felt they had staying power, and a good many of them thought they were TRYING to be Duran Duran. Fair assessment? I’m not sure. They didn’t last long enough for me to decide. I think that ultimately, they really weren’t a lot more than a pop band trying to make a splash with what they had. They hit fast and hard, and were gone within a blink of an eye. Not many gave them much credence beyond (or including) “Too Shy” – if I ever thought the critics were hard on Duran Duran, all I had to do was see what they had to say about Kajagoogoo before realizing DD had it easy in comparison. They’d written this band off before it even got started.
Limahl says something in this chapter that really gets my “fan” blood percolating a bit, though. He mentions that the Duran Duran fans were interested in what Nick was doing with Kajagoogoo. True statement. It’s the one immediately following though that I think is incredibly rude and unfair: “You know how fans are in that obsessive way.”(page 141) To begin with: that “obsessive way” probably made you some cash over the years Limahl, so you’re welcome. Secondly, that sort of thing is really called “MARKETING”. When you are a fan of a band, or someone in a band that works on a new project – it doesn’t mean you’re obsessive to check that new project out. It means you’re curious, and that curiosity paid off a bit for Kajagoogoo. So while I would agree with Amanda that yes, that sort of thing still happens even to this day, it’s not necessarily out of some sort of crazy obsession. If that were the case, what happened with John’s solo material, or even better – The Devils? Fans don’t know much about either of those things unless they were very interested, and from what I’ve been able to tell – not many were. So that’s where I take issue with Limahl and his ego.
This was a band that reunited for the sole purpose of making money, that much is clear. A lot of bands do it, but some just can’t figure it out to make it work for the long term. This one is on that list. Nick Beggs, who is incredibly talented in his own right, said it best, “It’s not a great song, it’s just a reasonable pop tune” He’s right, and it’s OK to have an iconic song from that time period under your belt. A lot of these bands have them, and sure – if you look hard enough, you can certainly see the debris field they left behind. It’s called “my life”….. and just as Nick Beggs says, “…music can transport us across the years to where we once stood.” Absolutely.
Here is a little story for you. Every time I mention Science at work (I teach in a middle school), I say, “Science as in she blinded me with.” The kids, of course, have no idea what I’m talking about but it doesn’t stop me. I can’t help it.
I found his songwriting process fascinating. First, he had to come up with an image and he adopted the professor look as he had family in education and because he knew he couldn’t be a “pin-up”. Then, he wrote a storyboard for a video to go along with a song title he had. He didn’t know what the song would sound like but he had the title. This, of course, is the exact opposite of how Duran works with music first then lyrics, with the title being towards the end.
I love that he got Dr. Magnus Pyke to be in the video and that the video became his claim to fame rather than his scientific work. (In case you didn’t know, Dr. Pyke was a British scientist.)
Of course, after Dolby experienced commercial success, the record label wanted him to make more songs with the same formula. Like the young Limahl in the previous chapter, he decided not to go the safe route and told them no. He makes an interesting point. He says that people think that the music is “fake” if an artist changes styles or genres. Does the music industry really put artists into a box? Has Duran felt that way or felt like they had to keep to a certain formula? On the other side of the coin could be artists trying to be or sound like something they are not? You can’t blame fans for not wanting that, either.
Amanda, you should really play your students the video at the end of each school year or something so that way they better understand your psychotic ramblings. (I can say that because we’re friends…and because I’m 2000 miles away from her right now.)
I remember watching Video One (or MV3 as it was called even earlier on) during the week with Richard Blade, and invariably he’d play “She Blinded Me With Science” or “Hyperactive”…both of which I loved. I think just from watching the videos and listening to the music, even as a kid, I sensed he was a genius. I liked that he didn’t seem like just an everyday rock star. I mean, sure…Simon LeBon is great and all, but there is something equally intriguing to me about Thomas Dolby because he wasn’t afraid to push boundaries and he’s willing to try something completely new. I stand fascinated by his marketing of “A Map of the Floating City” because rather than just continually blame the demise of the industry, it’s like Thomas Dolby sees it as a challenge, so he comes up with a damn video game for it. Who does that?! Thomas Dolby…because he’s a genius!!
I also found his comments about the music industry pretty true-to-life. I think that once a band or artist found their niche – even to this day to a large extent – it’s tough to break out of that. Part of it, in my opinion, is that record labels are freaking lazy. They don’t want to have to try to sell something different once they’ve figured out how to market a band. While I think it’s pathetic that bands weren’t given the leeway to discover themselves in a lot of ways, I can also see the business-end. Look at how fans have reacted to what Duran Duran have done over the years. It’s not always a bed of roses, even though we all say (and we do all say this) that we admire the band for taking risks. And we do. As long as they adhere to the sound we’re used to. I’m guilty of this as much as anyone. So, for a label, where it all comes down to dollars and cents through image and sound – once that’s all been hammered out and proven successful, they don’t want to change that formula. We’ve read that again and again. The trouble is, I don’t know many bands, particularly from this era – that were willing to keep remaking the same album over and over again. That formula works far better today than it ever did in the 80s.
What’s up for next week you ask? Psychedelic Furs, Depeche Mode, and Yaz! We’d love to see some comments on the discussion, but until then – we’ll just keep talking!!