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My 80's historical review

New Wave/Punk music, culture, genres, memories. '80s revivalism and other relevant topics.

My 80's historical review

Postby negative1 » Sun Nov 22, 2015 3:16 pm

since the 80's are my favorite decade,

i thought it would be interesting to look back at that era, like a documentary.

many of the groups i liked started off slightly earlier, in the mid to late 70's....

so just to show what groups i liked, and listened to, here:


full size:

songs from late 70s

many electronic bands would start out in the mid to late

there were groups experimenting with the sound, and a few
became chart hits.

two songs i remember, are the buggles - video killed the radio star,
which was written in 1978, but became a hit in 1979.

another song from 1979 that became a hit was m - pop muzik.

i own both of the original 7" canadian singles for those.

i'm pretty sure both were one hit wonders.
i didn't buy too many full albums back then either.

so that's why i'm concentrating on singles.

it would be much later, in 1982 when i would actually start
buying albums.

my information is mostly from wikipedia, discogs, and some charts, which show the UK top songs.

m - pop muzik

The song was initially recorded in R&B and funk styles before a friend of Scott suggested using synthesizers. He describes the genesis of "Pop Muzik" this way:

I was looking to make a fusion of various styles which somehow would summarise the last 25 years of pop music. It was a deliberate point I was trying to make. Whereas rock and roll had created a generation gap, disco was bringing people together on an enormous scale. That's why I really wanted to make a simple, bland statement, which was, 'All we're talking about basically (is) pop music.'

The single was released in the UK first, peaking at number two on 12 May 1979, unable to break Art Garfunkel's 6-week stint at number one with "Bright Eyes". In August of that same year, it was released in North America, where it eventually climbed all the way to number one in Canada on 27 October and in the US on 3 November.

buggles - video killed the radio star


"Video Killed the Radio Star" is a song written by Trevor Horn, Geoff Downes and Bruce Woolley in 1978. It was first recorded by Bruce Woolley and The Camera Club (with Thomas Dolby on keyboards) for their album English Garden, and later by British group The Buggles, consisting of Horn and Downes. The track was recorded and mixed in 1979, released as their debut single on 7 September 1979 by Island Records, and included on their first album The Age of Plastic. The backing track was recorded at Virgin's Town House in West London, and mixing and vocal recording would later take place at Sarm East Studios.

Like all the other tracks from the LP, "Video"'s theme was promotion of technology while worrying about its effects. This song relates to concerns about mixed attitudes towards 20th-century inventions and machines for the media arts. Musically, the song performs like an extended jingle and the composition plays in the key of D-flat major in common time at a tempo of 132 beats per minute. The track has been positively received, with reviewers praising its unusual musical pop elements. Although the song includes several common pop characteristics and six basic chords are used in its structure, Downes and writer Timothy Warner described the piece as musically complicated, due to its use of suspended and minor ninth chords for enhancement that gave the song a "slightly different feel."

Commercially, "Video Killed the Radio Star" was also a success. The track topped sixteen international music charts, including the official singles charts of the group's home country of the UK and other nations such as Australia, Austria, France, Italy Ireland, Spain, Sweden and Switzerland, as well as the Japanese Oricon International Chart. It also peaked within the top 10 in Canada, Germany, New Zealand and South Africa, the top 20 in Belgium and the Netherlands, and barely in the top 40 in the United States.

The song's music video was written, directed, and edited by Russell Mulcahy, and is well-remembered as the first music video shown on MTV in the United States at 12:01am on 1 August 1981, and the first video shown on MTV Classic in the United Kingdom on 1 March 2010. The song has received several critical accolades, such as being ranked number 40 on VH1's 100 Greatest One-Hit Wonders of the '80s.It has been covered by many recording artists. Trevor Horn has done performances of the song, both at Buggles reunion performances and with The Producers, since 1998.

i will post links to the videos also.

Last edited by negative1 on Sun Nov 22, 2015 3:19 pm, edited 1 time in total.
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Re: My 80's historical review

Postby negative1 » Sun Nov 22, 2015 3:17 pm

here are the related videos for the mid to late 70's:

Videos from the mid to late 70s:
these videos are not in chronological (monthly) order
but are separated by year.

they are put together by group.

some songs had no official videos, so live videos are
used when available...

also, the live versions are sometimes the official videos
by some groups..




the model

das model (live)

trans europe express

the police
fall out(live)

the man machine

the robots

the human league
being boiled (live)

the police
cant stand losing you

message in a bottle


so lonely

dreaming (live)

heart of glass

one way or another

union city blue

bruce wooley
video killed the radio star (original) [audio]

video killed the radio star (remake)

boys dont cry [slideshow]

jumping someone elses train

echo and the bunnmymen
pictures on my wall

human league
dignity of labor part 1

i dont depend on you (as the men) [audio]

empire state human

pop muzik

live version

talking heads
life during wartime (live)

psycho killer (live)

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Location: USA

Re: My 80's historical review - 1980 [part 1]

Postby negative1 » Sun Nov 22, 2015 3:33 pm

here is my chart for groups i liked in 1980:



by group:



by month:



the 1980's
this is the start of a new decade.
punk was dying out, so was disco.... there will be a few
mentions of the very late 70s for some groups.

for some groups, the 80's will be the peak of their
artistic and commercial peaks, and they will continue on..

for others this will be it.

Songs, 1980

Blondie - Call Me (#1, April)

The Cars - Touch & Go (#37, Oct)

Gary Numan - Cars (#9, June)

M - Pop Muzik (#1, Nov '79) (#40, '80)

Peter Gabriel - Biko (U.K. #38)
Peter Gabriel - Games Without Frontiers (#48, Sept)

The Vapors - Turning Japanese (#36, Feb)


5 July Love Will Tear Us Apart Joy Division 10* weeks

18 October Requiem Killing Joke 1 week
25 October Atmosphere Joy Division 2 weeks

27 December Car trouble Adam and the Ants 7* weeks

uk number ones

Artist[nb 1]

Single[nb 1]

Week ending date[nb 1]

Weeks at
number 1[nb 1]

Blondie "Atomic" 1 March 1980 2

Blondie "Call Me" 26 April 1980 1
Dexys Midnight Runners "Geno" 3 May 1980 2

Newton-John, Olivia Olivia Newton-John and the Electric Light Orchestra "Xanadu" 12 July 1980 2

Bowie, David David Bowie "Ashes to Ashes" 23 August 1980 2

The Police "Don't Stand So Close to Me" 27 September 1980 4

Blondie "The Tide Is High" 15 November 1980 2

songs 31


ABC has its roots in the band Vice Versa, a Sheffield band formed in 1977 by Stephen Singleton and Mark White. They founded their own label, Neutron Records, releasing the EP Music 4. Martin Fry, who wrote the fanzine Modern Drugs, interviewed Vice Versa and shortly afterwards they asked him to join as synthesizer player. Fry accepted and by 1980 the band had evolved into ABC, with Fry becoming lead vocalist.

Fiona Russell Powell, who joined the group for ABC's 1985 album How To Be A Zillionaire, was part of the original line-up of the pre ABC band, Vice Versa. According to an article that was published on 7 March 1997, she 'chickened out' of Vice Versa's first live gig, and the job as frontman went to Fry.


Blondie signed with Chrysalis in October 1977. Mike Chapman, a veteran of glitter pop, produced Parallel Lines, which slowly made its way into the Top Ten, breaking first in markets outside the U.S. The disco-style "Heart of Glass" hit Number One in April 1979 and gave the group a platinum album. Blondie maintained its popularity and dabbled in black-originated styles, collaborating with Eurodisco producer Giorgio Moroder for "Call Me" (Number One, 1980) for the American Gigolo Soundtrack, covering the reggae tune "The Tide Is High" (Number One, 1980), and recording a song including an extended Debbie Harry rap, "Rapture" (Number One, 1981), for Autoamerican (Number Seven, 1980). Harry also did the rounds as a celebrity, including an endorsement of Gloria Vanderbilt designer jeans in 1980.

Released: November 1980
Eat to the Beat


1980 "The Hardest Part"
"Call Me"
"The Tide Is High"

10. 02/1980
The Hardest Part by Blondie

11. 02/1980
Call Me by Blondie

12. 02/1980
Atomic by Blondie

13. 11/1980
The Tide Is High by Blondie

cabaret voltaire

"The band began working with Rough Trade in 1978, producing the now seminal triumvirate of albums, 'Mix Up' (1979), 'Voice of America' (1980) and their most prophetic album 'Red Mecca' (1981), an album released to an excellent response from the music press. All these recordings were assembled in the seclusion of the band's own studio in Sheffield called Western Works.
"Chris Watson left the group in October 1981 on the eve of an international tour to pursue a career in television sound recording. This departure left Kirk and Mallinder free to commit to a long-term struggle with the 'pop music' industry under the protection of Stevo's Some Bizarre label, via a Virgin Records distribution deal. By December 1982 they were in the midst of recording the 'Crackdown' album in Trident Studios, London with the producer Flood, who went on to work with Depeche Mode and U2.
Studio albums[edit]

Mix-Up (October 1979) No. 12 UK Indie
The Voice of America (July 1980) No. 3 UK Indie

Compilation albums[edit]
1974–1976 (1980)

"Silent Command" / "Chance Versus Causality" (October 1979) No. 10 UK Indie
"Three Mantras" (January 1980) No. 10 UK Indie
"Seconds Too Late" / "Control Addict" (September 1980) No. 8 UK Indie

In May 1979 their debut album Three Imaginary Boys was released to great acclaim, and as the band toured extensively around the UK, the singles "Boys Don't Cry" and "Jumping Someone Else's Train" were released. Michael left the band at the end of the year, and Simon Gallup (bass) and Matthieu Hartley (keyboards) joined. In early 1980 the Cure quartet embarked on an exploration of the darker side of Robert's song-writing, and emerged with the minimalist classic album Seventeen Seconds, along with their first bona-fide 'hit single' "A Forest."

1979 Three Imaginary Boys
Released: 8 May 1979

1980 Seventeen Seconds
Released: 22 April 1980

1980 Boys Don't Cry
Released: 5 February 1980

1980 "A Forest"

1. 1979
Boys Don't Cry by The Cure

2. 1979
Jumping Someone Else's Train by The Cure

3. 04/1980
A Forest by The Cure

dead or alive
Early career of band[edit]
In 1977, Burns formed a band with friends Julian Cope, Pete Wylie, and Phil Hurst, calling themselves The Mystery Girls. They played only one gig (opening for Sham 69 at Eric's in Liverpool in November 1977) before disintegrating.[4] Burns returned in 1979 with a new band, Nightmares in Wax, featuring a gothic post-punk sound, with backing from Hurst, keyboardist Martin Healy, bassist Walter Ogden, and guitarist Mick Reid.[4] Nightmares in Wax played their first gig at Eric's in February 1979,[5] and were signed to the associated Eric's Records label, although their only recording, a three-track 7" EP entitled Birth of a Nation, was released in 1980 by Inevitable Records (a 12-inch single featuring two of the tracks from the EP, "Black Leather" and "Shangri-La", was released in 1985).[6] The EP featured "Black Leather", which halfway through turned into K.C. & the Sunshine Band's "That's the Way (I Like It)" (a song later revived by Dead or Alive).[4]

Dead or Alive was formed in 1980 in Liverpool by Burns, who was encouraged by local music promoters to gather a band together based on his outrageous appearance. In 1980, after several line-up changes since the start of the year, and just before they were to record a radio session for John Peel, Burns changed the name of the band to Dead or Alive.[4] The band went through several different line-up changes over the next three years while recording a series of independent singles. Burns' eccentric and androgynous appearance began attracting attention, often leading to comparisons with Culture Club and its lead singer Boy George.

1980 "I'm Falling"

echo and the bunnymen
Echo & the Bunnymen's debut single "The Pictures on My Wall" was released on Bill Drummond & David Balfe's Zoo Records in May 1979, the B-side being the McCulloch/Cope collaboration "Read It in Books" (also recorded by The Teardrop Explodes approximately six months later as the B-side of their final Zoo Records single "Treason"). McCulloch has subsequently denied that Cope had any involvement with the writing of this song on more than one occasion.[10][11]

By the time of their debut album, 1980's Crocodiles, the drum machine had been replaced by Trinidad-born Pete de Freitas. The lead single, "Rescue", climbed to UK No.62 and the album broke into the Top 20 at No. 17, following critical acclaim.[12] Their next album, Heaven Up Here (1981), was an even bigger critical and commercial success, reaching the UK Top Ten (No. 10), although a single lifted from the album, "A Promise", could only reach UK No. 49.[12]

1980 Crocodiles
Released: 18 July 1980

1979 "The Pictures on My Wall"
1980 "Rescue"

"The Puppet"
1. 05/1980
Rescue by Echo & the Bunnymen

from Crocodiles
Early years as Portraits and The Fix (1979-1981)[edit]
College friends Cy Curnin on vocals and Adam Woods on drums formed the group in London in 1979, initially calling themselves Portraits. The pair placed an ad for additional members, and recruited keyboardist Rupert Greenall, guitarist Tony McGrail and bassist Russell Mckenzie later to be replaced by Charlie Barrett. Portraits issued two singles for Ariola Records: "Little Women" (1979), and "Hazards In The Home" (1980).

Later in 1980, McGrail left. At this point, the band added guitarist Jamie West-Oram (formerly of Phillip Rambow's band) and changed their name to The Fix. This version of the band recorded for 101 Records, releasing their first single ("Lost Planes") in February 1981. This track, along with several live tracks issued by 101 on various compilations, received some radio exposure on the BBC. In these early days West-Oram was billed simply as "Jamie West", and keyboardist Greenall occasionally used his full name Rupert Peter Greenall.

The Fix's raised profile eventually led to the group being offered a contract by MCA Records.[1] Worried about the potential drug-user implication of the band's name, MCA insisted on a name change before signing them to the label. A compromise was reached as the band altered the spelling of their name to The Fixx, and a deal was duly inked.

1979 "Little Women" (as The Portraits)
1980 "Hazards in the Home"
(as The Portraits)

flock of seagulls
Formation and success
A Flock of Seagulls was started by Mike Score and his brother Ali in 1979 in Liverpool (The name was taken from The Stranglers song "Toiler on the Sea", according to Mike Score). Mike, who was previously a hairdresser, played keyboards, guitar, and vocals and Ali played drums. Also, their friend Francis Maudsley played bass. The band's original guitarist, Willie Woo, left and was replaced with Paul Reynolds from the band Cindysbeentrippin. After practising above Score's hair salon, the band started playing clubs and eventually got a recording contract.

heaven 17
Ian Craig Marsh and Martyn Ware were the founding members of pioneering British electro-pop group The Human League; Glenn Gregory had been their original choice when seeking a vocalist for the band but he was unavailable at the time, so they chose Philip Oakey instead. When personal and creative tensions within the group reached a breaking point in late 1980 Marsh and Ware left the band, ceding the Human League name to Oakey. Taking their new name from a fictional pop group mentioned in Anthony Burgess's novel, A Clockwork Orange (where The Heaven Seventeen are at number 4 in the charts with "Inside"), they became Heaven 17 and formed the production company British Electric Foundation (BEF).

BEF’s first recording was a cassette-only album called Music for Stowaways[2] and an LP called Music for Listening to. Shortly after, they completed their line-up when they recruited their friend, photographer Glenn Gregory, as vocalist. Like The Human League, Heaven 17 heavily used synthesisers and drum machines (the Linn LM-1 programmed by Ware). Session musicians were used for bass and guitar (John Wilson) and grand piano (Nick Plytas).

human league
1978–1980: The original Human League line-up[edit]

The 'original' Human League in July 1980. From left to right Oakey, Wright, Marsh, Ware.
Using Future material, The Human League released a demo tape to record companies under their new name. The tape contained versions of "Being Boiled", "Toyota City", and "Circus of Death". Ware's friend Paul Bower of Sheffield new wave band 2.3 who had just recorded a single for Bob Last's Edinburgh-based independent label Fast Product, took their demo to Last and he signed the band.

The band released their first single, "Being Boiled", in June 1978 which became Fast Product's third release. Although a limited release – because it was so unique and at odds with everything else on the market – it was picked up on by NME who championed the band, although one guest reviewer, John Lydon of Public Image Limited condemned the band as "trendy hippies."[4]

Boosted by critical praise, on 12 June 1978 the band played their first live gig together at Bar 2 in Sheffield's Psalter Lane Art College (now Sheffield Hallam University; a plaque now commemorates the spot in what is now a computer suite.)

Plaque located in Sheffield Hallam University commemorating The Human League's first live concert
With their reliance on technology and tape machines, the band had been nervous about playing live. After the Psalter Lane performance, they worried that they had appeared static and uninspiring. A friend of Oakey's who had been in the audience, Philip Adrian Wright, who also had an art and photography background was invited to become the band's Director of Visuals with a remit to "liven up" the stage performance with slides, film clips and lighting.

The band's live performances began to gain momentum and acclaim and they were asked to support first The Rezillos (featuring future band member Jo Callis), then Siouxsie and the Banshees as early as September 1978. In December 1978, David Bowie appeared in the audience and later declared to NME that he "had seen the future of pop music."[3] Later, the hit song by The Undertones, "My Perfect Cousin", contained a dig at the perceived "arty" Human League in the lyric:

"His mother bought him a synthesiser / Got the Human League in to advise her / Now he's making lots of noise / Playing along with the art school boys"[5]

In April 1979, The Human League released their first EP under Fast Record entitled The Dignity of Labour, which contained four experimental instrumentals. Although the EP barely charted, major record labels began approaching the band in an attempt to lure them away from Fast. Eventually in May 1979, the band accepted an offer by Richard Branson's Virgin Records. Because of his label's early support, the band offered Bob Last the position as band manager.[3]

In June 1979, The Human League supported Iggy Pop on his European tour before settling into recording their first single for Virgin. Despite promising them creative freedom, Virgin now insisted on some sweeping changes to the band's style for their first single to make it more commercial. They insisted on conventional instruments and vocals as well as synthesizers. Because the band had accepted a large financial signing advance, Ware was in no position to refuse, but insisted that any releases in this style be credited to a pseudonym.[3]

The band's first single under Virgin Records was the disco influenced "I Don't Depend on You", released in July 1979 under the pseudonym "The Men". The single did not chart and had very little in common with the previous work of The Human League. It did, however, feature female vocals by guests Lisa Strike and Katie Kissoon sounding like the yet-to-be-formed future Human League of 1981.[6]

Because the imposed style had not worked, Virgin permitted the band to return to their original style and the band recorded and released their first full studio album Reproduction in August 1979. The album and the single "Empire State Human" failed to make any impact on the charts. After these flops, Virgin cancelled the band's December 1979 tour. By this time, The Human League's role as UK electronic pioneers was usurped by Gary Numan when his single "Are 'Friends' Electric?" became a huge hit in the UK in mid-1979.[3]

In April 1980 the band was able to release an EP entitled Holiday '80, containing the principal track "Marianne" and a cover of "Nightclubbing" (written by Bowie and Iggy Pop). The seven-inch version of "Holiday '80" did well enough to get the band their first TV appearance on BBC TV Top of the Pops on 8 May 1980 opening a Peter Powell presented show with Gary Glitter's "Rock and Roll Part 2". This was to be the only high profile TV appearance by the Oakey/Marsh/Ware trio on British television, with the sole exception of BBC2's Mainstream programme in late 1979, where a performance in the studio, complete with slideshow etcetera, was broadcast of the tracks "The Path of Least Resistance" and the current minor hit "Empire State Human".

In May 1980, the band toured the UK. Philip Adrian Wright was now playing incidental keyboards in addition to his visuals role. It was the last time all four members performed together live. Also in May, the band released their second studio album Travelogue. More commercial sounding than Reproduction, it peaked at No. 16 in the UK, giving the band their first real success. As a result, "Empire State Human" was re-released and the band made their second appearance on Top of the Pops even though it only reached No. 62 in the singles chart.

Because of their lack of commercial success, Virgin refused to release further singles from Travelogue. The Human League was booked to conduct a tour of the UK and Europe in October – November 1980 but the lack of success after two years of hard work and perceived lack of faith by Virgin set about severe internal conflict within the band.[3]

Equipment used in this period were – Roland Jupiter 4, Korg 770, Roland System 100 consisting of 1 x 101 kdb, 2 x 102 expanders, 2 x 104 Sequencers and 103 mixer plus taped backing for Rhythm and drums.

1979 Reproduction
1980 Travelogue

1979 The Dignity of Labour
1980 Holiday '80

1978 "Being Boiled"
1979 "I Don't Depend on You" (as "The Men")
"Empire State Human"(reissued in 1980)
1980 "Only After Dark"

1. 05/1980
Holiday '80 E.P. by The Human League

2. 06/1980
Empire State Human by The Human League

From "Simple Simon" to Shabooh Shoobah[edit]
INXS released their first single, "Simple Simon"/"We Are the Vegetables", in Australia and France in May 1980.[1][15][20] The single had its debut TV performance on Simon Townsend's Wonder World.[17] Their self-titled debut album, INXS, was recorded at Trafalgar Studios in Annandale, Sydney, it was co-produced by the band and Duncan McGuire (ex-Ayers Rock), with all songs attributed to the entire band, at the insistence of Murphy.[14][15] Deluxe gave them a budget of $10,000 to record the album, so to keep within the budget they had to record from midnight to dawn, usually after doing one or more performances earlier that night.[15] The album was released in October 1980. It featured "Just Keep Walking" which was their first Australian Top 40 single,[1][4] with the album peaking in the Top 30 of the Kent Music Report for Australian albums.[1][3][4] The album eventually went gold (selling over 35,000 units) but it took a number of years to do so.[14]

I'm not a great fan of the first album. It's naive and kinda cute, almost. It's these young guys struggling for a sound. All I can hear is what was going to happen later and it's probably an interesting album because of that. "Just Keep Walking" was the first time we thought we'd written a song. And that became an anthem around town. It's funny, I remember kids in pubs saying it and hearing it on the radio the first time. We'd never heard that before.

1980 "Simple Simon"
[SEPT] "Just Keep Walking"

level 42
1979–1980: Formation[edit]
Mark King and the Gould brothers (Phil and Rowland, the latter generally known by his nickname "Boon") were all brought up on the Isle of Wight and played together in various bands during their teenage years. Phil Gould went on to study at London's Guildhall School of Music and Drama, where he met keyboard player Mike Lindup in a percussion course. Both musicians found that they shared musical heroes: Miles Davis, John McLaughlin, Keith Jarrett and Jan Hammer.

By 1979, Phil Gould and Mark King were both based in London and became involved in Robin Scott's pop project M. While working with M, they became acquainted with Afro-French keyboard player Wally Badarou, who played synthesizer on M's US number one single "Pop Muzik". In late 1979, Phil Gould introduced Mark King and Mike Lindup to each other, and all of them began playing together in loose rehearsal sessions, developing their own jazz-funk fusion style. The developing band's original guitarist was Dominic Miller (later to find fame playing with Sting), but he was replaced by Boon Gould on the latter's return from working in the United States.

Initially, instrumental roles were flexible, with Boon Gould also playing bass guitar and saxophone and Lindup doubling on keyboards and drums. Mark King was primarily a drummer (although he also played guitar) but had recently sold his drum kit to pay for transport back to the UK after an ill-fated European venture. With Phil Gould and Boon Gould established (respectively) as the most accomplished drummer and guitarist in the quartet, King opted to learn bass guitar instead. At the time, King was working in a London music store. A notably flexible musician and quick learner, he had observed visiting American funk players demonstrating the thumb-slap bass guitar technique and developed his own take on the style in a matter of weeks.

The developing band (at this point, entirely an instrumental act) took the name Level 42 and settled on a working line-up of King (bass guitar, percussion), Lindup (keyboards, percussion), Boon Gould (guitar, saxophone) and Phil Gould (drums). The name of the band is a reference to the novel The Hitchhiker's Guide to the Galaxy by Douglas Adams, in which "42" is the answer to "the ultimate question of life, the universe, and everything."[1] Having maintained their links with Wally Badarou, Phil Gould and Mark King invited him to work with Level 42. Although he never formally joined the band, Badarou would become a fifth member in all but name: co-writing songs, playing keyboards and synthesisers in the studio and co-producing the records.

After they were seen jamming together, the band were invited to sign to Elite Records (a small independent label) in 1980. They were also encouraged to branch out into vocal music. Having considered recruiting a singer, the band eventually settled on giving King and Lindup the vocal role. The two men developed a complementary style, with Lindup's falsetto frequently used for harmonies and choruses while King's deep tenor led the verses (although Lindup would also sing entire songs on his own). Lyrics were generally written by the Gould brothers while King, Badarou and Lindup concentrated on Level 42's music.

1979 "Sandstorm"
1980 "Love Meeting Love"
"(Flying On The) Wings Of Love"

modern english
Formed in Colchester, Essex, England, in 1979 by Robbie Grey (vocals), Gary McDowell (guitar, vocals), and Michael Conroy (bass, vocals),[2] Modern English were originally known as The Lepers. The group expanded to "Modern English" when Richard Brown (drums) and Stephen Walker (keyboards)[2] were subsequently added to the lineup of the band.[1][2]

After a single on their own 'Limp' label (not to be confused with America's Limp Records) in 1979, the band signed to 4AD the following year, with two further singles released, and a session for John Peel of BBC Radio 1 recorded before the band's debut album, Mesh & Lace, in 1981, the band in the early days showing a strong Joy Division influence.[3]

"Drowning Man" 1979

"Swans on Glass" 1980
"Gathering Dust"

new order

Origins and formation: 1977–1980
Main article: Joy Division
Between 1977 and 1980, Ian Curtis, Peter Hook, Stephen Morris, and Bernard Sumner were members of the post-punk band Joy Division, often featuring heavy production input from producer Martin Hannett.[7] Curtis committed suicide on 18 May 1980, the day before Joy Division were scheduled to depart for their first American tour, and prior to release of the band's second album, Closer. The rest of the band decided soon after Curtis's death that they would carry on.[8] Prior to his death, the members of Joy Division had agreed not to continue under the Joy Division name should any one member leave. On 29 July 1980, the still unnamed trio debuted live at Manchester's Beach Club.[9][10][11] Rob Gretton, the band's manager for over twenty years, is credited for having found the name "New Order" in an article in The Guardian entitled "The People's New Order of Kampuchea". The band adopted this name, despite its previous use for ex-Stooge Ron Asheton's band The New Order. The group states that the name New Order (as was also the case with "Joy Division") does not draw a direct line to Nazism or Fascism.[12]

The band rehearsed with each member taking turns on vocals. Sumner ultimately took the role, as he could sing when he wasn't playing his guitar. Wanting to complete the line-up with someone they knew well and whose musical skill and style was compatible with their own, New Order invited Morris's girlfriend, Gillian Gilbert, to join the band in early October 1980, as keyboardist and guitarist. Gilbert's membership was suggested by Gretton.[12] Gilbert's first live performance with New Order occurred at The Squat in Manchester on 25 October 1980.[13][14]

1980 "Haystack" (with Kevin Hewick)

Orchestral Manoeuvres in the Dark
In 1979 they were asked to support Gary Numan on his first major British tour. They were always grateful to Numan for his help and support.[23] He let them travel on his bus and use his trucks to transport their gear. They returned the favour some 13 years later when they asked Numan to support them on their arena tour in the mid-1990s.

Classic line-up[edit]
The eponymous first album (1980) showcased the band's live set at the time, and was basically recorded by the Humphreys/McCluskey duo, although included some guest drums from Id drummer Malcolm Holmes, and saxophone from Wirral musician Martin Cooper. It had a simple, raw, poppy, melodic synthpop sound. Dindisc arranged for the song "Messages" to be re-recorded (produced by Gong bassist Mike Howlett) and released as a single (right) – this gave the band their first hit. Dave Hughes, a founder member of Dalek I Love You who joined OMD in early 1980, is featured in the "Messages" video.

A tour followed, Winston the tape recorder was augmented with live drums from Malcolm Holmes, and Dalek I Love You's Dave Hughes on synths. Hughes then left OMD in November 1980, replaced by Martin Cooper.

The second album Organisation (perhaps a reference to the band which preceded Kraftwerk, founded by Kraftwerk's original members Florian Schneider-Esleben and Ralf Hutter) followed later that year, recorded as a three-piece with Humphreys, McCluskey and Holmes. It was again produced by Howlett, and had a rather moodier, dark feel. The album spawned the hit single "Enola Gay", named after the plane that dropped an atomic bomb on Hiroshima. The song was intended to be included on the debut album, but was left out at the final selection, which might explain why the song is somewhat at odds with the darker feel of the second album. The tour for this album had a 4-piece band line-up, with saxophonist Martin Cooper (another Dalek I Love You alumnus) recruited for keyboard duties. Howlett then presided over the recording of a further hit single, "Souvenir", co-written by Cooper & Humphreys. It ushered in a lush choral electronic sound. The song also became OMD's biggest hit to date.

1980 Orchestral Manoeuvres in the Dark
Release date: 22 February 1980

Release date: 24 October 1980

1979 "Electricity" (released twice)

1980 "Red Frame/White Light"
"Electricity" (third release)
"Enola Gay"

1. 1979
Electricity by Orchestral Manoeuvres in the Dark

2. 02/1980
Red Frame, White Light by Orchestral Manoeuvres in the Dark

3. 05/1980
Messages by Orchestral Manoeuvres in the Dark

4. 10/1980
Enola Gay by Orchestral Manoeuvres in the Dark

—Sting on his first jam session since arriving in London.[11]
Curved Air had recently split up and Copeland, enthused by the then-current punk rock movement, was eager to form a new band and join the burgeoning London punk scene. While less keen, Sting acknowledged the commercial opportunities, so the duo formed the Police as a punk power trio with Corsican guitarist Henry Padovani recruited as the third member.[12] After their debut concert on 1 March 1977 at Alexander's in Newport, Wales (which lasted only ten minutes), the group played London pubs and toured as a support act for Cherry Vanilla and for Wayne County & the Electric Chairs.[13][14] Their first single Fall Out, recorded at Pathway Studios in Islington, North London on 12 February 1977 with a budget of £150, was released in May 1977 by Illegal Records.[15]

Also in May 1977, ex-Gong musician Mike Howlett invited Sting to join him in the band project Strontium 90. The drummer Howlett had in mind, Chris Cutler, was unavailable to play, so Sting brought along Stewart Copeland. The fourth member of the band was guitarist Andy Summers from Lancashire, north west England. A decade older than Sting and Copeland, Summers was a music industry veteran, having played with Eric Burdon and the Animals and Kevin Ayres among others. Strontium 90 performed at a Gong reunion concert in Paris on 28 May 1977, and played at a London club (under the name of "The Elevators") in July.[16] The band also recorded several demo tracks: these were released (along with live recordings and an early version of "Every Little Thing She Does Is Magic") 20 years later in 1997 on the archive album Strontium 90: Police Academy.

"I thought there was fantastic potential in Sting and Stewart. I'd always wanted to play in a three-piece band. I felt that the three of us together would be very strong. They just needed another guitarist and I thought I was the one."

—Summers on Sting and Copeland after first hearing them at the Marquee Club in Oxford Street, London.[11]
Summers' musicality impressed Sting, who was becoming frustrated with Padovani's relatively rudimentary abilities and the limitations they imposed on the Police's potential career. Shortly after the Strontium 90 gig, Sting approached Summers to join the band. He agreed, on the initial condition that the band remain a trio, with him replacing Padovani. Restrained by loyalty, both Copeland and Sting initially resisted the idea, and the Police carried on as a four-piece version but they only performed live twice: on 25 July 1977 at the Music Machine in London and on 5 August at the Mont de Marsan Punk Festival. Shortly after these two gigs (and an aborted recording session with producer John Cale on 10 August), Summers delivered an ultimatum and Padovani was dismissed from the band. The effect of Summers' arrival was instant with Copeland stating: "One by one, Sting's songs had started coming in, and when Andy joined, it opened up new numbers of Sting's we could do, so the material started to get a lot more interesting and Sting started to take a lot more interest in the group."[11]

The Police's power trio line-up of Copeland, Sting, and Summers performed for the first time on 18 August 1977 at Rebecca's club in the English city of Birmingham in the West Midlands.[17] A trio was unusual for the time, and this line-up endured for the rest of the band's history. Few punk bands were three-pieces, while contemporary bands pursuing progressive rock, symphonic rock and other sound trends usually expanded their line-ups with support players.[18] The developing Police sound, however, made explicit use of the trio dynamics by forcing the band to concentrate on space and texture: while the musical background of all three players may have made them suspect to punk purists, with music critic Christopher Gable stating, "The truth is that the band merely utilized the trappings of 1970s British punk: the bleached blond short hair, Sting in his jumpsuits or army jackets, Copeland and his near maniacal drumming style. In fact, they were criticized by other punk bands for not being authentic and lacking 'street cred.' What the Police did perhaps take from punk was a brand of nervous, energetic disillusion with 1970s Britain."[19] The band were also able to draw on influences from reggae to jazz to progressive and pub rock.[19]

While still maintaining the main band and attempting to win over punk audiences, Police members continued to moonlight within art-rock. In late 1977 and early 1978, Sting and Summers recorded and performed as part of an ensemble led by German experimental composer Eberhard Schoener; Copeland also joined for a time. These performances resulted in three albums, each of them an eclectic mix of rock, electronica and jazz.[20] Various appearances by the Schoener outfit on German television made the German public aware of Sting's unusual high-pitched voice, and helped pave the way for the Police's later popularity.

The bleached-blond hair that became a trademark of the band was a lucky accident. In February 1978, the band, desperate for money, was asked to do a commercial for Wrigley's Spearmint chewing gum (directed by Tony Scott) on the condition that they dye their hair blond.[21] The commercial was shot with the band, but was shelved and never aired.[22]

Recording contract and Outlandos d'Amour (1977–78)[edit]
Stewart Copeland's older brother Miles Copeland III was initially sceptical of the inclusion of Summers in the band, fearing that it would undermine their punk credibility, and reluctantly agreed to come through with £1,500 to finance the Police's first album. Recording Outlandos d'Amour was a difficult process, as the band was working on a small budget, with no manager or record deal. It was recorded during off-peak hours at the Surrey Sound Studios in Leatherhead, Surrey, a basic recording facility run by brothers Chris and Nigel Gray.[23]

During one of his periodic studio visits, Miles Copeland heard "Roxanne" for the first time at the end of a session. Where he had been less than enthusiastic about the band's other songs, the elder Copeland was immediately struck by "Roxanne", and very quickly got the Police a record deal with A&M Records on the strength of the track.[24] "Roxanne" was issued as a single in the spring of 1978, while other album tracks were still in the midst of being recorded, but it failed to chart. It also failed to make the BBC's playlist, which the band attributed to the song's depiction of prostitution. A&M consequently promoted the single with posters claiming "Banned by the BBC," though it was never really banned—just not play-listed. "We got a lot of mileage out of it being supposedly banned by the BBC," Stewart Copeland admitted 23 years after the fact. "In fact, all that really happened was that we didn't make their playlist, so we turned that into 'Banned by the BBC.'"[25]

Shortly after "Roxanne" was released, and while Outlandos d'Amour was still being recorded, Stewart Copeland (using the alias 'Klark Kent') released a solo single called "Don't Care". It peaked at No. 48 UK in August 1978, and led to a TV appearance on BBC1's Top of the Pops. 'Kent' sang and played all instruments on the single, but for his Top of the Pops appearance he was backed by various friends wearing masks (including Sting and Summers) who mimed the instrumental accompaniment.

The Police made their first proper television appearance a few months later, in October 1978, on BBC2's The Old Grey Whistle Test to promote the release of Outlandos d'Amour.[26] Though "Roxanne" was never banned (despite A&M's claims to the contrary) the BBC did ban the second single from Outlandos d'Amour, "Can't Stand Losing You". This was due to the single's cover, which featured Copeland hanging himself over an ice block being melted by a portable radiator.[27] The single became a minor chart hit, the Police's first, peaking at No. 42 UK.[3] The follow-up single "So Lonely", issued in November 1978, failed to chart.

In February 1979 "Roxanne" was issued as a single in North America, where it was warmly received on radio despite the subject matter. The song peaked at No. 31 Canada and No. 32 U.S., spurring a UK re-release of it in April. The re-issue of "Roxanne" finally gained the band widespread recognition in the UK when it peaked at No. 12 on the UK Singles Chart.[28]

The group's U.S. success led to a gig at the famous New York club CBGB and a gruelling 1979 North American tour in which the band drove themselves and all their equipment around the country in a Ford Econoline van. That summer, "Can't Stand Losing You" was also re-released in the UK, becoming a substantial hit, peaking at No. 2.[3] The group's first single, "Fall Out", was re-issued in late 1979, and became a minor chart hit, peaking at No. 47 UK.[3]

Reggatta de Blanc (1979)[edit]
In October 1979, the group released their second album, Reggatta de Blanc, which topped the UK Albums Chart, and became the first of five consecutive UK No. 1 albums.[3] The album spawned the hit singles "Message in a Bottle" (No. 1 UK, No. 2 Canada, No. 5 Australia) and "Walking on the Moon" (No. 1 UK).[29] Elsewhere, the album's singles failed to dent the U.S. top 40, but Reggatta de Blanc still hit No. 25 on the U.S. album charts.[30]

The band's first live performance of "Message in a Bottle" was on the BBC's television show Rock Goes to College filmed at Hatfield Polytechnic College in Hertfordshire.[31] The instrumental title track Reggatta de Blanc won the Grammy Award for Best Rock Instrumental Performance.[32] In February 1980, the single "So Lonely" was re-issued in the UK. Originally a non-charting flop when first issued in late 1978, upon re-release the track became a UK top 10 hit, peaking at No. 6.[3]

In March 1980, the Police began their first world tour, which included places that had seldom hosted foreign performers—including Mexico, India, Taiwan, Hong Kong, Greece, and Egypt.[29] The tour was subsequently documented in the film The Police Around the World (1982), directed by Kate and Derek Burbidge, which encompasses footage shot by Anne Nightingale originally intended for a BBC production The Police in the East.[33]

In May 1980, A&M in the UK released Six Pack, an expensive package containing the five previous A&M singles (not including "Fall Out") in their original sleeves plus a mono alternate take of the album track "The Bed's Too Big Without You" backed with a live version of "Truth Hits Everybody". It reached No. 17 in the UK Singles Chart (although chart regulations introduced later in the decade would have classed it as an album).[3]

Zenyatta Mondatta (1980–81)[edit]
Pressured by their record company for a new record and a prompt return to touring, the Police released their third album, Zenyatta Mondatta, in October 1980. The album was recorded in a three-week period in the Netherlands for tax reasons.[34] The album gave the group their third UK No. 1 hit, "Don't Stand So Close to Me" (the UK's best selling single of 1980) and another hit single, "De Do Do Do, De Da Da Da", both of which reached No. 10 in the U.S.[30] While the three band members and co-producer Nigel Gray all expressed immediate regret over the rushed recording for the album, which was finished at 4 AM on the day the band began their world tour,[35] the album received high praise from critics.[36][37] The instrumental "Behind My Camel", written by Andy Summers, won the band a Grammy for Best Rock Instrumental Performance, while "Don't Stand So Close to Me" won the Grammy for Best Rock Vocal Performance for Duo or Group.[32]

Outlandos d'Amour
Released: November 1978

Reggatta de Blanc
Released: October 1979

Zenyatta Mondatta
Released: October 1980

May 1977 "Fall Out"

April 1978 "Roxanne"(original issue)

August 1978 "Can't Stand Losing You"(original issue)

November 1978 "So Lonely"(original issue)

April 1979 "Roxanne"(re-issue)

June 1979 "Can't Stand Losing You"(re-issue)

September 1979 "Message in a Bottle"

Reggatta de Blanc
October 1979 "Fall Out"(re-issue)

November 1979 "Walking on the Moon"

Reggatta de Blanc
November 1979 "Bring on the Night"

February 1980 "So Lonely"(re-issue)
Outlandos d'Amour

September 1980 "Don't Stand So Close to Me"

Zenyatta Mondatta
December 1980 "De Do Do Do, De Da Da Da"

psychedelic furs
Early days and success
The Psychedelic Furs came together in England's emerging punk scene in 1977, where they auditioned for Essex Kennedy's record label Manfactory Wave Punk. He hoped to cash in on the punk scene that was sweeping the U.K and believed that a more produced and studio sound would appeal to a larger market. They were initially called 'RKO', then 'Radio'. They then vacillated between calling themselves "The Europeans" and "The Psychedelic Furs," playing gigs under both names before permanently settling on the latter. The band initially consisted of Richard Butler (vocals), Tim Butler (bass guitar), Duncan Kilburn (saxophone), Paul Wilson (drums) and Roger Morris (guitars). By 1979, this line-up had expanded to a sextet with Vince Ely replacing Wilson on drums and John Ashton being added on guitar.

The Psychedelic Furs' debut, a self-titled album from 1980, was produced by Steve Lillywhite. The LP quickly established the band on radio in Europe and was a No. 18 hit in the UK Albums Chart. The album also found success in Germany, Italy, France, Spain and Australia. The US version of the album was resequenced, but failed to have a strong commercial impact.

1980 The Psychedelic Furs
Released: February 1980

1979 "We Love You"
1980 "Sister Europe"
"Mr. Jones"

1. 1979
We Love You by The Psychedelic Furs

2. 1980
India / Pulse / We Love You / Flowers by The Psychedelic Furs

3. 03/1980
Sister Europe by The Psychedelic Furs

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Re: My 80's historical review - 1980 [part 2]

Postby negative1 » Sun Nov 22, 2015 3:36 pm

[part 2]


simple minds

Original Simple Minds (late 1977–81)[edit]
In January 1978, Simple Minds recruited Duncan Barnwell as a second guitarist (allowing for an optional two-guitar line-up while also enabling Burchill to play violin). Meanwhile, Kerr had abandoned keyboards to concentrate entirely on vocals. In March, Kerr, Burchill, Donald, Barnwell and McGee were joined by the Barra-born keyboard player Mick MacNeil. The band rapidly established a reputation as an exciting live act (usually performing in full makeup) and gained a management deal with Bruce Findlay, owner of the Bruce's Records chain of record shops. Findlay also owned Zoom Records (a subsidiary of the Arista Records label), and used his position to get Simple Minds signed to Arista. By early 1980, Findlay became the band's full-time manager via his Schoolhouse Management company.

The band's line-up did not settle until the end of 1978. Tony Donald quit in April, before the first Simple Minds demo tape was recorded (he later became Burchill's guitar technician). He was replaced by Duncan Barnwell's friend Derek Forbes (formerly the bass player with The Subs). In November, Barnwell was asked to leave. The remaining quintet of Kerr, Burchill, MacNeil, Forbes and McGee—generally considered as the first serious line-up of Simple Minds—began rehearsing the set of Kerr/Burchill-written songs which appear on their début album.

The first Simple Minds album, Life in a Day, was produced by John Leckie and released by Arista in April 1979. The album's title track "Life in a Day" was released as Simple Minds' first single and reached No. 62 in the UK Gallup charts, with the album reaching No. 30 in the LP charts. The next single ("Chelsea Girl") failed to chart. While preparing ideas for the next record, they played a support slot for Magazine, following which they went back to the studio with Leckie to work on new material.

Simple Minds' second release, Real to Real Cacophony was a significant departure from the pop tunes of Life in a Day. The album had a darker and far more experimental atmosphere, announcing some of the new wave experimentation that became the band’s trademark sound over the next two albums. Much of the album was written in the studio, although Simple Minds had been playing early versions of several tracks during the recent tour dates.

Innovations which the band displayed on Real to Real Cacophony included minimalist structures based around the rhythm section of Forbes and McGee, plus the occasional use of unconventional time signatures. The band also experimented with elements of dub, and included the wordless and atmospheric "Veldt" in which they attempted to create an impression of an African landscape using electronic buzzes and drones, Burchill's improvised saxophone lines and Kerr's chants and cries. The album also generated the single "Changeling".

The next album was Empires and Dance Many of the tracks were minimal and featured a significant use of sequencing. McNeil's keyboards and Forbes' bass became the main melodic elements in the band's sound, with Burchill's heavily-processed guitar becoming more of a textural element. With this album, Kerr began to experiment with non-narrative lyrics based on observations he had made as the band travelled across Europe on tour.

1979 Life in a Day
Released: 10 March 1979

Real to Real Cacophony
Released: 1 November 1979

1980 Empires and Dance
Released: 1 September 1980

1979 "Life in a Day"
1980/01 "Changeling"
"I Travel"

1. 05/1979
Life in a Day by Simple Minds

2. 05/1980 10?
I Travel by Simple Minds

talking heads
1978–1980: Collaborations with Eno[edit]
1978's More Songs About Buildings and Food brought about the band's long-term collaboration with producer Brian Eno, who had previously worked with Roxy Music, David Bowie, John Cale and Robert Fripp;[14] the title of Eno's 1977 song "King's Lead Hat" is an anagram of the band's name. Eno's unusual style meshed well with the group's artistic sensibilities, and they began to explore an increasingly diverse range of musical directions, from post-punk to new wave to psychedelic funk to funk rock.[15][16][17] This recording also established the band's long term recording studio relationship with the famous Compass Point Studios in Nassau, Bahamas. More Songs... cover of Al Green's "Take Me to the River" broke Talking Heads into general public consciousness, and gave the band their first Billboard Top 30 hit. [15]

Talking Heads perform at El Mocambo in Ontario, Canada; pictured: Harrison (left) and Byrne.
The Eno-Talking Heads experimentation continued with 1979's Fear of Music, which flirted with the darker stylings of post-punk rock, mixed with white funkadelia and subliminal references to the geopolitical instability of the late 1970s.[18] Music journalist Simon Reynolds cited Fear of Music as representing the Eno-Talking Heads collaboration "at its most mutually fruitful and equitable."[19] The single "Life During Wartime" produced the catchphrase, "This ain't no party, this ain't no disco."[20] The song refers to the Mudd Club and CBGB, two popular New York nightclubs of the time.[21]

1980's Remain in Light was heavily influenced by the afrobeat of Nigerian bandleader Fela Kuti, to whose music Eno had introduced the band. It explored West African polyrhythms, weaving these together with Arabic music from North Africa, disco funk, and "found" voices.[22] These combinations foreshadowed Byrne's later interest in world music.[23] In order to perform these more complex arrangements, the band toured with an expanded group that included Adrian Belew and Bernie Worrell, among others, first at the Heatwave festival in August,[24] and later in their concert film Stop Making Sense. During this period, Tina Weymouth and Chris Frantz also formed a commercially successful splinter group, Tom Tom Club, influenced by the foundational elements of Hip hop,[25] and Harrison released his first solo album, The Red and the Black.[26] Likewise, Byrne – in collaboration with Eno – released My Life in the Bush of Ghosts, which incorporated world music and found sounds as well as including a number of other prominent international and post-punk musicians.[27] All were released by Sire.

"Once in a Lifetime"
The fourth song from Remain in Light utilized Eno's Oblique Strategies technique and featured Byrne's alienated meditation on life. The song was named one of the 100 most important American musical works of the 20th century by NPR.[28]
Problems playing this file? See media help.
Remain in Light's lead single, "Once in a Lifetime", became a Top 20 hit in the UK but initially failed to make an impression upon its release in the band's own country. But it grew into a popular standard over the next few years on the strength of its music video, which was named one of Time magazine's All-TIME Best Music Videos.[29][30]

Remain in Light
Released: October 8, 1980

"I Zimbra" 1980
"Crosseyed and Painless"

1. 02/1978
Psycho Killer by Talking Heads

2. 11/1978
Take Me to the River by Talking Heads

3. 11/1979
Life During Wartime by Talking Heads

4. 05/1980
Crosseyed and Painless by Talking Heads

5. 05/1980
I Zimbra by Talking Heads

thompson twins
Early days[edit]
In 1977, the original Thompson Twins line-up consisted of Tom Bailey (born 18 January 1954, Halifax, Yorkshire)[5] on bass and vocals, Pete Dodd on guitar and vocals, John Roog on guitar, and Jon Podgorski (known as "Pod") on drums.[1] Dodd and Roog first met when they were both 13 years old.

Arriving in London with very little money, they lived as squatters in Lillieshall Road, London. Future Thompson Twins member Alannah Currie (born 20 September 1957, Auckland, New Zealand) lived in another squat in the same street — which is how she met Bailey. It was in this ramshackle and run-down house that they found an illegal way of "borrowing" electricity from the house next door. Bailey described themselves (laughingly) as spongers (meaning that they were on the dole—unemployed) back then, as they were living on very little and scavenging everything they could lay their hands on. He even said that the only instruments they had were bought, or had been stolen or borrowed. Dodd managed to get a council flat not far away. Their roadie at that time was John Hade, who lived in the same house, and who later became their manager.

As Podgorski had decided to stay in the north, the group auditioned for drummers at the Point Studio in Victoria, London. Andrew Edge joined them on drums for less than one year, and went on to join Savage Progress, who later toured with the Thompson Twins as their support act on the 1984 UK tour.[6]

In 1980, the band (now consisting of Bailey, Dodd, Roog and new drummer Chris Bell) released their first single "Squares and Triangles" on their own DIrty Discs label. A follow-up single, "She's In Love With Mystery", was issued later that year.

1980 apr "Squares and Triangles"

sep "She's in Love with Mystery"

See also: Timeline of U2
Formation and early years (1976–80)[edit]
The band formed in Dublin on 25 September 1976.[5] Larry Mullen, Jr., then a 14-year-old student at Mount Temple Comprehensive School, posted a note on the school's notice board in search of musicians for a new band—six people responded. Setting up in his kitchen, Mullen was on drums, with Paul Hewson (Bono) on lead vocals; David Evans (The Edge) and his older brother Dik Evans[6] on guitar; Adam Clayton, a friend of the Evans brothers on bass guitar; and initially Ivan McCormick and Peter Martin, two other friends of Mullen.[7] Mullen later described it as "'The Larry Mullen Band' for about ten minutes, then Bono walked in and blew any chance I had of being in charge." Soon after, the group settled on the name "Feedback" because it was one of the few technical terms they knew.[8] Martin did not return after the first practice, and McCormick left the group within a few weeks. Most of the group's initial material consisted of cover songs, which the band admitted was not their forte.[9] Some of the earliest influences on the band were emerging punk rock acts, such as The Jam, The Clash, Buzzcocks, Sex Pistols and Joy Division. The popularity of punk rock convinced the group that musical proficiency was not a prerequisite to being successful.[10]

"We couldn't believe it. I was completely shocked. We weren't of an age to go out partying as such but I don't think anyone slept that night.... Really, it was just a great affirmation to win that competition, even though I've no idea how good we were or what the competition was really like. But to win at that point was incredibly important for morale and everyone's belief in the whole project."

—The Edge, on winning the CBS competition[11]
In March 1977, the band changed their name to The Hype.[12] Dik Evans, who was older and by this time at college, was becoming the odd man out. The rest of the band was leaning towards the idea of a four-piece ensemble and he was "phased out" in March 1978. During a farewell concert in the Presbyterian Church Hall in Howth, which featured The Hype playing covers, Dik ceremonially walked offstage. The remaining four band members completed the concert playing original material as "U2".[13] Steve Averill, a punk rock musician (with The Radiators) and family friend of Clayton's, had suggested six potential names from which the band chose "U2" for its ambiguity and open-ended interpretations, and because it was the name that they disliked the least.[14]

On Saint Patrick's Day in 1978, U2 won a talent show in Limerick. The prize consisted of ukp500 and studio time to record a demo which would be heard by CBS Ireland, a record label. This win was an important milestone and affirmation for the fledgling band.[13] U2 recorded their first demo tape at Keystone Studios in Dublin in May 1978.[15] Hot Press magazine was influential in shaping the band's future; in May, Paul McGuinness, who had earlier been introduced to the band by the publication's journalist Bill Graham, agreed to be U2's manager.[16] The group's first release, an Ireland-only EP entitled Three, was released in September 1979 and was their first Irish chart success.[17] In December 1979, U2 performed in London for their first shows outside Ireland, although they were unable to gain much attention from audiences or critics.[18] In February 1980, their second single "Another Day" was released on the CBS label, but again only for the Irish market.[19]

Boy, October, and War (1980–84)[edit]
Island Records signed U2 in March 1980, and in May the band released "11 O'Clock Tick Tock" as their first international single.[20] The band's debut album, Boy, followed in October. Produced by Steve Lillywhite, it received generally positive reviews.[21] Although Bono's unfocused lyrics seemed improvised, they expressed a common theme: the dreams and frustrations of adolescence.[22] The album included the band's first United States hit single, "I Will Follow". Boy's release was followed by the Boy Tour, U2's first tour of continental Europe and the United States.[23] Despite being unpolished, these early live performances demonstrated U2's potential, as critics noted that Bono was a "charismatic" and "passionate" showman.[24]

Released: 20 October 1980

feb "Another Day" 1980

jun "11 O'Clock Tick Tock"

aug "A Day Without Me"

oct "I Will Follow"

The Midge Ure years: 1979–1988
With the band seemingly over, Ultravox were then revitalised by Midge Ure, who joined the band as vocalist, guitarist and keyboardist. He had already achieved minor success with semi-glam outfit Slik and Glen Matlock's The Rich Kids, and in 1979 he was temporarily playing with hard rock band Thin Lizzy. Ure and Billy Currie had met while collaborating on Visage, a studio-based band fronted by New Romantic icon and nightclub impresario Steve Strange. Encouraged by Visage drummer and mutual friend Rusty Egan, Currie asked Ure to join Ultravox. Ure filled both John Foxx's and Robin Simon's posts for Ultravox's next album, Vienna, which heralded a major change of direction and would become their most successful to date, far surpassing any of the previous Ultravox (or Foxx's) albums. As with Systems of Romance, it was produced in Germany by Conny Plank. Ure knew of Ultravox's past, being a fan of Systems to the point where the new four-piece outfit (Ultravox mk. III, often called "the classic line-up") played songs from that album on tours with Ure singing Foxx's lyrics. Released on Chrysalis Records in June 1980, the Vienna album produced the band's first UK Top 40 hit with "Sleepwalk", while the album itself peaked at No. 14. A second single, "Passing Strangers", failed to reach the Top 40, but the band achieved a substantial hit with the third single, the album's title track (inspired by Carol Reed's 1949 film The Third Man).

1980 Vienna
1980 jun "Sleepwalk"
oct "Passing Strangers"

wang chung

The Huang Chung years (1980-82)

At the beginning of Huang Chung's career, all the members performed under pseudonyms. Jeremy Ryder was "Jack Hues" (a play on the French term "j'accuse"), Nick Feldman was "Nick DeSpig", and Darren Costin was "Darren Darwin" (and later, just "Darwin"). The band was signed to a label called 101 Records. The first Huang Chung release, "Baby I'm Hu-man", appeared on a 101 compilation album in 1980. Three live tracks were subsequently released on another 101 Records compilation in 1981.

Later in 1980, the independent record company Rewind Records signed the band up for a two-single deal. Huang Chung's debut single for Rewind Records was "Isn't It About Time We Were on TV". It was followed up by "Stand Still". Neither single charted, but the group had begun to attract the attention of Arista Records, who signed them to a two-album deal in early 1981. Around this same time, the group expanded to a quartet, with the addition of sax player Dave Burnand. In keeping with the all-pseudonymous nature of the band, Burnand was known as "Hogg Robinson" for the first Arista single, and later, simply as "Hogg".

1980 "Isn't It About Time We Were On TV"
"Stand Still"

videos list will follow.

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Re: My 80's historical review

Postby wasproxy » Thu Dec 03, 2015 7:25 pm

epic. makes me think we need a new wave version of Metal Evolution
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Re: My 80's historical review

Postby negative1 » Mon Dec 07, 2015 12:49 am

here is my video list for 1980:



call me

the tide is high

the cure
a forest (live)

david bowie
ashes to ashes

echo and the bunnymen
rescue (live 83)

gary numan

human league
empire state human


joy division
love will tear us apart


modern english
swans on glass


enola gay


red frame

peter gabriel
games without frontiers


the police
walking on the moon (live)

so lonely

don't stand so close to me

de do do do de da da da

psychedelic furs
sister europe

we love you


mr jones

simple minds
changeling (live)


i travel (live)

talking heads
crosseyed and painless

i zimbra (live)


thompson twins
squares and triangles (audio)

she's in love with mystery (audio)

another day (live)

11 oclock (live swedish tv)

a day without me (live)

i will follow

sleepwalk (live)

live TOTP

passing strangers

turning japanese

olivia newton john elo

Room at the Top
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