here is my chart for groups i liked in 1980:
small:
large:
by group:
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by month:
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large:
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)
indie
--------
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
=======
Formation
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
----------
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.
album
Autoamerican
Released: November 1980
Eat to the Beat
singles
1980 "The Hardest Part"
"Call Me"
"Atomic"
"Shayla"
"Heroes"
"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
cure
===================
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
-------------
History[edit]
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
fixx
==========================
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
=============
1980s
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
inxs
=========
1980s[edit]
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
=============
History[edit]
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
===================
History[edit]
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
===================
History
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
Organisation
Release date: 24 October 1980
1979 "Electricity" (released twice)
1980 "Red Frame/White Light"
"Electricity" (third release)
"Messages"
"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
police
================
—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
later
-1