Well, from Xtc to A-ha....
A pretty, but frazzled looking Scandinavian girl goes to a local greasy spoon, and while waiting for service, flips through a comic book. Soon, she becomes involved in the story, as an animated hand reaches out of the book to invite her in. She takes the heroes hand, and joins him in his comic book world. And man, is he gorgeous! Cheekbones? To die for. And that pouty little voice with the vaguely British accent, and the swoon-worthy falsetto. But, all is not well in Comic Book Land, as two weird guys chase hero and girl with big monkey wrenches. The girl makes a narrow escape, leaving Hero to his own fate. Will he survive. She rescues the comic book (and herself) from a waste paper bin a waitress has unceremoniously deposited the book in, and heads home where she flips to where she left off. But then she discovers, the hero in her doorway, half-animated, half-real, trying to break through into the real world. Finally he does, landing on the floor exhausted, spent, sweaty, and super-cute, looking up at her with an innocent “honey, I’m home” smile.
The video for “Take on Me” is sort of a “Casablanca” for the genre. Instantly memorable, utterly romantic, with some lovely bits of humor. And Morten Harket’s Nordic good looks didn’t hurt either. A strong argument could be made that the video made the song a hit. But that would be an underestimation of the song – a charmingly chirpy chunk of mid-80s synth pop culminating in one of pop music’s most ecstatic choruses. “Take on Me” might have been a hit without the video, but the video made “Take on Me” an icon of MTV’s “Golden Age”.
The Norwegian trio of Morton Harket, Magnus “Mags” Furuholmen, and Pal Waaktaar, known as “a-ha” are commonly regarded as a one-hit wonder, but in fact, followed-up “Take On Me” with “The Sun Always Shines On TV” which landed itself briefly in Billboard’s Top 20 in 1986. It’s a much better song, with a much less captivating video, and perhaps that is why it is now pretty much forgotten. It’s a shame though, because “The Sun…” is a-ha’s greatest triumph: five glorious minutes of high New Romantic drama with a driving guitar attack, a pulsing synth bass line, and Harket’s desperately pleading chorus. “The Sun Always Shines on TV” is truly one of the 80s great forgotten hit singles.
Both songs can be found on a-ha’s debut album “Hunting High and Low”, along with the other singles, “Train of Thought” and the haunting title track (which itself was nominated for MTV’s Best Video award in 1987). Though tracks like “Take on Me” and the super-bouncy “Love is Reason” are bright and poppy, much of the album is quieter, more reflective, verging on melancholy. This is especially true of “Living A Boy’s Adventure Tale” which has an oboe hook (!) provided by the Dream Academy’s Kate St. John, and “Here I Stand and Face the Rain”, which gives both a titular and tonal nod to the Eurythmics. “I Dream Myself Alive” and “The Blue Sky” are both harmony drenched reflections of lost love. “And You Tell Me” is a spare, brief pleasant ballad.
All of these songs are pleasant to listen to, but rarely very memorable. Yes, it’s atmospheric and haunting in some places, but there were other groups doing atmospheric and haunting better in 1985 (like the Dream Academy and the Cocteau Twins). It’s also dramatic and full of romantic notions of heroism, solitude, loneliness and longing.
The best musical point of reference for the album is early 80s New Romantics such as Ultravox and Duran Duran. But by the time a-ha came along in 1985, Ultravox had pretty much broken up and Duran Duran were splintering apart into funkified side projects. In other words, a-ha were late for their boat, and the boat eventually left without them. Though “Hunting High and Low” was one of the best-selling albums in the U.S. when it came out, a-ha would never be able to come close to matching it’s commercial success. They released four more albums here, each one, a bigger punchline than the one before. The story was quite different overseas, where they maintained a hold on the European (and South American) singles charts well into the 90s. But when their greatest hits compilation “Headlines and Deadlines” was released in 1992, it never saw the light of day Stateside.
Still, “Hunting High and Low” is a nifty mid-80’s, not quite new wave, but not quite “alternative” pop album, with or without the snazzy accompanying videos, and should find a home in the collection of any serious 80s collector.
