For those of us of a certain vintage, this year has seen several sad losses of the pop heroes from our yesteryears. Each one has brought back incredible visions from the old memory bank – “Starman”, “1999”, “September”, “Lyin’ Eyes”, “Me & Mrs Jones” to name but a few. All of these artistes can supply something from their catalogue to add to the poignancy of their passing and so add to the sombreness of the retrospection.
Not so, Pete Burns.
His work with Dead Or Alive was fast, furious and fun. No lilting ballads or mellow chill-out; everything they produced was at 300 miles per hour from start to finish. In only my last review, which looked at SAW and Mel & Kim, I had praised “You Spin Me Round (Like A Record)” for its breakthrough nature in taking the Hi-NRG Disco sound into the pop mainstream. It still remains one of the very best “getting ready to go out” records ever made and set the tone for everything the band ever produced. High-speed Goth Pop.
In case you think I’ve taken leave of my senses, just listen, for instance, to the a remix of the excellent “Tower Of Strength” by the Mission and imagine an SAW beat behind it – it’s not such big leap. Wayne Hussey Of The Mission had of course, been a member of Dead Or Alive so the Gothic connection is perhaps a fair one.
Whilst the previous single was never really ever surpassed by the band because it was simply so defining, I always had a soft spot for several of their other singles “In Too Deep”, “Brand New Lover” and especially “Something In My House” which really managed to conjoin the brightest of pop production with the darkest of vocal performances.
There was always something just a little bit crazy about all of their records – overblown and almost operatic – and they seem to reflect the larger than life persona of their singer. Legend has it that prior to stardom, while working in both fashion and record shops, he would throw out those customers with whose tastes his own did not align. His later career as a celebrity reality TV certainly backed up his reputation as sharply acerbic.
That said, his musical legacy ensures that there will not be moments of quiet self-reflection but simply of unadulterated full-on fun and that is surely the way Pete Burns would have wanted it to be.
However, his untimely death did make me recall the story of the Mystery Girls a band that performed once only in 1977 as a support band to Sham 69 in Liverpool’s legendary new-wave club, Erics.
This little-known band was made up of Phil Hurst (who you won’t recall) with Pete Burns, Julian Cope (later of Teardrop Explodes) and Pete Wylie (later of the various incarnations of Wah!). A veritable mad hatters tea-party of 80s pop if ever there was one.
But, boy did they produce some great records.
Julian Cope, who though based in Liverpool was actually the most famous pop-star from Tamworth, broke through first of all with his band The Teardrop Explodes. They produced two of the best singles of the 8os in “Reward” and “Treason” as well as the legendary “Kilimanjaro” album and then after one more release imploded under immense strain and so established the legendary mystery that surrounds the band still.
Since then, Julian Cope has just become gradually more bonkers turning from Scott Walker doppelgänger to silver medallist in a Worzel Gummidge look-a-like competition. His music would also become infinitely more experimental but periodically, amongst all the LSD, he was still capable of conceiving another incredibly polished pop performance, witness “The Greatness And Perfection Of Love”, the thumping “World Shut Your Mouth”, “Beautiful Love” and even the wonderfully psychedelic “Sunspots” (sadly no video I could find).
Perhaps the nearest to a return to pop stardom came with “Saint Julian” in 1987 which preceded another drop into a creative abyss but did leave us with some fantastically loony outpourings of which “Eve’s Volcano (Covered In Sin)” – and I don’t need to go into the not so hidden meanings of all that – was always my favourite.
So with Messrs Burns and Cope in a group, one would imagine that there would be ego enough in there but there was also Pete Wylie, another purveyor of some of the best and most dramatic singles of the 1980s.
His band Wah! – later known as The Mighty Wah!, Wah! Heat and Shambeko Say Wah! amongst many others – were the first to gain critical acclaim with singles such as “Seven Minutes To Midnight” and were very much the darlings of the UK music press but couldn’t sell a record. Wylie, himself, was never backward in coming forward and made very bold pronouncements about his own talent.
He likewise was very much part of the Liverpool New Wave scene and had worked with Ian McCulloch of Echo & The Bunnymen and Ian Broudie of The Lighting Seeds in earlier groups before his one-off night in Erics as part of The Mystery Girls.
Wah! in all their guises hit on a fantastic formula of big orchestral numbers which would have Wylie’s heart-ringing and instantly recognisable vocals driving the emotion from the get-go. “Come Back” was the record of the year from John Peel in 1984 and “Sinful” was another big panoramic production two years later but it was “Story Of The Blues” that still sounds utterly rapturous – even with the Pt.2 Talking Blues version which has his rambling quasi-poetry over the backing track – a style he often enjoyed (even if his fans were less convinced).
Sadly, he was never able to bring any momentum into his career and so didn’t really capitalise on his undoubted talents except with a big hit every two years in the middle of the 80s and then not much. However, he would have one more big hit in partnership with The Farm and it is his unique counterpoint vocal that makes “All Together Now” the radio classic it deserves to be, because it manages to capture a mood of community that never descends into mawkishness. That said, there is an American version of the promo film that does its damnedest to drag it there – this one isn’t it.
One can imagine that the Mystery Girls were no great shakes and the one night together probably did little to set up the careers that were to come except that it is extraordinary to think of such talent all in one place. None of the three ended up making records like the others so it must have been quite an argument over the setlist.
No wonder they only performed for one night as I have doubt whether a big arena stage could have contained those enormous characters let alone the tiny but hugely influential Erics. Still, a top 20 from all three would make a heck of C-90.