“Sunday Sunday, here again, a walk in the park…”
“Monday, I could wait ’til Tuesday, if I make up my mind, Wednesday would be fine…”
I’ve been toying with this one for months. So many choices! Most in the titles, but some in the lyrics. Everyone likes referencing days of the week, although Thursday needs to fire its publicist, because virtually no one sings about Thursday.
Artists making their Dizzy Heights debut: Bay City Rollers, The Easybeats, Kenna, Morphine, The Pogues, and Soulwax.
Oh, and here’s the clip I reference at the very end.
Here’s another Name That Tune idea carried over (I’m afraid to even look to see how many of the same songs I used). There are LOTS of songs that start with the word ‘Don’t,’ and even after doing this massive, two-hour show, I still have 220 songs in iTunes set aside for future volumes of this theme. That is not a typo.
Bands making their Dizzy Heights debut: The Alan Parsons Project, The Communards, David Byrne, Devo (WHAT), Elvis Presley, The Flirts, Hamilton, Joe Frank, & Reynolds (one guess), Husker Du, Kenny Loggins (with special guest), Jane Child, Los Lobos, Michael Jackson, Night Ranger, Paul Carrack, Phil Collins, and Wang Chung. Dang, that’s a lot of debuts.
The idea comes from an old joke that an ex-girlfriend made long ago: “We should never use the words ‘never,’ ‘ever,’ ‘always,’ or ‘forever’ when describing us.” She was not wrong, but from the ashes of that (spectacularly) failed relationship comes this show, and over half of my defunct Mope Like Me column, so at least something good came from it.
Artists making their Dizzy Heights debuts this week: The Assembly, The Association, Shirley Bassey, The Buzzcocks, Aretha Franklin, Deborah Harry & Iggy Pop, Raphael Saadiq, The Stranglers, Walter Meego, and my cat Harvey! He hops up at the 1:05:55 mark.
“The Meg” plays like a film written by someone who just finished watching a three-day Don Simpson/Jerry Bruckheimer marathon, and when you consider that the book on which the film is based was written in 1997, it’s entirely possible that that is exactly what happened. The film languished in development hell for over two decades, and it’s easy to see why; it’s just not as interesting as other works of art, be they books or movies, written around the same time.
No talkie bits this week. First day of school for the kids, birthday celebrations, picking the boy up at camp, blah blah blah.
This idea is definitely a one-shot thing, at least in its current form. I went after song titles that were two words, each starting with the same letter. And I went A to Z, almost literally (with apologies to the letters Q and X). Of course, I broke my own rules twice, when I used a song with an ampersand (hey, it was the letter U, I got desperate), and in one instance, I used a title that was the same word twice, which is not alliteration but repetition (again, letter Y, got desperate).
Multiple people asked me to use “Disco Duck.” And believe me, I thought about it, then thought better of it.
Artists making their Dizzy Heights debut this week: Ben Folds (solo), Burning Sensations, Elvis Costello (WHAT), The Go-Betweens, The Go-Go’s, Guided by Voices, k.d. lang, The Kinks (this cannot be happening), Neurotic Outsiders, Stone Poneys, Tasmin Archer, and Tom Petty. Seriously, thank goodness for Tom Petty, or I don’t have a ‘Z’ song.
Bands coming back for another tour of duty: Basement Jaxx, Franz Ferdinand, The Housemartins, The Jezabels, Joe Jackson, Pet Shop Boys, Propaganda, The Rolling Stones, Squeeze, The Ting Tings, The Trashcan Sinatras, and Tribe. Speaking of Tribe, I pull a segue that my 1993 self would high-five.
This was originally supposed to be one show featuring songs with colors in the title, but about 600 suggestions later, it was clear that the colors needed to be split up into their own shows, and even then there is enough material to do multiple shows of the primary colors, and maybe the secondary ones as well.
I chose to start with blue so I can play a song from Tom Bailey’s solo album Science Fiction that stabbed my inner lovestruck teenager in the heart. From there, I went, well, everywhere, but there is a thread of melancholy that goes nearly from start to finish. Blue is more than just a color, I guess.
Artists making their Dizzy Heights debut this week: Billy Idol (wait, what?), The Charlatans, David Gilmour, Electric Light Orchestra, Fine Young Cannibals, Gus, Michael Johnson, Peter Murphy, Real Life (wait, WHAT?), The Smithereens (I have no words), The Undertones, and Yaz (even fewer words).
Credit where credit is due: if Jeffrey Thames doesn’t do his 1988 Classic Club Special for KPFT in Houston, then this likely doesn’t exist. Not for a few more years, anyway.
The beat mixes I recorded during my salad days in Athens were mostly train wrecks. You press Record, mix until you run out of tape, and hope for the best. There were usually one or two segues per side that turned out unlistenable. But now, thanks to MixMeister Express, I can make them all nearly perfect! Well, as long as the remix editor does his job. *points bony finger at Terence Trent D’Arby’s editor*
Speaking of which, here’s the track listing. My guideline was to include songs that were released as singles in 1988, even if the album on which they first appeared came out in 1987 (or even 1989). I will be the first to admit, though, that a couple of songs break that rule, including the very first song on the mix. I had to include it, though – it’s just too good.
1. Eric B. & Rakim – Paid in Full (Seven Minutes of Madness)
2. George Michael – Monkey (Jam & Lewis Remix)
3. Sinead O’Connor – I Want Your (Hands on Me) (with MC Lyte)
4. Prince – Alphabet Street
5. Terence Trent D’Arby – Wishing Well
6. Scritti Politti – Boom! There She Was
7. Duran Duran – I Don’t Want Your Love
8. The Cure – Hot Hot Hot!!!
9. Siouxsie & the Banshees – Peek a Boo
10. M/A/R/R/S – Pump Up the Volume
11. Bomb the Bass – Beat ‘Dis
12. Bryan Ferry – Limbo
13. When in Rome – The Promise
14. Information Society – What’s On Your Mind
15. Depeche Mode – Strangelove ‘88
16. Book of Love – Tubular Bells
17. Peter Schilling – Different Story (A World of Lust and Crime)
18. Front 242 – Headhunter
19. Red Flag – Russian Radio
20. Camouflage – The Great Commandment
21. Erasure – Chains of Love
22. OMD – Dreaming
23. Pet Shop Boys – Always on My Mind
The words ‘first album in two decades’ are normally, and rightfully, met with extreme trepidation. Songwriting is a sport, and those who don’t continuously hone their craft will lose their edge, and with that, their spot on the roster (the roster in this analogy being a radio station’s power rotation). Tom Bailey, former Thompson Twin and Babble member (the status of his electronic project International Observer is unclear), doesn’t care about the roster spot at this stage in his career; indeed, his new solo album Science Fiction (his debut solo album, if you can believe that) appears to exist solely for funsies, with the added benefit of giving Bailey new material to play when he goes out on tour.
And this new material will fit right in with Bailey’s back catalog in a live set, to the point where it’s tempting to imagine how different the Twins’ fortunes might have been if this album had come out in the place of the band’s critically maligned 1987 album Close to the Bone. It’s not only much better than that album – it’s arguably better than their previous, and last hit record, 1985’s Here’s to Future Days. It may lack the killer one-two punch of “Lay Your Hands on Me” and “King for a Day,” but not by much, and the remainder of the album is far more consistent.
The opening song (and title track) sets the tone up front. Bailey made the album on his laptop, and it has suitably modern-sounding instrumentation. The song’s chord structure, a variation on Into the Gap track “Sister of Mercy,” gives the song a new-but-familiar vibe. This is a note Bailey strikes several times throughout the album, splicing the essence of one of his older songs into a new composition. “Bring Back Yesterday” bears little resemblance to “King for a Day” until the chorus kicks in, and then Bailey’s vocal phrasing draws yet another line between past and present. (Bailey, for the record, doesn’t hear a similarity between the two. I can’t help but hear one.)
The album’s first single is “What Kind of World,” and in another world (think the one where this album actually did come out in 1987), it’s a Top 10 hit, possibly bigger.
All of Bailey’s songwriting weapons are on display here, from the casual theft of a ‘70s California staple, a la the Twins song “Lies” lifting the bass line to “Low Rider” (in this song’s case, the victim is Santana’s “Oye Como Va”) to the Alannah Currie-esque backing vocals in the second line of the chorus, to that gargantuan wordless hook in the third line of the chorus. “Whoa whoa-oooo-whooooooooa!” That is vintage, none-more-Bailey right there.
For a band that crashed the charts courtesy of the Big Pop Hit, though, some of the Thompson Twins’ finest moments are the darker, introspective songs, and Science Fiction has a couple of those as well. “Blue” is one of the most heartwrenching songs Bailey’s ever written, with a simple melancholy string line serving as the hook/dagger. This, paired with album closer “Come So Far,” gives the second side of Into the Gap a run for its money in terms of downbeat factor.
For all of Bailey’s accomplishments after having not written a pop song in 20+ years, though, there are times when the lyrical assistance of his ex-wife Currie is missed. Bailey’s lyrics aren’t terrible, but they’re terribly basic, missing that extra level of nuance that the best Twins tunes sported. “Diamond rings, and all those things / They never sparkle like your smile”? As simple (and sweet) as that line is, Science Fiction doesn’t have a moment like that. He seems more focused on getting through the lyrics, rather than coming up with a line that rivals its musical counterpart.
This would explain why there is a song called “Work All Day” (a lazy song title that should never be used again, ever), which features the refrain “Don’t tell me to hold your gun,” with the sound of a gun cocking as a percussive effect. If there’s a duff track here, it’s this one. It comes late in the album, though, and it’s followed by “Bring Back Yesterday” and “Come So Far,” which suggests that even Bailey knew that the listener’s palate needed to be cleansed when the song was over.
That Science Fiction is the work of a man who hasn’t even tried to write a pop song in 20 years is unthinkable. Many of Bailey’s ‘80s-era peers have been trying to write songs this good as far back as 1984, and here he is, 34 years later, besting them at the top of their game. They must be furious.