In September 1983, a young man from Southampton made his first appearance on Top of The Pops. Armed with a then state of the art synthesiser, huge pineapple shaped haircut and a visual aid in the form of a bendy mime artist, he requested we “throw off our mental chains” and made an instant impression with many teenagers watching. That man was Howard Jones. His debut hit single ‘New Song’ was at the cutting edge of the synth pop movement and his gift for a catchy chorus quickly set him apart from hundreds of other potential electronic pop stars. With the help of subsequent hits ‘What Is Love’ and ‘Pearl In The Shell’, Jones became one of the biggest stars of the following year.
Between 2016-2018, Grapefruit Records released three excellent box sets exploring the nooks and crannies of the British psychedelia movement. The three anthologies featured in excess of over two hundred tracks and even included items which even the more devoted psych obsessive hadn’t heard before. Having almost exhausted that particular avenue, the same label’s ‘Come Join My Orchestra: The British Baroque Pop Sound 1967-73′ from November 2018 provides an interesting side-step. In the wake of numbers like The Beatles’ ‘Eleanor Rigby’ and ‘For No One’ and the Stones’ ‘Lady Jane’, baroque pop became in vogue and all manner of artists – obscure or otherwise – turned to applying strings and flutes a-plenty. Not quite straight pop, but never as ostentatious as prog rock would make the orchestra, the seven year stretch bridging the two decades turned up all kinds of treats. While often favouring the singer songwriter over the pop bands, ‘Come Join My Orchestra’ is a great celebration of these sometimes forgotten musical experiments – and with seventy eight tracks ranging from the cult classic to genuinely obscure, there’s a lot here to take in.
Back in the 90s, Rhino Records released two compilations celebrating the birth and subsequent explosion of power pop in the US between 1975-1981. Entitled ‘Come Out & Play (American Power Pop 1975-1978)’ and ‘Shake It Up (American Power Pop 1979-1981)’, those discs are an invaluable addition to any power pop collection, introducing many to the works of Pearl Harbor & The Explosions, 20/20 and Earth Quake, alongside more familiar cult recordings by Shoes, Off Broadway, Cheap Trick, Chris Bell and far more besides.
‘Harmony In My Head: UK Power Pop & New Wave 1977-1981’, a 2018 box set from Cherry Red Records exploring the UK power pop and new wave scenes, is every bit as wonderful as those US-centric discs, presenting the popular and familiar alongside some also-rans and bands whom never made the big time.
Aussie rock legends Rose Tattoo have always been better known for their ferocious live performances. On October 17th, Cleopatra Records will release ‘Scarred For Live: 1980-1982’, a five disc set featuring the band during their classic years.
Among other things, the set includes their appearance at the Reading Festival in 1981. The show was recorded by the BBC and got a couple of repeat plays during Alan Freeman’s Radio 1 Rock Show in the early 90s.
A full press release follows.
During the first half of the 80s, REO Speedwagon were one of the bands who really helped define the sounds of the decade’s melodic rock. Along with Journey and Survivor, the band became US radio staples and their ‘Hi Infidelity’ and ‘Good Trouble’ albums sold in huge numbers. The REO story started much earlier, however, and before arriving at their signature sound on 1978’s ‘You Can Tune A Piano, But You Can’t Tuna Fish’, the band honed their craft across a series of albums that dabble in different styles of rock, featuring a succession of different vocalists. This comprehensive box set tells the formative REO story, presenting each of the early albums with a smattering of bonus tracks.