Continuing last week’s glimpse back at 80’s Eurovision with Johnny Logan, I was delighted to chat recently with Sally-Ann Triplett. Hugely popular amongst listeners of Absolute 80’s Forgotten 80s’ radio show, for her role as the female half of Eurovision duo Bardo, Sally-Ann first entered the contest in 1980 as a member of the group Prima Donna. I knew that her double appearance in the Eurovision Song Contest made her the perfect interviewee for a Eurovision feature in this year’s 80’s annual. However, until we spoke, I was unaware of the fabulous tales she had to tell about my favourite decade and some of its most famous faces.
Currently living in New York, the former pop songstress was walking through Central Park as she told me how she went from panto to Eurovision to the West End and Broadway. Those recollections are wonderfully entertaining, but then Sally-Ann went one step further (see what I did there??) and spoke about hanging out with Limahl, lending a helping hand to Samantha Fox, and snogging Sting. The fact that she also loves the Eighties as much as I do meant our interview was every bit as fun as you would expect from someone whose hip-wiggling, high-kicking dance routines were copied by a generation of forty-somethings.
Although you will have to wait until November, when The 80’s Annual, vol. II is published, to read Sally-Ann’s interview, you can see our 1982 Eurovision favourite in action in the video below. Just be careful you don’t pull something trying to copy the routine!
Some summers remain firmly fixed in our memories, as vivid as the days we experienced them. For me, my first teenage summer in 1984 was long, hot days spent soaking up the sun, set against a backdrop of some of the best music of the decade: Prince, Frankie Goes To Hollywood and my favourite track of the Eighties, The Kane Gang’s ‘Closest Thing To Heaven’. Ten years later, the music had taken a backseat and cooling shade had become my best friend, as I enjoyed my first summer with my baby daughter. Fast forward to 2016, when both my adult children had flown the nest, and I found myself travelling back three decades, listening to the music of my youth in glorious sunshine.
The reason for this fabulous blast from the past was the Jack Up The 80s festival on the Isle of Wight. Now in its fourth year, the event was held on 13th and 14th August. Set in beautiful countryside on the outskirts of Newchurch, it was blessed with fantastic weather as well as some outstanding performances.
Fun in the sun at Jack Up The 80s
Strolling across the festival field when I arrived on Saturday, I was greeted by the sounds of local band High School Never Ends. The duo, who were also the opening act the next day, brought us some great rock classics from the likes of Billy Idol and Twisted Sister. Although I’m not too sure about their inclusion of Partners In Kryme’s ‘Turtle Power’!
Ska’d For Life’s Charissa Bartram (Sax), Ben Bartram (trombone) & Russ Osman (trumpet)
From Rock to Ska, both days saw local band Ska’d For Life take to the stage next. Delivering all the favourites from the likes of The Specials and Madness, the band went down a storm with the crowd who, by the end of the set, were more than ready for what the rest of the day had to offer.
Saturday saw Light of The World kick off things for the 80’s acts. Dressed in sharp silver suits, reminiscent of my clubbing days, Nat Augustin and Gee Bello looked as good and smooth as they sounded.
L-R: Nat Augustin, Gee Bello, Myles Kane, Jimmy Chambers & Jimmy Helms
The same can undoubtedly be said for Londonbeat, who were next in the running order. Dressed in brilliant white, the trio, led by the ever-youthful Jimmy Helms, delighted us with a pitch perfect acapella rendition of ‘9 A.M. (The Comfort Zone)’ ahead of a soulful and upbeat set, which included their 1990 No. 2 hit ‘I’ve Been Thinking About You’.
Clark spies me behind the camera
A short break as instruments were set up on stage, and then we saw Johnny Hates Jazz make an appearance. A well-balanced mix of old and new, we heard 1987 hits ‘Turn Back The Clock’ and ‘I Don’t Want To Be A Hero’ alongside contemporary tracks like the 2013 release ‘Magnetized’. I had interviewed lead singer Clark Datchler earlier in the day, but was nonetheless surprised when he spotted me taking photos at the front of the stage, during the band’s performance of ‘Shattered Dreams’.
As the set drew to a close, I made my way over to Phil and Bruce, a couple of twenty-somethings I had interviewed earlier for The 80’s Annual, who were working on the Pizzeria van.
Bruce (L), Phil (centre) and the Pizza boys
Returning with my takeaway food to the backstage tent, skillfully designed by Jo Monck in a Royal Wedding theme, I found it to be empty except for one other person. And that is how I came to be eating pizza on a sunny August afternoon, as Paul Young snoozed on the sofa behind me. I did toy with the idea of waking him, to inform him of the interesting fact that his birthday is the day after mine, but knowing what I am like when I’m tired thought it best to let sleeping singers lie!
The arrival of From The Jam and Leo Sayer on site soon saw the backstage buzz return, and it wasn’t long before we were presented with the opportunity to photograph three musical greats together.
Bruce Foxton, Paul Young and Leo Sayer
To say that meeting Leo Sayer was a pleasure is an understatement. After this photo was taken, we spent some time discussing the writing talents of Billy Nicholls, who wrote the singer’s 1978 No. 6 hit single ‘I Can’t Stop Loving You’ and whom I had met the previous month, when he performed with old friends Slim Chance. Saturday’s headliner treated us to tracks from across four decades, including ‘One Man Band’, ‘More Than I Can Say’ and ‘You Make Me Feel Like Dancing’, and more than deserved his top billing. However, for me, it was the preceding two acts who ranked highest.
Rounding off the afternoon’s performances in style was Paul Young, who was joined by fellow Los Pacaminos member, guitarist Jamie Moses. Anyone who has witnessed them playing in the side project they founded in 1992, will be familiar with the camaraderie between the pair. As the singer launched into some of the hits from his solo career, including ‘Love of The Common People’, ‘Every Time You Go Away’ and ‘Wherever I Lay My Hat’ that friendship was never more evident. Perhaps more used to having underwear thrown at him during the Eighties, Paul looked somewhat bemused when a woolly hat landed at his feet. He placed the winter attire on the head of guitarist Dale Davis who, unable to remove the knitwear whilst playing, continued to wear it for a number of tracks, much to the amigos’ amusement.
Dale Davis wears the woolly hat that put a smile on the faces of Paul Young and Jamie Moses
The hilarity reached even greater heights after a wardrobe malfunction occurred during the performance of ‘I’m Gonna Tear Your Playhouse Down’. Sitting on the edge of the stage to deliver the second half of the song, the singer leaned back to put even more power behind the vocal. I think he must have felt something snap at this point, because when Paul stood up, those of us close to the stage could see his belt had broken.
Anyone who was not aware of the situation was soon put fully in the picture, thanks to Jamie’s on stage antics, as shown in the video below. Ever the professional, Mr. Young left to make a swift costume change, returning sporting a new, shiny belt.
Clothing capers and band chemistry aside (although the latter is undeniably an integral feature that only serves to enhance the overall performance) this was an amazing set of classic Paul Young tracks, which all his fans in the audience (including me) will treasure. It was only surpassed, by the very tiniest of margins, by that of From The Jam.
Featuring a current line-up of Bruce Foxton, Russell Hastings, Mike Randon (drums) and Andy Fairclough (Hammond organ) the band went straight in for the kill, opening with their 1982 chart topper ‘A Town Called Malice’. Hit after hit followed, including ‘David Watts’, ‘Going Underground’, ‘Beat Surrender’, ‘That’s Entertainment’, ‘Eton Rifles’ and an encore of ‘Down In The Tube Station At Midnight’. Totally mesmerised by the band playing just feet away from me, I remained in my photographic vantage point at the front of the stage throughout the whole performance.
Whilst there, I noticed a change in the chants emanating from behind me. Cries of “We love you, Paul” had been replaced by gruff, one-word shouts of “Bruce” and “Russell”. Glancing over my shoulder, I took in the now predominantly male contingent stood at the barriers. This is what they had been waiting for all day long, and who could blame them?
Russell Hastings fronts the band in a way we would have thought inconceivable during the Eighties, spitting out lyrics with a force and passion of which Weller himself would be proud. Bruce Foxton retains his iconic status in my eyes, a genius bass player who twice performed his famous mid-air jumps during the set.
One of the most animated drummers I have ever seen live, Mike Randon plays with a fervour better associated with musicians whose instruments afford them mobility around the stage, as was the case with Andy Fairclough. Watching him furiously strike the keys, it felt almost as if he was imprisoned by his keyboards, his frenetic playing his only chance of escape.
The whole effect was an explosive, exciting and capivating display of some of the best songs to come out of the Eighties. How would Sunday compare?
Mike Randon, Andy Fairclough, Russell Hastings & Bruce Foxton after From The Jam’s set
The second day of the festival saw the 80’s artists begin with Nathan Moore who, in addition to singing the Brother Beyond tracks ‘The Harder I Try’ and ‘He Ain’t No Competition’ brought us The Gap Band’s ‘Oops Upside Your Head’. In no time, huge rows of festival-goers were sat on the ground, floor-dancing to the Rowing Boat Song. A crowd pleaser if ever I saw one.
Next on stage was a man whose No. 3 single ‘My Favourite Waste of Time’ became synonymous with the Summer of ’86. It is hard to believe that 30 years have passed since then, but as Owen sang the catchy track and the sun shone down, I was once again 15 years old. The Glaswegian singer, who also performs alongside his brother, ex-Simple Minds drummer Brian McGee, in the band XSM included in his set ‘Don’t You Forget About Me’ and ‘The Living Years’, a song he perfected during his time spent with Mike and The Mechanics. He handed over a well warmed up audience to Phil Fearon.
The Galaxy frontman, who featured dance floor acrobatics in his 80’s appearances, may have put his backflips on hold but little else has changed in the past three decades. Looking considerably younger than his 60 years, Phil sported that 80’s favourite fashion combo of t-shirt and suit, as he delivered a feel good set of disco tracks such as ‘Everbody’s Laughing’, ‘I Can Prove It’ and ‘Dancing Tight’. He set the scene perfectly for Bizarre Inc. vocalist Angie Brown.
Accompanied by sons Cuba (11) and Charlie (8), the singing sensation showed she had lost none of her extensive vocal range over the years, as she powered out ‘I’m Gonna Get You’, watched proudly by her boys from behind the stage curtains. They gave no clue when I photographed them that minutes later they would be joining their mother for a rendition of Sister Sledge’s ‘We Are Family’. Performing obviously runs in their genes, and as the mini entertainers returned backstage, I remarked that it looked like they had enjoyed themselves, to which Cuba replied “Yes, that’s why I do it for no charge.” A star in the making, surely. A little while later, Charlie, who has to be the most eloquent 8-year-old I have ever encountered, engaged me in conversation. Flitting between topics such as his ambition to be an Olympic gymnast or a dancer, and favourite annual events (he argued a very convincing case for Hallowe’en), I was only reminded of his young age when he burst into a fit of giggles, upon hearing Denise Pearson working through her vocal exercises at the far end of the tent.
Stars in the making: Angie Brown’s sons Cuba (left) and Charlie
Five Star were due on stage after tribute band Abba Chique. While the faux Swedish singers performed, I chatted with more of the colourful crowd. From families to groups of friends, forty-somethings and older to my kids’ generation and younger, everyone was brimming with praise for the festival. Whether it was the provision of children’s lunch boxes, reasonably priced catering or simply “bloody good music”, the general consensus was a big thumbs up for Jack Up The 80s. I have to say, I agree.
As with any retro festival, the weekend also presented us with more than a smattering of neon and a plethora of fancy dress. I spoke to Mr. T. a.k.a. Michael Bending from Northampton. The 46-year-old has appeared at Jack Up The 80s dressed as The A-Team’s B. A. Baracus for the past four years. At least he never had to get on no plane for the 300 mile round trip!
Some of the outfits worn by Jack Up The 80s festival-goers
Buster Bloodvessel with his copy of ‘Your Eighties’
Returning to the backstage area, I discovered that Bad Manners had recently arrived. Having greeted the band, I gave Buster Bloodvessel a copy of my book ‘Your Eighties’, for which I had interviewed him almost two years ago. Much to the group’s amusement, I then made the mistake of asking “Can I have a photo of you holding it?” Naming no names, but a certain saxophonist has a particularly smutty mind!
Leaving the boys to enjoy their backstage banter, I returned to the front of the stage to await Five Star, who were minus Doris that day. In her place was Kerry, who sang and danced with the same highly polished quality we have come to associate with the Pearson siblings.
Opening with their 1986 Top 10 single ‘Can’t Wait Another Minute’ and finishing with their biggest hit ‘Rain or Shine’, the quartet also featured a number of superb cover versions in their set, such as Whitney Houston’s ‘I Wanna Dance With Somebody’, The Jackson 5’s ‘I Want You Back’ and Mark Ronson’s ‘Uptown Funk’.
Feeling the love at Jack Up The 80s: Five Star’s Stedman, Delroy and Denise Pearson
Looking every bit as good as they sounded, and executing each dance routine in complete synchronicity, it was apparent that their dedication to achieving entertainment perfection was equal to their dedication to each other.
Bad Manners drummer Mark Hamilton
Minutes after Five Star left the stage, drummer Mark Hamilton was warming up backstage ahead of his performance with Bad Manners. Ripples of anticipation spread amongst the crowd as Ska fans made their way forwards, eagerly awaiting Sunday’s headliners.
Before you could say “Lip Up Fatty”, the band bounded on stage and the party started. Buster saluted the audience with his pint of lager before transporting them back to the early Eighties with tracks like ‘Special Brew’, ‘Walking In The Sunshine’ and ‘Fatty Fatty’, alongside later material such as the 1992 release ‘Feel Like Jumping’. And jump they did.
Like a bunch of tequila-fuelled schoolboys, the band bounced, ran and laughed their way through the final show of the weekend, and we loved them for it. Watching the crowd, arms aloft, singing and dancing along, with the biggest of grins on their faces, I could think of no better choice of act to finish this nostalgia-fest. More than the skilled musicianship, which these guys have in heaps, this was about fun with a capital ‘F’.
That evening, I left the festival field feeling years younger, having gained some very special memories, not to mention some special friends. What better motivation for you all to descend on Isle of Wight next August, for Jack Up The 80s Volume 5? I’ll see you there.
Last October, as a forerunner to the launch of Sara Cox’s “Sounds of the 80s” show on Radio 2 the following day, my choice of Eighties’ tracks were used on Steve Wright’s “Non-Stop Oldies”. Featuring the inimitable voice of Billy Mackenzie, this was my opening track…
For the next few weeks, whilst I write to meet an ever-looming deadline, the narrative in my blog posts will be minimal. However, this does give me the opportunity to share some of my favourite, and sometimes more obscure, songs from the Eighties. I begin this week with a track from The Mobiles, who grabbed my interest early in 1982 simply because they hailed from Eastbourne, my father’s home town! “Drowning in Berlin” soon became a firm favourite of mine, through its own merits, and I am transported back to my final winter at primary school whenever I hear it.
As I write this, I am listening to The Boomtown Rats’ self-titled first, and in my opinion their best, album. Although it was released in 1977, I bought my copy in 1982 (aged 11) around the time that Mr. Geldof and a certain presenter of The Tube moved to my home town. As Bob and Paula became familiar faces around town, The Rats’ music became a firm favourite in my vinyl collection, with “A Tonic For The Troops” (released in 1978) soon coming a very close second to my favourite Rats’ album.
Despite living within swearing distance of the Irish punk rocker, I had never seen him perform live. Until this weekend. I had booked my tickets for Rewind South before the line up had been announced. With more than twenty acts from the Eighties performing, I knew I would have a great time regardless of who would be appearing. You have no idea of the sheer delight I felt when I discovered The Rats would be playing. I had waited over thirty years for this!
I made my way through the crowds in plenty of time to secure a place a couple of rows back from the stage, where, in spite of my lack of height (I’m 5′ 1″) I had a great view. As Bob and the rest of the band (Pete Briquette on bass, Garry Roberts on guitar, and Simon Crowe on drums) took to the stage, I had a moment of doubt as to what they would play. Their best music, and indeed their hits, had all been in the Seventies. There was no brass section, so it was unlikely they would play the rather brilliant “Drag Me Down”, from their 1984 album “In The Long Grass”. I needn’t have worried.
Alongside crowd-pleasers like “Someone’s Looking At You” and “Rat Trap”, early Rats’ tracks such as “Lookin’ After No. 1”, “She’s So Modern” and “Like Clockwork” were performed with an energy and fervour evocative of the band’s punk roots. When Bob sang “Mary Of The 4th Form”, he was again the angry young front man, not somebody’s granddad. However, no one was in any doubt of his status as a family man, during his performance of “I Don’t Like Mondays”. His pensive pause, following his delivery of the line “And the lesson today is how to die” was heartbreakingly emotional. Shouts of “We love you, Bob” soon erupted from the crowd, a display of support en masse. I wasn’t the only one to shed a tear then.
As proceedings were brought to a close with the recently penned “The Boomtown Rats”, I was both elated, that the performance had by far exceeded my expectations, but sad too that it was coming to an end. It had been wishful thinking that my favourite track, “I Can Make It If You Can”, would be performed. Admittedly, it is better suited to being played in some dark, smoky bar than on a sunny stage in Henley-on-Thames, but I would have still been swaying with my arms in the air! Similarly, I had hoped they would play “I Never Loved Eva Braun” – in fact The Rats’ first two albums in their entirety would have been great. As it was, I loved every single minute of the performance, and will be booking tickets to another of their gigs soon. I can’t wait to go back to Boomtown again.
Listening to Ken Bruce’s Radio 2 show this morning being broadcast from Copenhagen, in preparation for tomorrow’s Eurovision Song Contest, I was reminded of past entries, about which I thought I had completely forgotten. One of my favourite UK entries was in 1982, when Bardo sang “One Step Further”. They were beaten to the prime position by Germany’s Nicole, singing “A Little Peace”, another song that was etched in my memory. However, it wasn’t until this morning that I was reminded of Sweden’s 1984 entry, The Herreys singing “Diggiloo Diggiley” and Norway’s Bobby Socks singing “Let It Swing” in 1985. Catchy, cheesey pop at its very best!
Even those songs I knew I had stashed in my memory held a little surprise for me. No one was more shocked than I, when I sang along word-for-word to Johnny Logan’s 1980 winning entry, “What’s Another Year?” The more I listened to Ken’s show this morning, the more I realised how much I had absorbed from the Eurovision of my youth. Most of it is Eighties-based, although I can’t write about my Eurovision favourites without mentioning Brotherhood of Man. I may have only been 5, when they won the contest with “Save All Your Kisses For Me” in 1976, but I remember learning and practising the dance routine to the song, with my Auntie Sharon (who will probably disown me now!).
Another Eurovision dance routine I used to know off by heart was the routine to “Making Your Mind Up” by Bucks Fizz, the UK’s 1981 winning entry. This one was ‘performed’ with friends rather than family members though. I’m sure we weren’t the only kids singing and dancing, pretending to be Cheryl, Mike, Bobby and Jay, or maybe living in a remote, rural community meant that we were more likely to make our own entertainment. Whatever the reason, it was a time when Eurovision was still fun, and we still stood a chance of winning. Yes, the Scandanavian countries would vote for each other; yes, we could always rely on Malta for douze points, but a good performance and a good song would still find its way to the top of the scoreboard. Now that the competition is heavily dominated by an Eastern European mutual appreciation society, a return to that scenario is unlikely.
Despite our chances of winning being as likely as Russia giving Ukraine top marks (no reflection of the quality of Molly’s rendition of “Children of The Universe”), I will make a long-overdue return to watching Eurovision tomorrow evening. My enthusiasm for the contest has been re-ignited by this morning’s blast from the past, and with promises of a bearded lady and a Greek rap entry, what’s not to like???