Writing extensively about the Eighties means I sometimes have to be more analytical than reflective. Holding up a mirror is not enough. You have to examine things in microscopic detail. However, irrespective of whether I’m writing about an historic event, a backstage anecdote or a fond recollection, there is an underlying fundamental thread that often defies methodical analysis. The people involved in these events.
I could write reams on the political significance and worldwide implications of the fall of the Berlin Wall, but just one image of the revellers celebrating its demise atop the landmark, shortly before its collapse, says so much more than I ever could. The revelation, during my interview with Ranking Roger, of David Bowie turning delivery boy ahead of his Milton Keynes gig in 1983, to ensure Saxa had his cans of White Stripe, only serves to emphasise the star quality of the man behind the legend. Even something as simple as recalling the first single we bought can evoke strong emotions, not only because of the music but the people associated with it too: the artist, the person who was with us when we bought the record, who we sang, danced or cried with to that track. Memories may be made of the sights, sounds and even smells of our past but the truth is, without people they are nothing. That is why it hurts so much to lose someone who has been an integral part of those memories.
Last April, after a cruel battle with a particularly aggressive form of lung cancer, Lee, my best friend and soulmate of 25 years lost his fight with the disease, at the age of 51. The months that followed are really just a blur, in which I honoured existing obligations on autopilot but have no clear memory. Photos from that time are the only tangible proof I have of my existence then. In most, I have a familiar big smile, but when I look at my eyes I see someone who truly did not know what day of the week it was. It wasn’t until the end of July when, thanks to the help of some wonderfully supportive friends, I began to write again. Although prior to that, I had begun to write poetry for the first time since my late teens.
A couple of months ago, I shared one of those poems, ‘The Year After You’, with Peter Coyle, who later told me “I only read the first two verses and I had to stop. It made me cry and so I had to walk away and come back to it later. It was very emotional and that is why I wanted to try and put it into a song. Even then it was difficult. It hurts just listening to it for me, because the words are so raw and sincere. There is a real beauty and strength to them. They have a direct link to the heart.”
That song was waiting for me when I arrived home one Saturday afternoon last November. I had been to London for a radio interview to promote The 80’s Annual, and had then gone on to interview Soft Cell’s David Ball for my next book. Coming home to discover one of The Lotus Eaters had turned one of my poems into a song perfectly topped off the kind of day my teenage self could have barely dared to dream about. ‘The Year After You’ is a deeply personal poem I wrote about losing Lee, so it will come as no surprise to know I was in tears when the track finished playing. Peter admits that in writing the song “I was very scared because the words to ‘The Year After You’ were so real and intimate, but it just gripped me and wouldn’t let go. It is so special to open up and allow someone else’s personal feelings and emotions to be expressed in the music, even when they are difficult emotions, but it is harder singing someone’s words because you have to assimilate them as though they come from your heart. You just hope that the writer sees that you are trying to reflect her honesty.”
I had only to hear the emotion in Peter’s voice, as he sang the words I had written, to know that. However, I was still uncertain when he suggested the possibility of releasing the song. It had taken a lot of deliberation before sharing the poem with him, so the thought of it being in the public eye was quite overwhelming. Understanding my reticence, Peter left the decision with me. The song was a gift to me, so it was up to me who should hear it.
Eventually, I decided there could be no better tribute to the man who had been by my side for most of my adult life, and whose loss had changed it forever. Besides, who was I to stop anyone from hearing this gorgeous creation, which may have arisen from sadness but has finished as a beautifully crafted message of hope?
So, early December saw Peter in the studio, mixing the song which I am pleased to announce will be released on 3rd February. Currently, the track can be pre-ordered from iTunes and will also be available from various outlets such as Amazon and Spotify.
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.
The last couple of months have seen me undertake a much needed major declutter. Having trawled through over forty years of paraphernalia and memories, I am left with an empty loft, a garage that can now accommodate my car, and a house that, unburdened from the weight of unnecessary possessions, must have risen at least six inches from the ground. The process has been cathartic, emotional and intriguing, as I uncovered long forgotten keepsakes and boxes unopened for over two decades.
From ticket stubs, programmes and letters to old diaries, drawings and school books, there is a well-documented record of every aspect of my life; the result of inheriting the hoarding gene from my dad. Whilst documentation forms a large part of this squirrelling behaviour, such tendencies are not limited to paperwork, as proven by these embroidered coasters I made in primary school. Set in rural Kent, and with enrolment never exceeding 70 pupils, the school boasted a broad education, including ‘handwork’ lessons on a Friday afternoon. When the weather permitted, we took these lessons outside, and I can clearly remember sewing these whilst sat under a tree, on a warm, sunny day. Idyllic.
While I have uncovered plenty of reminders of wonderful memories, there have been some tinged with sadness, such as birthday cards from those no longer with us. Then, there were items that made me question why I had kept them for so long. Some, like the theatre programmes for shows of which I have no recollection, had followed me through four house moves, yet meant nothing to me at all. Others were just downright weird, such as the plaster cast from when I broke my wrist in 1990. Needless to say, anything falling into these two categories went straight into the bin.
Those mementoes that have survived the cull (and believe me, I was ruthless) are now neatly packed away in three medium-sized boxes, which, for me, is nothing short of a miracle. However, one of the advantages of having stockpiled a lifetime is finding hidden gems amongst the detritus, some of which I will be sharing here over the next few weeks. I hope you’ll share some of your treasures from the past too.