— Neil Tennant
Looking over the charts in the eighties, it's interesting to note how often American dance music was able to penetrate the UK Top 40 yet failed to garner much interest at home. Some, like The S.O.S. Band and Cameo, enjoyed early success in the States before achieving fame across the pond, while others like techno pioneers Inner City were never able to gain much of a footing at all. Of course they all found fame on the R&B and/or Dance Music charts which only goes to show how ghettoised black pop music was at the time. The British, unencumbered by (musical) prejudices, just lumped it all together and let punters go out and vote with the few bob in their pockets.
Written and recorded by Eddy Grant, the original "Walking on Sunshine" probably didn't have much potential for club play. It is a dance number but better suited for a Mardi Gras parade in the middle of Port of Spain than Studio 54. Reggae adjacent, it brims were sunny vibes — even if it's let down by a horribly weedy synth driving the arrangement — and a lighthearted vocal from Grant, who may not give the sort of powerful throaty performance with which he's capable but one that suits the record nonetheless.
The Arthur Baker-led Rockers Revenge got hold of "Walking on Sunshine" and added some much needed big city sizzle. Yes, the clubs got a hold of it and took it to the top of the Club Play Charts but it's just as easy picturing this blasting out of a boombox on a street corner in the middle of Harlem — assuming, of course, that radio was having anything to do with it. Perhaps no one quite knew how to classify it. I for one love how this seems to be a throwback to a wonderfully catholic New York scene. Rap was beginning to emerge, the DJ's from the disco boom were looking at ways to move on, home computers were making programming and sampling as easy as playing an instrument and there was room for funk, synth-pop, soul and reggae mixed together in such a landscape.
By now a committed fan of dance music, it's easy to hear this track having a profound affect on Neil Tennant the budding pop star. (Honestly, I had no idea that an offshoot of this blog would be to act as a deep dive into the psyche of the future Pet Shop Boys vocalist as he goes from Smash Hits scribe to stardom but I might as well go with it at this point) Just as important, New York's musical culture was rubbing off on him as well. All he needed was to find an NYC studio boffin of his own.
~~~~~
Also Reviewed This Fortnight
The Raincoats: "Running Away"
While we're on the topic of cover versions that top the originals, here's indie faves - because of course they're indie: how could you call yourself 'The Raincoats' and not be indie? - The Raincoats running with their take Sly & The Family Stone's "Running Away", from their massive There's a Riot Goin' On album. Once again, it's updated with a fresh coat of paint and all the better for it. Charming and stately in the crack hands of Sly and co., it becomes irrepressible and snotty when done by the London foursome. The childish naughtiness of running away from home in the original stands in marked contrast to the comical teenage apathy of taking off and not giving a shit. Quite which one you prefer depends on your tastes — though I can't conceive of anyone opting for the lousy Paul Haig version — but the fantastic trumpet of Harry Becker puts this one over the top for me.
Looking over the charts in the eighties, it's interesting to note how often American dance music was able to penetrate the UK Top 40 yet failed to garner much interest at home. Some, like The S.O.S. Band and Cameo, enjoyed early success in the States before achieving fame across the pond, while others like techno pioneers Inner City were never able to gain much of a footing at all. Of course they all found fame on the R&B and/or Dance Music charts which only goes to show how ghettoised black pop music was at the time. The British, unencumbered by (musical) prejudices, just lumped it all together and let punters go out and vote with the few bob in their pockets.
Written and recorded by Eddy Grant, the original "Walking on Sunshine" probably didn't have much potential for club play. It is a dance number but better suited for a Mardi Gras parade in the middle of Port of Spain than Studio 54. Reggae adjacent, it brims were sunny vibes — even if it's let down by a horribly weedy synth driving the arrangement — and a lighthearted vocal from Grant, who may not give the sort of powerful throaty performance with which he's capable but one that suits the record nonetheless.
The Arthur Baker-led Rockers Revenge got hold of "Walking on Sunshine" and added some much needed big city sizzle. Yes, the clubs got a hold of it and took it to the top of the Club Play Charts but it's just as easy picturing this blasting out of a boombox on a street corner in the middle of Harlem — assuming, of course, that radio was having anything to do with it. Perhaps no one quite knew how to classify it. I for one love how this seems to be a throwback to a wonderfully catholic New York scene. Rap was beginning to emerge, the DJ's from the disco boom were looking at ways to move on, home computers were making programming and sampling as easy as playing an instrument and there was room for funk, synth-pop, soul and reggae mixed together in such a landscape.
By now a committed fan of dance music, it's easy to hear this track having a profound affect on Neil Tennant the budding pop star. (Honestly, I had no idea that an offshoot of this blog would be to act as a deep dive into the psyche of the future Pet Shop Boys vocalist as he goes from Smash Hits scribe to stardom but I might as well go with it at this point) Just as important, New York's musical culture was rubbing off on him as well. All he needed was to find an NYC studio boffin of his own.
~~~~~
Also Reviewed This Fortnight
The Raincoats: "Running Away"
While we're on the topic of cover versions that top the originals, here's indie faves - because of course they're indie: how could you call yourself 'The Raincoats' and not be indie? - The Raincoats running with their take Sly & The Family Stone's "Running Away", from their massive There's a Riot Goin' On album. Once again, it's updated with a fresh coat of paint and all the better for it. Charming and stately in the crack hands of Sly and co., it becomes irrepressible and snotty when done by the London foursome. The childish naughtiness of running away from home in the original stands in marked contrast to the comical teenage apathy of taking off and not giving a shit. Quite which one you prefer depends on your tastes — though I can't conceive of anyone opting for the lousy Paul Haig version — but the fantastic trumpet of Harry Becker puts this one over the top for me.
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