Saint Julian is the third solo album by Julian Cope. It has a very strong pop sound, compared to other Cope releases, and spawned several of his best known tracks (including “World Shut Your Mouth” and “Trampolene”, which were both hit singles). Saint Julian was the first album recorded under a new Cope deal with Island Records, following two poorly selling albums on the Mercury/Polygram label. Encouraged by his new manager Cally Callomon, Cope cleaned up and changed his image: cutting his hair, wearing rocker’s leathers and embracing a “Rock God” perspective (as well as investing in a bizarre climbable microphone stand (with integral steps).
“Kitchen” is utterly barren: just a lonely vocal from Stephen Immerwahr over a gentle acoustic guitar. According to the band’s guitarist, John Engle, “‘Kitchen’ is the earliest material on the box set, written not long after Stephen moved to NYC in 1987. He performed the song a couple of times before an audience, and recorded it later that year.” The song is no less powerful for its relative minimalism — the band’s seminal sad-/slow-core is as gorgeous and bleak here as it is anywhere else in their essential catalog. [Source]
“True Faith” is a 1987 track from New Order, produced by Stephen Hague. It was the first New Order single since their debut “Ceremony” to be issued in the UK as two separate 12″ singles. The second 12″ single features two remixes of “True Faith” by Shep Pettibone. Both versions of the 12″ (and also the edited 7″) also include the song “1963″. “True Faith” is one of New Order’s most popular songs.
“Never Let Me Down Again” is Depeche Mode’s nineteenth UK single, released on August 24, 1987, and the second single for the then upcoming album Music for the Masses. A relatively moderate hit in the UK, at #22, it was a smash in West Germany, where it hit #2, and a Top 10 success in several other European countries (Sweden, Switzerland, etc.). The cover art features fragments of a Soviet map of Russia and Europe, with different fragments used for the different editions of the single.
Europe (and more specifically France) as seen by a young Japanese girl in the mid-Eighties… A study in inverted exoticism… Sonoko charmingly conjures up the spirit of Brigitte Bardot, Suicide, French cinema, Nino Rota, Robbe-Grillet, David Lynch, Catholic church music, Shakespeare and more. Some of these tracks have recently been used for Jean-Paul Gaultier fashion shows. The album was produced by Colin Newman (Wire) and Aksak Maboul (Vincent Kenis & Marc Hollander).
“Snobbery and Decay” is the first single by Act. It was released by ZTT Records in a number of formats on 5 May 1987 and reached #60 in the UK Singles Chart. According to Claudia Brücken, “The whole idea was based on a programme called Lifestyles of the Rich and Famous. That was when we discovered how much we wanted to write about that idea and what a great introduction it would be for Thomas and me to have a duet as a first single. Two characters talking about that whole thing.” The orchestral arrangement for “Snobbery and Decay” was made by David Bedford. A number of remixes were done by Mastermind Herbie for a promotional 12″. These mixes have not yet been released commercially. The single also features a cover of “I’d Be Surprisingly Good for You” from the musical Evita, chosen according to Thomas Leer, because “we both dislike Andrew Lloyd Webber intensely. We wanted to do something from a musical, something that was crap and that we could make great. It also fitted the idea of the package.” An additional instrumental mix of the track entitled “I’d be Surprisingly Instrumental for You” surfaced on the band’s box set in 2004.
When released as a single in late 1987, it peaked at #2 in the UK charts and at #2 on the Billboard Hot 100, becoming the fourth Top Ten hit for Pet Shop Boys as well as the biggest hit of Springfield’s career in the U.S. The single made it to #1 on the Irish singles chart, where it was Pet Shop Boys’ second #1 hit in the space of just six weeks. The song’s success helped revive Springfield’s career and led to a resurgence of interest in her music. Pet Shop Boys and Dusty Springfield performed the song for the 1988 BRIT Awards. Following the duet the Pet Shop Boys wrote and produced the singles “Nothing Has Been Proved” and “In Private” for Springfield, both included on her 1990 album Reputation. The music video was filmed in a Music hall, featuring a female Chorus line and male members of the Pit orchestra. It made significant use of the Theater drapes and stage curtains for dramatic effect.
Back in 1987 Sir Paul worked on and then didn’t release the song “Return to Pepperland.” Amazingly, even unfinished this track remains one of Paul’s most infectious ever. An imaginative fan put this music video together for the song. [Source]
[via Klaus Lynggaard, who does not live in Copenhagen - dedicated to Steen Albrechtslund from Hong Kong who is freezing his ass off in Denmark]
Coming Around Again is singer-songwriter Carly Simon’s 14th album, and 13th studio album, released in 1987. It is her first of many albums for Arista Records. The title track and “Itsy Bitsy Spider” were both written for and featured in the 1986 film Heartburn.
Originally released on their 1982 album, Saints & Sinners, the song was re-recorded for their eponymous 1987 album Whitesnake. The music video for the song was directed by Marty Callner, who directed most of Whitesnake’s videos in the 1980s. It became memorable due to actress Tawny Kitaen’s appearance wearing white lingerie. In the video she is seen prancing on the hood of Whitesnake lead singer David Coverdale’s Jaguar XJ and massaging him while he is trying in vain to concentrate on driving. Kitaen would later become Coverdale’s wife for a brief period.
Original 1982 version from Saints & Sinners:
David Coverdale – lead vocals
Bernie Marsden – guitar, backing vocals
Micky Moody – guitar
Neil Murray – bass
Jon Lord – keyboards
Ian Paice – drums
1987 version from Whitesnake:
David Coverdale – lead vocals
John Sykes – guitar, backing vocals
Adrian Vandenberg – guitar solo
Neil Murray – bass
Don Airey – keyboards
Bill Cuomo – keyboards
Aynsley Dunbar – drums
[By popular demand to Peter Solak and with a special bonus dedication to Kristian Sandvad and Lars Thylander]