Eurythmics were one of the most successful duos to emerge in the early '80s. Where most of their British synth pop contemporaries disappeared from the charts as soon as new wave faded away in 1984, Eurythmics continued to have hits until the end of the decade, making vocalist Annie Lennox a star in her own right, as well as establishing... [+] Read More

Eurythmics were one of the most successful duos to emerge in the early '80s. Where most of their British synth pop contemporaries disappeared from the charts as soon as new wave faded away in 1984, Eurythmics continued to have hits until the end of the decade, making vocalist Annie Lennox a star in her own right, as well as establishing instrumentalist Dave Stewart as a successful, savvy producer and songwriter. Originally, the duo channelled the eerily detached sound of electronic synthesizer music into pop songs driven by robotic beats. By the mid-'80s, singles like "Sweet Dreams (Are Made of This)" and "Here Comes the Rain Again" had made the group into international stars, and the group had begun to experiment with their sound, delving into soul and R&B. As the decade wore on, the duo's popularity eroded somewhat -- by the late '80s, they were having trouble cracking the Top 40 in America, although they stayed successful in the U.K. During the early '90s, Eurythmics took an extended hiatus, as both Lennox and Stewart pursued solo careers.

The origins of Eurythmics lay in the Tourists, a British post-punk band of the late '70s formed by Lennox and Stewart. The pair met in London while she was studying at the Royal Academy of Music. Stewart had recently broken up his folk-rock group Longdancer and was writing songs with guitarist Pete Coombes. Immediately after meeting, Stewart and Lennox became lovers and musical partners, forming a group called Catch with Coombes, which quickly evolved into the Tourists in 1979. Though the band only was together for two years, the Tourists released three albums -- The Tourists, Reality Effect, and Luminous Basement -- which all were moderate hits in England; two of their singles, "I Only Want to Be With You" and "So Good to Be Back Home Again," became Top Ten hits.

During 1980, Lennox and Stewart's romantic relationship dissolved and, along with it, so did the Tourists. Though they were no longer lovers, Lennox and Stewart decided to continue performing together under the name Eurythmics and headed to Germany to record their debut album. Featuring support from various members of Can and Blondie drummer Clem Burke, among others, the duo's debut, In the Garden, was released in 1981 to positive reviews, but weak sales. Following the failure of In the Garden, Stewart set up a home studio and Eurythmics recorded a second album, Sweet Dreams (Are Made of This), which was released in 1983.

"Love Is a Stranger" was the first British single pulled from the album, and it became a minor hit in the fall of 1982, a few months before the LP appeared. The title track was released as a single in the spring, and it rocketed to number two on the U.K. charts; shortly afterward, it climbed to number one on the American charts. "Sweet Dreams (Are Made of This)" was helped enormously by its stylish, androgynous video, which received heavy airplay from MTV, who had only recently become a major influence within the music industry. After "Sweet Dreams," Eurythmics re-released "Love Is a Stranger" and it reached the U.K. Top Ten (number 23 U.S.), beginning a string of hit singles that ran for a year. Touch, the duo's third album, was released toward the end of 1983 and continued their success throughout 1984, spawning the hits "Who's That Girl?" (number three, U.K.; number 21, U.S.), "Right by Your Side" (number ten, U.K.; number 29, U.S.), and "Here Comes the Rain Again" (number eight, U.K.; number four U.S.). During the course of 1984, Annie Lennox's theatrical gender-bending was becoming increasingly notorious, which helped their record sales. At the end of the year, they released the soundtrack for the film adaptation of 1984, which received poor reviews and sales, despite the Top Ten U.K. placing of its single, "Sexcrime (Nineteen Eighty-Four)."

Released in the spring of 1985, Eurythmics' fourth album, Be Yourself Tonight, boasted a tougher, R&B-influenced sound and featured a duet with Aretha Franklin, "Sisters Are Doin' It for Themselves." The duet became one of three hit singles from the album, in addition to "Would I Lie to You?" (number 17, U.K.; number five, U.S.) and "There Must Be an Angel (Playing With My Heart)" (number one, U.K.; number 22, U.S.). Revenge, released the following year, followed the R&B and soul inclinations of Be Yourself Tonight to a harder-rocking conclusion. Though the album peaked at number 12 in the U.S. and spawned the number 14 hit "Missionary Man," its sales were noticeably weaker than its predecessor. In the U.K., the group was slightly more popular -- "Thorn in My Side" reached the Top Ten -- but it was evident that the group was past the point of its peak popularity.

As appropriate for a group passing their commercial pinnacle, Eurythmics began branching out into other areas. During 1985 and 1986, Dave Stewart produced a number of superstars, including Bob Dylan, Daryl Hall, Tom Petty, and Mick Jagger. Annie Lennox began a short-lived acting career, appearing in Revolution. Eurythmics reconvened in 1987 to release Savage, which was greeted with mixed reviews and weak sales. That same year, Stewart married Siobhan Fahey, a former member of Bananarama who had also appeared in the "Love Is a Stranger" video; she would later be a member of Shakespear's Sister, which was produced by Stewart. In 1988, Lennox had a hit duet with Al Green with "Put a Little Love in Your Heart," taken from the Scrooged soundtrack. The following year, Eurythmics released We Too Are One, which sold well in Britain, reaching number one, but poorly in America, despite "Don't Ask Me Why" becoming their first Top 40 hit since "Missonary Man." Furthermore, the reviews were decidedly mixed on the album.

Eurythmics quietly went on hiatus as of 1990, releasing Greatest Hits the following year. Lennox began a solo career in 1992, releasing Diva, an album that would eventually sell over two million copies. Stewart continued producing records and writing film soundtracks, as well as forming a band called Spiritual Cowboys. In 1995, he officially launched a solo career with the release of Greetings From the Gutter. Lennox and Stewart re-formed Eurythmics in 1999, releasing Peace, their first new studio album in a decade. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Along with the Specials, Madness were one of the leading bands of the ska revival of the late '70s and early '80s. As their career progressed, Madness branched away from their trademark "nutty sound" and incorporated large elements of Motown, soul, and British pop. Although the band managed one crossover American hit in 1983, the band remained a... [+] Read More

Along with the Specials, Madness were one of the leading bands of the ska revival of the late '70s and early '80s. As their career progressed, Madness branched away from their trademark "nutty sound" and incorporated large elements of Motown, soul, and British pop. Although the band managed one crossover American hit in 1983, the band remained a British phenomenon, influencing several successive generations of musicians and becoming one of the most beloved groups the country produced during the '80s.

The origins of Madness lie in a ska group known as the Invaders, which was formed by Mike Barson, Chris Foreman, and Lee Thompson in 1976. By 1978, the band had changed their name to Morris and the Minors and had added Graham "Suggs" McPherson, Mark Bedford, Chas Smash, and Dan Woodgate to the group. Later in 1978, they changed their name to Madness, in homage to one of their favorite Prince Buster songs. The following year, Madness released their debut single, a tribute to Prince Buster entitled "The Prince," on Two-Tone. The song was a surprise success, reaching the British Top 20. Following its success, the band signed a record contract with Stiff Records and released another Prince Buster song, "One Step Beyond," which climbed to number seven.

Madness quickly recorded their debut album, also titled One Step Beyond, with producers Clive Langer and Alan Winstanley. Released toward the end of the year, the album peaked at number two in Britain and it stayed on the charts for well over a year. At the beginning of 1980, the band's third single, "My Girl," peaked at number three. For the next three years, the group had a virtually uninterrupted run of 13 Top Ten singles, during which time they were one of the most popular bands in Britain, rivaled only by the Jam in terms of widespread popularity. Where the Jam appealed to teenagers and young adults, Madness had a broad fan base, reaching from children to the elderly. Which didn't mean their music was diluted -- they continued to expand their sound, both musically and lyrically.

In the spring of 1980, Madness released the Work Rest and Play EP, which reached number six on the strength of the EP's lead song, "Night Boat to Cairo." Also during the spring, One Step Beyond was released in the United States, where it peaked at 128. Madness' second album, Absolutely, was released in the fall of 1980. The record peaked at number two on the British charts, but it stalled at number 146, in the U.S. Sire dropped the band after the commercial disappointment of Absolutely, leaving Madness without an American record contract for several years.

Back in England, Madness continued to gain momentum, as the group began playing matinee shows on their tours so children under 16 years old could attend the concert. In the fall of 1981, the band released their third album, Seven, which peaked at number five. In January of 1982, Madness hit number four with a cover of Labi Siffre's "It Must Be Love." In March, their streak of Top Ten hits was interrupted when "Cardiac Arrest" stalled at number 14 on the charts, due to radio's reluctance to play the tune. The band bounced back a few months later with "House of Fun," their first number one single. That same month, the hits compilation, Complete Madness, reached number one.

Madness returned in the late summer of 1982 with The Rise and Fall, their full-fledged shift to pop. Like their previous albums, it was a British hit, reaching the Top Ten, but it also contained the seeds of their brief American success with the Top Five British single "Our House." The single was released in America on the group's new label, Geffen, and it received heavy airplay from MTV. The music-video television network had previously played the videos for "House of Fun," "It Must Be Love," and "Cardiac Arrest" when the band's albums were unreleased in the United States, thereby setting the stage for "Our House" to become a massive hit. With "Our House," Madness had MTV exposure coincide with a record release for the first time, which sent the single into the American Top Ten in the summer of 1983. The success of the single brought the U.S. compilation album, Madness, to number 41. Madness managed one more American Top 40 hit that fall, when "It Must Be Love" peaked at number 33.

At the end of 1983, Mike Barson -- the band's key songwriter -- left the group to settle down with his wife. Although Madness was able to stay near the top of the charts with their first post-Barson release, "Michael Caine," the band's fortunes began to decline over the course of 1984. Upon its release in the spring, Keep Moving hit number six on the British charts; in America, the record reached number 109. In June, the group released its final single for Stiff Records, "One Better Day," which peaked at number 17. In the fall, Madness formed their own record label, Zarjazz. Madness released "Yesterday's Men," their first recording on Zarjazz, in September of 1985, nearly a year after the label's formation. The record peaked at number 18 and its parent album, Mad Not Mad, reached number 16 upon its October release. Their chart decline continued early in 1986, when their cover of Scritti Politti's "Sweetest Girl" peaked at number 35. For most of 1986, the group was quiet. In September, Madness announced they were disbanding. Two months later, their farewell single, "Waiting for the Ghost Train," was released, charting at number 18.

After staying dormant for a year and a half, the group reunited at the beginning of 1988 as a quartet called the Madness, releasing its comeback single, "I Pronounce You," in March. The Madness featured Chris Foreman, Lee Thompson, Chas Smash, and Suggs, and was augmented by the Specials' keyboardist Jerry Dammers and Steve Nieve (keyboards) and Bruce Thomas (bass) of the Attractions. "I Pronounce You" reached number 44 on the U.K. charts and its accompanying album stiffed upon its spring release. The group disbanded for a second time that fall.

In the summer of 1992, the original lineup of Madness reunited to perform two outdoor concerts at London's Finsbury Park. The group dubbed the event Madstock and released a recording of the shows on Go! Records. Madstock became an annual event for the next four years -- every summer the band would reunite and headline an outdoor festival at Finsbury Park. Suggs launched a solo career in 1995 with The Lone Ranger, which performed respectably in the U.K. charts. In 1996, Madness played the final Madstock and announced they planned not to reunite for future concerts, but by 1998 they were back on the road, with a Los Angeles date recorded for release as Universal Madness the following year. The group also reunited with original producers Clive Langer and Alan Winstanley to record their first new material in over a decade. The resulting Dangermen Sessions, Vol 1 was released in 2005. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

As well-known for their bizarrely teased haircuts as their hit single "I Ran (So Far Away)," A Flock of Seagulls were one of the infamous one-hit wonders of the new wave era. Growing out of the synth-heavy and ruthlessly stylish new romantic movement, A Flock of Seagulls were a little too robotic and arrived a little too late to be true new... [+] Read More

As well-known for their bizarrely teased haircuts as their hit single "I Ran (So Far Away)," A Flock of Seagulls were one of the infamous one-hit wonders of the new wave era. Growing out of the synth-heavy and ruthlessly stylish new romantic movement, A Flock of Seagulls were a little too robotic and arrived a little too late to be true new romantics, but their sleek dance-pop was forever indebted to the short-lived movement. The group benefitted considerably from MTV's heavy rotation of the "I Ran" video in the summer of 1982, but they were unable to capitalize on their sudden success and disappeared nearly as quickly as they rocketed up the charts.

Hairdresser Mike Score (lead vocals, keyboards) formed A Flock of Seagulls with his brother Ali (drums) and fellow hairdresser Frank Maudsley (bass) in 1980, adding guitarist Paul Reynolds several months later. The group released its debut EP on Cocteau Records early in 1981, and while the record failed to chart, its lead track, "Telecommunication," became an underground hit in Euro-disco and new wave clubs. The band signed a major-label contract with Jive by the end of the year, and their eponymous debut album appeared in the spring of 1982. "I Ran (So Far Away)" was released as the first single from the album, and MTV quickly picked up on its icily attractive video, which featured long shots of Mike Score and his distinctive, cascading hair. The single climbed into the American Top Ten, taking the album along with it. In the U.K., "I Ran" didn't make the Top 40, but "Wishing (If I Had a Photograph of You)" reached number ten later that year; in America, that single became a Top 40 hit in 1983, after "Space Age Love Song" peaked at number 30. "Wishing" was taken from the group's second album, Listen (1983), which was moderately successful.

However, the band's fortunes crashed shortly after the release of Listen as 1984's The Story of a Young Heart failed to produce any hit singles. Reynolds left after the album and was replaced by Gary Steadnin; the band also added keyboardist Chris Chryssaphis. The new lineup was showcased on 1986's Dream Come True, which failed to chart. Shortly after its release, the band broke up. Mike Score assembled a new lineup of A Flock of Seagulls in 1989, releasing the single "Magic" and touring the U.S.A. The band failed to make any impact and most of the members left by the end of the year. The band continued to tour worldwide, although with major changes to its members, and in 1996 released a new album, The Light at the End of the World. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Synth pop's first international superstars, the Human League were among the earliest and most innovative bands to break into the pop mainstream on a wave of synthesizers and electronic rhythms, their marriage of infectious melodies and state-of-the-art technology proving enormously influential on countless acts following in their wake. The group... [+] Read More

Synth pop's first international superstars, the Human League were among the earliest and most innovative bands to break into the pop mainstream on a wave of synthesizers and electronic rhythms, their marriage of infectious melodies and state-of-the-art technology proving enormously influential on countless acts following in their wake. The group was formed in Sheffield, England, in 1977 by synth players Martyn Ware and Ian Marsh, who'd previously teamed as the duo Dead Daughters; following a brief tenure as the Future, they rechristened themselves the Human League after enlisting vocalist Philip Oakey. The trio soon recorded a demo, and played their first live dates; they soon tapped Adrian Wright as their "Director of Visuals," and his slide shows quickly became a key component of their performances.

Signing with the indie label Fast, in 1978 the Human League issued their first single, "Being Boiled"; a minor underground hit, it was followed by a tour in support of Siouxsie & the Banshees. After a 1979 EP, The Dignity of Labour, the group released its first full-length effort, Reproduction, a dark, dense work influenced largely by Kraftwerk. Travelogue followed the next year and reached the U.K. Top 20; still, internal tensions forced Ware and Marsh to quit the group in late 1980, at which time they formed the British Electronic Foundation. Their departure forced Wright to begin learning to play the synthesizer; at the same time, Oakey recruited bassist Ian Burden as well as a pair of schoolgirls, Susanne Sulley and Joanne Catherall, to handle additional vocal duties.

The first single from the revamped Human League, 1981's "Boys and Girls," reached the British Top 50; recorded with producer Martin Rushent, the follow-up "Sound of the Crowd" fell just shy of the Top Ten. Their next single, "Love Action," reached number three, and after adding ex-Rezillo Jo Callis the League issued "Open Your Heart," another hit. Still, their true breakthrough was the classic single "Don't You Want Me," from the album Dare!; both topped their respective charts in England, and went on to become major hits in the U.S. as well. A tour of the States followed, but new music was extremely slow in forthcoming; after a remix disc, Love and Dancing, the Human League finally issued 1983's Fascination! EP, scoring a pair of hits with "Mirror Man" and "(Keep Feeling) Fascination."

The much-anticipated full-length Hysteria finally surfaced in mid-1984, heralding a more forceful sound than earlier Human League releases; the record failed to match the massive success of Dare!, however, with the single "The Lebanon" earning insignificant airplay. The group soon went on indefinite hiatus, and Oakey recorded a 1985 solo LP with famed producer Giorgio Moroder titled simply Philip Oakey & Giorgio Moroder. To the surprise of many, the Human League resurfaced in 1986 with Crash, produced by the duo of Jimmy Jam and Terry Lewis; the plaintive lead single "Human" soon topped the U.S. charts, but the group failed to capitalize on its comeback success, disappearing from the charts for the remainder of the decade.

When the Human League finally returned in 1990 with Romantic?, their chart momentum had again dissipated, and the single "Heart Like a Wheel" barely managed to rise into the Top 40. The record was the band's last with longtime label Virgin; now a trio consisting of Oakey, Sulley, and Catherall, they ultimately signed with the EastWest label, teaming with producer Ian Stanley for 1995's Octopus. The album went largely unnoticed both at home and overseas, with the single "Stay With Me Tonight" issued solely in the U.K. A resurgent interest in synth pop and post-punk during the early 2000s enabled the group's 2001 album Secrets considerable press coverage, which saw the group update its early sound. Four years later, they released Live at the Dome. ~ Jason Ankeny, All Music Guide [-] Hide

On the back of an enormous publicity campaign, Frankie Goes to Hollywood dominated British music in 1984. Frankie's dance-pop borrowed heavily from the then-current Hi-NRG movement, adding a slick pop sensibility and production. What really distinguished the group was not their music, but their marketing campaign. With a series of slogans,... [+] Read More

On the back of an enormous publicity campaign, Frankie Goes to Hollywood dominated British music in 1984. Frankie's dance-pop borrowed heavily from the then-current Hi-NRG movement, adding a slick pop sensibility and production. What really distinguished the group was not their music, but their marketing campaign. With a series of slogans, T-shirts, and homoerotic videos, the band caused enormous controversy in England and managed to create some sensations in the United States. However, the Frankie sensation was finished as soon as it was started; by the release of their second album, Liverpool, in 1986, the group's audience had virtually disappeared.

Based in Liverpool, Frankie Goes to Hollywood formed in 1980, comprising ex-Big in Japan vocalist Holly Johnson, vocalist Paul Rutherford, guitarist Nasher Nash, bassist Mark O'Toole, and drummer Peter Gill. Originally, the group was called Hollycaust, but they changed their name to Frankie Goes to Hollywood -- taken from an old headline about Frank Sinatra's acting career -- by the end of the year. The band didn't make anything of note until 1982, when they appeared on the British television program The Tube with a rough version of the video for "Relax." The appearance attracted attention from several record labels as well as record producer Trevor Horn. Horn contacted the band and signed them to his label, ZTT. Late in 1983, Frankie's first single, the Horn-produced "Relax"/"Ferry Cross the Mersey," was released. A driving dance number, "Relax" featured sexually suggestive lyrics that would soon lead to great controversy.

Around the time of the release of "Relax," Frankie's promotional director, Paul Morley, a former music journalist, orchestrated a massive, intricate marketing campaign that soon paid off in spades. Morley designed T-shirts that read "Relax" and "Frankie Says...," which eventually appeared across the country. The group began playing up their stylish, campy homosexual imagery, especially in the first video for "Relax." The video was banned by British TV and a new version was shot. Similarly, Radio 1 banned the single and the rest of the BBC radio and television networks quickly banned the record as well. Consequently, "Relax" shot to number one in January of 1984 and soon sold over a million copies. Frankie's second single, the political "Two Tribes," was released in June of 1984. The single, which was also produced by Trevor Horn, entered the charts at number one; it went gold in seven days. "Two Tribes" stayed at number one for nine weeks and eventually sold over a million copies. While it was on the top of the charts, "Relax" went back up the charts, peaking at number two.

Frankie mania had taken England by storm, yet it took a while to catch on in America. "Relax" peaked at number 67 in the spring of 1984, while "Two Tribes" just missed the Top 40 in the fall. Welcome to the Pleasuredome, the band's Trevor Horn-produced debut double album, entered the U.K. charts at number one and their third single, the ballad "The Power of Love," also reached number one. Welcome to the Pleasuredome reached at number 33 in early 1985 in the U.S., prompting the re-release of "Relax"; this time around, it made it into the American Top Ten.

"Rage Hard," the first single from their second album, peaked at number four in the U.K. during the summer of 1986. It was followed by the release of Liverpool, which reached number five on the British charts. Frankie Goes to Hollywood began their final tour in early 1987; by April, the band had broken up. Holly Johnson went on to pursue a solo career, which began in earnest in 1989, after a long legal battle with ZTT. Paul Rutherford also began a solo career, yet neither his nor Johnson's were particularly successful. Johnson was diagnosed with AIDS in the early '90s and subsequently retired from music. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

Frankie Goes to Hollywood hyped their debut album Welcome to the Pleasuredome so much that when their second record, Liverpool, failed to live up to expectations, their career was effectively over. That didn't stop them from releasing greatest-hits albums, however, nor did it stop the inevitable wave of '80s nostalgia that surged forth in the... [+] Read More

Frankie Goes to Hollywood hyped their debut album Welcome to the Pleasuredome so much that when their second record, Liverpool, failed to live up to expectations, their career was effectively over. That didn't stop them from releasing greatest-hits albums, however, nor did it stop the inevitable wave of '80s nostalgia that surged forth in the '90s. To cash in on whatever meager Frankie nostalgia that may have existed, Bang!... Greatest Hits of Frankie Goes to Hollywood appeared in 1994 and was reissued in 1998, when the rights shifted to Universal Records. Bang! is as good a compilation of Frankie's material as could be assembled, featuring no less than eight songs from Pleasuredome (including, of course, "Relax," "Two Tribes," "The World Is My Oyster," and "Bang") and five songs from Liverpool. There were a couple of good songs stranded on the second album ("Ferry Cross the Mersey," "Rage Hard") and certain casual fans may enjoy having those singles on the same disc with the hits, but the fact remains that Frankie can only truly be understood (and, to a certain extent, truly enjoyed) on Pleasuredome. That debut stood on its own, sounding unlike any other record of its time, and it contained all of the big hits in the first place. Consequently, many casual listeners will be satisfied with simply acquiring that record, even if the album versions were slightly different than the singles. If they feel otherwise, Bang! will serve as the definitive singles collection, satisfying both the hardcore and casual fan. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

A solid complement to Ryko's Costello reissue series if you don't want to pick up each individual album. Of course, the 22 tracks (drawn from his first 11 albums and, according to the liner notes, "hand-picked by Elvis himself") also sport the crisply remastered sound featured on the rest of the series. The Very Best Of halts abruptly at 1986's... [+] Read More

A solid complement to Ryko's Costello reissue series if you don't want to pick up each individual album. Of course, the 22 tracks (drawn from his first 11 albums and, according to the liner notes, "hand-picked by Elvis himself") also sport the crisply remastered sound featured on the rest of the series. The Very Best Of halts abruptly at 1986's Blood and Chocolate, his last release for Columbia. ~ Roch Parisien, All Music Guide [-] Hide

After what had seemed like a promising start with "She Blinded Me With Science" in 1983, Thomas Dolby only charted with two other singles in the U.S. (though he had nine chart singles in his native U.K., 1981-1992). This 16-track compilation, embracing both his Capitol/EMI and Warner Bros. recordings, demonstrates that Dolby deserved better. His... [+] Read More

After what had seemed like a promising start with "She Blinded Me With Science" in 1983, Thomas Dolby only charted with two other singles in the U.S. (though he had nine chart singles in his native U.K., 1981-1992). This 16-track compilation, embracing both his Capitol/EMI and Warner Bros. recordings, demonstrates that Dolby deserved better. His synthesizer-based songs are consistently catchy and clever, and especially notable are early songs like "Urges" and "Leipzig" that have not previously appeared on a U.S. album. "One of Our Submarines," Dolby's cover of Dan Hicks' "I Scare Myself," and "Hyperactive!" all hold up well. Some of the later (non-hit) material from the albums Aliens Ate My Buick and Astronauts & Heretics is less impressive; a better choice could have been made from those records. But for the most part, this is an efficient collection that justifies its name. ~ William Ruhlmann, All Music Guide [-] Hide

The success of "The Crying Game" marked a comeback for Boy George, especially in the U.S., where his solo career had never taken hold beyond the dance clubs, and SBK (distributor of his label, Virgin) took advantage of his resurgence by compiling this 75-minute, 19-track album, which combines his former group Culture Club's biggest hits with... [+] Read More

The success of "The Crying Game" marked a comeback for Boy George, especially in the U.S., where his solo career had never taken hold beyond the dance clubs, and SBK (distributor of his label, Virgin) took advantage of his resurgence by compiling this 75-minute, 19-track album, which combines his former group Culture Club's biggest hits with selections from his solo work. The ten Culture Club tracks are of a piece, from 1982's "Do You Really Want to Hurt Me" (which here leads off with an ominous voice intoning, "Popularity breeds contempt") to "Love Is Love," which wasn't a hit but is a better choice than the missing "War Song," which was. The solo tracks are a more mixed batch, and not only because Top 40 U.K. hits like "Keep Me in Mind," "Sold," and "To Be Reborn" are missing. They often rely on loud percussion tracks that strand Boy George's tender tenor somewhere in the distance. He remains most effective on rhythmic ballads, whether "Do You Really Want to Hurt Me," "Everything I Own" (his chart-topping first U.K. solo hit), or "The Crying Game." ~ William Ruhlmann, All Music Guide [-] Hide

ABC's debut album combined the talents of the Sheffield, U.K.-based band, particularly lead singer Martin Fry, a fashion plate of a frontman with a Bryan Ferry fixation, and the inventive production style of former Buggles member Trevor Horn and his team of musicians, several of whom would go on to form the Art of Noise. Horn created dense... [+] Read More

ABC's debut album combined the talents of the Sheffield, U.K.-based band, particularly lead singer Martin Fry, a fashion plate of a frontman with a Bryan Ferry fixation, and the inventive production style of former Buggles member Trevor Horn and his team of musicians, several of whom would go on to form the Art of Noise. Horn created dense tracks that merged synthesizer sounds, prominent beats, and swaths of strings and horns, their orchestrations courtesy of Anne Dudley, who would follow her work with the Art of Noise by becoming a prominent film composer, and who here underscored Fry's stylized romantic lyrics and dramatic, if affected, singing. The production style was dense and noisy, but frequently beautiful, and the group's emotional songs gave it a depth and coherence later Horn works, such as those of Yes ("Owner of a Lonely Heart") and Frankie Goes to Hollywood, would lack. (You can hear Horn trying out the latter band's style in "Date Stamp.") Fry and company used the sound to create moving dancefloor epics like "Many Happy Returns," which, like most of the album's tracks, deserved to be a hit single. (In the U.K., four were: "Tears Are Not Enough," "Poison Arrow," "The Look of Love," and "All of My Heart," the last three making the Top Ten; in the U.S., "The Look of Love" and "Poison Arrow" charted Top 40.) ABC, which began fragmenting almost immediately, never equaled its gold-selling first LP commercially or artistically, despite some worthy later songs. ~ William Ruhlmann, All Music Guide [-] Hide