Showing posts with label monday music. Show all posts
Showing posts with label monday music. Show all posts

Monday, 24 August 2020

Will You (40 years on from "Breaking Glass")

Breaking Glass, written and directed by Brian Gibson, was released in the UK forty years ago this month.  A tense, gritty drama (Alison & I were lucky enough to catch a screening of it in 2018, with Hazel O'Connor in attendance for a Q&A and mini-concert), it's a fascinating snapshot of the music scene - and London - at the time and features a tremendous soundtrack including the stunning and beautiful Will You, by Hazel O’Connor.
Will You was written by Hazel O’Connor with the sax arrangement by Wesley Magoogan (he also played it).  Tony Visconti, whose wide and varied career started in 1969 and spanned a whole load of artists (including T. Rex and David Bowie), produced.  The song, released as a single in May 1981, was recorded at Good Earth Studios in London.

In late 1979, having signed to Albion Records for £1 (a bad move that would blight her later career, with Albion withholding the royalties from her songs), O’Connor was picked to appear in a new film called Breaking Glass, about a “struggling punk singer who makes it big and goes gaga.”  Impressed with her, the director Brian Gibson re-wrote the script to incorporate more of her life into the story and she supplied all the songs.  “I got the bulk of the songs written in a week or so,” she told The Guardian, “though Will You was already done.”  She’d written it, while upset, after “reading about a man who popped into a shop for a sarnie and was blown to pieces by an IRA bomb” in Barclay Square.  “When I met Tony, I sang it to him live over a cassette recording of me playing the piano – just like the scene in the film.”

I think it’s a wonderful song, a beautifully detailed love story aided immeasurably by a fantastic sax solo which effectively takes over the piece halfway through (apart from that throaty “aah” at the end).  Melancholic, bittersweet and marvellous, this is an excellent record that affects me every time I hear it.
Will You spent 10 weeks on the UK charts in 1981, peaking at number 8.

Breaking Glass, the soundtrack album, was released in September 1980 and spent 35 weeks on the charts, peaking at number 5.  It was certified Gold (over 100k in sales) by the BPI.


Hazel O'Connor won the Variety Club of Great Britain Award for 'Best Film Actor' for her performance as Kate and she was also nominated for the Best Film Music Bafta.  When she toured the UK to promote the soundtrack album, the support group she chose was the then unknown Duran Duran, who went on to enjoy a bit of success of their own.  O'Connor combined singing with more acting roles, on television and in the theatre, throughout the 80s and 90s and she continues to record and tour.

Wesley Magoogan continued to play, with O'Connor, the Beat and Joan Armatrading among others, until his fingers were badly injured in an accident with a circular saw.  Now retired from music, he looks after his son Lester.

Tony Visconti went on to work with a huge array of artists and still produces.


sources
The Guardian: How We Made Breaking Glass
The Guardian (details about Wesley Magoogan)
Official Charts (UK): Will You
Official Charts (UK): Breaking Glass OST
Wikipeda

Monday, 10 February 2020

Devil Inside, by INXS

Since it's 32 years old this week, I'm taking a look at INXS' Devil Inside, a single I think best encapsulates not only the excellent Kick album but also the time period.
Devil Inside, the second single (following Need You Tonight) from Kick (which I wrote about here), was released on 8th February 1988 in Australia and 13th February 1988 for the rest of the world.  Recorded at Rhinoceros Studios in Sydney during 1986, it was written by Andrew Farriss & Michael Hutchence, produced by Chris Thomas and mixed by Bob Clearmountain.

It’s highest worldwide chart position was number 2, on the US Billboard Hot 100 for a fortnight (held off the top spot by Billy Ocean’s Get Outta My Dreams and Whitney Houston with Where Do Broken Hearts Go), going on to spend seventeen weeks on the chart.  It peaked at number 6 in Australia, 20 in France, 25 in Ireland and 47 in the UK (spending five weeks on the charts here).

Here come the world
With the look in its eye
Future uncertain but certainly slight
Look at the faces listen to the bells
It's hard to believe we need a place called hell

The song, part of the first batch for Kick, was written in July while the band was on the If You Got It, Shake It World Tour in 1986.  Andrew Farriss said, “The band was staying at a hotel in Edgware Road in London.  That’s where I wrote the riff - I put it on a demo in my room.  I worked out the chords, played everything for Michael and he said, ‘That’s really good, let’s run with it.’”

The band enjoyed playing the song live - “if you know the right parts,” Farriss said, “you can pretty much play this song as a bar band” - and Chris Thomas managed to preserve that in the recording.  The song quickly became a staple of concerts and it closed the Summer XS gig at Wembley in July 1991.
Joel Schumacher directed the video, a situation which arose from the soundtrack for his film The Lost Boys, released in 1987.  INXS contributed two songs, both of them collaborations with Jimmy Barnes - Good Times (a cover of the Easybeats song from 1968) and Laying Down The Law (co-written by INXS and Barnes) - which were originally recorded to publicise the Australian Made concerts from December 1986 to January 1987.  Since the music budget for the film wasn’t big enough but Schumacher wanted INXS, he agreed to direct a music video for them and they held him to the offer.

The video was filmed over two nights in mid-November 1987 at the Balboa Island Arcade & Boardwalk in Newport Beach, Southern California.  The production utilised three locations - the Balboa Saloon, as well as the Playland and Funzone arcades - and shot from 8pm to 4am (INXS had to leave for Canada after the second night of shooting for a concert).  The boardwalk was kept open to the public who were encouraged to be involved as unpaid extras, whilst the bodybuilders, bikers, businessmen, the fortune teller and the transvestite were all actors brought in for the shoot.

Kirk Pengilly said, in interview, that he didn’t like the video feeling it was “too American” but I love it and the song equally - both, to me, pretty much encapsulate the 80s in terms of sound and vision.

Devil Inside was nominated for Best Editing in a Video at the 1988 MTV Video Music Awards, but lost out to Need You Tonight (which swept the awards, winning five trophies).

The song was issued on vinyl and CD.  The 7” single and a 12” Maxi-single both contained the single version (at 5:11, the album version run 3:55) and On The Rocks, with the 12” version also including a Devil Inside remix (6:36).  The CD single was identical to the 12”.
Kick was released on 19th October 1987 and remains the bands most successful album, with almost 14m units sold.  It was produced by Chris Thomas (his second of three INXS albums) and recorded at Rhinoceros Studios in Sydney and Studio De La Grande Armée in Paris.  It spent 85 weeks on the ARIA album chart (peaking at number 2), 81 weeks on the US Billboard chart (peaking at number 3) and 103 weeks on the UK album chart (peaking at number 9).  I wrote extensively about the album on its 30th anniversary and you can read the blog post here.

The albums was supported by the enormous Kick World Tour which started at East Lansing in Michigan on 16th September 1987 and took in America, Canada, the UK, Europe, Japan, New Zealand and Australia.  The tour ended on 13th November 1988 at the Sydney Entertainment Centre, having played to more than 3 million people.

This performance was shot at Summer XS, Wembley Stadium, 13th July 1991 - a concert I was lucky enough to attend - and later released on the "Live Baby Live" DVD, directed by David Mallet.  Talk about a great way to close a show!