Huey Lewis & The News: Weather

It’s not easy to make happy music.

But there was a lot of it about in the 1980s, and Huey Lewis And The News were hugely successful purveyors of the uplifting single, particularly during their mid-decade peak when ‘The Power Of Love’, ‘Hip To Be Square’ and ‘Stuck With You’ were seldom off the airwaves.

Does anybody in the world actually dislike this band (Patrick Bateman is a particular fan, of course… Ed.)? Huey has a great set of pipes and they always deliver a reliable fusion of roots music: blues, R’n’B, rock’n’roll, doo-wop and country, with some pop and soul hooks thrown in too.

New album Weather is their first for ten years. Huey has had hearing problems due to a recent onset of Meniere’s Disease, about which he’s reliably sanguine, recently telling Classic Pop magazine: ‘Things could always be worse. After all, I’m deaf, not dead…’

Weather is only 26 minutes long. It’s intended as a followup of sorts to their most popular album Sports. Geddit? Sports and weather… These are simple songs, well played and well written, with decent melodies, bridges, middle-eights and nice guitar or sax solos. And this time ’80s mixmaster general Bob Clearmountain (Simple Minds, Bryan Adams, Hall & Oates) is on hand to deliver a rich, punchy sound, with everything in exactly its right place.

‘While We’re Young’ is a witty R’n’B song about ageing. You can almost imagine Donald Fagen doing it. ‘Her Love Is Killing Me’ is out of the Robert Cray school. The Blues Brothers would have done a great version.

‘Hurry Back’ features a classic Texas shuffle and some decidedly Stevie Ray-style lead guitar. It won’t win any #woke points for its one-night-stand theme – but who cares. The funky ‘Remind Me Why I Love You Again’ also scores highly on the un-PC scale to amusing effect, Huey complaining that his resolutely modern squeeze refuses to cook or clean.

There’s even a cover of Eugene Church’s 1958 doo-wop standard ‘Pretty Girls Everywhere’, complete with ‘boogalee-woogalee’ backing vox. And gentle C’n’W closer ‘One Of The Boys’ is touchingly faux-naive about Huey’s place in the world: ‘Yes I’m playing with my friends/Until the music ends‘.

Weather is not cool, certainly not hip, but effortlessly enjoyable. Somehow Huey Lewis And The News still sound like the best bar band you’ve ever heard in your life.

Prince: Dirty Mind/Controversy

Picture the scene: It’s August 1980 at Warner Bros Records’ Los Angeles HQ. Prince’s manager Steve Fargnoli is playing the suits his charge’s new demos.

Both the artist and his manager want to release these rough recordings as the next album.

Fargnoli hits the play button, and these lyrics crawl out over a peppy – but distinctly lo-fi – new-wave groove:

I was only sixteen but I guess that’s no excuse
My sister was thirty-two, lovely and loose
She don’t wear no underwear
She says it only gets in her hair…

Major labels often – quite rightly – take a lot of flak, but Warner Bros deserves credit for taking on Dirty Mind (released 8th October 1980) and Controversy (released 14th October 1981). It was a brave move by Prince too, an incredible volte face after it looked like he might be going down a big-budget, soft-rock/disco rabbit hole. Just compare the Prince and Dirty Mind covers: it was definitely one in the eye for Reagan’s new, ultra-conservative regime.

I first heard these albums circa 1988 via a compilation tape made by my schoolfriend Seb. I already knew and loved Parade and Sign O’ The Times but these older songs sounded like they’d been sent down from a different planet. I didn’t pay much attention to lyrics in those days but sensed something very odd going on.

In the Dirty Mind/Controversy era, Prince’s main modus operandi seems to be: shock at all costs. It’s a novel approach, because if he can express himself completely freely, and then deliver such a classic, ‘throwaway’ rock song like ‘When You Were Mine’, you never know what’s going to come next. Cue a long, great career.

Recorded very quickly during summer 1980 at his rather ramshackle home studio in Lake Minnetonka, Minneapolis (the drum kit apparently sat in a puddle of water surrounded by sand bags), Dirty Mind has more in common with the B-52s, Elvis Costello, Blondie and The Cars than it does Earth, Wind & Fire or REO Speedwagon.

It’s nasty, brutish and short. And of course what struck me listening to it again after five or six years, it’s remarkably stripped down compared to a great deal of modern music – hardly surprising when nearly all the noises are made by Prince. Only ‘Head’, ‘Partyup’ and ‘Uptown’ outstay their welcome, underwhelming grooves with slight vocal performances (though the former became a great live track).

Vinyl is back in vogue big-time, and my old LP version of Controversy sounds absolutely great. Of course it helps that the album’s only 37 minutes long, and also there’s a lot more bottom-end this time.

On a decent turntable, various details emerge like the scuzzy synth bass escaping from the left channel during the Lord’s Prayer on the title track (can you guess it’s a Prince album yet?!) and some low-octave backing vocals throughout.

It’s also a totally schizophrenic album again, with the title track and ‘Sexuality’ laying down a kind of free-love/free-speech manifesto, two rockabilly tunes (one a message to Reagan), a graphic seduction ballad and synthetic funk tune (‘Private Joy’) which marks Prince’s first use of the Linn LM-1 drum machine.

Weirdly, none of these songs made the PMRC’s Filthy 15 list. But they still sound totally fresh, especially the unclassifiable stuff like ‘Dirty Mind’, ‘Annie Christian’, ‘Jack U Off’, ‘Sexuality’ and ‘Ronnie Talk To Russia’.

Prince toured Dirty Mind and Controversy extensively, and there were three particularly infamous gigs during the period: his London debut at The Lyceum on 2nd June 1981 and the two shows supporting The Rolling Stones at the Los Angeles Memorial Coliseum on 9th and 11th October 1981.  Were you at any of them? Let us know your memories.

Story Of A Song: Adrian Belew/David Bowie’s ‘Pretty Pink Rose’

One can get caught up revisiting the ‘lost’ periods of the truly great artists of the last 50 years – Miles, Neil Young, Bowie, Dylan, Zappa, whoever.

At the moment, it’s Bowie’s late-’80s and early-’90s that particularly intrigue, roughly the period from ‘Intruders At The Palace’ to Tin Machine II.

There was a lot more to the era than Tin Machine. ‘Pretty Pink Rose’, a song Bowie had originally demo’d in early 1988 with members of Bryan Adams’ band (and one later rejected by TM, though one can hear echoes of it in their cover of Roxy Music’s ‘If There Is Something’), generally gets a bum rap but features some classic Bowie moves, like the descending, superbly-sung bridge and ‘secret’ chord also heard in ‘Absolute Beginners’ and ‘Loving The Alien’.

Bowie rang Belew on 4th August 1989 asking him to play guitar and take the role of musical director on the ‘Sound + Vision’ greatest hits tour. But Belew owed Atlantic Records a solo album, the one that eventually became 1990’s Young Lions. Bowie offered to pitch in with ‘Pretty Pink Rose’. Apparently Belew was initially less than enamoured, but grew to love it.

Belew recorded the backing tracks on 11th November 1989 at Royal Recorders near Lake Geneva in Wisconsin, playing all instruments. He achieves a great garage-rock sound with sprightly bass, Leslie-toned rhythm guitars and some mad lead playing courtesy of a Fender Strat wired with a Kahler tremolo arm that he found could be ‘tapped’ on the neck instead of using his finger tips.

Bowie and Belew recorded their duet vocals (at the same mic – apparently Belew was unexpectedly starstruck) on 15th January 1990 at Right Track in NYC (Bowie recorded his spontaneous vocals for ‘Gunman’ on the same day). Apparently a spoken-word intro was later excised, which featured Bowie intoning: ‘She had tits like melons… It was love in the rain’!

‘Pretty Pink Rose’ was released a single in May 1990 but inexplicably missed the top 40 in both the US and UK, despite regular MTV screenings of the Tim Pope-directed video featuring Bowie and Belew hamming it up with ‘Life And Loves Of A She-Devil’ star Julie T Wallace.

Bowie and Belew also played it every night on the ‘Sound + Vision’ tour, augmented by some great chord additions by keyboardist Rick Fox. It looks like they were having a lot of fun. It’s a cracking song and a lost Bowie classic.

Marillion: Seasons End 30 Years On


Prog fans – perhaps understandably – are not generally known for their benevolence when a favourite band undergoes a personnel change.

Steve Howe has talked publicly about the poor reception Trevor Horn received when the latter made his debut as Yes’s new vocalist during their North American tour of 1980. Phil Collins still believes some Genesis fans were convinced he was scheming to take Peter Gabriel’s place as the band’s singer.

But Marillion fans seem a far more amiable bunch. When Steve Hogarth was installed as their new frontman in 1989, he seems to have been welcomed pretty much with open arms (if this superb televised gig from only his second UK tour is anything to go by).

Seasons End, (no apostrophe?), released 30 years ago this week, was a weirdly assured debut from Hogarth and easily this writer’s favourite Marillion album (1989 was a bit of a Year Zero for me in terms of the band, the Fish era barely appearing on my radar). Hogarth’s melodies are fresh and exciting and his vocals always strong.

It helped of course that Hogarth was a triple threat, a proven singer/songwriter with mid-’80s bands The Europeans and How We Live (though he was apparently eyeing a job as a milkman when the latter wound down in early 1988) and possessing some decent keyboard chops.

His natural magnetism as a frontman didn’t hurt too, and he even brought a few gimmicks to the party, like the magic gloves and musical cricket bat (a tribute to Ian Faith? Ed.).

So how does Seasons End stack up these days? Pretty well. The singles ‘Easter’ (UK #34), ‘The Uninvited Guest’ (UK #53) and ‘Hooks In You’ (UK #30) were distinctive, well-arranged and featured soaring guitar playing from Steve Rothery. Ian Mosley is that rare rock drummer, solid but expressive, and capable of great subtlety. Keyboardist Mark Kelly had become a superb builder of atmospheres and textures too, as demonstrated on the Steve Reich-esque second half of the title track, ‘Holloway Girl’ and ‘The Space’.

Marillion, Genesis and It Bites were flying the UK prog/pop flag at this point, and their late-’80s careers make for interesting comparison. As for Seasons End, it did very nicely, touching down at #7 in the UK album chart and ensuring a long, fruitful career for the band’s new line-up. Good guys, good record.

Prince: Batman Motion Picture Soundtrack 30 Years Old Today

At the beginning of 1989, the tabloids were full of rumours that Prince was in dire financial straits.

While that seems unlikely, with hindsight it does seem a curious decision for him to take on a soundtrack gig for such a huge mainstream movie, stepping right into the belly of the Warner Bros. beast.

But then it’s also not much of a surprise that he smashed Batman out of the park. On many levels, it was the perfect project for the time – the movie’s themes appealed to his post-Lovesexy spiritual concerns and also tapped into his own feelings about fatherhood. He explored those themes poignantly on ‘The Future’ and ‘Vicki Waiting’.

Musically, in the main he retreated from Lovesexy‘s album’s dense, complex, band-inspired sounds and went back to a minimalist approach, pushing his guitar right to the fore and making liberal use of samplers and a Fairlight.

But even though ‘The Future’, ‘Electric Chair’, ‘Partyman’, ‘Batdance’ and ‘Lemon Crush’ are essentially one-chord jams, Prince knows exactly how to hold the attention with false endings, escalating riffs, hysterical guitar solos and quirky chord voicings. The net result is a somewhat forbidding but still undeniably funky album.

Also he doesn’t scrimp on the dancefloor classics – put on ‘Partyman’, ‘Trust’ or ‘Batdance’ (a UK #2 and US #1) and to this day you’ll get any party started. Elsewhere, ‘Scandalous’ is a brilliantly-sung, sometimes funny seduction ballad in the tradition of ‘Do Me Baby’ and ‘International Lover’, while ‘The Arms Of Orion’ is a pretty – if somewhat trite – ballad.

The album was a smash hit, selling over a million copies in its first week of release and becoming his first US #1 album since Around The World In A Day. Prince was almost returning to his Purple Rain popularity, no doubt helped by the huge success of the movie too.

But this kind of mainstream success was short-lived. Something was eating him up inside – in typical form, he regrouped immediately and took on a deeply personal project, the doomed Graffiti Bridge movie/album.

It was a funny old end to the decade. But a totally Prince one. Probably his least-remembered album of the ’80s – though arguably the last great album he delivered – Batman is ripe for rediscovery as we reach more end-of-the-decade, spiritual/political uncertainty.

Story Of A Song: David Sylvian’s Pop Song

Sylvo is not particularly known for his sense of humour, but there was surely an element of black comedy about the release of the ‘Pop Song’ 12-inch single.

It’s hard to read it as anything other than his ironic response to being asked by Virgin Records to come up with something a little more ‘commercial’ to promote the Weatherbox limited-edition box set (a collection that, in the event, didn’t even contain ‘Pop Song’!).

Imagine the ashen faces of the management at Virgin HQ when the needle hit the vinyl. ‘OK, there’s some kind of groove, but hang on – the synth bass is out of tune, the drums sound like Tupperware boxes and the piano has been flown in from a different song altogether…’

Yes, this was David’s ‘Jugband Blues’. And it was brilliant (the B-sides are well worth tracking down too). Cooked up alongside regular co-producer Steve Nye at Marcus Studios, Fulham, West London, during late summer 1989, ‘Pop Song’ was Sylvian’s bitter farewell to the decade, a vision of late-’80s Britain as a nation of clock-watching factory workers numbed by banal pop music and Sunday supplements. It’s fair to say that it wasn’t your typical feelgood summer single…

Musically, it was Sylvian’s version of ‘pop’ and pretty amusing at that, with some gorgeous ‘found sounds’, deliciously tangential piano work from ECM regular John Taylor and underwater drums/queasy synth bass courtesy of Steve Jansen. Sylvian delivers a great vocal too, full of cool, jazzy phrasing (check out the ‘But the money goes/And the time goes too’ line).

I bought ‘Pop Song’ on the day it came out (30th October 1989), and my memory is that it created quite a stir amongst Sylvian fans. It registered briefly at #83 in the UK singles chart and then promptly disappeared. Was it ever actually played on the radio? One doubts it.

But if ‘Pop Song’ proved a strange detour for Sylvian, life was about to get even stranger – next stop was the Japan ‘reunion’ Rain Tree Crow, of which much more soon.