‘Wendy & Lisa’: 30 Years Old Today

Virgin Records, released 24th September 1987

Bought: Our Price Richmond, 1989?

8/10

Los Angeles, October 1986, just after the Japanese leg of the ‘Parade’ tour: Prince has invited his bandmates Wendy Melvoin and Lisa Coleman to dinner (Lisa will later report in her excellent liner notes for the Wendy & Lisa 2013 reissue that she ‘knew something was up’ as soon as they arrived).

To cut a long story short, he gives them the boot – in the nicest possible way. The Revolution is no more. Lisa: ‘We were like Fleetwood Mac and Sly & The Family Stone rolled into one… I thought we were going to make records together for the rest of our lives.’ But Prince wants to take back his freedom and sex up his act again. Struggling for the right words, apparently he says to Wendy and Lisa: ‘I can’t ask you to wear crotchless panties or nippleless bras…’

After a period of introspection, the ladies get together with other sacked Revolution member Bobby Z and write a few songs. At this stage, they have no intention of releasing the new material as ‘Wendy & Lisa’. But once they agree to front the band, a record company bidding war ensues. Huge advances are mentioned. They settle on a ‘big but sensible deal’ with Virgin. Predictably, the suits are less than turned on by the more musicianly moments on the album, but the ladies are unapologetic, saying that they ‘wanted to show off all the colours in our crayon box’.

So much for the history. How does Wendy & Lisa stack up these days? Pretty well. The singles ‘Sideshow’ and ‘Waterfall’ are probably the weakest tracks, though the latter has a cracking chorus and was apparently deemed a surefire hit by the record company and musician friends. But it didn’t do the business, not helped by its rather humdrum video. As Lisa says in the liner notes: ‘I had paid my showbiz dues with The Revolution.’

But the album works brilliantly when it sticks to the ‘cool chord changes over good beats’ remit, when they genuinely do sound like a mashup of ’80s Joni Mitchell and Prince. ‘Honeymoon Express’ exemplifies this approach, nicking Sly Dunbar’s ‘My Jamaican Guy’ beat and adding a sumptuous melody. The vocal harmony in the chorus is just sublime. ‘Light’, ‘Everything But You’ and ‘Chance To Grow’ also succeed in a similar vein. Wendy’s multi-instrumental skills (vocals, guitar, bass, sometimes drums) and Lisa’s impressionistic synth parts mesh perfectly.

‘Song About’ sounds eerily like The Carpenters. Ballads ‘The Life’ and ‘Stay’ have become fan favourites, the former also turning up in an improved Trevor Horn-produced reworking on the soundtrack of Michelle Pfeiffer movie ‘Dangerous Minds’. The instrumental ‘White’, featuring Tom Scott on soprano and a killer bit of drum machine programming by Wendy, is possibly the standout. Test your speakers out with this one, kids.

Wendy & Lisa – perhaps surprisingly – was not a hit. Lacking a breakout single, it didn’t dent the US top 100 and only scraped to #84 in the UK. Better Wendy & Lisa albums would follow, but this is an ambitious, arresting debut. All the colours in the crayon box indeed.

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Gig Review: The Revolution @ The Showbox, 15th July 2017

Our man in Seattle: Sebastian Wright.

A warm Seattle evening, just steps away from the iconic Pike Place Market. One of the definitive bands of the ’80s are getting ready to take the stage. But one member, the lead vocalist, is famously and notably absent. How can they pay tribute without becoming a tribute act?

The Revolution are close to the end of their 29-date North American tour. Reformed with the original line-up, they provided backup for Prince throughout his creative zenith (1980-86). It’s hard to think of a band who funked as hard in that era. And tonight, that’s what shines through.

The Revolution, 2017: From left, Brown Mark, Dr Fink, Bobby Z, Lisa Coleman, Wendy Melvoin and guest Dez Dickerson

Gone are the ’80s fashions, the side partings, ruffs and glitter (though keyboard player Dr Fink maintains his scrubs and stethoscope). This is not a celebration of the past but rather a testament to how relevant Prince’s music remains today. In the diverse, 1,100 capacity Showbox crowd, there is no hint of irony or throwback-chic. These people, many of them tattooed with Prince’s ‘symbol’ motif, came to party. And from the opening bars of ‘Computer Blue’, party is what they do.

What follows is a two-hour set of peerless pop classics. There are no overwrought solos, no extended jams. Nothing outstays its welcome or is embellished. Wendy takes lead guitar but keeps true to her original riffs instead of trying to mimic Prince’s soloing. It’s a joy to hear a band this tight and disciplined. Their use of vintage keyboards and drum machines, at chest- splitting volume, has a transportive effect.

Joined by guest vocalist Stokley Williams, The Revolution power through ‘Uptown’ and ‘DMSR’ until noticeably dropping the energy level (and losing the crowd) with two tracks from Prince’s vault of unreleased songs. Then it’s back to the dancefloor, tearing through ‘Erotic City’, ‘Let’s Work’ and ‘1999’, until their next break in pace: Wendy and Lisa’s quiet, melancholic and clearly deeply personal tribute to their missing bandleader, ‘Sometimes It Snows In April’.

It’s at this point that you hear the tears from fans who continue to be touched by the passing of their innovative, imaginative hero. For many, this is a moment of quiet reflection, surrounded by like-minded people – a cathartic release for all, including a visibly upset Wendy. As the show goes on, climaxing with ‘Purple Rain’, the band are overwhelmed by the ecstatic energy of the crowd.

It’s not hard to understand how The Revolution, all now in their mid-50s, can keep up with touring such a high-energy show. The passion of the music, camaraderie of the players and discipline of their act transform the audience into just what they lack: their missing frontman.