Memorable Gigs Of The 1980s (Part Two)

David Sanborn Band/Al Jarreau @ Wembley Arena, November 1984

We were sitting high up behind the stage with a great view of two of the great modern American drummers: Steve Gadd (with Sanborn) and Ricky Lawson (with Jarreau). To be honest, my parents and I left in the middle of Al’s set but Sanborn was fantastic with Marcus Miller and Hiram Bullock running amok on the huge Arena stage. The saxophonist was at his commercial peak here and probably could have headlined the show.

Marc Almond @ The Palladium, 12th October 1986

I have absolutely no memory of why I was at this gig but it was a genuine eye-opener. Almond was long past his pop fame and seemed to be acting out his own private, Berlin-inspired drama. Looking at the footage today, I’m still not sure if it’s brilliant or total sh*te.

Miles Davis @ Hammersmith Odeon, 21st April 1982

I remember someone shouting ‘Turn the guitar down!’ Poor Mike Stern wasn’t the critics’ flavour of the month and Miles was obviously exceptionally ill, but the gig was unforgettable. One of my first and very best. I saw Miles three or four times during the ’80s but this was the bomb for sheer atmosphere and occasion.

Robert Palmer @ Hammersmith Odeon, 25th September 1988

There really isn’t anyone around these days like the much-missed Robert with his gravelly voice, weirdly cosmopolitan compositions and ever-present smirk. He had a highly-drilled, sh*t-hot band with him at the Hammie Odeon too featuring Frank Blair on bass and Eddie Martinez on guitar. The gig started with a five-minute Dony Wynn drum solo which fair blew the minds of my brother and I.

Yes/No People @ Limelight, 9th September 1986

I think this gig was part of what was then known as the Soho Jazz Festival. There was a lively crowd of ‘jazz revival’ hipsters and rare-groove fans – this was my first taste of an underground scene that was quickly building momentum. DJ Baz Fe Jazz kicked off with some Blue Note post-bop (yes, people actually danced to that stuff) and then Yes/No People featured Steve Williamson on sax and the cracking Mondesir brothers (Mark and Mike) rhythm section. The band only lasted a year or so but nearly dented the charts with their ‘Mr Johnson’ single.

John McLaughlin/Mahavishnu Orchestra @ Hammersmith Odeon, 12th July 1984

The sign on the door said ‘Billy Cobham will not be appearing’ – heartbreaking to me at the time (McLaughlin apparently dumped Billy just a week before the tour). But Danny Gottlieb sat in with some style and John rattled off some outstanding licks in black shirt and black headband. It was bloody loud too. It was the first time many British fans had seen him since Mahavishnu Mark 1 days and as such there was a big hippie turnout.

Bill Withers @ Hammersmith Odeon, 18th September 1988

From memory, Bill spent most of the gig sitting at the front of the stage, talking about his life and career while Pieces Of A Dream accompanied with gentle jazz/funk. Bill wore a sweater and golfing slacks and seemed incredibly old, more Val Doonican than Curtis Mayfield.

Weather Report @ Dominion Theatre, 26th June 1984

The duels between keys man Zawinul and drummer Omar Hakim were spellbinding. This was clearly the dog’s b*ll*cks. Well, it was better than Duran Duran anyway. Omar’s huge shades, trash-can cymbal and big grin linger in the memory.

Level 42 @ Wembley Arena, 12th January 1989

Level again, but this time for all the wrong reasons. We were in the back row of the dreaded Arena, and the band were flogging their substandard Staring At The Sun album. The audience reaction to the ‘new stuff’ was distinctly subdued. After a contractually-obliged encore of ‘Chinese Way’, Mark King returned to the stage alone. ‘You ‘ad a good night?’ he bawled. The audience erupted. ‘Well, you can all go and f**k off home then’, deadpanned the thunder-thumbed one. Reply – and further encore – came there none…

Bubbling under:

Mike Stern/Bob Berg Band @ Town & Country Club, November 1989

Will Downing @ Hammersmith Odeon, 20th November 1988

Coltrane Legacy (Alice/Ravi Coltrane, Reggie Workman, Rashid Ali) @ Logan Hall, 10th July 1987

Ry Cooder @ Hammersmith Odeon, 27th May 1982

Bill Frisell @ Town & Country Club, 24th April 1989

Ornette Coleman/Prime Time @ Town & Country Club, 28th August 1988

Check out the first selection of memorable gigs here.

Were you at any of these concerts? Let me know your memories.

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Thelonious Monk: That’s The Way I Feel Now

Most jazz players don’t really seem to ‘get’ the music of Thelonious Monk. Decent cover versions are hard to come by, of course with some notable exceptions (Steve Khan, Kenny Kirkland, Lynne Arriale, Paul Motian and probably a few more).

During the centenary of the genius’s birth, it seems as good a time as any to revisit a classic 1980s Thelonious tribute album which puts his miraculous compositions front and centre (plus the fact that I’ve just acquired a brilliant new cassette player* which is bringing it to life again after years stuck in the proverbial drawer).

That’s The Way I Feel Now was masterminded by producer/curator Hal Willner and inspired by bad Monk cover versions. Willner told writer Howard Mandel: ‘I was sitting at Carnegie Hall at some jazz memorial to Monk, getting freaked out that all these other people who really had a love of Monk weren’t performing. Monk’s music was never boring.’

So, at New York’s Mediasound Studios in early 1984, he set about assembling an extraordinary cast of fans including Todd Rundgren, Donald Fagen, Joe Jackson, Carla Bley, Peter Frampton, John Zorn, Was (Not Was), Dr John, Gil Evans, Bobby McFerrin, John Scofield and Elvin Jones to celebrate Monk. (Willner has gathered similarly eclectic casts for albums celebrating Mingus, Nino Rota, Kurt Weill and the music of Walt Disney films, as well as producing records by Lou Reed and Marianne Faithful and movie soundtracks including ‘Short Cuts’.)

Listened to in one sitting, That’s The Way I Feel Now still makes for a gloriously psychedelic celebration of Monk’s ouevre. Over 22 tracks, I can only make out three duds. It’s also a triumph of sequencing, holding the attention with ease by unashamedly juggling the rock, jazz and avant-garde.

First, the ‘rock’: Rundgren’s take on ‘Four In One’ is a gloriously anarchic, Gary Windo’s sax blaring out over a cacophony of samples, cheap drum machines and amateurish keyboards. Was (Not Was)’s take on ‘Ba-Lue-Bolivar-Ba-Lues-Are’ features a knockout multi-tracked guest spot from vocalist Sheila Jordan, while Donald Fagen and Steve Khan mesh perfectly on beautiful ballad ‘Reflections’. NRBQ’s take on ‘Little Rootie Tootie’ comes near to perfection, as does Chris Spedding/Peter Frampton’s surf-rock-tinged ‘Work’ featuring a classic Marcus Miller bass performance. Only Joe Jackson didn’t get the memo, delivering an overly-lush – though obviously heartfelt – ‘Round Midnight’.

Then there’s the ‘jazz’: John Zorn lays down an outrageous ‘Shuffle Boil’ featuring babbling vocals, bubble-blowing, chainsaw guitar, Bontempi organ and hilariously remedial drumming; Elvin Jones and Steve Lacy deliver a memorable ‘Evidence’; Randy Weston, Dr John and Barry Harris’s contributions are solo piano masterworks; John Scofield and Mark Bingham smash ‘Brilliant Corners’ out of the park, as do vocalists Bobby McFerrin and Bob Dorough on ‘Friday The 13th’. Finally, Carla Bley’s ‘Misterioso’ is possibly the album standout, an affecting symphony for Monk featuring electrifying performances from Kenny Kirkland on piano, Johnny Griffin on tenor and Hiram Bullock on guitar.

The Rundgren tune aside, to my ears That’s The Way I Feel Now could have been recorded yesterday. The only problem is that it’s almost impossible to buy these days. So I’m bloody glad I held onto my ancient cassette version. Here’s hoping for a CD/download re-release soon.

*a Denon DRR 6.5, if you’re interested…

 

Post-Tutu Blues: David Sanborn’s A Change Of Heart 30 Years On

Warner Bros Records, released March 1987

Bought: Our Price Richmond

4/10

On 17th July 1986, Tampa-born sax great David Sanborn broke off from his own European tour to guest with Miles Davis and band at the Montreux Jazz Festival, playing on ‘Burn’, ‘Jean-Pierre’ and also ‘Portia’, one of the standout Marcus Miller compositions from the soon-to-be-released Tutu. Though obviously nervous, Sanborn acquitted himself well, getting stuck in with some tasty modal solos and prompting many Miles smiles. Hopefully the performance would bode well for Sanborn’s next studio recording.

Unfortunately not. Sanborn made some fine albums during the 1980s – Hideaway, Voyeur, As We Speak, Straight To The Heart – but A Change Of Heart was not one of them. It was the kind of over-produced, under-composed, unfunky ‘fusion’ record that Tutu should have killed off once and for all.

I bought A Change Of Heart on cassette when it came out, proudly showing it off to a cool family friend who had previously introduced me to loads of great music. I hoped he would be impressed by my purchase. He turned his nose up, mumbling something about ‘Bloody muzak…’ I was puzzled and a bit embarrassed. Listening back 30 years on, he was right about A Change Of Heart but wrong about Sanborn. It would be a shame if A Change Of Heart was a listener’s first experience of his music.

The opening two Marcus-written-and-produced tracks – ‘Chicago Song’ and ‘Imogene’ – deliver a quality that the rest of the album never even remotely comes near. Miller was in constant demand around this time and presumably couldn’t commit to the whole album. ‘Imogene’ is a classic ballad with a haunting fretless bass melody and beguiling bridge, while ‘Chicago Song’ transcends its simple melody with an irresistibly funky rhythm section and biting Hiram Bullock guitar bridge. It’s still part of Sanborn’s live set to this day.

The rest of A Change Of Heart seems designed for the latest Don Simpson movie or an episode of ‘Miami Vice’. Syndrum overdubs and unsubtle Fairlight samples prevail alongside ugly synth sounds and flimsy melodic motifs, without a whiff of jazz or R’n’B. Producer/synth players/writers Ronnie Foster, Philippe Saisse and Michael Colina toil away fruitlessly and even Sanborn’s licks don’t stick.

Sanborn toured A Change Of Heart extensively with a great band featuring Bullock and Dennis Chambers on drums, even popping up on primetime UK music show ‘The Tube‘ playing Michael Sembello’s smooth jazz ballad ‘The Dream’. He was clearly at his commercial peak (the album made the top 100 in the US and UK) but the creative rot would prevail to the end of the ’80s. He got back on track with the release of 1991’s Another Hand.

Miles Davis’s Tutu: 30 Years Old Today

miles tutu1985 was a year of upheaval for Miles Davis. Though he had recorded the very successful You’re Under Arrest and was in some of his best trumpet lip of the ’80s, his relationship with Columbia Records was at an all-time low.

For one, the label’s other star trumpeter Wynton Marsalis was at his peak of popularity, and, as far as Miles was concerned, Columbia boss Dr George Butler only had eyes for Wynton.

Then Miles felt that Columbia had procrastinated over releasing his cover of the Cyndi Lauper song ‘Time After Time‘ as a single. At the time, with typical mordant humour, Miles said, ‘He (George Butler) ignored it because he’s so busy with Wynton Marsalis. He heard us do it at the Montreux Jazz Festival last year and said “We gotta do it! We gotta do it!” I said, “George, I told you man. We already did it!” And he still didn’t release it…’

And the final nail in the coffin seemed to be Columbia’s unwillingness to put any financial clout behind Miles’s stunning collaboration with Danish trumpeter/composer Palle Mikkelborg, Aura, recorded at the beginning of 1985. For unknown reasons, the music didn’t see the light of day until 1989.

Again, in contemporary interviews, Miles rounded up the usual suspects: ‘I wanted $1400 for a digital remix and Columbia wouldn’t pay it. And then George Butler calls me up. He says to me, “Why don’t you call Wynton?” I say, “Why?” He says, “Cos it’s his birthday!” That’s why I left Columbia.’ Later reports had Miles carrying out Butler’s request, barking ‘Happy Birthday!’ to Marsalis and then slamming down the phone.

miles-davis-tutu-2

Miles officially became a Warner Bros. artist in autumn 1985. House producer Tommy LiPuma was delighted to get him – but what to do with him? Miles first took his touring band into the studio and embarked on a kind of You’re Under Arrest part two, covering tunes by Mr Mister, Nik Kershaw and Maze.

But this project was quickly abandoned, and Miles contacted various musicians including Prince (who supplied the rather humdrum ‘Can I Play With U’, later replaced by Marcus Miller’s ‘Full Nelson’), George Duke, Bill Laswell, Paul Buckmaster and Toto’s Steve Porcaro. He was desperate for new music and a new direction.

But he finally settled on an old contact, Randy Hall, the young Chicago multi-instrumentalist who had worked on his comeback album The Man With The Horn back in 1981. Around a dozen tracks were completed between October and December 1985 in what was now known as the Rubber Band project. However, again for unknown reasons, the project was shelved, LiPuma quoted as saying, ‘I didn’t hear anything. To me, it didn’t sound like nothing was going on.’

Other collaborators were quickly suggested and then discarded including keyboardists Lyle Mays and Thomas Dolby. So Miles went back to George Duke. Their paths had crossed many times over the years, particularly when Duke was playing keyboards with Cannonball Adderley in the early ’70s. As Duke remembers, ‘When Miles called, I initially thought it was a prank, one of my friends impersonating him. So I didn’t do anything, and a week later he called again. I said, “Who is this?” and he started swearing at me, “Mother****er, write me a song!”‘

It seems finally that George Duke’s demo of ‘Backyard Ritual‘ was deemed a direction worth pursuing by Miles and LiPuma. A strong, drum-heavy track put together by Duke using a Synclavier digital sampler with a simple but memorable main motif, he never intended it to be used as a final version, highlighted by the rather cheesy sampled alto sax solo. But Miles eventually used almost the whole demo for Tutu, embellishing it only with some slithering percussion by Steve Reid and Paulinho Da Costa and of course his own pristine trumpet playing.

Miles’s take on it was that he respected a quality arrangement, demo or not: ‘A guy like George Duke, he writes a composition, it’s all there. All you have to do is play on it and respect that man’s composition’, he told writer and musician Ben Sidran. And Duke revealed that he had even played a ‘sampled’ trumpet solo on the original demo, which tickled Miles. Duke: ‘He said to me, “You think that’s the way I play trumpet?” And I said, “That’s the way it sounds to me!”‘

At the beginning of 1986, Marcus Miller phoned Tommy LiPuma out of the blue. The bassist and composer had of course played in Miles’s comeback band from 1981 to 1983. He had since made two solo albums and worked with a huge variety of artists, from Luther Vandross and Aretha Franklin to Bryan Ferry and Carly Simon, and was aware that Miles had migrated to Warner Bros and wondered if he was looking for new songs. LiPuma sent him the ‘Backyard Ritual’ demo; Miller was instantly inspired: ‘I thought, “Wow, if Miles is willing to use drum machines and stuff, let me show my take on that.” I wasn’t directly musically influenced by George’s track but it gave me a direction.’

Miller wrote and recorded demos for ‘Tutu‘, ‘Portia‘ and ‘Splatch‘ back-to-back, playing all the instruments himself. Previewing the tracks with Miles and LiPuma in LA in March 1986, he got an immediate green light to turn this into an album project – this was the direction they had been looking for. Miller began recording the final versions of the three tunes immediately with the help of keyboardist and programmer Adam Holzman.

There’s been a lot of speculation as to why none of Miles’s touring band were invited to play on the Tutu sessions, with opinions differing as to who made the decision. Miller insists, ‘I wasn’t party to the decision not to use the live band but Tommy didn’t push me in any direction. He let me do my thing.’ Miles seemed to resign himself to the convenience of the situation, saying, ‘Rather than get myself, the working band and Tommy into all kinds of hassles by trying to bring my band in the studio to record music I might like, but Tommy doesn’t, we do it this way.’

Consequently, although some choice session players appear on the album, such as drummer Omar Hakim and the aforementioned Paulinho Da Costa, as well as some of Miller’s trusted friends and collaborators like keyboardist Bernard Wright, synth programmer Jason Miles and electric violinist Michal Urbaniak, there’s a unified sound to Tutu that comes directly from Miller’s amazingly-assured contributions on fretted and fretless basses, keyboards, drum programming and occasional live drums. And his soprano sax acts as Miles’s main instrumental foil on the album, particularly evident on the call-and-response phrases in ‘Tomaas’.

Once the backing tracks had been laid down, LiPuma and Miller documented Miles’s trumpet playing as spontaneously as possible without resorting to too many ‘comp’d’ takes (final versions made up of several performances). Apart from this being a necessity as Miles didn’t like to do more than two takes, it was also an intelligent arrangement idea serving as a contrast to the painstaking and meticulous piecing together of the backing tracks.

According to legend, Miles’s solos on the title track and ‘Portia’ are complete takes from beginning to end. Miller found himself performing on soprano sax at the same mic as Miles during the recording of ‘Portia’. He called it ‘one of the most tense experiences I’d ever had’. But, by most accounts, Miles was a receptive and willing participant in the creative process, once telling Miller, ‘Come on, man, I don’t mind a little bit of direction! You wrote the tunes. Tell me where you want me to play.’ Again, Miles demonstrates his total respect for the composer.

Miles was also reportedly responsible for the inclusion of one of the more controversial cuts on the album, the Scritti Politti cover tune ‘Perfect Way‘. Miles apparently cajoled Miller into recording the song, believing it had the potential to be the new ‘Time After Time’, and even wanted to call the album ‘Perfect Way’ until just before release.

But Miller expressed reservations about replicating Scritti’s legendary ‘Swiss watch’ arrangements, and with good reason – the Tutu version does sound rather laboured and weedy compared to the original. But Miles remained a big Scritti fan and two years later made a memorable guest appearance on their ‘Oh Patti’ single.

So has Tutu stood the test of time? The title track, ‘Portia’ and ‘Tomaas’ would surely be right at home on any Miles best-of, with their majestic themes, engaging harmonies, slinky grooves and strong trumpet playing. ‘Full Nelson‘ remains a great tribute to Prince’s sound circa Parade and Sign Of The Times, while ‘Don’t Lose Your Mind‘ is a classy approximation of Sly and Robbie‘s mid-’80s collaborations. But ‘Perfect Way’, ‘Backyard Ritual’ and ‘Splatch’ unfortunately now sound suspiciously like beautifully-produced filler.

But, taken as a whole, Tutu is a very important album whose success was helped immeasurably by Irving Penn‘s striking cover portrait. It crystallised Miles’s interest in funk, soul and R’n’B more successfully than Decoy or You’re Under Arrest, whilst retaining a crucial ‘jazz’ flavour. It was also a statement of political intent and black pride, significantly referencing both Archbishop Desmond Tutu and Nelson Mandela in its song titles. And – perhaps most crucially – it was a hit, introducing a whole new generation to Miles’ unique trumpet sound.

For much more on Tutu and Miles’s ’80s work, check out George Cole’s book ‘The Last Miles’ and also Paul Tingen’s ‘Miles Beyond’.

Sly Meets Scritti: Tony LeMans’ 1989 Debut Album

downloadPaisley Park/Reprise, released 29th September 1989

Bought: Mr CD, Soho, 1992?

7/10

This is an intriguing, very promising, almost completely forgotten debut album by a young singer and songwriter who very sadly died only three years after its release.

I came across Tony LeMans completely by chance at the Mr CD shop on Berwick Street, Soho. It had piles and piles of albums at five quid a pop, quite a steal by ’90s standards. You just never knew what you would find, in the days when you would take a chance on an album just on the strength of the label, cover, musicians and/or producer. Me: I saw the words ‘Sylvester Stewart’, ‘David Gamson’ and ‘Paisley Park’ on the back and had to have it. I’m pretty sure I’d never have read about it in a magazine or seen it advertised on TV.

Tony-LeMans-Tony-LeMans-1989-Back-Cover-79406

Gamson plays keyboards and produces beautifully, fresh from Scritti Politti’s Provision. Tony LeMans was released on Prince’s Paisley Park Records – rumours were abound of the Purple One’s involvement, but he doesn’t appear.

But other ’80s funk masters do: Bernard Wright supplies some cracking wah-wah clavinet to a few tunes, though bassist Marcus Miller and guitarist Paul Jackson Jr. are fairly nondescript. Prince cohort Boni Boyer adds occasional back-up vocals alongside Michael Jackson collaborator Siedah Garrett (phenomenal on the opening ‘Higher Than High’).

The sonic clarity and mastering of Tony LeMans are outstanding; it would make a brilliant CD for auditioning a hi-fi. It’s also a real relief from the over-loud, over-compressed music of today. Musically and lyrically, it initially comes on like a ‘standard’ late-’80s pop/soul/funk album, but closer inspection reveals a strong psychedelic flavour. Mainly though, due to Gamson’s total involvement, the album sounds like Provision-era Scritti fronted by Sly Stone.

tony lemans

The opener ‘Highest High’ fuses the synth hook from Prince’s ‘Lovesexy’ with Sly’s ‘The Same Thing’ (though neither get a songwriting credit) to great effect. ‘Forever More’ is a luxuriant ballad with a fine falsetto vocal from LeMans and some classic Gamson chord changes, while ‘Good For You’ is an infectious, catchy slice of doo-wop-influenced pop.

There’s a bit too much filler on side two, but the closing ‘Different Kind Of Thing’ is possibly the stand-out and the nearest thing to a Prince song (very much influenced by ‘Erotic City’), though it was only an extra track on the original CD release.

LeMans toured the album in the States, sometimes supporting MC Hammer (!), and was recording his second Paisley Park album at the time of his death. It was due to feature a Prince composition called ‘Fuschia Light’. Sadly, we’ll probably never hear what it sounds like.

You can get hold of Tony LeMans and listen to it here.

Scritti Politti’s Cupid & Psyche 85: 30 Years Old Today

scrittiVirgin Records, released 10th June 1985

Bought: Virgin Megastore Oxford Street, 13th July 1985 (morning of Live Aid)

10/10

We come to another of my absolute ’80s favourites. Cupid is also one of those rare ‘classic’ albums that, despite big sales and critical appreciation, is still inexplicably awaiting a re-release/remaster, unless I’m very much mistaken.

David Gamson, Green Gartside, Fred Maher

Fred Maher, Green Gartside, David Gamson

Listening again to Cupid 30 years after its release, I wonder if it sounds very dated to modern ears. I suspect it does but it was so much part of my musical (and general) coming-of-age that I can’t judge. Whilst it unabashedly utilised all manner of mid-’80s technology (Fairlight, drum machines, sequencers), I don’t really ‘hear’ those elements any more. All I hear is top-notch songwriting, intriguing and intelligent lyrics, great grooves and Green’s unique vocals. Cupid hit me at exactly the right age; it was the soundtrack to endless summer evenings, teenage crushes, adolescent musings.

Though Scritti leader/vocalist/co-songwriter Green Gartside left behind his post-punk roots and the ‘indie’ sound of his Rough Trade debut album Songs To Remember to create this major-label debut, Cupid certainly had antecedents: Green and keyboardist/co-composer David Gamson revered the highly-syncopated R’n’B/electro of The System, Chaka Khan, ZAPP and Michael Jackson, but they added some classic pop songcraft and intricate harmony.

Rough Trade boss Geoff Travis gave Green his blessing and, coupled with manager Bob Last (who also managed Human League and ABC), Green pitched the Americans his fusion of pop and funk. As he told Word magazine in 2006, ‘The American labels were all tickled pink by these big NME interviews we did and that loosened their wallets. Bob and I were terribly persuasive as to why they should part with vast sums so we could make a record.’

Legendary Aretha/Chaka producer Arif Mardin came on board as did a raft of quality players such as Marcus Miller, Steve Ferrone, David (The System) Frank, Robbie Buchanan, Robert Quine and Paul Jackson Jr. But Green apparently turned out to be more of a perfectionist than any of them: ‘It took us a great deal of time to get our bits right and my anxiety about singing was pretty acute. I would demand to sing things over and over again and I’m not sure I ever got it better than the first time.’

Cupid featured three classic singles – ‘The Word Girl’, ‘Absolute’ and ‘Wood Beez (Pray Like Aretha Franklin)’, though eventually a total of five tracks were released as A-sides. The John Potoker remix of ‘Perfect Way’ (far superior to the album version) even became a massive hit in the States, reaching 11 on the Billboard Hot 100 and pushing worldwide sales of the album over the million mark (check out this guy’s incredible play-a-long).

While ‘Don’t Work That Hard’ and ‘Lover To Fall’ might be deemed ‘filler’, they easily transcend that label by dint of their sprightly grooves and sheer catchiness. The beautiful ‘A Little Knowledge‘ showed that Green and Gamson were on the same page as Prefab’s Paddy McAloon when it came to sumptuous, intelligent romantic ballads in the mid-’80s, and the track is a great companion piece to ‘When Love Breaks Down’.

Post-Cupid, Green and Gamson booked and then cancelled a world tour (they were apparently visited in the studio by MTV executives who told them, ‘Just think, you’ll never have to tour again!’), wrote songs for Al Jarreau and Chaka Khan, made friends with Miles (who covered ‘Perfect Way’ on Tutu), hung out with George Michael at various London nightspots, embarked on a year of press in America to cash in on the success of ‘Perfect Way’ and then reluctantly hit the studios of New York and London to record the follow-up Provision.

george michael green gartside

George and Green, London, 1986

A cursory listen to a radio station like Absolute 80s reveals the wide-reaching influence of Cupid on countless late-’80s bands: a-ha, Go West, Climie Fisher, Living In A Box, Pet Shop Boys, Bros and Aztec Camera all tried for those clinical, Swiss-watch-precision arrangements and that uplifting pure pop sound, but generally lacked Gamson’s ingenious chord changes and Green’s gift for melody.

Happy birthday to a bona fide ’80s classic.