“New music is the lifeblood of anybody making music— it’s that creation, excitement, new babies [songs]! It inspires me and it inspires others,” declares Terri Nunn, the charismatic and enigmatic singer of L.A.’s iconic synth electro-pop pioneers, BERLIN. Animal, a brand-new 12-track offering, explores contemporary electronic dance music while remaining true to the groundbreaking sound and signature vocals that continue to define BERLIN. The first single, “It’s the Way”— a confessional ballad about “a fear of connection”— could easily be the group’s next “Take My Breath Away” (BERLIN’s #1 hit / Academy Award-winning single, featured in Top Gun). It’s the perfect counterpoint to the sexy, eminently danceable title track (“So kiss me when you pull my hair / I like it when you make it hurt”), or to “Blame It On The World,” a painfully poignant song for her father.
Animal is the result of Nunn’s re-ignited love affair with current electronic music, and the feeling that BERLIN could make a unique statement in the EDM [electronic dance music] milieu. “It’s still my favorite medium. I’ve loved it since I met John [Crawford, original Berlin bassist) in 1979, when he wanted to bring electronic music to America, because it wasn’t here yet,” she recalls. “What it’s morphing into is exciting me so much, I was motivated to look for songwriting partners to help me create this album.” Enter John King, one-half of award-winning producers, The Dust Brothers (Beastie Boys, Rolling Stones, Beck). When Nunn and King began writing, “[It] felt like the beginning of the album to me,” Nunn explains. “I already had the songs ‘Mom’ and ‘Stand Up,’ but there was no momentum. [John’s] sound was exactly what I was looking for… we wrote ‘Break the Chains,’ which really kick-started the work that became Animal.” Old pal, Marti Frederiksen (Aerosmith, Sheryl Crow), provided another boon for the album. “He’s a big rock guy, but introduced me to a young writer named Derek Cannavo. I lost my mind!” recalls Nunn of Cannavo’s work. “We did seven songs, we went crazy. It was so intense with him that even though I was glad to be done with the record, I grieved that the project was over because it was so amazing. The writing was done so intimately and so fast, great music collaborations ARE intimate, creative and intense and hard and wonderful and exciting; everything a love relationship is.” Additional creative input came courtesy of multi-platinum writer/producer, Bryan Todd (Jordin Sparks, Kara Dioguardi, Josh Kelley, Big Time Rush, Ashley Tisdale), pioneering mixers, John Alicastro and Mike Lauri (Goo Goo Dolls, Train), and Carlton Bost, BERLIN’s guitarist (Orgy, Deadsy), who produced four tracks on the album.
While Animal is BERLIN’s seventh album, a combination of ten compilation albums, EPs and live albums round out an impressive discography that so far has yielded twelve gold and platinum album awards. The band—founded by Nunn, bassist John Crawford, and keyboard player David Diamond—made its initial impression on the music world in 1982, with their seductive single, “Sex (I’m A…),” from the platinum- certified debut EP Pleasure Victim. BERLIN’s first full length LP, Love Life, hit in 1984 and was certified gold. In 1986, BERLIN topped the charts with the unforgettable, intimate and strikingly beautiful love song, “Take My Breath Away.” The ballad’s defining role in the Tom Cruise film Top Gun has also helped solidify BERLIN’s everlasting place in American pop-culture. Nunn’s ongoing influence earned her the #11 spot on VH1.com’s “100 Greatest Women in Rock,” while, as an actress, she played leading roles in films including Katie: Portrait of a Centerfold with Kim Basinger, and Thank God It’s Friday with Jeff Goldblum and Debra Winger. Along with comedienne, Wendy Liebman, Nunn currently hosts the radio show Unbound with Terri Nunn on 88.5 FM KCSN Los Angeles.
Despite her many creative outlets, music, BERLIN and touring remain Nunn’s first love. Looking back, she recalls her own early musical dreams. “I remember going to a Rolling Stones concert at the Rose Bowl, and I couldn’t believe they did 2 ½ hours of songs and I knew every single one! That’s a legacy, a body of work that has mattered to people. That’s what I aspired to,” she says. “Of course, no way am I close to that body of work, but I have a number of songs that people love that much, and they come to hear Berlin over and over. I’m so grateful for that.”
Nunn, a rabid music fan, was inspired by Fleetwood Mac’s “Rhiannon” and her discovery of the LA club scene, starting with the band, X. On Animal, Nunn tips her hat to another female-fronted band with her own take on Jefferson Airplane’s “Somebody to Love.” Such bold musical choices also helped make Animal the ideal album title for Berlin’s latest collection. “The song ‘Animal’ so perfectly represented the entire album. “It’s the first tune I wrote with Derek Cannavo, and it’s an explosion of joy and ecstasy and orgasm and sex–but musically!” That primal energy is evident on every track, even the gentlest of ballads, with Nunn’s voice at the peak of its powers. “When I quit smoking at 32, everything changed. I had been smoking since I was 14, and when I stopped, my range doubled; it went higher and lower than it ever had before.”
Video— so important to early hits like “Sex (I’m A…)” and “The Metro”— has also taken on new meaning for BERLIN. “YouTube is the new MTV,” Nunn notes. “We used to spend so much money on mini movies, but now all you need is a good HD camera and a guy who knows some lighting. Online is where people go to see and hear music—it’s free and it’s easy and so wonderful.” Nunn’s honesty and infectious enthusiasm carries through every aspect of Animal, which she views as an entirely new chapter. “I always looked at music as passion. All we can do is appreciate that people’s passion is so strong for music… I feel it too, it’s part of my DNA, and I love what I grew up with. What I learn as I get older,” she concludes, “is that it’s not about money or ‘making it.’ Sure, they’re fun games, but it’s about connection, that’s where the real joy, passion and bliss comes from, and music is such a huge part of connecting people. It’s the way… to bliss.”
“POP GOES THE WORLD”
Once upon a time, in a land far, far north, there lived three brothers who never wore any hats. It was their motto, as Brother Colin so aptly put it, “style before comfort” that led them into the nether-regions of early cyberspace, the world of primitive sequencers, samplers and drumboxes, populated by such classic hardware as the Pro 5, Dr Click and the LinnDrum. Where conformity was a banned word, along with things like “drummer” and “bass player”, there came to flourish a whole community of electropop artists, whose goal was to bring something new and completely different to the music scene of the day. This is the story of Men Without Hats.
The saga starts in 1976. Before there ever was MWH, the three brothers were attending the French high school Stanislas in Montreal. This is where Ivan met up with Jeremy Arrobas. During this year, at the school’s annual student concert, Ivan, Colin, Stefan and Jeremy (+ a drummer nammed Igor, played their first concert together under the name “Wave 21”. The concept was that Jeremy recited his poetry over the music.
In the early days, there were a lot a different formations, some of which never played any shows aside from parties:
>In 1977, the first version of MWH is formed. It comprised Ivan, Dave Hill, John Gurin and Pete Seabrooke.
Between 1978 and early 1980, there were several line-ups. They are:
Ivan, Colin, Stefan and Paul Miscala. They did the first real shows of MWH opening up for 4 shows of Alan Lord at the Hotel Nelson in old Montreal. This was at the height of the punk era (circa 1977), when the Hotel Nelson was not much more than a flop house.
Ivan, Dave Hill, Pierre Paquet and Jeremy. This was the line-up formed for the legendary party of Mia and Alex McClean. There is actually a cassette of this show.
Ivan, Jeremie and Colin. Although they never did any shows, they shot some great pictures.
Ivan, Jeremy and John Gurin. A bizarre yet interesting combination of music and art noise by John during the pauses between songs. In those days, Ivan played keyboards, bass and melody, and sang, while jerry played drums. At times, Ivan would play guitar and bass keyboard at the same time.
Ivan:” The first sequencer we had was the korg sq-10 which was a 10 or maybe 12 step analog sequencer that went with the ms-20 , it looked like the ms-20 without a keyboard. since it was analog it was really imprecise to program
so we just used it triggering the first step over and over , pulse bass , and jerry played along live with it.if there was any sequencing done like arpeggios or whatever, i did it live manually.when jerry switched from drums to keyboards , after the e.p. , we used a variety of sequencing devices , the cr-78 and another korg rhythm box i forget the number for the pulse bass stuff , a roland sequencer that we used for patterns like things in my life, but they were all riggering the sh-2. i was using the cs-50 at that time and doing a few songs with my left hand , mostly the faster stuff, china,walls…”
1980, 10″EP Folk of the 80’s, Ivan, Stefan, Jeremy Arrobas & Roman Martin
This EP was recorded at Marco Studio in Old Montreal and its original pressing was of 3000 copies in 10 inch form (I think that there might have been a second pressing of 3000). It was subsequently picked up by Stiff Records (US) and a further 16,000 records were pressed for the US market. The only difference between the two pressings is that the US pressing was a 12″ record. Now raise your hand everyone who knew that Tracy Howe also never played on this or any other MWH album. The folks who have this on their album means that they have a second pressing copy because Tracy’s name was added because he had just joined the band!
’80 to ’82, various people came and went as the band (without Roman) was looking for itself, such as, Jean-Marc Pizzapia (later to be “the Box”), Tracy Howe (went on to form “Rational Youth”) and Mike Gabriel. Here are the line-ups: I,S,J and Jean-Marc Pisapia. Then JM left and was replaced by Mike Gabriel, who as Ivan likes to tell the story, “was booted out of the band along with Stefan”, to become a three piece: I, J and Tracy Howe. Tracy lasted enough time for a few cups of coffee and went on to form Rational Youth. At which point Stefan and Mike are brought back in.
Just prior to recording “Rhythm of Youth” and the smash single “Safety Dance”, Jerry and Mike leave MWH of their own free will to form Checkpoint Charlie (with Jean-Marc) and then Isinglass (without J-M who goes on to form the Box). Good move guys! Now there’s a “where are they now question”!
After being rejected by every record label of note in Canada, we got a deal with Statik records in the UK. Probably the only band in Canadian History to secure a deal in the UK before securing a deal in Canada! “A Canadian Invasion of Britain”!!!!
<'82, release "Rhythm of Youth", Ivan, Stefan and Allan McCarthy (he died a couple of years ago), plus a few guest musicians: Colin, Anne Dussault, Dan Vermette and Michel Jérome.
This was recorded at Listen Audio in Old Montreal back in ’82. It was subsequently picked up by Warner in Canada and MCA in the US.
’84, release Folk of the 80’s part III, same lineup as previous record.
At the end of the record, if you let it keep playing, Mother’s Opinion will come back with a stereo flange on it. Problem was, no one bothered to tell the printing pressers that there were in fact 10 songs, not 9. So some of the early copies are missing this piece!
The weird guitar solo thing in Where do the boys go was done with the first completely programmable guitar effects rack made by Sequential Circuits, the people who brought us the Prophet 5, otherwise know as the Pro 5.
’85, release Freeways EP, Ivan & Stefan, (plus a few session musicians).
85 live band, Ivan, Stefan, Alain “Al Gunn” “le Pif” Lefebvre, Denis “Trop Plein” Toupin, Lenny “the Pinster” Pinkas & Colin
’87, release “Pop goes the world”, Ivan, Stefan and Lenny, (plus a few session musicians). It was recorded in London, England at Eden Studio and mixed with Paul Northfield at Morin Heights Studio in Canada, which is not very far from where the latest album was recorded and mixed. Supplemented on the road by Bruce Murphy, Heidi Garcia, Marika Tjelios and Dick “Donut” Duff.
’89, release “the adventures of men and women without hate” with all the touring band for “Pop”.
Recorded at the Hit Factory in New York with Mike Scott, or as they called it while we were there, the Hat Factory! They have box seats at Yankee Stadium and we were supposed to go see Nolan Ryan pitch (limo, the whole deal!), but it was rained out and we never went. In his next game, the Ryan Express threw his 5000th strike-out! What a bummer!
’91, release “Sideways”, Ivan, Stefan, Michel “Mick Mustang” Langevin (from Voïvod) and Felix “El Gato” Matte (Ideés Noires). Jimmy Souranis joined for touring. Recorded in upstate New York at a very excellent studio called Hudson Studio (we named it!) run by one of the coolest and most knowledgable guys in the biz, Mike Scott (he engineered the previous record), his techchie Chris Muth and we won’t forget Bo, our friend and driver, he turned me on to Howard Stern! Mixed in Rhode Island and mastered by Howie Weinberg. “MEN WITHOUT HATS ARE GIVING IT TO POP ENTHUSIASTS …
“Everyone focuses on going forwards or backwards. There are other directions to go in as well.” — Ivan Doroschuk (Music Express)
Men Without Hats’ latest fearlessly lunges forth into rock’s core, adding scars to pop’s sometimes-too-perfect face. Featuring Montreal’s finest in the hard rock scene, Michel Langevin (Away from Voivod), Felix Matte (Idees Noires), and John Kastner (The Doughboys), “Sideways” remains true to the band’s powerful pop fables, yet delivers their message in pure guitar sound. “People’s lives are very linear,” said frontman Ivan Doroschuk. “We don’t really take the time to look beside ourselves. We are always so worried about going ahead and progressing. ‘Sideways’ is an attempt to see directions other than forward and backward.” As the title indicates, “Sideways,” follow-up to the gold-plus “(Adventures Of Women And Men Without Hate) In The 21st Century,” marks an intriguing change in musical direction for the hatless. A harder edge, guitar-based and vigorous album, it cuts melody with exacting precision, and bleeds rock in its fullest glory. Recorded last fall in upstate New York, and mixed in Rhode Island, the album was produced by Stefan Doroschuk, co-produced and engineered by Mike Scott, mixed by Tom Soares (24-7 SPYS, CroMagnons) and also features a guest appearance from Greg Martin of the Kentucky Headhunters on three tracks. “It was the most fun record I’ve made so far,” said Doroschuk. “I haven’t felt that I was in a band for a long time. It was good to work with real musicians as opposed to machines.” “Find what was real in the world and touch it, that was what a man ought to do,” once wrote American author Harry Crews in a story called “The Hawk Is Dying.” Despite the fact that an instrumental on the album is titled “Harry Crews,” the links between “Sideways” and the author run even deeper. Like Crews, the album is characterized by this search for what is real and meaningful, and is bound to real places, people and memory, offering a new perspective to those who think they know Men Without Hats. “The last two albums were very sociologically, ecologically and equality concerned,” said Doroschuk. “I think one of the main things I’m thinking about lately, for instance, is the difference between sexist and sexy.” The rich and intriguing artwork for “Sideways” explores this idea, and delivers the message that the band has become a lot more personal in their approach to human issues. “You develop the rhetoric first, you live with it for awhile, then you make changes when you apply it to the real world. It takes on a different form.” From the soaring ballad “Everybody Wants To Know,” to the driving power of the title track and first single “Sideways,” the album invites you to discover the band all over again. The country-core romp of “Fall Down Gently,” and the streetwise “Kenbarbielove,” combined with the intensity of instrumentals such as “Life At Diamond Head” and “The Van Der Graaf Generation Blues,” is launching Men Without Hats into a whole new era. “My experience has been that the more records you make the easier it gets, just because I realize that it’s just a record and not all that important in the big scheme of things,” said Doroschuk to Canadian Composer. “But it’s also a learning process. You get better at it and one thing I’ve learned is going for emotion over precision, going for feeling, not trying to get it right on key. I’m just trying to make it sound good.” More importantly, it’s got to feel right – and it does. The brainchild of many nights spent with local musicians in a Montreal institution – Le Biftechque – which eventually lead to more elaborate affairs – such as jamming with other natives like The Doughboys, The Nils and Voivod at Ivan’s loft in St Henri, “Sideways” is a testament to a way of life championed by the Bukowskis and the Crews of the world – that is , the idea of living life and music by the moment. “We have taken the attitude that we’ve changed our sound so much that we don’t have to play it by radio rules,” said Doroschuk. “I think it’s totally ludicrous to do that anyway because you get caught up in it and by the time you have written a song, recorded it and put it out, years have gone by and radio has changed. People are actually trying to write songs that won’t come out for two years, trying to anticipate what people will listen to. It just slows the whole process down. We’re not really paying attention to what radio is doing. We’re just writing songs.”
The musical relationship of melody and raunch is what ties the twelve tracks on “Sideways” into one cohesive whole. It ignites with the lead track and first single “Sideways” – the theme song of the album. “It’s the whole notion of there being another way of looking at things,” said Doroschuk. “There are other directions that people can go into.” “Fall Down Gently,” the next track and one of the songs that features Greg Martin, is a progression of that same theme. “I’d rather learn about life a little bit at a time then go through the thing blind. Life is not always rosy and so I’m prepared to take little setbacks now and then, than have one major fall down in my life.” The experience working with Martin, who just dropped by during the recording of the project, made it even more enjoyable. “It was great,” said Doroschuk. “I’m not wary of that type of situation. I’m a big fan of his and he’s a big fan of ours.” “In The Meadow” is the classic Men Without Hats pop song. “‘In The Meadow’ comes from a dream,” said Doroschuk. “It’s just the meadow where there are no worries and there is no pain. You just sit in the sun and have fun.” “The Van Der Graaf Generation Blues”, one of the instrumentals on the album, is a song for the band’s generation. “We’re not the flower children and we’re not the yuppies, we’re somewhere in between – The Van Der Graaf Generation.” “Nadine” is your basic Men Without Hats love song, according to Ivan, and features once again the singer’s female side, yet taking on a different form. “She’s becoming a lot stronger.” “Everybody Wants To Know” is Ivan’s reflections on what people want from life. “Everybody wants to know what it’s all about and I’m sure everybody wants to be loved. But not everybody wants the same things. Life has been sort of forcing everybody into wanting the same things & it ties in with the ‘sideways’ perspective.” Next up is the band’s cover of the Beatles’ classic “I Am The Walrus” – inspired by a Grateful Dead cover band. “I forget which band did it,” said Doroschuk. “They were opening up for a band called ‘Phish’ in New York. I figured it would be a good-off-the-wall tune to do.” “Kenbarbielove” is the song on the album about relationships. The title has as its source, a story about Voivod’s Michel Langevin growing up in Quebec and when hearing the Beatles sing “Can’t Buy Me Love”, for the first time, he thought they were singing ‘Kenbarbielove’. “Lost Forever” is a song about love in today’s society. “It’s a development on the theme of love and how we’re living in a one-on-one society where we’re forced to love one person, and we can’t express our views to anyone else. It’s like a weird love prison.” “Life after Diamond Head” is another instrumental on the album –and was inspired by Ivan’s love for the “rock Eno-era of Roxy Music. Phil Manzanera of Roxy Music put out an album called “Diamond Head” and it was at that period for me when music changed,” said Doroschuk. “I was trying to get back that old Roxy sound when Eno was playing keyboards.” “Love (All Over The World)” is, as Ivan puts it, Men Without Hats’ message for 1991, a bid for peace and happiness – 21st Century style. “Harry Crews” was inspired by the author himself. “He’s really real,” said Doroschuk about his writing style. “He wrote a lot of things for Playboy magazine and Esquire and he’s just real – like Bukowski’s Barfly.” The album art, photographed by Roy Pike and designed by Lumbago Inc., breaks from the anti-sexist rhetoric of old — a differentiation between sexy and sexist. “A woman’s body is a beautiful thing,” said Doroschuk. “I’m not trying to sell records with it, I’m just trying to appreciate it.” However intriguing the cover is, Ivan prefers to concentrate on the music as opposed to image. “The visual aspect of the band has become very secondary,” said Doroschuk. “It’s funny, too, because this is supposed to be an era where the image is so important. I guess it is for some bands very important, but for fans it isn’t. They just get very calculated images thrown at them and it has nothing to do with music. One of the reasons I got into music was because of the magic that was going on with record covers.”
>Men Without Hats also plan to taste the reality of life on the road in Canada with a tour, slotted for late spring, early summer. “We haven’t done a tour in Canada for over five years,” said Doroschuk. “It’s going to be great. I love to travel and to get around and meet people. I don’t care where we play as long as it’s fun — and there’s a remote control and a colour TV in the hotel room.” Last summer, Men Without Hats, (Stefan Doroschuk on bass, Colin Doroschuk on keyboards and Ivan on vocals, along with Matte, Kastner and Langevin), delivered their new material to a packed house at hometown Les Foufounes Electriques and at Toronto’s Nathan Phillips Square for 5,000 people, on a bill including the Pursuit Of Happiness. “One of the strangest – and arguably best – concerts in Montreal last year was Men Without Hats playing at the punk club Les Foufonnes Electrique,” wrote Alastair Sutherland from Music Express. “A packed house witnessed a complete revamping of the Hats’ repertoire (“Safety Dance,” “Pop Goes The World,” “Hey Men”…), courtesy of a band whose lineup read like a cross section of the local music scene … And, making a special appearance for a hard rock version of “Bye Bye Mon Cowboy,” there was pop chanteuse Mitsou, resplendent in full go-go girl regalia. Even people who knew the Hats and had followed the twists and turns in Ivan’s mindset had to shake their heads and wonder what was next.”
Ivan once said that he always considered the Hats to be an electronic hardcore band – and with every album, the band seem to be getting closer to the core of what propels them further and further in music. The band have come a long way since their sonic experiments in the basement of their home in 1977. Their first single “Safety Dance”, released in 1983, went top ten in twenty countries, getting the band a nomination for a Grammy in the process as well as worldwide acclaim. The swiftness of their success lead to the band’s three-year search, culminating to 1988’s “Pop Goes The World” and then last year’s “(Adventures Of Women And Men Without Hate) In The 21st Century.”
The gold-single “Pop Goes The World,” went top three in Canada, and top twenty in the U.S. The album surpassed platinum (100 000 units) in Canada, and won a Felix award (Quebec’s annual music industry awards) for English pop/rock album of the year, while the single won a nomination for a Juno (as single of the year) and was honoured by PROCAN as the most played English language Canadian single at radio here in 1988. During the US tour in support of that album, in the early spring of 1988, Ivan began writing some of the songs for “…In The 21st Century,” which was recorded at The Hit Factory in New York with Stefan Doroschuk as the sole producer and Mike Scott as engineer.
“…In The 2lst Century,” which shipped gold upon release, produced a top 15 CHR single in Canada with “Hey Men” (the video for this album also went to #1 at Musique Plus and #3 at MuchMusic), but more importantly, was an easy transition to the heavy sound the band have been flirting with until now. “Singer Ivan Doroschuk of Men Without Hats burst out of Montreal in 1979 with a popping electronic sound that was the antithesis of no-frills noise guitar,” wrote Mark LePage of The Montreal Gazette, “now, after more than a decade on the pop music highway, Ivan is wheeling into a U-turn.” With “Sideways,” Men Without Hats venture inside themselves to deliver an album, that in any which side you look at it, successfully rides the threshold of pop core.
[ PolyGram National Promotion/Publicity, 1991 ] “
2002, in the familiar synth-pop style that people have come to love from MWH. For this album, the brothers Doroschuk used some classic synths like the Prophet 5 and the Yamaha CS-50 that were used on their first album, Rhythm of Youth. To this, they added new sounds, to come up with an album that strikes as both familiar and new. A brand new day has broken for synth-pop in the 21st Century.
For the first time, Ivan did all of the artwork himself, showing a talent that had been hidden for far too long. Each panel takes you deeper into the voyage, unfolding a mysterious and vivid view of their universe.
The album was recorded completely in digital on a Pro Tools system at Stefan’s Big Mountain Studio up in the Laurentian mountains of Quebec, he engineered and produced the opus. All of the music was done by Ivan and Stefan, with the exception of some female background vocals, which are handled by Mary-Lou Deehy, with Stefan’s and her two daughters, Mary-Lynn and Emmy-Lou helping out on one song.
An honorable mention has to go to two of the best roadies who ever lived: “Disco” Danny Giguere & Sergio “Seeze” Barreca. And the Ironman Award goes to our soundman Paul “La Plage” Lepage who, as rumour has it, has not slept since 1982. And of course the picture wouldn’t be complete without mentioning our manager and good friend, Denis Wolff.
“I RAN (SO FAR AWAY)”
“SPACE AGE LOVE SONG”
“WISHING (IF I HAD A PHOTOGRAPH OF YOU)”
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.
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.
The band released 1984’s The Story of a Young Heart failed to produce any hit singles but 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. 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 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.
“WALKING IN LA”
Dale Bozzio is a Founding, Original member of Missing Persons. 1980 the band made its first record, a 4-song EP entitled Missing PersBozzioons, in Zappa’s brand-new Utility Muffin Research Kitchen studios; . The band toured, promoted the EP, appeared in the movie Lunch Wagon, and became a must-see band among the Los Angeles live music crowd. “Mental Hopscotch” was a #1 record on local radio station KROQ-FM, and the self-promoted EP sold 7,000 copies.
Two years of hard work led up to a signing with Capitol Records in 1982. With label support, the re-released EP sold another 250,000 units, and the new full-length album Spring Session M (an anagram of “Missing Persons”) went gold.The singles “Mental Hopscotch”, “Surrender Your Heart” (1984), “Destination Unknown,” “Words,” “Walking in L.A.,” and “Windows” met with varying success, especially in the local markets of Los Angeles, New York, and San Francisco. The visual effects used in the music video for “Words” were unusual for the time, making it popular on the fledgling cable TV channel MTV.
Missing Persons appeared at a three-day Southern California concert known as the US Festival in May 1983.
Although the band gained new attention by heavy play on MTV and FM rock-radio with the striking music video for “Surrender Your Heart” that was designed by Peter Max, the experimental album Rhyme & Reason (1984) . The band followed up with the more conventional Color In Your Life in June 1986.
During the early 1990s, Dale Bozzio toured with her own hired band using the name “Missing Persons” and performing Missing Persons songs. She now tours under the name “DALE BOZZIO original member MISSING PERSONS.”
Some of her musicians have been Wes Wehmiller, Ron Poster, Mike Mangini, Anthony Resta, Ben Sesar, Tony Savarino, Brad Miller, Jeff Calder, Michael T. Ross, Van Spragins, Michael Maysonet, James Sperry and Eric Welsh.
In June 2005, Missing Persons featuring Dale Bozzio appeared on week five of the NBC show Hit Me Baby One More Time. They performed “Words” and a cover of the Kylie Minogue dance track, “Can’t Get You Out of My Head”.
Clive Farrington and Andrew Mann formed When In Rome circa 1985 when Clive met Andrew in Horts Wine Bar in Manchester one cold winter night! They soon started collaborating on lyrics and melodies for songs.
Clive’s dad built a studio for them to work in and pretty soon, the formula was set for what was to become the one and only When In Rome album!
First, they signed to Elektra Records via Simon Potts (A&R) and then Virgin 10 Records via Mick Clark (A&R). Both had become friends of Andrew when he moved to London; demo tape in hand, containing ‘The Promise’ in very rough 4 track form!
Clive had written the lyrics, melody and arrangement for the first verse and chorus and now it was down to Andrew to complete the song, lyrically. This was the formula used for every recorded When In Rome song!
The song completed in demo form, it was time to record this and the album.. The album was completed at Power plant Studios, London with the great Ben Rogan (Sade – ‘Diamond Life’). Further vocals were recorded at Linford Mannor, Hertfordshire and Townhouse, London.
Virgin America were asking for more like ‘The Promise’ and the guys flew to LA to record 3 further tracks with Richard James Burgess (Landscape, Spandau Ballet, Colonel Abrahams) at Sound Control and Hollywood Studios respectively. The 3 songs that came out of this session were, ‘Heaven Knows’, ‘Wide Wide Sea’ and ‘Sight of Your Tears’. The album was mixed at Quad Studios, NYC by Michael Brauer and Clive Farrington.
In 1987, ‘The Promise’, released as a 12″ single quickly caught fire on the West Coast via Live105, San Francisco and ultimately reached No.1 on the Hot 100 Club Play Chart in 1988 and No. 11 on the U.S. Hot 100 major chart in the same year! When In Rome undertook 2 successful club date tours of the U.S. in 1988 and 1989. In 1992, Clive and Andrew to When In Rome to Brazil on a very successful 1 month tour with Matt Rowe (East17, Spice Girls, Sophie Elllis Bexter) on keyboards.
In 2005, ‘The Promise’ was used as the main end theme for the cult movie, Napoleon Dynamite and won MTV’s Best Movie for the year award presented by actress Daryl Hanna
Soon, the band were asked to tour again in the USA and recruited electronic percussionist, Rob Juarez who’s worked with General Public, Paul Humphreys of OMD, Trans X and The Flirts as touring member. The band are currently planning a Nationwide tour of the U.S., South America, the Philippines and Canada.
Animotion is a New Wave synth pop-rock band from Los Angeles, California. The group first formed in 1983. The original founding members were: singer Astrid Plane, keyboardist Paul F. Antonelli, bassist Charles Ottavio and drummer Frenchy O’Brien. Lead singer/guitarist Bill Wadhams and lead guitarist Don Kirkpatrick subsequently joined the band. Animotion released their self-titled debut album in 1984. The group scored a substantial international smash success with the supremely funky and hard-thrashing scorcher, “Obsession”, in 1985: The song peaked at #6 in both America and Canada, #5 in Britain, #8 in Germany, #9 in South Africa, and #17 in Austria. Alas, the worthy follow-up single, “Let Him Go”, barely cracked the US Top 40 pop charts at #39 in that same year. Animotion released their second album, “Strange Behavior”, that same year. At the height of their fame in the 80s, Animotion toured with such popular acts as INXS, Depeche Mode, Phil Collins, Genesis and Eurythmics. The band underwent a significant line-up change in 1988: Plane, Wadhams and Ottavio all left; among the new members were singer/actress Cynthia Rhodes and singer Paul Engemann. This particular incarnation of the group scored a Top 10 hit with the bouncy, “Room to Move”, in April, 1989. Animotion eventually broke up in 1990. On February 8, 2001, original members Astrid Plane, Bill Wadhams, Don Kirkpatrick and Charles Ottavio relaunched the band. Animotion still play occasional live gigs around the Los Angeles area with such fellow 80s New Wave acts as Berlin and Missing Persons.
The Untouchables are a soul/mod revival band from the Silver Lake, Los Angeles, California area. Described by original lead singer Kevin Long as “mods who played ska music,” The Untouchables are credited with being America’s first ska band.
They formed in 1981 as part of the embryonic L.A. mod revival, after being inspired by the ska revival/punk rock band The Boxboys. Since some couldn’t play instruments, they either hastily learned, or became vocalists. The original lineup included: Kevin Long (vocals), Chuck Askerneese (vocals), Terry Ellsworth (rhythm guitar), Clyde Grimes (guitar), Rob Lampron (drums), Herman Askerneese (bass) and Jerry Miller (vocals, timbales).
After a shaky start playing at parties, the integrated septet were eventually booked at the O.N. Klub (known as the On to regulars). The band had guaranteed the club that they would pack the venue, and they did not disappoint. In middle of that year, they released their first (ska-styled) 7″ single, copies of which were snapped up by local mods. Late in 1982, the band began a stint as the house band at the Roxy Theatre. Terry Ellsworth left the band in the summer of 1983, at the height of the California mod revival. Josh Harris was added on keyboards, Timothy Moynahan on trombone and Will Donato (who became a successful smooth jazz artist) started on sax.
Their second single, “The General,” became a minor local hit, despite poor distribution. The band performed “The General” in the 1984 comedy The Party Animal, and they appeared as a scooter gang in the movie Repo Man. In early 1984, they were signed to Stiff Records. Concerts with The B-52’s, Black Uhuru, Bow Wow Wow, Red Hot Chili Peppers, Fishbone, No Doubt and X all over California gave the group a disparate following of whites, blacks, mods, punks, surfers and rockabilly fans, with the local performances drawing up to 1,500 people. The band also appeared in the 1984 film Surf II, performing “Dance Beat”, and 1987’s No Man’s Land, performing “What’s Gone Wrong”.
Vocalist Kevin Long (who had named the band) left in 1984. Guitarist Clyde Grimes took on more vocal leads, and in 1984 the band recorded “Free Yourself”, which became very popular, especially in the United Kingdom where it was a #26 hit in April 1985. The band has gone through many lineup changes since then, and as of 2006, only vocalist Jerry Miller remains from the original lineup.
Corey Feldman began singing at the early age of three in order to gain potential roles in his film career. However, his true music career began with his first single released on vinyl in 1989 for the soundtrack of Dream a Little Dream. The song was called “Something In Your Eyes” and Corey is planning on dusting it off and playing it live for the first time in his adult career. In 1994 Corey released his first solo album entitled Love Left which featured music from the film Dream a Little Dream 2. He has since released two other solo albums and is now preparing for a double album of new material centered around the Corey’s Angels brand. His new album Angelic 2 The Core, featuring appearances by Doc Ice, Kaya Jones, Fred Durst, Snoop Dogg and others, includes his biggest hit song to date, “Ascension Millennium” who’s video has been viewed by millions via MTV where it gained a “buzz-worthy” status in its first twelve hours.
Corey’s Angels is a full-service management, development, and production entity, which also specializes in large-scale private events and concerts. Corey’s Angels has produced several music videos, two television pilots, a double album, and a ten episode talk/variety show. The Angels have appeared in films such as Body High, television shows such as LA Rangers on the
Hit Song Include:
“I Wanna Be A Cowboy”
Boys Don’t Cry are a British pop/rock band known for the hit single “I Wanna Be a Cowboy”, which peaked at No. 12 on the Billboard Hot 100 in 1986 and charted around the world. They are considered a one-hit wonder, though they released an EP, two albums and several singles.
“Never Say Never”
“A Girl in Trouble (Is a Temporary Thing)”
Debora Kay Iyall ( born 29 April 1954), best known simply by her professional name Debora Iyall, a Cowlitz Native American, is an artist and was lead singer for the new wave band Romeo Void. Debora got her surname from her family adopting their ancestor Iyallwahawa’s “first” name written at the time as Ayiel.
She was born in 1954 in Soap Lake, Washington, but grew up in Fresno, California. In 1969, at age fourteen, Iyall joined the Occupation of Alcatraz and stayed for six days. (The Occupation lasted nineteen months.) She had hoped to connect with the Native American activist community there, but felt “out of place”.
While attending the San Francisco Art Institute, she joined Frank Zincavage and Peter Woods to create Romeo Void in 1979. Inspired by Joy Division, the band was remarkable for their modernization of the punk sound, and for Iyall’s forceful, half-spoken delivery. They reached hit status on college radio stations with the suggestive and multi-leveled song “Never Say Never” in 1982. Their song “A Girl in Trouble (Is a Temporary Thing)” landed them in the top 40 of Billboard’s Hot 100 chart, and an appearance on Dick Clark’s American Bandstand in 1984.
Solo albums and art career
Romeo Void parted ways in 1985, and the following year Iyall released her debut solo album Strange Language on Columbia Records. After a lukewarm reception of the album, Iyall returned to her first love, as an artist and art instructor. Throughout the 1990s she taught art at the 29 Palms Cultural Center and for the Arts Council For San Bernardino. She also led hikes and made presentations for the Agua Caliente Cultural Museum as a paid docent, and in 1995 she started Ink Clan, a print shop dedicated to teaching screen printing and other arts to young Native artists. Ink Clan was once housed in the South of Market Cultural Center in San Francisco. She presently resides in Sacramento, California, with her husband, audio engineer and instructor Patrick Haight.
Since late 2009, Iyall has been performing new material written with Peter Dunne at a variety of local venues in Northern California. In 2010 Iyall’s second solo album, Stay Strong was released, and in January 2012, an EP, Singing Until Sunrise was released.