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About Jeremy
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 An original Georgia native growing up as a delinquent in the one traffic light town called Dacula in the 1980s, music on the radio and the most peculiar videos on cable television networks were my pass key to validating that there was much more to life than football, homecoming queens and the quest to reaching the top of a shallow popularity meter.
Before MTV, only a handful of artists were fashion-conscious and took advantage of imagery to sell their records (KISS, David Bowie, Blondie). On August 1, 1981 – the year MTV launched in America, video indeed killed the radio star, but it boosted the careers of innovative artists like the Jam, Ultravox and Generation X that defined the decade with their new wave imagery despite the fact that the FM airways had previously denied them access. It was evident that what was shown on cable television now radio’s greatest influence as kids like me spent allowances and small wages on records and cassettes after catching a visually stunning music video on MTV’s 120 Minutes over the weekend. After building a nice collection of alternative ‘80s music in various formats (vinyl, VHS, Laserdisc, cassette, CD), I subscribed to the new wave magazine Star Hits (short-lived American version of Britain’s Smash Hits), started attending concerts at the innocent age of fourteen, and could regularly be seen at the Masquerade’s Old Wave Thursdays with Miss Mary as the ‘90s progressed. In 1992, market giant Power 99 made a shocking transition from Top 40 pop to alternative radio. For the first time in Atlanta history, the chains that bound post modern ‘80s music to college stations left of the dial were broken with the inaugural debut of Steve Craig’s Retroplex on 99x, an hour of ‘80s & ‘90s post modern / new wave music including punk classics, b-sides, live tracks, and in-studio interviews. The Retroplex became the Energizer battery of radio programs for Atlanta’s premier alternative station for fifteen years until 99x was restructured and Craig relocated to New York in 2008.
Currently, with Atlanta radio becoming more predictable each month, finding classic alternative music on the dial is quite a challenge. It has almost become circularly underground once again. As a blogger on 99x, I would like to shed a little light on the new wave ‘80s for today’s alternative nation. My objective is to provide you, the reader, with detailed insight on classic ‘80s artists like B-Movie, the Thompson Twins and ABC, plus updates on where they are today. Many artists have resurrected in the studio and back on the touring circuit, albeit less than their original forms, playing large scale venues and making contemporary yet signature-sounding albums that please both their aging audiences as well as Generation Y. New albums, flashback concerts and all-access interviews will be shared and posted as I settle into my space here on 99x. Is it all ‘80s, all the time? It would be of great disservice not to introduce you to bands like The Mary Onettes, Foxglove Hunt and Germany’s Rename. Whereas most pioneering synth-pop and post-modern bands called England their home, an entire crop of American and Swedish electro, post-modernists are making their own waves across the U.S., Europe and Germany without the support of large, corporate record labels. However, rest assured; they will be given my support. Look out for cd releases as well as concert announcements and interviews of these bands as well.
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Jeremy K's Retro Beach
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Sep
4
Written by:
Jeremy K
9/4/2009 9:37 AM
Dear Mr. Hughes,
You see us as you want to see us.….
In the simplest terms, in the most convenient definitions.
On August 6th, 2009, John Hughes, the most significant filmmaker of the 1980s was pronounced dead following a massive heart attack while taking a neighborhood stroll in the small community of northern Illinois where he had all but retired from writing teen flicks expressing conflicts, anxiety and the power of adolescence. Never displaying an Oscar on his mantle nor even a nomination, the private screen-writer / producer quietly went off into the sunset following the 1980s where he settled with his family as Eighties’ Americana awarded him with a legend of honor. John Hughes didn’t just direct movies, he directed the new wave generation. His formula? Keep it real.
During the 1980s, Hughes wrote and/or directed over 15 films. In 1982, he watched his first successful production hit the big screen at the age of 32 (‘National Lampoon’s Class Reunion’). Although only a few were blockbuster hits on the big screen, the power of the Eighties’ VHS format brought revenues to independent and corporate video rental outlets everywhere as Americans demanded Hughes’ films day after day. Unless you had a copy reserved, locating an available rental tape of ‘Mr. Mom’ during a summer weekend in 1984 usually left you settling for a lesser desired second choice.
Not only did Hughes’ leave behind an entire library of cable-ready films (as if you can break away from ‘Ferris Bueller’s Day Off’ when you stumble upon it while surfing!), he also left us with some of the most vital collections of alternative-progressive pop music ever assembled. Hughes believed that every defining moment in all of his films should be supported with an echoing song. As most studio companies contracted with the chart toppers of the day (Cyndi Lauper’s “Goones R’Good Enough” or Duran Duran’s “A View to a Kill” for example) to help promote their films, Hughes’ peeled back the obvious and kept his eye on the progression of college music and imported British bands that were in the crawling stages of popularity, most of which were still independent from large recording contracts. Very seldom did a slice from Hughes’ cake of soundtracks reach the top of the U.S. charts (only Simple Minds’ “Don’t you forget about me” and O.M.D’s “If you leave” were top 10 hits) but then again, Hughes’ films were usually marginalized anyway.
Here’s a retrospective look back at some my favorite John Hughes’ soundtrack choices, in no particular order, spanning his illustrious Eighties’ career. Each track reminds us of the joy, pain, angst and satisfaction of growing up as a teen as in the 1980s.
“Dancing Across the USA” – Lindsey Buckingham (National Lampoon’s Vacation, 1983) No summer is complete without a road trip to Walley World. After a cacophony of unlucky events, the Griswolds finally reach their California destination. Hughes summarized their disastrous trip by cleverly using postcards and Kodak moments as Buckingham’s solo attempt supported the slideshow.
“Love Missile F-11” – Sigue Sigue Sputnik (Ferris Bueller’s Day Off, 1986) After a compelling collection of films focusing on teen identity-crisis, Hughes’ ‘Ferris Bueller’s Day Off’ transitioned students from the counselor’s office to after-school detention. Sigue Sigue Sputnik made video game singles for the technological age. ‘Love Missile F-11’ is nothing short of energized chaos, a precise comparison of the whirlwind ride that Ferris endures in this classic fan favorite.
“Whistle Down the Wind” – Nick Heyward (Sixteen Candles, 1984) When Nick Heyward abruptly left Haircut 100 in 1982 because of a short-term mental breakdown, odds were stacked against a solo comeback. However, Hughes’ blessed the recovering songwriter with a feature moment in Sixteen Candles with the inclusion of his first single. It is unlikely that most of us that attended proms in the 1980s video recorded those special moments. Thankfully, some of Hughes’ finest scripts invited us back to the school dance where emotions were volcanic and rejection wounds scarred close to the bone.
“Eighties” – Killing Joke (Weird Science, 1985) More superficial than Clark Griswold’s quest for a little Roy Walley family fun, Weird Science was basically I Dream of Jeannie for the ‘80s testosterone driven teen. Killing Joke’s contribution to Weird Science is unchaste and triumphant. Never has a decade deserved its own party anthem as the liberating 1980s.
“Ca Plane Pour Moi” – Plastic Bertrand (National Lampoon’s European Vacation, 1985) Originally recorded in 1977, this French recording by Belgian singer/instrumentalist known as Plastic Bertrand was given a career renewal when viewers watched the Griswolds tour a Roman art gallery at lightning speed as it threatened to close its public doors in ten minutes. Driven by the melody of “Jet Boy, Jet Girl” by Elton Motello, ‘Ca Plane Pour Moi’ was the first of many new wave singles recorded in foreign languages washing ashore on American radio airwaves in the ‘80s.
“Breakfast Club Love Theme” – Instrumental (Breakfast Club, 1985) As beautiful as the moment when the jock kisses the basket case, the love theme instrumental from the Breakfast Club is similarly mesmerizing. Composed by soundtrack producer Keith Forsey, Forsey modestly discredited himself from the track on the record’s sleeve. Forsey, however, couldn’t remain distant; despite his attempt, Forsey fathered the anthem “Don’t You Forget About Me”. This U.S. number one, recorded by the third-choice Scottish act Simple Minds (Bryan Ferry and Billy Idol both rejected Hughes’ offer to record it), catapulted the rising producer to demanded heights.
“Bring on the Dancing Horses” – Echo & the Bunnymen (Pretty in Pink, 1986) John Hughes reportedly spent hours listening to music in search of the perfect audio fit to accommodate the importance of the climax endured by the viewers of his films. Nothing speaks Andie Walsh’s anguish as much as this lush, warm pop record from Ian McCulloch’s Bunnymen which unusually finds them in mourning and grief.
“Modigliani (Lost in Your Eyes)’ – Book of Love (Planes, Trains, and Automobiles, 1987) Even though this film was one of only a few comedy-dramas that Hughes resisted targeting teen viewers, this hilarious Thanksgiving adventure is just as charming as his predecessors. The movie’s soundtrack also shifted to adjust for the change in demographics. Combining classic pub pop (Dave Edmunds) with contemporary artists like the Dream Academy, the original motion picture soundtrack suffered from an identify crisis and therefore was cut from production by MCA only two years following its release in 1987. The Book of Love, New York’s answer to new wave electro, made their only motion picture soundtrack appearance with ‘Lost in Your Eyes’. Drenched in synthesizers, this track is evident of Hughes’ taste in music as he refused to stray too far from a formula that was clearly watermarked with his alternative stamp.
“Thieves Like Us” – New Order (Pretty in Pink, 1986) Like Cinderella preparing for the ball, Andie Walsh’s (Molly Ringwald) hand-made her own dress too, minus the rats and the birds of course. New Order, who can never be accused of being egotistical pop stars, provided not one, but two killer tracks for Hughes’ 1986 teen-drama ‘Pretty in Pink’. One of New Order’s contributions, ‘Thieves Like Us’, provided an instrumental atmosphere of deep bass lines and synthetic orchestral vibrations that wondered in the atmosphere as Andie skillfully mastered her scissors and sewing kit in this short-changed fairy tale.
“Kajagoogoo” – Kajagoogoo (Sixteen Candles, 1984) In hindsight, EMI records were probably on to something. ‘Too Shy’ was a number one record for Kajagoogoo, but the rest of the album (White Feathers) lacked American appeal. As Hughes began the selection process of adding modern, electronic instrumentals to this film, he must have found reverence in this band’s elementary proclamation. Titling a track after oneself, it is either a brilliant PR move or a career disaster. What other decade other than the Eighties would invite such arrogance? Time has been good to both the film and the band (they reunited last year; see article below), although it has yet to be determined if the Sixteen Candles soundtrack, if re-released, will include the track as it was not included in the original release.
“A Town Called Malice” – The Jam (National Lampoon’s European Vacation, 1985) As the Griswolds struggled to have what seems to be an intangible, favorable vacation, Hughes’ guided Chicago’s Pig-in-a-Poke’s grand prize winners through the post-punk streets of London, bringing with them, generally conservative American families. The punks and anarchists, it seems, have taken over. The Jam’s “A Town Called Malice” sums up the rebellion nicely and not one law was ever broken!
“Desire (Come and Get It)” – Gene Loves Jezebel (She’s Having a Baby, 1988) It may seem like a novelty today, but in the 1980s, it was customary (at least in film) to spend many evening hours during the week at a local club. John Hughes took us into many of these clubs throughout the ‘80s including the singles’ club where “Desire” blasted out of the sound system in its expanded, remixed form. Unfortunately, the 12-inch version featured in the film was abbreviated to a radio-friendly 7-inch version for the original motion picture soundtrack in 1988. After a 15-year absence, IRS reissued the soundtrack after a cry from fans all over the globe.
“The Shyest Time” – The Apartments (Some Kind of Wonderful, 1987) For Hughes’ last teen flick, he granted all soundtrack production rights to Stephen Hague, the most influential individual in escalating the synth-pop movement (Erasure, Pet Shop Boys, Public Image Limited). Ironically on this project, Hague reached out to band’s that barely used keyboards at all. One of those bands, Australia’s the Apartments, brought a fresh spirit of jangle-pop and guitar fronted melody to the score.
“If You Were Here” – Thompson Twins (Sixteen Candles, 1983) When Samantha “Sam” Baker gets her dream hunk Jake following a period of all-around disappointment, the magic of John Hughes sparkles in the candlelight.
Never a 45-rpm single, “If You Were Here” has become the Thompson Twins’ “Stairway to Heaven”. Even if you can’t recall some of these definitive tracks that I’ve mentioned in this list, odds are that you remember this song bonded with this scene. This could be the definitive moment of the John Hughes’ collection.
“I Go Crazy” – Flesh for Lulu (Some Kind of Wonderful, 1987) Adding a bit of goth-rock to the lineup, Stephen Hague and John Hughes helped launch a deal for the Flesh with Beggars Banquet Records after “I Go Crazy” became a Billboard Modern Rock chart sensation. In the words of leads singer’s Nick Marsh, “Well isn’t that nice, like Miami Vice”.
“Please Please Please Let Me Get What I Want” – The Smiths (Pretty in Pink, 1986) Although its less than 3 minutes long, this whimpering plea is the antidote to any pity party, especially if Hughes’ is the host. The Smiths, who contributed only one song to an ‘80s soundtrack in their career, had much more in common with John Hughes than Hollywood did. Both made their fortunes, shaped the culture and then successfully retired in the Eighties.
For comments or questions, please send mail to bandsreunited@yahoo.com
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