The blue-eyed soul/synthpop sounds of the UK also fell into a romanticized nostalgia for the 1960's R&B soul music that originated in the states and before making its way over the pond. In the 1980's, this movement was located primarily in Northern England, and eventually made its way to other parts of the UK while taking on other influences from jazz, funk, reggae, and punk.
This refashioned post-punk soul sound in the UK had less divide between black/white music/musicians than the US at the time. Certainly many of the blue-eyed musicians took on front and center, but there were always more diverse musical lineups supporting these acts. I just want to highlight a few gems that come to mind...
The king of the mod revival in 80's (a subculture movement unto itself that had more emphasis around jazz, scooters, and 60's fashion) was Paul Weller. Certainly his work with The Jam and his solo stuff continues to inspires generations, but it was his diversion to the more soul-ridden The Style Council that caught my attention. You take a song like “Shout to the Top,” and you'll find an urgent rhythm filled with gorgeous melodies and high-caliber craftsmanship. I never tire of this song, and it's always a highlight at his live performances:
I actually first heard about Orange Juice after reading Simon Reynold's Rip it Up and Start Again since they did not have much exposure in the US. Reynolds says, “Orange Juice talked and acted in ways that broke with rock's rebel swagger and postpunk's militant solemnity. They were literate, playful, witty, camp.” As I explored their music, I found myself loving Edwyn Collin's infectious voice, and the jaunty jangle guitars and choppy rhythms. Their debut single “Falling and Laughing” draws you with its unabashed romance and Collin's shy and sensitive vocals. It's so pure in its sacred confession for love:
More recently, I watched this short film about Dexy's Midnight Runners that explored all the incarnations of Kevin Rowland's band and various projects. I've always enjoyed their music in the early 80's, more specifically their first major hit “Geno” and the album “The Celtic Soul Brothers” that contained the mega-hit “Come On Eileen.” But I was less familiar with their follow-up commercial failure, 1985's “Don't Stand Me Down.” In this project, Rowland got away from his Irish vagabond look from the prior album, and decided to take on an investment banker like appearance. In the following delicious 12 minute song, “This is What She's Like” there are these interesting comical dialogues that take on subjects like the ruling class, while at the same time trying to cheekily be a part of it. The song maintains this epic quality of high-energy folksy violins & mandolins and soulful vocals that has been a staple in much of his work. This is probably a forgotten classic: