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Nell'ambito del pop revival dei primi anni '80, i più famosi
furono i Culture Club di Boy George (O'Dowd),
che sfondarono le charts con hit della portata di
Do You Really Want To Hurt Me (1982) e I'll Tumble 4 Ya (1982),
da Kissing To Be Clever (Virgin, 1982),
Time (1983),
Church Of The Poisoned Mind (1983) e soprattutto
Karma Chameleon (1983), dal loro album migliore,
Colour By Numbers (Virgin, 1983),
che rimescolavano il soul piu` esuberante
con melodie Merseybeat e accesi passaggi blues.
Boy George divenne una star per via dei suoi atteggiamenti ambiguamente
omosessuali e per qualche anno
i media ne raccontarono tutte le gesta mondane.
I Culture Club sarebbero sprofondati in ogni caso alla fine della moda, ma
i loro ultimi album,
Waking Up With The House On Fire (Virgin, 1984)
e
From Luxury To Heartache (Virgin, 1986), fecero di tutto per
precipitare la caduta.
Boy George lanciò la carriera solista con Sold (Virgin, 1987), sotto la direzione musicale del veterano Lamont Dozier, ma Tense Nervous Breakdown (Virgin, 1988) e Boyfriend (Virgin, 1989), editi negli USA come High Hat (Virgin, 1989), sono dischi che vivono soltanto della sua popolarità, popolarità che era in rapido declino. The Martyr Mantras (Virgin, 1991) raccoglie alcuni singoli (come Generations Of Love) e inediti del periodo. George entrò ancora in classifica con un paio di cover, ma Cheapness & Beauty (Virgin, 1995), il suo album "rock" (in cui imita più che altro Billy Idol), segnò la fine della sua carriera. Gli scarti di quelle session compariranno anni dopo su The Unrecoupable One Man Bandit (Finetune, 1999). I Culture Club si riformeranno nel 1998. |
(Translation by/ Tradotto da Matteo Nicoli) Among the pop-revival bands of the early 1980s, the most famous were Boy George (O'Dowd)'s Culture club, that climbed the charts with hits such as Do You Really Want To Hurt Me (1982) and I'll Tumble 4 Ya (1982), off Kissing To Be Clever (Virgin, 1982), Time (1983), Church Of The Poisoned Mind (1983) and, above all, Karma Chameleon (1983), off their best album, Colour By Numbers (Virgin, 1983), that reshuffled the most exuberant soul with Merseybeat melodies and sprightly blues passages. Boy George became a star thanks to his ambiguously homosexual attitude, and for a few years the media indulged on his social life. Culture Club's success would have ended anyway with the fading of the trend, but their last albums, Waking Up With The House On Fire (Virgin, 1984) and From Luxury To Heartache (Virgun, 1986), did everything to accelerate the downfall. Boy George launched his solo career with Sold (Virgin, 1987), under the musical direction of veteran Lamont Dozier; Tense Nervous Breakdown (Virgin, 1988) and Boyfrend (Virgin, 1989), released in the USA; and High Hat (Virgin, 1989), are records that rely solely on his popularity, a popularity that was quckly declining. The Martyr Mantras (Virgin, 1991) collects some singles (like Generations Of Love) and other unreleased tracks. George climbed back onto the charts with a couple of covers, but Cheapness & Beauty (Virgin, 1995), his "rock" album (in which he tried to mimic Billy Idol), marked the end of his solo career. The rejected tracks of these sessions would appear, years later, on The Unrecoupable One Man Bandit (Finetune, 1999). Culture Club reunited in 1998. |
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