Messengers

Once upon a time, a young man who loved synth-based New Romantic music went to a concert at the Kabuki Nightclub in San Francisco to see one of his ultimate favorite bands, Ultravox, fronted by the amazing singer-songwriter Midge Ure, on their 1983 Quartet/Monument Tour. It was a magical night but what remained an enigma for this young man was the opening act whose name he never did get: two men on synths who sounded eerily similar to Midge Ure himself. He really liked all he heard, and the lyric of one song in particular leapt out, a song about a Dancing Bear. After this opening act and before Ultravox took the stage, a friend of this young man said he thought perhaps the song was a metaphor for Russia.

Over the next many decades, the young man aged, but every now and then he would recall this concert and think wistfully of the mysterious opening act. If only he could find some information about them, maybe he could find their music. Eventually, there was an electronic medium that spanned the world and connected people in ways never dreamt of. He decided to cast a net out onto this electronic medium and immediately found what he had been dreaming of all those years.

The band he heard over forty years ago was Messengers, a Scottish duo of drummer Colin King and guitarist Danny Mitchell. Their music was produced by Ure, explaining the resemblance to that unmistakable, heart-stopping tenor and the soaring sound of Ultravox. He found their music on a worldwide electronic video encyclopedia called YouTube. In 2004, twenty years after recording songs for an album, the duo released "It's Been Twenty Years...Let's Try Turning Up The Volume." The now-older man reveled in hearing familiar sounds, in particular, "Art," "Departure," and "T.D.P." He is so grateful for finding these sounds, the sounds of his youth, sounds that inspire him to this day.

Thus, after decades of yearning and searching, the enigmatic melodies that had once filled the Kabuki Nightclub on that fateful night were no longer a mystery. They were brought back to life, rekindling the spirit and passion of a time long past, and adding a melodious chapter to the story of a man and his eternal love for music. And he lived happily ever after. The end.

And here is "The Dancing Bear" that stuck in his mind...

L to R: Colin King, Midge Ure, Danny Mitchell

The New Romantics

New Romanticism was a music and fashion movement in the early 1980s. Grown out of a reaction to the hardness and anger of punk, the New Romantics, male and female, were eager to wear make-up, dress up in exotic clothing, look glamorous, and dance. The movement expressed itself in many ways. The look was inspired by many different eras and cultures such as the Victorians, the Goths, the “Noble Savage” (which is how Native Americans were thought of in England in the early 1800s, when engravings and accounts of Native cultures were making their way back to the UK), Pirates, the Edwardians, 1920s-30s glamour, film noir of the 1940s, and a touch of space-agey science fiction. Musically, the sound was the opposite of punk: taking the opulent sound of electronic/ synth-pop as a base, some bands added elements such as horn or string sections. The music was richer than punk, more ornate…and certainly dance oriented. Some groups chose to emulate a somewhat tribal sound to accompany the “Noble Savage” look.

Adam and the Ants had two drummers to recreate a sonorous, thrumming African percussion sound. Here, in “Stand and Deliver,” Adam is seen in his Levantine Pirate/ Highwayman/ Fierce Indian Warrior incarnation, hence the tri-corner hat, braided vest, cape and adorned braids in his hair. The white stripe under his eyes is a mark used by Apache warriors going into battle.

“Prince Charming” featured a dandified version of Adam’s previous incarnation, only this time with brocade, satin, velvet and gold lamé. The Native American war paint is still there, but is now “prettified” with the more feminine eye make-up. The sound is still inspired by tribal music and the legendary British bombshell Diana Dors makes a cameo appearance as his Fairy Godmother.

Ultravox, fronted by the amazing tenor Midge Ure, featured a cold, rich, mysterious dance sound. In this highly cinematic video for their nearly-operatic song “The Thin Wall,” the New Romantic interest in the 1930s and 40s can clearly be seen.

The puppet master and creator of Bow Wow Wow was Malcolm McLaren, the musicality came from Leigh Gorman the bass player, and the charm came from lead singer Anabella Lwin (born Mayant-Mayant Aye in Burma) who was only 14 when the band started. The look was conceived by fashion genius and McLaren’s partner, Vivienne Westwood, who exclusively used pieces from her tribal, swashbuckling, heroic collection “Pirate.” Musically, they share a lot with Adam and the Ants (Bow Wow Wow was once Adam’s band) in terms of a percussion-heavy sound based in Native/ African cultures.

Duran Duran were merely one of the biggest musical acts of the 1980s but their roots are firmly in New Romance. Donned in pirate shirts, ruffles and sashes, they were the house band for the Rum Runner nightclub in Birmingham. With a slick and sleek synthesizer sound and Nick Rhodes’ heavily mascara-ed eyes, they were an exciting phenomenon. First up is the original video for “Planet Earth” which has a great example of a couple performing a particular New Romantic dance style that was immensely popular. Next is an alternate video for "Planet Earth" featuring footage of Duran playing their first gig at the Rum Runner back in 1980!

Visage and its clothes-horse front man Steve Strange, with his penchant for drawing hieroglyphs and unusual symbols on his heavily made up face, were at the epicenter of it all. He ran Blitz, a London nightclub—seen here in this video for the eponymous song “Visage”—where all the fashionable New Romantics gathered, and were therefore known as Blitz Kids. A sweeping, Romantically lush dance sound, bolero hats and white gloves… ah, glamorous...