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Had it been released two years later, when guitars were voguish once more, it would have kept the ABC boat afloat. The strings were gone, replaced by some tough guitars that sounded weirdly dated - sometimes like Low-era Bowie, sometimes closer to Led Zeppelin. Their parent album, The Lexicon of Love, defined the charts of 1982.ĪBC predated OMD in their attempt to take on the preconceptions of their fanbase, and their second album, Beauty Stab, did not define the charts of 1983. All Top 20 hits all soulful, well-dressed pop. After changing their name to the perfectly minimalist ABC, they sat down to write some perfectly modernist love songs: Tears Are Not Enough, Poison Arrow, The Look of Love, All of My Heart. They were interviewed for a fanzine called Modern Drugs by Martin Fry, and got on with him so well they asked him to become their singer. While OMD name-dropped Dancing Queen, Ian Curtis and Mies van der Rohe, ABC claimed they existed to write "a soundtrack for the 80s".Īt the turn of the decade, ABC had been Vice Versa, a Sheffield post-punk unit who leaned more towards the atonal than to Abba. There was no manifesto, but the new generation - OMD, ABC, Soft Cell, the Teardrop Explodes, Dexys Midnight Runners - had lived through punk, understood its situationist leanings, and understood the real value of music.
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An almost forgotten era, now lumped in with the ephemera that succeeded it- the likes of Johnny Hates Jazz - new pop was an attempt in 1981 and 82 to marry chart music to the avant garde. Re-election, sounded the bell for the new pop playground that the charts had become. Dazzle Ships, falling between the Falklands war and the Tories' emphatic conservative."Īs, of course, did the whole country. After that, there was a conscious and unconscious reeling-in of our experimental side. Not a song about someone's hand being cut off by a totalitarian regime. When people heard Dazzle Ships, they obviously preferred our music with the sweet wrapper on. But I'm the one who took us right to the edge of the plank. "I was the ideas man, Paul Humphreys made it happen. With one record, Orchestral Manoeuvres lost 90% of their audience. Architecture and Morality sold 3m Dazzle Ships sold 300,000. The machinery, bones and humanity were juxtaposed."ĭazzle Ships entered the charts at No 5, then dropped like a stone. Disembodied voices from the eastern bloc sit over recordings of time signal pips, speak-and-spell machines, wartime submarines. The song is still one of Dazzle Ships' more overtly commercial moments. Generally, I was pretty dark and pessimistic. "I think they automatically assumed it would be anti. "People didn't listen to the lyrics," McCluskey recalls. However, when Dave Lee Travis played the single on Radio 1, he said - with some gravitas - that it was about time someone in the music world stood up to the evils of tinkering with nature. "I was very positive about the subject! I didn't expect someone like Monsanto to come along and say, 'Fuck it, we can make money out of cross-pollination.'" For starters, the first single was called Genetic Engineering. It wasn't as though OMD wrote conventional love songs to start with - Enola Gay was famously about Hiroshima, Stanlow about a power station - yet Dazzle Ships took off what McCluskey calls "the sweet wrapper". So when we sold 3m albums and the world didn't change, we were scared." And somehow we believed that would change the world, the way people think. The music we made had to be interesting and different. "It was the naive confidence of youth, the idea that music is that important.
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"It sounds strange, I know, but we had been trying to change the world," says McCluskey. Wait until you hear the next single - it's our Mull of Kintyre." Maid of Orleans duly became another huge hit in the UK, and Germany's best-selling single of 1982. When Joan of Arc got rave reviews ahead of the album's release, McCluskey told Smash Hits: "That's nothing. Souvenir was first out of the block and made No 3. Architecture and Morality, OMD's third album, had been a monster hit following its release in 1981, with any number of potential singles.