Analysis of 2 famous 80's songs

Today I thought I would talk about two famous songs of the 80's. Both of the following songs have been written and talked about a lot, but that's not going to stop me. Until they invent a time machine that can go back to the 80's, I will continue to extol the virtues of this amazing decade. The music, fashion, politics, toys, movies, inventions, TV shows, and any and all culture, pop or otherwise, that flowered then can never be repeated.

1. FRANKIE GOES TO HOLLYWOOD - relax

This song is truly amazing for many reasons. I'm not really sure where to start. The Trevor Horn production is HUGE - big, booming, bombastic, bodacious, and of course the awesome bass. Trevor Horn is a production genius (known primarily for The Buggles and Art of Noise among other projects, my personal favorite that I have heard/that I own is his production work on ABC's "the Lexicon of Love", which is a triumph on behalf of everyone involved) that realized bigger IS better - an arena is too hopelessly puny to contain this sound. It makes so-called "arena rock" sound like bar-band stuff. Horn must have realized in order to make an impact, you have to rise above the pack in a shameless fashion. You only live once, let's go full throttle, to the max and not look back. And clearly it worked, because the song is a legendary number one hit that we're still talking about today. With inferior or substandard production, this would not be the case.



Now, putting aside the marketing campaign and "Frankie Says" T-shirts, just think about the song itself. There are many great and mind-boggling things about this song: 1. That it was made at all. 2. That it was dreamed up in the fevered minds of Horn and Holly Johnson and the whole crew - it is said many did not even play their instruments on the record 3. That a song so raunchy (I suppose in a typically British "naughty" way) could be a huge hit at that time 4. That it could be so raunchy and be a hit with Americans and others not knowing what they were talking about 5. The open gayness of it all (Although Holly looks so cool in the second video for the song, it must have opened the minds of many people, and of course the 80's was a very gay-friendly time for pop music, what with Wham!, Culture Club, Dead or Alive, Frankie, etc.)6. That all these factors could come together, in a somewhat unlikely manner and create a timeless moment in pop culture history.

A-HA - take on me

This truly is a thrilling and exhilarating song - you actually feel like you're moving when you're listening to it, perhaps speeding along the Autobahn (yes, I know they are from Norway and not Germany, but still the raging EUROPEAN-NESS permeates the whole thing).



Brilliant melodies never die - and this is pop music genius if there ever was such a thing. 99% of so-called "indie" bands WISH they could pull off something so masterful. Add to it a sense of drama, and your cup runneth over with greatness!!! After some dramatic highs and lows in the song which are pulled off so skilfully you barely notice them on a conscious level, a stroke of genius occurs: the tempo slowdown during the chorus. What I mean by this is, the song is moving along at it's brisk and sprightly pace, until Morten sings the line "I'll...be...gone..." during which the drums switch to a breakdown-like tempo, just for that one line. This practically makes the song a legend right there, and is an obvious genius that underlines some of the more moving emotions attached to the song. Not to mention, on the perfect album closer "Here I Stand and Face the Rain", the same technique is employed, but in a slower, more somber context, thereby wonderfully bookending the album. I have no idea if this was intentional or not, but it works.
Much has been made over the fact that this is a "one-hit wonder", however the A-ha boys have had a long career in Europe and in other territories. Perhaps it speaks to them more than it speaks to us on that level, and who could forget the amazing video? While the same techniques were used for the video for "hunting high and low" for whatever reason MTV didn't deem it as worthy. The whole album has that sort of "overcast" feeling...despite the brightness of the song in question, the full album makes for great rainy-day listening.

Both songs and videos spoken of here today scream "80's!" and I say so what! That makes it all the better! I'll take then over now anyday! What makes today's "music" so much better? It's godawful! I wish I was a pencil drawing in a comic book...