“ Victims“ was the best record many of you have never heard. Part-pop, fully soul, the album was genre-bending enough to be enjoyed by young and old, Black and White. If only to solidify Culture Club as a 1980s blue-eyed soul force, the group came back in 1984 with “Colour By Numbers” In the annals of Blue-Eye Soul, this was a classic. Again, the simple bass and lush strings were the perfect alternative to American R&B in post-disco 1983. “Time” is the best Smokey Robinson homage this side of ABC’s When Smokey Sings”. I steadfastly maintain that if you took away Boy George’s makeup, you’d find the British Smokey Robinson. And if it wasn’t for the Georges Seurat-esqe video, America would have sworn that Fry was Black.Ĭulture Club, “ Time (Clock of The Heart)“, “Colour By Numbers”. The synths, and neo-disco strings, and Fry’s voice made these the quintessential soul record. The lyrics were heartfelt taking the listener on an emotional rollercoaster that is called “relationships”. “The Look of Love” was so contemporary, and yet a throwback, all at once. Dashing blonde hair with the voice that could have easily made him one of his generations best soul singers (if not for The New Romantic Movement and the aforementioned award George Michael won). And Martin Fry.įry fits the dictionary, if stereotypical, view of the genre. When you look up Blued-Eyed Soul with a British accent, you’ll see Dusty Springfield. Sadly, Go West’s record company never took the chance to speak to a twelve-year-old growing up along the banks of the Mississippi River.ĪBC, “ The Look of Love“. Given the right steering, the song could have easily had an impact on R&B radio or at least, evening adult contemporary. There is an element of Bobby Caldwell in Cox’s voice and the song seemed as if it was a response to Caldwell’s classic “What You Won’t Do For Love”. The song never charted, but made an immediate impact on me from the first time I heard it. “Eye To Eye” was their third release from their debut album. From their initial single, “We Close Our Eyes”, you could hear Peter Cox’s voice and know that he studied The Philadelphia Sound as child. When I think of Go West, I often think of as the UK’s version of Hall & Oates. As Funkmaster Flex would say, “ You better cop that joint!”) (I always maintain that her “ Real Love” and “ So Natural” are the epitome of ’90s soul – so much so that the latter was never released in the United States. And as much as I love her, Lisa Stansfield oozes so much soul that it’s a shame she never had a bigger impact. Prince’s protegees TaMara & The Scene and The Family? Not here. (Besides, he’s a Babyface creation.) There can be no Lady T, who is more funk than pop, and we bless her for that. When formulating the list, I’m immediately taking out artists groomed for “urban” radio. So, I figure it’s time to look back at the top six blued-eyed soul acts of my generation. Plus, surprise, she’s Black.) Today, American pop music is nothing more than pre-fabricated productions with no trace elements of soul. From that night forward, it would be hell for a pop artist to crossover to the R&B chart…unless it was Whitney Houston (and we all know that was a desperate attempt to remain relevant. To paraphrase the great De La Soul album, “Blue-Eyed Soul Is Dead”. (And if you don’t believe me, George Benson’s eyes proved it.) If you ask me, when George Michael beat “the soul deity that is Luther Vandross” for Favorite R&B Male Vocalist, blue-eyed soul was coming to an end. Who knew the 1989 American Music Awards would signal a sea-change in American music.
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