Score: When we do the Lost ’80s tour, we get a lot of kids doing it – you know, the parents bring them along and style it, they want to go back to the ’80s. RE: I’m sure you get asked this a lot: How often do you see people emulating your hairstyle? It’d be magic if it worked, something new to what we do. It would be nice to play with an orchestra, I never thought about that (before this). The technology was there I could record my part from my hotel room in Australia or wherever and send it to them. We were all in different studios and laid down the orchestra (tracks). Score: No, it was done as a studio project. RE: “Ascension” (2018) was a big departure in terms of reworking your hits as orchestral pieces with the Prague Symphony Orchestra. Jive didn’t know what to do with us so they said, yeah, go along with them, and MTV was just starting to hit. We saw about 20 labels who said “rubbish,” but Jive said “wow.” It was right on the point where things were going to change we weren’t a punk band but we were friends with Squeeze, who were doing a college tour in the U.S. And they liked us, which was a shock to us. Liverpool has always had such a musical history, so we went to London and basically slept on someone’s doorstep until they agreed to listen to us. We saw other bands that were getting signed, but we weren’t like Echo and the Bunnymen or anything. Synthesizers you could afford to buy were just starting to hit the shops, which was cool to us. Score: We would go out and see whoever was playing in Liverpool, you know, Ultravox or Simple Minds, or see local bands in the clubs. RE: Was it difficult to get started in a place that was so known for its connections to the Beatles? Did the area influence your musical development at all? They were looking for something new, and we were new. We were together just about six months to a year before we got a three-single deal with Cocteau Records (that was Bill Nelson’s project), so I’m sure people were thinking, “What the hell happened there?” Then Jive (Records) took a chance on us – the timing was just right. We weren’t together long before we got a deal – I know a lot of people play for years and years before they get noticed. Mike Score: We just had a band, we were enjoying rehearsing and gigging around. Reading Eagle: When you were getting started, you were on the forefront of what became known as new wave. In fact, I have a theory that he was the inspiration for Edward Scissorhands.(Note: comments have been edited for clarity and brevity.) I also heard he was trying to grow an afro, but happened to stand too long in front of a jet engine. Time, and placed his hand on Score's head, leaving only the hair on the ĪFOS bassist Frank Maudsley was trying to use the mirror at the same According to Wikipedia, "his 'seagull' or 'wings' hairstyle was created when Score was trying to style his hair like that of David Bowie's character, Ziggy Stardust. Also, I know I'm making fun of it, but this song kind of rocks. Also, I think the girls simply couldn't afford sunglasses, so they decided to paint giant rectangles around their eyes instead. Honestly, the camera doesn't swirl enough for my taste. To explain to a young person of today what the '80s were like, and how aīand could just come out of nowhere, have a huge hit, and then sinkīack into the ether, and they give you a puzzled, confused look in The answer:Įverything I said about Kajagoogoo's "Too Shy" applies here. Just how ridiculous A Flock of Seagulls could have been. Heard the name thrown about here and there, but I always wondered Mike Score, A Flock Of Seagulls' lead singer, was a hairdresser who formed a band. Hair than the music, they're usually exaggerating. Rock critics condescendingly dismiss the '80s as being more about the
0 Comments
Leave a Reply. |