Frankie Goes to Hollywood were an English pop band that formed in Liverpool in 1980. They comprise Holly Johnson (vocals), Paul Rutherford (backing vocals), Mark O'Toole (bass), Brian Nash (guitar) and Peter Gill (drums). They were among the first openly gay pop acts and made gay rights and sexuality a theme of their music and performances.
Frankie Goes to Hollywood signed to ZTT Records in 1983. Their debut album, Welcome to the Pleasuredome (1984), produced by Trevor Horn, achieved advance sales of more than a million, and their first three singles, "Relax", "Two Tribes" and "The Power of Love", reached number one on the UK Singles Chart. Their provocative themes led them to be briefly banned by the BBC, drawing further publicity. In 2014, the music journalist Paul Lester wrote that "no band has dominated a 12-month period like Frankie ruled 1984".[6]
Frankie Goes to Hollywood's second album, Liverpool (1986), sold fewer copies, and they disbanded acrimoniously in 1987. Johnson successfully sued ZTT to leave his contract and began a solo career. He declined invitations to reunite and tried to block the band from using the name. In 2004, Frankie Goes to Hollywood reunited without Johnson and Nash to perform at a Prince's Trust charity concert, with Ryan Molloy on vocals, and held a tour in 2005. The band reunited with Johnson and Nash for the first time since 1987 to perform for the 2023 Eurovision Song Contest.
History
1980–1982: formation
Frankie Goes to Hollywood formed in Liverpool in 1980.[7] The lead singer, Holly Johnson, had previously played in Big in Japan and had released some unsuccessful solo singles. He formed the first version of Frankie Goes to Hollywood with Phil Hurst (drums), Ambrose (bass), Steve Lovell (guitar), but the group soon split.[8] The name came from an advertisement announcing Frank Sinatra's film debut.[9]
In 1982, Johnson restarted the group with Peter Gill (drums) and the brothers Mark (bass) and Jed O'Toole (guitar). Jed left before 1983, and was replaced by his cousin, Brian Nash.[8] Within the band, O'Toole, Nash and Gill constituted a group known as the Lads.[6] Frankie Goes to Hollywood played their first gig at a Liverpool pub, Pickwick's, where they recruited the dancer and backing singer Paul Rutherford.[8][10]
Trevor Horn, pictured in 1984 wearing a Frankie Goes to Hollywood shirt, signed the band to ZTT and produced their first album.
In February 1983, Frankie Goes to Hollywood performed on the Channel 4 show The Tube, dressed in fetish wear. That May, they became the first act signed by ZTT Records, a new record label co-founded by the producer Trevor Horn.[6][8] Horn admired the "dangerous" sexuality of their music.[6] "Relax" was selected as their first single. After recording several versions, Horn created a dramatically different arrangement without the band, using electronic instruments such as a drum machine and the Fairlight, an early sampling synthesiser.[12]
"Relax" was released in October 1983, backed by a music video set in an S&M club.[13]Sound on Sound described it as a "hi-NRG brand of dance-synth-pop" that "broke new sonic ground, while epitomising '80s excess in all its garish, overblown glory".[14] Initial sales were slow, but rose after the band performed on the BBC series Top of the Pops the following January.[6] Soon after, the BBC banned "Relax" from its broadcasts, deeming it obscene. The ban created publicity, associating Frankie Goes to Hollywood with youth rebellion. Within two weeks, "Relax" reached number one on the UK Singles Chart and stayed there for four weeks, and the BBC was forced to reverse its ban.[15] "Relax" won the 1985 Brit Award for Best British Single.[16]
The ZTT co-founder Paul Morley devised a promotional campaign involving "advertising-based slogans, playful propaganda and pseudo-philosophy".[17] This included a line of T-shirts inspired by shirts created by Katharine Hamnett, bearing slogans such as "Frankie say relax" and "Frankie say arm the unemployed".[9][18] Morley said he wanted to challenge the idea of music merchandise, asking: "Why did it have to have a face on it, couldn't it be a walking billboard?"[19] The shirts quickly became popular, and Music Week reported in July 1984 that they were outselling the singles in some stores.[9][20] By the end of the year, more than 250,000 T-shirts had been sold.[21]
Frankie Goes to Hollywood appeared in the 1984 thriller Body Double by Brian De Palma.[17] In June, Frankie Goes to Hollywood released their second single, "Two Tribes", featuring an "annihilating" bassline and lyrics about the Cold War.[6] Its music video, depicting a fight between Ronald Reagan and Konstantin Chernenko, was played extensively on MTV.[17] The single spent nine weeks at number one on the UK Singles Chart.[22] That August, "Relax" rose to number two, marking the first time the top two positions had been held by a single act since the Beatles in 1968.[6]
Frankie Goes to Hollywood released their debut album, Welcome to the Pleasuredome, featuring "Relax" and "Two Tribes", in October 1984.[23] It had advance sales of a million copies.[6] A third single, the ballad "The Power of Love", was released in November and reached number one in December.[citation needed] This made Frankie Goes to Hollywood the second act in the history of the UK charts to reach number one with their first three singles, after another Liverpool band, Gerry and the Pacemakers, in the 1960s. This record remained unbeaten until the Spice Girls achieved a six-single streak in 1996–1997.[citation needed] Writing in the Guardian in 2014, Paul Lester wrote that "no band has dominated a 12-month period like Frankie ruled 1984".[6] As of 2014, "Relax" and "Two Tribes" were the sixth and 22nd-bestselling singles in UK history.[6]
By the end of 1984, during sell-out shows in Los Angeles and promotional touring in the United States, Johnson had distanced himself from the band, spending time with his new boyfriend, Wolfgang Kuhle.[10] In 1985, Frankie Goes to Hollywood left the UK for a year for tax purposes and wrote songs for their second album in Ireland.[27] The media reported that disputes had formed within the band.[27] They began recording their second album, Liverpool, in Wisseloord Studios, near Amsterdam, in November 1985. Between March and June 1986, they worked in ZTT's studio Sarm West in London. The album was produced by the ZTT engineer Stephen Lipson; Horn took over mixing in its final stages.[27]
Johnson remained distant from the band during the sessions and was unhappy about the album's focus on rock over dance.[27]Jill Sinclair, Horn's wife and one of the ZTT founders, later alleged that Johnson had been uncooperative and absent for most of the sessions.[27] According to Nash, the Duran Duran singer Simon Le Bon declined an invitation to replace Johnson. Pete Wylie was also approached, but Johnson remained with the band and completed Liverpool.[28]
In August 1986, the first single from Liverpool, "Rage Hard", was released, reaching number 4 in the UK.[citation needed]Liverpool was released in October 1986 and reached UK No.5. It received poor reviews and chart returns declined rapidly with the follow-up singles "Warriors of the Wasteland" (No.19) and "Watching the Wildlife" (No.28).[citation needed] Horn spent three months creating remixes of "Watching the Wildlife" and "Warriors of the Wasteland" for the single releases, spending an estimated £50,000.[27] By March 1988, Liverpool had sold around 800,000 copies.[27]
1987–1988: disbandment and lawsuit
During the Liverpool tour, the relationship between Johnson and the rest of the band deteriorated.[29] Before a concert at Wembley Arena in January, a fight broke out backstage between Johnson and O'Toole.[30][31] Johnson said that ZTT had encouraged the rift as a means of divide and rule,[27] and that Horn had once suggested Johnson and Rutherford fire the other members and work as a duo.[27] Sinclair instead blamed Johnson's manager and boyfriend, Kuhle, whom she said was a negative influence and had triggered resentment in the band.[27][32] Nash recalled: "During the last tour, everybody knew it would end, as the relationship between Holly and the rest of us was so strained. He didn't want to be in a band situation anymore. Everybody was fed up with the whole thing."[29] Their last live concert was on 1 March at Rotterdam Ahoy.[8]
On 23 July 1987, Johnson told ZTT that he planned to leave and sign to MCA Records. ZTT filed an injunction to prevent this, as their record contract specified that any member who left the band would remain contracted to ZTT.[32] In court, ZTT argued that the success of Frankie Goes to Hollywood was a result of ZTT's production and marketing and that Johnson had been disruptive and uncooperative. Johnson's team argued that ZTT had been financially irresponsible when recording Liverpool, and that their contract constituted an unreasonable restraint of trade.[32] In 1988, the High Court found in Johnson's favour and the band members were released from their contract.[27] Horn later wrote that his decision to pursue the lawsuit had been "stupid".[30]
Soon after the breakup, Nash, O'Toole and Gill attempted to re-form Frankie Goes to Hollywood with a new singer, Grant Boult.[29] According to Nash, they recorded songs in a deal with London Records.[10] Johnson blocked the project, saying it would devalue their achievements.[29]
1989–present: solo projects
Holly Johnson performing solo in 2014
Johnson began a solo career with MCA, and released a number-one album, Blast, in 1989.[33] His second solo album, Dreams That Money Can't Buy, released in 1991, was unsuccessful. That year, Johnson was diagnosed with HIV and retreated from public life to focus on his health.[33] In 1994, he published an autobiography, A Bone in My Flute.[34] He has since released further albums and studied at the Royal College of Art.[33]
Nash returned to work as an electrician, and signed to Swanyard Records to record music with Boult as Low.[29] He later became an officiator of weddings and funerals and a tour guide of Liverpool's musical heritage.[35] He published a memoir, Nasher Says Relax, in 2012.[28] O'Toole moved to Los Angeles, where he wrote and demoed new music,[29] and later moved to Florida.[36] Gill toured as part of an Australian soap actor's band, and formed a music production company, Love Station, which released singles featuring vocalists including Lisa Hunt.[29]
Rutherford released a single, a cover of the Chic track "I Want Your Love", and an album, Oh World, in 1989, which were unsuccessful. He released another single, "That Moon", as Paul Rutherford with Pressure Zone in 1991, and worked as a stylist for bands. He appeared in the music videos for "Walking on Broken Glass" (1992) by Annie Lennox and "Give In to Me" (1993) by Michael Jackson.[29] He later moved to New Zealand.[36]
1998–2000: American impostor band
In 1998, a band using the name Frankie Goes to Hollywood began to tour the United States.[37] The band was led by an American using the stage name Davey Johnson, who claimed he was Holly's brother and had performed uncredited on Welcome to the Pleasuredome.[37] Horn and the members of Frankie Goes to Hollywood refuted both claims. O'Toole, who had been living in Florida, became aware of the imposter band and warned concert promoters not to hire them.[37]
The Flock of Seagulls frontman Mike Score, who had been a Liverpool acquaintance of the members of Frankie Goes to Hollywood, removed the imposter band from his tour.[37] After Johnson contacted the trade magazine Pollstar to confirm that the act was unauthorised, they were dropped by a booking agent, but were booked by small clubs throughout the southern United States.[37] They continued to perform until at least September 2000, when a feature on the incident was published in Spin.[37] In 2000, ZTT released a Frankie Goes to Hollywood greatest-hits compilation, Maximum Joy, featuring remixes by acts including Apollo 440.[38]
2003–2007: reunion, performances with Ryan Molloy and trademark dispute
The members of Frankie Goes to Hollywood reunited in Holloway, London, for a 2003 episode of the VH1 show Bands Reunited, but did not perform.[39] In an interview the following year for Uncut, Johnson said he had not wanted to perform with the band again and felt the episode was a "debacle".[40] In his 2012 memoir, Nash, who had also been uninterested in a reunion, described the VH1 episode as a "circus" that had tried to depict Johnson negatively.[10]
On 11 November 2004, Frankie Goes to Hollywood reunited without Johnson and Nash to perform at a Prince's Trust charity concert at Wembley Arena celebrating Horn's 25 years as a record producer.[41][42] Johnson and Nash declined to take part.[43] In his memoir, Nash wrote that he gave the band his blessing and watched from the audience.[10] Following open auditions held on 31 October in Leicester Square, London,[43]Ryan Molloy was selected as the new vocalist.[44] O'Toole's brother Jed, who had played in the band in the 1980s, replaced Nash.[45]
PopMatters wrote that the Wembley performance had "unstoppable 1984 pop glory" and that "even strong detractors of the group would likely be won over by energy the band members radiate".[46] The Independent wrote that it "fell somewhat flat".[47] Writing in The Guardian, Alexis Petridis wrote that the show "ultimately underwhelms" and that the songs "were designed as studio-bound production extravaganzas, not live showstoppers".[48] Nash praised the performance and wrote that "Molloy did a great job filling Holly's shoes".[10] In his memoir, Horn wrote that Molloy "was a hell of a good frontman".[30]
The Wembley performance was followed by a series of concerts across Europe in 2005,[49][50][51] including at Northampton Balloon Festival,[52] and Big Gay Out in Finsbury Park, London.[53][54][55] In 2006, Molloy said he had written new songs for Frankie Goes to Hollywood.[51] However, the material went unreleased and a European tour was canceled.[52] The group remained active until 2007 using the name Forbidden Hollywood, as Johnson would not allow them to use the original name.[56]
In April 2004, Johnson attempted to register the name Frankie Goes to Hollywood as a trademark for his exclusive use, arguing that it was his intellectual property as he had used it for a previous band.[50][57] The other band members opposed the registration, and in 2007 it was blocked by a Intellectual Property Office trademark judge, who ruled that Johnson had acted in bad faith in an attempt to prevent the band performing without him.[50][57]
2011–2023: reissues, reunion with Johnson and biopic
In 2011, ZTT reissued Liverpool in an expanded edition, plus The Art of the 12", a compilation of tracks from ZTT artists including Frankie Goes to Hollywood.[58]Universal Music acquired the Frankie Goes to Hollywood back catalogue when it purchased ZTT in 2017.[59]
On 7 May 2023, Frankie Goes to Hollywood, including Johnson and Nash, reunited for a concert featuring multiple acts celebrating Liverpool music for the Eurovision Song Contest.[60] They performed one song, "Welcome to the Pleasuredome".[60] It was their first performance together since 1987.[35] The performance drew praise but disappointed those hoping for more songs.[60][61][62] The Telegraph gave it three out of five, writing that Johnson remained "a commanding presence" but that the short set was disappointing.[62] The BBC wrote: "Maybe one song is as much time as the five band members can bear to share a stage for—but at least they proved that they and their music can still sound compelling and fresh."[60]
Johnson and Rutherford are openly gay, and Frankie Goes to Hollywood made gay rights and sexuality a theme of their music and performances.[6] They were connected to a rise in gay culture in the 1980s British mainstream, alongside bands such as Bronski Beat.[17] Morley said that Frankie Goes to Hollywood combined the "exploratory gay energy" of Johnson and Rutherford with the "heterosexual scouse energy" of the other band members.[6] Bernard Rose, who directed the "Relax" video, said Frankie Goes to Hollywood were the first openly gay major pop act, before gay artists such as Boy George, George Michael, Freddie Mercury or Elton John had come out, and "caused a shockwave".[64]
As Frankie Goes to Hollywood rose in popularity, some outlets reported that they were a "manufactured" group controlled by ZTT. A 1984 article in the Washington Post described them as "a modern-day Monkees, a post-punk Village People sprung forth fully armed from the brow of junk culture".[17][29] As only Johnson performed on the studio version of "Relax", and the band did not tour during 1984 at the height of their popularity, rumours spread that they could not play their instruments.[14][65] Johnson said the media had undermined them and underestimated their contributions to their records.[29] Horn said later that the British music media often misunderstood the processes involved in studio recording. He said the band were "better than people gave them credit for", and cited "The Power of Love", "Born to Run" and "Krisco Kisses" as examples of their playing on Welcome to the Pleasuredome.[14][65]
In 2014, the music journalist Paul Lester wrote that although Frankie Goes to Hollywood were "arguably the last great British pop sensation", they were rarely cited as an influence on other artists. He wrote that this was because "it would be impossible to recreate what they did".[6] Morley observed that despite having released two of most successful records of the 1980s, they had become "slightly lost ... The fact that something was so successful yet is part of a shadowy history is ultimate proof that it was special. They were like some contorted, profound novelty band."[6] However, he argued that they had changed how commercial pop music was marketed, with more artistic and "beautiful" packaging and music videos.[6]
North American-English "Welcome To The Pleasuredome" Tour (1984)
British-European-North American-Japanese Tour (1985)
British-European "Liverpool" Tour (1987)
European-British "Reunion" Tour (2005)
Related Research Articles
"Relax" is the debut single by English synth-pop band Frankie Goes to Hollywood, released in the United Kingdom by ZTT Records in 1983.
"Two Tribes" is an anti-war song by British band Frankie Goes to Hollywood, released in the UK by ZTT Records on 4 June 1984. The song was later included on the album Welcome to the Pleasuredome. Presenting a nihilistic, gleeful lyric expressing enthusiasm for nuclear war, it juxtaposes a relentless pounding bass line and guitar riff inspired by American funk and R&B pop with influences of Russian classical music, in an opulent arrangement produced by Trevor Horn.
"Welcome to the Pleasuredome" is the title track to the 1984 debut album by English pop band Frankie Goes to Hollywood. The lyrics of the song were inspired by the poem Kubla Khan by Samuel Taylor Coleridge.
Liverpool is the second and final studio album by British band Frankie Goes to Hollywood, released in October 1986. Produced by Stephen Lipson and mixed by Trevor Horn, the album showcases a heavy rock sound in contrast to the synth dance tone found in its predecessor, Welcome to the Pleasuredome. The recording sessions would be marred by the radical change in musical direction creating tension within the band.
Trevor Charles Horn is an English record producer and musician. His influence on pop and electronic music in the 1980s was such that he has been called "the man who invented the eighties".
ZTT Records is a British record label founded in 1983 by the record producer Trevor Horn, the businesswoman Jill Sinclair and the NME journalist Paul Morley. They released music by acts including Frankie Goes to Hollywood, Grace Jones, the Art of Noise and Seal.
William Holly Johnson is an English artist, musician, and writer, best known as the lead vocalist of Frankie Goes to Hollywood, who achieved huge commercial success in the mid-1980s. Prior to that, in the late 1970s he was a bassist for the band Big in Japan. In 1989, Johnson's debut solo album, Blast, reached number one in the UK albums chart. Two singles from the album – "Love Train" and "Americanos" – reached the top 5 of the UK Singles Chart. In the 1990s, he also embarked on writing, painting, and printmaking careers.
"The Power of Love" is a song originally recorded and released by British band Frankie Goes to Hollywood. It was written by Holly Johnson, Peter Gill, Mark O'Toole and Brian Nash, four of the five members of the band. It was released by the group as their third single.
Welcome to the Pleasuredome is the debut studio album by English synth-pop band Frankie Goes to Hollywood, first released on 29 October 1984 by ZTT Records. Originally issued as a vinyl double album, it was assured of a UK chart entry at number one due to reported advance sales of over one million. It actually sold around a quarter of a million copies in its first week. The album was also a top-10 seller internationally in countries such as Switzerland, Sweden, Australia and New Zealand.
"Ferry Cross the Mersey" is a song written by Gerry Marsden. It was first recorded by his band Gerry and the Pacemakers and released in late 1964 in the UK and in 1965 in the United States. It was a hit on both sides of the Atlantic, reaching number six in the United States and number eight in the UK. The song is from the film of the same name and was released on its soundtrack album. In the mid-1990s, a musical theatre production, also titled Ferry Cross the Mersey, related Gerry Marsden's Merseybeat days; it premiered in Liverpool and played in the UK, Australia, and Canada.
Bang! is a compilation album by Frankie Goes to Hollywood given a Japan-only release during 1985. It is the first compilation album by the group, and the first to gather together various remixes that were difficult to find at the time. The album has subsequently become a collectors item in its own right.
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Maximum Joy is a greatest hits album by Frankie Goes to Hollywood, released on 25 October 2000 by ZTT Records.
Tom Watkins was an English pop impresario, music manager, songwriter, producer, designer and fine art collector. With a background in art and design, Watkins set up the XL Design agency in the early 1980s and was responsible for designing record sleeves and music graphics of the period. Watkins moved into music management by the mid-1980s and managed Pet Shop Boys, Bros and East 17 among others. Watkins has been described by Neil Tennant as "a big man with a loud voice" and by David Munns as "an unstoppable creative powerhouse."
Frankie Goes to Hollywood were a British band who released two studio albums and seven singles before disbanding in 1987. Since then, almost all of their tracks have been rereleased on compact disc, including various compilation albums and CD singles. In recent years, their record company has also released original material that was not released during the band's heyday.
Hard On is a 14-track music video compilation by Frankie Goes to Hollywood. It was released by ZTT Records in 2000. The compilation contains all main music videos and includes interviews with Paul Rutherford, Trevor Horn, Paul Morley, Paul Lester and Gary Farrow. It also includes The story of Frankie Goes To Hollywood and ZTT Records as well as a picture gallery of record sleeves, photographs, press articles and magazine covers. In 2009, a new CD compilation was released titled Frankie Say Greatest which was also released as a DVD. The DVD is an exact replica of Hard On except the cover work is different.
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↑ Sutcliffe, Kevin (1 December 1984). "The Road to the Pleasure Dome". The Face. p.26. Indirectly, the band have Morley (a director and minor shareholder of ZTT) to thank for an income beyond the usual record company minimum. Noticing that Katherine Hamnett's outsized polemical t-shirts of '83 were being knocked off in the high street by the spring of '84, he concocted a series of bold slogans for Frankie's second release: 'Frankie Say Relax', 'Frankie Say Arm The Unemployed', 'Frankie Say War, Hide Yourself'. 250,000 t-shirts bearing these words have been sold to date, plus twice as many pirate versions.
1 2 3 Horn, Trevor (13 October 2022). Adventures in Modern Recording: From ABC to ZTT (firsted.). Nine Eight Books. ISBN9781788706032. It was a stupid decision—stupid because it was enormously costly and took two years to resolve, and stupid because history shows that, in nine out of ten cases, the artist wins, something that MCA, Holly's new label, must have appreciated because they funded his court case to the tune of £150,000.
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