Or, they should make their work sound that way, at least. They should be too busy writing about the state of the world, some profound thought on the human experience for that. We didn’t even think about having a beer with them. We wanted pop stars to say things that we hadn’t thought of saying ourselves, or couldn’t say, and at a time that demanded they be said. In the 1980s, I think it was a lot different on this front. Like our politicians, we now want to feel like we could have a beer with our favourite pop stars, or songwriters. And these days there is a certain place in our hearts for pop stars who are “regular guys” no costumes, no manifestos, and no ideas above their station with respect to their role in society. In the 21st century, there’s a certain elevation of a pop star in terms of celebrity. As listeners in the 1980s, we expected pop stars to be above us in a way that isn’t quite true today. They were teetotalling vegetarians with sweaters around their necks!īut, in some ways they certainly were of their time. But, you could say that this was as earnest as a British group would ever get around the issues of racism, economic suppression of the working classes by government, and an embrace of aesthetics and lifestyles that weren’t exactly in line with ’80s excess. This had nothing to do with the music, which is as pop as pop gets, with Weller’s soul-influenced voice, and keyboardist Mick Talbot’s effervescent playing leading the charge. In some ways, The Style Council was kind of an anti-pop group. But, this was the ’80s, friends!ĭoes that mean that audiences were more receptive to political messages in their pop at the time? Or did it mean that they weren’t listening very carefully? Was there another reason? ![]() You might wonder how it’s possible to get a top ten showing on the charts while making such strident statements about society, even if it is wrapped in a stunning pop sheen. This is a bright, bouncy song about not taking it anymore, a shining soul-pop gem about being tired of being oppressed. But, in the mid-80s, leader Paul Weller, who had gained some similar thematic traction when he fronted The Jam, demonstrated his full array of pop smarts in this new musical milieu, along with the political content to be found in his lyrics to go along with them. This would go south for them later in the decade when they strayed a bit too far, and when popularity and sales began to wane. Thematically speaking, they’d aim pretty high too, often bordering on the polemical, and sometimes into downright pretension. This artistic fluidity of the band was extensive, mixing Northern soul, jazz, mod-rock, and even early hip-hop sounds. Our Favourite Shop puts the band into their sharpest focus. The result was the creation of a sort of pop music political manifesto. The Style Council helped to pioneer this approach to writing politically informed material as established on their earlier album Café Bleu aka My Ever Changing Moods as it was known in North America. This was during a time when social and economic issues were particularly polarized in Britain, and in North America as well, which may explain the political undercurrents in this song about being at the end of one’s rope, with nothing left to do but rage against the machine, so to speak. The single appeared in October of 1984 on the British charts where it reached a respectable top ten showing. It’s “Shout To The Top”, a single which appeared on the UK album Our Favourite Shop, and on the US album Internationalists, both released in their respective markets in 1985. Here’s a clip of left-leaning young soul rebels and bona fide pop collective The Style Council.
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