Friday, January 17, 2025
BassBass Effects

Frankie Goes To Hollywood- War REACTION AND REVIEW


Song Link: https://www.youtube.com/watch?v=EPA9B3YZtlc

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#Frankie #Hollywood #War #REACTION #REVIEW

Originally posted by UCoCnigPHrb-Fpim48wbKxLg at https://www.youtube.com/watch?v=DGHMLfK_PYE

25 thoughts on “Frankie Goes To Hollywood- War REACTION AND REVIEW

  • No, the spoken word is not original, that is all FGTH added. And as you discovered, part of it is what Hitler wrote. The rest is obviously new stuff post-Hitler. Awaiting the next track!

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  • Oh it's "Love coupled with a man's pride". For all these years I thought he was saying "Love, coupled with a mince pie".

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  • Welcome to the Pleasuredome is for me the ultimate 80s album since it came out. Fading punk and disco roots in a proggy blend of high produced pop. Songs from the Big Chair (Tears for Fears) is another one of these albums.

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  • 4:30 into a 6 minute song "hey, is this a cover?" That's how you define a great cover – it totally remakes the song into a new form.

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  • 7:32 – The bass is most likely sampled (on Fairlight). It also reminded the start of Propoganda's "The Murder of Love" (Also produced by Trevor Horn)

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  • The only parts that Frankie Goes To Hollywood did was vocals and backing vocals. The actual musicians on the song are
    J.J. Jeczalik Keyboards and programming. J.J. Mostly programmed the Fairlight C.M.I.

    Andy Richards played keyboards

    Luís Jardim played percussion. Alot of the percussion was the Fairlight C.M.I. II and the Linn Drum drum machine

    Stephen Lipson played guitar.

    Trevor Horn played bass. Both bass guitar and synth bass were used. Trevor also did programming on both the Fairlight C M.I. and Synclavier II

    Those are also the actual musicians on the whole Welcome To The Pleasure album

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  • The original Edwin Starr version wasn't much more than the 'chorus' plus the 'Good God y'all' bits. As you know, this is largely Trevor Horn plus a bunch of top-notch session guys, Chris Barrie and Holly Johnson with some FGTH backing vocals. Still impressive at this remove.

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  • For me, this studio version sounds too rigid with those awful synthetic bass lines. I prefer the live versions the band played at the time (in which the bass guitar gave more character).

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  • A very tasty treat. Great manipulation of synth sounds combined with interesting layering, and Holly Johnson's celestial vocals on top of it all. Comes close to perfection, but then almost everything on FGTH's first album is up there on the top tier.

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  • Layers and layers of beats (Boléro de Ravel-like)…
    Now you are pretty close to the A-side of the maxi "Annihilation Mix" of Two Tribes……….

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  • Squeezes an entire political treatise into just 6-odd minutes, but within that limitation, I suppose it's OK. At least the true bits.

    Not so sure about the fictions, but I suppose it's up to the listener not to be lazy, or more focused on avoiding landing up socially excluded for being wrong about elements of the canon. (Pretty Che was all-peace, for instance … Yeah, yeah … OK … Not something you want to be disputing while dancing. Dancing is awkward enough on its own without adding complications like that.)

    Sorry, I've seen a few too many legends run to their end games in a contradictory truth. Also, I've swallowed a few of the official ones hook line and singer, giving a different slant to the Once Bitten, Twice Shy fiction. (A wise fiction, but we have a tendency to just go bite the stale bread on the hook over and over again. I suppose that's what was meant by this "fishers of men" story?)

    Go enjoy the song if it doesn't bore you. Me, I'm going to go off and imagine Sr. Guevarra being now all old and mean, and in possession of the power it was that he really craved, so no longer needing the miracle plays written about how he walked on various kinds of water, and pretenses like that, hard at work stealing the future somewhere (maybe in Angola, since that soil was once blessed for a short time by his sacred feet – although there he'd have had fierce competition for the loot).

    There goes this other imaginary Che Guevarra in his motorcade, with the blue lights flashing, sirens blaring, and occasionally making someone who got in the way of the trip to the boutique or private jet non-exist, even (it's happened for other great heroes that were written so for humanity, so why not for this main character?)

    And ask him why, and he might tell you, "I didn't join the Struggle to stay poor."

    Sorry, again. It's just that when the reality behind all the news-fiction and truth-teaching at the truth-seeking institutions of the world comes to slap your face like a wet fish, and the head breaks off because it's rotten, it's hard not to react. Maybe a bit excessively, even. This is how bitter old men are made. Well some of them, anyway.

    Oh leave that be! Disasters are almost never complete. They're just a bit of contamination that gets into things. A little floaty bit that gets in the drinking water, but doesn't kill you.

    More importantly, you could've listened to Fairy Mary Mag twice in the time you listened to this. 🙂 (So you could've first watched the Famous Dancing Baby, and then followed up with a lyrics video, and maybe a tiny bit of perplexity, and got twice the wonderfulness.)

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  • I'd forgotten this was on the album. As for not recognising it as a cover, well… Trevor Horn certainly messed around with it quite a bit, so fair enough really.

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  • Very original, it reminded me of a video game on the "Dendy" or "Sega" platforms, if you played it as a child, you'll understand what I'm talking about.

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