1986 song


                                  There’s such a fooled heart
Beating so fast           in search of new dreams

A love that will last within your heart

                                   I’ll place the moon within your heart

Labyrinth songs aesthetic  #2: “As the world falls down” - David Bowie


On this day in music history: March 2, 1964 - “Twist And Shout” by The Beatles is released. Written by Phil Medley & Bert Russell (aka Bert Berns), the song is recorded on February 11, 1963 during the sessions for the band’s first album “Please Please Me”. The last song of a marathon twelve hour recording session, the band record the song completely live in one take. Following its release on their first UK album, the song is also issued as the title track of a four song EP that also quickly becomes a best seller. The single is released in the US on Vee Jay Records subsidiary Tollie Records and quickly races up the charts. “Twist And Shout” peaks at #2 for 4 weeks on the Billboard Hot 100 (beginning on April 4, 1964) behind their own “Can’t Buy Me Love” which is released two weeks later. “Twist And Shout” experiences a major resurgence in popularity in 1986, when the song is featured in the John Hughes directed comedy “Ferris Bueller’s Day Off”. The exposure the song receives from the film results in the single being re-released and re-entering the Billboard Hot 100, peaking at #23 on September 27, 1986.

Just turned 46 in February and no signs of slowing down in my love for the Goth life. I heard my first Sisters of Mercy song in 1986 and I was hooked on this beautiful genre❤ #eldergoth


These screencaps (with the exception of the last) represent three sequential shots from the ‘Escher Room’ scene in Labyrinth. In order to form an argument on what’s happening in these shots, I will start with a hypothesis: the entire 'Escher Room’ scene is far more concerned with Jareth and his emotions than it is with Sarah rescuing Toby. For a start, the song dominates the first half of the scene and is completely concerned with Jareth’s dawning realisation that he wants Sarah but cannot have her. After the ledge-flipping antics early on, Jareth and Sarah are separate: the scene becomes a sequence of disorientating looks, and these screencaps exemplify that.

The set design is, of course, all about distorting perspective: up is down, down is up, and so on. Because the set doesn’t conform to your normal spatial boundaries, the way scene is shot doesn’t either. The first two screencaps above are a great example of cinematic trickery, even if the 'trick’ is only to fool the viewer for a moment: the shots are framed so as to make you think that Jareth is looking 'down’ at Sarah and she is looking back 'up’ at him. Only when the next shot - of Toby looking 'up’ - comes do you realise that Sarah is paying absolutely no attention to Jareth. For the rest of the scene, there is no interaction between them whatsoever: indeed, there’s a complete shift in focus from Jareth and Sarah to Toby and Sarah. When Sarah’s frantic race to Toby becomes the focus, the song starts to fade away, irrelevant and forgotten.

To stray into song interpretation territory, I will say it’s interesting to remark that the line “I can’t live within you” isn’t uttered until right at the end of the song. 'Within You’ starts as a series of threats, bombastic statements and endearments, but the last line is almost gasped as if Jareth can hardly bring himself to sing it. The delivery is faltering and stilted, and it’s sung from the shadows. He knows Sarah isn’t listening, so he no longer has any need to hide his vulnerability and his longing behind bombast. He’s exposed, and his vulnerability means he becomes the most intriguing element of the scene. He should be our villain, but our empathy lies squarely with him because the scene is at pains to exemplify that he has been rejected and is suffering. That, my friends, is what makes Jareth so interesting.

Agree? Disagree? Have further thoughts? Let me know!


Why not ? 

Black Fate - Child of hell (1986)  

song from full-length Commander of Fate ( 1986)

I can’t blame you for your deeds 

Cause I know how strong the need 

Is for your mind your heart your soul 

But expect no mercy now 

Because I can’t tell you how 

You can escape the devil’s hand 


“Don’t Dream It’s Over” by Crowded House

Crowded House (1986)


1986. Night Songs

is the debut studio album by band Cinderella.  

Cinderella never got the recognition or exposure that they deserved – especially this album. That’s a shame, because they were (are) one of the most competent and musically worthwhile bands to come out of the 80’s hard rock/metal/“hair” explosion.

Cinderella should never,  ever be lumped in with all the thousands of “hair bands” that dominated the mid-late 80’s music scene. They are a pure blues-based band that has the swagger and groove of Aerosmith as well as the electricity and punch of AC/DC.

“Night Songs” is a classic rock album and one of the truly underated debuts ever.

     Tom Keifer    Jeff LaBar   Eric Brittingham    Jim Drnec