The three bands called Models, without the article 'The', are: 1. an Australian rock group from Melbourne, 2. a short-lived punk band from London, United Kingdom and 3. a pop band from Serbia.
1. Models were an alternative rock group formed in Melbourne, Australia, formed in August 1978. They went into hiatus in 1988. They are often incorrectly referred to as The Models. They re-formed in 2000, 2006 and 2008 to perform reunion concerts. "Out of Mind, Out of Sight", their only No. 1 hit, appeared on the Australian singles charts in July 1985. The related album, Out of Mind, Out of Sight, peaked at No. 3 on the Australian albums charts after its release in August. An earlier song from the same album, "Barbados", had peaked at No. 2 on the Australian singles chart.
They formed from two earlier punk/new wave bands, Teenage Radio Stars (singer and guitarist Sean Kelly) and JAB (Ash Wednesday, Pierre Voltaire and Johnny Crash, keyboards, bass and drums respectively). This version of the group did not stay together for long, however, and soon Ash Wednesday was replaced by Andrew Duffield and Pierre Voltaire by Mark Ferrie.
In 1980 this line-up released their first album, Alphabravocharliedeltaechofoxtrotgolf, which was not commercially successful, but was well received by audiences on the live pub circuit. The band played more often and in more places than virtually any other Australian band of the era - but the group tended to record completely new material for their studio albums, so many of their most popular early songs went unreleased until 2002, when a compilation album of early live material ("Melbourne") was released.
Models' early style was a spiky, distinctive blend of New Wave, glam rock, dub and pop: their most notable features were Kelly's strangled singing voice, Duffield's virtuoso synthesiser performances (he used the EMS Synthi AKS, also notably used on Pere Ubu's Dub Housing), and the band's cryptic, slightly gruesome, lyrics (eg "Hans Stand: A War Record" from Alphabravocharliedeltaechofoxtrotgolf), which were mostly composed by Duffield and Kelly.
By June 1981 Johnny Crash had been replaced by Buster Stiggs, and the group released the 10" album "Cut Lunch" (which consisted of demo tracks which had been particularly successful, including one track produced by Split Enz keyboard player Eddie Rayner), and, later that year, their second full-length album "Local And/Or General", which was recorded in the UK. Both releases helped to widen their audience nationally, thanks to regular radio exposure on Triple J in Sydney and on community stations in other cities, as well as national TV exposure through their innovative music videos on programs such as the ABC's Countdown.
After signing with the MMA management company (which also handled INXS), the group attempted to create a hybrid of their alternative roots and a more commercial sound. Ferrie and Stiggs left after "Local And/Or General" and, after a brief stint as a five-piece, they were replaced by James Freud (real name Colin McGlinchey) and Barton Price. Freud had attended high school with Kelly, and they had played together in the Teenage Radio Stars: he had had a brief and relatively unsuccessful solo career.
This version of the group released the highly regarded 1982 LP 'The Pleasure of Your Company, produced by Nick Launay; its big drum sound and danceability in particular reflected Launay's influence, and Freud's more radio-friendly voice made the album more accessible. The album was critically acclaimed but again failed to sell strongly, although the single I Hear Motion was a national hit. Duffield later explained that the song's distinctive keyboard part had been inspired by the riff from the Stevie Wonder classic Superstition.
At this point (under pressure from management), the band reassessed their direction and moved towards to a more radio-friendly format. The group relocated to Sydney and Duffield - and his crucial influence on the band's sound - was forced out under acrimonious circumstances and replaced by Roger Mason on keyboards and James Valentine on saxophone. For touring, the group was regularly augmented by backing singers including Kate Ceberano and Zan Abeyratne (who had been the singers in popular early Eighties pop-funk band I'm Talking) and Canadian-born singer Wendy Matthews; Matthews and Kelly became a couple and formed the band Absent Friends.
The band released their most commercially successful work with the singles Out of Mind, Out of Sight and the James Freud tune Barbados, off the album Out of Mind, Out of Sight. Their follow-up album, Models' Media, was less successful. Models also featured on the Australian Made Tour of 1986-1987 with INXS and Jimmy Barnes, but, in 1988 the pressures of ten years of touring, as well as financial troubles, hastened the breakup of the band.
It was their extended live exposure, however, that ensured that Models stayed in the public eye when other contemporaries had been forgotten: the band's later work remained popular on radio throughout the 1990s; this, coupled with the critical acclaim and cult appeal of their earlier work, re-stimulated interest in their work in the latter half of that decade. The band reformed for a few gigs in 2000; in 2001 their rarities album "Melbourne" was released, and in 2002 Harper Collins Australia published Freud's memoir, I Am The Voice Left From Drinking; the title is taken from a line from Barbados and alludes to his problems with drugs and alcohol.
Wendy Matthews induct Models into ARIA Hall Of Fame on 27 October 2010. She was backing vocals for the Models smash hit Out of Mind Out of Sight.
2. Models were a short-lived 1977 punk band formed in Harrow, London, United Kingdom. Band members were Cliff Fox on vocals and guitar, Marco Pirroni on guitar, Mick Allen on bass and Terry Day on drums. This band are sometimes referred to as The Models, but the name on their only official single (and record) is Models.
Pirroni and Allen befriended while attending art school in Harrow. When punk emerged in 1976, the first formed Siouxsie and the Banshees, playing guitar, although for brief time. Shortly after that, he and Allen formed a band called The Beastly Cads, who later changed their name to Models. The band only released one single "Freeze" and recorded four songs in the Peel Sessions, before dissolving. Later, Pirroni and Allen formed Rema-Rema, a post-punk band.
Pirroni later reteamed up with Terry Day, who since then was named Terry Lee Miall, in Adam and the Ants, beginning to work alongside that band's singer and frontman, Adam Ant. Allen went on to other projects, the longest running being The Wolfgang Press on the influential British record label 4AD. After the demise of the band he paired up with Giuseppe De Bellis, to form the experiment project Geniuser
The Models originally formed in Harrow as The Beastly Cads. They are perhaps most infamous for the song "I Wanna Form My Own Nazi Party" arguing the song was a "cynical look at all the silly punks who wear Nazi armbands" whereas Viv Goldman in Sounds slagged the band for it saying people would only remember the chorus and not get the point. After Marco Pirroni's very brief stint as the guitarist for the Banshees and in between days as the guitarist for Rema Rema and Weekend Swingers and then finally jackpot with Adam And The Ants he was in the Models who produced this classic one off moment of punk Freeze / Man of The Year (1977 Step Forward Records).
3. Models were a Serbian pop band. They are best known by their song ,,Noć je vedra nad Srbijom'' Serbian, 1997
Big on Love
Models Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
(Aye, sir)
If you leave my base without proper authorisation, I will hunt you down and throw your ass in jail. Do you understand?
(Aye, sir)
I can't hear you!
(Aye, sir!)
Scream it!
(Aye, sir!)
(Aye, sir!)
Love, it will get you nowhere
You're on your own
Lost in the wild
So come to me now
I could use someone like you
Someone who'll kill on my command
And asks no questions
I'm gonna make you
I'm gonna break you
I'm gonna make you
A fucking psycho
A fucking psycho
A fucking psycho
Your ass belongs to me now
Are you a human drone?
(Aye, sir!)
Are you a killing machine?
(Aye, sir!)
I'm in control, motherfucker, do you understand?
(Aye, sir!)
Your mind is just a program
And I'm the virus
I'm changing the station
I'll improve your thresholds
I'll turn you into a super drone (super drone)
And you will kill on my command
And I won't be responsible
I'm gonna make you
I'm gonna break you
I'm gonna make you
A fucking psycho
A fucking psycho
A fucking psycho
Your ass belongs to me now
Are you a psycho killer? Say "I'm a psycho killer!"
(I am a psycho killer!)
Scream it!
(I am a psycho killer!)
Show me your war face!
(AHHHH!)
You are a pussy! I said show me your war face!
(AHHHH!)
I'm gonna make you
I'm gonna break you
I'm gonna make you
A fucking psycho
A fucking psycho
A fucking psycho
Your ass belongs to me now
I will break you, do you understand?
I will break you, do you understand?
I will break you, do you understand?
I will break you, do you understand?
(Aye, sir!)
You fucking psycho
Your ass belongs to me now
Your ass belongs to me now
The song "Big on Love" by Models opens with a dialogue between a commanding officer and a subordinate, setting the tone for the militaristic theme of the song. The lyrics suggest the singer is in control of the subject's mind and is capable of manipulating their actions, highlighting the power dynamic present in the military or other authoritarian systems. These themes are continued throughout the song, with the singer claiming to be in charge of molding the subject into a "super drone" capable of killing on command, and repeatedly asserting their ownership over the subject's "ass."
Beyond the overt theme of militaristic control, "Big on Love" also explores the idea of love being ultimately futile and leaving individuals feeling lost and alone in the world. The singer offers the subject a sense of belonging and purpose, seducing them into compliance with promises of power and control. The juxtaposition of these two themes creates a sense of darkness and violence lurking beneath the surface of the song.
Line by Line Meaning
If you do not do what you're told to do when you're told to do it, you will be punished. Do you understand?
The singer is establishing dominance and authority and making it clear that failure to obey orders will be met with punishment.
(Aye, sir)
The respondent is acknowledging their understanding and compliance with the singer's orders.
If you leave my base without proper authorisation, I will hunt you down and throw your ass in jail. Do you understand?
The singer is warning the respondent against leaving without permission and threatening them with legal consequences if they do.
I can't hear you!
The artist is pressuring the respondent to speak louder and more clearly.
(Aye, sir!)
The respondent is complying with the artist's demand to speak more loudly.
Scream it!
The singer is demanding an even more forceful response from the respondent.
Love, it will get you nowhere
The singer is asserting that love is worthless and ineffective in helping one survive or succeed.
You're on your own
The artist is emphasizing that the listener cannot rely on others for help or support.
Lost in the wild
The artist implies that the listener is struggling and aimless without the artist's guidance.
So come to me now
The artist is offering themselves as a solution to the listener's problems and shortcomings.
I could use someone like you
The singer is suggesting that the listener has qualities or skills that the singer needs and values.
Someone who'll kill on my command
The artist is announcing their expectation that the listener will obey any order, even if it involves killing.
Are you a human drone?
The singer is questioning the listener's humanity and ability to think independently.
(Aye, sir!)
The listener is affirming not only their obedience but their lack of autonomy.
Are you a killing machine?
The singer is establishing the respondent's identity and purpose as being focused on violence and death.
I'm in control, motherfucker, do you understand?
The artist is aggressively asserting their power over the listener.
Your mind is just a program
The artist is denying that the listener has any individuality or free will.
And I'm the virus
The singer is declaring themselves to be the force that will shape and control the listener's thoughts and actions.
I'm changing the station
The singer is using a metaphor to describe their complete takeover of the listener's mental state.
I'll improve your thresholds
The artist is claiming that their alterations to the listener's mind will upgrade their abilities and skills.
I'll turn you into a super drone (super drone)
The artist is describing their planned transformation of the listener into a flawless, efficient instrument of their will.
And you will kill on my command
The artist is reiterating the expectation that the listener will perform any task, including taking human lives, when ordered to.
And I won't be responsible
The singer is repudiating any accountability for the listener's actions.
Are you a psycho killer? Say "I'm a psycho killer!"
The artist is demanding that the respondent acknowledge and even celebrate their violent identity.
(I am a psycho killer!)
The respondent is affirming their purpose to be one of senseless, brutal violence.
Scream it!
The singer is ordering the respondent to vocalize their thirst for bloodshed even more vehemently.
Show me your war face!
The singer is demanding that the respondent manifest their readiness to engage in combat and commit atrocities.
(AHHHH!)
The respondent is complying with the artist's order by emitting a scream of pure aggression.
You are a pussy! I said show me your war face!
The artist is insulting the respondent and demanding further displays of destructive energy.
I will break you, do you understand?
The singer is reiterating their intention to dominate and control the listener completely, to the point of destroying their identity and humanity.
You fucking psycho
The singer is addressing the listener in a derogatory and dehumanizing manner, reducing them to nothing more than a tool of destruction.
Your ass belongs to me now
The artist is emphasizing their absolute authority and ownership over the listener.
Writer(s): Sean Patrick Kelly, Reginald Grant Lucas
Contributed by Parker H. Suggest a correction in the comments below.
@vascoemyer
Great song👍🌻
@JulieHalligan-go8ov
I love this song. ❤
@Oseanacoceanblue
Brilliant, a good time in Australian original music , both pop alternative and mainstream, it all still had integrity and was authentic.
10/10
@martinfiay8908
I’m 51 and love the 80’s , I remember recording this on a DTK cassette off 2SM and playing at school on my Sony walkman 87/88
@MarkBlackwood
TDK does amazing things to your system
@akala-bluesaville9866
I believe you mean….TDK! Memory ain’t that great!
@iankearns774
Cr02 were the way to go back then. I still got a few of them packed away somewhere.
@teddyboo2962
Gold Coast in the 80s , iconic bands, legendary locations The Playroom , The Jet Club , The Patch , Bombay Rock what a great time to be a teen. Love the Models they bring me back to those times.
@johns9677
yeah mate...The Patch was a beauty...flats on the site now sadly
@robertprosser4425
I hear you, man. Southport guy here so rarely got down the southern end. We had Fisherman's Wharf. Saw INXS there, and stacks of others. Hit Bombay Rock a few times.