Modern Romance is a British pop music band that found popularity in the ear… Read Full Bio ↴Modern Romance is a British pop music band that found popularity in the early 1980s. Formed in 1980 by previous members of an earlier band, the Leyton Buzzards, the band achieved a string of UK chart hits before the original band broke up in 1985. Andy Kyriacou reformed the band in 1999 who continue to perform the band's music.
Geoffrey Deane and David Jaymes formed Modern Romance in 1980, having previously been the mainstays of the punk parody band the Leyton Buzzards which they formed in 1977.
The band split up in 1980 though Deane and Jaymes continued working together, embracing the burgeoning electronic style of dance music that was becoming popular in London clubs at the time. They found a new manager and created a limited company called Business Art Productions, and signed to WEA. In 1980, their first release, eponymously titled "Modern Romance", was unsuccessful. After a second unsuccessful single, "Tonight", the band then opted to lessen the predominantly electronic sound in favour of a Latin-American dance style with emphasis on bass, percussion and brass. They recruited trumpet player John Du Prez into their new line-up. The band released a new single, "Everybody Salsa" in summer 1981, which reached the UK Top 20. However, prior to the release, they recruited a new drummer, Andy Kyriacou, who began promoting the single with the band, and set up their first personal appearance in a club.
They followed this later in the year with similarly themed "Ay Ay Ay Ay Moosey", which reached the UK Top 10. Despite these two hits, the band's debut album, Adventures in Clubland, was not a success. However, in the US they scored a number 2 hit on the Billboard Dance chart with "Can You Move", a mostly rap variation of "Everybody Salsa". After further UK Top 40 hits with "Queen of the Rapping Scene" and a cover of the 1955 hit "Cherry Pink And Apple Blossom White", Deane departed the band in 1982 to pursue solo projects.
Michael J. Mullins took over the mantle of lead vocalist, and their next release saw the band reach their highest UK chart position with "Best Years of Our Lives" in late 1982. Further hits followed in 1983: "High Life" (UK No. 8), "Don't Stop That Crazy Rhythm" (UK No. 14), and the ballad "Walking in the Rain" (UK No. 7). Both "Best Years of Our Lives" and "Walking in the Rain" earned Silver discs. Despite being regularly featured in teen pin-up magazines, the band's commercial hot streak waned and further singles were less successful. The band released a compilation album for the Christmas 1983 market entitled Party Tonight. Though it only peaked at No. 45 in the UK, it became their most successful album and was certified gold for sales in excess of 100,000 copies within six weeks of release.
John Du Prez then left the band, and after disagreements with their record company, WEA, the band signed with RCA in 1984. This brought about a change of image – from bright coloured suits and wedge hairstyles to long hair and leather jackets. The band released a new single, a cover of The Temptations' 1971 hit "Just My Imagination (Running Away With Me)", but the single was not a success. Modern Romance released a final album, Burn It!, in 1985. The album was received poorly and the band called it quits after releasing the stand-alone single "Tarzan Boy" – a cover of the Baltimora hit from earlier that year – and an anthology mix of their biggest selling songs titled "Best Mix of Our Lives" (also 1985).
After leaving Modern Romance, former lead vocalist Geoff Deane reappeared in 1983 as 'Geoff Deane & The Valley Girls' to release the single "Navy Lark", then again for the solo "What About Romance", and he also wrote "You Think You're A Man" for Divine. Deane later became a scriptwriter and television producer, scripting for television programmes such as Birds of a Feather, Babes in the Wood, Friday Night with Jonathan Ross, Chef!, Last Man Standing, and A Many-Splintered Thing. In 2005, he wrote the film Kinky Boots starring Chiwetel Ejiofor, and a year later It's a Boy Girl Thing for Elton John's Rocket Pictures.
David Jaymes has since moved into the management and consultancy side of the music industry. He worked as the music supervisor on the film Fascination (2004) starring Jacqueline Bisset and James Naughton. He has also worked again with John Du Prez, composing music for commercials and feature films. Jaymes has managed artists such as Sinéad O'Connor, Justin Adams, Miles Hunt of The Wonder Stuff, Republica and Drum Club. He has also worked as consultant for Harry Nilsson, Jimmy Webb, George Fenton, and Chuck Mangione. In 2010, he worked with a host of musicians on the Haiti earthquake disaster single (a cover version of "I Put a Spell on You"), including Shane MacGowan, Nick Cave, Chrissie Hynde and Johnny Depp.
In 1999, Andy Kyriacou reformed Modern Romance with a new line-up, joining the burgeoning British 1980s revival scene. The new line-up features no original band members (Kyriacou himself had first appeared on the Modern Romance single, "Ay Ay Ay Ay Moosey", although he had remained their drummer until the band split in 1985). In 2002, the new line-up released the album Back on Track, which consisted mostly of re-recorded Modern Romance hits. Back on Track was also released as Moves 2 Fast, with a slightly different track listing. Kyriacou's Modern Romance continues to play the 1980s festival circuit and appeared as the opening act at the 2010 Rewind Festival in Henley-on-Thames, which also included Boy George, Rick Astley, Level 42, T'Pau, Kajagoogoo and Heaven 17.
2012 saw the band play Let's Rock the Moor!, a boutique festival in Cookham, Berkshire, with other 1980s acts including Go West, Toyah, Nick Heyward and Billy Ocean. During their set they aired one of their new songs, "Rhythm Is My Lover", from the forthcoming album The 7th Day (penned by Kyriacou and guitarist Peter J Pinto).
Geoffrey Deane and David Jaymes formed Modern Romance in 1980, having previously been the mainstays of the punk parody band the Leyton Buzzards which they formed in 1977.
The band split up in 1980 though Deane and Jaymes continued working together, embracing the burgeoning electronic style of dance music that was becoming popular in London clubs at the time. They found a new manager and created a limited company called Business Art Productions, and signed to WEA. In 1980, their first release, eponymously titled "Modern Romance", was unsuccessful. After a second unsuccessful single, "Tonight", the band then opted to lessen the predominantly electronic sound in favour of a Latin-American dance style with emphasis on bass, percussion and brass. They recruited trumpet player John Du Prez into their new line-up. The band released a new single, "Everybody Salsa" in summer 1981, which reached the UK Top 20. However, prior to the release, they recruited a new drummer, Andy Kyriacou, who began promoting the single with the band, and set up their first personal appearance in a club.
They followed this later in the year with similarly themed "Ay Ay Ay Ay Moosey", which reached the UK Top 10. Despite these two hits, the band's debut album, Adventures in Clubland, was not a success. However, in the US they scored a number 2 hit on the Billboard Dance chart with "Can You Move", a mostly rap variation of "Everybody Salsa". After further UK Top 40 hits with "Queen of the Rapping Scene" and a cover of the 1955 hit "Cherry Pink And Apple Blossom White", Deane departed the band in 1982 to pursue solo projects.
Michael J. Mullins took over the mantle of lead vocalist, and their next release saw the band reach their highest UK chart position with "Best Years of Our Lives" in late 1982. Further hits followed in 1983: "High Life" (UK No. 8), "Don't Stop That Crazy Rhythm" (UK No. 14), and the ballad "Walking in the Rain" (UK No. 7). Both "Best Years of Our Lives" and "Walking in the Rain" earned Silver discs. Despite being regularly featured in teen pin-up magazines, the band's commercial hot streak waned and further singles were less successful. The band released a compilation album for the Christmas 1983 market entitled Party Tonight. Though it only peaked at No. 45 in the UK, it became their most successful album and was certified gold for sales in excess of 100,000 copies within six weeks of release.
John Du Prez then left the band, and after disagreements with their record company, WEA, the band signed with RCA in 1984. This brought about a change of image – from bright coloured suits and wedge hairstyles to long hair and leather jackets. The band released a new single, a cover of The Temptations' 1971 hit "Just My Imagination (Running Away With Me)", but the single was not a success. Modern Romance released a final album, Burn It!, in 1985. The album was received poorly and the band called it quits after releasing the stand-alone single "Tarzan Boy" – a cover of the Baltimora hit from earlier that year – and an anthology mix of their biggest selling songs titled "Best Mix of Our Lives" (also 1985).
After leaving Modern Romance, former lead vocalist Geoff Deane reappeared in 1983 as 'Geoff Deane & The Valley Girls' to release the single "Navy Lark", then again for the solo "What About Romance", and he also wrote "You Think You're A Man" for Divine. Deane later became a scriptwriter and television producer, scripting for television programmes such as Birds of a Feather, Babes in the Wood, Friday Night with Jonathan Ross, Chef!, Last Man Standing, and A Many-Splintered Thing. In 2005, he wrote the film Kinky Boots starring Chiwetel Ejiofor, and a year later It's a Boy Girl Thing for Elton John's Rocket Pictures.
David Jaymes has since moved into the management and consultancy side of the music industry. He worked as the music supervisor on the film Fascination (2004) starring Jacqueline Bisset and James Naughton. He has also worked again with John Du Prez, composing music for commercials and feature films. Jaymes has managed artists such as Sinéad O'Connor, Justin Adams, Miles Hunt of The Wonder Stuff, Republica and Drum Club. He has also worked as consultant for Harry Nilsson, Jimmy Webb, George Fenton, and Chuck Mangione. In 2010, he worked with a host of musicians on the Haiti earthquake disaster single (a cover version of "I Put a Spell on You"), including Shane MacGowan, Nick Cave, Chrissie Hynde and Johnny Depp.
In 1999, Andy Kyriacou reformed Modern Romance with a new line-up, joining the burgeoning British 1980s revival scene. The new line-up features no original band members (Kyriacou himself had first appeared on the Modern Romance single, "Ay Ay Ay Ay Moosey", although he had remained their drummer until the band split in 1985). In 2002, the new line-up released the album Back on Track, which consisted mostly of re-recorded Modern Romance hits. Back on Track was also released as Moves 2 Fast, with a slightly different track listing. Kyriacou's Modern Romance continues to play the 1980s festival circuit and appeared as the opening act at the 2010 Rewind Festival in Henley-on-Thames, which also included Boy George, Rick Astley, Level 42, T'Pau, Kajagoogoo and Heaven 17.
2012 saw the band play Let's Rock the Moor!, a boutique festival in Cookham, Berkshire, with other 1980s acts including Go West, Toyah, Nick Heyward and Billy Ocean. During their set they aired one of their new songs, "Rhythm Is My Lover", from the forthcoming album The 7th Day (penned by Kyriacou and guitarist Peter J Pinto).
Hunger Pains
Modern Romance Lyrics
We have lyrics for 'Hunger Pains' by these artists:
Confederate Railroad There's a wino in a garbage can Looking for a bite Ther…
David Ericson It’s a fresh cut; yeah, it’s cardiac and it’s too…
Hand Of Mercy Promises fallen on deaf ears Coinciding with other's misspen…
Kinck I set my intentions for the new year yeah I'll be…
meat computer I wanted to tell you But just not like this How much…
Muph & Plutonic Me and Raph Boogie came to take The jar with your…
Muph & Plutonic feat. Raph Boogie Me and Raph Boogie came to take The jar with your…
we are the dirt If my conscience was a drop of water I'd evaporate into…
We have lyrics for these tracks by Modern Romance:
Ay Ay Ay Ay Moosey Verse 1 Now When I Hear Those Trumpets And Congas Start…
Band of Gold Now that you're gone All that's left is a band of…
BEST YEARS OF OUR LIVE Best years of our lives I ask you the questions but…
Cherry Pink and Apple Blossom White Verse 1 Oh cherry pink and apple blossom white Reminds me of…
Don't Stop That Crazy Rhythm The music's getting closer stay around, just wait and see Ge…
Everybody Salsa Verse 1 Now what's that crazy rhythm coming from the street …
Hi-Life Verse 1 Moonlight and roses I like it, sweet scented kisses…
Just My Imagination Each day through my window I watch her as she…
Mi Chica Latina Verse 1 There's a girl from San Antonio, queen of my…
Move On Verse 1 Look at her move (look at her move), She…
Nothing Ever Goes the Way U Planned Verse 1 I Never Thought That We Could Work It Out Not…
Tell me Now Verse 1 When I wrote this song, I thought of how…
That's Entertainment Verse 1 The curtain's up the lights are bright everybody's s…
The Best Years of Our Lives Best years of our lives I ask you the questions but…
Walking In The Rain Verse 1 Today I saw you walking in the rain, I…
The lyrics are frequently found in the comments by searching or by filtering for lyric videos
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@AlexJ1
Just finished watching.
Much to think about.
Mainly: How to not resent those who choose to follow the societal script.
I think it can only come from a place of forgiveness ... and the understanding that they are even more afraid than us.
Thank you for putting this together.
@qmonk5108
So crazy to see this as someone who has been obsessively interested in NBC Hannibal for the last 2-3 years (which surprisingly enough I initially couldn't stomach back in 2014 because I was so nauseated and off-put by the cannibalism). But since then I think being able to engage with the topic really interested me in engaging with other stories about cannibalism and horror that more viscerally confronts the idea of taboo...
I really appreciate this more in depth exploration at length of the film (Bones and All) which I found so beautiful. It was crazy watching it in theater and hearing a group of girls at the back laughing and saying how 'weird' it was when it feels like such a poignant and really lovely film.
Also, in your talking about these ideas around consumption, contamination and fear, (sry if u don't wanna read this, if you do at all) I think certain scenes from things that really are ingrained into my mind and I find quite horrifying are things like in Snowpiercer, the passengers at the back of the train living in poverty are given food that is essentially made from these horrible bugs... I don't know why it seems like a small silly things but I think at the time the idea that they don't even realise what they're being fed and it almost frames them as cattle being fed by this machinery what is essentially kind of... 'gross' waste/a pest. Without even knowing.
And kind of different but there's a scene from Cloud Atlas that stuck with me where there's a group of women in a ?? futuristic sci fi south korean fast food restaurant? Where these women are I think bred to be the smiley, obedient, passive workers there. But then, upon death. They are murdered and then made into food for the other women. Essentially being fed one another without knowing it. which does make me think of the mad cow disease capitalistic feeding for productivity/waste thing.
I also agree that it would be really interesting to see a story about cannibalism used as some kind of allegory for disordered eating in film/television. Not quite the same but in terms of body image and horror it does remind me a little of the film about a girl whose father is a plastic surgeon called Look Away...
Apologies for the length of this comment but I love these videos<3
@brigade7678
Ranting as I watch :')
45 minutes in and I am just THRILLED with this video. Your channel is absolutely one of my all time favorites. Thank you so much for sharing your work & thoughts with us, truly. Exploration of dark themes has been under ever increasing scrutiny it feels like. I appreciate your defense, and side stepping the messy murky question of "who is allowed?" which even when handled with care still forces victimized people to parade their own trauma & personal information to earn the right to express themselves!
and it feels silly to follow up with buuuut to willingly state my own personal info- The point of debilitating codependency and blind loyalty was a lightning bolt to my brain. Gave me a lot to think about for my own curiosity with that media. Its something my own upbringing/family tree was steeped in.
While I can agree it was handled less than great, and her story end was extremely upsetting for me, Skins Cassey was what first ever actually made me realize what I had done all my life. It was the thing that made me tell someone and seek help in changing behaviors. It can be an instruction manual and also a mirror. I never really saw it in myself til I watched someone else. I think thats the strange thing with media covering ED. Both examples you chose actually meant a lot to me (though both endings I didn't care for) and helped me realize I needed help. I think it could be done a LOT better, but what did exist I'm thankful for teen-me seeing.
Gastro criticism - those with extreme allergies go through extreme isolation from community because eating IS social, it connects us. When you can't even risk cross contamination it cuts off a LOT of gatherings and celebrations and its tense just to share a meal even if the other people know. How do you trust that they really knew if what they were using was actually gluten free for instance? Some rootbeer have gluten, some don't- none are labelled. Its a roll of the dice to go to a family cookout... some barbeque sauce has gluten, not all mark it. etc etc isolation.
1:43:40 HELL YES. Cool to be Cruel" has made a huge resurgence especially online and it is DISTURBING to say the least! Moralizing the enjoyment of someone's suffering/downfall over any and all possible "wrongs" is so so so nasty. I'm horrified to see so many young people loving and lifting up sui-baiting, even doing it to "ex-friends" with some strange sense that it makes them powerful/cool/morally just!?
holy shit it ends with a warrior cats podcast!?? Incredible gift of a video!!
Beautiful work start to finish, the latter half's emotion shut me up to just take it all in! Thanks again for sharing
@remonssi6997
I haven't finished the video, but I'm just so excited about the topic that I just need to thought dump here lol
I just love it when writers use cannibalism and hunger as a metaphor for love and sexuality. Like, the desire to love so deep and desperate that it manifests as this need more than want, an instinct you have to fulfill in order to survive. And on the other end of the relationship, to know someone desires you so much they need to devour you, they want to eat you whole, fleshy imperfections and all. And to offer your flesh willingly, is to embrace and accept the other's love as dangerous or painful as it may seem (And if you want that religious subtext, this can be a really messed up version of eucharist, becoming one with your god and lover, through a sinful act that turns practically has every actual god forsake you, but you have the love you want even if you never get into heaven, and isn't that all you ever wanted?)
(And also like, you can make that connection with the fall of man, eating the fruit of knowledge and from that first bite, learning sin and shame... and lust) (cannibalism is just versatile, man)
And the fact that it has this implication that it's a doomed love in the first place; there is no way to love someone that carnally because the moment your expression of love (eating them) manifests, the love is over. Your lover is dead. A part of you, inside you, but dead nonetheless. I feel like that's why a lot of queer romances can find expression through cannibalism and hunger, because cannibalism as love can only work in the moment and can never envision a future. Furthermore, to have repressed your own sexuality to the point that it aches, like hunger pangs, and the more you hold back, the more it kills you. Cannibalistic love, as it is, is monstrous.
And a lot of queer spaces find delight and pride in reclaiming the monstrous for themselves as they have been labeled that for so long (see Stryker's "My Words to Victor Frankenstein Above the Village of Chamounix: Performing Transgender Rage"; it is a trans essay, but I think it conveys the same idea of reclamation of the monster)
But also if you do want to make it work, it requires restraining your hunger/desire to love and be loved, an innate instinct of life, to just be with the one you love. And isn't that the most beautiful and powerful expression of love? To have the self-control to love instead of devour? To actually savor and live with thought and consciousness instead of mindlessly fulfilling your base urges? Isn't that what romance is? An affection that goes beyond just having sex?
It's just so alksdjfaklsdjfklasdjflkasjdflk I love cannibalism in fiction.
Edit: cannibalism as an expression of hatred also works. Because it's not just the dehumanization of the enemy you're consuming, but it's also because in so many mythologies around the world, cannibalism is punished severely. Take greek mythology: tantalus is forced to never be able to eat or drink again for trying to feed the gods his son/make them partake in cannibalism, Cronos is dethroned and essentially killed, tydeus is denied immortality as he was dying because he became a cannibal, etc To then be driven to the point of eating your opponent without regard for cultural, social, or religious values just shows how deep the emotion runs. Moreover, how much of your own humanity you lose.
But moreover, the act of cannibalism was an act reserved for the gods. The greek pantheon could partake in cannibalism (and other vices like incest) without punishment or judgement. Even in other cultures, like the Maori with Whaitiri, there is no one above to judge the divine for cannibalistic transgressions. So to also eat your enemy is declare yourself above the rules, or a god.
@nylijahmyeesa9827
WE OUT HERE BABY!!!
@LolaSebastian
WE ARE!!!!!! ❤
@neekapatel906
@@LolaSebastiani love this video!
@claude4730
I'm a disabled person with a special interest in cannibalism, and you touched on exactly why I often can't get into zombie movies. I've got a complex heart and lung condition. After what I went through in the South with COVID, a zombie movie feels like a vicious pantomime. A cartoonishly individualistic fantasy in which you're surviving a pandemic with NO moral obligation to care for the sick. Where in fact, feeling compassion for them is often foolish and swiftly punished by the narrative.
@abyssopelagic_6807
As a fellow disabled person, I definitely understand what you mean- like... zombie stuff could be so cool. And Yet,
@mosstrades
this is something touched on in the last season of the videogame series for The Walking Dead in a way I found cool. It's not perfect, but it was a theme that I found very surprising and touching.
@availanila
As a fellow sickler disabled person, I want a zombie movie where humanity bands together to survive but we still die coz that's exactly what would happen in an apocalypse if we exist just shy of death right now. I liked World War Z until they made us "heroic" again 🤮 with that you're so near death you're super powered BS they brought in.
@roseallan6027
I agree wholeheartedly growing up with a neuromuscular disease and family members who have the same zombie movies we're always truly terrifying because I knew that my family and me would be considered useless and therefore not seen as valuable enough to survive
@hinasakukimi
i remember a moment in a tv series where an able-bodied dude pushed a man in a wheelchair toward a zombie to save himself. it's only a small moment but never left my mind. i don't inherently have an issue with that particular instance bc the dude was meant to be awful, but still, it made me think about what a missed opportunity there was story-wise. it'd be so interesting to have a disabled protagonist struggle to survive against all odds (and ofc to see characters form a community of care even in dire circumstances). you could make an incredibly nailbaiting "escaping from the zombies" scene with a disabled protag. it'd certainly be a fresh take on the genre at the very least.
@Lucy-zr5qs
I’m Native American and one of my best friends is quileute. I really appreciate you mentioning the charity, as it not only affects the quileute but all indigenous americans.