Growing up in the New Cross area of London and attending Haberdashers' Aske's Hatcham College, his musical career began in the late 1960s when he was busking (with John Crocker) and performing his own songs, some of which were later recorded by him and the band.
The original Cockney Rebel was formed when Harley hooked up with his former folk partner, John Crocker (fiddle / mandolin / guitar), in 1972. They auditioned drummer Stuart Elliott, bassist Paul Jeffreys, and keyboardist Milton Reame-James. They were signed to EMI after playing just five gigs. Their first single "Sebastian", a soaring rock epic, was an immediate success in Europe, though failed to score in the UK singles chart. Their first album, The Human Menagerie, was released in 1973 to critical acclaim, and is still felt by many fans to be their best. The orchestra arrangements were penned by a guy named Andrew Powell who was suggested to the group by their record company. The interesting aspect about Steve's backing band was that they had no real lead guitarist, which equaled to a revolutionary move at that time. Harley's unashamed theatricality, the weird costumes for his stage appearances and the dithyrambic live performance soon made Cockney Rebel one of the most critically acclaimed acts on the circuit, soon gaining a strong cult following.
Harley managed to irritate a significant segment of the music press with his self-aggrandisement, even as the music itself was getting rave reviews and gaining a wide audience. Shortly thereafter Harley got in touch with the talented producer Alan Parsons, who had made his first experiences as an assistant engineer during the The Beatles' Abbey Road sessions and had also engineered for a variety of artists since. Alan co-produced Cockney Rebel's next single "Judy Teen" which reached #5 in the UK charts. It was soon agreed that Alan Parsons also be the co-producer for The Psychomodo, which was released in 1974. When it came to orchestration Alan said 'I've got a guy' but Steve refused and replied 'No, use the same guy as last time'. Therefore, as fate would have it, The Psychomodo was the first album Powell and Parsons would work on together, but certainly not the last (as Powell was later steadily involved with The Alan Parsons Project). Soon after the release of the album Steve had his backing band dispersed an fully regrouped, with only drummer Stuart Elliot remaining. The next hit quickly followed, "Mr. Soft", also taken from the album, and after that "Big Big Deal" which was already recorded using the new lineup of Cockney Rebel. In 1975, the album The Best Years of Our Lives hit the market, and it was the first time that the album's sleeve officially stated 'Steve Harley & Cockney Rebel'. On keyboards was South-African Duncan Mackay, a highly talented keyboard wizard who had a strong influence on the sound of the group. "Make Me Smile (Come Up and See Me)" was the big chart buster taken off this record.
Harley, as doggedly unpredictable as ever, started touring the US supporting The Kinks. Overseas "Make Me Smile" was doing fine, and so a Best of album especially put together for the American market was compiled: A Closer Look, a selection from the period when label credits read Cockney Rebel rather than Steve Harley's Cockney Rebel. A next new single "Black or White" failed to enter the charts, same as "White White Dove" in January 1976. That didn't discourage Steve and he released the next album: Timeless Flight which was equally a disappointment commercially, even though it contains very strong moments of Steve and the band. The oddly percussive synth-playing of Duncan Mackay pervaded the album, and on a musical level made it almost as much Duncan's as it was Harley's. Already later that year a new long-player was brought out, Love's a Prima Donna. For that album Harley succeeded gradually to build a bridge between pop and classical music. The Beatles' classic "Here Comes the Sun" was the preview single of the album and charted in the UK's Top Ten in 1976's extraordinarily hot July. In between Steve had a first appearance for The Alan Parsons Project. For their 1977 album I Robot Harley contributed vocals for one of his most charismatic moments, the performance of "The Voice". Unfortunately, this first contribution was also his last. Parsons also often used the instrumental skills of Stuart Elliot and Duncan Mackay for his own project, and they became steady participants in the recording sessions Parsons held at Abbey Road Studios. Steve realized that he should regain the attention of his fans and undertook a vast tour of England in 1976, recording live on the concerts. This eventually spawned the double live album Face to Face (A Live Recording). By the time it was released Cockney Rebel had already ceased to exists and Steve went on a sojourn in California/USA where he had planned to write and records songs. Duncan Mackay recorded his second solo album Score and joined the reformed and expanded 10cc. In the meantime Harley recorded his planned album using the best-booked session musicians of the US: Rick Schlosser (drums), Ricky Fataar (drums, ex-The Beach Boys), Bob Glaub (bass), Bill Payne (piano, of Little Feat), Bill Champlin (backing vocals, then a member of Chicago), Michael McDonald (backing vocals, at the time a member of The Doobie Brothers) etc. By the end of the recording session Harley had already returned to England, where he finalized the new album at Abbey Road Studios. He later told reporters that the songs contained on the album were old ones, because he didn't succeed in writing songs in California. It should also be mentioned that Harley's long-time friend Marc Bolan played guitar on the track "Amerika the Brave" but tragically died in a motor car accident in south London shortly thereafter. He never heard the final product. Just one week prior to the album's release a preview single "Roll the Dice / Waiting" came out but unfortunately didn't make it up into the charts. A second single, a remix of "Someone's Coming", came out but followed the fate of the first.
Bummed out by the lack of success of Hobo With a Grin Harley announced a planned comeback with a new band and a new concept. The album was finished in early October, and on the 20th he performed a sold-out gig at the London Hammersmith. One track of the new finished album was released as a single and made it into the charts: "Star for a Week" (later also known as "Dino") describes the story of an ordinary boy, searching for his own identity. Apparently the finished album was shelved thereafter for reasons unknown. In February 1979 Harley recorded The Candidate again mostly at Abbey Road Studios, using a variety of England's most outstanding and talented musicians. Unfortunately the album largely fell through the cracks commercially even though the single taken off of it, "Freedom's Prisoner", did well in Germany. By the end of 1980 EMI brought out The Best of Steve Harley and Cockney Rebel.
Harley recollects the 80s as being his lost years, but still a lot of things happened in his life. He terminated a six-year relationship and got married to Dorothy Cromby in February 1981, accepted a proposition to play the 'Christopher Marlowe' in Marlowes "Conspiracy" and formed a new band. In early 1982 the single "I Can't Even Touch You" hit the market but remained a secret to the broad audience. EMI re-issued the double-CD The Human Menagerie/The Psychomodo. In 1986 he participated in the Andrew Lloyd Webber production The Phantom of the Opera, teaming up alongside Sarah Brightman. The pertinent, same-titled single was released in January 1986. In June 1986 RAK release a remixed version of "Irresistible / Lucky Man". The B-side of the UK release, "Lucky Man", had Midge Ure on guitar. An album which was also finished at the time under the working title El Gran Senor never saw release. One of the tracks of that period, "Sophistication", later re-surfaced on the album Anytime! (A Live Set). 1992 finally saw the release of previously unknown material, Yes You Can. The album consists of old songs never released before and some new ones, using a variety of different musicians. Stuart Elliot played drums on several tracks, participations of Jim Cregan and Duncan Mackay are contained. With this album in his luggage, Steve went on a new tour in 1992/93 throughout Europe. Motivated by the warm welcome of his fans, he wrote new songs which were eventually published on the 1996 album Poetic Justice, which remained a collector's item as so many times before. Ever since he's continuing to tour Europe, mainly presenting older songs with some new ones in between, mostly solely playing them with an acoustic guitar. This eventually spawned new releases which hit the market as Stripped to the Bare Bones - Live and Acoustic From the Jazz Café, London (1999), Acoustic and Pure - Live (2002, again with Jim Cregan) or Anytime! (A Live Set). Steve continues to compose new songs, published The Quality of Mercy in 2005, and also appeared as a featured artist on the Dossche release Ich bin Gott. For his 2006 Anthology tour, Stuart Elliot was again part of his backing band. In summer 2008 Harley toured the UK again, for the first time ever with a supporting artist, the young singer-songwriter Simon Le Fort.
In May 2010, Harley released his new studio album Stranger Comes to Town.
In April 2012, Harley teamed up with Australian guitarist Joe Matera and embarked on a promotional tour of Australia.
Harley's sixth solo album, Uncovered, including the single "I've Just Seen a Face", was released in February 2020.
Mirror Freak
Steve Harley Lyrics
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'Cause we can feel a change is on the way
You're not a skin or a spiv, boy who are you trying to kid
You're jolly handsome, super wizard, okay?
Would you resort to telling all your friends lies
When they can see right through your flimsy disguise?
We all consider you far out so there can be little doubt
You're gonna make it in a big, big way
Oh, we can feel a new existence beginning
And the yobs have made a go at forgiving
And the new man he appears to be winning
Oh what a shame, such a bore!
Oh well I don't want to turn on tonight night night
I said I, I don't want to turn on tonight night night
I said I don't want to turn on tonight
I said I don't want to turn on tonight
You put your hand in the air and when they ask you say yeah
And they'll be happy to believe you're both kinds
Then shake a fist or a leg and prove the image is dead
Or the chances are you'll rip up their minds
Oh, you're too cute to be a big rock star
But if you're cool you may not push it too far
Oh just believe in yourself and take a tip from the elf
And sing a boogie to the image fatale
Oh, we can feel a new existence beginning
And the yobs have made a go at forgiving
And the new man he appears to be winning
Oh what a shame, such a bore!
Oh well I don't want to turn on tonight night night
I said I don't want to turn on tonight night night
I said I, I don't want to turn on tonight
I said I don't want to turn on tonight
You feel Loretta's deep breaths, you put a hand on her breast
You feel her come on like some movie-star chick
You slide your body across, you fight so hard to be boss
But sweet Loretta, she knows all the tricks
So you perform like it's your very last show
You turn her on but she's never gonna know
Then you can shuffle your hips or M-M-Mae West your lips
But you're the same old thing we've always known
Oh, we can feel a new existence beginning
And the yobs have made a go at forgiving
And the new man he appears to be winning
Oh what a shame, such a bore!
Oh well I don't want to turn on tonight night night
I said I, I don't want to turn on tonight night night
I said I don't want to turn on tonight
I said I don't want to turn on tonight
I said I don't want to turn on tonight night night
You know, don't want to turn on tonight night night
I said I don't want to turn on tonight night
I said I don't want to turn on tonight
The song "Mirror Freak" is a social commentary on the superficiality of the entertainment industry and the pressure to conform to certain images to achieve success. The lyrics speak to the idea that one's outward appearance and image can often be more valued than their actual talent or character. The singer challenges the listener to embrace their true self and not resort to lies or a flimsy disguise to fit in with the expectations of others. The lines "just believe in yourself and take a tip from the elf, and sing a boogie to the image fatale" suggest that the key to success is to be authentic and embrace one's unique qualities.
The chorus, "we can feel a new existence beginning and the yobs have made a go at forgiving and the new man he appears to be winning, oh what a shame, such a bore!" can be interpreted as a commentary on society's changing attitudes towards traditional gender roles and the rise of new forms of masculinity. The yobs forgiving may refer to the acceptance of different styles of masculinity, while the "new man" winning may refer to the success of those who embrace a more authentic, non-conforming identity.
Overall, "Mirror Freak" is a song that encourages individuality and standing up against societal pressures. It highlights the importance of being true to oneself and not conforming to superficial expectations.
Line by Line Meaning
Oh exhibition yourself, we'll hold a show on the shelf
Let's showcase your talents, we believe there's an opportunity coming your way
'Cause we can feel a change is on the way
We sense a shift in the wind, something's stirring
You're not a skin or a spiv, boy who are you trying to kid
Stop pretending to be someone you're not, we see right through you
You're jolly handsome, super wizard, okay?
You're handsome and talented, we believe in your potential
Would you resort to telling all your friends lies
Are you willing to deceive your friends?
When they can see right through your flimsy disguise?
They can easily see that you're being fake
We all consider you far out so there can be little doubt
We all think you're unique and talented, so we have great faith in you
You're gonna make it in a big, big way
You're destined for success
Oh, we can feel a new existence beginning
We feel like a new era is starting
And the yobs have made a go at forgiving
Even those who were once your detractors are starting to accept you
And the new man he appears to be winning
The person you're becoming is starting to triumph
Oh what a shame, such a bore!
That's too bad, it's uninteresting
Oh well I don't want to turn on tonight night night
I'm not really in the mood for anything tonight
I said I, I don't want to turn on tonight night night
I really mean it, I don't want to be bothered
I said I don't want to turn on tonight
I'd rather not partake in anything tonight
You put your hand in the air and when they ask you say yeah
You raise your hand and agree, even if you're not sure what's being asked
And they'll be happy to believe you're both kinds
Others will be satisfied thinking you're versatile
Then shake a fist or a leg and prove the image is dead
Demonstrate that stereotypes are irrelevant
Or the chances are you'll rip up their minds
Otherwise, they'll be confused and discombobulated
Oh, you're too cute to be a big rock star
You're too charming or appealing to be a typical rock star
But if you're cool you may not push it too far
You can still be successful if you maintain a laid-back attitude
Oh just believe in yourself and take a tip from the elf
Have confidence in yourself and follow the advice of those who are knowledgeable
And sing a boogie to the image fatale
Perform confidently, ignoring any societal expectations or standards
You feel Loretta's deep breaths, you put a hand on her breast
You become intimate with Loretta, touching her intimately
You feel her come on like some movie-star chick
Loretta seems to be putting on an act, like a Hollywood actress
You slide your body across, you fight so hard to be boss
You try to assert dominance over Loretta
But sweet Loretta, she knows all the tricks
However, Loretta is wise to your schemes
So you perform like it's your very last show
You give it your all as if it's your final performance
You turn her on but she's never gonna know
You arouse Loretta but she won't realize what you're doing
Then you can shuffle your hips or M-M-Mae West your lips
You can move your body suggestively or speak seductively, but it's all an act
But you're the same old thing we've always known
In reality, you're still the same person you've always been
Lyrics © Sony/ATV Music Publishing LLC
Written by: STEVE HARLEY
Lyrics Licensed & Provided by LyricFind