Author: Peter Podbrežnik
Artist: Kajagoogoo
Label: EMI Records
Release: 1984
Running time: 39:36
Rating: 4.5/5
New wave heroes Kajagoogoo released their second studio album, »Islands«, as a four-piece after parting ways with original singer Limahl, whose star status, by the band’s own account, had gone a little too much to his head. Limahl’s spot behind the mic was taken by bassist and Chapman Stick player Nick Beggs, who proved to be at least as charismatic a vocalist as his famous former bandmate, if not even more so. The four of them, unlike their old companion, weren’t chasing glitz and fame, and they found themselves in an odd spot: with the mega hit »Too Shy« and the commercially massive debut »White Feathers« (1983), they were seen as pop stars. So everybody expected them to carry on in the same vein, i.e. to crank out big hits on an assembly line. Beggs, though, had rather different plans for the band’s sonic future, because he wanted to give some art rock elements free rein, and that was one of the main reasons for the split with Limahl.
There wasn’t actually much wiggle room left for bigger stylistic experiments, since the label expected and demanded hits, and Beggs happily obliged, as he had a sharp knack for writing radio hits. »Islands«, which marked a huge leap forward in creativity and maturity compared to »White Feathers«, thus threw up a hit single even before its release in the form of »The Lion’s Mouth«, a track whose wind arrangements already reflected the band’s changed style, while Beggs’ distinctive, melodic bass lines provided hugely dynamic rhythmic support for the nostalgic, hypnotic chorus.
Everything pointed to Kajagoogoo continuing to bask in the big spotlights even after Limahl’s exit, as »Big Apple«, dedicated to the pulse of a New York still riddled with crime back then, became the next big hit and likewise did well on both sides of the Atlantic. Keyboardist Stuart Croxford Neale especially shines here with subtle synth textures, while Beggs once again impresses with his vehement laying down of playful bass lines and an outstanding vocal performance that conjures up the atmosphere of unpredictable New York streets. Sax interludes along the way add even more color to this ambience, while the central arrangement is marked by indescribable nostalgia.
»The Power To Forgive«, steeped in new romantic melos, opens with witty bass variations that clear the way for a distinctly melodic structure with subtle synth arrangements. The relatively complex instrumental section, where the sound of the Chapman Stick really shines, lays bare the band’s desire to carve out more room for art rock components in their music. Meanwhile, Beggs’ charismatic vocals make sure at every turn that Limahl isn’t missed one bit on »Islands«. »Melting The Ice Away«, another track with a thoroughly romantic pulse, is crowned with exquisitely refined arrangements, and Beggs once again shows in his singing that he was never short on charisma. The instrumental passages here already have one foot in jazz fusion, which really proves how astonishing the sonic transformation was compared to the previous album. The lyrics have also noticeably improved compared to »White Feathers«, even if love traumas still dominate them.
»Turn Your Back On Me« became the third and last hit from the album, though it didn’t achieve the success the label had hoped for and already signaled that the band’s popularity had begun to slowly but inevitably decline. Here too, melodic and complex bass lines and colorful synth textures rule, while Beggs delivers almost his best vocal performance on the whole album, peaking in a witty, nonchalant chorus. The mocking lyrics certainly play an important part in the fun of this splendid evergreen. The title track is strongly ambient-leaning and represents the band’s broad-chested flight into nostalgic art rock. Mighty ambient curtains wonderfully adapt to Beggs’ romantic vocals, while complex rhythmic ornaments keep one of the album’s most interesting compositions nicely lively throughout. The central motif, where the vocalizations lean a bit toward good old ‘Arnie’, admittedly sounds a little funny, but the instrumental section, fertilized by a fusionist ethos, still delights every connoisseur today.
»On A Plane«, where the sax interludes make a comeback, is quite an interesting crossbreed between new wave and jazz fusion, meaning it has a distinctly melodic and lovely chorus and a string of witty rhythmic variations, especially on Beggs’ Chapman Stick. »Part Of Me Is You«, which deserved hit status even though it never got it, is another creation ruled by infectious nostalgia that will still whisk the listener back to the eighties in spirit today. The technical skills of the individual band members aren’t as pronounced here, though guitarist Steve Askew shows off some highly subtle variations in the closing section, but the emphasis is all the greater on their outstanding ability to build hypnotic arrangements that let them effortlessly conjure up an unforgettable mood.
»Islands« closes with the instrumental »The Loop«, yet another distinctly melodic creation where elements of synth pop and jazz fusion cross paths, mostly thanks to lavish sax arrangements and dynamic bass lines, while the guitar phrase is also one of the wittiest in Steve Askew’s career. Complex yet melodic rhythmic variations are a real feast for the ears, while fun sax passages nicely create a distinctly upbeat mood. On »The Loop« you can clearly hear that Kajagoogoo had by this point almost transformed into a progressive rock band, even though the wider public still saw them as teenybopper pop idols, i.e. that ‘plastic’ image they were desperate to escape as soon as possible after Limahl’s departure.
»Islands« was a leap forward artistically compared to »White Feathers« and laid bare the foursome’s yearning to make an art rock album with the best elements of ‘both worlds’, even though their commercial success started plummeting from here on out. Even though this album ranks among the better achievements of the new wave scene of the day, it didn’t repeat the commercial success of its artistically far weaker predecessor, which wasn’t a huge blow for band members who were sick of their unexpected fame anyway. After moving to the USA, where »Islands« was re-released under the title »Extra Play«, they shortened their name to Kaja and, on the follow-up album, »Crazy Peoples Right To Speak« (1985), presented their vision of pop music with art rock elements one last time in the eighties.
Lineup
Nick Beggs – vocals, bass guitar, Chapman Stick
Steve Askew – guitar
Stuart Croxford Neale – synthesizer, backing vocals
Jez Strode – drums, percussion
Production
Colin Thurston and Kajagoogoo
Tracklist
1. The Lion’s Mouth
2. Big Apple
3. The Power to Forgive
4. Melting the Ice Away
5. Turn Your Back On Me
6. Islands
7. On a Plane
8. Part Of Me Is You
9. The Loop (instrumental)
