Frankie Goes to Hollywood (Welcome to the Pleasuredome)
The Album
Released on October 29, 1984, Frankie Goes to Hollywood (Welcome to the Pleasuredome) is the debut studio album by the British band Frankie Goes to Hollywood. At a time when the music scene was dominated by new wave, synth-pop, and post-punk, this album made an explosive entrance, challenging conventions and pushing the boundaries of pop music. Produced by Trevor Horn, the album is a sprawling, ambitious work that blends pop, dance, rock, and experimental sounds, creating a sonic experience that is as provocative as it is innovative.
The Sound: A Decadent Journey
Welcome to the Pleasuredome is not just an album; it’s an immersive experience. From the opening moments of the title track to the closing notes of “The Power of Love,” the album takes the listener on a journey through a variety of musical landscapes. The 13-minute title track, “Welcome to the Pleasuredome,” sets the stage with its lush production, blending orchestral elements with electronic beats and atmospheric soundscapes. The track is a bold statement of intent, encapsulating the hedonistic and rebellious spirit of the album.
The album’s most famous tracks, “Relax” and “Two Tribes,” are emblematic of the band’s ability to create catchy, danceable anthems with a subversive edge. “Relax,” with its driving bassline and suggestive lyrics, became a massive hit despite (or perhaps because of) the controversy surrounding its explicit content. “Two Tribes,” a politically charged anthem, combines aggressive rhythms with a memorable melody, reflecting the Cold War tensions of the time.
On the other hand, tracks like “The Power of Love” showcase the band’s softer side. This lush ballad, driven by Holly Johnson’s emotive vocals and Trevor Horn’s grandiose production, became one of the band’s biggest hits and remains a staple of 1980s pop. The song’s cinematic arrangement and heartfelt lyrics stand in contrast to the more hedonistic themes explored elsewhere on the album.
Production and Style
Trevor Horn’s production on Welcome to the Pleasuredome is nothing short of masterful. Known for his work with bands like The Buggles and Yes, Horn brought a level of sophistication and technical expertise to the album that was unmatched at the time. The use of advanced studio techniques, including sampling and layering, creates a rich, immersive sound that pulls the listener into the world of Frankie Goes to Hollywood. Horn’s production elevates the album from a collection of songs to a cohesive, cinematic experience.
Frankie Goes to Hollywood (Welcome to the Pleasuredome) style is a blend of pop, dance, and rock, with elements of funk, soul, and experimental music woven throughout. This eclectic mix reflects the band’s refusal to be pigeonholed into any single genre, and their willingness to push the boundaries of what pop music could be. The album’s thematic content, which touches on sexuality, politics, and existentialism, further sets it apart from the more straightforward pop albums of the era.
Critical Reception and Legacy
Frankie Goes to Hollywood (Welcome to the Pleasuredome) was met with a mix of awe and confusion upon its release. Critics praised the album’s ambition and innovative production, but some were unsure what to make of its eclectic mix of styles and themes. The album’s length and experimental nature were both lauded and criticized, with some finding it to be a challenging listen. However, the album’s singles—particularly “Relax,” “Two Tribes,” and “The Power of Love”—were universally acclaimed and became massive hits, propelling the album to commercial success.
The album reached number one on the UK Albums Chart and was certified triple platinum by the British Phonographic Industry (BPI). It also made a significant impact internationally, particularly in Europe, where it helped define the sound of the mid-1980s.
In retrospect, Welcome to the Pleasuredome is often seen as a defining moment in 1980s pop culture. The album’s bold experimentation, combined with its commercial appeal, has made it a landmark in the history of pop music. It paved the way for other artists to explore more ambitious and eclectic sounds within the pop genre, influencing a generation of musicians and producers.
Conclusion
Welcome to the Pleasuredome is more than just an album; it is an audacious statement of intent from a band that dared to challenge the conventions of pop music. With its blend of provocative themes, innovative production, and infectious melodies, the album remains a significant milestone in the history of 1980s music. Frankie Goes to Hollywood’s debut is a testament to the power of ambition and creativity, proving that pop music can be both commercially successful and artistically groundbreaking. Whether you experience it as a nostalgic trip back to the 80s or a discovery of a seminal work, Welcome to the Pleasuredome is an album that continues to resonate and inspire.
Track Listing
- “Well…
- “The World Is My Oyster
- “Welcome to the Pleasuredome
- “Relax (Come Fighting)
- “War (…And Hide)
- “Two Tribes (For the Victims of Ravishment)
- “Ferry (Go)
- “Born to Run
- “San José (The Way)
- “Wish (The Lads Were Here)” (2:48) – A nostalgic track that captures a sense of longing and melancholy.
- “The Ballad of 32” (4:47) – An experimental track that blends various genres and influences into a unique sonic experience.
- “Krisco Kisses” (2:57) – A catchy, upbeat track with a playful vibe.
- “Black Night White Light” (4:05) – A reflective, introspective song that explores themes of duality and contrast.
- “The Only Star in Heaven” (4:16) – A soaring, anthemic track that builds to a powerful climax.
- “The Power of Love” (5:28) – The album’s emotional centerpiece, a timeless ballad that became one of Frankie Goes to Hollywood’s signature songs.
- “Bang…” (1:08) – The album closes with this short, explosive track, bringing the journey to a dramatic end.
Two Tribes
Lyrics
Yeah…
Ha!
When two tribes go to war
A point is all that you can score
Score no more! Score no more!
When two tribes go to war
A point is all that you can score
Working for the black gas
Cowboy No. 1
A born-again poor man’s son
Poor man’s son
On the air America
I modeled shirts by Van Heusen
Working for the black gas
Yeah…
You know…
When two tribes go to war
A point is all that you can score
Score no more! Score no more!
When two tribes go to war
A point is all that you can score
Working for the black gas
Switch off your shield
Switch off and feel
I’m working on loving, yeah. Yow
Giving you back the good times
Ship it out, out!
Working for the black gas
A point is all that you can score
When two tribes go to war
When two tribes go to war
A point is all that you can score
We’ve got two tribes
We got the bomb! We got the bomb! Yeah! Yeah…
Sock it to me biscuits, now
Are we living in a land where sex and horror are the new Gods?
Yeah
When two tribes go to war (ow! ow! ow!)
A point is all you can score
Relax
Lyrics
Oh oh
Wee-ell-Now!
Relax don’t do it
When you want to go to it
Relax don’t do it
When you want to come
Relax don’t do it
When you want to come
When you want to come
Relax don’t do it
When you want to to go to it
Relax don’t do it
When you want to come
Relax don’t do it
When you want to suck to it
Relax don’t do it
When you want to come
Come-oh oh oh
But shoot it in the right direction
Make making it your intention-ooh yeah
Live those dreams
Scheme those schemes
Got to hit me
Hit me
Hit me with those laser beams
I’m coming
I’m coming-yeah
Relax don’t do it
When you want to go to it
Relax don’t do it
When you want to come
Relax don’t do it
When you want to suck to it
Relax don’t do it (love)
When you want to come
When you want to come
When you want to come
Come-huh
Get it up
The scene of love
Oh feel it
Relax
Higher higher
Hey-
Pray