The Dream Academy
Born
in London in the late 1950s, this trio were probably too young to
remember such early 60s events as JFK's assassination or The Beatles
first album, but that didn't stop them from writing songs about these
and other 60s landmark events (in all fairness they do describe being
told about such events after the fact).
The 60s connections didn't end
with the subject matter. The band's dreamy music featured
orchestration rare in the early 80s synth-pop landscape, and band
member Kate St. John's oboe and sax were integral to the band's music,
not just incidental background noise filling in for the digital
shallowness of keyboards.
The 60s motif was also present
in their look, sporting Nehru collars and opting for long, free hair
in an era when mousse was the order of the day. And to complete
the 60s theme, Dream Academy's eponymous album was co-produced by Dave
Gilmour, the sixties psychedelia master of Pink Floyd fame.
This is not to say that The
Dream Academy's sound was entirely 60s. While reminiscent of The
Beatles and their Merseybeat contemporaries, The Dream Academy's music
was more similar in sound to the Liverpool sound of the late 70s, when
such groups as The Teardrop Explodes and Echo and the Bunnymen
rediscovered the subtle side of the guitar and put some art back into
rock.
The Dream Academy's textured
use of guitar and Hammond Organ would reappear a few years later in
such 'Manchester sound' bands as Stone Roses, The Charlatans, and
Inspiral Carpets
Life In A Northern Town
was their lone venture into the world of pop success. The track The
Love Parade was released as a follow up single, but it barely
moved up the charts and seems to have been largely forgotten by
stations that continue to play Life In a Northern Town.
Even less notice was taken
when they released albums in 1987 and 1990. To their credit The Dream
Academy did make the sound track of a John Hughes film with their
instrumental cover of The Smiths' Please Please Please Let Me Get
What I Want. Ah-hey ah-ma-ma-ma, indeed!
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