Clare Grogan: Love Bomb UK 12″ 
- Love Bomb [ext.]
- Love Bomb [dub]
- I Love The Way You Beg
This was a record that surprised me when it appeared out of nowhere in 1987. I had been a fan of Altered Images, the Scottish New Wave band from the days of their debut in 1981 throughout the length and breadth of their brief, two year career arc. It saw them begin as almost gothic indie darlings, produced by Steve Severin and beloved by John Peel, eventually conquering the pop charts with Martin Rushent produced sugar-pop, and ultimately they were boosted into the Ejection Seat Of Pop® by the time of their Blondie-esque final album. After all, when your singles are barely scraping into the Top 40 it’s time to throw in the towel, right? Or so the thinking was in 1983! When a solo single from ex-singer Clare Grogan finally appeared in 1987, I would imagine that many might have asked, “Clare who…?” And rightly so. Four years after your last single is an eternity in Pop.
Unfortunately, this record failed to measure up even to the disappointing, schizo pop of the divisive third Altered Images album that saw their fortunes flag four years earlier. “Love Bomb” was a Mark Kamins production of a Henderson/Martin song and though I’ve looked for answers, I still have no idea who the writers were. Based on the evidence here, this may have been their only shot at the charts, and it was unquestionably something of a dud. The busy, clattering sound of the production may have been down to producer Kamins or perhaps to remixer Zeus B. Held. I’ve not heard the 7″ mix to compare. It’s not an easy record to find. Kamins I only knew from his production on the first Madonna album*, so there’s nothing to write home about there. Ususally Held can be depended on for some admirably smooth Euro sound, but this is the furthest thing from that.
The song was poor, the arrangement was overly busy, and the performance was completely missable. Grogan was just doing work for hire here. As with the last Altered Images album, the decision was made to drown the, uh, uniquely voiced Ms. Grogan in backing singers, this time of the masculine variety. This is an inadequacy that always tries to draw attention away from Ms. Grogan’s idiosyncrasies of delivery, overlooking the fact that her unique vocal qualities are actually a plus, as long as the material bears scrutiny. In fact, the juxtaposition of her helium girly vocals with the right [emotionally darker] material is fascinating. Unlike the hookless and perfunctory dance pop here. This record fairly reeked of mis-80s malaise; where technology was seen as a panacea for weak compositions bereft of ideas. Tsk.
The dub mix was a typical example of the form as practiced in the UK in the mid-80s. Can we finally admit that dub technique used on music that has zero connection with reggae = 100% FAILURE? The B-side here was a Grogan/Lironi composition, but not much better for it, actually. It sounded like a demo produced with just a Casiotone keyboard for accompaniment, and graciously, it’s over before it even seemed to start at a merciful 1:48. Unsurprisingly, the single failed to chart and that was almost it for Clare’s singing career. She’s only acted ever since, apart from the odd guest spot or [shudder] one of those retro cavalcade package concert horrors. Her album for London was shelved and has not managed to escape from whatever locker it’s been tucked away in. In the cold light of day, this single is a low point for both Grogan and Lironi [who married years later after being professionally linked], Zeus B. Held, and even mixmaster Phil Harding, who was definitely working overtime in 1987. On this record, it showed.
– 30 –
* The story of how I first heard Madonna is almost worth relating one day.