Record Review: Frankie Goes To Hollywood – Rage Hard (✚) (✚✚) ✪

ZTT| UK | CD5 | 1986 | ZCID 22

Frankie Goes To Hollywood: Rage Hard UK CD5 [1986]

  1. Rage Hard [+ edit]
  2. Rage Hard [compacted (✚) (✚✚) ✪]
  3. Suffragette City
  4. (Don’t Lose What’s Left) Of Your Little Mind (Excerpt)/Roadhouse Blues [short]

The wait for 12″ singles to make the leap to the CD format was excruciating! I had a CD player by the summer of 1985, but any import CD singles that I saw in the bins of the stores likely to carry them in the early days of the format were only the most MOR artists. And these were not even packing extended remixes! More like four songs by John Martyn. I was waiting on pins and needles for a release that would be my ticket too a trip out of buying 12″ vinyl with the songs I wanted to collect on the shiny silver disc of preference. It might have been the fall of 1986 when I finally saw the disc that would be my first CD single: Frankie Goes To Hollywood’s “Rage Hard.”

FGTH 1986 – designer Frankie

I had bought all of the 12″ vinyl I could get my hands on from their first album, but I balked at all of that ZTT 12″ being pumped into the market for album number two. I should only ever hear ZTT music on the CD format! What Would Trevor Do? I can’t remember if I had the “Liverpool” album on CD yet, but I seem to recall that it was not released for a little while yet. I jumped at the “Rage Hard” CD5 and it set me back maybe as much as $15.99 at my local Peaches.

The first thing I heard was UK comedian Pamela Stephenson giving a short verbal introduction then a 5 minute remix of “Rage Hard” began playing. I’ve since found out that this was an edit from the “Rage Hard +” a.k.a. “Rage Hard (The Young Person’s Guide Into The 12 Inch Mix)” as seen in the first 12″ single released, at left. The first three minutes sounded like a dub section from a 12″ with the song returning to wrap up near the end.

Next came another 12 minutes of mashed up “Rage Hard” remixes from other sources that was called “Rage Hard [compacted]” here. We can now ascertain that the first 7:27 of the mix came from “Rage Hard +” and featured Ms. Stephenson narrating the various elements of instrumentation that gave a brief solo as they kept “Rage Hard” moving forward in a [rude] parody of “A Young Person’s Guide To The Orchestra.” Next, there was 1:19 taken from the beginning of “Rage Hard ++” [see right] which was also known as the Broad mix. Finally, the last 3:11 of “Rage Hard +” rounded out the unbroken 17:13 track, which was all grouped on the CD single as a single unit.

I would not have the 12″ vinyl from this era until I got antsy about not having it once I became focused on owning vinyl that had not made the leap to CD around 1992. I then bought a lot of these mail order in mostly German pressings, but I should own the UK ZTT pressings of this material! In 2018 I want every UK ZTT 7/12 from point zero up through 1988.

The B-sides on this CD were more of the ZTT penchant for classic rock cover tunes. The take on Bowie’s “Suffragette City” had all of its sex removed by the band in a rendition that gave lie to their overly sexualized image. The rendition here was cold, flat, and machine-like. Next came just 18 seconds of the band’s non-LP B-side, “(Don’t Lose What’s Left) Of Your Little Mind.” The annoying collection of sampled belches, vocal tics, and what not were perhaps best heard in this brutal edit that went straight into a equally awful cover of The Doors’ “Roadhouse Blues.” Singer Holly Johnson was completely out of his depth here; sounding adrift in such a bluesy number. ZTT had absolutely zero affinity for that musical form, and boy, did it show! Nevertheless, the faux barrelhouse piano and harmonicas were duly trotted out to our dismay on this perfunctorily chugging attempt at boogie. About halfway through the song, Steven Lipson couldn’t stand it any longer, and synths began to seep into the mix. They didn’t make it better – only worse!

The first 3/4 of the CD was like a trailer for the vinyl that I didn’t have, and the last quarter were B-sides best left unheard. In any case, I was hooked! They were finally releasing singles that I would buy on CD and I was up for more! For another 15 years I only bought old vintage 12″ singles. Anything new that I would want was on the preferred format. At least before the 21st century happened and the war on CDs was declared. Now, I’m grateful for any singles at all that creep out into the physical market!

– 30 –

About postpunkmonk

graphic design | software UI design | remastering vinyl • record collector • satire • non-fiction
This entry was posted in Bowie, Record Review and tagged , , , . Bookmark the permalink.

7 Responses to Record Review: Frankie Goes To Hollywood – Rage Hard (✚) (✚✚) ✪

  1. dhrichards says:

    Hated, HATED, the “Young Person’s Guide” remix thing. I did not get the joke and just wanted 8 minutes of Horn remix genius.
    Still don’t like it. Though Liverpool is, imho, is an underrated album. Not a classic, but has some good tunes.


    • postpunkmonk says:

      dhrichards – I thought that it was a fun, atypical remix at the time. I appreciate its irreverence. As for “Liverpool,” at the time I felt it was the New Ultravox Album. After the actual New Ultravox Album showed up at the end of 1986 this was confirmed!

      Liked by 1 person

  2. negative1ne says:

    I like liverpool more than the bloated ‘welcome to the pleasuredome’, there is too much fluff on that double lp, did you already cover this mr postpunk monk.

    anyways, i hated rage hard, and loved ‘warriors of the wasteland’, and ‘watching the wildlife’.
    they were much more focused on this album, and it shows.

    sure they went down the rocky road for some other songs, but except for rage hard, it worked.



    • postpunkmonk says:

      negative1ne – I agree with your preference for “Liverpool.” With “Pleasuredome,” there’s “Relax” and “Two Tribes” and everything else blurs together in a slurry. “Liverpool” in comaprison, is a coherent and succinct album. And no, I’d never covered this topic before.


      • Tim says:

        There’s a great line in the movie The Commitments. Someone says to the local music bootlegger, you had that Frankie Goes to Hollywood slbum before anyone else did and you were the first to realize it was shite.

        Love Two Tribes. Love love love it and War to me is basically an intro to that. Relax is well, Relax and over time I’ve grown to like The Power of Love and the title track (some very nice early 90 mixes especially and that’s an era not known for quality mixes) . The rest of either album is superfluous for me.

        I turned my faves into an hour long mix (the ”Win One For The Gipper” mix as done by Frankie’s Hollywood Orchestra Unlimited. There’s a bunch of samples and some mashups used.). It’s my go to when I need a Frankie fix.


  3. Tim says:

    It is a perfect confection of the early 1980’s, especially when the video is thrown into the mix.
    Maybe they could update it with Trump battling a fire in California with a rake.
    I never thought the corruption of the Reagan days would look quaint in the rear-view mirror.


Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

This site uses Akismet to reduce spam. Learn how your comment data is processed.