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hit wonders (well beyond Britain) Haysi Fantayzee have to rate as one of the weirdest and most wonderful of pop music curiosities from that era.
a photographic studio above which musician (and Doctor in Mathematics) Paul Caplin regularly rehearsed in a recording studio. The two hit it off but Caplin was the sort of guy who liked to keep a low profile in his musical endeavours (in fact he rarely appeared in any of the group’s cover art or publicity shots) so they needed to find a male voice and face to accompany Kate on their quest to revamp the British music scene. One time DJ Jeremy (Jeremiah) Healy had been a friend of Boy George’s since their teenage years and the two had been a constant inspiration to one another in pushing the personal fashion envelope to its limits and beyond. Jeremy met with Kate and Paul and he was the perfect fit for the Haysi Fantayzee crusade that was about to commence.
racks from Ringling Bros. Circus - yeah that should slay ‘em in the aisles! By early ‘82 the trio had several songs for which they laid down demo tracks with Kate and Jeremiah handling vocal duties and Paul providing the backing instrumentation. But that old thing about submitting demo tapes to record companies was so 1970s and besides it overlooked the one thing that the trio banked on snaring Haysi Fantayzee that elusive recording contract - their groovy zany image. So they came up with the novel concept of sending out copies of a low budget music video for ‘Shiny Shiny’ accompanied by a wad of publicity photos. The suits at Regard Records like several other labels bidding for the trio’s services must have been so impressed or just plain aghast at the approach that they offered Haysi Fantayzee a record deal soon after partly because ‘Shiny Shiny’ was a catchy little pop number but mostly because with an image like theirs nobody was going to overlook the duo of Kate and Jeremiah easily.
months before their first single was released). ‘John Wayne Is Big Leggy’ made its debut on the British charts during July ‘82 but soon after got a big leg up from Haysi Fantayzee’s appearance on BBC TV’s ‘Top Of The Pops’ in August. At the heart of the song was the issue of racism (and probably misogynist attitudes) and unabashed anti-Americanism as lyrically it told of an argument between a character called John Wayne and his Native American squaw. Well it was really more of an encumbrance to their marital activities caused by Wayne’s paunchy stomach. The lyric deliberately left it up in the air as to what the eventual solution might be - because well it was still only 1982 and it was unwise to push the limits of explicitness too far especially if you wanted to get your song played on air. But Kate and Jeremiah’s memorable rendition of ‘John Wayne Is Big Leggy’ on ‘Top Of The Pops’ left no doubt as to what that ‘solution’ was and served as the first example of Haysi Fantayzee’s playful surreptitiousness. Before enough people joined the dots to create any kind of kafuffle the song had reached #11 on the British charts and exposed a large part of Britain to an indelibly memorable pop entity.
d soon after the critics started coming out of the woodwork with charges relating to a lack of musical substance levelled at the group. They were set the challenge of silencing their critics by coming up with a substantive hit single and an album that wasn’t going to be brushed away by critics as lightweight fodder. Whilst in the process of recording the album Jeremiah was quizzed on a radio show as to what its prospective title would be and replied with an off the cuff answer ‘Battle Hymns For Children Singing’ - it was a spontaneous and nonsensical reply which in many ways acted as a constantly effective counterbalance for everything Haysi Fantayzee produced in due diligence. The album was released in early ‘82 (UK#53/OZ#48) just following the unveiling of Haysi Fantayzee’s latest single ‘Shiny Shiny’. The accompanying promo video was enticing enough for audiences with Kate seductively cooing to camera and Jeremiah gyrating with an ever-present glint of mischief in his eye but this time around the group had a song that was infectiously catchy and a substantive and well crafted splash of pop music. Lyrically beneath the apparently frivolous nursery rhyme style surface lay a clear message about the horror of a post apocalyptic world - wow if they could manage to sugar coat that surely they were master confectioners as well as pop musicians. ‘Shiny Shiny’ emitted a warm glow on the British charts at #16 a gentle shimmer on the U.S. charts at #74 but positively blazed down on the Australian charts during mid ‘83 when it bolted to #3 nationally. It was no doubt aided and abetted by Haysi Fantayzee’s momentous appearance on ‘Countdown’ where it was clear Molly was rather
enamoured with both Kate and Jeremiah (well it’s Molly after all).
mix inspired the likes of Aqua among others and established a permanent place on the honour roll of artists that unabashedly spell music F-U-N.| Publicity Club of Chicago |
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