– were endlessly revealing and candid in a way they would never have been at the peak of their fame. I sensed they enjoyed the opportunity to talk again, to beresoluteach individual story in popular music has a common beginning. Because in the beginning, all is gravy. In 1987, seemingly overnight,became the most arresting new pop star of his generation. To hear him sing songs such as If You Let Me Stay and Sign Your Name was to bear witness to the art of aural seduction; the knees buckled.
If his ascendancy had the stuff of legend about it, then so did his demise. Like Prince before him, he began to feel himself capable of anything, each new song he composed a masterpiece. His record company felt differently – it wanted hits, not ornate rock operas – but D’Arby was not someone easily restrained. And so, in pursuit of his muse, he spent the early 90s reportedly living the life of a tormented recluse in a Los Angeles mansion.
The question of whether anyone is listening any more doesn’t seem to trouble him unduly. When I ask what, if anything, he misses from the old days, he replies: “I miss the unbridled, bold, naked stupidity of youth’s vibrant electric hubris.”found himself in a comparable position. “I’d been too confident, too arrogant,” the Dexys Midnight Runners singer says. “I thought everyone would hear our new music and go: ‘Wow.
‘I could have done without that,’ says Kevin Rowland of the chorus of Come On Eileen that greeted him at the dole office after the demise of Dexys Midnight Runners.But, Rowland tells me, “I just knew that I couldn’t write the same songs again, and so I never even tried.” Their new music took on an increasingly introspective tone, mournful and ruminative; not ideal for radio, in other words. The band were dropped, they split up, and the singer found solace in drugs.
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