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The British synth-pop scene of the early '80s is one of those genres that is so recognizable and defined that you can place it almost instantly. Heavily influenced by the sounds of the '60s, synth-pop added an electronic, danceable sound with synthesizers.
Revered for originality and progressive arrangements, the new wave synth-pop movement brought about a style all its own and bands that continually pushed the boundaries of music.
The affordability of synthesizers was an inspiration for many musicians of the time, especially for two computer programmers from Sheffield, England -- Martyn Ware and Craig Marsh.
Ware and Marsh founded a band called the Future in 1977, which proudly went against pre-established music standards. Instead, they established their own traditions with cheap technology. The Future would eventually become the Human League after Philip Oakey joined as vocalist.
Ware and Marsh later split from their Human League pals and asked Glenn Gregory, a close friend and photographer who had once been considered for the Human League's lead singer post, to join them in a new project, The British Electric Foundation.
The BEF was both a band and a production company to produce and distribute material under the new moniker. Heaven 17 was the first of the acts created under BEF, with Ware, March and Gregory rounding out the trio.
Although the group didn't reach the same level of chart success as their Human League counterparts, the band is firmly etched in the minds of synth-pop and music enthusiasts who see them as one of the movement's more daring and forward-looking bands.
The lead track, "(We Don't Need This) Fascist Groove Thang," from their debut album Penthouse and Pavement (1981), peaked just outside the Top 40 before being banned by the BBC for its overtly political lyrics. Its funk elements, scattered percussion and BBC ban -- naturally -- cemented the song's notoriety for years to come.
It's difficult not to see Ware, Marsh and Gregory as pioneers in the synth-pop genre, a genre that's seen a revival in recent years. Although Craig Marsh left the band in 2007, Ware and Gregory still perform as Heaven 17 with the same enthusiasm and delight as they did in the '80s.
Watching them live makes it easy to understand why they've endured for decades. Their audacious sound and cheeky stage presence continue to place Heaven 17 in a performance class of their own.
Over the course of their career, Heaven 17 have packed venues such as The Belasco and the House of Blues (San Diego) to capacity.
It took 40 years for H17 to get over to the US. Almost felt like a dream to finally see them perform live. They played all the hits, plenty of deep cuts, and sounded amazing. Glen’s voice was on point and the two backup singers were incredible. I hope they return soon. I’d gladly see them again.
This was a great show! Perfect way to deliver their songs with the backup singers and Glen Gregory’s voice sounds better than ever. Of course Martyn Ware is a musical genius in the electronic genre. Excellent cover songs mixed in with all of their classics. It was my first time at the House of Blues and I was really impressed by the venue, would definitely see another band there.
The concert was great! Our only issue was because of work and difficulty finding parking, we unfortunately got there late for the concert start time. Apparently not only was there no opening act, but the band started right on time. We hated missing any of the concert and wish someone would have known if there was an opening band, or maybe started a bit late like most acts do. Still, the concert was great, the band sounded amazing and we had a wonderful night of music!
Had a great time. Band sounded great and venue was intimate enough to make it an all around great concert. After 40 yrs of waiting to see the band I am so glad I got to go. It made my month and helped make my year.
I’m so glad I got to see Heaven 17 at The Belasco! It just took them 40 years to get here but they were amazing and the venue is great!
One of the 80's bands I never got to see and extremely happy with the show. Stage presence, sound, voice and vibe were on point. "Let Me Go" , "Temtation" and "Sunset Now" was fantastic.
Despite small crowd - gave an entertaining show including mostly the hits - highlight was ‘Temptation’. But also ‘Let me go’ and ‘Being boiled’ to boot. GG vocals supported well by two belters and who knew that MW sings. Awesome sound at best venue at the Shore.
In the early 80's, a copy of Heaven 17's THE LUXURY GAP wound up the hands of my then-band - and we played that sucker until the grooves literally wore out. Unlike the "straight" pop of the second-generation Human Leage, H17's dips into funk and soul and social criticism struck a major chord with us. And, until that night in Red Bank, we never thought we'd see Glenn and Martin perform in the USA. It wound up being, no lie, a Top 10 concert experience. In the intimate setting of the Count Basie Theater's brand new Vogel theater, Heaven 17 (augmented by second synth player Florence Sabeva and blue-eyed soul singers Kelly Barnes and Rachel Meadows) blasted through hits, deep tracks, and even some cheeky covers for the encore (Bowie's "Let's Dance" and the original Human League classic "Being Boiled"). The crowd may have been on the small side, but it was clear that EVERYONE was there for Heaven 17, and the band was clearly galvanized by the crowd's enthusiasm. Not one note was phoned in. Glenn, Martin, and partners rocked the joint, and every audience member went home with big, delirious grins on their faces. Good things really DO come to those who wait...
Being a Heaven 17 fan since the early 80’s, I finally got to see them perform live - and wow, it exceeded all expectations. Glenn Gregory’s vocals are superb - rich and deep and even better live than on record. Martyn Ware’s fingers were magic on the keyboard - and the banter between Martyn and Glenn, and the great many stories of the past, were truly a delight. Rachel and Kelly on “backing vocals” were divine (let’s face it - they were co leads - so fantastic). And Flo quietly in the back dancing across the keys and programming just made me smile. The set list was phenomenal - a treat with songs like “This is Mine” and “And That’s No Lie” - a nice dip of the toe in “newer” track “I’m Gonna Make You Fall in Love With Me” - souped up versions of “Geisha Boys and Temple Girls,” “Play to Win,” and “I’m Your Money” - classics like “Crushed by the Wheels of Industry, “We Live So Fast,” and a powerful “Temptation” (Kelly!!!) - plus a version of “Penthouse and Pavement” that will compel you to shake your thing. And the cherry on top - a Martyn/Glenn duet of “You’ve Lost That Loving Feeling.” Truly one the best live performances I have ever seen. The band camaraderie and interaction with the audience is sizzling. Do not miss a chance to see these electronic pioneers!!
