GUSWORLD
Single Of The Week 09/03/99

Single Of The Week is where I review a single I'm particularly enamoured of at the moment. It might be a brand spanking new release, or a classic from decades past that I just feel like going on about.

Love Lies Lost
Helen Terry
VS768

Everyone had great expectations for Helen Terry's solo career in 1984. The white soul warbler enjoyed great prominence as Culture Club's backing singer, her vocals being one of their most distinctive features during their commercial zenith with the Colour By Numbers album (check out 'Church Of The Poison Mind' or 'It's A Miracle' if you don't believe me). To make asssurance doubly sure, her first solo outing, 'Love Lies Lost', played up the CC connection for all it was worth. The track was written by Terry, Boy George and Roy Hay, and was produced by Steve Levine, who'd helmed every Club album up to that point.

Although it was released with great fanfare, 'Love Lies Lost' -- a catchy number in the 'I'll Tumble 4 Ya' mode -- never managed to become a major chart hit, although it lurked around the lower reaches of the Australian Top 40 for quite some time. Terry's next solo excursion, 'Now You're Mine', came from the soundtrack to Electric Dreams, but when that flick unaccountably flopped, things went a bit quiet. By that stage, Terry had left CC (who were themselves in a bit of a fallow period), and her sole album -- I think it was called Blue Notes -- disappeared without trace.

Since then, her activities have been harder to trace, although she gets frequent mentions in George's autobiography, Take It Like A Man and made an appearance on an Andrew Lloyd-Webber/Tim Rice tribute album performing 'Take That Look Off Your Face'. Early reports from last year's Culture Club reunion tour said she had rejoined the group, but she seems conspicuously absent from most of their recent promotional activities.

Of course, Terry is not the only backing singer from this period who failed to launch a sustainable career on her own; just think of Dee C Lee or Siedah Garrett. Still, given the power of her voice and the commercial appeal of this track, it's a wonder and a pity that it didn't do better.


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