Peter Godwin and the story of why some artists never seem to break into the mainstream.
The Twelve Inch 118 : "Images Of Heaven" (Peter Godwin)
Have you ever wondered why some artists, despite having all the talent and creating memorable hits, never seem to break into the mainstream? One such intriguing case is Peter Godwin, whose song "Images of Heaven" remains a quintessential piece of the early 80s synth-pop era. This week, we dive into the enigmatic career of Peter Godwin and his role in the emerging synth-pop genre. Why did Peter Godwin’s career not take off after a promising start? Trying to answer that question is situating a roadmap for many an artist that never quite made it after a promising first glimpse.
Buckle up as this story is going to involve the who’s who of early (synth)pop in England and beyond. Let’s start with…
The Beginnings
Peter Godwin emerged in the early 1980s, a period ripe with the burgeoning sounds of post-punk. However, Godwin's early music career began much earlier with the band Metro in the Seventies. In the original lineup, we find Duncan Browne alongside Peter Godwin. Browne would leave Metro after one album and become a one-hit wonder shortly after. Another notable name here is Thomas Dolby, who applied for the band but was rejected by Peter Godwin. Dolby would later find success as a solo artist.
Metro's best-known song, "Criminal World," never became a hit in the UK due to its explicit lyrics leading to a BBC ban. However, David Bowie loved the track and recorded his version on his "Let's Dance" album, produced by Nile Rodgers—a connection that brought Godwin into contact with the legendary producer. Another interesting connection is with Stewart Copeland, as Metro briefly changed its name to Public Zone in 1977, releasing one single with Copeland on drums before he chose to stay with The Police.
The Blitz : The Birthplace Of Many Promising Eighties Music Careers
The Blitz was London’s most famous nightclub at the end of the seventies. It started as a “Bowie Night” party, every Tuesday in Billy’s Club, but moved to The Blitz in 1979, becoming hugely influential. Steve Strange (Visage) manned the door, deciding who could enter—famously denying Mick Jagger in jeans. Boy George handled the cloakroom, and Rusty Egan was the DJ.
Peter Godwin frequented the club and later recalled in an interview: Many friends of mine hung out there: Billy Idol, the Kemp brothers and Tony Hadley, Richard Burgess from Landscape, Midge Ure, Marco Pirroni from Adam and The Ants, some of Siouxsie And The Banshees, Sade, Marilyn, Martin Degville who later formed Sigue Sigue Sputnik, Pete Burns from Dead Or Alive… (read the full list of who was a “Blitz Kid”on the Steve Strange collective site). An unexpected name on this list is Hans Zimmer, who started as a Blitz kid and was good friends with Peter Godwin.
Peter explains : A lot of people I collaborated with in the 80s I either first met at The Blitz or I was introduced to by someone I met at The Blitz.
"Images of Heaven": A Synth-Pop Gem
Part of the reason why The Blitz was so influential was the music Rusty Egan played : a mix of (glam)rock, (electro)disco & New Wave. In the early 1980s, the music landscape was undergoing a significant transformation. Synthesizers were becoming more accessible, leading to the birth of a the New Romantics and Synth-pop. This genre blended the raw energy of punk with the futuristic sounds of electronic music, giving rise to bands like Spandau Ballet, Depeche Mode, Soft Cell, and Duran Duran. Amidst this vibrant scene, Peter Godwin emerged with his unique style. He would start his career with “Torchsongs” (A Midge Ure production) and “Emotional Disguise” but it was the third single that would show most promise.
Released in 1982, "Images of Heaven" is a quintessential song that captures the essence of early 80s synth-pop. The song features a pulsating electronic beat, haunting lyrics, and Godwin's distinct vocal delivery. It stood out in the dance clubs and radio stations, becoming an underground hit and a staple in the playlists of DJs.
"Images of Heaven" was produced by Georg Kajanus, a member of the band Sailor. His ability to blend melodic elements with electronic sounds was crucial in shaping the track. Kajanus's production brought a polished, sophisticated edge to Godwin's track, making it a standout among other synth-pop releases of the time.
The Production Story
The recording of "Images of Heaven" is a fascinating tale of experimentation and innovation. Godwin and Kajanus utilized cutting-edge synthesizers, including the Roland Jupiter-8 and the LinnDrum drum machine, to create the song's distinctive sound. These instruments were at the forefront of electronic music production in the early 80s, and their use in "Images of Heaven" helped to define the track's futuristic vibe.
In an interview, Godwin explained : I was never married to synths. They were just full of exciting new sounds and I was always enthusiastic about new sounds and atmospheres and how they could help deliver the emotion and story of a song.
Why Didn't Peter Godwin’s Career Take Off?
But now we come to the most important question of this week’s blog : Why did his career not take off ? He had a record deal with a major label (Polydor), clearly knew how to write a good song and knew more people than most. In a fun exercise I’ve asked Chat GPT to give me 7 reasons why an eighties artist would break through. Let’s see how well Peter Godwin scores on all of them.
Reasons for Breakthrough (or not)
1. Talent and Unique Sound:
Clearly present. Peter Godwin has a distinctive voice and, like I said, knows how to craft a tune.
2. Hit Singles:
Aah, here it already becomes problematic. “Images Of Heaven” wasn’t a hit. Oddly enough he came closest to entering the charts in the US. The single reached 105 in the bubbling under. He puts the blame on Polydor for not promoting it in the US. And although he did get some airplay on Radio 1 in the UK, it wasn’t enough to make the charts in his home country either. Like Thomas Dolby would sing later :
3. MTV and Music Videos:
A mixed one. He got some rotation but never of the “heavy” kind. I think mostly due to the low quality of both videos. The positive thing is that they did not cost more than 800 USD. The negative thing is: you kinda notice it (head on over to the “Further Reading” section to see for yourself). We are, after all, talking of the period of the “second British Invasion” and the videos of (for instance) Duran Duran.
4. Record Label Support:
A mixed one also. Polydor did release a subsequent album in 1983 but when Peter proposed to work with Giorgio Moroder, Alex Sadkin or Jam & Lewis for album n°2, Polydor said No
5. Live Performances and Tours:
Again a mixed one : Peter did some live appearances but wasn’t really of the “If they look for me, I’m on stage” variety. But hey, that didn’t stop Kraftwerk.
6. Media Coverage:
A combination with n°2 (and n°4). Not good
7. Networking and Industry Connections:
His strongest point (hence my exhaustive list of names 😁), but somehow he never got to make the right connection or have the ideal timing.
So after “Images Of Heaven” Peter Godwin would record his first (and only) album “Correspondence” with another clubhit “Baby’s In The Mountains” (a number 4 in the US dance charts), but, again, no breakthrough to the pop charts. Polydor lost faith and other labels weren’t interested.
The Connection with Belgium and Radio Cité
One of the lesser-known aspects of Peter Godwin's career is his connection with Belgium, specifically Radio Cité. Belgium, during the early 80s, was a hotbed for new wave and synth-pop music. Radio Cité, a popular station in Brussels, played a crucial role in promoting these genres. Radio Cité was the brainchild of Marc Moulin, one of the founding members of Telex.
"Images of Heaven" received significant airplay on Radio Cité, helping it gain popularity in Belgium (and to become one of my favorites). The station's DJs were known for their eclectic taste and willingness to support emerging artists. Peter Godwin also collaborated with Dan Lacksman (another Telex member) on the production of a German synth-pop act : Camouflage :
And he and George Kajanus would also produce severalBelgian artists. I’m sure you’ll recognize their style in this one
Conclusion: The Underrated Genius of Peter Godwin
Peter Godwin’s "Images of Heaven" is a testament to the rich, complex world of early 80s synth-pop. While his career may not have reached the heights of some of his peers, his music continues to resonate with those who appreciate the artistry and emotion behind the synthesizers.
In the end, Peter Godwin's story is one of unfulfilled potential, but also one of enduring legacy. "Images of Heaven" remains a shining example of what synth-pop can achieve—blending melody, technology, and emotion into a timeless piece of music history.
For those who wish to explore more about the era and enjoy a curated mix starting with "Images of Heaven," check out this week's Mixcloud beatmix. Dive into the world of synth-pop, and perhaps, rediscover the magic that Peter Godwin brought to the scene.
By subscribing to "The Twelve Inch," you'll gain access to exclusive content. The first of which is a longer piece on Radio Cité, or how a radio station played not only a distinctive role in introducing many new artists & songs to a whole generation but also brought a very divided nation together in more ways than one. It’s the first in a series of longer reads. It’s set to be released somewhere next week.
Further reading (or should I say watching)
There are a number of interesting video’s :
Metro appearing in the German TV Music Program where he met Midge Ure for the first time (with an introduction of the band in German)
The “a little less clean” video (and “a little less well preserved”)
Peter Godwin live (on tape, I suspect) in 1984, apparently it was a guest appearance on a concert of Ronny (with Hans Zimmer on keyboards)
His FB page if you want to keep yourself updated on what Peter is doing currently
So You Wanna Hear More ?
I thought you would !
It’s fun to write about music but let’s be honest. Music is made to listen to.
Every week, together with this newsletter, I release a 1 hour beatmix on Mixcloud. I start with the discussed twelve inch and follow up with 10/15 songs from the same timeframe/genre. The ideal soundtrack for…. Well whatever you like to do when you listen to dance music.
Go To The Mixcloud Mix Of The Week
There is a Facebook & Instagram page. You can follow The Twelve Inch” to keep informed of what is happening with the blog, the mixes..etc..
So what’s in this week’s mix ?
I start with the Razormaid remix of “Images Of Heaven”. The interesting thing about this remix is that it combines the regular twelve inch version with its B-side “Spoken Images”. Peter Godwin & Polydor loved the result as well as it is one of the few Razormaid remixes that got an official release.
The second and third tracks in this week’s mix are also prime examples of early eighties synth-pop : “Flash In The Night” by Secret Service and “Messages” by OMD
I’ve included a rare German remix of “The Anvil” (Der Amboss) by Visage. Fun because of the peculiar accent of Steve Strange (a story we’ll surely tell in one of the future episodes) and a lesser known Peter Baumann (of Tangerine Dream) synth-pop remake of a Frank Sinatra classic (also in an English/German mix)
Enjoy !
What I listened to this week :
Journeys To Glory (Spandau Ballet)
While I was researching this week’s episode and re-read many of the great stories about The Blitz and the New Romantics, I could think of just one album as the perfect soundtrack of this movement : "Journeys to Glory", the debut studio album by Spandau Ballet,
"Journeys to Glory" captures the essence of the New Romantic era with its stylish and sophisticated sound. The album is characterized by its sleek production, innovative use of synthesizers, and a blend of funk and electronic influences. Spandau Ballet's approach on this album is fresh and energetic, reflecting the vibrant club scene of the time.
Songs like “To Cut A Long Story Short”, '“The Freeze” or “Reformation” are the perfect link between the late 70s disco and the synth-pop eighties. "Journeys to Glory" helped establish Spandau Ballet as key players in the New Romantic movement. If you want a perfect (re)introduction to the genre, this is one of the best ways to go.
Next week, we’ll cross the Atlantic and tell the story of an artist from Quebec who was one of the most important signings of Warner’s short-lived dance label RFC records.