Since they emerged from the vibrant independent scene in the early Eighties, Liverpool's Dead Or Alive have suffered a bumpy critical ride, especially in their native Britain. After some commercial success in the middle of the decade, this dynamic dance outfit has been received with indifference at home, though Dead Or Alive remain a major musical force abroad. Their outrageous singer, Pete Burns, may no longer be courted by the British tabloids, but in locations like Japan he's still very much a star.
Burns was born in August 1959 in Liverpool. His parents were German which, he says, gave him a sense of difference at an early age. "Coming from a family of Germans," he explained "and being born and brought up in England, I felt this thing about being a bit apart. So I set myself apart visually." By his late teens, he'd begun to circulate among other Liverpool luminaries who were about to make their mark. One of his first jobs was at Probe Records, whose clientele included Ian McCulloch and Julian Cope; and Pete Wylie - the mainstay of the Mighty Wahl - worked with Burns behind the counter.

SUPPORT

It was with Wylie and Cope that Pete made his first ever public performance. The trio called themselves the Mystery Girls (courtesy of a New York Dolls song), but their support slot for Sham 69 at Liverpool's famous Eric's Club on the 4th November 1977 was their only live appearance. Included in their set, which consisted mainly of cover versions, was Julian Cope's "Bouncing Babies", which later became better-known as the second single by Cope's next outfit, the Teardrop Explodes.
The subsequent demise of the Mystery Girls sent Burns into premature retirement for the next year. He returned in February 1979 with Nightmares In Wax, whom he described as pure rubbish - one-note songs for ten minutes". Nightmares In Wax's sole aim was to be the worst group in history. "We started the group because we had a stolen keyboard and thought we had to do something with it", Burns recalls. Despite its continually changing line-up, the group was asked by Pete Fullwell to record a single, "Black Leather" - rather suspect homage to leather-clad motorcyclists - for his Inevitable label.
Unfortunately, it sold only moderately, and Nightmares In Wax began to disintegrate as its members left to join other budding Liverpool bands. Two limited 12" formats of the song later appeared on the KY label in 1983 and 1985, but you can expect to pay up to £20 for any of the three "Black Leather" releases.
Dead Or Alive arose from the ashes of Nightmares In Wax in May 1980, and when their "I'm Falling" single debuted on Inevitable in a 7" fold-out sleeve, it sounded unlike anything else on the Liverpool scene. (Both sides of the single can also be found on the 1984 Inevitable compilation, "Small Hits And Near Misses".) Soon afterwards the new band made its TV debut, performing the B-side, "Flowers", on Granada's "Celebration" programme. Pete's striking visual image caused quite a stir, though he insisted, "I never, never did want to shock. If I simply wanted to shock people it would be easier to just wee on somebody in the front row! ... I'm not making a statement by looking the way I do. I just really do like to look and see what I want to see ... If I wanted to look like a table, by some way I'd look like a table."

BOTTOM

For all that, the sight of Pete Burns walking down the High Street is something you probably wouldn't forget. By constantly changing his appearance - adapting his hairstyle and eye-patches, wearing thigh-length PVC boots and tattooing his bottom (!) - the shock effect has been consistently maintained. Although Burns would be the last to admit to playing lead in a "fashion band", he is by nature IL trend-setter, always well ahead of the pack when it comes to experimenting with clothes and image.
Despite the media interest and a showing in the independent chart, Dead Or Alive broke up immediately after the single appeared. Burns held onto the name, and by the next year he was presenting a new line-up on a follow-up, "Number Eleven". Issued on Inevitable, this reached the Indie Top 10 and is currently valued at around £12.
The band then set up its own record label, Black Eyes (distributed by Rough Trade), and released the "It's Been Hours Now" 12" EP in February 1982. Wayne Hussey (a veteran of the Liverpool scene who later went on to found the Mission) played guitar alongside Mike Percy on bass. This was followed by "The Stranger" in June, which became the third single in a row to reach the Indie Top 10. As a result, Dead Or Alive were signed to CBS/ Epic in August 1982, at a time when the label was looking to expand its U.K. roster.
The new deal was sealed with the release of the "Misty Circles" single in May 1983. Look out for the 12" format, which (like the 7") came with a centre picture label, plus a dub version on the B-side and a bonus track, the previously unreleased "Selfish Side". Current Mint values are around £12 for the 7" and £25 for the 12" (which is also available as a white label promo). A 7" picture disc is rumoured to exist but this has never been confirmed. This heavy dance single fared well in the clubs, but did little more than flirt with the lower regions of the national chart. However, with appearances on TV programmes like "Razzamatazz", the band's (and Pete's) profile was lifted to new heights. He seemed to polarise opinions: "I don't think people like the look of me," he said. "I annoy people for some reason. I just walk down the street and I get insulted. (But) I'd rather you liked us or hated our guts. Indifference is the worst thing you can meet."
By October 1983, Dead Or Alive's debut album, "Sophisticated Boom Boom", was ready for release after more than a year recording under the watchful eye of Fashion producer Zeus B Held. Bums explained: "We played CBS the album and as soon as they heard "That's The Way (I Like It)" they said that's it, that's the hit, and they wouldn't budge on it." However, the record company were persuaded to let two of Dead Or Alive's own compositions come out first. "What I Want" was released in August 1983, the 7" format initially coming with the infamous "floppy hat! cover (which was quickly withdrawn), while limited copies of the 12" Dance Mix included a free poster. Both were backed with a remixed (and more danceable) version of the Black Eyes' hit, "The Stranger". Despite the multiple formats, "What I Want" failed to chart, creating some almost instant collectable The original "floppy hat" 7" is currently worth £35, while you'll have to pay around L20 for the later issue. The 12" poster sleeve edition brings in as much as £25, while there are also white label 12" promos in existence.

PEAKED

"What I Want" was followed in January 1984 by "I'd Do Anything", which also appeared as a 12" "Megamix" and a special limited 10" featuring "What I Want", "Misty Circles" and "Anything (Dub)". This disc peaked at No. 66 in what was then called the "network chart", though in truth neither single had much promotional support. Nevertheless, Pete later admitted that the band hardly broke their backs to help Epic's investment pay off.
With the addition of Tim Lever and the departure of Wayne Hussey, Dead Or Alive now acquired a measure of stability, and the line-up of Burns, Steve Coy, Mike Percy and Tim Lever remained intact until 1989. Success no doubt played its part in this, and things really began to look up when "That's The Way (I Like It)" was eventually released in March 1984. A month later, it had nudged its way into the chart, where it peaked at No. 22 and enjoyed a nine-week run. The most collectable format is a 7" picture disc which now sells for around a tenner in Mint condition. Pete wasn't entirely happy with the manner of the group's success, commenting: "Sadly, I think we'll have a hit simply because it's a cover version."
The press now came into their own as far as Dead Or Alive were concerned, and with Pete's regular supply of apparently sensational remarks married to Fleet Street's desire to print them, unlimited controversy was available. All it took were a few choice barbs in the direction of Boy George, and a major slanging match was started. "If it wasn't for me there wouldn't be a Boy George. He's been on my heels for ages," was the kind of comment pounced upon by the tabloids, about whom Pete complained: "Ill never get used to having some dickhead insult my intelligence or infringe on my privacy. My opinions have too often been exaggerated."
The much-delayed "Sophisticated Boom Boom" album finally appeared in May 1984, taking its title from an old Shangri-La's hit. At the same time, the band set out on a short U.K. tour and a fact-finding mission to America. But the under-rated album proved difficult to break, more because of the way the band looked than anything else, and it subsequently peaked at No. 29, staying in the charts for just three weeks.
Back in Britain, Dead Or Alive failed to capitalise upon the success of "That's The Way" when they released a remixed version of "What I Want" (minus Wayne Hussey) in June, which failed to chart. A limited 7" poster sleeve edition is now worth around £10

YOUTHQUAKE

The late slimmer was spent recording a second album, soon to be titled "Youthquake". Its first single, "You Spin Me Round (Like A Record)", was issued in November 1984. After hanging around in the charts for two-and-a-half months, it suddenly rocketed to the No. 1 position. The song also found success in America. Interestingly enough, its producers (who worked on the entire "Youthquake" album) were the then little-known Stock, Aitken and Waterman - before they went on to strangle the U.K. music scene. Burns later protested that "this country is such a negative place to be. Young bands don't stand a chance of success without radio support. The state of the Radio 1 dictatorship is a tragedy. To have to depend on a slot on "Top Of The Pops" for TV exposure is pathetic."
From this point on, multiple format releases became the rule. Collectable editions of "You Spin Me Round" include a 7" gatefold double-pack boasting "The Mighty Mix" part one, and the 12" "Performance" remix which featured "The Mighty Mix" part two. You can now expect to pay around £15 apiece for these. A shrink-wrapped 12" double-pack (including "What I Want") was another limited release and is now worth about £20. The single stayed at No. 1 for two weeks and remained in the chart for a staggering 23 weeks.
Seven months before the release of "You Spin Me Round", in February 1984, parts one and two of "The Mighty Mix" appeared on a 12" white label promo, which has become one of the most sought-after Dead Or Alive releases, fetching up to £60. Also worth seeking out is a 12" white label promo (TA 4861 82), which features the "Murder Mix".
Hot on the trail of the hit came "Lover Come Back To Me" in April 1985, which peaked at No. 11 (No. 9 in the "network" chart). Special formats to look out for include a fan-shaped 7" picture disc with display plinth, valued at around a tenner, and a second extended 12" remixed by Zeus B Held, in a special fold-out poster sleeve, which currently fetches £15. Some copies of the 7" appeared in a different sleeve, while 12" promos featuring "Lover" on both sides invited collectors to seek out an exclusive catalogue number (TX 6086).
"Youthquake", released in May, peaked at No. 9 and remained in the album chart for 15 weeks. A special gatefold sleeve edition was followed a few months later by its appearance on CD. This new format conformed with the cassette by including 12" mixes of the two hit singles. The band promoted the record with a short but very successful UK tour in June, and the "In Too Deep" single followed hot on its heels. Among the various collectable formats this time were a gatefold 7", and a second 12" single which sported a unique instrumental on the B-side, an alternative sleeve and a free poster. This tasty item now sells for £10, and the various formats helped give the group another Top 20 hit.

BOLSTERED

The fourth and final single from "Youthquake" was "My Heart Goes Bang (Get Me To The Doctor)", which peaked at No. 23. In addition
to the standard 7" and 12", the single was bolstered by the appearance of yet more limited editions. Among these was a 7" gatefold double-pack, and the "American WipeOut Mix" remix 12", which again featured an unissued instrumental on the flip. A numbered white label promo edition was also pressed, and copies currently sell for around £15.
1985 proved tremendously successful for Dead Or Alive - they had four hit singles (including a No. 1) from a Top Ten album. Unfortunately, this success was completely overlooked at the British Rock and Pop Awards that year, confirming that Dead Or Alive had arrived where they were with little help from inside the music industry. "There's no shit on our teeth", Pete beamed at the end of 1985. However, the band had uprooted to London by the end of the year, not because Burns wanted to, but because of the bad feeling which had arisen in Liverpool in the wake of the international success of "You Spin Me Round".
It wasn't until September 1986 and the release of "Brand New Lover" that Dead Or Alive delivered more new product. The single appeared on three 7" and two 12" formats, including a 7" picture disc and a 12" remix in a poster sleeve. But despite the fact that it was every bit as good as "You Spin Me Round", it narrowly missed a Top 30 placing, with poor distribution harming potential sales. Collectors should keep an eye out for white label 12" promos which were circulated on the club scene.
The band scheduled their next release, "Something In My House", for Halloween, but trouble with the record company, who didn't want to issue the song as a single, delayed the release until the following January. Their negative attitude was proved to be unjustified when the single reached No. 12. Among the multiple formats - a 7" gatefold pop-up sleeve, a 7" double-pack shrink-wrapped with "Brand New Lover", and two 12" editions - came the "Clean And Dirty" 12" white label promo. This limited pressing of 250 contained a "Naughty XXX" mix which included some rather spicy sampling from "The Exorcist" soundtrack. Never available commercially, this promo ranks among Dead Or Alive's rarest releases, and has been known to sell for 2,100 or more!
The Gothic, black-eyed image portrayed in the video and promotional material for the single was taken one step further with the release of their third album, "Mad, Bad And Dangerous To Know". It was now 19 months since the release of "Youthquake" and Dead Or Alive were becoming increasingly anonymous in this country because of their unwillingness to talk to journalists (including the music press). In fact, when the album appeared in February 1987, no review copies were sent out at all! Unsurprisingly, it peaked at No. 27 and enjoyed only a four-week chart stint. Meanwhile, in the States, and more especially Japan, Dead Or Alive were still charting with increasing regularity and building up a massive following.
March 1987 saw the release of "Hooked On Love", a considerably better-crafted song and one which was less likely to find its way from the dance-floors into the pop charts. Problems arose again when the record company baulked at the 12" extended version, which retained a certain Gothic overtone, and its sleeve. "Hooked On Love" could climb no higher than No. 69 (though the network chart placed it at No. 38), and its variety of different formats are slightly rarer than those for the earlier singles, with the white label 12" promo being particularly collectable. In fairness, the record received only a fraction of the promotion "Something In My House" had enjoyed, and even the fact that "Spin Me Round (live)" and the "US Wipe Out Mix Part 2" of "Something In My House" (on the 12") were included on the B-side didn't seem to help.

STUNNING

Not surprisingly, "I'II Save You All My Kisses", the fourth and final single from "Mad, Bad And Dangerous To Know", made no chart showing at all. The 7" sleeve depicted a shockingly pale Pete with stunning blue eyes (contact lenses!), holding over his mouth a belt buckle with "SEX" written on it. Fearing this would offend good taste, the record company masked it with an unremovable "KISS" sticker. All this lent credibility to Pete's claim that he was an "antagonist by nature. I like to annoy people - it's something I've done since I could open my mouth." The most collectable edition of "I'll Save You All My Kisses" is a second remix 12" featuring "The Long Wet Sloppy Kiss Mix", with "Whirlpool" and "Nowhere To Nowhere" (part of the distant "It's Been Hours Now" EP) on the B-side. This was withdrawn when the single failed to make any impression on the chart, and sells for around £10.
It was almost a year before Dead Or Alive returned to the U.K. charts. But the band weren't idle during that time: instead, they'd been successfully touring America and Japan. Sell-out stadium concerts - including the MegaDisco In Dream shows in front of 45,000 people, with Kylie Minogue and Sinitta supporting - were commonplace.
When the self-produced "Turn Around And Count 2 Ten" single appeared in August 1988, the secretive, near-paranoiac character from the days of "Mad, Bad And Dangerous To Know" had given way to a revitalised Pete Burns, with a fresh view on health, fitness and life. "Two or three years ago," he said, "I suddenly realised that being as healthy as possible is probably the biggest high you can get." Sales for the single were less healthy, however, and it registered just one week in the UK charts at No. 70. But in Japan, it reached No. 1 and enjoyed a chart run of some 20 weeks.
Again, collectors will want the 12" promos of the standard BURNST4 issue, although "Turn Around" was most notable for the limited 5" picture CD edition, which included a three-minute "instru-MENTAL" mix which wasn't available on any other format. There were also two 12" releases, the second, the Pearl and Dean "I Had A Disco Dream" Mix, being withdrawn shortly after release and currently valued at £20. A limited edition 12" white label promo of the "Pearl And Dean I Love BPM" Mix, which appeared in a special stickered sleeve, comes somewhat cheaper at   £12. It's also worth noting that some of the standard 7" pressings mixed British sleeves with Dutch vinyl.
It was another 11 months before "Come Home With Me Baby" appeared in July 1989, by which time it was already No. 1 in Japan. It was greeted with great reviews but was effectively ignored by Radio 1 (the "dictator") because of its rather uncompromising attitude to one-night stands at the height of AIDS hysteria. Lyrics like "Come home with me baby, ooh you're just so lucky, I've been looking for somebody. Guess What? You've got the body I want!" were out of line with the prevailing climate of puritanism. The video, featuring Pete with several male dancers, also got the thumbs down from the television companies. With just four formats -the standard 7", a CD, and two 12"s - the single stalled at No. 67.
The following month saw the release of the fourth Dead Or Alive album, "Nude", by which time Tim Lever and Mike Percy had departed. It had become increasingly apparent that Pete and Steve Coy could manage almost everything themselves - composing, producing, mixing and packaging. The album immediately ran in to trouble because of the "nude" shot of Pete. "I don't actually show off my anatomy," he explained, "Im actually wearing a T-shirt with a naked man on the front, and the record company decided they didn't like it because you could see his thing. So now there's a censored sticker over the offending part." On the content of the album itself, Pete reflected: "I'm totally satisfied with this one. Bands should learn to stand on their own two feet and produce themselves, to get on with what they really want to do."

NUDE

Since the failure of "Nude" in Britain, Dead Or Alive have concentrated their efforts abroad, particularly in Japan, where they've released three very successful albums and a handful of equally well-received singles. Among the most important Japanese releases are a limited CD edition of "Sophisticated Boom Boom" with an extra track, and very rare picture discs of "Youthquake" and "Mad, Bad And Dangerous To Know". These sell for around 240 apiece, though scarcity ensures that these values will continue to rise. Important Japanese single formats include a gatefold pop-up sleeve for "You Spin Me Round", a one-sided "Brand New Lover" 7", and the unique coupling of "Son Of A Gun" and "Come Inside".
It's also well worth hunting down the "Rip It Up" hits collection, which appeared in Japan in October 1987. This contains the special mixes of the eight singles from "Youthquake" and "Mad, Bad And Dangerous To Know* and is a continuous play album remixed by the band. Some vinyl copies appeared in a green "Warholesque" cover, and these sell for around 920. "Rip It Up" also appeared in America but it was by-passed in the UK. Following a massively successful tour of Japan at the end of 1987, a very rare video was released capturing the highlights of the live show, titled "Rip It Up - Live".
Although "Nude" appeared in Britain in August 1989, it had been released in Japan as early as December 1988. The original Japanese edition came with a different cover, while the CD boasted three extra tracks and now sells for £20. Three singles from this album, "Turn Around And Count 2 Ten" (which also appeared on a 3" CD mini-album), "Come Home With Me Baby" and "Baby Don't Say Goodbye", all went to No. 1. Ten months later "Nude Remade, Remodelled" - a seven-track remix album -appeared on Japanese-only CD. It is still available for around £22. Around this time, in October 1989, Dead Or Alive embarked on another highly successful MegaDisco In Dream tour, again with Kylie and Sinitta as support.

IMPORT

December 1990 saw the release of the "Fan The Flame Part One" album in Japan. As yet, there are no indications as to whether it will appear in the UK but it's currently available on import for around 220. Two singles "Your Sweetness Is Your Weakness" and "Gone 2 Long" - have already been released on 3" CD and dealers usually import them at around the £10 mark. The latter includes live recordings from one of the "Fan The Flame" concerts at Nagoya, Japan on 29th November 1990, and finds Pete Burns singing "balladtype" versions of some of Dead Or Alive's songs!
Interestingly, due to the virtual demise of the vinyl format in Japan, promos for "Your Sweetness Is Your Weakness" were actually cut in Britain and then distributed to top Japanese disc jockeys. Understandably, these promos are already very collectable.
Unfortunately, Dead Or Alive's latest single, "Unhappy Birthday", which was released last September, only surfaced in Japan. But with Pete Burns now in control of every aspect of the Dead Or Alive persona he's worked so hard to create and develop, it probably only needs a change of climate in the British music business for Dead Or Alive to start "spinning" again in their home territory.

(Record Collector, issue 150, February 1992)