Skip to main content

Eddie Amoo obituary


Eddie Amoo
Singer, song-writer with The Real Thing
Born May 4 1944; died February 23 2018

By rights, Eddie Amoo, who has died suddenly in Australia aged 73, should have had as high a profile as a singer and song-writer of socially conscious soul as his heroes Curtis Mayfield, Isaac Hayes and Marvin Gaye. If Amoo had come from frontline Harlem or Watts, both crucibles of the 1960s civil rights movement, it might have happened. Coming from the rough-house streets of Liverpool 8, or Toxteth as the city’s multi-racial inner-city neighbourhood built on the back of slavery became better known following the summer riots of 1981, things worked out differently.

This was despite Amoo and The Real Thing, the band formed by Amoo’s younger brother Chris, writing Children of the Ghetto, the centre-piece of the twelve-minute Liverpool 8 Medley. This three-part suite formed the climax of the band’s 1977 album, 4 from 8, and attempted to give voice to some of the conflicting tensions that existed on the Amoo brothers’ doorstep. As punk shook up the city’s musical youth elsewhere, Children of the Ghetto was a deceptively sweet-sounding slow-burning anthem that spoke of the local community holding onto their dignity and sense of pride in the face of the sort of adversity that would explode onto the streets four years later.

Up until that point, the Real Thing had been best known for their 1976 dance-floor friendly number 1 smash hit, You to Me Are Everything, and its follow-up, Can’t Get By Without You. Both songs were penned by Ken Gold and Michael Denne, and their authentic fusions of Philly soul and disco went on to become wedding party favourites. Given such user-friendly confections, no-one saw what followed coming.

Despite this, while another track from 4 from 8, Lightning Strikes Again, appeared on the soundtrack to the film Black Joy, Children of the Ghetto would go on to be covered by Courtney Pine, Philip Bailey of Earth Wind and Fire and Mary J Blige. As Amoo himself later made clear, at the time of its release, 4 from 8, packaged in a 3D gatefold sleeve featuring images of desolate-looking Liverpool streets and the city’s Anglican cathedral towering above an apocalyptic-looking wasteland, almost killed the band’s career.  

Eddie Amoo was born in Liverpool to a mixed race couple, Moya and her husband Robert, a seaman from Ghana. Amoo’s early musical influences came from a trip with his mother to Liverpool Empire to see Frankie Lymon and the Teenagers. With Lymon not much older than himself, he became a black role model for Amoo. After a narrow escape from borstal following some childish tomfoolery with a knife, with Joey Ankrah, he formed doo wop and R n B influenced vocal group, The Chants.

At local dance hall the Rialto, later destroyed during the riots, Amoo and Ankrah saw the Beatles, and were later invited to play with them at the Cavern club. An evocative photograph of the time shows the Beatles and the Chants posing together with local Labour MP Bessie Braddock. Brian Epstein took a brief interest in Amoo and Ankrah’s band before being distracted by his mop-topped charges. 

While the Beatles and Merseybeat conquered the world, the Chants signed to Pye Records, and were produced by Tony Hatch, although as with all of the black groups in Liverpool, crossover success eluded them. After thirteen years and several releases, the band split up. With his younger brother’s band having already won TV talent show Opportunity Knocks, Amoo joined the Real Thing during what turned out to be the band’s most commercially successful era. They toured with David Essex, later appearing with him as backing vocalists.

Beyond 4 from 8, a further hit came with the Star Wars inspired Can You Feel the Force?, and the Real Thing went on to release updated remixes of their best-known numbers. Amoo and the Real Thing caused controversy in the 1980s, when, with Essex, they played in South Africa, breaching the cultural boycott in protest at apartheid. Having initially relished the prospect of singing Children of the Ghetto there, they were instructed by promoters to remove it from their set. In an interview, Amoo regretted the experience, describing the trip as “the ugliest two weeks of my life.”

Amoo, his childhood sweetheart Sylvia, who he married in 1964, and the couple’s four daughters lived close to where he was brought up. Amoo invested in property, and, while this provided security, music remained his passion. With a live album and DVD of the Real Thing released in 2013, and a documentary film almost finished, Amoo looks set for belated recognition as a key influence on black British music of the last fifty years.

Eddie Amoo is survived by his wife Sylvia and his daughters Dionne, Sara, Michaela and Marlene. Amoo’s brother Chris will continue with the Real Thing.

The Herald, February 28th 2018

ends





Comments

Popular posts from this blog

Losing Touch With My Mind - Psychedelia in Britain 1986-1990

DISC 1 1. THE STONE ROSES   -  Don’t Stop 2. SPACEMEN 3   -  Losing Touch With My Mind (Demo) 3. THE MODERN ART   -  Mind Train 4. 14 ICED BEARS   -  Mother Sleep 5. RED CHAIR FADEAWAY  -  Myra 6. BIFF BANG POW!   -  Five Minutes In The Life Of Greenwood Goulding 7. THE STAIRS  -  I Remember A Day 8. THE PRISONERS  -  In From The Cold 9. THE TELESCOPES   -  Everso 10. THE SEERS   -  Psych Out 11. MAGIC MUSHROOM BAND  -  You Can Be My L-S-D 12. THE HONEY SMUGGLERS  - Smokey Ice-Cream 13. THE MOONFLOWERS  -  We Dig Your Earth 14. THE SUGAR BATTLE   -  Colliding Minds 15. GOL GAPPAS   -  Albert Parker 16. PAUL ROLAND  -  In The Opium Den 17. THE THANES  -  Days Go Slowly By 18. THEE HYPNOTICS   -  Justice In Freedom (12" Version) 1. THE STONE ROSES    Don’t Stop ( Silvertone   ORE   1989) The trip didn’t quite start here for what sounds like Waterfall played backwards on The Stone Roses’ era-defining eponymous debut album, but it sounds

Edinburgh Rocks – The Capital's Music Scene in the 1950s and Early 1960s

Edinburgh has always been a vintage city. Yet, for youngsters growing up in the shadow of World War Two as well as a pervading air of tight-lipped Calvinism, they were dreich times indeed. The founding of the Edinburgh International Festival in 1947 and the subsequent Fringe it spawned may have livened up the city for a couple of weeks in August as long as you were fans of theatre, opera and classical music, but the pubs still shut early, and on Sundays weren't open at all. But Edinburgh too has always had a flipside beyond such official channels, and, in a twitch-hipped expression of the sort of cultural duality Robert Louis Stevenson recognised in his novel, Dr Jekyll and Mr Hyde, a vibrant dance-hall scene grew up across the city. Audiences flocked to emporiums such as the Cavendish in Tollcross, the Eldorado in Leith, The Plaza in Morningside and, most glamorous of all due to its revolving stage, the Palais in Fountainbridge. Here the likes of Joe Loss and Ted Heath broug

Carla Lane – The Liver Birds, Mersey Beat and Counter Cultural Performance Poetry

Last week's sad passing of TV sit-com writer Carla Lane aged 87 marks another nail in the coffin of what many regard as a golden era of TV comedy. It was an era rooted in overly-bright living room sets where everyday plays for today were acted out in front of a live audience in a way that happens differently today. If Lane had been starting out now, chances are that the middlebrow melancholy of Butterflies, in which over four series between 1978 and 1983, Wendy Craig's suburban housewife Ria flirted with the idea of committing adultery with successful businessman Leonard, would have been filmed without a laughter track and billed as a dramady. Lane's finest half-hour highlighted a confused, quietly desperate and utterly British response to the new freedoms afforded women over the previous decade as they trickled down the class system in the most genteel of ways. This may have been drawn from Lane's own not-quite free-spirited quest for adventure as she moved through h