Written by Ahem

Superman's last encounter with pop music was the commercial bandwagon known as Giorgio Moroder and his manufactured electronica. Superman III also featured another staple of early 80s audio youth culture: Atari 2600 'Pacman' sound effects. Both of these remain landmarks of 80s pop culture.

Supergirl was to be far more focused on the teen/youth market than any other part of the 'Super' franchise. Composer Jerry Goldsmith, a firm supporter of electronica demanded the latest developments. Goldsmith approached Tony Clarke, elite UK music producer, renowned for his work with 'The Moody Blues', and during the 1960s he was as renowned as 'Beatles' producer George Martin. Clarke was at the forefront, developing Yamaha and Roland keyboards and synths for the UK music explosion, an explosion that had not captured the USA in the same way, and the UK was really the place to be as it was ahead of the greatest evolution of pop music. Clarke is credited with 'Supergirl's 'Special Sound Effects', as he created the synthesised sound that accompanied both Goldsmith's score and the overall sound design.

 The British music scene: Duran Duran, Culture Club, WHAM!, Spandau Ballet and the electric/electronica of Eurythmics were revolutionising pop music. Just as Supergirl was filmed entirely in Britian, it's music would derive from the same location. In terms of pop music however, the British influence of New Romantics was an exact reality in the USA at that period.

WEA records used 'Supergirl' as a way of introducing their new talent Howard Jones to the US market. Fresh, young, deeply emotional, vulnerable, sensitive, full of heart using innovative all synthesised industrial sounds, Howard Jones was only 28 years old, but at that point had been married for nearly ten years.

 

During that ten years he and his wife had run a butchers together, and she had seen him through a serious car accident that scarred his face. It was during this point that Jones was teaching piano, and following his injury he purchased a second hand industrial Roland keyboard and synthesiser. He took the instrument and began performing in clubs with his mime artist collaborator Jed, leading to a talentscout from WEA records signing him up.

 

The song 'What Is Love?' really celebrates the personal, internal trust of his relationship with his wife, and this dedication and level of commitment obviously influenced his religion, as in the 1990s he became a Buddhist with a cult following. It was during 'Supergirl's 1983 production that Jones released 'New Song' and 'What Is Love?', soon to be followed by his 1984 No.1 album 'The Human's Lib'. While 'Supergirl's reputation left Jones feeling admittedly embarrassed, he did go on to become a smash hit, peaking at No.1 in the US chart with 1985s 'No One Is To Blame', produced by Phil Collins. His extended version of 'What Is Love?' (Found on his debut album, 'Human's Lib') is still his most memorable, exciting work.

 

The true youth culture music really confirms 'Supergirl's place as the ultimate New Romantics Superhero, meaning that a follow up or remake of the film is out of the question. 'Supergirl' was caught up during a great change in pop music.

Special Thanks to http://www.howardjones.uk.com

 

 

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