They Don't Know

When Tracey Ullman was a British Pop Star

With this post, I have reached my 100th Musical Trigger, an achievement I am proud of and not surprised by. With music and lyrics being such a massive part of who I am and have been throughout the years, there is no doubt that I could continue with hundreds more. To those who read these entries, being introduced to a sound for the first time or holding their personal meaning to what is on offer is the point of this celebration of art, creativity, and sound. By connecting the triggers to my life, I have undoubtedly illustrated my key areas, from introductions and curiosities in the 1960s to the roots of my growth in the 1970s to my heyday in the 1980s. There are spatterings of when I finally became an adult in the 1990s, and as time goes on, the current century will add its pieces to the mix as well. My favorite period was likely 1978-1988, with the most influential years of my life, perhaps a peak in my immersion being 1980-1985, the first half of the most influential decade of music.

How does Tracey Ullman play into this pantheon of triggers? Ullman, a British comedian best known for her characters and, in the U.S., a popular sketch comedy show on Fox television debuting in April of 1987 (the one that debuted The Simpsons), did a stint as a pop star in the U.K. (with one song charting here in the U.S.) in 1983 & 1984. Singing would be a staple for her throughout her career in her acting and sketches. Still, her pop star career was that brief early 80s period with her decision to focus on acting. The music was all cover versions of songs that placed her smack dab back into the 1950s and 1960s.

The first released single was "Breakaway," originally recorded in 1964 by Irma Thomas. Today's trigger, "They Don't Know," was originally done by Kirsty MacColl in 1979. Ullman also released "Move Over Darling," a Doris Day recording from the movie of the same name in 1963, "Bobby's Girl," a 1962 single released by Marcie Blaine in the U.S. and Susan Maughan in the U.K., and "My Guy's Mad At My," a cover of the 1979 Madness single called "My Girl." Tracey Ullman's last charting single was "Sunglasses," originally on the charts by American singer Skeeter Davis in 1965.

I remember "They Don't Know" in 1983, primarily from the song's video. Back in that period, there was not a lot of recognition of Tracey Ullman, and this and "Breakaway" were the first videos to arrive at Revolver. In this club, I was a V.J. When the V.J.s would first get the new mix tapes from various sources (specialized sources that purchased and released music, record companies, or the artists themselves would deliver regularly), we would spend as much time as necessary to listen to what had been delivered to determine what would be played and where sounds were best suited for the audiences. Getting new music was always very exciting. Sometimes, there would be releases we had already been introduced to in various other ways, be it a dance club, the radio, or MTV. However, with the videos, there were often introductions to artists and sounds that might not fit into any regular release pattern. In some instances, we would first hear new artists and sounds from Europe, specifically the U.K. With these, we were sometimes first hearing music that would become standard, and you're still hearing it in playlists across the land.

When I first heard "They Don't Know" and "Breakaway," I was drawn in because, although pop, they carried tunes that the average brain would hold onto after the first listen. They were both sounds that felt that the audience would be intrigued, and both instantly recognized the sound upon subsequent plays and possibly even requested them from the bartender in the future. Although these videos would only play sometimes in higher population crowds, they could easily sneak in to break a pattern. Often in Revolver we would do breaks with short comedy sketches from Saturday Night Live, famous bits from television series or feature films, and classic sketches from comedians that could 'break the spell' and allow the audience to reshuffle and prepare for the next round of up-tempo and more danceable choices (think "Sorority Girls From Hell.”) Revolver was not a dance club (it was often referred to as a place to stand and model, or just a place to stare at other men and hopefully make a connection with a drink or over a video.) But Tracey Ullman would fit the mold as a happy, quick, funny, and different entry into the club atmosphere. She was doing her pop-star best, but at the same time, we were getting a glimpse of the characters she would create and reveal for years on all the television shows and movies she would do.

When I think of Tracey Ullman these days, I remember her best for the many different sketch shows and characters she has done. Still, now and again, I will hear one of these catchy tunes and recall my first introduction to who this talented woman was and is. The happy-go-lucky sense of fun triggers me, so often a part of my favorite years of being alive in a world filled with extraordinary music. For the 100th substack entry, I am happy to be in my element in a tucked-away V.J. booth at Revolver in 1983.

There’s no need for living in the past

Now I’ve found good loving gonna make it last

I tell the others don’t bother me

‘cause when they look at you they don’t see what I see

No, I don’t listen to their wasted lines

Got my eyes wide open and I see the signs

‘cause they don’t know about us

And they’ve never heard of love