The British pop group hit their peak with the 1983 release of the album Reach the Beach, their second studio album and most successful commercially. This record contains accessible songs built on some catchy pop/rock melodies and some innovative use of synthesizers and other effects. Surprisingly, the production of this successful album came during a time of transition as the group was changing bass players with about half of the tracks not including bass at all.
The band originated with the name The Portraits in 1979 when vocalist Cy Curnin and drummer Adam Woods formed the band while in college in London. Along with keyboardist Rupert Greenall, The Portraits had some minor success, releasing a couple of singles before disbanding late in 1980 and soon reforming as The Fixx with guitarist Jamie West-Oram and bassist Charlie Barrett. The group independently released the single “Lost Planes” in February 1981, which caught the attention of MCA Records who offered a contract to the group. Their successful 1982 debut album, Shuttered Room, featured the charting hits “Stand or Fall” and “Red Skies”.
Recording for Reach the Beach began later in 1982 with producer Rupert Hine. Barrett had been replaced on the previous tour by Alfie Agius, who began the recording sessions as the group’s bassist but left the group before the album was completed.
Reach the Beach by The Fixx
|Released: May 15, 1983 (MCA)
Produced by: Rupert Hine
Recorded: Farmyard Studios, Buckinghamshire, England, 1982-1983
|One Thing Leads to Another
The Sign of Fire
Saved by Zero
|Reach the Beach
|Cy Curnin – Lead Vocal
Jamie West-Oram – Guitars
Rupert Greenall – Keyboards
Adam Woods – Drums, Percussion
The album begins with its (and the group’s) biggest hit. Starting with the funky guitar and bass riffing, “One Thing Leads to Another” has a steady beat and melodic lead vocals accented by effects throughout the verses. Accompanied by a successful MTV video, “One Thing Leads to Another” reached #4 on the US pop charts and topped the charts in Canada. “The Sign of Fire” follows as another upbeat funk/dance tune with an ascending/descending link between its two predominant chords for a pleasant hypnotizing movement effect. There are some inventive passages as we get through the mid section of the song, which is the only one to feature future band member Dan K. Brown on bass. The spastic and disjointed “Running” follows with heavy new wave elements and some more melodic passages.
While as simple and straight forward as other tracks on this album, the futuristic “Saved by Zero” feels much deeper both sonically and lyrically. This is due to strategic synth effects which blend with Curnin’s vocal embellishments along with the jittery guitar riffs of West-Oram. Lyrically, the song is about finding simplicity with the loss of material things and “the release you get when you have nothing left to lose”. “Opinions” closes the fine first side of the record, built on Curnin’s near a-capella vocals in the intro verse and a musical arrangement which slowly emerges underneath until the song finally fully materializes about halfway through.
The album’s original second side features lesser known tracks. The title track “Reach the Beach” is a deliberative synth/pop song, led by the simple keyboard riff and synth bass of Greenall along with several sonic electronic sections. “Changing” is the first real filler but “Liner” works as an electronic representation of funk and soul with Agius adding some proficient slap bass and Greenall replicating a horn section on synth. “Privilege” is a quasi-kraut-rocker with some interesting dynamics and a nice use of disparate, simple motifs as the song progresses, while the closer “Outside” is shepherded by the steady but interesting beat by Woods. This acts as a backbone to the slow and sloshy guitar riffing of Jamie West-Oram and Curnin’s soulful lead vocals.
Reach the Beach peaked in the Top 10 on the Billboard album charts and was eventually certified multi-platinum with sales in the millions. The group continued with modest success through the late 1980s and into the 1990s but never again reached the commercial heights of this album.
Part of Classic Rock Review’s celebration of 1983 albums.