![]() Perhaps that explains why the Liverpudlians’ third album Mad, Bad, And Dangerous To Know didn’t quite light up the charts in the same way, peaking at a lowly No.27 in the UK during the pre-Christmas rush. While performing on Razzmatazz, for example, Burns essentially forced producers to brighten the studio like the Vegas strip, just so his pitch-black contact lenses wouldn’t scar its young audience for life. The Dead Or Alive frontman, however, was still determined to get the Mary Whitehouse brigade all in a tizz. Spandau Ballet were embracing their inner power balladeer on Through The Barricades and Midge Ure had basically achieved the status of national treasure, riding high off the back of Live Aid and what was then the biggest-selling single of all-time. ![]() Boy George was further endearing himself to Middle America as an unlikely action man “turkey in a sequinned coat” on The A-Team. I n 1986 the outrageous ‘Blitz kids’ that Pete Burns reportedly once dismissed as playing dress-up appeared to be happily settling into mainstream respectability. ![]() ![]() Dead Or Alive: Mad, Bad, And Dangerous To Know coverĪfter achieving MTV fame with one of the 80s most iconic pop songs, could lightning strike twice for Dead or Alive with their album Mad, Bad, And Dangerous To Know? We take a look at why the band’s underappreciated third studio long-player deserves a critical reappraisal ![]()
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