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Culture Club Reunites, but It May Be Just Nostalgic Fling

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Culture Club’s reunion couldn’t have come at a better time for rock. So says lead singer Boy George, never one to stifle an opinion.

“There is a serious lack of theater in rock ‘n’ roll,” says George, 37, in an interview from Virginia Beach, Va. “Great songs are being written all the time, but there’s a real lack of color and vibrance.”

Enter Culture Club, the colorful band from the ‘80s, now on a tour featuring fellow synth-pop ‘80s acts the Human League and Howard Jones. Titled “The Big Rewind Tour,” it is expected to reach Southern California on its second leg in the fall.

“It’s a nostalgia trip, there’s no way of avoiding that,” says George of the tour, the band’s first in 13 years. “In terms of the theatrical aspects of Culture Club, and my character, there isn’t really much competition in the music business right now. There’s only Marilyn Manson. He’s the only person with a hot look.”

Makeup techniques aside, George says Culture Club sounds better than ever. Of course, he adds, “We used to be terrible live. We were awful.”

Part of the improvement is the augmentation of the original quartet of George, guitarist Roy Hay, bassist Michael Craig and drummer Jon Moss.

“We always had extra musicians,” says the flamboyant singer, born George O’Dowd. “But one of the things we never had in the old days was a percussion player, which was really stupid, because there was so much percussion in our stuff.”

That stuff included such hits as “Karma Chameleon,” “Do You Really Want to Hurt Me” and “I’ll Tumble 4 Ya.”

Maturity has helped his interpretations of songs as well, he says. “I feel much more qualified to sing certain songs than I did 10 to 15 years ago.”

But maturity was also behind the reunion of the group, which came together after a bitter dissolution. Part of it revolved around George’s relationship with Moss.

As detailed in his 1995 autobiography, “Take It Like a Man,” drugs only made things worse. “It’s always the thing that tears things apart with any band,” says George, who admitted a heroin addiction in 1986.

The reunion was egged on by a popular VH1 “Behind the Music” episode in which the Culture Club soap opera was laid bare. And it is, because of the personal intrigue, at least as tangled emotionally as the Fleetwood Mac reunion.

“In a way, there is a huge similarity,” George says. “You know, Stevie Nicks was singing songs written by her ex-lover about their own breakup. ‘You Can Go Your Own Way.’ Stuff like that.

“I don’t how I’d feel if Jon were writing the songs,” he adds, with a wicked laugh.

Reuniting--first for a VH1 “Storytellers” concert that was released Tuesday as part of a double album “VH1 Storytellers/Greatest Moments,” and now with the tour--has been “a huge healing process for everybody in this band,” he says.

“I think that probably applies to Fleetwood Mac as well. I don’t think you could ever separate the emotional issues and causes from what you do musically. It’s a bit naive to think Fleetwood Mac are any different than Culture Club in that respect.”

The reconvened Culture Club is getting along, George says, “but it’s not like we’ve had any Oprah Winfrey-type confessionalism. We’ve literally carried on where we left off.

“There are all sorts of underlying elements, and things that haven’t been said, and probably never will be said,” George says.

“The others don’t do confrontation very well. So I’ve had to learn to control my responses to things and try not to be deliberately confrontational. But that’s a battle for me,” he says. “A daily battle.”

But he always has been fairly direct in writing, where “I use my songs to exorcise those demons and discuss those things.”

Still, few people venture to make the connections in songs such as the new single, “Just Wanna Be Loved.”

“Everybody knows it’s about Jon, but nobody actually says that,” he says. “It’s almost as if they don’t dare.”

Culture Club has not been one to harbor secrets in its songs or its lifestyles. While, say, George Michael denied for years his homosexuality, Boy George’s gayness was obvious from the first record sleeve.

In many ways, Culture Club kicked open the door to coming out in rock ‘n’ roll, more than a decade before it was OK to do so in a TV sitcom.

But the tolerance landscape hasn’t changed that much in the intervening years, George says. “A lot of people have this very naive assumption that the world’s become a much more liberal place. But I’m not of that opinion.

“Yeah, some doors were kicked down. But I think they’ve been put up again. There’s kind of a surface acceptance of the gay persona. When you get down to it, people are no more comfortable with the nitty-gritty of gay life than they were 20 years ago.”

To be sure, Culture Club fans, he says, “can be pretty open-minded to a certain degree. They’re going to be comfortable with it, as long as you spare them the details. That’s how my mother was: ‘Yes, I know you’re gay, but I don’t want to know about it.’ ”

Boy George hopes to continue his solo career, which has produced three albums. But whether Culture Club’s reunion is more than a summertime nostalgia trip, “I don’t think that will be defined until we make another studio album and see how people respond to that,” he says.

The band plans to reenter the studio later this year.

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The Big Rewind Tour Culture Club / Human League / Howard Jones

PNC Bank Arts Center Holmdel, New Jersey August 2, 1998

By Julie Wiskirchen

Like their senile president, the 80s refuse to die.

By the time we reached our seats, Howard Jones had already begun his set. Some folks were dancing, but most were mellow. "Did a little kid just dash across the stage?" Molly asked. I thought she was hallucinating. Perhaps the combination of Tang, Fun Dip, and Pop Rocks from our tailgating festivities had fried her brain. But then I saw the boy, too. It turned out to be HoJo's son and he walked around the stage, filming Dad and the band and joining in on the hits. Aww, isn't that sweet? HoJo sang a couple of new songs and all the hits, dispensing such sage advice as "Don't try to live your life in one day" and morale boosters like "Things can only get better." His hairline had receded and he was no longer bleaching it, but he still wore his remaining hair in short spikes to demonstrate that he hadn't quite moved on.

After Howard's set, we went to get some dinner. As we were eating our $3 hot dogs, a guy came over and offered to buy Molly's Duran Duran t-shirt. He said, "My friend over there is a huge Durannie and she'll give you $20 plus her shirt." We thought about it, but what would Simon LeBon say if we sold him out for a measley $20? However, we had to appreciate the junior high aspect of this guy talking to Molly for his friend, as in the tradition of "Do you like my friend Jennifer? Circle yes or no."

Human League played next, and they were my favorite of the evening. At first, we were put off by the cheesiness and robotic nature of the act. The two girls stood like pillars on the stage, looking vacant. Phil stood center-stage, also looking bored. The band played every sort of keyboard imaginable, including those keyboard-guitars that are, like, so 80s. They played "Mirror Man" and a few songs we didn't know. Gradually we warmed up to them, as they made several smooth costume changes. We forgave Phil for one suit that looked like a garment bag, when he slipped it off to reveal another suit beneath it. The girls reminded me of the ABBA chicks. Maybe it was their 80s eyeshadow. They played their hits: "(Keep Feeling) Fascination", "The Lebanon" (which Molly thought was "The Leprechaun" and I thought was "Malevolent"), "Human", and "Tell Me When." They wrapped up with their biggest hit "Don't You Want Me." Suddenly, I was back in my childhood room. There were pin-ups of Duran Duran and Wham! everywhere. I was reading "Star Hits" magazine and listening to my "Don't You Want Me" 45. I dreamed I was that waitress in the cocktail bar. That much is true.

Culture Club played all their hits, opening with "Church of the Poison Mind" and ending with "Karma Chameleon." Yet, somehow I felt like they were phoning it in. Maybe it was because, in contrast to the many costume changes of Human League, Boy George wore a black suit and the same dumb, floppy, pseudo-reggae, red and yellow hat for the entire set. He didn't even change for the encore. The Boy didn't interact much with the audience, and when he did he was condescending, like after they played a new song, he said, "Thanks so much. I know how hard it is for you to listen to new material."

The best part about the Culture Club set was their new back-up chick who had quite a set of lungs on her. She gave it her all, which is more than I can say for George. I was hoping for some sparks between George and his former lover, drummer John Moss, but no such luck. Twice George stood facing John, as if to stare him down, but John just kept on drumming. Molly and I wouldn't have even known to look for such queer chemistry back in the heydey. We're both amazed at ourselves because we didn't even realize The Boy was gay back then. We really didn't think about it. Even when I saw pictures of George with Marilyn, I didn't think anything of it. Yet, we didn't develop crushes on Boy George like we did on Simon LeBon and George Michael. Somehow, we must have known. Or maybe it was just impossible for anyone, gay or straight, to crush on a guy in ridiculuous makeup, with long braids, a skirt, and a bowler hat. No wonder George had a hard time.

The rest of the band members looked haggard. I think putting up with George for all these years has prematurely aged them. They didn't seem to be having too much fun up there. I did like the guitarist's orange parachute pants, however. Toward the end, George sang his solo hit, "The Crying Game" and droned through the chorus "Don't want no more." You know what? I don't want no more either.

I came away from the evening with the following conclusions. Howard Jones was doin' it for his family and fun. Human League were doin' it for the glamour. They simply had not evolved, like the people in the audience who still had feathered hair and you knew they didn't do it special for the show. Culture Club were doin' it for the cashola. But, after all, the 80s was all about money--"Greed is good," Reaganomics, etc. So I guess there's nothing wrong with that. George'll tumble for dollars.

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Original Culture Club Lineup Reunites for First Time in 14 Years

By Jon Blistein

Jon Blistein

Boy George and the original Culture Club lineup will reunite for the first time in 14 years with a string of North American dates scheduled for this November, and a new album set for release in early 2015. The pop outfit’s famous frontman will also appear as a guest on NBC’s  Late Night with Seth Meyers on Thursday, August 14th alongside Taylor Swift .

Related: 100 Best Albums of the Eighties

The Eighties pop outfit will kick off their North American trek on November 15th at the Agua Caliente Casino Resort Spa in Rancho Mirage, California, and wrap things up at the Etess Arena in Atlantic City, New Jersey on November 28th (a full list of dates are below). Tickets for these shows will go on sale this Friday via the band’s website . Following their North American tour, Culture Club will return to their homeland for an 11-date arena tour of the U.K.

Culture Club announced their new album back in May, following the news of their U.K. shows. The band has been working on the LP with Youth, the bassist and co-founder of Killing Joke and producer for acts like the Verve, the Cult and Primal Scream. In an interview with  Rolling Stone  this March, Boy George — who just released his first solo LP, This is What I Do , since 1995   — said the band had tried writing together a few years ago, but admitted that at the time, “my mojo wasn’t quite in rhythm.” 

Along with Boy George, Culture Club’s original lineup includes Mikey Craig (bass), Roy Hay (guitar, keyboards) and Jon Moss (drums, percussion). The group achieved stunning success in the Eighties, scoring three Top Ten U.S. hits from their debut album, Kissing to Be Clever and becoming the first group to hit that milestone since the Beatles . While the group broke social barriers with an openly gay frontman and multi-racial lineup, the music — especially smash hits like “Karma Chameleon”  and “Do You Really Want to Hurt Me” — spoke for itself as Culture Club went on to sell over 100 million singles and 50 million albums worldwide.

The group split after their 1986 album, From Luxury to Heartache , amidst growing tensions in the band and Boy George’s continued drug use. Culture Club put aside their differences and reunited in 1998, releasing a new album,  Don’t Mind if I Do , the following year.

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Culture Club – North American Tour Dates

November 15 –  Rancho Mirage, CA @ Agua Caliente Casino Resort Spa November 17 –  Oakland, CA @ Fox Theater  November 19 –  Los Angeles, CA @ Shrine Auditorium November 22 – Las Vegas, NV @ The Pearl November 25 – New York, NY @ Beacon Theatre November 28 – Atlantic City, NJ @ Etess Arena

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Culture Club

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Culture Club Reunite For Retro Tour

Culture Club, the '80s Brit-pop phenomenon best known for flamboyant

vocalist "Boy" George O'Dowd and a string of smashes such as "Karma Chameleon" and "Do You Really Wanna Hurt Me," has reunited for a summer tour and a compilation album, according to sources at Virgin Records and the William Morris Agency.

The original Culture Club lineup -- Boy George on vocals, guitarist Roy

Hay, bassist Mikey Craig and drummer Jon Moss -- will headline an

amphitheater tour this summer with fellow '80s new wave acts Howard Jones and The Human League, according to Melanie Levy, national retail marketing director for Virgin Records.

Though the tour hasn't yet been officially announced, Levy did confirm

Culture Club's reunion, Virgin's compilation and the band's subsequent

summertime schedule.

"We [Virgin] will be releasing a Culture Club greatest hits for the tour," Levy said, noting that the album will be associated with a taping of a show featuring Culture Club on VH-1.

According to an anonymous source at the William Morris Agency, which is booking the show nationally, an official itinerary will be released next week. In the meantime, shows are already slated for venues in New Jersey and Massachusetts. In addition, Culture Club will perform on VH-1's "Storytellers" series on May 2, coinciding with the release of the Virgin compilation album on July 14.

The as-yet-unnamed retro romp is scheduled to begin thereafter, most likely in the Southeastern United States. "The album will be like a compilation," Levy said. "It's going to possibly have a couple of new tracks on it, too -- to keep it fresh."

Culture Club, who released four albums before breaking up in 1986, enjoyed their greatest success with their 1983 sophomore release, Colour By Numbers . That album reached #2 on the Billboard charts, propelled by hits such as "Karma Chameleon," "Miss Me Blind," "It's A Miracle" and "Church Of The Poison Mind."

Since then, androgynous Boy George has recorded a number of dance songs that produced ripples in England but never materialized stateside. A well-publicized battle with heroin plagued the singer, leading to an arrest in connection with the drug-related death of musician Michael Rudetsky at his home in 1986.

In 1992 he made a mini-comeback in the United States, covering Dave Berry's "The Crying Game" for the Neil Jordan film of the same name. Three years later, George turned to the written medium, releasing his autobiography "Tell It Like A Man."

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The New York Times

Artsbeat | culture club to tour with original lineup, culture club to tour with original lineup.

The British band Culture Club will reconvene with its original lineup – the flamboyant singer Boy George, the guitarist and keyboardist Roy Hay, the bassist Mikey Craig and the drummer Jon Moss – for an American tour in November and a British tour in December, Boy George announced on his webpage . Reports of a reunion had been circulating since May, but the posting is the first official confirmation that the Culture Club has reunited and plans to tour.

The group, which was founded in 1981, released four albums before disbanding in 1986, but its hits – most notably, “Karma Chameleon” and “Do You Really Want to Hurt Me” – have survived as an important strand of the 1980s pop sound. The band’s breakup has been attributed variously to Boy George’s drug problems, and tensions between the singer and Mr. Moss, who had been romantically involved.

An attempted reunion in 1989 brought the band into the recording studio, but the results were left unreleased. The players also reconvened to perform for a taping of VH1 Storytellers in 1998, and released a fifth album that proved only a minor hit. Another reunion, for a 20th-anniversary concert at Royal Albert Hall, in London, was released on DVD, but the band did not follow it up. Mr. Craig and Mr. Moss sought to revive the band with another singer replacing Boy George, in 2006, but the project was soon scuttled.

Another attempted reunion, in 2011, brought all but Mr. Moss together – he was said to have bowed out because of a back injury – for concerts in Dubai and Sydney. And in July, the group – minus Mr. Hay, who was sidelined by knee surgery – played a short set in Edinburgh , as part of the a concert celebrating the opening of the Commonwealth Games.

The American arm of the tour opens in Rancho Mirage, Calif., on Nov. 15, and includes concerts in Oakland, Los Angeles, Las Vegas and New York (at the Beacon Theater, on Nov. 25), before closing in Atlantic City on Nov. 28. The British tour begins in Glasgow on Dec. 1 and ends in Bournemouth on Dec. 15.

What's Next

Culture Club

Latest release.

• APR 19, 2024
• B Side (MWS Bouncer Mix) [feat. Fred Wesley, Charlotte Kelly, Richie Stevens & Mary Pearce] - Single
• Karma Chameleon
• Colour By Numbers · 1983
• I'll Tumble 4 Ya
• Greatest Hits · 1982
• Do You Really Want to Hurt Me
• Kissing to Be Clever · 1982
• Time (Clock of the Heart)
• Miss Me Blind
• It's a Miracle
• Church of the Poison Mind
• At Worst...The Best of Boy George and Culture Club · 1982
• From Luxury to Heartache · 1986
• The War Song
• Waking Up with the House On Fire · 1984

Essential Albums

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Dark Globe, Sledger & Boy George

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Dark Globe, Boy George & Dubversive

Smudge All Stars, Danny Briottet & Rico Conning

About Culture Club

Led by singer Boy George, Culture Club was one of the biggest pop acts of the 1980s thanks to hooky songs and stylized music videos that made a splash in the early years of MTV. • Boy George formed the group in 1981 after a brief stint singing with Bow Wow Wow under the name Lieutenant Lush. George, guitarist Roy Hay, bassist Mikey Craig, and drummer Jon Moss recorded demos for EMI before signing with Virgin Records. • Culture Club’s first two singles didn’t chart, but the third was a smash: 1982’s “Do You Really Want to Hurt Me” was a No. 1 hit in 23 countries, including the UK. The song peaked at No. 2 in the US. • The band’s 1982 debut LP, Kissing to Be Clever, reached No. 5 in the UK and No. 14 in the US, where the singles “Time (Clock of the Heart)” and “I’ll Tumble 4 Ya” peaked at No. 2 and No. 9, respectively—making Culture Club the first act since The Beatles to have three Top 10 singles from a debut album. • Their sophomore album, 1983’s Colour by Numbers, featured the band’s biggest hit: “Karma Chameleon” hit No. 1 in 30 countries, including the UK and the US, where it spent three weeks in the top spot. • The band split up in 1986 after two more albums (Waking Up with the House on Fire in 1984 and From Luxury to Heartache in 1986). An attempted reunion in 1989 fell apart after Culture Club had recorded more than a dozen new songs. • Culture Club re-formed in 1998 for an episode of VH1 Storytellers and a subsequent tour. The group released a new album, Don’t Mind If I Do, the following year before Boy George turned his focus to a successful career as a DJ. • When George and Hay declined to go on the road in 2006, Craig and Moss hired a new singer but scrapped plans for a tour of the UK. • After a brief reunion with George in 2011, Culture Club regrouped in 2014 to record a new album and tour. The LP, Tribes, was shelved until the band reworked it into their 2018 release Life, credited to Boy George & Culture Club. The album reached No. 12 in the UK.

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