Ah, The Mighty Deuce! (as they were referred to by this very site nearly 20 years ago) In a blitz of day-glo lycra and kitsch plastic ephemera, they came, they saw, they (very nearly) conquered, they disappeared, they unknowingly created the template for most of their Mixed Pop Group descendants for years to come. SHODDY EVIDENCE ALERT: Steps, Scooch, Fast Food Rockers - each of these groups featured a male performer with a blonde ‘curtain-style’ haircut which were distinctly similar to that sported by Deuce-member Craig in 1995. COINCIDENCE?!
Look up Deuce online and once you’ve scraped together whatever morsels of content you can find for this sadly pre-internet foursome, you’ll invariably read missives from gays of a certain age (mainly me) bemoaning the fact that this group were in fact in totally the right place but at totally the wrong time. A year or so shy of the massive pop renaissance ushered in by the Spice Girls’ ‘Wannabe’ (which Deuce infamously dismissed as “very soft, a bit limp” in a Smash Hits Magazine singles review in 1996), the group were already fighting an uphill battle against Britpop and boybands, and sadly never really gained the success they deserved.
The brainchild of pop supremo Tom Watkins, (Pet Shop Boys, Bros, East 17) Deuce were conceived to be Ace Of Base but with more attitude, described at one point as ABBA-meets-Whigfield. 2 girls and 2 boys, 2 blondes and 2 brunettes - it was an obviously manufactured set-up from the start but with the difference being that Deuce were seen to be revelling in their slightly naff aesthetic. Indeed the marketing catchphrase was ‘Kitsch Goes Klassic!’ - and with this group, it was all about music dovetailing with a hyper-colourful, over-the-top package cultivated by the sleek design team Form (responsible for the wonderful Girls Aloud ‘What Will The Neighbours Say?’ era artwork amongst many others) Their manager Watkins himself described the girls Kelly and Lisa as being “camp as old knickers” which kinda says everything you need to know.
After a false start with a line-up we never heard material from, Deuce as Kelly, Craig, Lisa and Paul hit the music world in late 1994 with material penned and produced by PWL collaborators Harding & Curnow. They dented the charts in early 1995 with possibly their most well-remembered song, the debut single ‘Call It Love’. The follow up ‘I Need You’ failed to be chosen as the UK Eurovision representative, and ‘On The Bible’ stalled at #13.
Despite heaps of tours with the likes of Boyzone and East 17, and lots of appearances in pop magazines of the time (extracts of which can be found in the PJ Song Contest I hosted
here), something wasn’t clicking with the public.
‘Rumours’, a live favourite and included in this rate, was originally pencilled in as the 3rd single, but was eventually released on the group’s album ‘On The Loose!’ in September 1995.
The album peaked at #18 but sank shortly after, spending just 3 weeks in the UK Top 100 albums (I’m sure that third week was down to my Dad buying the cassette for my upcoming 15th birthday!) It was clear the group was haemorrhaging money and suddenly everything went wrong at once.
A planned 4th single, the Christmassy ballad
‘Let’s Call It A Day’ was cancelled, the demo for the unrecorded 2nd album’s lead single ‘Rock The Disco’ was put on hold, co-lead vocalist Kelly quit the group just as they guested on the charity single
‘The Gift Of Christmas’, they lost their deal with London Records, a replacement blonde singer called Mandy was shipped in to mime to Kelly’s vocals on tour and TV. It seemed impossible they’d survive this.
Well - long story short, they didn’t. ‘No Surrender’, their comeback single with Mike Stock and Matt Aitken, tanked. The world had moved on, and Deuce with a new look and a new sound just wasn’t required. Despite whispers of a never-recorded future single called ‘Party For The World’, Craig quit and participated in a scathing interview with Smash Hits Magazine where he ripped into the whole experience. The group experienced a bizarre late ripple of popularity in Australia shortly after this and, in 1997, Deuce toured down under to promote a re-release of ‘No Surrender’ with a new member replacing Craig. It inevitably came to nothing and they finally went their separate ways.
So why, amongst pop fans of a certain age, are Deuce still revered to this day? Personally, they represented pure escapism from the traumas of school for teenage me - colourful wacky costumes, always a knowing wink and a tongue pushed firmly into a cheek, sing-a-long disposable pop with a dance edge, slightly awkward dance routines, bright bold design iconography - it was easy to lose myself in their camp sensibility and let my painfully shy, closeted self embrace this extravagant, flamboyant world they embodied, albeit all too briefly.
Anyway, as Deuce themselves once sang “You go on and on and on”, so I’ll end this spotlight here as abruptly as Deuce's career ended...
(except I’ll be making another post with some ‘further listening’ recommendations - sorry!)