Nik Kershaw, a name synonymous with 80s synth-pop brilliance, carved his path from unemployment in rural Essex to global stardom. His journey, punctuated by the hit single “Wouldn’t It Be Good,” is a fascinating tale of perseverance, creative tension, and the unexpected nature of fame. Before the chart-topping success and iconic music videos, Kershaw was navigating the frustrating landscape of the music industry, a period marked by demo recordings and persistent rejections from record labels. Living in a rented farm cottage, he honed his craft, driven by a dream that seemed perpetually out of reach. This all changed when Mickey Modern stepped in as his manager, securing him a pivotal contract with MCA Records. This signing was the catalyst, the turning point that ignited Kershaw’s ascent.
“Wouldn’t It Be Good” emerged from this transformative period. Penned in the exhilarating aftermath of securing a record deal, the song became an anthem of ambition and burgeoning success. Despite the upbeat tempo and driving synth lines, a melancholic undercurrent runs through the lyrics. Kershaw himself playfully attributes this duality to his “analyst,” highlighting the complex emotions that fueled his songwriting. He admits to a potent self-confidence during that time, untainted by the pressures of fame. The lyrics, exploring themes of envy and perspective, flowed freely, capturing a moment of transition and anticipation.
The song’s sonic identity took shape in the studio. Kershaw envisioned an “aggressive” sound, experimenting with distorted guitar chords. This sonic direction, inspired by Queen guitarist Brian May’s innovative use of guitar effects, initially presented challenges. The clashing chords threatened to create an unpleasant soundscape. However, this experimentation ultimately yielded a unique and powerful sonic texture, setting “Wouldn’t It Be Good” apart from its contemporaries. The distorted guitar became a defining element, particularly in the chorus, adding an edge rarely heard in synth-pop at the time.
The music video for “Wouldn’t It Be Good,” directed by the legendary Storm Thorgerson, further cemented the song’s iconic status. Known for his surreal and enigmatic visuals for bands like Pink Floyd, Thorgerson brought his signature style to Kershaw’s video. The alien concept, though seemingly detached from the song’s lyrical content, became a memorable visual spectacle. Filmed before the advent of green screen technology, the video employed innovative techniques using Scotchlite reflective tape to project images onto Kershaw’s calico suit. This laborious process, involving meticulously applying tape that constantly peeled off, was a testament to Thorgerson’s commitment to visual innovation. The final scene, shot at the Mullard Radio Astronomy Observatory in Cambridge, added a sense of otherworldly grandeur to the video. While Kershaw admits to being “baffled” by the video’s narrative, he recognized its captivating quality and its crucial role in securing airplay on music television channels.
Nik Kershaw in the music video for Wouldn't It Be Good
Live Aid in 1985 marked a career highlight, and a moment of sheer terror for Kershaw. Performing in front of an estimated two billion viewers, the pressure was immense. He describes the experience as a blur, dominated by the fear of making a mistake – and then actually making one. Ironically, he forgot the lyrics to “Wouldn’t It Be Good,” the very song that had propelled him to this global stage. Despite the lyrical stumble, he managed to improvise, singing “something” and navigating the potentially disastrous moment. Beyond the performance itself, Kershaw was awestruck by the constellation of musical legends surrounding him at Live Aid. A post-finale minibus ride brought an unexpected encounter with David Bowie. Despite being a lifelong admirer, Kershaw was overcome with nerves and missed the opportunity to speak to the icon, a moment he still vividly recalls.
Reflecting on this whirlwind period, Kershaw struggles to fully grasp the enormity of it all. He describes it as an out-of-body experience, a period where “my feet didn’t touch the ground for two years.” While living his dream, he also grappled with the anxieties of sudden fame and the intense media scrutiny that followed. Unprepared for the public eye and negative press attention, Kershaw navigated the complexities of his newfound celebrity status.
Producer Peter Collins, instrumental in shaping the sound of “Wouldn’t It Be Good,” offers a producer’s perspective on the song’s evolution. Having previously worked on Musical Youth’s hit “Pass the Dutchie,” Collins was brought in by Charlie Eyre to collaborate with Kershaw. Intrigued by Kershaw’s demos, Collins recognized his raw talent and commercial potential. He describes Kershaw as “diffident,” emphasizing his down-to-earth nature and focused approach to music-making during the recording of his debut album, Human Racing.
Collins reveals an interesting detail about the song’s title. Initially, it was “Wouldn’t It Be Nice.” However, Collins felt that “nice” lacked impact and persuaded Kershaw to change it to “Wouldn’t It Be Good.” This subtle but significant alteration arguably amplified the song’s yearning and slightly melancholic feel, contributing to its enduring appeal. Collins also advocated for the use of real drums instead of programmed beats, a decision that proved to be a crucial element in the song’s sonic success. Furthermore, engineer Julian Mendelsohn suggested layering horns over the guitar solo, adding another layer of richness and complexity to the production. These horns were expertly arranged and recorded in Los Angeles by Jerry Hey, renowned for his work with Stevie Wonder and Michael Jackson, further elevating the song’s production value.
Collins recognized the unconventional structure of “Wouldn’t It Be Good.” While he initially attempted to steer Kershaw towards a more conventional pop format, he ultimately respected Kershaw’s artistic vision. He had no doubt about the song’s potential, praising Kershaw’s dynamic performance and unique vocal delivery. “Wouldn’t It Be Good,” with its blend of synth-pop energy, melancholic undertones, and innovative production, became a defining song of the 80s, launching Nik Kershaw onto the world stage and solidifying his place in music history.
