Nik Kershaw
Nicolas David Kershaw was born in Bristol, England, in 1958. Son
of a flautist father and opera singing mother, Kershaw's first
foray into the arts was as a 13-year-old student actor planning to
go into repertory when he finished training. However, around 1974
he learned guitar and played Deep Purple cover versions in a
school band called Half Pint Hogg.
Leaving school in 1976, he started work at the Department of
Employment (and later the Co-op) but spent his evenings performing
in the jazz-funk outfit Fusion. Signed to Plastic Fantastic
Records and later to Telephone Records, they released one single
and an album respectively. The album, 'Til I Hear From You,
contained an early version of the track Human Racing,
which Kershaw later re-recorded.
When Fusion folded, Kershaw linked with Nine Below Zero's
manager Micky Modern, who helped him sign to MCA Records. The UK
chart hits started to come in 1983 when his debut - I Won't
Let The Sun Go Down On Me - reached a modest number 47.
However, early the next year the follow-up Wouldn't It Be Good
reached the Top Five. This perfect pop song justifiably gave
Kershaw a high profile.
That summer a reissue of his debut gave him his biggest success
(number two) and for the next 12 months a succession of his
pleasant, simple tunes paraded through the upper reaches of the UK
chart. Kershaw was backed by The Krew whose nucleus was Dennis
Smith, Keiffer Airey, Tim Moore, Mark Price and Kershaw's wife,
Sheri.
The first two albums also featured guest appearances from Don
Snow (ex-Squeeze and The Sinceros) and Mark King of Level 42.
In 1985, Elton John - a big Kershaw fan - asked him to play guitar
on his single Nikita.
Although the first two albums had been successes, the third (Radio
Musicola) proved a relative failure, and despite regular
comebacks Kershaw's performing career declined. In the 90s,
Kershaw returned as a songwriter of note behind other acts,
notably Chesney Hawkes' massive hit The One And Only.
After a long absence, Kershaw returned to recording in 1998. He
delighted his fans with 15 Minutes, an assured collection
of songs with all the right hooks (notably the excellent Somebody
Loves You and Your Brave Face). The critics were
less enamoured, and the album was unfairly dismissed.
Similarly, the follow-up To Be Frank contained some
very good songs, clever lyrics and at least one great chord change
per song.
Kershaw remains a quality songwriter, but appears unable to
find a new audience to appreciate his art.
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