Simon Climie and Rob Fisher formed Climie Fisher in the late eighties following a meeting at Abbey Road Studios, where they had been working as session musicians. Not newbies to the industry, Rob had performed with Naked Eyes, who came to relative prominence in the early 80s, while Simon worked as a songwriter and session musician, scoring early hits by the mid-80s recording with the likes of George Michael and Aretha Franklin on ‘I Knew You Were Waiting (For Me)’, as well as on Pat Benatar’s Invincible album. The duo released their debut, Everything in 1988, achieving worldwide notoriety, especially with the singles ‘Rise To The Occasion’ and the remixed and re-released single ‘Love Changes Everything’.
Their second album, Coming In For The Kill released in 1989, is the one I’m listening to here. It’s the Deluxe Edition, a reworked edition of the original, that comes complete with a more rock-oriented sound, later on moving to a soulful element. The album achieved less impact than its sibling debut, but this key change shouldn’t exclude the album from consideration, in fact listening with fresh ears to all aspects of the album, I found fruits not first heard on their debut. The opening track ‘Facts Of Love’ displays a grittier feel, although this had to take a back seat when Simon’s vocals came through. From here on, it’s Simon’s vocal charm that has taken the upper hand and pop seems to prevail. The originally released album came complete with 11 tracks, with a 2009 re-release upping the ante to 17. This 4 CD version has 48, mostly versions and remixes, and as the content moves on, it’s this soul-tinged feeling that’s coming through.
As the second disc begins, it’s pretty evident that ‘Love Like A River’ is single material and, sure enough, was perhaps a knock-on from the band’s Everything album, reaching number 22 in 1988. It displays a driving force that just keeps going, with a chorus “…Your love like a river is flowing. Rush over me. Like the seven seas keep rolling…”. If this wasn’t from the sessions that spawned its predecessor, I don’t know why it was omitted from Coming In For The Kill, until now that is. Another notable track that finds itself on each of the four discs is ‘It’s Not Supposed To Be That Way’, making it to number 77 in 1990, the band’s final single release to chart. It features the same soft tones and continual beat that first saw them achieve worldwide success. Returning to the beginning seems to have been their aim with this single and I don’t care, it works. From disc 2 comes ‘Haunted House’ and although musically a throw-back to the House music of the 80s and 90s, with Simon’s lyric “…Feel like I’m living in a haunted house, lost in the shadow of your love…” being the chorus, perhaps slightly cheesy, but with its occasional vocal stabs “Come on, come on give me a hand” coming from the DJ, this is no chore. Those who appreciate the finer things may enjoy an extended version of its Dance Mix on disc 2, and this one is over 8 minutes.
You’ll find a worthwhile afternoon’s listening in the corners and alleyways that fill this band’s second most successful album. For those of us who remember The Music Factory, the Music Factory Megamix dips into memories from the Everything album, as well as those moments I’ve already mentioned, just “…don’t touch that dial…”. A very worthwhile journey into Climie Fisher, one of the 80s most fulfilling pop moments and artists who’ve journeyed through music’s history. Simon Climie has worked on the production and writing of work by Eric Clapton, Malcolm McDonald and many more. Whilst Rob Fisher has collaborated with Rick Astley, among others and owned The StoneRoom recording studio for a while. Sadly Fisher succumbed to cancer in 1999 but had been working with Pete Byrne, one-half of Naked Eyes on a new studio album shortly before his death. Climie Fisher’s legacy will be remembered as one that left a mark on the history of music, and the release of this refreshed version of Coming In For The Kill serves as a reminder of their contribution.
