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Who Are The Bananarama? Band Behind 1984 Hit Cruel Summer Haven’t Heard Of Taylor Swift’s Hit Yet
Although co-founders and co-singers Bananarama, Keren Woodward, and Sara Dallin are aware of Swift’s new hit song, they admitted to PEOPLE in a recent interview that they haven’t heard it yet.
Four years after debuting on Taylor Swift’s 2019 album Lover, the enormously successful synthpop ballad “Cruel Summer” soared to the top of the Billboard chart last October. She is not the only performer who has penned a popular song with that poignant title. Six years before Swift was born, in 1983, the renowned British pop duo Bananarama released their “Cruel Summer” hit. They deserve the distinction.
Bananarama were the icon in 80s
The British-Irish girl group Bananarama was founded in London in 1980. The friends Sara Dallin, Siobhan Fahey, and Keren Woodward comprised the initial trio that formed the group. After Fahey departed the group in 1988, Jacquie O’Sullivan took over, and the trio continued as a pair until 1991. Cruel Summer, now regarded as one of Bananarama’s hallmark songs, became the band’s first U.S. Top 10 smash after being featured on the 1984 soundtrack for the Karate Kid movie. Along with producers Steve Jolley and Tony Swain, Woodward, Dallin, and former member Siobhan Fahey co-wrote the song.
Over the years, Bananarama’s live set has included this song frequently. The duo will likely play it during their next three-night engagement at London’s Palladium Theatre, which begins on April 3. The group’s most recent greatest hits collection, Glorious, which includes singles like Venus, I Heard a Rumour, Love in the First Degree, and, of course, Cruel Summer, spans their legendary ’80s output and beyond. The gigs correlate with this collection.
“Isn’t that a fantastic title?” When questioned about the Swift song, Dallin answered. Woodward continues, “I have to admit I haven’t listened to it.” I’ve heard a good number of her songs, but one in particular kept calling out to me to listen to. However, I haven’t heard it. I must be among the select few.” “We loved their work with [the group] Imagination,” Dallin says of Jolley and Swain. “They came up with a rough backing track, and then we wrote the melody and the lyrics over the top.
“We just sort of made it quite big at that point, so it was about our friends,” she says. We’re doing a tonne of promotion because we were on Top of the Pops. We were accustomed to taking our short yearly vacation, but due to our heavy promotions schedule, we could not go. We were whining about how we couldn’t go on vacation like all of our pals were and how hot it was in London, New York, or any other place. Thus, that served as some inspiration.
Bananarama appreciates the love that their song received
“We’ve done forty years of moaning,” Woodward remarks in jest. “It sounds like half moaning, half laughing.” The trio of Woodward, Dallin, and Fahey was seen dancing in the streets and taking in the scenery for the Cruel Summer video, which was shot in New York City. Forty years later, Dallin and Woodward still remember it with fondness.
Woodward states, “We associate specific locations with particular songs, notably with the States. We had an incredible run with Cruel Summer here in the States. You almost had the feeling that you had reached your destination. Despite our successes in many other nations, including the United Kingdom, that is quite significant. Additionally, it was quite exciting for us to visit your area of New York since it was our first time doing the video shoot there.”
Concerning the response of the song to Americans, Dallin continues, “I mean, it just seems, for me, it’s almost like America’s song. You guys have taken it to heart.” Cruel Summer has remained popular forty years after its first release, thanks to its 1998 cover by Ace of Base and its incorporation into several films and television programs, including Romy and Michele’s High School Reunion, Cobra Kai, and American Horror Story. “They simply adore it so much and play it constantly, requesting that it be included in Netflix productions and movies, which is fantastic,” adds Dallin. “The marimba-accompanied little song was unique and unusual. I’m not sure what captivated people’s attention, but it did, and it remained impressive over time. It’s simply timeless.”
According to Woodward, “There’s this absolute love for the ’80s.” “I believe each group has its uniqueness, and you can tell right away who is speaking.” Although there is much fantastic music these days, I think it was less homogenized in the 1980s—possibly because everyone was free to express themselves, explore their identities, and wear whatever they pleased. “We go out and perform, and you notice that they appear a little too young for us,” she says. “Then, they are familiar with every song. They are fully versed in every song’s lyrics.”
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