The Communards burst onto the mid-1980s music scene with a mission that went far beyond catchy melodies. Formed in 1985 after Jimmy Somerville left Bronski Beat to team up with classically trained musician Richard Coles, this British synth-pop duo created a powerful fusion of hi-NRG dance beats, political activism, and raw emotional honesty. Their name—borrowed from the revolutionaries of the 1871 Paris Commune—signaled their commitment to social justice from day one. What made them unforgettable wasn’t just Somerville’s soaring falsetto or Coles’ intricate keyboard arrangements, but their courage to address LGBTQ+ issues, poverty, and inequality during an era when such topics were rarely discussed in mainstream pop. Let’s dive into the twenty essential tracks that defined their legacy and continue to resonate with listeners who appreciate music with both substance and soul.
Don’t Leave Me This Way
This energetic cover of Harold Melvin and the Blue Notes’ soul classic spent four weeks at number one and became the UK’s biggest selling single of 1986. The genius of this version lies in its vocal arrangement—Sarah Jane Morris’ deep contralto creates a thrilling contrast with Somerville’s stratospheric falsetto, turning a disco standard into something entirely fresh. The production is pure hi-NRG heaven, with pulsing synths and a relentless four-on-the-floor beat that demanded dance floor attention. Listen on quality headphones and you’ll catch every layer of the meticulous production—the shimmering synth pads, the perfectly compressed vocals, and that iconic piano line that drives the entire arrangement. This wasn’t just a cover; it was a complete reimagining that honored the original while creating something undeniably contemporary.
Never Can Say Goodbye
Featured on their 1987 album Red, this Jackson 5 cover reached number 4 on the UK chart. The Communards took inspiration from Gloria Gaynor’s version but made it distinctly their own with layers of synthesizers and gospel-influenced backing vocals. The arrangement builds brilliantly, starting with a sparse introduction before exploding into a full-blown dance anthem. Somerville’s vocal performance here is particularly impressive—he navigates the melody with both technical precision and genuine emotion, making you believe every word about being unable to walk away from love. The bridge section, with its cascading synth arpeggios and dramatic key change, remains one of the most euphoric moments in their entire catalog.
You Are My World
The band’s first UK Top 30 hit in 1985, this piano-based single reached number 30 and introduced audiences to the Communards’ more tender side. Unlike their high-energy club bangers, this track showcases Coles’ classical training through its beautiful piano arrangement and string-like synth textures. Somerville’s falsetto floats over the instrumentation with vulnerability and yearning, expressing complete devotion in lyrics that speak to being utterly consumed by love. The song was later remixed in 1987, reaching number 21 and giving fans a more uptempo version, but the original remains the definitive statement—intimate, heartfelt, and gorgeously crafted. It’s the perfect example of how the duo could balance commercial appeal with artistic integrity.
So Cold the Night
Released later in 1986, this single became another UK Top 10 hit, reaching number 8. The track opens with an atmospheric synth pad that immediately establishes a mood of melancholy and isolation. What makes this song special is its lyrical depth—it’s about emotional distance and the chill of feeling alone even when you’re with someone. The production employs reverb-drenched drums and echoing vocal treatments that enhance the song’s themes of emptiness and longing. Coles’ arrangement work here is sophisticated, with subtle harmonic shifts that keep the listener engaged through multiple listens. The chorus hits with genuine emotional impact, and Somerville delivers it with the kind of conviction that can only come from lived experience.
Disenchanted
This underrated gem from their debut album deserves far more recognition than it received. The hi-NRG production pulses with energy while the lyrics explore themes of disappointment and lost innocence. The reverb might be heavy by modern standards, but it was characteristic of mid-80s production and actually adds to the song’s dramatic atmosphere. Somerville’s vocal performance conveys both anger and hurt, creating a complex emotional landscape that elevates the track beyond typical synth-pop fare. The synth bass line that anchors the verses is particularly infectious, and the way the arrangement builds toward the final chorus demonstrates expert songcraft.
For a Friend
Featured on the Red album, this song relates to people living with and having died from HIV. It stands as one of the most poignant and important songs in the Communards’ catalog, addressing the AIDS crisis at a time when many artists remained silent. The musical setting is deliberately restrained, allowing the lyrics to take center stage. Coles crafts a gentle piano arrangement supplemented by subtle strings, creating a memorial quality that honors those lost while expressing solidarity with survivors. Somerville’s vocal delivery is heartbreaking in its tenderness—there’s no grandstanding, just honest emotion and compassion. This track exemplifies how pop music can serve as both art and activism, providing comfort while demanding attention to a crisis that was devastating communities.
Victims
Another powerful track from Red that showcases the duo’s political consciousness. The song addresses societal injustice and those marginalized by systems of power. The production employs darker synth tones and a more aggressive beat than their dance hits, matching the serious subject matter. Somerville’s vocal performance alternates between anger and empathy, while Coles’ arrangement uses minor key progressions to underscore the gravity of the message. What’s remarkable is how the Communards managed to make protest music that was also compelling to listen to—they never sacrificed musicality for messaging or vice versa.
Breadline Britain
This track’s controversial political lyrics caught the attention of DJ John Peel, who played it on his BBC World Service show. The song directly addresses poverty and inequality in Thatcher-era Britain, pulling no punches in its criticism of government policies. The musical backdrop is pure synthpop, but there’s an edge to the production—slightly distorted synths and a driving rhythm that mirrors the urgency of the message. This is protest music that doesn’t feel dated because, unfortunately, many of the issues it addresses remain relevant. The Communards proved you could make people dance while making them think, and this track is a perfect example of that balance.
Heavens Above
From their debut album, this track demonstrates Coles’ ability to craft memorable melodies that stick with you long after the song ends. The production is lush and layered, with multiple synth parts weaving together to create a rich sonic tapestry. Somerville’s falsetto soars over the arrangement, and the chorus features a hook that’s impossible to shake. The song’s uplifting quality made it a fan favorite, and it showcases the duo’s skill at creating euphoric pop moments without resorting to empty positivity—there’s always substance beneath the surface.
Forbidden Love
This track tackles the theme of love that exists outside societal acceptance, a subject deeply personal to both Somerville and the LGBTQ+ community. The production walks a fine line between dance-floor energy and emotional vulnerability. Coles employs dramatic chord progressions that heighten the song’s romantic tension, while Somerville’s vocal conveys both the thrill and the fear of forbidden attraction. The bridge section builds brilliantly, creating a sense of emotional release that mirrors the liberation of accepting one’s true feelings despite outside judgment. It’s a prime example of checking out different songs that blend personal and political themes.
Lover Man
This track shows the Communards at their most playful and jazz-influenced. Coles incorporates swing rhythms and bluesy piano licks that give the song a cabaret feel, while still maintaining a pop sensibility. Somerville’s vocal performance here is cheeky and confident, playing with phrasing and dynamics in ways that showcase his range as an interpreter. The production is less synth-heavy than their biggest hits, allowing space for the piano and bass to breathe. It’s a reminder that the Communards had a wider musical palette than some listeners might remember, and their willingness to experiment kept their sound fresh.
Tomorrow
Featured on Red, this song looks forward with cautious optimism, acknowledging present struggles while maintaining hope for change. The musical arrangement reflects this duality—there are darker undertones in the verses that open up to brighter, more expansive choruses. Coles’ production work here is particularly sophisticated, with subtle use of dynamics and space that gives the song room to breathe. Somerville delivers one of his most nuanced vocal performances, capturing both weariness and determination. The track serves as a reminder that activism requires sustaining hope even when progress feels slow.
When the Boy in Your Heart Is the Boy in Your Arms
What a title, and what a song! This track from Red celebrates the joy of reciprocated love and the fulfillment that comes when desire and reality align. The production is warm and enveloping, with major key progressions that radiate happiness. Somerville’s vocal performance is genuinely joyful—you can hear the smile in his voice. Coles creates an arrangement that feels like an embrace, using layers of synths to build a sonic cocoon around the listener. It’s one of their most purely romantic songs, and it stands as a testament to the universal nature of love and connection.
There’s More to Love (Than Boy Meets Girl)
Released in 1988, this was their last released single and final top 20 hit, reaching number 20</parameter>. The song challenges conventional relationship narratives and celebrates love in all its forms. The production has a late-80s sheen with gated drums and crystalline synths, yet it doesn’t feel dated because the message remains progressive. Somerville’s vocal delivery is assertive and proud, making this feel like an anthem of self-acceptance. As their swan song in the charts, it’s fitting that they went out making a statement about inclusivity and the diverse expressions of human connection.
Hold On Tight
This track from Red demonstrates the duo’s ability to craft uplifting dance-pop with emotional depth. The title itself serves as encouragement during difficult times, and the musical setting reinforces that message with an insistent beat and building arrangement. Coles’ keyboard work drives the song forward with relentless momentum, while Somerville’s vocal provides the human element—vulnerable yet strong. The production employs classic hi-NRG techniques with rapid synth patterns and layered percussion that create irresistible forward motion. It’s the kind of song that works equally well on the dance floor and through your earbuds during a personal moment of needing motivation.
If I Could Tell You
Another gem from Red that showcases the Communards’ romantic side. The song explores the difficulty of expressing deep feelings, a universal human experience rendered here with tenderness and grace. Coles creates an arrangement that feels intimate despite the electronic instrumentation—there’s warmth in the synth tones and careful attention to space in the mix. Somerville’s falsetto is particularly beautiful here, conveying vulnerability without weakness. The song builds subtly rather than dramatically, mirroring the gradual process of opening up emotionally to another person.
C Minor
This instrumental or minimally-vocal track (depending on the version) gives Coles the spotlight to demonstrate his compositional abilities. As the title suggests, it’s built around the C minor key, which provides a melancholic foundation. The piece showcases Coles’ classical training while remaining firmly in the synth-pop idiom. It’s fascinating to hear the Communards’ sound without Somerville’s distinctive voice—it reveals the sophistication of the arrangements that sometimes got overshadowed by the more immediate impact of the vocals. This track served as evidence that the duo’s appeal wasn’t solely dependent on vocal pyrotechnics but rested on solid musical foundations.
Lovers and Friends
This track explores the blurred lines between friendship and romance, a theme that resonated with many listeners navigating complex relationships. The musical arrangement is sophisticated, with Coles employing jazz-influenced chord progressions that add harmonic richness to the synth-pop framework. Somerville’s vocal interpretation is mature and thoughtful, avoiding melodrama while still conveying emotional complexity. The production balances electronic elements with more organic-sounding textures, creating a sonic environment that feels both contemporary and timeless.
Matter of Opinion
From Red, this song addresses subjective truth and the way perspective shapes our understanding of events and relationships. The musical setting is classic Communards—driving beat, layered synths, and Somerville’s soaring vocals creating a sound that’s immediately identifiable. What elevates this track is the lyrical sophistication, which encourages listeners to question their assumptions and consider alternative viewpoints. It’s another example of how the duo embedded intellectual and philosophical content within accessible pop structures, never talking down to their audience.
Zing Went the Strings of My Heart
This cover of the jazz standard receives the full Communards treatment—hi-NRG rhythms, synth orchestration, and Somerville’s falsetto reaching for the rafters. What could have been a novelty becomes a genuine reinterpretation that honors the song’s romantic essence while completely updating its sonic presentation. Coles’ arrangement is particularly clever, incorporating elements of the original’s swing feel within a strictly metered dance context. The track appeared on their Heaven compilation and demonstrated their ability to find common ground between different musical eras and styles.
Don’t Leave Me This Way / Sanctify
This medley version extends their biggest hit by incorporating elements of Sanctify, creating an even more expansive dance experience. The transition between the two pieces is seamless, showcasing Coles’ skill at arrangement and production. The extended format allows for more instrumental development, with synth solos and rhythm breaks that give DJs and dancers more material to work with. It represents the Communards‘ understanding of dance music culture and their willingness to create versions of their songs tailored for different contexts—radio, clubs, and home listening each required different approaches.
Frequently Asked Questions
What made The Communards’ version of Don’t Leave Me This Way so successful?
The song’s success came from multiple factors working in perfect harmony. The production was cutting-edge hi-NRG that captured the mid-80s dance music zeitgeist, while the vocal arrangement featuring Jimmy Somerville’s falsetto contrasting with Sarah Jane Morris’ contralto created a unique sonic signature. The timing was also perfect—released during the height of dance-pop’s commercial dominance, it satisfied both club audiences and mainstream radio listeners. The arrangement respected the soul classic’s essence while completely reimagining it through a synth-pop lens, making it feel both familiar and fresh simultaneously.
Were Jimmy Somerville and Richard Coles romantically involved?
No, Jimmy Somerville and Richard Coles were musical partners and friends, not romantic partners. Both were openly gay during a time when this was professionally risky, which contributed to their commitment to LGBTQ+ activism through their music. Their relationship was primarily professional and creative, though it did experience tensions that eventually contributed to the band’s dissolution. They’ve since reconciled and speak warmly of each other and their time working together, recognizing the important impact they made during their partnership.
Why did The Communards break up in 1988?
The band’s split resulted from a combination of personal and creative differences that became increasingly difficult to navigate. The members were living very different lives and, according to later interviews, lacked the communication tools to work through their disagreements effectively. Rather than an official breakup, they decided to take a pause that ended up lasting permanently. The end wasn’t acrimonious in a dramatic sense, but represented a natural conclusion when the creative partnership had run its course. Both members went on to successful but very different careers—Somerville continued in music while Coles eventually became an Anglican priest.
What albums did The Communards release?
The duo released two studio albums during their active years: their self-titled debut Communards in 1986, which reached number 7 in the UK and achieved platinum status, and Red in 1987, which was partly produced by Stephen Hague. They also released a collection titled Heaven in 1993, which compiled singles and previously unreleased material. Both studio albums featured a mix of original compositions and covers, with the debut being more commercially successful but Red often being cited by critics as the more musically mature work. Several compilation albums have been released in subsequent years, introducing their catalog to new generations of listeners.
How did The Communards address social issues in their music?
The Communards embedded activism directly into their songwriting and public presence, addressing LGBTQ+ rights, poverty, HIV/AIDS awareness, and political inequality. Songs like For a Friend dealt explicitly with the AIDS crisis when many artists remained silent, while Breadline Britain criticized economic policies creating hardship. Their approach was sophisticated—they created music that worked on multiple levels, allowing listeners to engage with the dance-floor energy while the lyrics delivered substantial social commentary. This dual functionality meant their messages reached broader audiences than traditional protest music, smuggling progressive politics into mainstream pop.
What happened to Richard Coles after The Communards?
Richard Coles underwent a dramatic career transformation, leaving the music industry to pursue religious studies. He converted to Anglicanism in 1991 and was ordained as a priest in 2005, eventually becoming a Church of England vicar. However, he remained in the public eye through media work, becoming a popular broadcaster, writer, and television personality. He’s authored multiple books including bestsellers and appeared on various UK television programs. His unique position as the only vicar to have had a number one hit record has made him a fascinating public figure who bridges worlds rarely connected—pop culture and religious service.