Frankie Goes to Hollywood was a British dance and pop band from Liverpool. Formed in 1980, the band eventually found success under the wing of producer Trevor Horn and became the flagship band of his Zang Tuum Tumb (or ZTT) record label. Their debut album, ''Welcome to the Pleasuredome'', is considered a masterwork of Horn's production and featured the extremely popular singles "Relax", "Two Tribes" and "The Power of Love". "Relax" came under fire for featuring homoerotic lyricism and was banned by the BBC. Having two openly gay bandmembers – the vocalists – maybe didn't help.
1986 saw the release of ''Liverpool'', their second album and the first to actually feature the band performing on it (Horn having overproduced ''Pleasuredome'' to the point where every note was played by Horn or session musicians.) While charting high and having a successful lead single in "Rage Hard", ''Liverpool'' had much less of an impact. The band folded in 1987 after a world tour, when lead singer Holly Johnson was sued by ZTT for trying to sign to another record label for a solo career. The courts eventually sided with Johnson, noting the band's contract being highly restrictive. Johnson has since released material sporadically while he enjoys a career as a painter, while Rutherford released one solo album before retiring; the rest of the band have tried at various times to get back together, hiring vocalist Ryan Molloy from 2004-2007 to tour again.
Frankie Goes to Hollywood was also known for their very esoteric packaging: a form of DesignStudentsOrgasm courtesy of Paul Morley, in which every inch of space was covered either with text or with visuals (a technique used throughout the ZTT stable, including The Art of Noise, Propaganda, Act, etc.) The single for "Two Tribes" famously included a chart detailing all of the biological effects of nuclear fallout on civilians, as well as a breakdown of the nuclear armament of the United States and Russia. Frankie also had a habit of releasing an excessive amount of remixes across every format available at the time, with unique mixes appearing in various territories.
* Holly Johnson: lead vocals (1980-1987)
* Paul Rutherford: vocals and "I came to dance" (1980-1987, 2004-2007)
* Brian Nash: guitar (1982-1987)
* Mark O'Toole: bass (1980-1987, 2004-2007)
* Peter Gill: drums (1980-1987, 2004-2007)
* Jed O'Toole: guitar (1980-1982, 2004-2007)
* Ryan Molloy: lead vocals (2004-2007)
* 1984 - ''Welcome to the Pleasuredome''
* 1985 - ''Bang'' - Japanese-only remix EP
* 1986 - ''Liverpool''
* BadassBoast: The narration in some remixes of "Two Tribes" says:\
"You may pronounce us guilty a thousand times over,\
but the Goddess of the Eternal Court of History will smile and tear to tatters the brief of the state prosecutor and the sentence of this court, for she acquits us."
** This is a bit of a GeniusBonus - the words are a translation of a speech given by UsefulNotes/AdolfHitler at his trial over the Beer Hall Putsch.
* BlackComedy: "Two Tribes", especially the extended mixes when Patrick Allen gets going: "Mine is the last voice you will ever hear."
* ADateWithRosiePalms: Subverted. "Relax" is not about masturbation, but the singer telling the listener to let ''him'' get them off.
* DetailHoggingCover[=/=]WallOfText: The artwork for ''Welcome to the Pleasuredome'' and its accompanying singles were absolutely loaded with text by resident ZTT musical journalist Paul Morley, whose work also appeared on all ZTT artists' albums at the time. This includes both the myriads of anecdotal text scattered everywhere, as well as the factual text ("Two Tribes"' sleeve was covered with information about nuclear weapons.)
* EpicRocking: The title track of ''Welcome To The Pleasuredome'', including its three intros, is 16 minutes long (13 without them.) It was banded as one track on vinyl and indexed as two on CD ("well…" and "The World Is My Oyster" on one, "snatch of fury (Stay)" and the title track on the other.)
* ExtremeOmnisexual: In one of the interview snippets used between tracks on the "Two Tribes" single, one of the band members claims to be this as RuleOfFunny.
* FadingIntoTheNextSong: Although they didn't usually ''fade'' exactly, the singles were largely presented as programmes rather than individual tracks (CD singles without indexing, 12" singles without banding). The first side of ''Welcome to the Pleasuredome'', originally pressed as one 16-minute block, ''did'' include fades, however.
** "Relax." The band was adamant that it was not about sex at all, but finally dropped the pretense when the album came out.
** "Krisco Kisses" is a barely veiled song about anal fisting, named after the slang term of using Crisco-brand vegetable shortening as lubricant.
* IAmTheBand: By some people's reckoning, producer Trevor Horn was this on the first album, with the actual band - apart from Holly Johnson - appearing very little on it (Stephen Lipson supposedly forced them to play on the second album "for their own good").
* NewSoundAlbum: Since the band were allowed to perform on their second album, ''Liverpool'' tips towards a rock sound.
* ThePlace: ''Liverpool''. Ironically, they were in tax exile at the time, so it was mainly recorded in UsefulNotes/TheNetherlands.
* PowerBallad: "The Power of Love", featuring a show-stopping arrangement by composer Anne Dudley.
* ProtestSong: "Two Tribes", which lyrically portrayed glee in a pointless nuclear war between the United States and Russia.
* RecordProducer: Their first album was one of Trevor Horn's greatest triumphs as a producer. He didn't produce the follow-up, leaving it to his protege Stephen Lipson - which may at least partly account for its different sound.
* RearrangeTheSong: The singles were basically all about Trevor Horn showing off his skills at this.
** "Relax" started out as a 18-minute studio jam, consisting only of the signature bass/hi-hat thump, Holly's singing and noises made by throwing objects or jumping into a pool. The version we currently recognize as "Relax" is actually the fifth released version of the song, with the pool sound and bass line being the only components kept through all versions.
** The b-side to of the "Warriors of the Wasteland" 7" single, "Warriors (Of the Wasteland)", featured Trevor Horn at the production helm, taking the rock song and giving it the same synthpop sheen he had given the band's first album.
* RereleaseTheSong: They're still a reliable banker for [=ZTT=] Records and their singles (well, those from the first album - ''Liverpool'' doesn't get quite the same love) have been endlessly reissued in countless configurations. ''Welcome to the Pleasuredome'' got some critical disdain for re-releasing "Relax", "Two Tribes" and "War" for the umpteenth time already.
* SelfDemonstratingSong: One of the 12" mixes of "Rage Hard" has a female narrator explaining the track's structure, introducing the band and the instruments, and commenting on the music.
** ''Welcome to the Pleasuredome'' features several nods to Music/PinkFloyd, including: the guitar solo on the title track (described in the liner notes as "the dark side of the mood solo"; the use of StudioChatter; and the sound of both "the ballad of 32" and "Black Night White Light".
** "The Power of Love" makes reference to [[WesternAnimation/ThePerilsOfPenelopePitstop The Hooded Claw]].
** The song "Welcome to the Pleasuredome" has a shout out to ''[[Creator/SamuelTaylorColeridge Kubla]]'' ''[[Literature/KublaKhan Khan]]''.
** "Rage Hard" alludes to [[Creator/DylanThomas Dylan Thomas]]' "[[DoNotGoGentle Do not go gentle into that good night]]".
** The "(+) mix" of "Rage Hard" – a single from the album ''Liverpool'' – begins with the narrator asking, "[[TheBeatles Listen: do you want to know a secret?]]"
** "Warriors of the Wasteland" was inspired by T.S. Eliot's ''The Wasteland'', as well as the ''MadMax'' films.
* SpokenWordInMusic: As part of the ZTT aesthetic, several of their 12" remixes featured spoken word passages in them:
** The first release of "Relax", the 18-minute "Sex mix", was basically Holly Johnson ad-libbing overtop of the bass line and kick drum.
** "Two Tribes" featured both actor Chris Barrie (Arnold Rimmer in ''Series/RedDwarf'') impersonating Ronald Reagan, and Patrick Allen reprising his role as narrator of Britian's ''Protect and Survive'' public information films on surviving nuclear fallout. B-side "War" also featured Barrie's Reagan impression, even on the album version.
** "The Power of Love" featured Barrie again, this time impersonating DJ Mike Read, who famously refused to play "Relax" while on air.
** "Welcome to the Pleasuredome" featured excerpts from Nietzsche's ''The Birth of Tragedy'', read by both Gary Taylor and Geoffrey Palmer.
** "Rage Hard" featured a female narrator, describing the 12" remix format and commenting on the music as it occurs. She even brings out Paul Rutherford for comment, then whips him a few times with a whip-like sound effect.
** The album ''Welcome to the Pleasuredome'' featured a HiddenTrack in the center of the album called "(tag)", in which Barrie once again, this time impersonating Prince Charles, ruminates over the orgasm. There's also a spoken intro to their cover of "Born to Run", between Paul Rutherford and a female employer; a short skit introducing "the ballad of 32"; and the album ends with another Barrie voice exclaiming, "Frankie say: no more."
* StopAndGo: Both "Relax" and "Two Tribes" do this.
* StudioChatter: The intro to "Krisco Kisses."
* TakeThat: The 12" version of "The Power of Love" begins with Chris Barrie impersonating Mike Read in a send-up of the DJ's refusal to play "Relax".