You know that feeling when a song starts and you immediately see neon lights and oversized suit jackets? That's the power of Come Back and Stay.
Honestly, if you grew up in the eighties, Paul Young was basically everywhere. You couldn't escape that soulful, slightly gravelly voice. But while everyone remembers "Every Time You Go Away," there's something about "Come Back and Stay" that hits different. It’s got this weird, moody energy that most pop songs of 1983 just couldn't touch.
It wasn't just a hit; it was a statement.
The Jack Lee Connection
Most people think Paul Young wrote it. He didn't.
The track was actually penned by Jack Lee. If that name sounds familiar, it's because he’s the same guy who wrote "Hanging on the Telephone" for The Nerves, which Blondie later turned into a global anthem. Jack Lee had this incredible knack for writing desperate, high-stakes power pop.
When Paul Young got his hands on it for his debut album, No Parlez, he didn't just cover it. He completely dismantled it.
The original Jack Lee version from 1981 is much more of a straight-ahead rock-and-roll tune. It’s raw. It’s got that skinny-tie New Wave grit. But Paul Young, along with producer Laurie Latham, decided to drench it in atmosphere. They added these massive, echoing drums and a bassline that sounds like it’s vibrating through your floorboards.
That Pino Palladino Bassline
We have to talk about the bass. Seriously.
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If you listen to Come Back and Stay today, the first thing that grabs you is that sliding, fretless bass sound. That was Pino Palladino. At the time, he was just becoming the "secret weapon" for every major artist in the UK.
The way he plays on this track is legendary. He uses a Music Man StingRay bass to create these liquid, almost vocal-like slides. It gives the song a sophisticated, "blue-eyed soul" vibe that separated Paul Young from the typical synth-pop acts of the era. It felt more expensive. More grown-up.
Why the Charts Went Crazy
Timing is everything in the music business.
Young was coming off the massive success of "Wherever I Lay My Hat (That's My Home)," which had already hit number one. Expectations were sky-high. When "Come Back and Stay" dropped in September 1983, it didn't disappoint.
It peaked at number 4 in the UK, but in Germany, Switzerland, and Belgium? It went straight to number 1.
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It’s easy to see why. The song is a masterclass in tension and release. You’ve got the backing vocals from The Fabulous Wealthy Tarts (Kim Lesley and Maz Roberts) providing this sharp, rhythmic contrast to Paul’s emotive lead. They aren't just singing backup; they are an instrument in their own right. "Please hurry... why don't you come back?"
It’s catchy, sure. But it’s also kind of dark.
The Video and the Look
The music video played a huge role in the song's "Discover" factor. It featured Paul in a grainy, noir-ish setting, chasing after a woman in a desert or a shadowy room—standard 80s stuff, but executed with style. It cemented his image as the sensitive soul man of the MTV generation.
By the time he performed it at Live Aid in 1985, the song had become a staple. Watching that footage now, you can see how much he leaned into the drama of the lyrics. He wasn't just singing notes; he was pleading.
Decoding the Sound
What makes the production on No Parlez stand out is the "Wall of Sound" approach Laurie Latham took.
Everything is layered. You’ve got:
- Digital delays on the vocals that create an eerie ghosting effect.
- Fairlight CMI samples that were cutting-edge for 1983.
- Gated reverb on the snare that defines the "80s drum sound."
It’s a busy record, but it never feels cluttered. Everything has its place.
Even the B-side, "Yours," had its fans. But "Come Back and Stay" was the engine that kept the album at the top of the charts for weeks. In fact, No Parlez eventually went quadruple platinum in the UK. That’s over 1.2 million copies sold just in his home country.
Is it Still Relevant?
Kinda. Actually, definitely.
In 2010, the electronic artist Chicane sampled the track for a song simply titled "Come Back." It brought that iconic melody to a whole new generation of club-goers. It proved that the bones of the song—Jack Lee’s songwriting and that haunting hook—are indestructible.
If you go back and listen to the 12-inch "Scratch Mix" or the "Extended Club Version," you can hear how ahead of its time the production was. They were experimenting with "scratching" and breakbeats before those things were mainstream in pop music.
How to Appreciate It Today
If you want to really hear what the fuss was about, don't just stream the radio edit on a tiny phone speaker.
- Find the 12-inch version. The extended intro allows the atmosphere to build properly.
- Listen for the bass. Pay attention to how Pino Palladino fills the gaps between Paul's lyrics.
- Watch the Live Aid performance. It’s the song at its most raw and energetic.
Come Back and Stay represents a moment when pop music was allowed to be both incredibly popular and musically complex. It wasn't just a "flash in the pan" 80s hit. It was a perfectly constructed piece of blue-eyed soul that still holds up under the microscope forty years later.
Next time it comes on the radio, don't just change the station. Listen to the way those fretless bass slides interact with the backing vocals. It's a clinic in pop arrangement.
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Check out the original Jack Lee version on YouTube to see how far the song traveled from its power-pop roots to Paul Young's polished masterpiece. You might find you actually prefer the grit of the original, or it might make you respect the 1983 production even more.
Actionable Insights:
- Compare Versions: Listen to Jack Lee's 1981 original vs. Paul Young’s 1983 cover to understand how production styles can completely change a song's genre.
- Study the Bass: For aspiring musicians, Pino Palladino’s work on this track is a fundamental study in using a fretless bass in a pop context.
- Explore the Album: Don't stop at the singles; the full No Parlez album is a definitive document of early 80s UK soul-pop production.