Besides Finland they apparently did decent synth stuff in Czechoslovakia too.
In 1982 Eduard Parma Jr. recorded this semi-futuristic novelty-disco track in Prague and with it won a talent search contest held by a London radio station. It doesn’t take much more than two brain cells to come up with a title like King Kong in Hong Kong and the cover for this single is beyond awful, but there’s something oddly likable in this track. Much of this song’s charm for me lies in the fact that when it came out in 1982 the Iron Curtain was pretty much still intact and I’m quite sure, that Mr. Parma Jr had never been to Hong Kong much less seen the movie King Kong. In my mind this single represents hope and optimism in a similar way as people’s utopistic visions of the future from the same period. For Eduard it was his ticket out of the socialist regime. (Or so I like to imagine.)
Obviously this track also goes well together with the raging Far-East-Romanticism of the early 80’s (Aneka‘s Japanese Boy, Japan‘s Visions Of China, Alphaville‘s Big In Japan, Murray Head’s One Night In Bangkok to mention but a few.)
This being a synth blog and all, King Kong In Hong Kong also makes me think about the equipment Eduard had at his disposal in the early eighties Czechoslovakia. As I have understood, western products were generally considered evil & bad in the eastern bloc and it could well be that this track was done completely with army grade communist synths from the well known Ukrainian factories. That would make this song even more of an achievement. Trying to get his russian Polivoks and Elsita synths to stay in tune for the whole duration of this track must be what made Eduard look so tired on the rear of the single cover.
Tomi / Turku Synth Club