Bringing in producer Keith Forsey for their fourth record, the underrated 1984 Mirror Moves, the Psychedelic Furs continue to polish their Roxy Music- and David Bowie-influenced post-punk sound. Forsey was fresh off of a stint that found him producing a number of hit albums for Billy Idol and he maintains the same balance of pop approach and punk roots for the Furs as he did for former Generation X frontman Idol.
There is little punk rock attitude left in the gorgeous pop song "Heaven," however. Perhaps the only remnant of the old days is Richard Butler's expressively hoarse, decidedly British-accented voice. Forsey, who also drummed on disco don Giorgio Moroder's seminal dance productions, grounds "Heaven" in a Moroder-like foundation of 16th-note pulsing (on brother Tim Butler's bass and synthesizer) and keyboard string pads. The song screams "'80s!" but is filled with melodic hooks and themes played on John Ashton's very processed guitar and various keyboards. And Forsey wisely leaves Butler's vocals relatively natural sounding.
Butler makes the song. He is remarkably expressive in his phrasing and in his extraordinary voice. The sweet melody is sung over a classic pop/folk chord progression that descends in half steps. For all its modern posing, "Heaven" is really just Byrds-ian folk-rock song at its core, right down to its wistful and trippy lyrics: "Heaven is the home of our heart/And heaven don't tear you apart/There's too many kings wanna hold you down/And a world at the window gone underground/There's a hole in the sky where the sun don't shine/And a clock on the wall and it counts my time." The song's sweet and plaintive chorus begins and makes maximum appearances in the song in classic hit-single fashion; you just can't get enough of it.