Tag: La Düsseldorf (Page 1 of 4)

The Electronic Legacy of VARIOUS ARTISTS

So come on, whose first album was a various artists compilation?

They were the biggest sellers for a decade and had dominated the UK album charts so much so that they were given their own!

In 1966, the Canadian budget household gadget firm K-Tel diversified into the territory of compilation albums with ‘25 Country Hits’; it was a surprise success and this comparatively new idea of collecting a number of artists onto an album based around a single theme was expanded further.

K-Tel negotiated directly with artists and labels for the rights to reproduce the original recordings, but where this was not possible, the company would contract “one or more of the original artists” to make a new recording for the compilation, under the premise that the general public generally could not tell the difference between a re-recording and the original.

However, UK budget label Pickwick Records via their Hallmark imprint went one step further in 1968 by producing compilations of the latest hits but as rush-recorded soundalike cover versions under the title ‘Top Of The Pops’ which had nothing to do whatsoever with the BBC TV show; it was all perfectly legal thanks to an oversight by the corporation on trademark.

Purchasers unknowingly got treated to unique interpretations of ‘Autobahn’ and ‘The Model’ by anonymous session musicians who quite obviously had only learnt the song ten minutes before entering the studio. Although demand for such records had dimmed by 1981, acts such as SOFT CELL were still unable to escape with ‘Say Hello Wave Goodbye’ hilariously reduced to geezer pub rock! The singer was revealed to be one Martin Jay who a few years earlier had treated the world to his cloak and dagger take on ‘Are Friends Electric?’.

The albums from K-Tel attempted to cram as many songs as possible onto the 12 inch vinyl format. In order to accommodate this philosophy within its physical limitations, many of the tracks were usually faded out early or came in unusual and often clumsy edits, but even these versions were sought after by loyal fans, thus making the records they came from valued collector’s items.

The various artists compilation album changed forever in 1983 when Virgin and EMI joined forces to produce the ‘Now That’s What I Call Music’ series which at the last count had reached ‘Now 106’ and spawned numerous spin-offs and even cable TV channels. In 1984, Sony BMG and Warner Music joined in the action with the ‘Hits’ series, but such was the domination in the UK of these types of albums that in 1989, they were given their own chart and excluded from the main one!

For electronic pop, ‘Machines’ released by Virgin Records in 1980 was one of the first attempts to gather music using synthesizers into one place, but the entry point for many new fans was 1981’s ‘Modern Dance’ on K-Tel. This well-thought out collection saw youngsters saving up their pocket money for their first record purchase or asking Santa to put it into their Christmas stocking, thanks to Radio1 DJ Peter Powell declaring that ‘Modern Dance’ was “The best of total danceability, the sounds of modern dance, on one LP!”.

As with greatest hits albums, what makes a great various artists compilation is a seamless listening experience where possible, or at least more killer than filler. However the continuous DJ mix was a particular irritant running through compilations for a period and rarely worked with classic material or recordings not specifically aimed at the clubland.

However, staying within theme on a compilation is VERY important and straying just slightly can spoil a whole concept, especially if it has been outlined in the title. Soul Jazz Records’ lushly packaged ‘Deutsche Elektronische Musik’ sets over two volumes contained a wide range of freeform experimental works from Germany, but occasionally forgot about the Trade Descriptions Act implications of its title. Meanwhile, ‘Reward’ by post-punk trip-poppers THE TEARDROP EXPLODES had a regular place on collections such as ‘Club For Heroes’, ‘New Romantic Classics’, ‘It’s Electric’ and ‘Our Friends Electric’ despite being brass dominated.

But the nadir came with ‘Synth Pop’, a 3CD collection by Sony Music in 2015 which totally missed the point by featuring AZTEC CAMERA and HAIRCUT 100!??! Now while the inclusion of IMAGINATION’s ‘Body Talk’ with its iconic Moog bassline could be justified, the set highlighted just how much the modern day definition of “synth pop” had become particularly blurred…

Now while some listeners just want endless hits on various artists compilations, others want to be informed and introduced to some lesser-known or rare songs. However, this latter approach can meet with mixed results.

For example, Cherry Red’s ‘Close To The Noise Floor’ and the Trevor Jackson’s ‘Metal Dance’ series were historically fascinating, but not always easy collections to listen to in one sitting. With some of the music close to being unlistenable, it could be akin to studying a hefty text book… highly educational but not always entirely fun!

So The Electricity Club takes a personal look at the electronic legacy of various artists via twenty notable compilation albums, each with valid reasons for their inclusion, presented in yearly and then alphabetical order within.

Yes, several songs reoccur over a number of these releases, but perhaps that is more an indication of their timeless nature. These were tunes that were dismissed by the press and wider public back in the day, but are now considered classic and part of the cultural heritage.


MACHINES (1980)

Having seen the future and signed THE HUMAN LEAGUE as well as OMD through their Dindisc subsidiary, Virgin Records had the foresight to issue a long playing showcase of acts that used synthesizers as their primary instrumentation. As well as their two great hopes, among the outsiders on board were TUBEWAY ARMY, FAD GADGET, SILICON TEENS and DALEK I LOVE YOU. While XTC’s B-side ‘The Somnambulist’ appeared to be incongruous, this was from the band’s synth experimentation period before going more acoustic on 1982’s ‘English Settlement’.

‘Machines’ was released by Virgin Records

https://www.discogs.com/Various-Machines/master/59149


METHODS OF DANCE (1981)

This compilation had actually been the idea of David Sylvian, hence why it was named after the JAPAN song although their contribution would be ‘The Art Of Parties’. Virgin presented their embarrassment of riches including BEF, DEVO, DAF, SIMPLE MINDS and MAGAZINE while the primary selling point was a new special dub edit of THE HUMAN LEAGUE’s ‘Do Or Die’ acting as a trailer to ‘Love & Dancing’. The cassette featured more tracks including John Foxx and the actual undanceable ‘Methods Of Dance’ song in place of ‘The Art Of Parties’!

‘Methods Of Dance’ was released by Virgin Records

https://www.discogs.com/Various-Methods-Of-Dance/master/43926


MODERN DANCE (1981)

1981 was when the sound of electronic pop was virtually everywhere, so the release of ‘Modern Dance’ was perfect synthchronicity. Featuring superb singles from the stellar cast of OMD, THE HUMAN LEAGUE, HEAVEN 17, JAPAN, DEPECHE MODE, SIMPLE MINDS, VISAGE, LANDSCAPE, FASHION and THE CURE as well as synth trailblazers John Foxx and Gary Numan, an indicator of how supreme this compilation was came with the fact that its most obscure track ‘A World Without Love’ by little known combo THE NEWS was rather good!

‘Modern Dance’ was released by K-Tel Records

https://www.discogs.com/Various-Modern-Dance/release/504872


SOME BIZZARE ALBUM (1981)

Stevo Pearce’s compendium of new Futurist acts has gone into folklore, having launched the careers of DEPECHE MODE, SOFT CELL, BLANCMANGE, THE THE and B-MOVIE. Several of acts who didn’t make it were also superb. THE FAST SET’s cover of Marc Bolan’s ‘King Of The Rumbling Spires’ was enjoyable electro-macabre while ‘Tidal Flow’ by ILLUSTRATION is one of the great lost songs of the era, the band themselves disappearing despite securing the services of Martin Hannett to produce their debut single ‘Danceable’, but it was never finished…

‘Some Bizzare Album’ was released by Some Bizzare

https://www.discogs.com/Various-Some-Bizzare-Album/master/2754


CLUB FOR HEROES (1992)

It took a few years for people to realise just how good the music from the New Romantic era was, so how better than to celebrate it than a compilation named after one of Steve Strange and Rusty Egan’s club nights. Featuring the all-star cast of DURAN DURAN, SPANDAU BALLET, ULTRAVOX, VISAGE, SOFT CELL and JAPAN, other acts who also got entry into the party were YAZOO, ABC, TALK TALK and CLASSIX NOUVEAUX while most welcome were ICEHOUSE with their eponymous single.

‘Club For Heroes’ was released by Telstar Records

https://www.discogs.com/Various-Club-For-Heroes/master/120444


IT’S ELECTRIC (1994)

Gathering nineteen “Classic Hits From An Electric Era” including the full length ‘Blue Monday’ from NEW ORDER, ‘It’s Electric’ was largely, a more purist synth collection than ‘Club For Heroes’. Alongside the usual suspects were A FLOCK OF SEAGULLS, TEARS FOR FEARS, BRONSKI BEAT, KRAFTWERK, EURYTHMICS, BRONSKI BEAT and ERASURE. However, this collection featured the album version of ‘Tainted Love’ instead of the single, a mistake that would be repeated again and again even on SOFT CELL’s own compilations.

‘It’s Electric’ was released by Dino Entertainment

https://www.discogs.com/Various-Its-Electric-Classic-Hits-From-An-Electric-Era/master/37974


DAWN OF ELECTRONICA (2000)

A tie-in with Uncut magazine celebrating “a music synonymous with futurism”, ‘Dawn Of Electronica’ included the album version of ‘From Here To Eternity by Giorgio Moroder and for the first time on CD, the Some Bizzare version of ‘Remembrance Day’ by B-MOVIE. With the likes of DAF, SUICIDE, ASSOCIATES, CABARET VOLTAIRE, PROPAGANDA, THE ART OF NOISE and YELLO alongside TUBEWAY ARMY, ULTRAVOX, JAPAN and SOFT CELL, this compilation was something a bit different compared to the ones that had come before.

‘Dawn Of Electronica’ was released by Demon Music Group

https://www.discogs.com/Various-Dawn-Of-Electronica-Uncut/release/577680


ELECTRIC DREAMS (2002)

Like ‘Teenage Kicks’ for punk and new wave, there are far too many compilations named ‘Electric Dreams’. This 2CD affair from Virgin Records comprised of thirty-eight “synth pop classics”. For once, this was a compilation documenting the different electronic pop phases including trailblazing analogue electro and the advent of digital sampling that actually worked. From ‘The Model’ and ‘Electricity’ to ‘Relax’ and ‘19’, with ‘We Are Glass’, ‘Yellow Pearl, ‘Say Hello Wave Goodbye’ and ‘Absolute’ in between, this was one of the best releases of its type.

‘Electric Dreams’ was released by Virgin Records

https://www.discogs.com/Various-Electric-Dreams/release/322736


THIS IS NOT THE 80s (2002)

Subtitled “A Nu-Wave Electro Compilation”, this modern collection brought out the electro in Electroclash with gloriously klanky drum machines in abundance. The undoubted star was Miss Kittin with four tracks including the mighty scene anthem ‘You & Us’ with Michael Amato aka THE HACKER; meanwhile the man himself and Anthony Rother each had three contributions in various guises. FPU, DOPPLEREFFEKT and ADULT. were among those helping to bring the sound of vintage electronic pop into the 21st Century for the club crowd.

‘This Is Not The 80s’ was released by Incredible / Sony Music

https://www.discogs.com/Various-This-Is-Not-The-80s-A-Nu-Wave-Electro-Compilation/master/375573


THIS IS TECH-POP (2002)

Compiled by Ministry Of Sound, ‘This Is Tech-Pop’ was a representative snapshot of electronic music at the start of the 21st Century. However the “Tech-Pop or Electroclash or Synth-Core or Neu-Electro” legend in the booklet highlighted the dance music’s daft obsession with categorisation. But the music from the likes of FISCHERSPOONER, TIGA & ZYNTHERIUS, FC KAHUNA, WALDORF, ZOOT WOMAN, LADYTRON, SOVIET, FELIX DA HOUSECAT, CIRC and GREEN VELVET was mostly excellent, although DJ mixing the tracks together clouded the listening experience.

‘This Is Tech-Pop’ was released by Ministry Of Sound

https://www.discogs.com/Various-This-Is-Tech-Pop/release/50649


ELECTRICITY 2 An Electronic Pop Sampler (2003)

‘Electricity 2’ came at a time when the only platform for UK and Irish synth acts seemed to be Ninthwave Records in the USA. It featured HEAVEN 17’s first new song for six years in the ‘Music Sounds Better With You’ influenced ‘Hands Up To Heaven’ as well as material by WHITE TOWN, SPRAY and EMPIRE STATE HUMAN. Among the highlights were ‘The Machines’ by MASQ which sounded like a bizarre Gaelic synthpop take on Gary Numan and the comical ‘Alan Cumming’ by TURD FERGUSON which satirically sent up ‘Frank Sinatra’ by MISS KITTIN & THE HACKER.

‘Electricity 2’ was released by Ninthwave Records

https://www.discogs.com/Various-Electricity-2-An-Electronic-Pop-Sampler/release/730718


ROBOPOP Volume 1 (2003)

Compiled by Wayne Clements of Essex duo MACONDO for his own Lucky Pierre imprint, ‘Robopop’ was possibly the closest thing to the ‘Some Bizzare’ album in the 21st Century. Heading the line-up were the-then newly configured CLIENT and MY ROBOT FRIEND while Mute stalwarts KOMPUTER contributed the previously unreleased ‘My Private Train’. The stand-outs though were machine funksters ALPINE STARS, irreverent retro-poppers BAXENDALE and VIC TWENTY featuring Piney Gir with a delicious synth cover of Lynsey de Paul’s ‘Sugar Me’.

‘Robopop Volume 1’ was released by Lucky Pierre Recordings

https://www.discogs.com/Various-Robopop-Volume-I/release/296881


RETRO:ACTIVE 5 (2006)

Compiled by Alex Hush, now of U2 and ERASURE remixers DAYBREAKERS, ‘Retro:Active 5’ pulled off the feat of gathering twelve classic 12 inch extended versions into a listenable programme. Longer takes of ‘I’ve Been Losing You’ by A-HA and ‘Pretty In Pink’ by THE PSYCHEDLIC FURS led the way with BLANCMANGE and DEAD OR ALIVE in support. But the biggest selling points were the ultra-rare ‘Love Cascade’ from LEISURE PROCESS and ‘More To Lose’ by SEONA DANCING, the synthpop duo fronted by Ricky Gervais.

‘Retro:Active 5’ was released by Hi-Bias Records

https://www.discogs.com/Various-RetroActive5-Rare-Remixed/release/719639


ROBOPOP The Return (2006)

For ‘Robopop The Return’, Wayne Clements was joined by production duo MANHATTAN CLIQUE who co-released the compilation via their own Planet Clique label. Described as “Essential Electro Pop”, it was a much higher profile release than its predecessor with GOLDFRAPP, THE KNIFE, TIGA and DRAGONETTE all on board. Also present were THE MODERN relaunching themselves as MATINEE CLUB while HUSKI, FORMATIC, LORRAINE and SOHO DOLLS were among the worthy lesser-known inclusions. A bonus DJ mix by MANHATTAN CLIQUE also featured.

‘Robopop – The Return’ was released by Planet Clique / Lucky Pierre

https://www.discogs.com/Various-Manhattan-Clique-Robopop-The-Return/release/1410368


CHILLTRONICA A Definition No1 (2008)

Electronic music of a more downtempo disposition compiled by BLANK & JONES, perhaps unsurprisingly, the most exquisite tracks featured female vocalists with Sarah Nixey just pipping the highlight honours on her cover of JAPAN’s ‘Ghosts’ with INFANTJOY over Claudia Brücken guesting on the hosting trance DJ duo’s ‘Don’t Stop’. ‘Ghost Trains’, a solo tune by KINGS OF CONVENIENCE and RÖYKSOPP vocalist Erlend Øye was a livelier number that actually worked alongside chilled out tracks by THE GRID, BLISS, SPOOKY, MARCONI UNION and DEPECHE MODE.

‘Chilltronica – A Definition No1’ was released by Soundcolours

https://www.discogs.com/Blank-Jones-Chilltronica-A-Definition-No1/release/1714901


ELECTRI_CITY 1_2 Elektronische Musik Aus Düsseldorf (2016)

Tying in with Rudi Esch’s book about the German city of Düsseldorf’s music heritage, ‘ELECTRI_CITY 1_2’ gathered the more accessible elements of Deutsche Elektronische Musik, Kosmische and Neue Deutsche Welle. Featuring RIECHMANN, DAF, DER PLAN, DIE KRUPPS, LIAISONS DANGEREUSES, RHEINGOLD, HARMONIA, LA DÜSSELDORF, NEU! and pre-PROPAGANDA girl group TOPLINOS featuring a very young Claudia Brücken and Susanne Freytag, this two volume collection was like a journey of discovery with the benefit of a local tour guide.

‘ELECTRI_CITY 1_2 – Elektronische Musik Aus Düsseldorf’ was released by Grönland Records

https://www.discogs.com/Various-ELECTRI_CITY-1_2/release/8919263


NEW ORDER Presents Be Music (2017)

Be Music was the moniker of NEW ORDER used to cover studio production work by all four members of the band. This boxed set gathered these varied recordings which involved either Bernard Sumner, Peter Hook, Stephen Morris, Gillian Gilbert and combinations thereof, with notable solo tracks from Marcel King, Paul Haig and Winston Tong alongside those of 52ND STREET, SECTION 25, THE BEAT CLUB, SHARK VEGAS and AD INFINITUM’s cover of ‘Telstar’ which many believed was NEW ORDER in disguise but actually only featured Hooky.

‘NEW ORDER Presents Be Music’ was released by Factory Benelux

https://www.factorybenelux.com/new_order_presents_be_music_fbn60.html


ELECTRICAL LANGUAGE Independent British Synth Pop 78-84 (2019)

From the team that put together the ‘Close To The Noise Floor’ series, the 4CD ‘Electrical Language – Independent British Synth Pop 78-84’ did as it said on the tin and with a far more accessible template, was all the better for it. With THE HUMAN LEAGUE, OMD, THE NORMAL and FAD GADGET included to draw in the more cautious consumer, purchasers were treated to a plethora of wonderful lesser known acts like FIAT LUX, BOX OF TOYS, LORI & THE CHAMELEONS, PASSION POLKA, TESTCARD F, EDDIE & SUNSHINE and JUPITER RED. Meanwhile, the best novelty item was a Schaffel driven cover of Alvin Stardust’s ‘My Coo Ca Choo’ by BEASTS IN CAGES; half of the band went on to form HARD CORPS!

‘Electrical Language – Independent British Synth Pop 78-84’ was released by Cherry Red Records

https://www.cherryred.co.uk/product/electrical-language-independent-british-synth-pop-78-84-various-artists-4cd-48pp-bookpack/


THE ELECTRICITY CLUB (2019)

Comprising of thirty-four tracks from 2009 to 2015, ‘The Electricity Club’ compilation has stood the test of time, scrutiny and repeated plays. With ERASURE heading the line-up alongside a MARSHEAUX remix of Katy Perry and acts such as MIRRORS, SIN COS TAN, VILE ELECTRODES, NIGHT CLUB, ARTHUR & MARTHA, KID MOXIE, MESH and ELECTRONIC CIRCUS. In hindsight, the weakest link comes surprisingly from one of the star attractions, coming as a result of the licencing compromises that often have to be made when the first and second choices get declined 😉

‘The Electricity Club’ was released by Amour Records / Minos EMI / Universal Music in collaboration with Undo Records

http://www.electricityclub.co.uk/the-electricity-club-2cd-compilation/


THE TEARS OF TECHNOLOGY (2020)

Compiled by Pete Wiggs and Bob Stanley of SAINT ETIENNE, what ‘The Tears Of Technology’ had was a heartfelt suite of music which captured the essence of its title. At its centre was OMD’s sub-eight minute adventure ‘Sealand’ alongside synthy diversions by THE TEARDROP EXPLODES and THE PALE FOUNTAINS, with the Merseyside connection extended to CARE and CHINA CRISIS. Scotland got also got a look in courtesy of Paul Haig and Thomas Leer. The rare ‘Direct Lines’ by Chris Payne’s ELECTRONIC CIRCUS found itself a place too.

‘The Tears Of Technology’ was released by Ace Records

https://acerecords.co.uk/bob-stanley-pete-wiggs-present-the-tears-of-technology-1


Text by Chi Ming Lai
2nd August 2020

MUSIK, MUSIC, MUSIQUE 1980: The Dawn Of Synth Pop

1977 is often seen as Year Zero for synthpop, thanks to hit singles by DONNA SUMMER, SPACE and JEAN-MICHEL JARRE.

But it was not until 1979 with TUBEWAY ARMY reaching No1 with ‘Are Friends Electric?’ that the sound of synth truly hit the mainstream.  Although ‘No1 Song In Heaven’ by SPARKS had actually been a hit a few months earlier, ‘Are Friends Electric?’ was the beginning of the synth being accepted as a worthy mode of expression, rather than as a novelty. But as synths became more affordable, they became the perfect tool of youthful expression.

From Cherry Red, makers of the excellent ’Electrical Language: Independent British Synth Pop 78-84’ 4CD boxed set, comes ‘Musik Music Musique’; subtitled ‘1980: The Dawn Of Synth Pop’, this 3CD 58 track collection explores the arrival of synth pop and the dawn of a new musical era. This was the year before the synth became the rule rather than the exception with the success of SOFT CELL and DEPECHE MODE.

The set starts appropriately with OMD and ‘Messages’, one of the first tunes showcasing the warmer side of electronics following the colder wave led by Messrs Numan and Foxx. But as if to counter this next generation of youngsters, ‘Messages’ is immediately followed by the collection’s vocoder laden title song ‘Musik Music Musique’ from Zeus B Held and the superb proto-industrial ode to loveless sex ‘Coitus Interruptus’ by the much missed FAD GADGET.

Zeus B Held was later to make his impression on popular culture remixing ALPHAVILLE and SIMPLE MINDS as well producing the likes of FASHION, DEAD OR ALIVE, SPEAR OF DESTINY and TRANSVISION VAMP, but his wider breakthrough came as part of GINA X PERFORMANCE in 1979 with The Blitz Club favourite ‘No GDM’; on this compendium, the lesser-known but just as worthy ‘Vendor’s Box’ from their second album ‘X-Traordinaire’ is deservedly provided a platform.

The best producers often earn their spurs as artists and realising their limitations, use their accumulated studio nous to subvert the mainstream via pop. ‘Astroboy’ by BUGGLES sees Trevor Horn develop his sonic architecture to prove that he had another song that wasn’t ‘Video Killed The Radio Star’. Meanwhile the welcome inclusion of NEW MUSIK’s other hit ‘This World Of Water’ allows Tony Mansfield to showcase the crafted sparkle that would later go on to adorn records by CAPTAIN SENSIBLE, VICIOUS PINK, A-HA and NAKED EYES.

It may seem strange to see SPANDAU BALLET as part of this package but when they first appeared, they were considered a synthesizer band; ‘Glow’ was a UK double A side single with ‘Musclebound’ in 1981 and while it was the last synth-led track they did, their funk soul aspirations were there for all to hear. In fact, songwriter Gary Kemp had conceived ‘Glow’ with a brass section in mind, so it is now something of a curio that could be seen as a precursor to ‘Chant No1’.

SPANDAU BALLET were produced by Richard James Burgess who co-designed the Simmons SDSV; his electro-jazz combo LANDSCAPE figure with the Colin Thurston helmed ‘European Man’ which was actually designated “electronic dance music” on its single artwork some three decades before it was appropriated and abbreviated to become EDM…

Many of the usual suspects from the period like VISAGE, JAPAN, JOHN FOXX, THE HUMAN LEAGUE and OUR DAUGHTER’S WEDDING are all present and correct with familiar recordings, but interestingly (although not for the better), it’s the original version of PHIL LYNOTT’s ‘Yellow Pearl’ without the Rusty Egan drums or the Midge Ure remix that gets the nod!

One of the main beauties of these thoughtfully curated collections is to be able sway away from the obvious and feature a known-name with a lesser-known work; in the case of ULTRAVOX, it’s the occasionally Eno-inspired and Conny Plank produced ‘Waiting’ which was the B-side to their first Midge Ure fronted single ‘Sleepwalk’. Meanwhile, SUICIDE are represented by the excellent Ric Ocasek produced ‘Diamonds, Fur Coat, Champagne’ and YELLO with ‘Bimbo’, the oddball opener of the Swiss trailblazers’ debut long player ‘Solid Pleasure’.

SILICON TEENS get to feature with something other than ‘Memphis Tennessee’ and it’s the Daniel Miller‘s self-penned instrumental ‘Chip N Roll’ that has the honour, while the Mute Records founder gets another track in with ‘Brushing Your Hair’, a gloriously vibrant instrumental production and co-write for Alex Fergusson of ALTERNATIVE TV.

There’s additionally tracks by lesser known international acts or those bands that faded from view after effectively being one hit wonders. The entire career of M may have been overshadowed by the ubiquitous ‘Pop Muzik’ but Robin Scott did go on to release three albums and work with Ryuichi Sakamoto; the sombre ‘Official Secrets’ may not really have much of a hook but it contains some percolating bleepy sections that pre-date KRAFTWERK’s ‘Home Computer’ by one year.

‘A Circuit Like Me’ from Australian combo, THE METRONOMES actually sounds very 21st century with its detached female vocal and charming monosynths, while the gallop of ‘Drawn & Quartered’ by THE KORGIS is a worthy find. Now while ROCKETS found fame with a catchy robotic flavoured cover of ‘On The Road Again’ with the help of Zeus B Held, the silver faced Italians found that the vocoder suited their performance art poise and reapplied it for the self-penned space rocker ‘Galactica’.

Also possessing a bit of a gallop is LORI & THE CHAMELEONS’ wispy Morricone-influenced single ‘The Lonely Spy’ although with its acoustic strum, it is quite different from the understated electronic disco of their best known track ‘Touch’. Cut from a similar melodic post-punk cloth, the Martin Hannett produced ‘Sympathy’ from PAULINE MURRAY & THE INVISIBLE GIRLS is a reminder of how women were coming to the fore after punk in synth-assisted new wave, a fact borne out on ‘Musik Music Musique’ by the inclusion of more obscure works from TOYAH, KIM WILDE and HAZEL O’CONNOR.

‘Musik Music Musique’ is also an opportunity to become reacquainted with lost tunes of yore and ‘The Eyes Have It’ by KAREL FIALKA will be remembered by those who owned the 1980 Virgin Records compilation ‘Machines’, as will the octave driven ‘Destiny’ by DALEK I LOVE YOU. Some enjoyably avant pop adventures come courtesy of XYNN’s ‘Computed Man’ and SCIENCE’s ‘Tokyo’, while one of the more bizarre but successful experiments included is ‘I’m A Computer’ by THE GOO-Q.

One of the lesser known acts featuring with the eccentric ‘Money’ is MOEBIUS, not the member of German duo CLUSTER but an American art rock band with a penchant for DEVO. ‘Doctor …?’ by BLOOD DONOR is another wonderful discovery while of the more experimental art pieces included, NINI RAVIOLETTE’s ‘Suis-Je Normale’ delightfully comes over like a collaboration between Jane Birkin and Laurie Anderson.

Düsseldorf is often seen as the spiritual home of electronic music and there is worthy representation from DER PLAN and ‘Da Vorne Steht Ne Ampel’ illustrating how there were other dimensions to German electronic music other than that engineered by KRAFTWERK. But closing the set is the band named after the Electri_City itself, LA DÜSSELDORF with the light-hearted ‘Dampfriemen’; a quirky slice of synth “Oompah” with comedic chants and a kazoo section, it sums up the manic oddball nature of the former NEU! drummer Klaus Dinger.

There are many other tracks that have merit, but textures which reoccur on ‘Musik Music Musique’ to date stamp the period are the icy chill of the affordable ARP Quartet string machine and squawky sax, although not in an overblown jazz funk way.

Despite ‘Musik Music Musique’ comprising of a carefully researched tracklisting, a few errors do slip through; as well as the SPANDAU BALLET track being released in 1981 as already mentioned (although it was available on a very scarce Japanese-only promo sampler in late 1980), the version of ‘Kebabträume’ by DAF is the 1982 Conny Plank version from the Virgin album ‘Für Immer’ and not the Bob Giddens produced Mute Records five piece band recording which actually came out in 1980.

Then in the booklet, the Foxx fronted 1977 line-up of ULTRAVOX! gets illustrated as opposed to the New Romantic suited Midge Ure one, while LA DÜSSELDORF’s Hans Lampe is referred to as a “Keyboard Whizz” when he is actually a drummer and now performs with Michael Rother who was Klaus Dinger’s partner in NEU!; in fact Dinger handled keyboards himself under the pseudonym of Nikolaus Van Rhein.

Those are minor quibbles though, because this set is very good value and acts as a great music history lesson as well as offering the chance to hear some new vintage synth. While many may have heard of BERLIN BLONDES, THE PASSAGE, THE FALLOUT CLUB and EYELESS IN GAZA, only a few will have heard their music.

‘Musik Music Musique’ offers something of a low risk opportunity to make some new friends while becoming reacquainted with a few old and lost ones. Here’s to the 1981 follow-up set…


‘Musik Music Musique – 1980: The Dawn Of Synth Pop’  is released on 31st July 2020 as a 3CD boxed set by Cherry Red Records

https://www.cherryred.co.uk/product/musik-music-musique-1980-the-dawn-of-synth-pop-various-artists-3cd/


Text by Chi Ming Lai
13th July 2020

TEC’s 25 SONGS OF THE BLITZ CLUB

The soundtrack of The Blitz Club was provided by its resident DJ Rusty Egan and its story is more than well documented.

This vibrant post-punk scene, whose flamboyant clientele were dubbed ‘Blitz Kids’, ‘The Cult With No Name’ and ‘New Romantics’, became the catalyst for several bands including VISAGE, SPANDAU BALLET and CULTURE CLUB, as well as assorted fashion designers, visual artists and writers.

Rusty Egan told The Electricity Club: “I just played as much as I could fit in, it was not all disco. It was a bar and opened after work. I’d arrive 8.30–9.00pm and played all my faves till it was packed, then I got them dancing and at the end, I slowed down”.

The dancing style at The Blitz Club often involved the swaying of arms at a distance from the face like slow motion maraca shaking so as not to spoil any carefully hairsprayed styles. Meanwhile, feet movements were often impossible as the small dancefloor was often overcrowded!

With Steve Strange as doorman and fashion gatekeeper, the concept for what was initially a “Bowie Night” came together at Billy’s nightclub in Soho in Autumn 1978 in an effort to find something new and colourful to escape the oncoming drabness in the Winter Of Discontent. After a disagreement with the owners of Billy’s, the pair moved their venture to The Blitz Club.

Although Rusty Egan had been a soul boy and an active participant in punk through a stint rehearsing with THE CLASH and then as a member of THE RICH KIDS with Midge Ure, the two friends became fascinated with electronic dance music though the Giorgio Moroder produced ‘I Feel Love’ by Donna Summer and KRAFTWERK’s ‘Trans Europe Express’ album which had been a surprise favourite in New York discos and whose title track referenced David Bowie.

“There was a couple of years of punk which Midge Ure and myself weren’t too impressed with in terms of the clubs and the environment in Thatcherite Britain, it was horrible in Manchester, Birmingham and Liverpool!” recalled Egan, “So we were just trying basically to grasp the good in life, trying to be positive in a very negative time.”

Although Egan curated an eclectic playlist of available synth works supplemented with soundtracks and relatable art rock tunes, tracks were comparatively scarce in this new innovative electronic form.

So with studio time available following the split of THE RICH KIDS, Ure and Egan hit upon the idea of making their own electronic dance music for The Blitz Club, fronted by Steve Strange.

Ure came up with the name VISAGE for the project and presented the demo to his then employers at EMI Records, but it was rejected! Undeterred, the pair recruited Billy Currie from a then-in hiatus ULTRAVOX plus MAGAZINE’s Dave Formula, John McGeoch and Barry Adamson to record the first VISAGE album at the-then newly constructed Genetic Studios of Martin Rushent.

When Billy Currie toured with Gary Numan in 1979, he and fellow keyboardist Chris Payne composed what was to become ‘Fade To Grey’; it was included on the eventual ‘Visage’ album released by Polydor Records in 1980 and the rest is history, reaching No1 in West Germany!

VISAGE was the beauty of the synthesizer played with symphonic classical overtones fused to the electronic dance beat of Neu Europa and visually styled like a cross between the Edwardian dandies and Weimar Cabaret. Midge Ure remembered “it was a major part of my life and Steve was a major part of that period”.

The meeting of Ure and Currie in VISAGE led to the diminutive Glaswegian joining a relaunched ULTRAVOX who released the iconic ‘Vienna’ album in 1980. Co-produced by Conny Plank, the German always thought in terms of sound and on the title song, he imagined an old man at a piano in a desolate theatre who had been playing the same tune for forty years.

And when Billy Currie came to record his ivory parts, that was exactly the feel which Plank had engineered. It was to become a ‘Bohemian Rhapsody’ for the New Romantic movement when it was released as a single, stalling at No2 despite being one of the best selling singles of 1981, gracing the UK charts at the same time as ‘Fade To Grey’.

Having started as a “Bowie Night”, the man himself became fascinated by this emergent cult with no name that he had inspired. In 1980, Jacqueline Bucknell, an assistant from his label RCA who was also a Blitz Kid, had taken Bowie down to The Blitz Club to cast extras to appear in a video for his new single ‘Ashes To Ashes’; among the chosen ones was Steve Strange.

Utilising Roland guitar synths and an ARP string machine with a final burst of ARP Odyssey, David Bowie saw ‘Ashes To Ashes’ as an epitaph for his artistic past as he lyrically revisited the Major Tom character from ‘Space Oddity’ over a decade on.

With this, The Blitz Club had now become a mainstream phenomenon as the BBC’s Nationwide programme sent an investigative team in, signalling a changing of the guard in popular culture with parallel scenes going on at The Rum Runner in Birmingham, The Warehouse in Leeds and Crocs in Rayleigh from which DURAN DURAN, SOFT CELL and DEPECHE MODE were to respectively gain their fledgling followings.

The perceived elitist exclusivity of The Blitz Club had partly become legend as a result of Steve Strange refusing entry to Mick Jagger for his sporting of blue jeans. Playing on this and adopting its electronic aesthetic to attract attention, five lads from Islington formed SPANDAU BALLET and initially only performed at special events which were by invitation only. Essentially becoming The Blitz Club’s house band, the quintet later scored worldwide success with a less radical sanitised pop soul sound.

Singer Tony Hadley said to The Electricity Club: “Our first album The ‘Journeys To Glory’ will always be one of my favourite Spandau albums, we were just young excited lads trying to make our mark on the world. There’s a rawness and energy on that album that is impossible to recreate. I love synthpop and still one of my favourite songs is SPANDAU BALLET’s first release ‘ To Cut A Long Story Short’.”

Not all enjoyed their visits to The Blitz Club; Billy MacKenzie notably highlighted the vapid nature of the scene in ASSOCIATES’ second hit single ‘Club Country’. But buoyed by its success, Steve Strange and Rusty Egan eventually vacated The Blitz Club and took over The Music Machine in 1982 and relaunched it as The Camden Palace, making it one of the UK’s first modern superclubs.

But the spirit of The Blitz Club still lives on and recently, there came the surprise announcement that Zaine Griff was to join Rusty Egan and ‘Fade To Grey’ co-writer Chris Payne to perform the songs of VISAGE in an audio-visual presentation at a number of events across Europe including W-Festival in Belgium.

Using Dave Rimmer’s 2003 book ‘New Romantics: The Look’ as an initial reference point and calling on the memories of Rusty Egan himself to verify whether he had actually played these songs in his DJ sets, here are The Electricity Club’s 25 Songs Of The Blitz Club to celebrate the flamboyant legacy of that Blitz Spirit.


ROXY MUSIC Both Ends Burning (1975)

Following-up the hit single ‘Love In The Drug’, ‘Both Ends Burning’ was ROXY MUSIC’s second ‘Siren’ call. With Bryan Ferry’s stylised but anguished vocals, it was a track which laid down the sophisticated art pop trail that JAPAN and DURAN DURAN would later be pursuing. Featuring a prominent coating of ARP Solina string machine sweetened by hypnotic bass and squawky sax, ‘Both Ends Burning’ is probably the most under rated single in the Roxy canon.

Available on the ROXY MUSIC album ‘The Best Of’ via Virgin Records

https://www.roxymusic.co.uk/


BRIAN ENO Kings Lead Hat (1977)

With a title that was an anagram of TALKING HEADS, the New York art school combo were the inspiration for the frantic metallic romp of ‘Kings Lead Hat’ which became a favourite at The Blitz Club. Brian Eno aped David Byrne in his vocal delivery, while he was later to produce three of the band’s albums as he moved further away from art rock as a solo artist. The song was later covered by ULTRAVOX in their live sets during the early phase their Midge Ure-fronted incarnation.

Available on the BRIAN ENO album ‘Before & After Science’ via Virgin Records

https://brian-eno.net/


KRAFTWERK Showroom Dummies (1977)

KRAFTWERK reacted as they generally did to negative criticism by writing a song. A response to a review that said their motionless persona at live performances was like ‘Showroom Dummies’, the sparse eerie atmosphere was punctuated by a tight and rigid electronic drum sound that was completely new and alien, something Rusty Egan was looking to emulate. Incidentally, the count-in of “eins zwei drei vier” was a deadpan Germanic parody of THE RAMONES!

Available on the KRAFTWERK album ‘Trans Europe Express’ via EMI Music

http://www.kraftwerk.com/


IGGY POP Nightclubbing (1977)

An Iggy Pop collaboration with David Bowie, the Vampiric glam of ‘Nightclubbing’ was the former James Osterberg’s commentary on what it was like hanging out with him every night. Utilising a simple piano melody and a cold Schaffel rhythm via the mechanical precision of a Roland drum machine, legend has it that Iggy insisted on keeping it, saying “it kicks ass, it’s better than a drummer”. Alongside ‘Lust For Life’, ‘Nightclubbing’ also featured in the soundtrack of ‘Trainspotting’.

Available on the IGGY POP album ‘The Idiot’ via Virgin Records

https://iggypop.com/


ULTRAVOX! Hiroshima Mon Amour (1977)

Utilising Warren Cann’s modified Roland TR77 rhythm machine, this was John Foxx moving ULTRAVOX! into the moody ambience pioneered by CLUSTER, away from the art rock of the self-titled first album and the punky interim single ‘Young Savage’. ‘Hiroshima Mon Amour’ had initially been premiered as a far spikier uptempo number for the B-side of ‘ROckWrok’. Incidentally, the ‘CC’ credited on saxophone is not Chris Cross, but a member of the art collective GLORIA MUNDI.

Available on the ULTRAVOX! album ‘Ha! Ha! Ha!’ via Island Records

http://www.metamatic.com/


LA DÜSSELDORF Viva (1978)

LA DÜSSELDORF’s second long player ‘Viva’ was their most successful album and the title track was a regular staple at The Blitz Club. An oddball slice of cosmic space rock sung in French and German by Klaus Dinger, proceedings were aided by the dual motorik thud of Hans Lampe and Thomas Dinger. Performed with the same group of musicians, ‘E-Musik’ by Dinger’s previous band NEU! had also been a favourite at The Blitz Club, influencing the intro of the ULTRAVOX B-side ‘Face To Face’.

Available on the LA DÜSSELDORF boxed set ‘Triple Album Collection’ via WEA Records

https://www.dingerland.de/


GIORGIO MORODER Chase (1978)

Commissioned by Alan Parker for the graphic prison drama ‘Midnight Express’, the noted director wanted some electronic accompaniment to the crucial chase scene of the film in the style of ‘I Feel Love’. The bassline from Giorgio Moroder’s own 1976 cover of ‘Knights In White Satin’ was reappropriated. The fruit of their labours was this Oscar winning Hi-NRG romp bursting with VANGELIS-like keyboard melodies, driven by an intense slamming and syncopated by popping pulses.

Available on the GIORGIO MORODER album ‘Midnight Express’ via Casablanca Records

https://www.giorgiomoroder.com/


THE NORMAL Warm Leatherette (1978)

Already a fan of German music and ‘Autobahn’ by KRAFTWERK in particular, Daniel Miller’s sense of experimentation and an adoption of punk’s DIY ethic led him to buying a Korg 700s synthesizer. Wanting to make a punk single with electronics, he wrote and recorded the stark JG Ballard influenced ‘Warm Leatherette’ as an independent single release on his own Mute Records. Meanwhile, The Blitz Kids came up with their own bizarre twisting and turning dance entering a human arch to accompany it…

Available on THE NORMAL single ‘Warm Leatherette’ via Mute Records

http://mute.com/category/the-normal


RIECHMANN Wunderbar (1978)

The late Wolfgang Riechmann is the forgotten man in the Düsseldorf axis having been in SPIRITS OF SOUND with Michael Rother and Wolfgang Flür; had his life not been tragically cut short, he certainly had the potential to become a revered and respected cult musical figure. The opening title track of his only album chimed like a Cold War spy drama before the beautifully almost oriental melodic piece imagined PINK FLOYD meeting CLUSTER over a delicate Schaffel beat.

Available on RIECHMANN album ‘Wunderbar’ via Bureau B

http://www.bureau-b.com/infotexte/Riechmann.Wunderbar.Bio.engl.pdf


VISAGE In The Year 2525 (1978 – released 1983)

ZAGER & EVANS’ pessimistic ditty was perfect fodder for the first VISAGE demo. Steered by Midge Ure using his freshly acquired Yamaha synths and punctuated by Rusty Egan’s incessant Roland drum machine and synthetic percussion, ‘In The Year 2525’ was perfectly resigned aural dystopia from its vocodered intro onwards. Steve Strange’s deadpan fronted the sombre tone perfectly but Ure’s vocal backing and counterpoints added that extra slice of musicality.

Available on the VISAGE album ‘The Face’ via Universal Records

http://www.visage.cc/


YELLOW MAGIC ORCHESTRA Firecracker (1978)

One of first Japanese bands to have a Top 20 hit single in the UK was YELLOW MAGIC ORCHESTRA in 1980. ‘Firecracker’ was a cover of a 1959 composition by Martin Denny but actually released as ‘Computer Game (Theme From The Invader)’. Recorded in 1978, the parent self-titled album was noted for its use of the then brand new Roland MC8 Micro-Composer to control the synthesizers. The result was a clean, exotic pop sound that was unusual, even in the synthpop heartland of Europe.

Available on the YELLOW MAGIC ORCHESTRA album ‘Yellow Magic Orchestra’ via Sony Music

http://www.ymo.org/


GINA X PERFORMANCE No GDM (1979)

Produced by Zeus B Held, ‘No GDM’ was written by androgynous art history student Gina Kikoine in honour of the “great dark man” Quentin Crisp and featured an array of ARP and Moog synths to signal the birth of a new European Underground. Unsurprisingly, the song gained heavy rotation at The Blitz Club. The nonchalant, detached vocal influence of GINA X PERFORMANCE went on to be heard in the music of LADYTRON, CLIENT and MISS KITTIN.

Available on the album ‘Nice Mover’ via LTM Recordings

http://www.ltmrecordings.com/gina_x.html


JAPAN Life In Tokyo (1979)

Working with Giorgio Moroder, David Sylvian submitted ‘European Son’ for the session in Los Angeles but it was rejected by the producer. Instead, the Italian offered several of his demos, of which, Sylvian picked the one he considered to be the worst so that he could stamp more of his own vision for the developing synthesized sound of JAPAN. Considered to be too avant-garde at its inception but ahead of its time, unbeknown to Moroder and Sylvian, they had just conceived DURAN DURAN!

Available on the JAPAN album ‘Assemblage’ via Sony BMG Records

http://www.nightporter.co.uk/


THOMAS LEER & ROBERT RENTAL Day Breaks Night Heals (1979)

Originally released on THROBBING GRISTLE’s Industrial Records, ‘The Bridge’ album saw Scottish duo Thomas Leer and Robert Rental trading vocal and instrumental duties. With an air of FAD GADGET, ‘Day Breaks Night Heals’ showcased some of Leer’s pop sensibility that was later apparent in his Arista solo period and in ACT with Claudia Brücken, while Rental maintained a dark experimental presence in this slice of artful electronic blues. Robert Rental sadly passed away in 2000.

Available on the album ‘The Bridge’ via The Grey Area

http://mute.com/category/thomas-leer-and-robert-rental


SIMPLE MINDS Changeling (1979)

Manipulating their influences like SPARKS and MAGAZINE with a very European austere, Glasgow’s SIMPLE MINDS were “underground, pulsating through” thanks to the rhythmic interplay of Derek Forbes’ bass with Mick McNeil’s synths. Charlie Burchill was now thinking beyond the sound of a conventional electric guitar while the precision of under rated drummer Brian McGee locked the glue. That just left Jim Kerr to throw his bizarre shapes and pontificate over this dark avant disco.

Available on the SIMPLE MINDS album ‘Reel To Real Cacophony’ via Virgin Records

http://www.simpleminds.org.uk/


SPARKS Beat The Clock (1979)

Having graced the UK Top 20 again with the tremendous ‘No1 Song In Heaven’, SPARKS continued their Giorgio Moroder produced rejuvenation and had an even bigger hit with ‘Beat The Clock’. Percussively augmented by Keith Forsey who was later to produce Billy Idol, Russell Mael’s flamboyant falsetto more than suited the electronic disco sound while the programmed backing meant that Ron Mael could stoically maintain his image of doing nothing.

Available on the SPARKS album ‘No1 In Heaven’ via Lil Beethoven Records

https://allsparks.com/


TELEX Moscow Diskow (1979)

Belgian trio TELEX comprised of Marc Moulin, Dan Lacksman and Michel Moers, with the intention of “making something really European, different from rock, without guitar”. Opening their debut album ‘Looking for Saint Tropez’ which also contained their funeral robotic cover of ‘Rock Around The Clock’, ‘Moscow Diskow’ took the Trans-Siberian Express to Moscow, adding a funkier groove compared with KRAFTWERK’s ‘Trans Europe Express’ excursion for what was to become a cult international club favourite.

Available on the TELEX album ‘‘Looking For San-Tropez’ via EMI Music

https://www.facebook.com/TELEX-312492439327342/


THROBBING GRISTLE Hot On The Heels Of Love (1979)

From their third album ’20 Jazz Funk Greats’, the uncompromising THROBBING GRISTLE led by the late Genesis P-Orridge were neither jazzy or funky! Gloriously sequenced by Chris Carter via a Roland System-100M modular, ‘Hot On The Heels Of Love’ was mutant dystopian disco lento with a hypnotic rhythm punctuated by a synthetic whip-crack for that S&M twist as Cosey Fanni Tutti’s whispered vocals competed with pentatonic melodies and electronic drill noises!

Available on the THROBBING GRISTLE album ’20 Jazz Funk Greats’ via Industrial / Mute Records

https://twitter.com/ThrobbingGrstle


ZAINE GRIFF Ashes & Diamonds (1980)

Zaine Griff had a Bowie-esque poise was tailor made for The Blitz Club and Tony Visconti saw enough in him to produce his debut solo album ‘Ashes & Diamonds’. Featuring Hans Zimmer on synths, the title song was sitting just outside the Top 40 and earned a performance on Top Of The Pops but the episode was pulled thanks to a Musicians Union strike. Demonstrating the song’s longevity despite it not being a major hit, it was recently covered live by American alternative rockers MGMT.

Available on the ZAINE GRIFF album ‘Ashes & Diamonds / Figvres’ via MIG Music

https://www.zainegriff.com/


THE HUMAN LEAGUE Being Boiled (1980)

‘Being Boiled’ was the first song Philip Oakey wrote with Martyn Ware and Ian Craig Marsh for THE HUMAN LEAGUE, his bizarre lyrics being the result of a confusion between Buddhism and Hinduism while highlighting the plight of silk worms. Intended to reimagine FUNKADELIC’s funky overtones as synthetic horns, this brassier re-recorded version with fatter electronic beats was included on the ‘Holiday 80’ EP and the ‘Travelogue’ album, becoming a dance staple of The Blitz Club.

Available as a bonus track on THE HUMAN LEAGUE album ‘Travelogue’ via Virgin Records

http://www.thehumanleague.co.uk/


SPACE Tender Force (1980)

Didier Marouani wrote the worldwide hit ‘Magic Fly’ but having left the band, Roland Romanelli and Jannick Top continued as SPACE. The rousing thrust of ‘Tender Force’ was, like ‘Magic Fly’, produced by Jean-Philippe Iliesco who later invited Rusty Egan to contribute a timbale heavy remix of this synth disco tune ; he was later to begin an ill-fated business relationship with Iliesco who was named by Midge Ure in his ‘If I Was’ autobiography as responsible for putting a wedge between him and Egan in VISAGE…

Available on the SPACE album ‘The Best Of’ via Nang Records

http://www.space.tm.fr


YELLO Bostich (1980)

Although now known as a duo, eccentric Swiss pioneers YELLO actually began as a trio of Dieter Meier, Boris Blank and Carlos Peron. Later remixed and extended, the military drum tattoo at the start of ‘Bostich’ was deceiving as an electronic throb quickly set in. This was perfect avant garde disco for The Blitz Club with a quirky range of vocal pitches from Meier while the track also included a style of speedy European rap later that was repeated on their only major UK hit ‘The Race’ in 1988.

Available on the YELLO album ‘Essential’ via Mercury Records

https://www.yello.com/


LANDSCAPE Einstein A Go-Go (1981)

Electronic pop music was often seen as pretentious, LANDSCAPE had their tongues firmly in their cheeks as evidenced by ‘Einstein A Go-Go’. “The song is a cautionary tale about the apocalyptic possibilities of nuclear weapons falling into the hands of theocratic dictators and religious extremists.” said the band’s Richard Burgess, “We talked about the track conceptually before we wrote it and our objective was to make a very simple, cartoon-like track with a strong hook that would belie the meaning of the lyrics!”

Available on LANDSCAPE album ‘From The Tea-Rooms Of Mars…’ via Sony Music

https://twitter.com/Landscape_band


SHOCK R.E.R.B. (1981)

Written as a B-side instrumental for The Blitz Club’s resident dance troupe SHOCK to work a routine to, ‘R.E.R.B.’ was constructed by Rusty Egan and Richard Burgess, hence the title. Burgess had been doing the linking interludes with a Fairlight on the first VISAGE album and brought in Roland System 700 modular driven by the Micro-composer while Egan triggered the brain of the synthesized drum system that Burgess had been working on with Dave Simmons for its punchy drum fills.

Available on the SHOCK single ‘R.E.R.B.’ via Blitz Club Records

https://twitter.com/DJRustyEgan


SOFT CELL Memorabilia (1981)

Produced by Daniel Miller, one of the first SOFT CELL recordings on signing to Phonogram was the seminal ‘Memorabilia’. While not a hit, it was critically acclaimed and become a favourite at The Blitz Club. Dave Ball’s deep Roland Synthe-Bass and klanky Korg Rhythm KR55 provided a distinctive danceable backbone to accompany Marc Almond’s souvenir collecting metaphors about sexual promiscuity. After this, SOFT CELL were signed by Rusty Egan to Metropolis Music for publishing.

Available on SOFT CELL album ‘Keychains & Snowstorms: The Singles’ via Universal Music

https://www.softcell.co.uk/


Approved by Rusty Egan, The Electricity Club presents the ‘Blitz Spirit’ playlist capturing the era plus a few tracks from just after at: https://open.spotify.com/playlist/0y4GXXotg4BFPZ6qMklwdx


Text by Chi Ming Lai with thanks to Rusty Egan
13th April 2020

OMD Souvenir

OMD have been a recording unit for 40 years and The Electricity Club has been attending their gigs for 39 of them!

A recent cartoon meme went “I like beautiful melodies telling me terrible things” and that sums up OMD in a nutshell.

The subjects in Andy McCluskey and Paul Humphreys’ music have included the suicide of a charismatic musician, the suicide of a woman who worked as a stripper because she had no other means of supporting herself, the racially motivated massacre of five innocent demonstrators by the Ku Klux Klan, the death of over 100,000 people by nuclear attack and most notably on two hit singles, the brutal execution of a teenage girl!

It’s been a glorious achievement so to celebrate their four decade anniversary, OMD have issued their ‘Souvenir’, a lavish deluxe boxed set containing 5CDs, 2 DVDs, a hardback book, a fold-out poster and a set of quality 10 inch silver-on-black art card reproductions of sleeves such as ‘Electricity’ and ‘Telegraph’.

However, for the more cautious consumer, the set is also available as a truncated 2CD 40 track singles collection concluding with the brilliant new song ‘Don’t Go’; a great grandchild of Klingklang and cousin of ‘Metroland’ from ‘English Electric’ refined for BBC Radio2 airplay, it captures the essence of OMD’s enduring electronic appeal.

With crystalline melodies from Paul Humphreys and a spirited vocal delivery from Andy McCluskey attached to a hypnotic Synthanorma backdrop, it is a better career spanning trailer than ‘Dreaming’ was for 1988’s first greatest hits ‘The Best of OMD’.

As a definitive singles anthology, also included are the superior single mix of ‘Shame’ produced by Rhett Davies, the under rated wintery soundscape of ‘Never Turn Away’ and the pretty ‘Pachelbel’s Canon tribute ‘La Femme Accident’. However, the inclusion of everything means that although OMD released that sublime singles series of ‘Messages’, ‘Enola Gay’, ‘Souvenir’, ‘Joan Of Arc’ and ‘Maid Of Orleans’, they were also capable of total stinkers like ‘Stand Above Me’ and ‘If You Want It’!

While the singles are known by many, when assisting with the remastering of the first four OMD albums at Abbey Road, a visit by Paul Humphreys to the huge EMI tape archive near Heathrow to check and annotate the correct versions, uncovered a treasure trove of shelved recordings and demos.

The reels of vintage tapes were then baked to minimise risk of breakage and after some thoughtful listening and reminiscing, he compiled and painstakingly mixed a selection of unreleased songs and ideas to become ‘Unreleased Archive Vol1’

Paul Humphreys told The Electricity Club: “I found 22 tracks, some of which are full songs and some are just experiments that were never developed, but I had great fun mixing them. I mixed them only using FX and E’s that we would have used at the period, spring reverbs, crappy delays and Eventide Harmonisers. I had so much fun doing them and there are a couple of absolute gems in there! The big take away for me in this whole exercise was to see how we used to work, pre-computers.”

Although it was known that OMD had a number of unreleased songs in the vaults and several featured on the 2014 reissue of ‘Junk Culture’, the revelation that there was enough material to make up a 56 minute CD was a surprise.

“We basically used to lay down 5 minutes of one idea, then when we wanted a change of chord, we’d drop in the new section on different tracks, so on the desk we’d have to hand mute the first idea so they wouldn’t play together.” elaborated Humphreys, “But of course I can’t remember where to mute things now as I barely even remember the songs themselves, never mind what our vision was at the time, so I was left with a giant puzzle working out what tracks have to be on or off at certain points of the song…”

It all begins with the wonderful ‘Brand New Science’ recorded in 1981, a gloriously haunting and minimal slice of synthpop. The lyrics “there’s a brand new science, for a brand new world, with no moral codes and no big words…” actually appeared in the ‘Dazzle Ships’ tour programme of 1983, which begs the question as to how a recording of such quality was left off the parent album? However, a bizarre interview by McCluskey and Humphreys for BBC Radio1 with Richard Skinner from the period highlighted that other distractions may have come into play.

Although Andy McCluskey states in the accompanying notes that “it didn’t work”, ‘Dumbomb’ from 1986 with its wordplay, symphonic synthetic strings and Shakuhachi samples coupled to a rousing chorus is actually very charming, despite obviously needing more work.

Born to hand jive, the superb 1985 vintage of ‘Liberator’ sees OMD doing electro rock ‘n’ roll with a rhythmic backbone like a collaboration with BOW WOW WOW! It is certainly better than ‘Maria Gallante’ which was released from the same sessions as a B-side to ‘So In Love’ and beats hands down most of the contents on the eventual 1993 McCluskey steered long player that was actually called ‘Liberator’.

Fully formed songs from ‘The Pacific Age’ era such as ‘Cut Me Down’ and ‘Cajun Moon’ reveal their Fairlighted origins and a mish-mash of styles; the former features an oddball mix of LA DÜSSELDORF and jazz, while the latter showcases a love of PRINCE but oddly sounds like DURAN DURAN offshoot ARCADIA and their ‘Say The Word’, a song that appeared in the film ‘Playing For Keeps’ to which OMD also contributed an early version of ‘We Love You’.

From the musique concrète inspired experiments of the ‘Dazzle Ships’ period, ‘Radio Swiss International’ (affectionately referred to  by OMD drummer Mal Holmes as “the ice cream song”) is coldly eerie with drifting synth drones and signal interference alongside the station call sign. Meanwhile of the earliest recordings from 1980, ‘Organ Ditty’ is just that, while ‘Ambient 1’ has the ringing melodic bones of 2013’s ‘Our System’ and the speedy ‘Unused 1’ was probably not developed due to its inherent similarity to the theme from ‘Stanlow’.

Fairlight driven demos from the ‘Crush’ and ‘The Pacific Age’ make up the majority of the actual songs on ‘Unreleased Archive Vol1’ and ‘Weekend’ shows potential; on closer scrutiny, it is actually not that dissimilar to ‘Final Song’ from 2013’s ‘English Electric’.

Understandably, not all the material is of such high quality but most of it is at least interesting. The motorik ‘Untitled 2’ from 1981 is undoubtedly a blueprint for ‘Genetic Engineering’, a song that itself influenced by Brian Eno’s ‘China My China’.

But the kosmische template is taken further on ‘Guitar Thrash’ from 1982 which sees OMD emulating NEU! in a more blatant manner. Continuing the Brian Eno connection, ‘Violin Piece’ is a 1982 recording of yes, Andy McCluskey trying to master a violin that comes over like an audition for THE PORTSMOUTH SINFONIA.

1990’s ‘American Venus’ from when Humphreys and McCluskey were drifting apart musically sees the front man playing around with vocoder dressing, which is at least closer to what could be considered as sounding more like OMD than the Latin brass-assisted romp of ‘Dynamo Children’ which sees them amusingly mutate into MODERN ROMANCE! Then there’s also the 1990 waltz of ‘Flamenco’ laced with its Spanish and blues guitar samples.

The bones of a percussive sketch come with 1984’s ‘Flutey’ before ‘Unreleased Archive Vol1’ closes with ‘Nice Ending’ which does exactly what it says on the tin with a choral typewriter collage constructed in 1981.

The labelling indicates there will be an ‘Unreleased Archive Vol2’ but what could be included on it? There is a Paul Humphreys song entitled ‘Suspicion’ which was discussed in the 1988 fan club newsletter, while McCluskey’s theme for the Danny Boyle directed political drama ‘For The Greater Good’ has yet to receive a formal release. Then there’s ballads such as ‘Kiss Of Death’ and Twins’ which were left off ‘Liberator’ due to their more introspective outlook.

Meanwhile from the same time as they recorded THE XX’s ‘VCR’ in 2010, there is also known to be a cover of ‘Shelter’ in the can as well. Plus there is a synthpop take on ‘If You’re Still In Love With Me’ which was mooted as a single in 1993 but then re-recorded with a string quartet for 1996’s more organic and traditional ‘Universal’ album and a slowed-down house number called ‘Resist The Sex Act’.

Add in a superb audio document of the 1983 ‘Dazzle Ships’ live presentation (minus ‘Genetic Engineering’ which OMD got badly wrong on that final night of the tour at Hammersmith Odeon), BBC video material like ‘Top Of the Pops’ appearances and the once only broadcasted ‘ORS’ 1985 concert special from Sheffield City Hall plus the documentary ‘Crush The Movie’, ‘Souvenir’ is a worthy manageable package with a wealth of hard-to-get and unreleased material to satisfy OMD enthusiasts.

Yes, OMD have not merely plonked 13 albums into a boxed set… 😉


The ‘Souvenir’ 5CD + 2DVD deluxe boxed set is released by Universal Music

OMD Souvenir 40th Anniversary 2019 – 2020 European + UK Tour, dates include:

Belfast Ulster Hall (23rd October), Dublin Olympia (24th October), Nottingham Royal Concert Hall (26th October), York Barbican (27th October), Hull Arena (28th October), Gateshead Sage (30th October), Glasgow Royal Concert Hall (31st October), Manchester Apollo (1st November), Sheffield City Hall (3rd November), Liverpool Empire (4th November), Birmingham Symphony Hall (5th November), Leicester De Montford Hall (7th November), Bath Pavilion (8th November), Oxford New Theatre (9th November), Guildford G Live (11th November), Portsmouth Guildhall (12th November), Watford Colosseum (13th November), Cambridge Corn Exchange (15th November), Ipswich Regent (16th November), Bexhill De La Warr Pavilion (17th November), Bournemouth Pavilion (19th November), London Hammersmith Apollo (20th November), Rostock Stadthalle (25th November), Dresden Kulturpalast (26th November), Leipzig Haus Auensee (28th November), Berlin Tempodrom (29th November), Hamburg Grosse Freiheit 36 (30th November), Saarbrücken Saarlandhalle (2nd December), Stuttgart Leiderhalle (3rd December), Düsseldorf Mitsubishi Electric-Halle (5th December), Frankfurt Jahrhunderthalle (6th December), Krakow Studio (3rd February), Warsaw Progresja (4th February), Oslo Rockefeller Musichall (7th February), Stockholm Berns (9th February), Malmo KB (10th February), Copenhagen Vega (12th February), Brussels Ancienne Belgique (14th February), Utrecht Tivoli (15th February), Paris La Cigale (16th February)

http://www.omd.uk.com/

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Text by Chi Ming Lai
20th October 2019

2nd Thought: The Legacy of OMD

Photo by Eric Watson

It all began with a KRAFTWERK-influenced ditty warning about environmental catastrophe, one that has become poignant again in the 21st Century…

“I became friends with Wolfgang Flür and Karl Bartos in the 90s, and was invited to Wolfgang’s flat for dinner” said Andy McCluskey at the Electri_City_Conference in 2015, “on the wall was a gold record for ‘Radio-Activity’ which was a hit single in France. I was telling them that ‘Radio-Activity’ was the song that most influenced OMD and told them ‘Electricity’ was just an English punk version of ‘Radio-Activity’. They replied ‘Yes, we know!’… it was that obvious!”

In an accolade already accorded to ENO, JAPAN, SIMPLE MINDS, ABBA and THE POLICE, OMD’s first four landmark long players ‘Orchestral Manoeuvres In The Dark’, ‘Organisation’, ‘Architecture & Morality’ and ‘Dazzle Ships’ are being reissued as Half Speed Abbey Road vinyl remasters. Packaged in reproductions of their original Peter Saville designed sleeves complete with die-cuts where appropriate, these releases from Universal Music reaffirm OMD’s often forgotten role as premier electronic pop pioneers.

Originally released in February 1980 on the Factory Records inspired Virgin subsidiary Dindisc Records, ‘Orchestral Manoeuvres In The Dark’ was a promising debut album from Andy McCluskey and Paul Humphreys, two lads from The Wirral who had finally been able realise their passion for electronic music following the purchase of a Korg M500 Micro-Preset synthesizer paid for in instalments via a mail order catalogue.

Featuring their third released version of ‘Electricity’, the album also included their chanty commentary on the mechanics of war entitled ‘Bunker Soldiers’. Away from these energetic post-punk synth numbers, on the other side of the coin were ‘Almost’ and ‘The Messerschmitt Twins’, two emotive synth ballads that were equal to KRAFTWERK’s ‘Neon Lights’. However, their naivety was exposed by the inclusion of the quirky instrumental ‘Dancing’ which OMD even dared to play live during their BBC TV debut on ‘Old Grey Whistle Test’!

Even early on in their career, OMD’s concerns about the music industry machine were looming in ‘Julia’s Song’ and ‘Pretending To See The Future’; the latter was outstripped a few months later by a John Peel session version which formed the basis of the full live band rendition when McCluskey and Humphreys retired Winston, their TEAC A3340S tape recorder which had accompanied them on their breakthrough tour opening for GARY NUMAN in Autumn 1979.

OMD’s debut now comes over like a time capsule; ‘Red Frame / White Light’, a lightweight synthpop tune celebrating the 632 3003 phone box that acted as the band’s office captured an era before mobiles and the internet, while in honour of good old fashioned love letter writing, ‘Messages’ was at this point just a song with potential as a single.

Indeed, it was only when ‘Messages’ was re-recorded, produced by Mike Howlett with Malcolm Holmes adding drums, that led to a No13 hit in June 1980 and ultimately the ‘Organisation’ album which came out in October 1980. More gothic in nature, the album began misleadingly with the melodic Motorik lattice that was ‘Enola Gay’.

With its iconic Roland CR78 Compurhythm pattern and wordplay referring to the horrific bombing of Hiroshima by the Boeing B29 Superfortress flown by Colonel Paul Tibbets named after his mother, ‘Enola Gay’ was a clever observational statement about the first ever operational use of nuclear weapons. Massively popular in France and Italy, it also reached No8 in the UK singles chart.

But alongside ‘Enola Gay’ on this much more mature long player, there was also the hypnotic beauty of the often under rated ‘2nd Thought’ and ‘Statues’, the brooding Ian Curtis tribute which was built around an Elgam Symphony organ’s auto-accompaniment. With the purchase of a Sequential Circuits Prophet 5, Humphreys began exploring. Often using brassy tones set slightly out of tune for some haunting overtones, it made its presence felt on tracks like ‘The Misunderstanding’ and ‘Stanlow’.

As with the debut, there were a few missteps like the JOY DIVISION aping cover of ‘The More I See You’ which was different if nothing else, while the SPARKS inspired ‘Motion & Heart’ would be improved as a reworked ‘Amazon Version’ for an abandoned follow-up 45 to ‘Enola Gay’.

With two albums released in nine months, their first Top 10 hit and the biggest record sales of 1980 in the Virgin Records group, a triumphant concert at Hammersmith Odeon that December which concluded with an unexpected massed stage invasion, ended a brilliant year for OMD. But McCluskey and Humphreys could not have foreseen that 1981 would see them get even bigger.

Although Mike Howlett worked on the ethereal tape choir centred ‘Souvenir’, which was co-written by live keyboardist Martin Cooper and became OMD’s first Top 3 in September 1981, scheduling issues meant Humphreys and McCluskey self-produced what would become ‘Architecture & Morality’ with engineer Richard Manwaring, released in November 1981.

Featuring two spirited songs about ‘Joan Of Arc’, these were to become another pair of UK Top 5 hits with the ‘Maid of Orleans’ variant also becoming 1982’s biggest selling single in West Germany when Der Bundesrepublik was the biggest Western music market after the USA and Japan.

The big booming ambience of the ‘Architecture & Morality’ album next to big blocks of Mellotron choir gave OMD their masterpiece, tinged more with the spectre of LA DÜSSELDORF rather than KRAFTWERK.

“People always talk to us about KRAFTWERK, and obviously, they were hugely important” said McCluskey, “But there was another element from Düsseldorf that influenced us, and that was the organic side which was firstly NEU! and then LA DÜSSELDORF and Michael Rother’s solo records.”

The ENO-esque percussive six string thrash of ‘The New Stone Age’, the bouncy but moody ‘Georgia’ and the guitar assisted choral beauty of ‘The Beginning & The End’ demonstrated OMD’s musical ambition.

Meanwhile, the ringing theme of PINK FLOYD’s ‘Time’ was borrowed for the instrumental title track and the epic overtures of the almost wordless ‘Sealand’ also confirmed Humphreys’ affinity with progressive rock.

Malcolm Holmes was in his element on ‘Architecture & Morality’, thumping stark percussive colours while syncopating off various rhythm machines.

“The majority of the drum programming would always be done by Andy or Paul” he said, “My part would be to lay down on that… My favourite period of OMD musically was ‘Architecture & Morality’ because of my involvement and how creative I was being at the time, using the kit differently.”

”I think ‘Architecture & Morality’ was a complete album, it was just so whole” said Paul Humphreys to The Electricity Club in 2010, “The sound of it was unique, every song… it wasn’t a ‘bitty’ album. A few of our albums are ‘bitty’ but that was where we finally found a sound that was OMD. I think the first two albums were leading to ‘Architecture & Morality’. We were refining our sound and then we found it.”

Meanwhile in ‘She’s Leaving’, there was a big fourth hit single in-waiting from the album characterised by its sweet melodies, forlorn vocals and crunchy electronic percussion; “We got hold of some Pearl syndrums and we were all messing around in the control room with little white noises and stuff like that” Holmes remembered. But thanks to McCluskey’s belligerence in vetoing its UK single release, that hit never happened, something he would later regret as Top 5 hit singles were to become less automatic a year later as OMD hit something of an existential crisis.

One thing successful bands should never do is stray off their vision. But OMD listened to criticisms that their cryptic songs about inanimate objects and deceased historical figures had no relevance in fighting political injustices; of course this view was coming from journalists on a mission, who were rather hypocritically living off expense accounts and sipping cocktails in fancy hotels!

With their label Dindisc also folding, OMD were absorbed into the main Virgin Records group.

A little bit lost, McCluskey and Humphreys returned to the experimental bedroom ethos of their pre-fame VCL XI days and “got angry” with Emulators and a Sony short wave radio; the disillusionment led to the ambitious if flawed ‘Dazzle Ships’ released in March 1983.

A fractured statement on the state of the world with a conceptual approach not dissimilar to KRAFTWERK’s ‘Radio-Activity’, it was characterised by short abstract pieces which over time have mostly proved to have worked. Ironically, one that didn’t work was ‘Time Zones’, a snapshot of the world through telecommunications which outstayed its welcome by at least half a minute.

Although ‘ABC Auto-Industry’ was an amusing novelty piece that needed some accompanying performance art for it to really make sense, the sample heavy ‘Dazzle Ships (Parts II, III & VII)’ captured the tension of an underwater battle while ‘Radio Prague’ symbolised the spectre of The Cold War, a theme that would be explored within a Germanic pop context, crossing NEU! with KRAFTWERK on the magnificent ‘Radio Waves’.

Utilising a similar manic pace, ‘Genetic Engineering’ possessed a fistful of energy and a typewriter in a combination that was first heard on ENO’s ‘China My China’, while ‘Telegraph’ was a far more vicious if metaphoric attack on TV evangelism and religious cults than ‘Blasphemous Rumours’ by DEPECHE MODE ever was…

Salvaged from earlier B-sides, ‘The Romance Of The Telescope’ and ‘Of All The Things We Made’ highlighted the shortfall in material but their inclusion was justified by their serene quality, but they were significantly not the best tracks on ‘Dazzle Ships’.

Echoing the bassline movements of JOY DIVISION’s ‘Atmosphere’ and laced with mournful Emulator strings, the solemn but beautiful ‘Silent Running’ offered a perfect metaphor for misguided neutrality. Most harrowing though was the news report about “a young girl from Nicaragua whose hands had been cut off at the wrists by the former Somoza guards…” that began the waltz-driven ‘International’ with McCluskey’s anger about economic corruption, political hypocrisy and torture in captivity still sadly relevant today.

Although savaged by critics on its initial release and ultimately resetting the course of OMD, this nautical adventure has now been reassessed by many as a lost work of genius. It’s not quite that, but it is certainly a much better album than it was originally perceived to be.

Their Dindisc Records boss Carol Wilson said that McCluskey and Humphreys “didn’t know whether they wanted to be JOY DIVISION or ABBA!”, summing up their awkward but ultimately rewarding musical ethos. However, after the commercial failure of ‘Dazzle Ships’, OMD headed to the Caribbean and then Hollywood which brought them American singular success with ‘If You Leave’ before imploding after a US tour opening for DEPECHE MODE in 1988.

And while McCluskey maintained sporadic success with the OMD brand for a number of years, it would take a reunion with Humphreys and 2013’s ‘English Electric’ to deliver a body of work that was equal to this wonderful quartet of albums.

With regards OMD’s continuing appeal today, Mal Holmes said “The reason why we’re here is because the first three albums were f***ing great”, although he could be forgiven for not being a total fan of ‘Dazzle Ships’ having only played on three of its tracks!

Despite artists as varied as Vince Clarke, Steve Hillage, Moby, Darren Hayes and James Murphy all publically expressing their admiration for OMD over the years and synth riffs from these four classic albums being appropriated by acts as diverse as INXS, LEFTFIELD, LADYTRON and MARINA & THE DIAMONDS, some commentators have complained they could not be taken as seriously as say DEPECHE MODE because they were not dark enough.

The death of over 100,000 people by nuclear attack and the brutal execution of a teenage girl can hardly be considered lightweight; now there are not many artists that can claim to have had worldwide hit singles about those very topics!

OMD’s ultimate legacy was to successfully combine warm catchy synth melodies and infectious technologically framed rhythms with harsh subject matter in a manner that worked on many levels. Beyond any standard pop convention, this was something that was and still is quite unique.


‘Orchestral Manoeuvres In The Dark’, ‘Organisation’, ‘Architecture & Morality’ and ‘Dazzle Ships’ are released as Half Speed Abbey Road vinyl remasters by Universal Music on 2nd November 2018

http://www.omd.uk.com/

https://www.facebook.com/omdofficial/

https://twitter.com/OfficialOMD

https://www.instagram.com/omdhq/


Text by Chi Ming Lai
17th September 2018

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