“I don’t like country & western, I don’t like rock music… I don’t like rockabilly! I don’t like much really do I? But what I do like, I love passionately!!”: CHRIS LOWE
“It’s nice to hear B-MOVIE are finally getting a chance to release their forgotten gems”: Matt Johnson
Comprising of Steve Hovington (vocals + bass), Paul Statham (guitar), Rick Holliday (keyboards), and Graham Boffey (drums), while B-MOVIE had already released 2 EPs on Lincolnshire independent label Dead Good in 1980, it was their inclusion on 1981’s ‘Some Bizzare Album’ compiled by Futurist DJ Stevo Pearce which put them on the wider map.
Their song ‘Moles’, alongside contributions from then-unknown bands such as DEPECHE MODE, SOFT CELL, BLANCMANGE and THE THE was one of the album’s highlights. Having previously included them in his ‘Futurist’ chart for music paper Sounds, Stevo continued his support and subsequently became manager of B-MOVIE while SOFT CELL and THE THE were also added to the expanding Some Bizzare roster.
B-MOVIE’s synth-laden new wave brought them to the attention of Phonogram Records who saw the band as their answer to DURAN DURAN and SPANDAU BALLET. While B-MOVIE could do pop as proven by their best known song ‘Nowhere Girl’, their pessimistic post-punk demeanour meant the quartet had more in common with JOY DIVISION, THE CURE and TALK TALK rather than the New Romantics. If they have a 21st Century equivalent, then the nearest comparison would probably be WHITE LIES.
Ever the shrewd operator, Stevo insisted on a 2-for-1 deal which included SOFT CELL for Phonogram to sign B-MOVIE. Marc Almond and Dave Ball got to No1 with their cover of ‘Tainted Love’ in 1981 to begin an outstanding run of a five Top3 singles into 1982, but B-MOVIE were unable to breakthrough into the UK Top40 despite releasing a trio of excellent singles in ‘Remembrance Day’, ‘Marilyn Dreams’ and ‘Nowhere Girl’.
Photo by Peter Ashworth
Stevo Pearce loved chaos but chaos ultimately destroys and the struggle for success, coupled with internal tensions led to Boffey and Holliday departing the band. Severing ties with Stevo, the album they had demoed lay dormant for over 40 years and legend had it that the tapes were under his bed. But the recordings made during this period had actually been stored in Universal Music’s huge vault. After years of enquiries and negotiations, B-MOVIE have acquired the rights back to these tapes and with their restoration, the 1982 debut LP that “never was” is now available under the fitting title of ‘Hidden Treasures’.
The fact that these recordings were shelved back in the day by record label and management politics is nothing short of criminal, but “better late than never” goes the saying and anyone who has ever been entranced by ‘Remembrance Day’, ‘Marilyn Dreams’ and ‘Nowhere Girl’ will LOVE this collection. And for those long standing fans who actually bought their records, the CD has the bonus of addition of B-sides, 12” versions and ‘Moles’ which featured some magnificent synth playing from Rick Holliday.
Those three Some Bizzare era singles need no introduction from the anti-war anthem ‘Remembrance Day’ to the anti-fame art rock of ‘Marilyn Dreams’ but one that should have been a single was ‘Polar Opposites’; although there is what is now widely accepted as the perfect take in the 1981 John Peel session version, this version on ‘Hidden Treasures’ is shorter, grittier and slightly faster in the vein of Leeds’ GANG OF FOUR. Meanwhile the jagged album opener ‘Citizen Kane’ captures that psychedelic Liverpool flavour of the times, coming over like a cross between THE TEARDROP EXPLODES and ECHO & THE BUNNYMEN.
Very different to the arrangement of the 1981 John Peel version, the intense Cold War angst of ‘All Fall Down’ with references to Ronald Reagan may capture another time, but its words are chillingly relevant again and an indicator as to why this compendium of recordings from 1981-1982 sound so on point in 2025.
‘Ice’ is feisty gem of song with a hand played synth bass battling with frantic rhythm guitars and a speedy drumming run from Graham Boffey that would have made Stephen Morris proud, while the bright synth melodies on ‘La Lune Lunatique’ mask the shadier lyrical overtones. Less post-punk and much more of a melodic electronically styled pop song, ‘Crowds’ is not that dissimilar from say OMD or A FLOCK OF SEAGULLS and points towards the more commercial sound that Phonogram had signed B-MOVIE for. But as a complete flip to that mood, the gloomy progressive drama of ‘Beginning To Fade’ makes an ominous ‘Hidden Treasures’ closer.
The CD bonus tracks include longer takes of ‘Remembrance Day’ and ‘Marilyn Dreams’ but it’s the mighty ‘Nowhere Girl’ with the extended Rick Holliday’s concert piano and synthbass intro breakdown that excels as a classic 12” version. Of the B-sides, the remix of ‘Institution Walls’ from the second of the Dead Good EPs and ‘Scare Some Life Into Me’ both capture the raw vocal anxiety in Steve Hovington’s paranoia. Meanwhile the icy drum machine laden ‘Film Music’ was Holliday’s instrumental excursion into the monochromatic Mittel Europa atmospheres of ‘The Third Man’ and ‘The Spy Who Came in from the Cold’.
While the fragmented B-MOVIE led by Hovington and Statham did release a debut album in the disappointing ‘Forever Running’ in 1985, it is the three singles from this ‘Hidden Treasures’ period that are held in the highest esteem, so much so that the American electro-rock band THE FAINT used ‘Remembrance Day’ as the basis for their own ‘Southern Belles in London Sing’ in 2004. At around the same time, B-MOVIE reformed with their original line-up and despite the departure of Holliday again in 2022, continue today.
‘Hidden Treasures’ provides the missing links to ‘Remembrance Day’, ‘Marilyn Dreams’ and ‘Nowhere Girl’, along with the context as to why for a period, B-MOVIE were judged to become the next big thing. It didn’t happen for them, but this lost album superbly restored by Roger Lyons puts them on an equal footing with many of the best post-punk synth-laden bands of the era.
Absence can make the heart grow fonder and this case highlights how despite the passing of 43 years, B-MOVIE’s music from this period really has stood the test of time.
The sibling masters of the musical vignette SPARKS are back with their 28th (yes, count ‘em!) album ‘MAD!’.
As with their more recent albums ‘Hippopotamus’, ‘A Steady Drip, Drip, Drip’ and ‘The Girl Is Crying In Her Latte’ which coincidentally all reached No7 in the UK charts, they remain as enjoyably idiosyncratic as ever with this new offering touching on all aspects of their past from operatic art rock, eccentric chamber pop, synth and new wave.
The history of SPARKS does not need repeating; 53 years since their first album and with ‘The SPARKS Brothers’ documentary winning new fans and seeing the return of others who may have passed through, Russell and Ron Mael show no signs of letting up, pleasing themselves and pleasing their fans.
Setting the scene for ‘MAD!’, it opens with a boisterous word laden art rock statement that SPARKS are gonna ‘Do Things My Own Way’. ‘JanSport Backpack’ provides a vocally layered BEATLES-esque march while ‘Hit Me, Baby’ is a quirky percussive rock out rattling next to whirring synths.
The melodramatics of ‘Running Up A Tab At The Hotel For The Fab’ offers a standout mixing chunky synth stabs and surf six string. Also in amongst it all are the pulsing ballad ‘My Devotion’ and the adventurous ‘Don’t Dog It’, although much more restrained, ‘In Daylight’ surprises in a diversion from the busier movements so far. However the archetypical SPARKS returns for the choppy orchestrations of ‘I-405 Rules’ while the cross of electronica, chorals and gratuitous violins on ‘A Long Red Light’ provides another variation on the theme.
Of two more conventionally strummed rock tunes, ‘A Little Bit Of Light Banter’ outshines ‘Drowned In A Sea Of Tears’ as an amusing commentary on hegemonic conversation that musically recalls the pomp and circumstance of 1975’s ‘Indscreet’ album, but the strident arm waving singalong of ‘Lord Have Mercy’ provides a fitting finish that delightfully wouldn’t go amiss in that era’s Eurovision Song Contest.
Throughout ‘MAD!’, the production is top notch; Russell is in fine voice with his extraordinary range while Ron’s arrangements pack in rather a lot into songs which average the 4 minute mark. In ‘MAD!’, the continued combination of the captivating singer and the stoic music man provides a wonderful ambiguous satire of this increasingly crazy world for all to enjoy.
‘MAD!’ is released by Transgressive Records as a CD, cassette, black vinyl LP and lenticular gatefold sleeve with blue vinyl LP. A special deluxe triple gatefold edition with red vinyl LP is exclusive to https://store.allsparks.com/
SPARKS 2025 live dates include: Kyoto ROHM Theatre (8th June), Osaka Zepp Namba (10th June), Tokyo EX Theater (12th + 13th June), London Eventim Apollo (18th + 19th June), Manchester O2 Apollo (21st + 22nd June), Glasgow Royal Concert Hall (24th June), Haarlem PHIL (26th June), Brussels Cirque Royal (28th June), Paris La Salle Pleyel (30th June), Cologne Gloria-Theater (1st July), Copenhagen Koncerthuset (3rd July), Stockholm Grona Lund Tivoli (4th July), Berlin Uber Eats (6th July), Milan Teatro degli Arcimboldi (8th July), Bilbao BBK Live (12th July), Dublin National Stadium (15th + 16th July), Edinburgh Playhouse Theatre (18th July), Wolverhampton Halls (19th July)
Annie Lennox and Dave Stewart formed EURYTHMICS having left THE TOURISTS with whom they had two hits, a cover of Dusty Springfield’s ‘I Only Want To Be With You’ ‘So Good To Be Back Home Again’.
Romantically involved at the time, there had been creative frustration in THE TOURISTS as the main songwriter was guitarist Peet Coombes. But when THE TOURISTS split in 1980, so did Lennox and Stewart. However, they opted to continue working together. In line with their chosen name, EURYTHMICS reflected how the duo felt about being more European than exclusively British. Looking at first to Germany, although the Conny Plank produced debut album ‘In the Garden’ was not a success, the duo persevered.
With the advent of affordable synthesizers and home recording technology, Stewart had been taping ideas on a Portastudio of experiments with an EDP Wasp connected to a Caterpillar master keyboard and its Spider sequencer; it pointed to a new electronic direction for EURYTHMICS. To aid their cause, the duo secured a bank loan of £5000 for equipment including a TEAC 88 8 track tape recorder, Soundcraft Series 2 16 channel mixing desk for what was to become The Church Studios in London’s Crouch End.
Their breakthrough came in 1983 with ‘Sweet Dreams (Are Made of This)’, the title of track of their second album. A stark commentary on exploitation within the music industry, it ironically became a huge international hit. Among the instruments used were the Roland SH‑101, an Oberheim OB‑X and a Movement Mk1 drum computer; with a combination of analogue and digital percussion sounds plus a separate monitor to view the programmed drum patterns, the machine made a starring appearance in the iconic video. Meanwhile, Lennox premiered her striking androgynous orange haired persona.
By their third album ‘Touch’, EURYTHMICS had acquired a Roland Juno 60, Octave Plateau Voyetra 8 and Oberheim DMX while their studio now had a second‑hand 24‑track Soundcraft tape machine at its disposal. The lead single ‘Who’s That Girl?’ saw Lennox pushing boundaries in the perception of gender for its accompanying video. The ending saw her kissing herself in male and female roles while Stewart was depicted escorting a number of female pop celebrities including Cheryl Baker, Jay Aston, Kiki Dee, Hazel O’Connor, Kate Garner, future wife Siobhan Fahey and BANANARAMA members Sara Dallin, Keren Woodward and Jacquie O’Sullivan; but in another twist, there was an appearance from the gender bending starlet Marilyn.
But following their soundtrack to the film ‘1984’, EURYTHMICS moved away from being an electronic duo into a more conventional band format using more drums, brass and guitar with a revolving door of guest musicians on 1985’s ‘Be Yourself Tonight’. Inevitably the worldwide success and personal tensions took their toll and EURYTHMICS quietly split in 1990.
Lennox and Stewart reunited for the ‘Peace’ album in 1999 although the subsequent concert tour was spoiled by far too many acoustic versions of their hits. Aside from two songs included on the ‘Ultimate Collection’ in 2005, there has been no new EURYTHMICS music since. However in 2022, they performed together at the Rock and Roll Hall of Fame induction ceremony.
While Lennox now concentrates on her activism and makes only occasional live appearances in support of good causes, Stewart undertook the EURYTHMICS Songbook tour in 2023 with Vanessa Amorosi, Rahh and his daughter Kaya Stewart taking turns on lead vocals.
Aside from their solo careers, during EURYTHMICS’ original tenure, Stewart was an in-demand producer and songwriting collaborator. Meanwhile Lennox worked with DAF’s Robert Görl on his first solo album ‘Night Full Of Tension’, helping with lyrics and contributing vocals as well as duetting with Al Green on a Stewart produced cover of ‘Put A Little Love In Your Heart’ for the 1988 film ‘Scrooged’. This Beginner’s Guide looks back at 20 tracks from the wider portfolio of the EURYTHMICS axis including productions, collaborations and co-writes with a restriction of one track per album.
THE TOURISTS So Good To Be Back Home (1980)
Written by Peet Coombes, the energetic and optimistic ‘So Good To Be Back Home’ proved that THE TOURISTS were not merely a new wave covers band and could have a hit with their own material. Annie Lennox now found grouped in with other charismatic front women like Debbie Harry, Chrissie Hynde and Hazel O’Connor but within the band itself, there was discontent and a split while Lennox and Stewart were no longer a couple.
Available on THE TOURISTS album ‘Greatest Hits’ via Sony BMG Music
The debut EURYTHMICS album had the legendary Conny Plank producing while guest musicians included his fellow Germans Holger Czukay, Jaki Liebezeit, Robert Görl and Markus Stockhausen. While Lennox and Stewart were in transition with ‘Belinda’ sounding like THE TOURISTS, the KRAFTWERK influenced ‘Take Me To Your Heart’ pointed to a new synthier direction.
Available on EURYTHMICS album ‘In The Garden’ via Sony BMG Music
With YAZOO setting the template for the soulful synthpop duo, EURYTHMICS saw a direction which could fit their new creative ethos. Overshadowed by the success of ‘Sweet Dreams (Are Made Of This)’ and ‘Love Is A Stranger’, ‘The Walk’ was the moody forgotten single that was released prior. It was also issued as a proto-house interpretation retitled ‘Let’s Just Close Our Eyes’ for the 12” B-side of ‘Love Is A Stranger’.
The third EURYTHMICS album ‘Touch’ had been swiftly recorded and mixed in 3 weeks at The Church but the acquisition of a 24 track recorder allowed for more sophisticated sonic possibilities. One shining example was the divine opener ‘Here Comes The Rain Again’. Although essentially still a synthpop song, it boasted a string arrangement by future film composer Michael Kamen performed by the British Philharmonic Orchestra.
Available on the EURYTHMICS album ‘Touch’ via Sony BMG Music
ROBERT GÖRL featuring ANNIE LENNOX Darling Don’t Leave Me (1984)
Annie Lennox had met Robert Görl when he played drums on ‘Belinda’ from ‘In The Garden’. After DAF split, his first solo long player ‘Night Full Of Tension’ featured Lennox’s vocal contributions on several tracks including a lead vocal on ‘Charlie Cat’. But the album’s highlight was probably ‘Darling Don’t Leave Me’, a passionate but fun duet that was also a wonderfully wiggly synthpop pleasure co-produced by Mike Hedges.
Virgin Films had commissioned EURYTHMICS to compose a soundtrack for their dramatisation of the dystopian George Orwell novel ‘1984’. However, director Michael Radford was not a fan and arranged his own orchestral score. One of the songs from a mostly instrumental work, ‘Sexcrime’ was a doomy dance number making use of stuttering voice samples and vocoder. Despite being a Top5 UK single, it was dropped from the film.
By 1985, EURYTHMICS had entered their soul rock phase but they found time for a one-off collaboration with alternative synth couple Chris Carter and Cosey Fanni Tutti of THROBBING GRISTLE fame. Darkly swung at an almost funereal pace, the artful vocals from Lennox and Tutti on ‘Sweet Surprise II’ were mostly ad-libbed and played on their distinctive styles while Stewart sprayed blues guitar over Carter’s sparkling electronics.
Although ‘Be Yourself Tonight’ was notable for ‘There Must Be An Angel’ featuring Stevie Wonder on harmonica and the R&B stomp of ‘Sisters Are Doin’ It For Themselves’ with Aretha Franklin, EURYTHMICS had not completely left the electronic sound with which they found fame on ‘It’s Alright (Baby’s Coming Back)’. Despite this, the topline recalled the introductory fairground riff from Smokey Robinson’s ‘Tears Of A Clown’ which was co-written by Stevie Wonder.
A No1 for THE UNDERTONES’ one-time lead vocalist, ‘A Good Heart’ was written by LONE JUSTICE’s Maria McKee about her relationship with musician Benmont Tench. Produced by Stewart, he embellished the track with his characteristic aesthetic using a number of EURYTHMICS sidemen. Perhaps not by coincidence, Fergal Sharkey followed this with the Tench-written ‘You Little Thief’ which was allegedly about McKee!
Available on the FEARGAL SHARKEY album ‘Feargal Sharkey’ via Virgin Records
Recorded in Paris and near Cologne, ‘Revenge’ continued further into an AOR rock direction as EURYTHMICS used a smaller pool of musicians including Clem Burke on drums, Patrick Seymour on keyboards; the latter co-wrote ‘When Tomorrow Comes’, the first single which embraced a more band-oriented style verging on Bruce Springsteen, complete with a Clarence Clemons styled sax break from Jimmy Zavala.
Available on the EURYTHMICS album ‘Revenge’ via Sony BMG Music
Alison Moyet was working with Jimmy Iovine and it was suggested that she co-wrote with Stewart. He came up with a melodic idea that then she wrote words to. The end result was ‘Is This Love?’; however he wanted to be credited under a pseudonym Jean Guiot. Released at the same time as ‘Thorn In My Side’, while both hit the UK Top5, it was ‘Is This Love’ that did better reaching No3!
Available on the ALISON MOYET album ‘Raindancing’ via Sony BMG Music
THE LOVER SPEAKS I Close My Eyes & Count To Ten (1987)
Comprising of David Freeman and Joseph Hughes, THE LOVER SPEAKS were signed to Stewart’s publishing company Anxious. In support of their Jimmy Iovine produced debut album, they opened for EURYTHMICS on their ‘Revenge’ tour where a standout song was ‘No More I Love You’s’. Stewart produced a standalone cover of ‘I Close My Eyes & Count To Ten’ which played to the duo’s Scott Walker aspirations despite his reservations.
Available on THE LOVER SPEAKS album ‘The Lover Speaks’ via Cherry Pop
EURYTHMICS You Have Placed A Chill In My Heart (1987)
‘Savage’ saw EURYTHMICS return to a starker electronic sound after the mainstream MTV friendly blow out. Driven by a drum machine, synth and Synclavier programming, ‘You Have Placed A Chill In My Heart’ saw Lennox reflect on the drive to leave a toxic relationship where affection was not reciprocated. However the B-side was an acoustic version and pointed to how EURYTHMICS would later perform many of their hits on the ‘Peace’ tour.
Available on the EURYTHMICS album ‘Savage’ via Sony BMG Music
Despite the ‘We Too Are One’ parent album title, a rift had developed between Lennox and Stewart; its heartbreaking second single ‘Don’t Ask Me Why’ signalled poignantly in song that this first phase of their working relationship was over. With echoes of ‘Here Comes The Rain Again’, the emotive resignation was summed up by closing refrains of “I don’t love you anymore…” – EURYTHMICS were over…for now.
Available on the EURYTHMICS album ‘We Too Are One’ via Sony BMG Music
DAVID A STEWART featuring CANDY DULFER Lily Was Here (1989)
Saxophonist Candy Dulfer had been championed by Madonna and Prince; this slice of smooth jazz elevator music for the Dutch movie ‘De Kassière’ (known in English as ‘Lily Was Here’) was recorded with Stewart as a one-take instrumental jam. Beginning with a call-and-response guitar and sax section before a slinky improvised solo from Dulfer, it was a surprise UK Top10 hit although the track had already been a No1 in The Netherlands.
Available on the soundtrack album ‘Lily Was Here’ via Anxious / RCA
Co-written by Stewart (again as Jean Guiot), with his then-wife Siobhan Fahey and Marcella Detroit for SHAKESPEARS SISTER, ‘Stay’ was inspired by the 1953 Sci-Fi film ‘Cat-Women Of The Moon’. He had suggested writing a ballad featuring Detroit on lead vocals and saw her end the song in whistle register sparring against Fahey’s gothic deadpan, capturing a battle of two mysterious worlds that went to No1.
Available on the SHAKESPEARS SISTER album ‘Hormonally Yours’ via London Records
Following the informal dissolution of EURYTHMICS, Lennox took some time away from the music industry, during which she gave birth to her eldest daughter. Now writing alone for her debut solo record, the Stephen Lipson produced ‘Precious’ was a funky song featuring a biting bass groove and key change passionately celebrating the joys of motherhood. The parent album ‘Diva’ sold more than any of EURYTHMICS’ studio albums.
VEGAS was the surprise collaboration between Stewart and Terry Hall of THE SPECIALS, FUN BOY THREE and THE COLOURFIELD. The highlight of their only album was the cinematic electro-reggae of ‘Walk Into The Wind’. “You have to learn to love by loving” sang Hall in this cynical love song that also featured a vocal cameo from Siobhan Fahey. Haunting and beautiful, this was Stewart’s song best outside of EURYTHMICS.
Originally by THE LOVER SPEAKS who supported EURYTHMICS in 1986, Lennox felt ‘No More I Love You’s’ “should have touched the consciousness of the nation” and deserved better than its No58 chart position. So she wanted to give this poetic breakup song another chance. With slightly altered lyrics, it was the lead single from her covers album ‘Medusa’ which also featured THE BLUE NILE’s ‘The Downtown Lights’.
Available on the ANNIE LENNOX album ‘Medusa’ via Sony Music
To date, the final EURYTHMICS single, ‘I’ve Got A Life’ was something of a reflective “return to roots” check for Lennox and Stewart as a building electronic soul number with uplifting lyrics of empowerment in the face of middle age. There was even a video featuring Lennox and Stewart revisiting their dark suited ‘Sweet Dreams’ image of 1983 while the pair also appeared in front of a towering Moog modular stack.
Set to the music of Buddy Holly, “Re-Record, Not Fade Away” was the iconic strapline voiced by veteran British actor Deryck Guyler as a jolly skeleton to advertise Scotch video cassettes in 1987. The premise was that these tapes were of such resilient high quality that they could be used for a lifetime and even outlive the purchaser.
But “Re-Record, Not Fade Away” could also be seen as a reference to the longevity of music through cover versions of classic songs. So what about when an artist effectively covers their own song by re-recording it?
Artists and producers are forever tinkering with their work. Sometimes it is to improve on a track or create a new vision. But also, it can be done simply to own a new copyright where the original is now in the hands of a less than co-operative custodian; the most recent high profile case of this has been Taylor Swift who has been re-recording all of her previous albums with each labelled as “Taylor’s Version”.
ELECTRICITYCLUB.CO.UK presents its own list of 25 remakes and remodels from over the years. Most are more familiar than the originals and have been widely accepted as the superior versions while others continue to divide fans.
Presented in yearly and then alphabetical order with a restriction of one track per artist moniker, this listing does not include remixes, live recordings or radio sessions. Meanwhile originals refer to the first released versions so demos do not count!
ULTRAVOX! Hiroshima Mon Amour (1977)
ULTRAVOX! first released ‘Hiroshima Mon Amour’ as a fierce and frenetic art rock piece for the B-side of ‘ROckwrok’, but it was slowed right down for the ‘Ha! Ha! Ha!’ album version. Moving into the moody ambience of CLUSTER with a modified Roland TR77 rhythm machine and Elka Rhapsody string machine chillingly taking centre stage, the colder aesthetics were counterpointed by guest saxophonist CC from GLORIA MUNDI.
Available on the ULTRAVOX! album ‘Ha! Ha! Ha!’ via Island Records
After leaving ULTRAVOX, the full length solo debut ‘Metamatic’ from John Foxx featured a highlight in ‘No-One Driving’. Despite the album also including a song called ‘Blurred Girl’, the single re-recording had much sharper focus and slightly altered lyrics, reaching No32 in the UK charts. Released along with three new tracks ‘Glimmer’, ‘This City’ and ‘Mr No’, ‘No-One Driving’ remains one of the best double single packages ever.
The original Fast Product single version of ‘Being Boiled’ from 1978 was recorded in mono and had its own charm. But THE HUMAN LEAGUE took the opportunity to update their calling card with producer John Leckie for the ‘Travelogue’ album to more fully realise its funky FUNKADELIC inspired overtones. Using a varispeeded synth brass section named THE BOYS OF BUDDHA, the end result was more dynamic and livelier.
Available on THE HUMAN LEAGUE album ‘Travelogue’ via Virgin Records
With the 1979 ‘Unknown Pleasures’ version channelling THE STOOGES, the idea behind JOY DIVISION re-recording ‘She’s Lost Control’ was to make a really loud and dynamic 12 inch disco single. The result was a big cacophony of electronic and acoustic drums as well as an aerosol! Meanwhile, synths which had not been present before were now very much heard in the second half while Ian Curtis’ vocal delivery was even more foreboding.
Available on JOY DIVISION album ‘Substance’ via Rhino Records
On the debut self-titled OMD album, ‘Messages’ was a song that actually featured guitar with potential as a single. Utilising a pulsing repeat function on a Korg Micro-Preset shaped by hand twisting the octave knob, it was decided to re-record ‘Messages’ for its singular release. Produced by Mike Howlett, the new version included the addition of separately recorded drums for a cleaner snap to produce a breakthrough UK chart hit.
Available on the OMD album ‘Souvenir’ via Virgin Records
The much darker and aggressive first version of ‘Photographic’ for the ‘Some Bizzare Album’ was driven by Mute supremo Daniel Miller’s klanky Korg 55 Rhythm box. Featuring much more sophisticated sequencing and programmed percussion palettes, an understated approach was taken on the re-recorded ‘Speak & Spell’ version with snares sounds only making their presence felt a third of the way through.
Available on the DEPECHE MODE album ‘Speak & Spell’ via Universal Music
Compared with the original ‘Mutant Moments’ version of ‘Frustration’ which was akin to the unsettling demeanour of THROBBING GRISTLE, the ‘Non-Stop Erotic Cabaret’ take was like a completely different song. The lyrics were mostly written by Dave Ball about his own father while Marc Almond let his theatrical energetics go wild as sparkling Synclavier, a Roland Synthe-Bass and sleazy sax battled for audio supremacy.
Originally recorded for a 1980 EP on Dead Good Records, ‘Nowhere Girl’ was undoubtedly the most immediate pop tune in the B-MOVIE portfolio. The quartet were under pressure to have a hit with Phonogram label mates SOFT CELL having scored a No1. Produced by Steve Brown, the new recording had tinkling ivories like ULTRAVOX in full flight alongside pulsing bass and harp-like synths. Alas, ‘Nowhere Girl’ stalled at No67!
Originally recorded for a 1980 single on Mute Records in a band format featuring guitar and hand-played synths, ‘Kebabträume’ was subsequently reworked by DAF with sequencers under the production supervision of the legendary Conny Plank. Transforming into something much heavier, the memorable if controversial line “Deutschland, Deutschland, alles ist vorbei!” had more bite on this superior version.
Available on the DAF album ‘Für Immer’ via Grönland Records
Seeing out 1981 after the success of their self-titled debut album with the release of ‘My Own Way’, the single was characterised by its fast tempo and a disco string section. However, DURAN DURAN would express dissatisfaction at the recording. So for their second album ‘Rio’, the song was re-recorded in a slightly slower electro-funk style with a harder rhythmic edge while Simon Le Bon ad-libbed about “7UP between Sixth and Broadway”
Available on the DURAN DURAN album ‘Rio’ via EMI Music
Written when Wayne Hussey, later of THE SISTERS OF MERCY and THE MISSION, was in DEAD OR ALIVE, ‘The Stranger’ first surfaced as a single on Black Eyes Records. The tighter re-recording appeared as a B-side of the ‘What I Want’ single, dialling down the more gothic and acoustic elements while making the electronics and drum machine much more prominent. Despite this, it was a million miles from the HI-NRG sound that Pete Burns would find fame and fortune with.
HEAVEN 17 were misinterpreted by Thatcher’s yuppies who thought ‘Let’s All Make A Bomb’ was about making a financial killing, when it actually referred to a different type of killing altogether. The original ‘Penthouse & Pavement’ version was all analogue electronics including its rhythm track. For the B-side of ‘Come Live With Me’, this New Version was more digital with metallic samples for a type of industrial funk.
Available on the HEAVEN 17 album ‘Endless’ via Virgin Records
The original 1982 single version of ‘Pale Shelter’ was produced by Mike Howlett and began with an unsettling, reverse spoken vocal from Roland Orzabal. It failed to chart but with TEARS FOR FEARS flush from the success of ‘Mad World’ and ‘Change’, the parent debut album ‘The Hurting’ featured a re-recording produced by Ross Cullum and Chris Hughes with a much looser feel. Re-released as a single, it gave the duo their third UK Top5 hit.
When ‘Uncertain Smile’ was released as a Mike Thorne produced single in 1982, it featured a wonderfully rigid TR808 pattern, synths and a variety of woodwinds including flute and sax. Come the ‘Soul Mining’ album produced by Paul Hardiman, the song was newly recorded with live drums and an extended boogie-woogie piano section from Jools Holland at the end. Some love it, some don’t but THE THE main man Matt Johnson is in the former camp.
Available on the THE THE album ’Soul Mining’ via Epic Records
Benny Andersson said that ABBA’s ‘The Day Before You Came’ was “a really good song, but not a good recording” and by coincidence, the first attempt by BLANCMANGE produced by John Luongo for the ‘Mange Tout’ album was underwhelming. But this was put right for single release in a rhythmically tighter re-recording helmed by Peter Collins which also made more of Neil Arthur’s melodramatics and Northern English quirkiness.
‘Forbidden Colours’ was the David Sylvian vocalled version of theme to the film ‘Merry Christmas Mr Lawrence’ which was composed by Ryuichi Sakamoto who also starred in it alongside David Bowie. But Sylvian wanted to do his own “not so grand” version for his debut album ‘Brilliant Trees’. Featuring Sakamoto on piano with Sylvian on synths and Steve Jansen on live drums , it was eventually dropped for ‘The Ink In The Well’ but ended up as the B-side to ‘Red Guitar’.
Tony Mansfield of NEW MUSIK did the original production on ‘Take On Me’ in 1984. However, A-HA were unhappy with the Fairlight-assisted results so it was remixed by their manager John Radcliff. The single failed to chart but with Warner music sensing a potential hit, a re-recording was commissioned with Alan Tarney as producer and showing off Morten Harket’s blistering vocal range. The single flopped again but on the third attempt, became the international hit they desired.
The original version of ‘West End Girls’ had been produced by New Yorker Bobby Orlando and released by Epic Records in 1984 , but while it has been a cult favourite, it was not a mainstream chart success. After signing to EMI, it was re-recorded with a lush cinematic aesthetic produced by Stephen Hague. It was stylistically at odds with pop duos like WHAM! but gave PET SHOP BOYS the first of their 4 UK No1s.
Available on the PET SHOP BOYS album ‘Smash’ via EMI Music
A plaintive song about the wandering eye, ‘No-One Is To Blame’ was one of the best Howard Jones ballads. A highlight in its first guise from his second album ‘Dream Into Action’, with Trans-Atlantic hit potential and Phil Collins riding high in that market, a re-recording was made with the GENESIS drummer producing alongside Hugh Padgham. Mission accomplished, the single became Jones’ biggest US hit.
The original ‘Temptation’ was the first Top30 UK single for a rejuvenated NEW ORDER. For their ‘Substance’ compilation, the track was re-recorded in line with how the band were playing it live, with ARPs and Simmons drums now replaced by Yamahas and a harder digital snare while the vocal was perhaps more restrained. Thanks to the huge success of ‘Substance’, this is probably now the best known version of ‘Temptation’.
Available on the NEW ORDER album ‘Substance’ via Warner Music
The original stark 1975 recording had ambigious references to radio activity but accepting the criticism they were getting from environmentalists, KRAFTWERK gave a pointed anti-nuclear message on this powerful 1991 re-recording. The most significant makeover was its additional unsettling machine chant of “TSCHERNOBYL – HARRISBURGH – SELLAFIELD – HIROSHIMA” highlighting recent atomic catastrophes.
Available on the KRAFTWERK album ‘The Mix’ via EMI Music
Despite not being a single, ‘Metal’ is a bonafide Gary Numan classic from 1979’s ‘The Pleasure Principle’. But in his stock on the rise again after several lean years and signing to Eagle Records, he revisited it to include as a bonus track for the single release of ‘Dominion Day’ from the ‘Exile’ album. A much more brooding grandiose reinterpretation, things were taken a step further by NINE INCH NAILS cover on ‘Things Falling Apart’ in 2000.
LUSTANS LAKEJER were seen as Sweden’s answer to DURAN DURAN; ‘Begärets Dunkla Mål’ was originally a moody unga moderna disco song which opened their self-titled 1981 debut album. The song was given a full Düsseldorf electronic makeover for their greatest hits collection 26 years later. Produced by Peder Livijn of SYSTEM, with a bounce reminiscent of KRAFTWERK’s ‘Das Model’, it became the catchy synthpop tune it had the potential to be.
The very KRAFTWERK influenced lead single from the third RHEINGOLD album ‘Distanz’, neither ‘Computer Beat’ or its parent long player have been reissued by CBS in the digital age. Re-recorded for a self-released ‘Best Of’ along with their German hits ‘Fluss’, ‘3Klangsdimensionen’ and ‘FanFanFanatisch’, unlike the majority of the tracks in this list, the aim was to make the rework sound as much like the original as possible.
Available on the RHEINGOLD album ‘Best Of’ via 3Klang Records
Originally recorded as a guitar-driven indie pop tune in 2008, ‘Blue Motorbike’ was the best known tune by Swedish singer-songwriter Oskar Humlebo under his MOTO BOY alias. 10 years later and reflecting his now-more laid back cinematic aesthetic, he revisited it as a pretty synthpop ballad for the Original Motion Picture Soundtrack of the Swedish thriller ‘Videoman’ which also featured notable synthwave exponents such as Robert Parker and WAVESHAPER.
Available on the Original Motion Picture Soundtrack album ‘Videoman’ (V/A) via Lakeshore Records
Embroiled in anguish, UNIFY SEPARATE have provided their “sanity clause” as they confront an existential crisis that is more than about midlife on the ‘Heavy Meta’ EP.
Having already released two acclaimed albums ‘First Contact’ and ‘Music Since Tomorrow’, ‘Heavy Meta’ builds on the duo’s majestic sense of drama with a deeper and harder sound that swings between self-loathing and self-affirmation, revenge and compassion, and love and regret
Comprising of Andrew Montgomery and Leo Josefsson, their respective heritage of Scottish indie via GENEVA and Swedish synth in the form of LOWE has been the core of their unique stylistic chemistry. Within a deep swoop of influences including MODERAT, DEPECHE MODE, ULTRAVOX, BRONSKI BEAT and RADIOHEAD, ‘Heavy Meta’ blends raw emotive vocals with distorted synths and dynamic machine rhythms.
In their third interview with ELECTRICITYCLUB.CO.UK, UNIFY SEPARATE spoke about the situations that led to this ‘Heavy Meta’…
The title ‘Heavy Meta’ sums up the sound and lyrical themes of this latest EP, what had inspired it?
Leo: I can only speak to what inspired the soundscape and production techniques, but it’s a continuation of the path we’ve been on for a while—just with a darker and deeper outcome. I’ve kept pushing myself to improve every aspect, from music production to sound creation and arrangement. In the past, I felt a bit restricted by trying not to sound like any of my musical house gods, but I’ve let go of that anxiety and allowed it all to flow freely.
Andrew: Lyrically it refers to big personal changes that periodically go on inside of us, sometimes due to external influences or characters, sometimes of our own volition.
Bands often go through an existential crisis, was this happening to you? Has trying to play the Spotify algorithm and maintaining a social media presence detracted from the creation of music as opposed to “content”?
Leo: The challenge of streaming and media presence is definitely something we struggle with—and honestly, we’re not very good at it. We’re not salesmen, except when we’re on stage—then we’re the best salesmen there are. Life is a difficult period. And the current music landscape doesn’t make it any easier.
Andrew: The radical democracy of the early digital era has given way to a stifling level of commercial music industry control that’s not so far removed from the murky era of Morris Levy. But there are enough incredible supporters out there online (the good side of digitalisation) that it keeps you going.
Had playing live more influenced your approach to song dynamics at all?
Leo: It definitely has—especially when we plan our setlists. At times, we’ve felt the need for more uptempo songs to help make the live show more dynamic and driving. It’s a tricky balance, though—building the energy while still leaving the audience wanting more.
Technology can often be a spark to sound, so have there been any new toys to play with at UNIFY SEPARATE HQ?
Leo: Indeed! 🙂 I’m a big fan of analog outboard gear, and I’ve also stepped into the world of modular synthesizers. That’s definitely opened up new tools and ways of creating sounds and rhythmic elements that just wouldn’t have been possible before.
There appears to be fewer guitar derived textures this time round than before, was that a conscious decision?
Leo: Yes, very much so. We’re both more influenced by electronic music than before—Andrew especially. It’s partly my fault that we leaned more toward an ‘indie pop’-influenced direction on our latest album, ‘Music Since Tomorrow’, where we also had the great honor of having Richard Oakes from SUEDE (!) play on two songs. This time around, I felt the need to dive back into the synthetic and electronic world again.
Andrew: Featuring guitar limits what you can do in the live setting where you’re a duo of machines and vocals. Best to play to your existing strengths but find new ways to use them.
You opted for an EP rather than an album for ‘Heavy Meta’, were there creative and practical reasons for this?
Leo: We both felt the need to shorten the timespan between releases, and I have a tendency to spend too much time on the productions. We figured the EP format could be a good way to avoid getting stuck—and it turned out to be just that. It’s helped us keep moving forward instead of dwelling on our music for too long. Right now, we’re working on a new EP called ‘The God Particle’ (you read it here first!), which is taking us on a somewhat different journey—and it feels really exciting.
“Don’t believe everything you think!” you exclaim on ‘DETOX’, it’s a strange world out there now and you’re both old enough to remember when things had been a bit nicer… how are you coping?
Andrew: The lyrics you quote have both personal and macro perspectives. There’s a lot to be mad about out there, but even in the case that we generally agree with something or someone, we shouldn’t always accept all the things that we’re told, though that is especially so from certain quarters. If we keep that in mind as well as the desire to try and be as good as we can to others, and also be kind to ourselves, that can help us through this difficult era. Hope you’re all coping okay x
What prompted the united front to you both providing vocals on ‘DETOX’ and ‘Return To Exile’?
Leo: I see the human voice purely as an instrument, and on those songs, it felt natural to bring in my darker vocal tone to complement Andrew’s amazing choral qualities. I think it turned out pretty well.
Andrew, as a Scot in Sweden, was ‘Return To Exile’ intended as something more personal to you?
Andrew: Actually, the song was one of Leo’s ideas, including the theme. I’m a happily-settled “new Swede” who is nonetheless proud of his Scottish roots.
‘Dark Heaven’ is a good title, what was the idea behind the song and what light can you identify despite all this darkness?
Andrew: Thank you. It’s about pushing your personal boundaries and finding joy in the senses. The light is always, always the love we have for one another.
How did you get ‘Gaslighted’?
Andrew: (Lies down on psychiatrist’s sofa) – By someone who tried to de-legitimise my feelings over being hurt in an egregious way. All is now forgiven if not forgotten.
So who has been making ‘Excuse Excuses’?
Andrew: See immediately above.
You’re playing Amphi 2025 in Cologne this summer, how do you think the ‘Heavy Meta’ songs will go down live?
Leo: We’ve already included ‘DETOX’, ‘Gaslighted’, and ‘Dark Heaven’ in our live setlist, and they’ve gone over really well—the response has been amazing. We’re hoping for, and expecting, nothing less at Amphi.
What is next?
Andrew: Hopefully a lot more music – both recorded and live.
ELECTRICITYCLUB.CO.UK gives its warmest thanks to UNIFY SEPARATE
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