“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
If you describe your influences as the “softer” side of synthpop and cite Nik Kershaw, Howard Jones, YAZOO, HEAVEN 17, together with ABBA and ELECTRIC LIGHT ORCHESTRA as your inspirations and have been making popular synth music since 1983, the good chance is that your name is Val Solo.
Valdi Solemo started up in Sweden in a Malmö band POP-OUT, before deciding to relocate to Bulgaria to work with some of the cream of local musicians, producing and writing there.
The music hungry sound shifter produced DR. FONKENSTEIN, before coming back home after ten years to join S.P.O.C.K. Now, Val Solo presents his “alone” project, with the exception of remixes from such recognised figures as Johan Baeckström of DAILY PLANET and NASA’s Patrik Henzel in charge of mastering.
‘Songs from Another Time… And Space’ can be best described as a younger brother to the UK’s own KID KASIO, where the prevailing love affair with the synth during its most prolific era is the theme. The album cover features the music magician surrounded by good old vintage cars depicted in black and white, where Val looks into the future, preserving the feel of the times when life was simpler.
If you’re after a sophisticated, masterfully poignant electronica, you won’t find it here. If however, you’re looking for a cheery, uncomplicated and easy listening pieces to take you back in time, ‘Songs From Another Time… And Space’ are for you.
Is it the super vintage ‘Why Would You Tell Me’, the era love affair of ‘Dream Girl (Purple Eyes)’, or the ‘Star Wars’ inspired ‘Party Like A Stormtrooper’ with its synths a la AND ONE, there’s something for everyone here. The latter even bears the musical blueprint of Essex boys MODOVAR.
‘I’m In Space (Cabdriver Dreams)’ is a perfect disco track with its mantric refrain and fun execution in such a way, there’s nothing left to do but let your hair down and party. The opening ‘Why Don’t You Talk To Me’ with its additional three remixes, notably one by Johan Baeckström, is the most accomplished number on the opus, reminiscent of YAZOO and early DEPECHE MODE. Who says synthpop has to be serious… VAL SOLO proves that having fun isn’t a bad thing, especially in the world of today, where we are all bombarded with negativity, politics and dystopian ideas.
Solo’s “solo” is unostentatious, modest and not at all fussy. It’s music for those willing to be transported to much simpler times, with much purer ideas and uncomplicated rhythms.
‘I Believe’ it’s vital to shed the shackles of the ordinary existence and let yourselves go… “let it happen, life is just what you want it to be”.
Shiny danceable electronic pop is what KNIGHT$ is all about and as the vehicle of James Knights, formally of SCARLET SOHO, his ethos is to make synthwaves with his brand of sparkly Britalo!
It’s been a busy time for the Winchester based singer/songwriter, with his first two releases ‘What’s Your Poison?’ and ‘Alligator’ gaining airplay on internet radio. Meanwhile, he also provided lead vocals for the current incarnation of veteran German electropopsters BOYTRONIC on their comeback album ‘Jewel’. Coming over like the love child of Richard Butler and Neil Tennant, the crowd pleasing nature of James Knights himself has made him a must-see live act, while the music of KNIGHT$ has that unashamedly glitterball disco drive.
Having just returned from a successful German tour opening for WOLFSHEIM’s Peter Heppner, James Knights unpacked his suitcase and kindly chatted about his upcoming plans for KNIGHT$…
You’ve described the music of KNIGHT$ as Britalo, what led you to pursue your new poptastic direction?
When my previous project went on a break, it was important to take some time out and think about what to do. I knew I would be the main writer/performer in KNIGHT$, so I wanted to create an alter ego to hide behind, someone very different from me in real life. I toured mainland Europe a few years ago, and I was introduced to some older pop music we never had over here in the UK. This Italo sound inspired me for sure, along with so many US one-hit wonders and some Synthwave tracks, plus Falco, Gazebo, Stephen Falken etc. At the time, I needed something to drag me away from all the music I knew before, and this captured my imagination and inspired me to be creative again.
There’s an air of ‘American Gigolo’ both aurally and visually within your music?
What can I say? It’s not intentional, but I guess there’s something about that kind of vibe I like to take with us on the stage. Every time you perform you have a chance to change the whole ambience of a venue. I see this as a challenge. I love it!
You appear to place as much importance on videos and a good live presentation as the music, what’s your thinking behind this?
We’re in such a visual time. I consume music with my ears and eyes and hope other people do the same! I know I can write a song, but that’s just one part of the role.
Your first two releases ‘What’s Your Poison?’ and ‘Alligator’ were quite a bit more sparkly than some of your previous work with SCARLET SOHO? What are the stories behind the title tunes?
‘What’s Your Poison?’ and ‘Alligator’ were some of the first tracks I wrote as KNIGHT$. ‘Alligator’ is just a little anecdote about something we all experience from time to time, the one-sided conversation with someone who doesn’t listen! ‘What’s Your Poison?’ was a bit of a slight on today’s dating culture.
I guess I thought people would have a better idea of finding the perfect date by offering people drinks and judging them on their choice! Gotta be better than Tinder!
Songs like ‘Gigolo’ and ‘Two Steps From Heartache’ indicate that what became the KNIGHT$ sound was omnipresent in SCARLET SOHO. How do you look back on that period and what the band achieved?
SCARLET SOHO was a way of life for anyone involved. For almost 15 years, we were making music together. We were very young when we started the project, and learned a lot about writing, recording, live shows and the business. You could look back and say mistakes were made along the way of course! I’m very proud to have done it.
What have been the main differences for you creatively between working solo and within a band format?
I think working alone has made the process a bit slicker perhaps. I’m always on the move when I demo tracks, and I like writing music on the train and stuff. With a band, you can deliberate over ideas for too long.
Are you a softsynth or hardware man? Has there been too much over romanticisation of vintage gear maybe?
I programme everything on my laptop with some approximated sounds. Then, when the arrangement is complete, I take the demo, all the vocals, and all the MIDI files to a studio so we can bounce the synth sounds through vintage synths and begin mixing. If you have access to the real gear you should use it. I mean, why not?
NEW ORDER’s ‘Subculture’, which appears to be the inspiration for ‘So Cold’, is their most under rated song? Discuss!
Love it, great track of course and I love NEW ORDER! I hope I don’t disappoint you here though… the biggest influence on ‘So Cold’ was 70s disco!
You’re known for performing covers which have ranged from ‘Uncivilized’ by dark Canadian trailblazers PSYCHE to PET SHOP BOYS ‘Heart’, you’ve even sung U2’s ‘New Year’s Day’ with BOYTRONIC. How do you choose your cover versions and are there any others you would like to attempt?
If it sounds good I’ll have a go! There are loads I’d like to try… it’s just finding the time. ‘Don’t Cry Tonight’ by SAVAGE would be a good one, ‘Monday Morning’ by FLEETWOOD MAC I like to sing, and the Spanish version of ‘Toy Soldiers’ by MARTIKA, topped off with ‘I.O.U’ by FREEEZ!
You have a close bond with Germany and a number of its veteran electronic acts, why do you think this has managed to develop over the years?
I performed in Germany for the first time in 2006, shortly after that SCARLET SOHO signed to a German label and we spent more time over there. So naturally we met more people and were introduced to music and bands we hadn’t heard before which was really exciting. We always felt very at home.
For those who have not witnessed a KNIGHT$ live performance, what can they expect from you?
The stage show grows in strength the more time I rehearse with the band, I hope to have some new songs in the set and play for a little longer than usual! Maybe a costume change or two midway through, or a special guest.
What’s next for KNIGHT$ on the release schedule? Does the album format figure in your plans or are EPs the way to go in the future?
I would like to make an album as most of the songs are ready now. I’m talking to some labels and we’ll see what happens. If not, I will continue with EPs on vinyl!
ELECTRICITYCLUB.CO.UK gives its warmest thanks to James Knights
Paul Statham’s musical contributions date back to post-punk, and having worked and composed for many successful artists, his accolades are many.
Signed to Mute, his project PEACH with a fellow producer Pascal Gabriel, brought ‘Audiopeach’ and the song ‘On My Own’ featured in the film ‘Sliding Doors’, became a US top 20 hit. Working with SIMPLE MINDS and THE SATURDAYS alongside others, his main commercial success came on Dido’s and Kyle Minogue’s albums as a co-writer and producer.
Having his fingers in many pies includes co-founding the band B-MOVIE, acting as a visiting professor in Leeds College Of Music and running songwriting workshops in London. Statham also developed his own project THE DARK FLOWERS, which featured collaborations with Peter Murphy, with whom the producer has a long lasting working relationship, SIMPLE MINDS’ Jim Kerr, Dot Allison from ONE DOVE and HELICOPTER GIRL. If that wasn’t enough, the multi-talented artist busies himself with film, art installations and exhibitions.
Recently the many faces of Paul Statham were realised in a start-up of his own label Loki Records and the release of an eight track album ‘Asylum’. Having been signed to Warner Chappell Publishing for over twenty years, Statham set up Loki to issue his experimental material, a phase which began with the ‘Ephemeral’ and ‘Installation Music 1’ releases.
‘Asylum’ features music from an audio visual installation created with painter Jonathan McCree, which was held in Asylum Chapel in South London’s Peckham. The opening eponymous track’s video utilises images from an Italian exhibition as well as dancers from Turkish State Contemporary Dance Company. The song itself is minimalistic and sparse, yet evolving the feelings of distress, fear, anxiety, laced with blissful oblivion and dread.
Soundtrack worthy, ‘Asylum’ is creepily delicious, and the senses are becoming to wake with the following ‘Collision’, a messier, more confused enterprise, still bearing the elements of dystopia and madness. ‘Who Won’t Wait’ continues the ambient atmosphere with the feeling of no hope, and ‘Tq347773’ brings a delicate piano, treated with a dose of electronic manipulation.
‘Rhea Moon’ introduces a steady beat and a promise of brighter days within the disjointed musicality and leads onto much heavier sounding ‘Estuary Point’. Here, the inevitable dread returns with the uncomfortable images of being shut out from the world, enclosed in a small space and being fed disturbing images for no other reason but to be broken. Was Statham going for mind control references here; Montauk experiment perhaps?
No relief comes in the form of ‘Malleki’, which utilises treated found sounds; wooden, primal, ritualistic. The strings and piano have no chance against the gritty synth. The closing ‘Ascend’ promises a glimmer of hope from the onset. Being lifted in a beam of light; lifted to the higher spiritual plains or being taken maybe.
This is the beauty of ambivalent music – anyone can imagine what they like and address the feelings a particular piece may evoke. ‘Ascend’ brings that aura of weightlessness, the divine connotations and the calmness of being, away from the “asylum”.
‘Asylum’ will appeal to the discerning customer, to the lovers of unusual synth play, GAZELLE TWIN or maybe even THE KNIFE. It’s wholesomely cinematic, marvellously ethereal and perilously addictive, if you aren’t afraid of darker auras and more intellectual sound manipulations.
Bridging the gap between Synth Britannia and Acid House, PET SHOP BOYS first found international success with ‘West End Girls’ in 1986.
With their Gilbert & George inspired persona, they cleverly satirised Thatcherism on ‘Opportunities (Let’s Make Lots of Money)’ and used board game symbolism in their observation of the AIDS crisis on ‘Domino Dancing’. They also combined cool aloofness with pop stardom and achieved 4 UK No1 singles; they were only denied a fifth with their 1993 cover of Village People’s ‘Go West’ by Will Smith as ‘The Fresh Prince Of Bel-Air’!
Preferring to “dance to disco” because they “don’t like rock”, Neil Tennant and Chris Lowe managed to change the whole concept of concert presentation in 1991 by removing from the stage, that one consistent element in the history of rock ‘n’ roll… the live musician!
The success in 1987 of ‘What Have I Done To Deserve This?’, a duet with iconic starlet Dusty Springfield showed PET SHOP BOYS’ willingness to collaborate, while Tennant’s involvement in ELECTRONIC with Bernard Sumner and Johnny Marr illustrated that work away from the nest was not out of bounds either.
Since their imperial phase, they have shown their versatility in projects ranging from producing or remixing other artists and running their own Spaghetti Records label to assorted theatre, film and ballet commissions. As well as Dusty Springfield, Liza Minnelli and David Bowie, the PET SHOP BOYS portfolio has also included Tina Turner, Madonna, and Kylie Minogue.
Becoming the esteemed funny uncles of the British music scene, they have managed to acquire the sort of public recognition that has been denied to DEPECHE MODE. Although both can count a Brit Award for Best Single on their mantelpieces, it would appear publicly in the UK at least that PET SHOP BOYS are held in greater affection.
With an Outstanding Contribution to Music BRIT Award in 2009 and an appearance in the 2012 London Olympics Closing Ceremony alongside Ray Davies, PET SHOP BOYS can now be regarded as quintessentially English as much as THE KINKS.
So presented in chronological order with a limit of one track per artist project, here are 20 tracks by PET SHOP BOYS… collaboratively!
EIGHTH WONDER I’m Not Scared (1988)
‘I’m Not Scared’ for Patsy Kensit’s EIGHTH WONDER was the duo’s first production outside of their own work; dubbed a “Princess Stephanie record” by Tennant, influenced by the likes of moody Gallic disco tunes like ‘Voyage Voyage’, Kensit’s gorgeous purr en Français of “Débarrasse-moi de ces chiens – Avant qu’ils mordent…” was the icing on the cake. PET SHOP BOYS released their own recording of the song for ‘Introspective’, but it lacked the panache of Kensit’s version.
Available on the album ‘Fearless’ via Cherry Red Records
The combination of “Liza with a Z” and her strident theatrics with PET SHOP BOYS’ orchestrated electronic pop was somewhere over the rainbow and the ‘Results’ project was a combination of Tennant / Lowe originals and cover versions; one of those covers was an outlandish hip-hop inspired take on Tanita Tikaram’s ‘Twist in My Sobriety’, featuring a rap by A CERTAIN RATIO’s Donald Johnson. Whereas the original was organic and droll, this was a welcome stab in the face!
Available on the LIZA MINNELLI album ‘Results’ via Cherry Red Records
The snappy electropop of ‘In Private’ was Springfield’s third hit single in a row helmed by PET SHOP BOYS and had originally been written for the film ‘Scandal’; considered too contemporary by the film’s producers, the song was temporarily shelved and the moodier ‘Nothing Has Been Proved’ was used instead. As with ‘I’m Not Scared’, when PET SHOP BOYS recorded their own version as a duet with Elton John for the B-side to ‘Minimal’ in 2006, it was less accomplished.
Available on the DUSTY SPRINGFIELD album ‘Reputation’ via Cherry Red Records
David Cicero was a Scottish musician who after a PET SHOP BOYS concert in Glasgow, passed a demo tape to the duo’s personal assistant Peter Andreas. Impressed, they signed him to Spaghetti Records and co-produced his second single ‘Love Is Everywhere’. Like NEW ORDER crossed with OMD and RUNRIG, complete with bagpipes, it reached No19 in the UK charts. Despite a tour supporting TAKE THAT, Cicero’s career was unable to gain further mainstream momentum.
Available on the CICERO album ‘Future Boy’ via Cherry Red Records
Having appeared on ‘Gettting Away With It’ and ‘The Patience Of A Saint’, Tennant sang lead vocals on his third and final contribution to Bernard Sumner and Johnny Marr’s ELECTRONIC. A Europop number inspired by the French dance hit ‘Désenchantée’ by Mylène Farmer, producer Stephen Hague’s pop sensibilities came to the fore on the lush single mix; ‘Disappointed’ became a fully functioning hit that many understandably mistook for being PET SHOP BOYS.
Commissioned to produce the soundtrack of the Neil Jordan film ‘The Crying Game’, Tennant and Lowe covered the 1964 hit for Dave Berry with Boy George; he laid down what the duo thought was a guide vocal, expecting him to return to the studio the next day to finish it. But he didn’t and they were left to salvage the track using the CULTURE CLUB singer’s slightly wayward performance. Not that it mattered, as it gave the finished recording a marvellously vulnerable quality.
Already aping BLONDIE’s ‘Atomic’ and DURAN DURAN with its discofied template, ‘Girls & Boys’ was BLUR’s breakthrough hit. Bassist Alex James remarked that having a PET SHOP BOYS remix was like having your dog being taken for a walk, but when it came back, it was a different dog! That different dog was performed live by Tennant and Lowe on their ‘Discovery’ tour later in the year.
If ‘Girls & Boys’ came back as a different dog, then ‘Hallo Spaceboy’ was virtually hijacked, with PET SHOP BOYS re-producing this Bowie / Eno composition from ‘1.Outside’ into a much more commercial proposition. But in the true artful spirit of Bowie, Tennant even utilised the cut-up technique made famous by William S Burroughs to decide which words from the song he would duet with. It became Bowie’s biggest UK hit since ‘Jump They Say’ in 1990.
PETER RAUHOFER + PET SHOP BOYS = THE COLLABORATION Break 4 Love – UK Radio Mix (2002)
A renowned remixer with DEPECHE MODE and Madonna among his credits, the late Peter Rauhofer’s project THE COLLABORATION united him with Tennant and Lowe to produce a cover of RAZE’s cult house classic ‘Break 4 Love’. While the ‘Classic Radio Mix’ straightforwardly borrowed the arrangement of the sparse original, the ‘UK Radio Mix’ was more frantic and busy, the energetic antithesis of the more understated ‘Release’ album that was out at the time.
Available on the PET SHOP BOYS single ‘Home & Dry’ via EMI Records
YOKO ONO Walking On Thin Ice – PSB Electro Mix (2003)
The original recording of ‘Walking On Thin Ice’ was notable for being the very last song that John Lennon ever worked on. Yoko Ono’s haunting lyrics for the disco inflected tune reflected on the unpredictability of life, death and of “throwing the dice in the air” before poignantly adding that “when our hearts return to ashes, it will be just a story….”. The PET SHOP BOYS remix, with its hypnotic octave shift mantra and metronomic backbone, gave it a respectful futuristic sheen.
Available on the PET SHOP BOYS album ‘Disco 4’ via EMI Records
Sounding not unlike the backing track to PET SHOP BOYS’ remix of ‘Walking On Thin Ice’, ‘Jack & Jill Party’ was a long awaited recording with the late Pete Burns that exuded a wonderful Electroclash tension that suited the snarly DEAD OR ALIVE singer down to the ground. Mixed by Bob Kraushaar and released on Tennant and Lowe’s Olde English imprint, it actually reached No75 in the UK singles chart but this was to be a collaborative one-off.
RAMMSTEIN Mein Teil – PSB You Are What You Eat Remix (2004)
When German industrial metallers RAMMSTEIN released ‘Mein Teil’, it attracted controversy as its lyrics were inspired by the disturbing Armin Meiwes cannibalism case. Vocalist Till Lindemann said “It is so sick that it becomes fascinating and there just has to be a song about it”. Appropriately, PET SHOP BOYS offered up the ‘You Are What You Eat Remix’ which retained the guitars and the aggression, thus maintaining some gothic fervour for the dancefloor.
Available on the RAMMSTEIN single ‘Mein Teil’ via Universal Music
THE KILLERS Read My Mind – PSB Stars Are Blazing Mix (2005)
Singer Brandon Flowers referred to the underwhelming ‘Sam’s Town’ as “the album that keeps rock & roll afloat”, but Neil Tennant had joked that he knew THE KILLERS’ second long player would not be as good as the debut ‘Hot Fuss’ because Flowers had grown a beard! After the synth indie hybrid of ‘Somebody Told Me’ and ‘Mr Brightside’, it was extremely disappointing but Tennant and Lowe put some pulsing electronics into ‘Read My Mind’ to alert audiences as to what could have been.
Available on the PET SHOP BOYS album ‘Disco 4’ via EMI Records
‘Battleship Potemkin’ was a 1925 Soviet silent film directed by Sergei Eisenstein about a 1905 naval mutiny. Using their surnames like classical composers on this updated soundtrack, the pair were accompanied by Dresdener Sinfoniker, conducted by Jonathan Stockhammer. Arranger Torsten Rasch had released ‘Mein Herz Brennt’ based on the music of RAMMSTEIN. Despite being uptempo, the mix of strings and electronics on ‘Nyet’ reflected the grim tension of the story.
The former TAKE THAT star had covered ‘I Wouldn’t Normally Do This Kind Of Thing’ so was a proven fan. With PET SHOP BOYS in charge of production, ‘She’s Madonna’ was inspired by a conversation Williams had with his ex Tania Strecker on the excuse her former boyfriend Guy Ritchie gave for leaving her for Madonna. It was an interesting artistic twist, as Tennant and Lowe had remixed ‘Sorry’ for Madge in 2005.
Available on the ROBBIE WILLIAMS album ‘Rudebox’ via EMI Records
SAM TAYLOR-WOOD I’m In Love With German Film Star (2008)
Visual artist and director Sam Taylor-Wood became friends with PET SHOP BOYS when she provided film projections for their shows at London’s Savoy Theatre in 1997. She later recorded covers of ‘Je T’aime… Moi Non Plus’ and ‘Love To Love You Baby’ both produced by Tennant and Lowe, but it was her moody electro version of ‘I’m In Love With A German Film Star’, originally recorded by THE PASSIONS, that was the first to actually be released under her own name.
When Tennant and Lowe received their Outstanding Contribution to Music Award at the BRITs, they were joined on a ‘Hits Medley’ by THE KILLERS’ Brandon Flowers and Lady Gaga who did her turn on ‘What Have I Done To Deserve This?’. Originally a lame cod calypso excursion from the latter’s debut album ’The Fame’, PET SHOP BOYS managed to rework ‘Eh Eh (Nothing Else I Can Say)’ into an electro-disco stomper despite its break-up subject matter.
Available on the LADY GAGA album ‘The Remix’ via Interscope Records
PET SHOP BOYS featuring PHILIP OAKEY This Used To Be The Future (2009)
‘This Used To Be The Future’ was a dream trioet that featured both PET SHOP BOYS and Philip Oakey of THE HUMAN LEAGUE, recorded as a bonus song for ‘Yes etc’. With Lowe actually singing albeit autotuned, as opposed to just speaking, this celebration of yesterday’s tomorrow saw Oakey deadpan that his utopian dream didn’t quite turn out how Raymond Baxter predicted on ‘Tomorrow’s World’!
A cover of the lost NEW ORDER single from 1985, Finnish producer Jori Hulkkonen remembered: “The idea was to take what me and STOP MODERNISTS partner Alex Nieminen felt was an underrated song, make a late 80s deep house interpretation and bring some extra twist with having Chris on the vocals. It’s very hard – impossible, actually – to explain how important this record is to me. PET SHOP BOYS have been the most important musical influence for me”.
Available on the STOP MODERNISTS single ‘Subculture’ via Keys Of Life
JEAN MICHEL JARRE & PET SHOP BOYS Brick England (2016)
Jean-Michel Jarre’s ambitious ‘Electronica’ project was a worldwide collaborative adventure where the handsome French Maestro “had this idea of merging DNA with musicians and artists of different generations”; ‘Brick England’ with PET SHOP BOYS was a slice of classic mid-tempo Euro disco, with Tennant and Lowe not breaking with tradition, although Jarre’s ribbon controlled lead synth sounded like it was going to break into EUROPE’s ‘The Final Countdown’!
Founded in 1958 by Desmond Briscoe and Daphne Oram, THE RADIOPHONIC WORKSHOP at the BBC was set up to provide “special sound” for radio and TV programmes.
So to celebrate 60 years of THE RADIOPHONIC WORKSHOP in Autumn 2017, members of the pioneering collective held a panel discussion at The British Library prior to an impressive concert at the venue.
As well as using audio stems of the component parts to discuss how Delia Derbyshire constructed the original ‘Dr Who Theme’, Peter Howell (who was at the BBC between 1974–1997) mentioned how ‘The Music Arcade’, an old schools programme which he had made demonstrating the Fairlight CMI to children, had been re-edited by a prankster into a YouTube video entitled ‘How Drum ‘N’ Bass Is Made’.
With the combination of Howell’s well-spoken manner, the varied facial expressions of the children and ‘Lose Control’ by REDPILL painstakingly dropped in, the results are hilarious!
Peter Howell said at The British Library that “equipment can either be our servant or our partner”; he is best known for his 1980 reworking of the ‘Dr Who Theme’ using a Yamaha CS80, ARP Odyssey and vocoder, while he still uses a Yamaha DX7 as his master keyboard during THE RADIOPHONIC WORKSHOP’s various concerts around the world.
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‘I’m In Space (Cabdriver Dreams)’ is a perfect disco track with its mantric refrain and fun execution in such a way, there’s nothing left to do but let your hair down and party. The opening ‘Why Don’t You Talk To Me’ with its additional three remixes, notably one by Johan Baeckström, is the most accomplished number on the opus, reminiscent of YAZOO and early DEPECHE MODE. Who says synthpop has to be serious… VAL SOLO proves that having fun isn’t a bad thing, especially in the world of today, where we are all bombarded with negativity, politics and dystopian ideas.
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for Madge in 2005.
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is still available as a 4CD set or download via Silva Screen Records
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