Category: Lists & Beginner’s Guides (Page 2 of 26)

THE ELECTRONIC LEGACY OF 1977

30 August 2025 /

While there had previous been synthesizer hits like ‘Son Of My Father’, ‘Popcorn’ and ‘Autobahn’, they were considered novelty records at the time and it would be fair to say that the true Year Zero in electronic pop music was 1977.

THE SEX PISTOLS and ‘God Save The Queen’ may have been on everyone’s hushed lips in the Queen’s Silver Jubilee year but the most influential song to emerge from that period and that STILL sounds like the future is ‘I Feel Love’ by Donna Summer.

The producer of ‘I Feel Love’ was a German domiciled Italian named Giorgio Moroder. A solo artist in his own right within his adopted homeland, he had already been playing with synthesizer riffs on his first hit song ‘Son Of My Father’; a facsimile cover by Chicory Tip reached No1 in the UK at the start of 1972.

In the case of ‘I Feel Love’, Moroder later harnessed the hypnotic quality of an 8-step analogue sequencer plus a triplet delay to create the pulsing Moog lines to close the Donna Summer concept album ‘I Remember Yesterday’. The preceding tracks had themes of the 40s, 50s, 60s and 70s. ‘I Feel Love’ was designed to represent the sound of the future.

Despite already clocking in at nearly six minutes, it felt like it could go on forever. Again, Moroder had the foresight to extend the track to nearly twenty minutes on a 12 inch version for discos; the extended version was born. Alas, ‘I Feel Love’ was the only electronic track on ‘I Remember Yesterday’ but Moroder would fully exploit the potential of this new technology on the next Donna Summer albums as well as his solo records.

The first British artist to present electronic pop in its modern form at the start of 1977 was David Bowie with ‘Sound & Vision’ featuring an ARP Solina lead line and noise-gated futuristic sounding drums. With this, ‘Oxygène’, ‘Magic Fly’ and ‘I Feel Love’ all hitting the Top 3 in the UK singles chart within months of each other, this was the beginning of synths designing the future.

So here are 20 albums which ELECTRICITYCLUB.CO.UK sees as contributing to the electronic legacy of 1977. While a number of these albums were not purely electronic, their inclusion of electronic based songs or suites proved to be highly influential in their experimental possibilities. They are listed in alphabetical order with a restriction of one album per artist moniker…

ASHRA New Age Of Earth

Guitarist Manuel Göttsching had been a member of ASH RA TEMPEL but looking to explore more progressive voxless territory on ‘New Age Of Earth’, he armed himself with an Eko Rhythm Computer, ARP Odyssey and his signature Farfisa Synthorchestra. An exponent of a more transient soloing style, he used the guitar for texture as much as for melody in this beautiful treasure trove of an album, as on the wonderful 20 minute ‘Nightdust’.

‘New Age Of Earth’ is still available via Virgin Records

http://www.ashra.com/

TIM BLAKE Crystal Machine

Having been the synth player of GONG on their albums ‘Flying Teapot’, ‘Angel’s Egg’ and ‘You’, Francophile Tim Blake’s first solo long player was ‘Crystal Machine’. A combination of studio and live material, with a EMS Synthi A, Minimoog and Elka Rhapsody at his disposal, it was full of eccentric sci-fi soundscapes and cosmic otherworldliness in the GONG, PINK FLOYD and HAWKWIND vein; Blake would actually join the latter in 1979.

‘Crystal Machine’ is still available via Esoteric Recordings

http://moonweed.free.fr/

DAVID BOWIE Low

“There’s New Wave, there’s Old Wave, and there’s David Bowie” said the advert for ‘Low’, recorded in Switzerland but mixed at Hansa Studios where the soldiers in the East Berlin watch towers could look into the windows of the building. It featured a whole side of instrumentals, the best two being ‘Warszawa’ and ‘Art Decade’ in collaboration with Brian Eno. Despite the artful experimentation, there was a hit single in ‘Sound & Vision’.

‘Low’ is still available via EMI Records

http://www.davidbowie.com

CLUSTER & ENO Cluster & Eno

Having first worked together in 1976, Brian Eno met up with Hans-Joachim Roedelius and Dieter Moebius of CLUSTER on two fruitful recordings, the first of which was a glorious ambient instrumental affair. The front cover photo of a microphone up near the clouds summed up the approach with the album full of angelic atmospheres and gentle melodies. The closer ‘Für Luise’ was a tense cold war drama with stark piano and minimal synth.

‘Cluster & Eno’ is still available via Bureau B

https://www.roedelius.com/

ELECTRONIC SYSTEM Disco Machine

A year before TELEX formed, Dan Lacksman released his sixth album under the ELECTRONIC SYSTEM moniker. With the sequencer driven Moog sounds of Giorgio Moroder being the main influence, ‘Flight to Tokyo’, ‘Cosmic Trip’ and ‘Flight To Venus’ was a fine segue of instrumental variations on the throbbing electronic disco theme, the latter of which was sampled in 2002 by THE CHEMICAL BROTHERS for ‘Star Guitar’.

‘Disco Machine’ is still available via The Wack Attack Barrack

https://danlacksman.com/

BRIAN ENO Before & After Science

As with David Bowie’s ‘Low’ and ‘Heroes’ which Eno had also worked on, ‘Before & After Science’ presented its material as pop and experimental sides. The first side included the quirky ‘Blackwater’ with its fabulous stabs of synth and the metallic romp of ‘Kings Lead Hat’. But the best tracks were on side two were the synth ballads ‘By This River’ assisted by CLUSTER and the sumptuous nautical folk of ‘Spider & I’.

‘Before & After Science’ is still available via Virgin Records

http://www.brian-eno.net/

BERNARD FEVRE Cosmos 2043

The French were on a roll with their vision for an electronic future with SPACE, DROIDS and Jean-Michel Jarre, but Bernard Favre actually composed and recorded the science fiction-themed ‘Cosmos 2043’ in 1975. While not as immediate as his fellow countrymen, this record was another sampled by THE CHEMICAL BROTHERS with ‘Earth Message’ forming the basis of 1999’s ‘Got Glint?’ for which Favre got a co-writing credit.

‘Cosmos 2043’ is still available via Anthology Records

https://www.facebook.com/blackdevildiscoclub

GIORGIO From Here To Eternity

On a roll from his pioneering work with Donna Summer, the sixth Giorgio Moroder solo album for centred around throbbing electronic disco. Featuring vocodered and conventional voices, the title track was effectively stretched out over one side of the album. Often mistaken for being KRAFTWERK, it actually prompted the Kling Klang quartet to move towards a more computerised sound for their 1978 album ‘The Man Machine’.

‘From Here To Eternity’ is still available via Repertoire Records

https://www.giorgiomoroder.com/

JEAN MICHEL JARRE Oxygène

Although released in France at the end of 1976, ‘Oxygène’ was not available worldwide until 1977 with ‘Oxygène IV’ becoming a huge hit single. The parent album was a glorious six part work and ‘Oxygène IV’ something of a centrepiece as a perfectly progressive spacey romp with pulsing sequences, Eminent strings, Mellotron choir and AKS waves while ‘Oxygene V’ chanelled Terry Riley’s ‘A Rainbow In Curved Air’.

‘Oxygène’ is still available via Sony Music

https://www.jeanmicheljarre.com/

KRAFTWERK Trans Europe Express

‘Trans Europe Express’ was the first KRAFTWERK album released in standalone English and German versions. Perhaps the most lyrical of all their imperial phase long players, ‘Europe Endless’ was despite its nostalgic romanticism, aspiring to a continent without borders while the punchy ‘Showroom Dummies’ responded to criticism their static live performance. Then there was the mighty title track and its ‘Metal On Metal’ interlude…

‘Trans Europe Express’ is still available via EMI Music

http://www.kraftwerk.com/

MICHAEL ROTHER Flammende Herzen

Relocating to build his own Random Studio in Forst, ‘Flammenden Herzen’ was Michael Rother’s first solo album after leaving NEU! Co-produced by Conny Plank with Jaki Liebezeit from CAN providing the percolating percussion, although Rother had utilised synthesizers to great effect before, they took a greater role in his solo work. ‘Karussell’ had a distinctly European flavour with its strong symphonic melodies.

‘Flammende Herzen’ is still available via Grönland Records

https://www.michaelrother.de/

KLAUS SCHULZE Mirage

After success of ‘Timewind’ and then ‘Moondawn’ featuring Harald Grosskopf on drums, Klaus Schulze was by now well into what many consider his imperial phase and adding PPG modules to his synth set-up, operated alone on ‘Mirage’. Subtitled “an electronic winter landscape”, the wintery 29 minute ‘Crystal Lake’ planted the seed for New Age while promotion was supported by two lavish concerts at the London Planetarium.

‘Mirage’ is still available via MIG Music GmbH

https://klaus-schulze.com/

SPACE Magic Fly

SPACE was the brainchild of Didier Marouani who went under the pseudonym of Ecama and formed the collective with Roland Romanelli and Jannick Top. The space disco of the iconic ‘Magic Fly’ with its catchy melody and lush accessible futurism rode the wave of a new European electronic disco sound. But the album wasn’t just about the title hit as ‘Fasten Seatbelt, ‘Tango In Space’ and ‘Flying Nightmare’ proved.

‘Magic Fly’ is still available via Virgin France

https://marouani.space/

SUICIDE Suicide

An album of unsettling futuristic rockabilly, SUICIDE rocked the boat by Martin Rev using a Seeburg Rhythm Prince and Farfisa keyboard instead of drums and guitars while Alan Vega warbled and snarled like the ghost of a demented Elvis Presley. Highlights included ‘Ghost Rider’ and ‘Cheree’ which later soundtracked a Marc Jacobs perfume advert. The duo were to be a big influence on SOFT CELL and SIGUE SIGUE SPUTNIK.

‘Suicide’ is still available via Mute Records

https://www.facebook.com/SUICIDEBANDOFFICIAL/

DONNA SUMMER Once Upon A Time

‘Once Upon A Time’ was an ambitious double album consisting of four distinct approaches. An all-electronic three song segued suite entitled ‘Act2’ was headed by ‘Working The Midnight Shift’ which took ‘I Feel Love’ to the next level with Summer’s wispy falsetto now in a grander setting. ‘Now I Need You’ captured a gothic eeriness while ‘Queen For A Day’ was a forerunner of ‘Our Love’ that halfway mutated back into disco pop.

‘Once Upon A Time’ is still available via Casablanca / Universal Records

https://www.facebook.com/OfficialDonnaSummer/

TANGERINE DREAM Sorcerer

The final studio album by the classic TANGERINE DREAM line-up of Edgar Froese, Chris Franke and Peter Baumann, after the long compositions of previous releases, ‘Sorcerer’ was characterised by shorter pieces in the band’s first commission for a Hollywood movie. Although this meant tracks like ‘The Mountain Road’ faded before they really got going, ‘Betrayal’ showed what could be done within time restrictions.

‘Sorcerer’ is still available via Esoteric Recordings

https://www.tangerinedreammusic.com/

TOMITA Space Fantasy

Released first in Europe as ‘Space Fantasy’ but retitled ‘Kosmos’ for international consumption in 1978, Isao Tomita acquired a Polymoog to supplement his Moog modular system. The ‘Star Wars: Main Title’ was reimagined with his signature synthetic whistle while a Strauss / Wagner medley provided a ‘Space Fantasy’. But the classic Rodrigo guitar concerto ‘Aranjuez’ was cosmically synthesized in a manner that only Tomita could.

‘Space Fantasy’ is still available as ‘Kosmos’ via RCA

http://tomita.org/

ULTRAVOX! Ha! Ha! Ha!

While primarily a fierce art rock album, ‘Ha! Ha! Ha!’ was however notable for the inclusion of two opposingly poled synth-dominated songs that pointed to the future direction of ULTRAVOX! The star of ‘The Man Who Dies Everyday’ was Billy Currie’s screaming ARP Odyssey while Warren Cann’s modified Roland TR77 rhythm machine acted as the backbone to the elegiac ‘Hiroshima Mon Amour’ which also featured an Elka Rhapsody.

‘Ha! Ha! Ha!’ is still available via Island Records

https://www.ultravox.org.uk/

http://www.metamatic.com/

VANGELIS Spiral

The ‘Spiral’ album was best known for the beautifully emotive ‘To The Unknown Man’ where Vangelis first fully exploited the possibilities of the Yamaha CS80. He proved he could also do lively electronic pop with ‘Dervish D’ where over a spinning Roland System 100 sequencer, a slice of robotic funk grooved with a brilliantly played jazz-inflected CS80 solo using all the manual control features it had at his disposal.

‘Spiral’ is still available via Esoteric Recordings

https://www.facebook.com/VangelisOfficial/

ZANOV Moebius 256 301

The work of Pierre Salkazanov, the Frenchman had the ARP 2600 and its sequencer, along with the EMS VCS 3 and RMI Harmonic Synthesizer. Comprising of three short pieces and two much longer progressively spacey tracks ‘Plénitude’ and ‘An Zéro’, ‘Moebius 256 301’ had much more of a Berlin School template and echoes of TANGERINE DREAM in particular when compared with his French contemporaries.

‘Moebius 256 301’ is still available via Wah Wah Records

https://zanov.net/

Text by Chi Ming Lai
30th August 2025

A Beginner’s Guide To JOHAN AGEBJÖRN

26 August 2025 /

Based in Lund, Swedish producer Johan Agebjörn studies psychology but makes music from time to time.

While involved in a variety of arctic ambient, piano, instrumental, dance and remix projects, he is best known for the Italo-inspired duo Sally Shapiro featuring an anonymous singer who has become known as “Sally”. Following the lead of Italo acts such as Valerie Dore and Katy Gray which were actually fronts for producers promoted under the names of fictional solo singers, Sally Shapiro would become worldwide cult favourites with their wispy melancholic synth swathed disco-friendly pop.

The journey began when Agebjörn demoed what would become ‘I’ll Be By Your Side’ and remembered a gathering in 2004 with everyone singing Christmas carols by the piano: “I asked a friend of mine whom I noticed had a sweet singing voice if she wanted to sing on it, and she gave it a shot. After hearing and mixing her recording, I felt ‘this is really something’ and posted it to various Italo disco and electro forums on the web. I quickly got a few offers to release it on 12” single and the Sally Shapiro project was born.”

Despite a publically announced retirement in 2016, Sally Shapiro has released 5 full-length albums with corresponding remix collections since 2006. In parallel, Johan Agebjörn has maintained solo career and worked with Samantha Fox, Ryan Paris, Fred Ventura, Tom Hooker, Lisa Barra and many more, along with fellow enigmatic duos such as ELECTRIC YOUTH and R. MISSING.

In 2025, there has already been a new Sally Shapiro long player ‘Ready To Live A Lie’ which proved to be the duo’s darkest yet, while coming in late September is a new nature-themed downtempo album from Johan Agebjörn called ‘Southern Forest’ which features Dr Atmo, Miranda Magdalena, Mikael Ögren, Cate Brooks and NINA.

Johan Agebjörn presented his personal stories and insights on 20 career highlights selected from his various musical projects over the years by ELECTRICITYCLUB.CO.UK

SALLY SHAPIRO I’ll Be By Your Side (2006)

“I remember writing this track being in an inspirational mood after having listened to Valerie Dore ‘Get Closer’” said Johan Agebjörn of the breakthrough Sally Shapiro track, “The track opened a lot of opportunities for us and maybe more importantly, it made me think that I could maybe actually write pop songs”. It attracted the attention of the Austrian label Diskokaine who would go on to release the debut album ‘Disco Romance’.

Available on the SALLY SHAPIRO album ‘Disco Romance’ via Paper Bag Records

https://www.johanagebjorn.info/sally.html

SOUVENIR Allô, Allô – Johan Agebjörn Remix (2007)

With the cult success of Sally Shapiro came remix commissions from all over the world for Agebjörn including this from a Spanish indie band: “This was one of the first remixes I made” he remembered, “I was amazed that someone would actually pay me money to remix something. I really liked the band and I was happy with the remix, I’ve played it quite often when I DJ-ed. Jaime of SOUVENIR later played the backing guitar on Sally Shapiro’s ‘What Can I Do’”.

Available on the SOUVENIR EP ‘Extras 64’ via Jabalina Música

https://www.facebook.com/Souvenirpop/

JOHAN AGEBJÖRN featuring SALLY SHAPIRO Spacer Woman From Mars (2008)

Filled with vocoder, “This is one of the recordings from the ‘Disco Romance’ sessions but we didn’t think the track fitted on the album, leaning more towards spacesynth than Indiepop-Italo” recalled Agebjörn, “Actually, Sally refuses to sing any songs about space, this was the only exception, so we released it under my name as the primary artist. I sent it to Lo Recordings who loved it and included it on their ‘Milky Disco’ compilation”

Available on the compilation album ‘Milky Disco’ (V/A) via Lo Recordings at https://lorecordings.bandcamp.com/album/milky-disco-lo62

https://www.johanagebjorn.info/

SALLY SHAPIRO Looking At The Stars (2009)

“One of my favourite tracks from Sally’s second album, ‘My Guilty Pleasure’” said Agebjörn of this starry eyed dance number, “The shuffled arpeggiated bass was inspired by Skatebård’s ‘Vuelo’. My friend and frequent collaborator Roger Gunnarsson wrote the lyrics, they are actually about the memories from his dead grandmother. FM ATTACK later made a really beautiful remix out of it”.

Available on the SALLY SHAPIRO album ‘My Guilty Pleasure’ via Paper Bag Records

https://www.facebook.com/shapirosally

ANORAAK Don’t Be Afraid featuring SALLY SHAPIRO (2010)

“Anoraak invited us to collaborate on a track from his debut album. My role here was to write the melody and the lyrics, I remember sitting at the library of Lund University writing it” said Agebjörn of this collaboration with the DJ from the French Valerie Collective, “Anoraak then re-made the backing track for his album version, but we later released the original version on Sally’s third album ‘Somewhere Else’ – so the version labelled ‘Alternative Version’ is actually the first version”.

Available on the ANORAAK album ‘Wherever The Sun Sets’ via Naïve

https://www.facebook.com/anoraak

JOHAN AGEBJÖRN Swimming Through The Blue Lagoon – Original Casio MT-52 Instrumental (2011)

“I got the idea for this track in a dream back in 2005” said Agebjörn, “The drums and the “electric guitar” are lead sound from a Casio MT-52 keyboard that I borrowed from Sally. To my joy, it was playlisted on some channel on Sirius XM radio and also included in the background of many TV programs around the world. We had also made a short version with some Sally vocals on it, as an opener to Sally’s second album”.

Available on the JOHAN AGEBJÖRN album ‘The Mountain Lake’ via Lotuspike

https://www.facebook.com/agebjorn

JOHAN AGEBJÖRN & ERCOLA featuring QUEEN OF HEARTS The Last Day Of Summer (2011)

“I asked Ercola to collaborate on a track after hearing his banger ‘Follow Me’ with Annie on vocals” said Agebjorn, “He sent me a loop that we developed into this instrumental. I asked QUEEN OF HEARTS if she wanted to sing on it, and she made a terrific job. Finally Ercola and I finished the mix in in Helsinki. This is one of very few tracks I’ve had playlisted on Swedish national radio P3”; QUEEN OF HEARTS would co-write the 2025 Sally Shapiro song ‘Hard To Love’.

Available on the JOHAN AGEBJÖRN album ’Casablanca Nights’ via Paper Bag Records

https://www.iamqueenofhearts.com/

SALLY SHAPIRO & ELECTRIC YOUTH Starman (2013)

A track recorded with the acclaimed Canadian synth duo, “Sally and I asked ELECTRIC YOUTH if they wanted to collaborate on a track, since we think they are pop geniuses” recalled Agebjörn, “We sent them this instrumental and they came back with ‘Starman’. After recording Sally’s vocal, it was selected as one of the singles from Sally’s third album ‘Somewhere Else’. There’s also a cool Miami Nights 1984 remix of it”.

Available on the SALLY SHAPIRO album ‘Somewhere Else’ via Paper Bag Records

https://www.facebook.com/electricyouthmusic/

YOUNG GALAXY In Fire – SALLY SHAPIRO remix (2013)

YOUNG GALAXY were a haunting dream pop duo from Montreal comprising who were label mates of Sally Shapiro at Paper Bag Records. Agebjörn reworked ‘In Fire’ from their fourth album ‘Ultramarine’ with a brooding gothic groove. “I met them once in Linköping, the city where I grew up and I DJ-ed before their live show” he recalled, “We made a remix swap with each other and I think this remix became quite dark and cool”.

Available on the YOUNG GALAXY album ‘Ultramarine’ via Paper Bag Records

https://www.young-galaxy.com/

ANNIE featuring BJARNE MELGAARD Swedish Kiss – Johan Agebjörn Remix Of Russian Kiss (2014)

Norwegian pop artist Annie is known for her Richard X produced hits ‘Chewing Gum’ and ‘Songs Remind Me Of You’ but one day, Agebjörn got an important call: “I’m a big Annie fan so I was really happy when she asked me to remix this pro-HBTQ rights, anti-Putin track. I turned it from what was kind of a monotonous acid house-inspired track produced by the genius Richard X to more of a chord-driven Italo disco track with lots of vocoder work.”

Available on the ANNIE featuring BJARNE MELGAARD single ‘Swedish Kiss’ via Totally

https://www.annieofficial.com/

JOHAN AGEBJÖRN & LONEY DEAR The Leftovers – Mikael Ögren Remix (2015)

“Loney Dear is a skilled and likeable Swedish musician, whom I contacted for singing this song from my album ‘Notes’” said Agebjörn, “Paper Bag wanted to make a remix contest around it, and I encouraged everyone to turn in remixes of it. One remix came in under a pseudonym, I loved it and we decided it was the winner out of some 70-80 entries. It then turned out it was made by friend and soon-to-be frequent collaborator Mikael Ögren.”

Available on the JOHAN AGEBJÖRN & LONEY DEAR single ‘The Leftovers’ via Paper Bag Records

https://www.loneydear.com/

JOHAN AGEBJÖRN featuring TOM HOOKER Have You Ever Been In Love? (2018)

“I was asked by Swedish director Kristian Söderström to make some tracks with various legendary Italo disco singers for his movie ‘Videoman’, as one of the characters listened a lot to Italo disco” said Agebjörn of this notable soundtrack commission, “This is one of the results, with vocals by Tom Hooker, the voice behind Den Harrow. It was also included on a CD compilation on the legendary Italo disco label ZYX.”

Available on the soundtrack album ‘Videoman’ (V/A) via Lakeshore Records at https://videomansoundtrack.bandcamp.com/

https://www.instagram.com/therealtomhooker/

SAMANTHA FOX Hot Boy (2018)

Another track from ‘Videoman’, Kristian Söderström suggested that Agebjörn ask Samantha Fox or Sabrina to sing on ‘Hot Boy’: “I sent it to Samantha on her official web site and her manager replied that she wanted to sing on it! Samantha recorded the vocals in London and I later met her in Gothenburg when we recorded a music video to it with the ‘Videoman’ team, it was an unforgettable day”; the track recently got its first vinyl release on Keytar Records as 12″ picture disc.

Available on the SAMANTHA FOX single ‘Hot Boy’ via Fox 2000 / Keytar Records

https://samfox.com/

JOHAN AGEBJÖRN featuring RYAN PARIS & SALLY SHAPIRO Forget About You (2020)

Agebjörn had produced a Ryan Paris vs Sally Shapiro duet called ‘Love On Ice’ for ‘Videoman’ and ‘Forget About You’ was its follow-up song: “It was fun to work on Ryan Paris on a few tracks, in return for the vocals on this track, Sally also recorded some backing vocals to Ryan’s track ‘Je Veux T’aimer Encore Une Fois’. Later, we turned ‘Forget About You’ into a Sally Shapiro solo track for the comeback album ‘Sad Cities’”.

Available on the JOHAN AGEBJÖRN featuring RYAN PARIS & SALLY SHAPIRO single ‘Forget About You’ b/w ‘Love On Ice’ via https://agebjorn.bandcamp.com/album/forget-about-you-love-on-ice

https://www.instagram.com/ryanparisofficial/

JOHAN AGEBJÖRN & MIKAEL ÖGREN A Tribute To Florian Schneider (2020)

“Mikael thought we should make a tribute track, since we are both KRAFTWERK fans” remembered Agebjörn when hearing about the sad passing of Florian Schneider, “Mikael had a basic idea for the groove using the analog Toraiz AS-1 synth. We tried to make the track as close as possible to the KRAFTWERK sound between 1975 and 1981. The vocoder lyrics are about Florian’s sounds continuing to vibrate in the universe”.

Available on the JOHAN AGEBJÖRN & MIKAEL ÖGREN album ‘Dynamic Movements’ via Lo Recordings at https://agebjorn.bandcamp.com/album/dynamic-movements-music-for-exercise-relaxation

https://www.instagram.com/mikael_ogren_music/

PET SHOP BOYS The Man Who Has Everything – Johan Agebjörn & Mikael Ögren Re-edit (2020)

“I’m a huge PET SHOP BOYS fan and this track is one of my favourites from their “underground” album ‘Relentless’ included with the limited edition of ‘Very’” confirmed Agebjörn, “I was so thrilled when I found a copy of it in a record shop in the small city in Sweden where I grew up. I felt this track could benefit from a more modern sound and I asked Mikael if he wanted to join me on this re-edit. It’s an unofficial edit only with all proceeds going to UNHCR.”

Available on the PET SHOP BOYS single ‘The Man Who Has Everything – Johan Agebjörn & Mikael Ögren Re-edit’ via https://agebjorn.bandcamp.com/track/the-man-who-has-everything-johan-agebj-rn-mikael-gren-re-edit

https://www.petshopboys.co.uk/

SALLY SHAPIRO Fading Away (2022)

“This was the first Sally Shapiro single in 5 years, our comeback after having announced that we ended the project, but then we changed our minds” said Agebjörn on Sally coming out of ‘retirement’, “It was also our first single on Italians Do It Better. Mikael Ögren co-produced the track, his most notable input is the beautiful pads from the Roland JD-800. This was my first attempt to make a ‘proper’ synthwave production, whatever that means.”

Available on the SALLY SHAPIRO album ‘Sad Cities’ via Italians Do It Better

https://www.instagram.com/sally_shapiro_official/

YOTA & JOHAN AGEBJÖRN Our Highs (2024)

“I really had fun working with Yota for our EP released last year, and this was the last track we recorded for it” said Agebjörn of this collaboration with the Paris-based Swede, “Basically it’s a track that was born because I was playing around with the Korg Polysix for the bass and arpeggio. Yota liked the instrumental and got some nice vocal ideas for it. The intro and ending is Yota originally singing in a lower key, pitched up in some weird 90s Eurodance way!”

Available on the YOTA & JOHAN AGEBJÖRN EP ‘Universe In Flames’ via Keytar Records at https://agebjorn.bandcamp.com/album/universe-in-flames-ep

https://www.instagram.com/yota_official_artist/

R. MISSING & JOHAN AGEBJÖRN Fakesnow (2025)

“I worked several months on the groove of this track, it took a while but it had this very deep bass and hypnotic loop that I kept returning to” said Agebjörn, “Finally with an Italo disco beat, I felt it was worthy to present to some singer, and I thought it would suit the dark approach of R. MISSING whom I had worked with earlier mixing one of their tracks ‘Verónica Pass’. Sharon Shy really turned it into a great song, I’m really happy about it.”

Available on the R. MISSING & JOHAN AGEBJÖRN single ‘Fakesnow’ via https://agebjorn.bandcamp.com/album/fakesnow

https://www.instagram.com/r.missing/

JOHAN AGEBJÖRN featuring NINA Little Fluffy Clouds (2025)

Agebjörn paid a visit to Berlin to work with the Queen Of Synthwave: “THE ORB’s original has been a companion in my life for over 30 years, it never sounds too old. I was playing around with the harmonies without any serious intention to develop it into a finished track, much less having it be the lead single from my new ambient album. But with NINA‘s spoken word on it, the track became a quite dreamy and organic beatless interpretation of the track.”

Available on the JOHAN AGEBJÖRN album ‘Southern Forest’ via Constellation Tatsu

https://www.iloveninamusic.com/

Text by Chi Ming Lai with special thanks to Johan Agebjörn
26th August 2025

A Beginner’s Guide To PAUL STATHAM

14 August 2025 /

Paul Statham is undoubtedly the silent success story of the ‘Some Bizzare Album’.

The guitarist of B-MOVIE who also comprised Steve Hovington (vocals + bass), Rick Holliday (keyboards) and Graham Boffey (drums), their track ‘Moles’ was included alongside DEPECHE MODE, SOFT CELL, BLANCMANGE and THE THE on the iconic futurist showcase compiled by DJ Stevo Pearce that was released in early 1981.

Signing to Phonogram via Some Bizzare, despite an imperial trio of singles ‘Remembrance Day’, ‘Marilyn Dreams’ and ‘Nowhere Girl’, the quartet were unable to get their deserved mainstream chart breakthrough and as the band fragmented, the B-MOVIE story became just that. Although a belated album ‘Forever Running’ would emerge in 1985, the remaining founding duo of Hovington and Statham disbanded B-MOVIE not long after.

Photo by Peter Ashworth

In 1988, Statham found solace in Peter Murphy who had recently gone solo after 4 studio albums fronting goth trailblazers BAUHAUS. Becoming Murphy’s main songwriting partner over 4 successive albums, during the making of the 1995 album ‘Cascade’, Statham met producer Pascal Gabriel who proposed working together on a more dance oriented “ABBA meets THE KLF” type of project; starting out as NEURONIC and with the addition of dance and vocalist Lisa Lamb, they would become the electropop trio PEACH whose song ‘On My Own’ was featured during a key scene in the Gwyneth Paltrow movie ‘Sliding Doors’.

PEACH would become a springboard for Statham to find considerable success as a songwriter and producer, working with artists as diverse as Kylie Minogue, Rachel Stevens, Dot Allison, Dido, Sarah Nixey, Lisa Scott-Lee, Tina Arena, Shelly Poole, and Gabriella Cilmi as well THE SATURDAYS, BANANARAMA, RIGHT SAID FRED and SIMPLE MINDS.

Photo by Adrian Green

In parallel to his songwriting and production career, the original line-up of B-MOVIE reformed in 2004 while in 2009, Statham started his dark country project THE DARK FLOWERS. There has also been a series of solo experimental electronic albums in parallel to launching his own label Loki Records.

Despite releasing two new albums ‘The Age of Illusion’ (2013) and ‘Climate of Fear’ (2016) since their reformation, talk always returned to B-MOVIE’s Some Bizzare period with demand for their imperial trilogy of singles to be made available in the digital era. Those three singles plus 7 previously unreleased recordings from between 1981-1982 were digitised and restored to create the debut “that never was”. Titled ‘Hidden Treasures’, it presented documentary evidence as to why back in the day, the major record labels were clamouring for B-MOVIE’s signature.

Thanks to the positive reception for ‘Hidden Treasures’, another compilation album is planned focussing on ‘The Age of Illusion’, ‘Climate of Fear’ and latter era of B-MOVIE which Statham says will feature “more of the time and songs when I co-wrote a lot more with Steve and produced the tracks”.

After the recent B-MOVIE show in London, Paul Statham sat down to offer some insightful commentary on 20 career highlights selected by ELECTRICITYCLUB.CO.UK from his long and varied music career.

B-MOVIE Moles (1981)

“We were always amazed at how fast Rick could play solos!” said Statham of B-MOVIE’s ‘Some Bizzare Album’ breakthrough, “Recorded at Studio Playground Wragby, we felt like a proper band in this 8 track studios with a live room. The fact we travelled there from Mansfield unified us. In Andy Dransfield, we had a sympathetic producer/engineer who more to the point would buy us a round of drinks in the village pub. All good bands bond in the pub!”

Originally from the ‘Some Bizzare Album’ (V/A), now available on the B-MOVIE expanded CD + digital album ‘Hidden Treasures’ via Wanderlust Records

https://www.b-movie.org/

B-MOVIE A Letter from Afar (1984)

“Terrible press shot in a fake desert setting that became the back cover” remembered Statham of the standalone single ‘A Letter from Afar’ which was based around his sequencer programming on a Roland JX3P and a ghostly SIMPLE MINDS-type pad on the intro; “During the London recording, producer Jellybean Benitez invited me to New York to finish adding parts. We worked out of Sigma Studios, I got an insight into how professional musicians can add to the song”.

Available on the B-MOVIE album ‘The Platinum Collection’ via Warner Music

https://www.facebook.com/B.MovieMusic/

PETER MURPHY Roll Call – Reprise (1989)

“I loved writing music for Peter” said Statham of his partnership with the BAUHAUS front man, “He is highly individualistic, it was always great waiting to hear how he shaped tracks I’d give to him”. Sometimes just a few chords and sometimes fully formed backing tracks”. The guitars on the verse chord progression of ‘Roll Call – Reprise’ paid homage to Iggy Pop while there was a sombre synth brass close; “Peter later said the ‘With Your Red Shirt’ lyric was about me going out clubbing!”

Available on the PETER MURPHY album ‘Deep’ via Beggars Banquet Records

https://www.petermurphy.info/

NEURONIC Heaven (1995)

“Things went south a little with Peter’s management on ‘Cascade’” recalled Statham, “so Pascal Gabriel offered me a way out to start a Europop band with him, big bright and bold and he would go play it to Daniel Miller at Mute and get us a deal… hard to believe but that was exactly what happened. Daniel gave us a deal on the spot, with just 2 backing tracks and no singer”. The vocals on ‘Heaven’ came from session singer Anna Ross, now touring with DURAN DURAN.

‘Heaven’ was originally released as a NEURONIC single via Interpop / Mute Records, currently unavailable

http://melophobia.com/

PEACH On My Own (1996)

“NEURONIC quickly morphed into PEACH with the addition of the lovely Lisa Lamb… Lisa Cougar would be a better fit, she would laugh at that, believe me! We changed direction, producing electronic symphonies and kitchen sink dramas that led to the first single ‘On My Own’ going into the film ‘Sliding Doors’ and giving us a bona fide US Billboard hit single peaking at #11 on the pop airplay charts” Statham said but “We promptly split up after supporting ERASURE.”

Available on the PEACH album ‘Audiopeach’ via Mute Records

https://www.inspiracy.com/peach/

DOT ALLISON Close Your Eyes (1999)

“I bought the ONE DOVE album that Dot Allison sang on and she looked so elegantly cool on the cover… I wondered how on earth do I meet singers like that to work with!” pondered Statham, “Then here she was! Mike Sault, our respective publisher set up a co-write with Pascal and me. I really found a niche here, writing tracks with strings, synths and electric guitars with Pascal providing big beats! Dot is a great writer, anything with the word ‘Satellite’ in is always a good lyric!”

Available on the DOT ALLISON album ‘Afterglow’ via Heavenly Records

https://dotallison.com/

DIDO Here With Me (1999)

Inspired by Brian Eno’s ‘Apollo’ album, this was a life changer for Statham: “Dido was an occasional backing vocalist in her brother Rollo’s band FAITHLESS. The Dot Allison single had laid the groundwork and ‘Here With Me’ was a sophisticated cousin to ‘Close Your Eyes’. Dido has a beautiful voice, fully formed, everything she sang sounded cool!. It became the opening theme to the US TV series ‘Roswell’. Having a big hit like this was without a doubt a very nice feeling.”

Available on the DIDO album ‘No Angel’ via Arista / BMG

https://didomusic.com/

KYLIE MINOGUE Your Love (2001)

“Writing with Kylie was undoubtably a high point” said Statham, “Back then, it wasn’t file sharing and a day with the artist, we had a full week of writing together. Just sitting with her and writing lyrics was a little ‘pinch yourself’ moment, especially when she dropped me at the pub in front of friends! She is extremely hardworking and yet unfailingly polite. In hindsight we should have gone more electronic, especially as we had an early listen to ‘Can’t Get You Out Of My Head’.”

Available on the KYLIE MINOGUE album ‘Fever’ via EMI Music

https://www.kylie.com/

RACHEL STEVENS I Will Be There (2005)

“It seems that writing with very attractive women became almost normal!” Statham said on the call to provide a song for the now-solo SCLUB7 starlet’s second album, “But I never met Rachel Stevens. The track was predominantly written with Pascal and Hannah Robinson, a great writer too. I love the electro pulse and the dry drum sound in this track, her vocal delivery has a sort of strange indifference that suits the sombre lyric about a dead friend.”

Available on the RACHEL STEVENS album ‘Come & Get It’ via Polydor Records

https://rachelstevens.com/

SARAH NIXEY When I’m Here With You (2007)

“Sarah Nixey was a joy to work with, she was indie-influenced and great fun too” said Statham of the former vocalist of BLACK BOX RECORDER who liked to project a stern persona, “There was no real remit here, we wrote 3 songs together over a period and I found her lyrics to be intelligent and offbeat at the same time. My original version wasn’t as programmed as the final mix and had a more organic leaning which I feel better suited the song”.

Available on the SARAH NIXEY album ‘Sing, Memory’ via ServiceAV

https://www.sarahnixey.com/

THE SATURDAYS Why Me, Why Now (2008)

Statham was invited to work with THE SATURDAYS on their debut album: “Having only a small, converted bedroom as a studio was a challenge with all 5 girls and my friend / co-writer Hannah Robinson, a challenge I was happy to accept! They were enthusiastic and hardworking, Una and Vanessa were great singers too. The song had a Motown feel with a great melodic arc through leading to a strong chorus, it was mixed with a more electronic feel to the demo.”

Available on THE SATURDAYS album ‘Chasing Lights’ via Polydor Records

https://www.thesaturdays.co.uk/

B-MOVIE Dark Lines (2013)

Having reformed in 2004, a new B-MOVIE long player emerged in 2013: “A favourite of mine from an overlooked album, written by Steve and produced by myself, it has a dark quality that goes against the more uptempo feel of the album. Here, working predominantly in a sparsely produced electronic vein, we got it right. I played most of the keyboards as well on this album as Rick had begun to get disillusioned… the opposite to the title and Rick liked to swim upstream!”

Available on the B-MOVIE album ‘The Age Of Illusion’ via Wanderlust Records

https://twitter.com/bmovieuk

THE DARK FLOWERS Radioland featuring JIM KERR (2013)

Conceived whilst Statham was reading Sam Shepard’s ‘Motel Chronicles’ and listening to an instrumental album ‘The Hired Hand’ by Bruce Langhorne featuring old instruments left out to weather in the same US deserts, he said of THE DARK FLOWERS: “It involved me mixing Eno sequences electronics with piano / banjo and found sound. Jim nailed this perfectly, a slightly Bowie vocal for the dark tale of a man who inhabits an imaginary ‘Radioland’.”

Available on THE DARK FLOWERS album ‘Radioland’ via Lojinx

https://www.facebook.com/theflowersdark

SIMPLE MINDS Kill Or Cure (2014)

“As huge SIMPLE MINDS fans, Steve Hovington and I saw them numerous times” said Statham, “my younger self would find it hard to believe Jim would become a good friend and I would write tracks with him! Based around the bassline that echoes Gina X ‘No GDM’, I tried to evoke the early feel of SIMPLE MINDS. An instrumental demo was passed on to Jim in a chain link of 4 different friends of friends and he called me straight away on hearing it and was in my studio a week later!”

Available on SIMPLE MINDS album ‘Big Music’ via Demon Music Group

https://www.simpleminds.com/

PAUL STATHAM Asylum (2017)

Statham’s more experimental work came after meeting art curator Victor De Circasia in their daughters’ school playground: “I became involved in the world of painters and sculptors, where I would be commissioned to write music to accompany an exhibition or as part of the installation” he said, “‘Asylum’ was music that was based initially from these interactions acting as an almost palimpsest that I overlaid and sculpted, so the original idea was covered multiple times”.

Available on PAUL STATHAM album ‘Asylum’ via Loki Records

https://www.paulstatham.com/

B-MOVIE Stalingrad (2018)

“A real gem and one that we should go back to!” said Statham of the best B-MOVIE song of their reunion era, “this was also a very creative time and we released a lot of one-off songs that were great to produce and write and that went down well with fans and live too. I put it in the same feel as ‘A Letter From Afar’ in that it is sequencer-driven, lyrics musing on the folly of war with a slight Eastern feel in some of the melodic instrumental passages.”

Available on B-MOVIE EP ‘Repetition’ via Loki Records

https://www.instagram.com/b_movieband/

AFTER THE RAIN Gospel Train (2019)

“To be updated!” confirmed Statham on AFTER THE RAIN, “I wanted to release my own project that had some vocal element and at that time not wanting to use my own voice, this went down the route of Moby’s ‘Play’ album, using old vocals lifted from Blues and Gospel. It was never fully released on streaming platforms, but I remain committed in 2025 to releasing these tracks, mixed properly and continuing in an 80s electro feel with my own vocals and guests.”

Available on AFTER THE RAIN EP ‘Black Is The Colour’ via Loki Records at https://aftertherain1.bandcamp.com/

https://www.facebook.com/aftertherain.london/

THE DARK FLOWERS Dead & Lovely featuring THE ANCHORESS (2021)

From an interim Murder Ballad covers EP, the highlight was this Tom Waits song: “I asked long-time collaborator Catherine Anne Davies aka THE ANCHORESS to do this version” Statham said, ”Catherine always sings so well but I feel my production was not quite right on this. It’s way too happy and synthetic in places. The main problem is that it’s a very long song and the narrative arc is necessary to tell the tale, but I did almost edit it down!”

Available on THE DARK FLOWERS EP ‘Death & Desire’ via Loki Records at https://thedarkflowers.bandcamp.com/

https://theanchoress.co.uk/

PAUL STATHAM & DANIEL PENNIE Hadar (2024)

The songwriting module leader at Solent University, Statham became friends with experimental music module colleague Dan Pennie: “He is a fabulous guitarist with his own outfit NOISE IN YOUR EYE. I had conceived these tracks as a follow-up to ‘Asylum’ but once I sent one to Dan, and he added guitar loops to run through the track, it made sense for the album to go down this avenue, making it less predictable with some unexpected rhythm and textures from his guitar playing”

Available on PAUL STATHAM & DANIEL PENNIE album ‘Object No Distance, Distance No Object’ via Loki Records at https://paulstathamdanielpennie.bandcamp.com/

https://www.instagram.com/paulsta123/

SIMPLE MINDS Your Name In Lights (2024)

Coming back to the here and now, Statham was working with SIMPLE MINDS again: “My writing with Jim Kerr and Charlie Burchill for me is one of the highlights of my career in music. Jim has an iconic voice and Charlie is one the three inspirational guitarists to me, the others being John McGeoch and Robin Simon. Predominantly keyboard led with a KRAFTWERK-style pulse and a dark meditation on fame, that they chose it as a standalone single made my year”.

Available on the SIMPLE MINDS single ‘Your Name In Lights’ via BMG

https://www.facebook.com/simpleminds

Text by Chi Ming Lai with grateful thanks to Paul Statham
13th August 2025

A Beginner’s Guide To EURYTHMICS

17 May 2025 /

Photo by Lewis Ziolek

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

https://www.discogs.com/artist/291650-The-Tourists

EURYTHMICS Take Me To Your Heart (1981)

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

https://www.eurythmics.com/

EURYTHMICS The Walk (1982)

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’.

Available on the EURYTHMICS album ‘Sweet Dreams (Are Made Of This)’ via Sony BMG Music

https://www.facebook.com/eurythmics/

EURYTHMICS Here Comes The Rain Again (1983)

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

https://www.instagram.com/eurythmicsmusic/

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.

Available on the ROBERT GÖRL album ‘Night Full Of Tension’ via Mute Records

https://www.instagram.com/robertgoerl/

EURYTHMICS Sexcrime (1984)

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.

Available on the EURYTHMICS album ‘1984 (For the Love of Big Brother)’ via Virgin Records

https://www.discogs.com/artist/13911-Eurythmics

CHRIS N COSEY AND… Sweet Surprise II (1985)

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.

Available on the CHRIS N COSEY AND… single ‘Sweet Surprise’ via https://cti.greedbag.com/buy/sweet-surprise-12/

http://chrisandcosey.com/

EURYTHMICS It’s Alright (1985)

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.

Available on the EURYTHMICS album ‘Be Yourself Tonight’ via Sony BMG Music

https://www.facebook.com/davestewart/

FEARGAL SHARKEY A Good Heart (1985)

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

https://x.com/Feargal_Sharkey

EURYTHMICS When Tomorrow Comes (1986)

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

https://www.instagram.com/davestewarteurythmics/

ALISON MOYET Is This Love? (1986)

Alison Moyet was working with Jimmy Iovine who was also producing ‘Revenge’ 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

https://www.alisonmoyetmusic.com/

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’. 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

https://www.cherryred.co.uk/the-lover-speaks-expanded-edition

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

https://www.instagram.com/officialannielennox

EURYTHMICS Don’t Ask Me Why (1989)

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

https://www.davestewartent.com/

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

https://candydulfer.nl/

SHAKESPEARS SISTER Stay (1991)

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

http://www.shakespearssisterofficial.com/

ANNIE LENNOX Precious (1992)

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.

Available on the ANNIE LENNOX album ‘The Annie Lennox Collection’ via Sony Music

https://www.annielennox.com/

VEGAS Walk Into The Wind (1993)

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.

Available on the VEGAS album ‘Possessed’ via RCA

https://www.discogs.com/artist/1343740-Vegas-8

ANNIE LENNOX No More I Love You’s (1995)

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

https://www.facebook.com/annielennox/

EURYTHMICS I’ve Got A Life (2005)

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.

Available on the EURYTHMICS album ‘Ultimate Collection’ via RCA

https://bsky.app/profile/eurythmics.bsky.social

Text by Chi Ming Lai
17th May 2025

RE-RECORD, NOT FADE AWAY: 25 REMAKES & REMODELS

14 May 2025 /

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

https://www.ultravox.org.uk/

JOHN FOXX No-One Driving (1980)

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.

Available on the JOHN FOXX album ’20th Century: The Noise’ via Metamatic Records

http://www.metamatic.com/

THE HUMAN LEAGUE Being Boiled (1980)

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

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

JOY DIVISION She’s Lost Control (1980)

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

https://www.joydivisionofficial.com/

OMD Messages (1980)

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

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

DEPECHE MODE Photographic (1981)

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

http://www.depechemode.com

SOFT CELL Frustration (1981)

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.

Available on the SOFT CELL album ‘Non-Stop Erotic Cabaret’ via Sony Music

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

B-MOVIE Nowhere Girl (1982)

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!

Available on the B-MOVIE album ‘Hidden Treasures’ via Wanderlust

https://www.b-movie.org/

DAF Kebabträume (1982)

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

https://www.groenland.com/en/artist/deutsch-amerikanische-freundschaft/

DURAN DURAN My Own Way (1982)

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

https://duranduran.com/

DEAD OR ALIVE The Stranger (1983)

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.

Available on DEAD OR ALIVE album ‘Sophisticated Boom Boom’ via Cherry Pop

https://www.discogs.com/artist/46720-Dead-Or-Alive

HEAVEN 17 Let’s All Make A Bomb (1983)

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

https://www.heaven17.com/

TEARS FOR FEARS Pale Shelter (1983)

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.

Available on the TEARS FOR FEARS album ‘Rule The World: The Greatest Hits’ via Mercury Records

http://tearsforfears.com/

THE THE Uncertain Smile (1983)

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

https://www.thethe.com/

BLANCMANGE The Day Before You Came (1984)

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.

Available on the BLANCMANGE album ‘Everything Is Connected’ via London Records

http://www.blancmange.co.uk/

DAVID SYLVIAN Forbidden Colours (1984)

‘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’.

Available on the DAVID SYLVIAN album ‘A Victim Of Stars 1982 – 2012’ via Virgin Records

http://www.davidsylvian.com/

A-HA Take On Me (1985)

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.

Available on the A-HA album ‘Hunting High & Low’ via Warner Music

https://a-ha.com/

PET SHOP BOYS West End Girls (1985)

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

https://www.petshopboys.co.uk/

HOWARD JONES No-One Is To Blame (1986)

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.

Available on the HOWARD JONES album ‘Celebrate It Together’ via Cherry Red Records

http://www.howardjones.com/

NEW ORDER Temptation (1987)

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

https://www.neworder.com/

KRAFTWERK Radioactivity (1991)

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

https://kraftwerk.com/

GARY NUMAN Metal (1998)

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.

Available on the GARY NUMAN album ‘New Dreams For Old 84 – 98’ via Universal Music

https://garynuman.com/

LUSTANS LAKEJER Begärets Dunkla Mål (2007)

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.

Available on the LUSTANS LAKEJER album ‘Samlade Synder 1981 – 2007’ via Universal Music

https://www.facebook.com/LustansLakejer/

RHEINGOLD Computer Beat (2010)

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

https://www.discogs.com/artist/81398-Rheingold

MOTO BOY Blue Motorbike (2018)

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

https://www.instagram.com/motoboymusic/

Text by Chi Ming Lai
14th May 2025

« Older posts Newer posts »

© 2017 ELECTRICITYCLUB.CO.UK | Email: theelectricityclub@googlemail.com
Privacy Policy

Up ↑