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A Beginner’s Guide To ANDY RICHARDS

Photo by Lizzy Ellis

Producer, keyboardist and composer Andy Richards may not be as widely known as his mentor Trevor Horn, but listeners have certainly heard his work as a significant number his contributions appear on singles that reached No1.

Born in 1952, Richards studied piano, classical organ piano and composition at The Royal College Of Music and The Royal Academy Of Music. After graduating, he taught music at South Cheshire College and began playing in various local bands before in 1977, he joined the folk-rockers THE STRAWBS who were best known for their hit ‘Part Of The Union’.

After THE STRAWBS split up in 1980, Richards became a session musician and in 1983 played keyboards for the heavy metal band DEMON who were signed to Clay Records, a Stoke-based independent record label. It had been established by Mike ‘Clay’ Stone who had been a champion of punk, taking early photographs of Gary Numan which appeared on the first TUBEWAY ARMY releases before later signing DISCHARGE and THE LURKERS to Clay.

It was via Clay Records that Andy Richards was to get his big break. Stone invited Richards to produce the debut of local synthpop trio WHITE DOOR who had morphed out of the prog band GRACE. Mixed at Sarm East Studios, the engineer was Julian Mendelsohn who was also working with Trevor Horn on the YES album ‘90125’.

With recommendations from Mendelsohn, Richards was then contacted by both. Although he auditioned for YES, he chose to work with Trevor Horn in October 1983; his first job was to play keyboards on the FRANKIE GOES TO HOLLYWOOD cover of ‘Ferry ‘Cross the Mersey’ and subsequently the eventual single version of ‘Relax’ which featured Richards’ European sounding Roland Jupiter 8 chords while another key element he provided was the huge orgasmic sound at the song’s climax!

Working as part Trevor Horn’s dream team that included engineer Stephen Lipson and Fairlight programmer JJ Jeczalik, the world became Richards’ oyster with significant roles on the notable ZTT albums ‘Welcome to the Pleasure Dome’, ‘A Secret Wish’ and ‘Slave to the Rhythm’.

A master of the Roland Jupiter 8, Roland MC4 Micro-composer, PPG and Oberheim DMX, Richards became in demand as musician, programmer and producer, thanks to his astute investment in the Fairlight Series III in 1984; this was a particularly useful production tool as the artists he worked with could easily understand its concept easily as all its 16 tracks and their relationship in real time could be seen on screen at once.

Having dipped his toe into the world of cinema in 1986 with ‘Biggles: Adventures in Time’, the bulk of Richards’ more recent work has been in mixing film scores from his own Out of Eden digital complex, including ‘Bridget Jones’ Diary’, ‘Ali G Indahouse’, ‘Johnny English’, ‘Shaun of the Dead’, ‘The Last King of Scotland’, ‘Hannibal Rising’, ‘Slumdog Millionaire’ and ‘Frankenweenie’. He has more recently been working on his first solo project entitled ‘This Time… An Imaginary Soundtrack’

Perhaps something of an unsung hero in music, here are 18 tracks that ELECTRICITYCLUB.CO.UK has selected from the vast career of Andy Richards with a restriction of one track per artist moniker, assembled in chronological order…


WHITE DOOR Jerusalem (1983)

With shades of ALPHAVILLE who Andy Richards would later work with, the beautiful choir boy synthpop of ‘Jerusalem’ was one of the highlights of the ‘Windows’ album. “We would turn up at Andy’s house with very basic demos and spend long days with him on his mini grand piano working out the arrangements and programming…” said WHITE DOOR singer Mac Austin about the releationship with their producer.

Available on the WHITE DOOR album ‘Windows’ via Cherry Red Records

https://www.facebook.com/whitedoorband


PROPAGANDA Dr Mabuse (1984)

‘Dr Mabuse’ was the impressionistic masterpiece slated that was the debut single by PROPAGANDA, at the time a Düsseldorf-based five piece. Produced by Trevor Horn in the days before MIDI, Richards’ work involved spending days in the studio connecting up two Roland Jupiter 8s, two Roland MC4 Micro-composers, three Oberheim DMXs and a Roland TR808 to JJ Jeczalik’s Fairlight Series II.

Available on the PROPAGANDA album ‘A Secret Wish’ via Salvo

https://www.xpropaganda.co.uk/


FRANKIE GOES TO HOLLYWOOD Two Tribes (1984)

As FRANKIE GOES TO HOLLYWOOD’s eagerly awaited follow-up to ‘Relax, ‘Two Tribes’ sent the Cold War paranoia of the times into overdrive. Richards’ blistering bassline sequence was programmed multiple times with differing feels, eventually settling on a hard PPG bass sample doubled with a slightly softer sequence from a Synclavier. The end result acted as a leadline and tribal powerhouse.

Available on the FRANKIE GOES TO HOLLYWOOD album ‘Bang!’ via Salvo

https://www.frankiesay.com/


GEORGE MICHAEL Careless Whisper – Full length version (1984)

Although George Michael’s debut solo single was characterised by a fluid sax solo by Steve Gregory, when the WHAM! singer opted to produce ‘Careless Whisper’ himself after an abortive session with Jerry Wexler, he invited to Richards to overdub a chilling string synth intro and voice samples using a PPG Waveterm A. It would become the third No1 of 1984 on which Richards performed.

Available on the WHAM! album ‘Make In Big’ via Sony Music

https://www.frankiesay.com/


THE ADVENTURES Send My Heart – Extended remix (1984)

Belfast’s THE ADVENTURES were one of the first bands to be managed by pop Svengali Simon Fuller and on the back of FRANKIE GOES TO HOLLYWOOD’s success came remix and session work for Richards. His extended remix of the sprightly ‘Send My Heart’ included additional keyboard flourishes, a new voice sample solo section and drum breakdowns while keeping the song intact.

Available on THE ADVENTURES album ‘Theodore & Friends’ via Lemon Records

https://www.discogs.com/artist/219292-The-Adventures


STEPHEN ‘TIN TIN’ DUFFY Kiss Me (1985)

‘Kiss Me’ had been originally released by Stephen Duffy’s band TIN TIN in 1982. Reissued in several incarnations, the Fairlight heavy hit version was produced by Nicholas Froome and JJ Jeczalik who brought Richards in along with Danny Schogger to provide musicality to the various sample derived gimmicks used. Duffy would later become the writing partner of Robbie Williams and ‘Kiss Me’ would be covered in 2006.

Available on the STEPHEN DUFFY album ‘The Ups & Downs’ via Cherry Red Records

http://stephenduffy.com/


TRIO Ready For You (1985)

Germany’s TRIO became known worldwide for their novelty song ‘Da Da Da’. Much more aggressive than their big hit, the expletive laden sexually charged ‘Ready For You’ was a co-production by Richards and JJ Jeczalik alongside Klaus Voormann, the noted musician who also worked on all the TRIO albums as well as with Lou Reed and was the graphic designer of THE BEATLES ‘Revolver’.

Available on the TRIO album ‘Whats The Password’ via Mercury Records

http://www.stephan-remmler.de/


GRACE JONES SLAVE TO THE RHYTHM (1985)

Not the familiar groovy Go-Go hit single version that became Grace Jones’ signature tune, but a more aggressive take with big beats, rumbles and swoops actually designated “5. SLAVE TO THE RHYTHM” on the same titled album, Andy Richards’ distinct chord interventions can be heard in the brassy synth stabs. The song had been originally demoed by FRANKIE GOES TO HOLLYWOOD in an uptempo fashion.

Available on the GRACE JONES album ‘Slave To The Rhythm’ via Island Records

https://www.gracejones.com/


BERLIN You Don’t Know (1986)

Although effectively a solo Terri Nunn track produced by Giorgio Moroder, ‘Take My Breath Away’ was issued as a BERLIN single and became a worldwide hit. The sultry art rock follow-up ‘You Don’t Know’ was primarily produced by Richards but the band were unhappy with their sojourn in London for their new album and scrapped their recordings with him, bar this.

Available on the BERLIN album ‘Best Of 1977 – 1988’ via Geffen Records

https://www.berlinpage.com/


NIK KERSHAW Radio Musicola (1986)

Credited with “Keyboards, Computers” for the first song of Nik Kershaw’s self-produced third album, the title track saw Richards’ Fairlight Series III programming take a central role emulating LEVEL 42’s Mark King style of bass playing. A cautionary warning about mass-produced run-of-the-mill pop music, ‘Radio Musicola’ also featured a brass section and  Iva Davies of ICEHOUSE on backing vocals.

Available on the NIK KERSHAW album ‘Essential’ via Universal Music

https://www.nikkershaw.net/


PET SHOP BOYS Heart – Single mix (1988)

Originally recorded with Shep Pettibone with Madonna in mind, having programmed the Fairlight on ‘Always On My Mind’, ‘It’s A Sin’ and ‘Rent’, Andy Richards was asked to produce a new version of ‘Heart’ in a classic disco vein for the ’Actually’ album. A re-edited version mixed by Julian Mendelsohn featuring extra wah-wah guitar by JJ Belle gave PET SHOP BOYS another UK No1 single.

Available on the PET SHOP BOYS album ‘Smash – The Singles 1985 – 2020’ via EMI Music

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


PREFAB SPROUT Hey Manhattan (1988)

Have achieved their breakthrough with the Thomas Dolby produced ‘Steve McQueen’, the East Anglian electronics boffin was unable to work on the entire follow-up album ‘From Langley Park to Memphis’ so other producers were sought. Richards did ‘Hey Manhattan’ but band leader Paddy McAloon later remarked “I’m dissatisfied with the way we realised it. It’s pretty but it’s a failure”.

Available on the PREFAB SPROUT album ‘From Langley Park To Memphis’ via Sony Music

https://www.sproutology.co.uk/


HOLLY JOHNSON Americanos (1989)

Co-produced by Andy Richards and Steve Lovell with Dan Hartman, ‘Americanos’ was a catchy Latin tinged number complete with Mariachi horns that saw Holly Johnson achieve a second solo No4 hit. Despite being aspirational in tone, the former FRANKIE GOES TO HOLLYWOOD singer provided an ironic observation of the widespread discrimination against the Hispanic community in the USA.

Available on the HOLLY JOHNSON album ‘Blast’ via Cherry Red Records

https://www.hollyjohnson.com/


FUZZBOX Pink Sunshine (1989)

Outrageously catchy, ‘Pink Sunshine’ was the best single from the alternative rock band once known as WE’VE GOT A FUZZBOX & WE’RE GONNA USE IT!! Reinventing themselves as a sexy pop vocal group for their second album ‘Big Bang!’ produced by Andy Richards, their first hit came with the ‘Thunderbirds’ inspired ‘International Rescue’ while ‘Self’ featuring QUEEN’s Brian May provided a third.

Available on the FUZZBOX album ‘Big Bang!’ via Cherry Red Records

https://www.facebook.com/OfficialFuzzbox


MALCOLM McLAREN & THE BOOTZILLA ORCHESTRA House Of The Blue Danube (1989)

In tribute to New York’s voguing scene, ‘Waltz Darling’ was Malcolm McLaren’s fourth album, fusing Johann Strauss with funk and house. It spawned the hit ‘Something’s Jumpin’ in Your Shirt’ but opening it was the mad if joyous instrumental ‘House of the Blue Danube’. Produced by Richards, it featured Bootsy Collins and Jeff Beck within a pumping “Frankie Say Strauss” backdrop.

Available on the MALCOLM McLAREN & THE BOOTZILLA ORCHESTRA album ‘Waltz Darling’ via Epic Records

https://www.malcolmmclaren.com/


DUSTY SPRINGFIELD Reputation (1990)

Having played keyboards on Liza Minnelli’s ‘Results’ album with PET SHOP BOYS, for a similar project this time with Dusty Springfield, while Messrs Tennant and Lowe produced half the ‘Reputation’ album, Richards was assigned the title song written by Brian Spence. Although overshadowed by the hits ‘Nothing Has Been Proved’ and ‘In Private’, the end result was a production of equal quality.

Available on the DUSTY SPRINGFIELD album ‘Reputation’ via Cherry Red Records

https://www.dustyspringfield.co.uk/


OMD All That Glitters (1991)

By 1988, advances in computer technology and software had made the Fairlight redundant. But Richards was sticking with his warhorse, causing tensions when working with Andy McCluskey on his new solo OMD by recreating what was on the demos formulated on a MIDI-compatible Atari. But the elegiac ‘Sugar Tax’ album closer ‘All That Glitters’ managed to capture the OMD magic of old.

Available on the OMD album ‘Sugar Tax’ via Virgin Records

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


ALPHAVILLE Wishful Thinking (1997)

Produced by Andy Richards, ALPHAVILLE’s fifth album ‘Salvation’ came as the trio fragmented, leaving Marian Gold and Bernhard Lloyd to helm the ship. Energetic gothic dance music, ‘Wishful Thinking’ had a dramatic presence reminiscent of ‘Forever Young’, aided by a string arrangement by Anne Dudley which provided plenty of pomp and circumstance.

Available on the ALPHAVILLE album ‘Salvation’ via WEA Records

https://www.alphaville.earth/


More information on Andy Richards and ‘This Time… An Imaginary Soundtrack’ can be found at http://www.andyrichards.com/

The June 1988 Music Technology article ‘Programmer’s Protocol’ on Andy Richards was a key reference and can be read via the mu:zines music magazine archive at http://www.muzines.co.uk/articles/programmers-protocol/1104


Text by Chi Ming Lai
28 August 2023

MUSIK MUSIC MUSIQUE 3.0 1982 | Synth Pop On The Air

Cherry Red’s ‘Musik Music Musique’ series now reaches its third volume and 1982 when there was “Synth Pop On The Air”.

From the team behind the ’Close To The Noise Floor’ compendiums, the excellent ‘Electrical Language’ set but also the rather confused ‘Music For New Romantics’ box, this 3CD collection documents the year after SOFT CELL hit No1 with ‘Tainted Love’ in the summer of 1981 while THE HUMAN LEAGUE did likewise with ‘Don’t You Want Me?’ to bag that year’s Christmas topspot. 1982 began with KRAFTWERK belatedly reaching a No1 too with ‘The Model’, a track from 1978’s ‘The Man Machine’.

It was as if the world had caught up with the sound of the synth. The period was also notable for affordable silicon chip based polysynths such as the Roland Juno 6 and Korg Poly 6 entering the market. In tandem with the improvement in quality of cassette-based 4-track Portastudios, electronic music became more accessible with basic home studios now a hive of musical creativity.

While the big hitters such as SOFT CELL, OMD, BLANCMANGE, THE HUMAN LEAGUE and ULTRAVOX are represented by album tracks and B-sides alongside breakthrough singles by NEW ORDER, FASHIØN and HEAVEN 17, the curiosity value of ‘Musik Music Musique 3.0’ is boosted by a greater proportion of lesser known tracks and acts compared with the first two compendiums.

Often dismissed as a MOR act thanks to the Giorgio Moroder produced ‘Take My Breath Away, BERLIN are provided a platform for the provocative and more classically Moroder-esque ‘Sex (I’m A….)’. Meanwhile with a not dissimilar throbbing template, DEAD OR ALIVE’s ‘What I Want’ in previously unreleased demo form captures the band in transition from proto-goth to HI-NRG disco and sounding like both simultaneously.

Wonderful lost synthpop jewels include the melodramatic ‘Juliet’ from PASSION POLKA and the bouncy SPANDAU BALLET inspired instrumental ‘Profile Dance’ by SERGEANT FROG, an early alias of PWL mixmaster Phil Harding. Echoing the slightly overblown vocal styles of the period, ‘Future Shock’ by COMMUNICATION falls under the spell of ASSOCIATES while both ‘Climb Down’ from THIRTEEN AT MIDNIGHT and ‘Instant Feeling’ by AERIAL FX are percussively anxious.

The two best rare highlights both come with links to Glasgow; fronted by David Rudden, ENDGAMES played with a brand polished synthpop funk of which ‘First Last For Everything’ is a good example. Meanwhile, LEISURE PROCESS were the duo comprising of Ross Middleton and Gary Barnacle whose small portfolio of singles were all produced by Martin Rushent; although the vocals were virtually unintelligible over the clattering Linn Drum, pulsing synths, squawky guitar and sax, ‘Love Cascade’ remains a cool dancefloor friendly number reflecting the decadent spirit of the times.

The underrated COLOURBOX are represented by the 1982 single version of ‘Breakdown’ while DRINKING ELECTRICITY’s ‘Good Times’ explores a synth art funk hybrid that threatens to turn into ‘The Locomotion’. An actual cover version, JULIE & THE JEMS take on ‘1-2-3’ is a reflection of how commercial pop had become synthed up, especially when it is learnt that front woman Julie Harris was part of the line-up of TIGHT FIT that got to No1 later in 1982 with ‘The Lion Sleeps Tonight’; incidentally that rework was produced by Tim Friese-Greene who later became Mark Hollis’s writing partner in TALK TALK who themselves are represented on ‘Musik Music Musique 3.0’ by their slightly underwhelming debut single ‘Mirror Man’.

There is a surprise in that Arthur Brown of ‘Fire’ fame with his synth experiment ‘Conversations’ and it is suitably crazy and enjoyable in the manner of early FALCO. The late Austrian himself is represented by ‘Maschine Brennt’ while German neighbours DIE KRUPPS’ ‘Goldfinger’ is a welcome inclusion that exposes their more DAF-like origins.

Adding a less confrontational continental tone, ‘Par Hasard’ by MIKADO is a slice of delightful electro-lounge, while Belgium’s TELEX bring swing into the mix with ‘Sigmund Freud’s Party’ and Switzerland’s YELLO exude their quirky playfulness on ‘Heavy Whispers’, albeit with a darker disposition.

It is interesting to look back at the lesser remembered Kim Wilde single ‘Child Come Away’ and Toyah’s 1982 re-recording of ‘Ieya’ which were both synth dominated but failed to crack the Top 40 despite the sound being ubiquitous on the airwaves. There was the beginning of a notable synth backlash after the triumph of 1981 and DEXY’S MIDNIGHT RUNNERS fiddly ‘Come On Eileen’ becoming the best-selling UK single of 1982 was a surefire sign. And that was without the Musicians Union motion to ban synths from recording and live performance.

Cult acts of the period FAD GADGET, THE PASSAGE, FIAT LUX, SECTION 25 and POEME ELECTRONIQUE along with the two Thomases, Dolby and Lang don’t miss out on the party, but notably absent are bands who had been part of earlier sets such as NEW MUSIK and VISAGE whose 1982 albums have worthy material to mine.

Closing with OMEGA THEATRE and the quite bizarre but entertaining ‘Robots, Machines & Silicon Dreams’, its classic pop theatrics are not entirely surprising as its creator John Carter co-wrote the 1970 Eurovision runner-up ‘Knock, Knock Who’s There?’ for Mary Hopkin, ‘Let’s Go to San Francisco’ for THE FLOWER POT MEN and ‘Beach Baby’ for THE FIRST CLASS.

However, as before, there are minor quibbles; while the correct 1982 versions of NEW ORDER’s ‘Temptation’, TEARS FOR FEARS ‘Pale Shelter’ and Paul Haig’s ‘Justice’ feature, ‘European Son’ by JAPAN comes in the earlier John Punter B-side version rather the snappier 1982 Steve Nye single remix. And then having mentioned in the booklet that OMD’s ‘She’s Leaving’ was released as a slightly remixed 1982 single in Benelux territories, the compilation goes with the familiar 1981 ‘Architecture & Morality’ album cut. Meanwhile the inclusion of ‘Sex Dwarf’ from 1981’s ‘Non Stop Erotic Cabaret’ is a head scratcher when the 1982 SOFT CELL B-sides ‘Insecure Me’, ‘….So’ or ‘It’s A Mug’s Game’ would have been more interesting.

Lessons have still not been learnt from previous booklets with photos of OMD from 1984 and DEAD OR ALIVE from 1985 appearing. Again, the booklet notes are a mixed bag; why bother to bang on about the John Foxx-era of ULTRAVOX with the limited word count when by 1982, the Midge Ure-led version were an established hit machine? Also, why does the story of JOY DIVISION need to be repeated ad nauseam  in the context of NEW ORDER?

Meanwhile, DRAMATIS (who are represented by their best single ‘The Shame’) returned to being Gary Numan’s live backing band in 1983, not 1982! Then with the biggest gaff in the TEARS FOR FEARS section, Curt Smith played bass NOT guitar and vice versa for Roland Jaime Orzabal de la Quintana to give his full name!

So full marks for the amount of lesser known material gathered on ‘Musik Music Musique 3.0’, but please get the accompanying booklet sorted out for ‘Musik Music Musique 4.0’ as there have been enough opportunities now to get that side of the operation right. Roll on 1983…


‘Musik Music Musique 3.0: 1982 – Synth Pop On The Air’ is released by Cherry Red on 17th February 2023 as a 3CD boxed set

https://www.cherryred.co.uk/product/musik-music-musique-3-0-1982-synthpop-on-the-air-3cd-box-set/


Text by Chi Ming Lai
13tn February 2023

25 SONGS NOT SUNG BY THE LEAD VOCALIST

Wikipedia says “The lead vocalist in popular music is typically the member of a group or band whose voice is the most prominent melody in a performance where multiple voices may be heard”.

It also adds “The lead vocalist may also be called the main vocalist or lead singer. Especially in rock music, the lead singer or solo singer is often the front man or front woman”. A BBC Radio 4 parody series ‘Radio Active’ first made the joke in 1981 that “Ringo Starr isn’t the best drummer in THE BEATLES” and in a similar way, it could be said that Bernard Sumner is not the best singer in NEW ORDER.

However, the lead vocalist is considered the figurehead and often the character of a band so regardless of what is said publicly about democracy, a hierarchy inevitably ensues.

But what happens when another member of the band takes their turn at the front? In most cases, it is just a one-off although sometimes it becomes recurring feature over successive albums. These tracks can meet with varying degrees of success, but there have even been occasions where the second vocalist eventually becomes lead singer! However, there have been strange situations where a less vocally competent instrumentalist is unhappy about the attention that a singer is getting and insists on switching roles, thus ensuring that the band does not play to any of its strengths!

So taking things back to front and with a limit of one track per act, ELECTRICITYCLUB.CO.UK presents a list of 25 songs not sung by the lead vocalist in chronological, then alpnabetical order…


ULTRAVOX Mr X (1980)

Having been an idea that dated back to the John Foxx-era of ULTRAVOX just before his departure, the KRAFTWERK influenced robotic spy story of ‘Mr X’ was voiced by Warren Cann while Midge Ure was settling in as the band’s new lead vocalist. The track had begun as ‘Touch & Go’ and been premiered live. In a gentlemen’s agreement, keyboardist Billy Currie gave his melody of ‘He’s A Liquid’ in return for Foxx’s melody to ‘Touch & Go’, hence the structural similarity to ‘Mr X’.

Available on the album ‘Vienna’ via Chrysalis Records

http://www.ultravox.org.uk/


DEPECHE MODE Any Second Now (1981)

Although now known as a songwriter, Martin Gore had contributed an instrumental ‘Big Muff’ and one song with lyrics ‘Tora! Tora! Tora!’ on DEPECHE MODE’s debut album. Written by Vince Clarke like most of ‘Speak & Spell’, ‘Any Second Now’ was a beautiful minimalist set piece that stood out amongst the dance friendly synthpop tunes and suited an understated tone of expression. And so began a tradition of Gore taking on DM’s ballads instead of front man Dave Gahan.

Available on the album ‘Speak & Spell’ via Sony Music

https://www.depechemode.com/


DRAMATIS Turn (1981)

DRAMATIS were the former Gary Numan live band and while their only album to date ‘For Future Reference’ was musically virtuoso, the band’s Achilles’ heel was vocals. RRussell Bell and Denis Haines were the quartet’s main singers and Numan himself guested on DRAMATIS’ biggest hit ‘Love Needs No Disguise’, but the classically trained multi-instrumentalist Chris Payne found himself a reluctant vocalist on a song he had written called ‘Turn’; “I have never felt comfortable about my own voice” he clarified.

Available on the album ‘For Future Reference’ via Cherry Red Records

https://www.discogs.com/artist/45761-Dramatis


NEW ORDER Doubts Even Here (1981)

After the end of JOY DIVISION, Peter Hook, Bernard Sumner and Stephen Morris reconvened as NEW ORDER as a symbol of their fresh start while recruiting Gillian Gilbert on keyboards and guitar. Synths and drum machines were taking greater prominence but not entirely. While Sumner did the majority of the vocals on their debut album ‘Movement’, it was Hooky’s fraught delivery on ‘Doubts Even Here’ and words from The Bible spoken by Gilbert that provided the album’s most glorious moment.

Available on the album ‘Movement’ via Rhino

http://www.neworder.com/


KISSING THE PINK Watching Their Eyes (1982)

Best known for the profound anti-war statement ‘The Last Film’ which entered the Top20 in 1983, KISSING THE PINK had Nick Whitecross as their lead singer. Produced by Colin Thurston, the baroque opera tinged ‘Watching Their Eyes’ saw saxophonist Josephine Wells provide a haunting impassioned vocal. Wells went on to play live with TEARS FOR FEARS but sadly, she was to later battle her own traumas as a survivor of the Marchioness boat disaster in 1989 which led to the deaths of 51 people.

Available on the album ‘Naked’ via Cherry Red Records

https://www.facebook.com/kissingthepink/


CHINA CRISIS Wishful Thinking (1983)

With his OMD success, Mike Howlett produced what turned out to be the most synth based CHINA CRISIS long player. Utilising Emulator strings and a pizzicato sample derived from plucking an acoustic guitar string close to the bridge, ‘Wishful Thinking’ was written and thus sung by guitarist Eddie Lundon. A sweetly textured, melodic pop single that deserved its hit status, lead singer Gary Daly responded with ‘Never Too Late’ but that song was shelved to eventual B-side status for sounding too similar.

Available on the album ‘Working With Fire & Steel – Possible Pop Songs Volume 2’ via Caroline Records

https://www.facebook.com/chinacrisisofficial/


TEARS FOR FEARS The Hurting (1983)

While Roland Orzabal is more or less seen as TEARS FOR FEARS lead singer these days, that’s not how it was perceived at the start even though he sang their debut single ‘Suffer The Children’. Following three Top10 hit singles in a row prior to the release of their debut album ‘The Hurting’, Curt Smith was considered the face and the voice of the band. Orzabal was main songwriter and sang lead on the title track with a more angst-ridden take than was heard on the Smith-fronted singles; this was to become the band’s future dynamic.

Available on the album ‘The Hurting’ via Mercury Records

https://tearsforfears.com/


YAZOO Happy People (1983)

Of Vince Clarke’s most polarising song since ‘What’s Your Name?’ for DEPECHE MODE, Alison Moyet said “That could have been the beginning of the end for us… in fact, no it wasn’t because Vince had already decided to leave. ‘Happy People’, I just tried singing it a couple of ways and I just hit him with ‘I can’t do this, you want it sung, you sing it yourself mate!’… so he sang it himself, fair play to him”. The song itself was an ironic send-up of middle aged political activists.

Available on the album ‘Three Pieces’ via Mute Records

https://yazooinfo.com/


BERLIN Rumor Of Love (1984)

Multi-instrumentalist John Crawford had proved himself a capable if almost anonymous singer when duetting with BERLIN front woman Terri Nunn on their 1982 breakthrough track ‘Sex (I’m A…)’. But for the B-side of the 1984 Giorgio Moroder produced single ‘No More Words’, Crawford did a lead vocal turn on the Mike Howlett-helmed ‘Rumor Of Love’ which echoed Scott Walker and ended up as a bonus track on the original edition of the ‘Love Life’ album

Available on the album ‘Love Life’ via Rubellan Records

https://www.berlinmusic.net/


OMD Never Turn Away (1984)

While Andy McCluskey was the lead singer of OMD, Paul Humphreys would see his less frequent vocalled tracks released as singles with ‘Souvenir’, ‘Secret’ and ‘Forever Live & Die’ becoming international hits. While their fifth ‘Junk Culture’ saw forays into brass sections, calypso and reggae, ‘Never Turn Away’ was a more traditional OMD ballad with Autumnal atmospheres but while it was a fine album track, it made little impression as a single release.

Available on the album ‘Junk Culture’ via Virgin Records

https://www.omd.uk.com/


PROPAGANDA Dream Within A Dream (1985)

While Susanne Freytag was the original PROPAGANDA vocalist with her stark narrative style, she soon stepped back in favour of her friend and TOPOLINOS bandmate Claudia Brücken. While Freytag’s Germanic prose remained vital on songs such as ‘Doctor Mabuse’ and ‘P-Machinery’, her vocal style suited the lead role on ‘Dream With A Dream’, a 9 minute epic which put a mighty soundtrack to accompany an Edgar Allan Poe poem which was first published in 1849.

Available on the album ‘A Secret Wish’ via ZTT Records

https://www.xpropaganda.co.uk/


KRAFTWERK The Telephone Call (1986)

On the disappointing ‘Techno Pop’ née ‘Electric Café’ album, Karl Bartos gave assured performance in his only lead vocal for KRAFTWERK on ‘The Telephone Call’. While the assertive automated phone messages were a sharpened metaphor for female empowerment, band politics were at play when Ralf Hütter refused to let Bartos lip-synch his part on the accompanying monochromatic video although Wolfgang Flür got to mime a single phrase while cast in shadow.

Available on the album ‘Techno Pop’ via EMI Music

https://kraftwerk.com/


PET SHOP BOYS Paninaro (1986)

“Passion and love and sex and money – Violence, religion, injustice and death” went the opening phrases of Chris Lowe’s debut lead vocal for PET SHOP BOYS. Dryly spoken rather than sung, the track was a celebration of an Italian fashion cult who were the anti-hipsters of the period and openly loved pop like DURAN DURAN. The middle eight featuring an ‘Entertainment Tonight’ interview saw Lowe deadpan: “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!”

Available on the album ‘Alternative’ via EMI Music

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


NITZER EBB Let Beauty Loose (1987)

With Douglas J McCarthy fronting NITZER EBB, the singing abilities of instrumentalist Bon Harris only came to the fore with his ‘Songs From the Lemon Tree’ lockdown live streams of solo covers often tinged with falsetto. But on the ‘That Total Age’ album, he had shouted his way through ‘Let Beauty Loose’, a typical slice of frantically paced EBM. Acting as a supersub in late 2021, Harris stood in for a hospitalised McCarthy at two NITZER EBB shows in Palm Beach and Toronto.

Available on the album ‘That Total Age’ via Mute Records

http://www.nitzer-ebb.com/


BOOK OF LOVE With A Little Love (1988)

Originally from Philadelphia, BOOK OF LOVE were started by school friends Susan Ottaviano and Ted Ottaviano who were not actually related. Jade Lee and Lauren Roselli Johnson joined later on and the quartet were invited to support DEPECHE MODE on two US tours while their single ‘I Touch Roses’ was reissued in a Daniel Miller remix. Although Susan Ottaviano was lead vocalist, Ted Ottaviano impressed on ‘With A Little Love’ from their second album ‘Lullaby’ which was co-produced by Flood.

Available on the album ’Lullaby’ via Noble Rot

https://www.bookoflovemusic.com/


CAMOUFLAGE Sooner Than We Think (1989)

German trio CAMOUFLAGE named themselves after a YELLOW MAGIC ORCHESTRA track and threw their love of DEPECHE MODE into the mix. While Marcus Meyn was lead singer and the voice of hits like ‘The Great Commandment’, on their second album ‘Methods Of Silence’, both instrumentalists Heiko Maile and Oliver Kreyssig did a vocal turn, with the latter’s ‘Sooner Than We Think’ considered worthy enough to merit inclusion on their first two Best Of compilations ‘We Stroke The Flames’ and ‘Rewind – The Best Of 95-87’.

Available on the album ‘Methods Of Silence’ via Universal Music

https://www.camouflage-music.com/en/News


KON KAN Move To Move (1989)

Despite Kevin Wynne being the voice on KON KAN’s sample heavy NEW ORDER inspired international hit ‘I Beg Your Pardon’, he was a hired hand as the mastermind behind the project was Canadian producer Barry Harris. The surprise success led to interest in an album for which Wynne did most of the vocals for, while also being involved in its promotion. However, Harris took the lead on the album’s title track which came out as a 12″ club mix. For the next two KON KAN albums ‘Syntonic’ and ‘Vida!’, Wynne was not recalled.

Available on the album ‘Move To Move’ via Atlantic Records

https://www.facebook.com/konkanofficial


THE HUMAN LEAGUE One Man In My Heart (1995)

Although the front man and sole remaining founder member, Phil Oakey has often cited Susanne Sulley as the best singer in THE HUMAN LEAGUE. While she famously did a verse on the UK and US No1 ‘Don’t You Want Me?’ as well as various solo phrases on ‘(Keep Feeling) Fascination’ and ‘Heart Like A Wheel’, she didn’t get a lead vocal turn until ‘One Man In My Heart’. The format of the song fitted right in with the rise of female fronted trios like DUBSTAR, SAINT ETIENNE and PEACH.

Available on the album ‘Octopus’ via EastWest

https://thehumanleague.co.uk/


DURAN DURAN Medazzaland (1997)

Having been slated for their 1995 covers album ‘Thank You’, DURAN DURAN were in a state of turmoil by 1997; Simon Le Bon was experiencing writer’s block while John Taylor was suffering from depression. This state of affairs led to Nick Rhodes working more closely with guitarist Warren Cuccurullo and the keyboardist taking a spoken word lead on the title track of the ‘Medazzaland’ album. Taylor left halfway through recording the parent long player while the end product was only released in the US, resulting in the end of the band’s tenure with EMI.

Available on the album ‘Medazzaland’ via Tape Modern

https://duranduran.com


LADYTRON True Mathematics (2002)

With a template similar to PROPAGANDA, LADYTRON had a singing vocalist in Helen Marnie while Mira Aroyo provided stark spoken prose in her native Bulgarian. While the latter had been an enticing subplot to ‘Discotraxx’ on the debut album ‘604’, Aroyo took the deadpan lead on the fierce ‘True Mathematics’ which opened their next album ‘Light & Magic’. Owing a debt to THE NORMAL’s ‘Warm Leatherette’, it premiered a much harder LADYTRON sound.

Available on the album ‘Light & Magic’ via Nettwerk

https://www.ladytron.com/


KID MOXIE Medium Pleasure – Marsheaux remix (2009)

KID MOXIE actually began as a duo comprising of Elena Charbila and Erica Zabowski, recording an EP ‘Human Stereo’ and album ‘Selector’. Although Charbila took the majority of the lead vocals in her airy continental style, Zabowski adopted more of a snarl on ‘Medium Pleasure’ with a lyric attacking cultural and artistic mediocrity. By the time ‘Selector’ was released, the pair had already parted but thanks to a physical CD release on Undo Records, the track was boosted by a remix from MARSHEAUX

Available on the album ‘Selector’ via Undo Records

https://www.facebook.com/kidmoxie


DE/VISION Kamikaze (2012)

Forming in 1988 and releasing their debut long player ‘World Without End’ in 1994, German duo DE/VISION have been a mainstay in Europe for enthusiasts of darker electronic climes. Comprising of Steffen Keth on vocals and Thomas Adam on synths, their vast majority of their songs have been sung in English. For their 2012 album ‘Rockets & Swords’, there was a surprise in the penultimate song ‘Kamikaze’ which was not only voiced by Adam but also in Deutsch.

Available on the album ‘Rockets & Swords’ via Popgefahr Records

http://www.devision-music.de


TWINS NATALIA I Avoid Strangers (2014)

The Anglo-German ensemble TWINS NATALIA comprised of Marc Schaffer, Steve Lippert, synth wizard Dave Hewson and singers Sharon Abbott and Julie Ruler, with the latter three from cult combo POEME ELECTRONIQUE. Touchingly melancholic with classic Weimar Cabaret melodies and vibrant Kling Klang interplay, their music conjured memories of holiday romances. But the uptempo ‘I Avoid Strangers’ featured Hewson on vocals, possessing a paranoia that suited the song perfectly.

Available on the album ‘The Destiny Room’ via Anna Logue Records

https://www.facebook.com/twinsnatalia


CHVRCHES High Enough To Carry You Over (2015)

The two Martin Doherty vocalled tracks on ‘The Bones Of What You Believe’ polarised opinion and his voice made an appearance again on the synth driven funk of ‘High Enough To Carry You Over’ for CHVRCHES second album ‘Every Open Eye’. While nowhere near as accomplished as main vocalist Lauren Mayberry, by taking on a more Americanised drawl in the vein of MISTER MISTER, this was a big improvement on the stoner vibe of his two singing attempts on the debut long player.

Available on the album ‘Every Open Eye’ via Virgin Records

http://chvrch.es/


APOPTYGMA BERZERK Nearest (2019)

The project of Norwegian Stephan Groth, APOPTYGMA BERZERK went Deutsch on the ‘Nein Danke!’ EP while displaying a prominent “NEWWAVESYNTHPOP” legend on its artwork. ‘Nearest’ saw Stephan’s live bandmate and brother Jonas step into the limelight on a chilled electronic ballad ‘Nearest’ that possessed the same ethereal qualities as the best known APOP track ‘Kathy’s Song’. Jonas Groth has since stepped fully up to the front in his own synthpop duo PISTON DAMP.

Available on the EP ‘Nein Danke!’ via Pitch Black Drive

http://www.theapboffice.com/


Text by Chi Ming Lai
Photo by Catrine Christensen
31st December 2022

THE ELECTRONIC LEGACY OF 1982

While 1981 was the most important year in synth for its mainstream crossover, 1982 saw it consolidating its presence and finding itself intertwined into other genres.

A number of the school of 1981 such as OMD, KRAFTWERK and JAPAN were absent in album form during 1982 although they maintained a presence on the singles chart with KRAFTWERK getting a belated and well-deserved No1 for 1978’s ‘The Model’ while OMD scored the biggest single of the year in West Germany with ‘Maid Of Orleans’.

Meanwhile, JAPAN became chart regulars with re-issues from their previous label Ariola Hansa and their then-home Virgin Records, notching up a further six Top 40 singles including a pair of Top10s in ‘Ghosts’ and an understated 1980 cover of Smokey Robinson’s ‘I Second That Emotion’, but the band split by the end of the year after a world tour.

It was very much a year much of the past catching up with the present with THE HUMAN LEAGUE’s original 1978 Fast Version of ‘Being Boiled’ reaching No6 on the back of a reissue under licence to EMI while ‘Don’t You Want Me?’ reached No1 in America, just as a remix collection ‘Love & Dancing’ maintained the band’s profile back home.

Taking a leaf out of THE HUMAN LEAGUE’s book, SOFT CELL revealed what they had been doing while clubbing in New York with the remix EP ‘Non-Stop Ecstatic’ and although it didn’t hit the heights of the Sheffield combo, Marc Almond and Dave Ball continued propping up the Top3 of the UK singles chart with ‘Torch’ and ‘What’.

In their album chart absence came new acts like YAZOO, TALK TALK, BLANCMANGE, CHINA CRISIS, BERLIN and RATIONAL YOUTH as those who had made their wider breakthroughs in 1981 such as DURAN DURAN, ABC, ASSOCIATES and SIMPLE MINDS swooped in. Meanwhile as DEPECHE MODE were soldiering on, NEW ORDER found a new electronic direction on the standalone single ‘Temptation’.

Despite all this, signs of a synth backlash were coming to a head and there were those who didn’t consider the use of synthesizers as real music. Songwriters like Elvis Costello and Ian Dury publicly declared their dislike of acts who used synths while the Musicians Union tabled a motion in May 1982 to ban synthesizers from recording and live performance.

Tensions had been brewing for a while; when HEAVEN 17 performed on ‘Top Of the Pops’ for the first time in 1981 with ‘Play To Win’, singer Glenn Gregory remembered how the heavily unionised show, where MU membership was compulsory, refused to let Martyn Ware and Ian Craig Marsh perform behind synths, insisting that they used a guitar and glockenspiel instead! There were plenty of misconceptions about the latest technology as Andy McCluskey of OMD said on ‘Synth Britannia’ in 2009: “The number of people who thought that the equipment wrote the song for you: ‘well anybody can do it with the equipment you’ve got!’ “F*** OFF!!”

But with the best selling UK single of 1982 being the more traditional ‘C’mon Eileen’ by DEXY’S MIDNIGHT RUNNERS, the public were perhaps tiring of the sound of synth and with this in mind, things were never quite the same again. In alphabetical order with the restriction of one album per artist moniker, ELECTRICITYCLUB.CO.UK lists 20 albums that contributed to the electronic legacy of 1982.


ABC The Lexicon Of Love

ABC wanted to be a far more technically polished pop proposition than their first single ‘Tears Are Not Enough’ so approached Trevor Horn to produce their debut album ‘The Lexicon Of Love’. The first fruit of labours was ‘Poison Arrow’ which was augmented by some dramatic piano passages from Anne Dudley who also added strings to the smooth electronic funk of ‘The Look Of Love’ and the ballad ‘All Of My Heart’. Meanwhile, Horn planted the seed of the FRANKIE GOES TO HOLLYWOOD sound on ‘Date Stamp’.

‘The Lexicon Of Love’ is still available via Mercury Records

http://www.abcmartinfry.com/


ASSOCIATES Sulk

ASSOCIATES were a majestic and outlandish new pop take on Weimar cabaret in a newly emerging electronic world. Produced by Mike Hedges, ‘Sulk’ was a kaleidoscopic triumph. Featuring reworked versions of ‘Party Fears Two’ and ‘Club Country’, from the frantic instrumental ‘Arrogance Gave Him Up’ to the chromatic overtures of ‘Skipping’ to the evocative drama of ‘No’, the music had the basis for being more accessible, but was still inventive with the brilliant ‘It’s Better This Way’ art and pop in perfect unison.

‘Sulk’ is still available via BMG

https://www.facebook.com/theassociatesofficial


BERLIN Pleasure Victim

Inspired by ULTRAVOX and KRAFTWERK, BERLIN’s independent mini-LP ‘Pleasure Victim’ was one of the first occasions of an American pop act embracing the synthesizer which had changed the face of music in Europe, exemplified by brilliant songs such as ‘The Metro’ and ‘Masquerade’ with their motorik drum machines and Teutonic pulses. It led to a deal with Geffen Records and notoriety with the deviantly fuelled breakthrough single ‘Sex (I’m A…)’.

‘Pleasure Victim’ is still available via Rubellan Remasters

http://www.berlinmusic.net


BLANCMANGE Happy Families

With the blistering opening of Linn Drum and elastic synth bass, the aggressive ‘I Can’t Explain’ opened  ‘Happy Families’ and set the scene for an impressive debut album from BLANCMANGE. ‘Feel Me’ crossed TALKING HEADS and JOY DIVISION while the haunting melancholy of ‘I’ve Seen The Word’ fused the sombre lyricism of the latter with textures of OMD. Featuring tablas and sitar, breakthrough hit ‘Living On The Ceiling’ headed to towards mystical East.

‘Happy Families’ is still available via Edsel Records

http://www.blancmange.com


CHINA CRISIS Difficult Shapes & Passive Rhythms, Some People Think It’s Fun To Entertain

Of CHINA CRISIS’ debut, frontman and synth player Gary Daly said: “I love all the songs, I love the way Ed and me from the off were not a ‘band’ and we made the most of every musician who contributed to our songs”. Making use of four producers, the songs ranged from the tribal mantras of ‘African & White’ to eveocative ballads such as ‘Christian’, with catchy synthpop like ‘Some People I Know To Have Fantastic Lives’ and the ambient closer ‘Jean Walks In Fresh Fields’ part of a fine collection.

‘Difficult Shapes & Passive Rhythms…’ is still available via Caroline Records

https://www.facebook.com/chinacrisisofficial


DAF Für Immer

The last of the Conny Plank produced album trilogy, ‘Für Immer’ maintained the industrial standard of its predecessors and featured a minimal electro body re-recording of their 1980 Mute single ‘Kebab Träume’. Transformed into something much heavier, the memorable if controversial line “Deutschland, Deutschland, alles ist vorbei!” threw more wood onto the provocation bonfire. But despite the fame, all was not well within DAF with Gabi Delgado and Robert Görl falling out under a haze of sex, drugs and sequencer…

‘Für Immer’ is still available via Grönland Records

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


DEPECHE MODE A Broken Frame

While Eric Radcliffe was holed up working on the first YAZOO album at Blackwing Studios on the night shift, during the day Daniel Miller was working with DEPECHE MODE on their second. With a catchy melodic theme, ‘Nothing To Fear’ made the most of Miller’s programming expertise to signal an optimistic future while ‘My Secret Garden’, ‘See You’ and ‘The Sun & The Rainfall’ utilised pretty ringing tones courtesy of a newly acquired PPG Wave 2. But ‘Leave In Silence’ pointed to darker climes.

‘A Broken Frame’ is still available via Sony Music

http://www.depechemode.com/


THOMAS DOLBY The Golden Age Of Wireless

‘The Golden Age Of Wireless’ was a real ‘Boy’s Own’ adventure of an album featuring the singles ‘Airwaves’, ‘Radio Silence’ and the percussive ‘Europa & The Pirate Twins’ featuring XTC’s Andy Partridge on harmonica. The UK hit breakthrough came with the tremendous ‘Windpower’ which ended with a BBC shipping forecast from John Marsh. For his intellectual approach to modern pop, Thomas Dolby adopted a boffin persona which came to its zenith on the US hit ‘She Blinded Me With Science’ which was later appended onto the album.

‘The Golden Age Of Wireless’ is still available via EMI Records

https://www.thomasdolby.com/


DURAN DURAN Rio

On the Colin Thurston produced ‘Rio’ album with its iconic Patrick Nagel cover image, DURAN DURAN achieved the perfect balance between art and pop. “A dialogue between the ego and the alter-ego”, ‘New Religion’ was a highlight capturing a schizophrenic tension while ‘The Chauffeur’ threw in a drum machine, synths, treated piano and an ocarina alongside a closing monologue about insects. ‘Hungry Like The Wolf’, ‘Save A Prayer’ and the title song provided the hits… and no, ‘Rio’ is not about a girl!

‘Rio’ is still available via EMI Music

http://www.duranduran.com/


A FLOCK OF SEAGULLS A Flock Of Seagulls

With a sound that combined enough conventional rock guitar to have mainstream appeal while adding a spacey sheen with prominent synths, Liverpool’s A FLOCK OF SEAGULLS had winning formula to break America. Produced by Mike Howlett, their long playing debut was a concept album of sorts about an alien invasion that featured ‘I Ran’, ‘Space Age Love Song’ and ‘Telecommunication’. In an America still drunk on TOTO and JOURNEY, their greatest achievement was winning a ‘Best Rock Instrumental Performance’ Grammy Award for the album track ‘DNA’.

‘A Flock Of Seagulls’ is still available via Cherry Pop

https://www.aflockofseagulls.org/


THE LEAGUE UNLIMTED ORCHESTRA Love & Dancing

“The most creative experience I’ve ever had in my life” was how THE HUMAN LEAGUE’s producer Martin Rushent described ‘Love & Dancing’, an album of remixes from ‘Dare’. Pre-sampling, the material was reworked from the mixing board using a multitude of effects with vocal stutters created by cutting up small portions of tape and splicing them together with the aid of his custom-made ruler. The percussive dub laden barrage of ‘Do Or Die’ was one of the highlights, along with a largely instrumental ‘Don’t You Want Me’.

‘Love & Dancing’ is still available via Virgin Records

http://www.thehumanleague.co.uk


LUSTANS LAKEJER En Plats I Solen

LUSTANS LAKEJER are the unga moderna trailblazers once described as Sweden’s answer to DURAN DURAN. Their third long player ‘En Plats I Solen’ was produced by Richard Barbieri of JAPAN while Mick Karn also played sax. One of the first pop albums is use an Emulator, it featured prominently on ‘Den Glöd Som Aldrig Dör’ and ‘Något Måste Brista’. With international ambitions, an English version was recorded first and later released as ‘A Place In The Sun’ with the band changing their name to VANITY FAIR.

‘En Plats I Solen’ is still available via Universal Music

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


GARY NUMAN I Assassin

After the downtempo nature of ‘Dance’, Gary Numan got more energetic again with the single ‘Music For Chameleons’ and the subsequent ‘I Assassin’ album. Still under the spell of JAPAN, Numan brought in Pino Palladino to take over from Mick Karn on fretless bass which provided the dreamy focus next to crashing Linn Drum programming. Songs like ‘We Take Mystery’ (To Bed), ‘War Songs’ and ‘This Is My House’ were more rhythmical, signalling Numan’s desire to return to the live circuit having announced his retirement in 1981.

‘I Assassin’ is still available via Beggars Banquet

https://garynuman.com/


RATIONAL YOUTH Cold War Night Life

Montreal’s RATIONAL YOUTH comprised of Tracy Howe, Bill Vorn and Kevin Komoda; their debut album ‘Cold War Night Life’ captured the fraught tensions of two opposing ideologies and living under the spectre of Mutually Assured Destruction. A tense vision of how young Poles might have spent their down time in underground clubs under martial law was captured in ‘Saturdays In Silesia’, while observing “Checkpoint Charlie’s social climb”, there was the possibility of ‘Dancing On The Berlin Wall’. When the wall came down at the end of 1989, the trio’s work was done.

‘Cold War Night Life’ is still available via Universal Music

https://rationalyouth.bandcamp.com/album/cold-war-night-life


SIMPLE MINDS New Gold Dream

Following the promising ‘Sons & Fascination’, SIMPLE MINDS lost their intensity and recorded a magnificent album filled with pretty synthesized melodies, effected textural guitar and driving lead bass runs. The titles like ‘Someone Somewhere In Summertime’, ‘Colours Fly & Catherine Wheel’ and ‘Hunter & The Hunted’ made investigation essential and the luckily, the music reflected that. Jim Kerr’s lyrics were enigmatic gibberish but the vocals were fairly low down in the mix to produce a wonderful wash of sound.

‘New Gold Dream’ is still available via Universal Music

http://www.simpleminds.com/


YUKIHIRO TAKAHASHI What Me Worry?

Being the main vocalist for YELLOW MAGIC ORCHESTRA did not necessarily mean Takahashi-san was a great singer and indeed, its Bryan Ferry / David Bowie cross very much had a Marmite effect. With his solo albums of course, his voice took centre stage although on his fourth offering ‘What Me Worry?’, ‘This Strange Obsession’ written by Zaine Griff featuring vocals from the Kiwi and Ronny provided one of the highlights. Meanwhile complimented by Bill Nelson’s blistering E-bow, the frantic ‘It’s Gonna Work Out’ signalled where YMO were heading.

‘What Me Worry?’ is still available via GT Music

https://www.facebook.com/yt.hints


TALK TALK The Party’s Over

‘The Party’s Over’ was an impressive synth flavoured collection devoid of guitar that very much captured the sound of the era with its thundering Simmons drums and fretless bass. While very much of its time, it still retains much of its charm. Despite being generally glossed over in TALK TALK history, the album is an excellent under rated jewel that has aged well, thanks to the quality of its songs such as ‘Today’, ‘Talk Talk’, ‘It’s So Serious’, ‘Have You Heard The News’ and its epic title track.

‘The Party’s Over’ is still available via EMI Music

https://www.facebook.com/SpiritOfTalkTalk


ULTRAVOX Quartet

For the ‘Quartet’ album, ULTRAVOX worked with George Martin who produced THE BEATLES. The sound was brighter, more structured and stripped of the density that had characterised the albums with Conny Plank, perhaps coinciding with the use of more digital hardware like the PPG Wave 2.2 and Emulator. The catchy ‘Reap The Wild Wind’ opened proceedings with an immediacy that was less angular and experimental that anything before although ‘Hymn’, ‘Visions In Blue’, ‘Mine For Life’ and ‘The Song (We Go)’ provided some neo-classical pomp.

‘Quartet’ is still available via EMI Music

http://www.ultravox.org.uk/


VISAGE The Anvil

‘The Anvil’ is possibly the most under rated album of the period. There was still neu romance in songs such as ‘The Damned Don’t Cry’ and ‘Again We Love’ but influenced by the New York club scene, the title song offered heavy metronomic beat sans hi-hats in a soundtrack to hedonism. But VISAGE got the funk on ‘Night Train’ resulting in the two founder members Midge Ure and Rusty Egan falling out over the drummer’s insistence that John Luongo remixes were needed for the US market, with the Glaswegian bidding adieu…

‘The Anvil’ is still available via Rubellan Remasters

https://www.therealvisage.com/


YAZOO Upstairs At Eric’s

Disillusioned by the pop circus, Vince Clarke departed DEPECHE MODE in late 1981 and formed YAZOO with Alison Moyet. The debut ‘Upstairs At Eric’s’ was a perfect union of passionate bluesy vocals and pristinely programmed synthpop. Songs such as ‘Only You, ‘Don’t Go’, ‘Tuesday’, ‘Midnight’, ‘Goodbye 70s’ and ‘Winter Kills’ set a high standard but while Clarke and Moyet eventually parted ways, the talent that was apparent on ‘Upstairs At Eric’s’ has meant both have maintained musical careers that continue to this day.

‘Upstairs at Eric’s’ is still available via Mute Records

http://www.yazooinfo.com/


Text by Chi Ming Lai
7th January 2022

The Electronic Legacy of EUROPE

Europe is the spiritual home of electronic music, inspiring it not just artistically but forming an important bond with the continent’s classical tradition through the romance of its historical imagery.

Continental Europe is defined as being bordered by the Arctic Ocean, the Atlantic Ocean and the Mediterranean Sea.

Often considered to be separated from Asia by the watershed divides of the Ural and Caucasus Mountains, the Ural River, the Caspian and Black Seas and the waterways of the Turkish Straits, it includes the part of Russia where Moscow and St Petersburg are located.

Mark Reeder was one of the first British music personalities to fully adopt Europe, making West Berlin his home in 1978 and subsequently releasing a number of themed compilation albums such as ‘European’ in 1995 and ‘Assorted (E For Europe)’ in 1999 on his MFS label. His fellow Mancunian and friend Bernard Sumner of NEW ORDER said to The European in 2016: “I feel European, I regard myself as a European… as a musician I’ve always been massively influenced by Europe and its people”.

From Paris to Vienna back to Düsseldorf City, Europe fascinated British musicians who having been open-minded enough to use synthesizers, now embraced many different mindsets, languages, cultures and cuisines, all within a comparatively accessible geographical land mass. Meanwhile, European instrument manufacturers such as PPG, Elka, Crumar, RSF, Jen and Siel found their products in the thick of the action too.

ELECTRICITYCLUB.CO.UK stands proud of its Eurocentric focus. Esteemed names like Hütter, Schneider, Flür, Bartos, Moroder, Jarre, Vangelis, Plank, Rother, Dinger and Froese have more than highlighted the important debt that is owed by electronic music to Europe.

While the UK may have scored an equalizer with Synth Britannia, it was the Europeans who took that crucial half time lead. So to disengage with the European tradition would be betraying everything that ELECTRICITYCLUB.CO.UK is all about.

Presented in yearly and then alphabetical order with a restriction of one track per artist moniker, here are our favourite twenty electronic tunes that were inspired, either directly or obliquely, by the legacy of Europe…


DAVID BOWIE Warszawa (1977)

‘Warszawa’ was named after the Polish capital city but accurately captured the Cold War tensions in Europe without the need for lyricism. At Hansa Studios where the sessions were being mixed, the watch towers in East Berlin could look into the windows of the building! Tony Visconti’s production only enhanced the collaborative drama between David Bowie’s enigmatic wailing over Brian Eno’s Minimoog and Chamberlain keys. This formed part of an all instrumental suite on the ‘Low’ album’s second side.

Available on the DAVID BOWIE album ‘Low’ via EMI Records

http://www.davidbowie.com


KRAFTWERK Europe Endless (1977)

With KRAFTWERK utilising a customized 32-step Synthanorma Sequenzer and a Vako Orchestron with pre-recorded symphonic string and choir sounds sourced from optical discs, if there was such a thing as a musical European travelogue, then the romantically optimistic beauty of ‘Europe Endless’ was it. This lengthy work influenced the likes of NEW ORDER, OMD and BLANCMANGE who all borrowed different aspects of its aesthetics for ‘Your Silent Face’, ‘Metroland’ and ‘Feel Me’ respectively.

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

http://www.kraftwerk.com/


THE DURUTTI COLUMN For Belgian Friends (1980)

‘For Belgian Friends’ was written in honour of Factory Benelux founders Michel Duval and the late Annik Honoré. Although not strictly electronic in the purest sense, Martin Hannett’s technologically processed production techniques made Vini Reilly’s dominant piano sound like textured synthetic strings, complimenting his sparing melodic guitar and the crisp percussion of Donald Johnson. This beautiful instrumental was one of Reilly’s best recordings, originally on the compilation ‘A Factory Quartet’.

Available on THE DURUTTI COLUMN album ‘LC’ via Factory Benelux Records

http://www.thedurutticolumn.com/


FATAL CHARM Paris (1980)

Nottingham combo FATAL CHARM supported ULTRAVOX and OMD in 1980. Their excellent first single ‘Paris’ was produced by Midge Ure and could be seen reflecting the electronically flavoured new wave template of the period. Singer Sarah Simmonds’ feisty passion gave a freshly charged sexual ambiguity to the European love story written in the days before the Channel Tunnel. Instrumentalist Paul Arnall said: “we were able to use Midge’s Yamaha synth which gave it his sound”.

Available on the FATAL CHARM album ‘Plastic’ via Fatal Charm

http://fatalcharm.co.uk/


IPPU DO German Road (1981)

Did you hear the one about the Japanese band impersonating a German band and doing it rather well? Influenced by the motorik backbeat of NEU! and also heavily borrowing form its guitarist Michael Rother’s solo track ‘Karussell’, IPPU DO’s leader Masami Tsuchiya was something of a multi-cultural sponge, later joining JAPAN for their final ‘Sons Of Pioneers’ tour in 1982. Meanwhile IPPU DO are still best known in the UK for their startlingly original cover version of THE ZOMBIES ‘Time Of The Season’.

Remixed version available on the IPPU DO album ‘Essence: The Best Of’ via Sony Music

http://www.ne.jp/asahi/masami/london/


LANDSCAPE European Man (1980)

Electronic pioneer Richard James Burgess said: “I think we all embraced this new direction because of our raw excitement over the new technology… We discussed it in the band and everyone was on board so I started working on the lyrics that became ‘European Man’”. Colin Thurston was the producer assisting in realising this new direction and interestingly, the rear artwork of the first issue of the single featured a very early use of the term “electronic dance music”.

Available on LANDSCAPE album ‘From The Tea-Rooms Of Mars…’ via Cherry Red Records

https://twitter.com/Landscape_band


SIMPLE MINDS I Travel (1980)

“Europe has a language problem” sang Jim Kerr on ‘I Travel’, adding “in central Europe men are marching”. Aware of the domestic terrorist threats that were apparent in every city they were visiting on tour, SIMPLE MINDS captured a claustrophobic tension within its futuristic frenzy like a doomy disco take on Moroder. It was a favourite of DJ Rusty Egan at The Blitz Club where its shadier spectre was highly welcomed by its clientele, reflecting their own discontent closer to home.

Available on the SIMPLE MINDS album ‘Empires & Dance’ via Virgin Records

http://www.simpleminds.com


TELEX Eurovision (1980)

TELEX’s manifesto was “Making something really European, different from rock, without guitar.” Having previously visited a ‘Moscow Disko’ and with tongues firmly in cheeks, they entered the 1980 Eurovision Song Contest with a bouncy electropop song that had deliberately banal lyrics about the whole charade itself. Performing to a bemused audience in The Hague with the sole intention of coming last, unfortunately Finland decided otherwise! Who said the Belgians didn’t have a sense of humour?!

Available on the TELEX album ‘Ultimate Best Of’ via EMI Music Belgium

http://www.telex-music.com/


ULTRAVOX New Europeans (1980)

If there was a song that truly represents ELECTRICITYCLUB.CO.UK’s ethos, then the synth rock fusion of ULTRAVOX’s ‘New Europeans’ is it! Noting that “his modern world revolves around the synthesizer’s song” in lyrics largely written by drummer Warren Cann, it all pointed to an optimistic way forward “full of future thoughts and thrills” that would later be opened up by direct train travel across the channel with freedom of movement to and from the continent for “a European legacy and “a culture for today”.

Available on the ULTRAVOX album ‘Vienna’ via EMI Records

http://www.ultravox.org.uk/


VISAGE Moon Over Moscow (1980)

While in his dual role as DJ at The Blitz Club and VISAGE’s drummer, Rusty Egan had become inspired by the melodic interplay of Japanese trio YELLOW MAGIC ORCHESTRA which had been European influenced: “I liked the album and played it along with TELEX and SPARKS. The sound was an influence on VISAGE. By the time we recorded ‘Moon Over Moscow’, that was to include Russia, Japan, Germany and France in our sound… the drummer was also using the same drum pads as me!”

Available on the VISAGE album ‘Visage’ via Alliance Import

http://rustyegan.net/


ASSOCIATES White Car In Germany (1981)

ASSOCIATES first musical signs of a fascination towards European influenced electronic music came with the funereal pulse of ‘White Car In Germany’. The swirling electronics, cold atmosphere and treated percussion were intended to sound as un-American as possible. Billy MacKenzie’s observational lyric “Aberdeen’s an old place – Düsseldorf’s a cold place – Cold as spies can be” accurately captured post-war tensions under the spectre of the bomb.

Available on the ASSOCIATES album ‘The Very Best Of’ via BMG

https://www.facebook.com/theassociatesofficial/


JOHN FOXX Europe After The Rain (1981)

Foxx admitted he had been “reading too much JG Ballard” and had thawed considerably following ‘Metamatic’. Now spending his spare time exploring beautiful Italian gardens and taking on a more foppish appearance, his new mood was reflected in his music. Moving to a disused factory site in Shoreditch, Foxx set up a recording complex which he named ‘The Garden’ and the first song to emerge was the Linn Drum driven ‘Europe After The Rain’. Foxx had now achieved his system of romance.

Available on the JOHN FOXX album ‘Modern Art: The Best Of’ via Music Club

http://www.metamatic.com/


JAPAN European Son (1981)

Recorded as a JAPAN demo for the 1979 Giorgio Moroder sessions that produced ‘Life In Tokyo’, this sequencer heavy number was rejected by the Italian disco maestro. Left dormant in the vaults of Ariola Hansa, the song was finished off under the supervision of John Punter and later given a single remix by Steve Nye with redone parts by Mick Karn. ‘European Son’ showed David Sylvian’s vocals in transition from the catty aggression of earlier albums to the Ferry-ish croon most now associated with the band.

John Punter version available on JAPAN album ‘The Very Best Of’ via BMG

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


THE MOBILES Drowning In Berlin (1981)

THE MOBILES’ were from the sleepy shores of Eastbourne; while ‘Drowning In Berlin’ may have come across as a ‘Not The Nine O’Clock News’ New Romantic parody on first listen, its decaying Mittel Europa grandeur was infectious like Hazel O’Connor reinterpreting ‘Vienna’ with The Master of Ceremonies at the Kit Kat Klub. And like ‘Vienna’, ‘Drowning In Berlin’ was inspired by a holiday romance, in this case one that singer Anna Maria had while visiting the divided city.

Available on THE MOBILES album ‘Drowning In Berlin: The Best Of’ via Cherry Red Records

https://www.discogs.com/artist/98916-Mobiles


BERLIN The Metro (1982)

Inspired by acts like ULTRAVOX and KRAFTWERK, Californian band BERLIN with their approach to synthesizers were a far cry from the way they were being used Stateside within rock. And in ‘The Metro’ with its frantic motorik drum machine and Teutonic pulses, songwriter John Crawford aimed to capture the tense filmic romance of Paris despite never having visited the city, a vibrant but detached feeling ably projected by partner and singer Terri Nunn in a similar fashion to FATAL CHARM.

Available on the BERLIN album ‘Best Of’ via Geffen Records

http://www.berlinpage.com/


DEPECHE MODE Oberkorn (1982)

Radio Luxembourg broadcasted pop music to the UK using the most powerful privately owned transmitter in the world. But when DEPECHE MODE played the country in early 1982, they were booked to perform in a small town called Oberkorn. With a glorious ambient instrumental on the B-side of the then soon-to-be-released single ‘The Meaning Of Love’ requiring a title, Martin Gore needed no further inspiration, unconsciously capturing the air of the Grand Duchy’s countryside and oceanic climate.

Available on the DEPECHE MODE boxed set ‘DMBX1’ via Columbia Records

http://www.depechemode.com/


THE MOOD Paris Is One Day Away (1982)

Before the days of the Channel Tunnel, young York based New Romantic trio THE MOOD noted the how long it took by boat and train to get to the French capital. ‘Paris Is One Day Away’ was the hit that got away; reaching No. 42, it secured a slot on ‘Top Of The Pops’. However, it was the 1982 World Cup and a match heading into extra time meant that a hasty edit was made. And it was THE MOOD’s performance as the new and unknown act that ended up on the cutting room floor!

Available on THE MOOD album ‘The Singles Collection’ via Cherry Red Records

http://www.themood.info/


RATIONAL YOUTH Saturdays in Silesia (1982)

After ‘Dancing On The Berlin Wall’, RATIONAL YOUTH mainman Tracy Howe turned his attention towards Poland. “What was it like to be young person behind the Iron Curtain? What did they do on a Saturday night anyway?” he told ELECTRICITYCLUB.CO.UK, “Did they have clubs to go to? Probably underground ones. They’d probably break down the door. Apart from the fact that there are no ‘navy docks’ in Silesia, this record makes a jolly racket and may well be the first recorded instance of a Roland TR-808.”

Available on the RATIONAL YOUTH album ‘Cold War Night Life’ via EMI Records

https://www.facebook.com/RationalYouth/


IAN ANDERSON Different Germany (1983)

Fascinated by the likes of Thomas Dolby and Gary Numan, JETHRO TULL frontman Ian Anderson went synth in 1983. Assisted by Peter John Vitesse, ‘Different Germany’ embraced both the electronic and progressive sides of Anderson’s career perfectly with a marvellous middle section featuring a bristling keyboard solo. The end result sounded not unsurprisingly like Tull fronting ULTRAVOX; of course, the circle was completed when Midge Ure covered ‘Living In The Past’ in 1985.

Available on the IAN ANDERSON album ‘Walk Into Light’ via EMI Records

http://jethrotull.com/ian-anderson-bio/


THE STRANGLERS European Female (1983)

Born to French parents in Notting Hill, THE STRANGLERS’ bassist Jean-Jacques Burnel was a loyal European, even releasing a 1979 solo album entitled ‘Euroman Cometh’ where “a Europe strong, united and independent is a child of the future”. Taking lead vocals for the beautiful ‘European Female’, it possessed an understated quality with subtle Spanish guitar from Hugh Cornwell alongside Dave Greenfield’s sparkling synths and Jet Black’s electronic percussion to celebrate the allure of continental mystery.

Available on THE STRANGLERS album ‘The Very Best Of’ via EMI Records

http://www.thestranglers.co.uk/


Text by Chi Ming Lai
18th April 2019

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