With its striking Valentina Tereshkova adorned artwork, ‘Luna Landings’, the second solo album by CHINA CRISIS’ Gary Daly was an affectionate memory of yesterday’s tomorrow and a must for synth instrumental enthusiasts.
Although well-known for his distinctive afflicted voice, Gary Daly was also the synth player of CHINA CRISIS. As well as song, understated soundscapes and passive rhythms were also part of the appeal. Using a Roland Jupiter 8, Korg Poly6, Yamaha CS10, Roland SH9, Roland TR808 and Boss Doctor Rhythm DR55, Gary Daly said the collection was “a little nod there to Brian Eno’s ‘Apollo: Atmospheres & Soundtracks’”.
Many of the tracks on ‘Luna Landings’ began as demos and sketches back in the day, with the view of being turned into CHINA CRISIS songs or used as B-sides in the manner of ‘Dockland’, ‘Forever I & I’ and ‘Watching Over Burning Fields’. Despite the age of the recordings, the air and hiss from the incumbent machinery added an endearingly earthy quality to proceedings.
With its dominant percussive snap within the windswept lo-fi ambience, the track ‘Dummkopf’ has been segued into the spacey moods of ‘And When Did You Give Up… And Why?’ to be given an absorbing colourful video treatment by Scott Spencer and John Brown.
Presented as ‘Don’t Give Up Dummkopf’, Spencer and Brown had worked together on the video ‘Ill Fit’ for the Liverpudlian art pop band WAVE MACHINES; incidentally, the former once made a bootleg CHINA CRISIS T-shirt for a home economics project at school and first met Gary Daly in 2008.
The story behind the video goes: “’Don’t Give Up, Dummkopf!’ was made as the coronavirus is shaking up the globe, throwing up everyone and everything with it. Those who can suit up to protect themselves. In the turbulence our trajectory is knocked off course, warnings are ignored, setting off a chain of system failures. Now adrift in the sea of time and space, we scramble about to chart a new course.”
It continues: “A race began to discover a vaccine. Away from the multibillion-dollar corporations, in a flat in Liverpool, scientists were reappraising Douglas Trumbull’s groundbreaking ‘star gate’ work on Californian phenotype mutations. The scientists derived new nonlinear techniques from Trumbull’s original work. In the lab they applied the new strains to sounds made by Gary Daly, producing positive results. Trials saw affect display score high. We are now able to share our results with you.”
The origin of the BBC radio session came about due to restrictions imposed on the corporation by the Musicians Union and Phonographic Performance Limited with regards the airing of recorded music.
The thinking behind this was to create employment, as well as force people to buy records and not listen to them free of charge on the air. As a result, the BBC had to hire bands and orchestras to perform cover versions of recorded music to make up for the shortfall.
When the policy evolved with the advent of the more pop and rock oriented station Radio1, bands ventured into BBC’s Maida Vale studios to lay down between 3 to 5 tracks, with in-house personnel such as John Walters, Dale Griffin, Jeff Griffin, Chris Lycett, Mike Robinson, John Owen Williams and (not that) Tony Wilson helming the sessions.
The most celebrated of these BBC sessions were recorded for John Peel, but equally of merit and perhaps more of an indicator to potential breakthroughs into the mainstream were those produced for Richard Skinner and Kid Jensen.
Sessions were usually recorded and mixed in a single day, so had a rougher feel that lay somewhere between a live performance and a studio recording, sounding almost like a polished demo.
While acts would often use the opportunity to promote their latest single or album, others would premiere recently written compositions, try out different arrangements on established songs or perform cover versions. A number of these session recordings were even superior to their eventual officially released versions.
So ELECTRICITYCLUB.CO.UK presents its favourite 25 BBC Radio1 session tracks with other selection criteria including rare songs or tracks capturing the zeitgeist and signalling a change in the course of music. Presented in chronological and then alphabetical order within each year with a restriction of one track per artist moniker, here are some special moments from our beloved Auntie Beeb.
THE HUMAN LEAGUE Blind Youth (John Peel 1978)
In Summer 1978, THE HUMAN LEAGUE perhaps surprisingly recorded their only session for the BBC which included ‘Being Boiled’, ‘No Time’ (which became ‘The Word Before Last’), a cover of ‘You’ve Lost That Lovin’ Feeling’ and ‘Blind Youth’. The latter was the frantic percussive highlight of the four, a wonderfully shambolic slice of synth punk with bum bleeps and avant waves of white noise, all held together by the metallic rhythmic bed of a sequenced Roland System 100.
TUBEWAY ARMY I Nearly Married A Human (John Peel 1979)
Although only comprising of three tracks, Gary Numan’s session as TUBEWAY ARMY for John Peel in early 1979 captured an artist in transition. From the comparatively punky ‘Me! I Disconnect From You’ to the dystopian synthpop of ‘Down In The Park’, the electronics were gaining more prominence to suit his increasingly unsettling lyrical themes. And on the mostly instrumental ‘I Nearly Married A Human’, the machines launched a coup d’etat and took over like an army of replicants with the murmurs of the title being the only sign of flesh and blood.
Several months after the release of their self-titled debut long player, OMD returned for their second of their four John Peel sessions with Paul Humphreys and Andy McCluskey accompanied by drummer Malcolm Holmes and keyboardist Dave Hughes. By now, their live sound had expanded and this change was captured on this session with the version of ‘Pretending To See The Future’ having more presence and a looser percussive edge compared with the underwhelming drum machine-led album version.
One of the bands alongside SOFT CELL, DEPECHE MODE and BLANCMANGE who got a profile boost from their inclusion on the ‘Some Bizzare Album’, although they were signed by Phonogram to take on DURAN DURAN, B-MOVIE had more of a psychedelic vibe as reflected by songs like ‘Welcome To The Shrink’ and ‘All Fall Down’ on their first John Peel session in March 1981. But the highlight was ‘Polar Opposites’ with its mighty ‘2001: A Space Odyssey’ synth line. It would have made a great single, but never properly was!
Broadcast in Summer 1981, this session captured the original DEPECHE MODE line-up of Dave Gahan, Martin Gore, Andy Fletcher and Vince Clarke several months before the release of debut album ‘Speak & Spell’. Refining into a pop band but still retaining much of the synthetic rawness that linked them artistically to acts like FAD GADGET, the session was characterised by use of the Korg Rhythm KR55 drum machine with its charming klanky metallics. This version of ‘Boys Say Go’ possessed an aggression that was lost on the eventual album cut.
Like THE HUMAN LEAGUE, DURAN DURAN only did the one BBC session for their biggest champion Peter Powell. Broadcast in June 1981 to coincide with the release of their self-titled debut, they recorded near-facsimile versions of ‘Girls On Film’, ‘Anyone Out There’ and ‘Night Boat’. But a surprise came with ‘Like An Angel’, a sprightly love song unreleased at the time which pointed away from the New Romantics to the more mainstream pop ambition of the ‘Rio’ opus that was to come just a year later.
Available on the DURAN DURAN boxed set ‘Duran Duran’ via EMI Records
Contributing five songs to their first BBC session as ‘Tainted Love’ was rising up the UK chart, brilliant songs like ‘Bedsitter’, ‘Entertain Me’, ‘Chips On My Shoulder’ and ‘Youth’ demonstrated the potential of Marc Almond and Dave Ball, even in basic form. While ‘Seedy Films’ was faster paced and a bit “snap, crackle and pop” compared to the more sophisticated and laid-back clarinet-laden ‘Non-Stop Erotic Cabaret’ album version, it outlined why at the time, SOFT CELL were rated higher than DEPECHE MODE.
‘Studio B15’ was a short-lived Sunday afternoon magazine show presented by the late Adrian Love that often invited their guests to perform live. SPANDAU BALLET had just released their debut album ‘Journeys To Glory’ and as a band that didn’t tour and rarely played live, this was an opportunity to demonstrate their abilities. ‘Mandolin’ featured a prominent Yamaha CS10 synth line while this version featured Simmons drums and a much clearer vocal with a more pronounced diction from Tony Hadley compared to the oddly smothered album version.
Aired in February 1982, BLANCMANGE were captured in their only John Peel session as a much darker proposition than was later perceived by their UK chart success. It included an early take on ‘Living On The Ceiling’ without its Indian embellishments but the session was notable for ‘I Would’ and ‘Running Thin’, two songs that would not make it onto the ‘Happily Families’ tracklisting. ‘Running Thin’ in particular saw Neil Arthur and Stephen Luscombe trapped in a stark state of gloomy resignation.
Recorded nearly six months before the release of their debut album, CHINA CRISIS’ first John Peel session saw the duo exploring territory that sat between electronic and traditional pop. ‘Seven Sports For All’ and ‘Some People I Know To Lead Fantastic Lives’ ended up on the album while the more moody ‘Be Suspicious’ was already a B-side. But this version of ‘This Occupation’ was pure machine-propelled synthpop complete with sequencing and strong lead lines; later recordings that appeared on the B-sides of ‘Wishful Thinking’ were never as good.
After their 1981 German-inspired debut ‘In The Garden’, Annie Lennox and David A Stewart explored the possibilities of the synthesizer and acquired a Movement Drum Computer to live up to their moniker. In a BBC session that also included ‘Love Is A Stranger’ which was soon to be issued as a single , ‘I’ve Got An Angel’ was an unusual hybrid of synths, electronic drums and wah-wah guitar, with flute by the front woman alongside her particularly intense and raw vocal. By comparison, the released version on the ‘Sweet Dreams (Are Made Of This)’ album was more restrained.
Not actually recorded at the BBC, NEW ORDER’s second self-produced John Peel session was a fascinating document of the Mancunian’s transitioning sound with the throbbing sequences of ‘586’ highlighting a future proto-dance direction. Meanwhile ‘Turn The Heater On’ was a cover of the Keith Hudson reggae song in tribute to Ian Curtis and ‘We All Stand’ had avant jazz overtones. But ‘Too Late’ was significant, sounding like it could have come off debut album ‘Movement’ with its lingering gothic doom but also remaining unreleased, discarded as if a relic from another era.
Featuring ‘The Prisoner’, ‘The Hurting’, ‘Start Of The Breakdown’ and ‘Memories Fade’, the arrangements for this BBC session aired after TEARS FOR FEARS’ success with ‘Mad World’ differed significantly from the versions on their debut album. Featuring Linn Drum programming and Banshees-like guitar instead of sax, this version of ‘Memories Fade’ was far superior, utilising a much more powerful mechanised rhythmic tension that reflected the fraught paranoia and resignation of Roland Orzabal’s lyrical angst.
Available on the TEARS FOR FEARS boxed set ‘The Hurting’ via Mercury Records
Reshaped with a Fairlight and Linn Drum Computer, this version of ‘In My Room’ recorded in session for Kid Jensen was far superior to the irritating album version on ‘Upstairs At Eric’s’. Forming the basis for the live interpretation, it was now free of Vince Clarke’s “Our Father” tape loop monologue and allowed Alison Moyet space to express her emotive frustration to reveal a fantastic song free of distractions. Other songs in the session included beefed up takes on ‘Bring Your Love Down (Didn’t I)’, ‘Situation’ and ‘Too Pieces’.
Co-written with Wayne Hussey, ‘Give It To Me’ was Pete Burns at his filthy lyrical best, declaring that “Apart from all your obvious attractions, I’ve got the bullets, you’ve got the gun, bang me into action, let’s make this obvious distraction, physically you are just what I wanted!”. Although this slice of Middle Eastern favoured HI-NRG later surfaced as a bonus track on the 12 inch single of ‘I’d Do Anything’, it seems almost unbelievable now that this potential hit single was never developed further in the studio.
Available on the DEAD OR ALIVE boxed set ‘Sophisticated Boom Box MMXVI’ via Edsel Records
JOHN FOXX Hiroshima Mon Amour (Saturday Live 1983)
‘Saturday Live’ was a show that featured interviews and live sessions. Having ventured out touring for the first time since his ULTRAVOX days in support of his third solo album ‘The Golden Section’, John Foxx eschewed material from ‘Metamatic’ but perhaps more surprisingly, mined his former band’s catalogue. Backed by Robin Simon, Peter Oxdendale, David Levy and Barry Watts, Foxx performed an interesting arrangement of ‘Hiroshima Mon Amour’ sans rhythm machine but with guitars, ARP Odyssey and the ubiquitous thud of Simmons drums.
Available on the JOHN FOXX album ‘Metadelic’ via Edsel Records
HOWARD JONES Don’t Put These Curses On Me (Kid Jensen 1983)
Having triumphed opening for CHINA CRISIS in Spring 1983, Howard Jones impressed with his first BBC session featuring songs like ‘New Song’ and ‘Natural’ which would be included on his debut album ‘Human’s Lib’. The album title track also featured on the session with its original love triangle monologue intro. But ‘Don’t Put These Curses On Me’ would not be released until 2003, thanks to Jones considering the song unlucky following an equipment breakdown while attempting to perform it on the live Channel 4 TV show ‘Loose Talk’.
Available on the HOWARD JONES boxed set ‘Human’s Lib’ via Cherry Red Records
SIMPLE MINDS The Kick Inside Of Me (Kid Jensen 1983)
By the end of 1983, SIMPLE MINDS were leaning heavily towards more rockist climes with songs like ‘Waterfront’. But for a three song BBC session which also featured a reprise of ‘New Gold Dream’, there was the debut of ‘The Kick Inside Of Me’, a lively track with catchy synth riffs, an infectious bassline and minimal guitar. But come the released version for the Steve Lillywhite produced ‘Sparkle In The Rain’, it had totally been ruined with distorted guitar, overblown drums and yobbish shouting in a pointless attempt to emulate THE SEX PISTOLS!
This session captured TALK TALK after the departure of keyboardist Simon Brenner but before producer Tim Friese-Greene came on board as Mark Hollis’ writing partner. Showcasing at the time four brand new songs, only ‘Call In The Night Boy’ ended up on the next album ‘It’s My Life’ while ‘For What It’s Worth’ and ‘Again A Game Again’ became B-sides. But most interesting was ‘Why Is It So Hard?’ which was only released in Canada on the ‘It’s My Mix’ EP as an Extended Version and didn’t get a UK release until 1998 on the ‘Asides Bsides’ collection.
With only Steve Strange and Rusty Egan now remaining, VISAGE surprised all by recording a BBC session with new members Steve Barnacle and Andy Barnett, featuring previously unheard songs ‘Can You Hear Me?’, ‘Only The Good Die Young’, ‘The Promise’ and the funky standout ‘Questions’. With a more live feel, there was hope that VISAGE would be able to sustain some creative momentum despite the departure of Midge Ure, Billy Currie and Dave Formula but the eventual over-produced ‘Beat Boy’ album was rotten, marred by heavy metal guitar and hopelessly off-key singing!
Despite the patronage of Rusty Egan, Daniel Miller and Martin Rushent as well as a tour opening for DEPECHE MODE, the industrial pop of HARD CORPS did not breakthrough and by the time their only album ‘Metal + Flesh’ was released in 1990, all momentum had been lost. But the gothic tension and edgy energy of their music was perhaps best represented by their BBC sessions for John Peel and Richard Skinner, with ‘Metal + Flesh’ from the 1984 Peel session far outstripping the eventual album title track studio incarnation.
For an Autumn session before the release of their debut album ‘The Age Of Consent’, BRONSKI BEAT took the unusual step of recording three solo tracks, with the only band offering being a take on ‘Why?’ B-side ‘Close To the Edge’. Larry Steinbachek presented a HI-NRG instrumental ‘Ultraclone’ while Jimmy Somerville offered the acapella ‘Puit D’amour’. But Steve Bronski contributed the most unusual track, a beautifully new age piece called ‘The Potato Fields’ which took its lead from the Japanese composer Kitaro, a version of which ended up as a bonus on the ‘I Feel Love’ 12 inch.
From Spring 1984 to coincide with the release of their new single ‘Blue Emotion’, FIAT LUX stepped into BBC Maida Vale for a session to demonstrate their diversity and musicality as more than just a synth act. As well as ‘Blue Emotion’, there was its Brechtean B-side ‘Sleepless Nightmare’ and an acoustic version of ‘Secrets’. But best of all was ‘Breaking The Boundary’, a glorious burst of uptempo North European melancholy that did not officially see the light of day until the shelved FIAT LUX album ‘Ark Of Embers was finally released by Cherry Red Records in 2019.
ERASURE Who Needs Love Like That? (Bruno Brookes 1985)
With ERASURE, Vince Clarke had found himself back to square one after YAZOO and THE ASSEMBLY. Recruiting Andy Bell as the flamboyant front man capable of falsetto and creating the vocal tones of Alison Moyet, ‘Who Needs Love Like That?’ did sound like a YAZOO outtake and in this BBC session recording, was busier and more percussive than the already released single version. While ERASURE were not an instant success, the song did eventually chart on its remixed re-release in 1992.
Available on the ERASURE deluxe album ‘Wonderland’ via Mute Records
John Peel was not a fan of PET SHOP BOYS or much synthpop for that matter, so it was a surprise when Neil Tennant and Chris Love did a session for him using the back to basics approach that they had adopted for the ‘Release’ tour with guitars, bass and percussion in the line-up. But the bonus for fans was that two of the songs recorded ‘If Looks Could Kill’ and ‘A Powerful Friend’, which had been written in 1983 and shelved, were specially revived for the occasion. Both numbers were particularly energetic with the latter even featuring very loud rock guitars!
1994’s ‘Warped By Success’ was the sixth album by CHINA CRISIS and came some five years after ‘Diary Of A Hollow Horse’ which was mostly produced by Walter Becker of STEELY DAN and their last record for Virgin Records.
Despite their first three albums charting in the Top25 in the UK having yielded a hit single each in ‘Christian’, ‘Wishful Thinking’ and ‘Black Man Ray’, sales for the next two albums were disappointing, thus precipitating the end of their seven year relationship with Virgin Records. It also saw Gazza Johnson, Kevin Wilkinson and Brian McNeil leaving the CHINA CRISIS family, having been all together as a unit since 1985.
But given the opportunity to make another album again a few years later by West Coast Productions, a mysterious company that specialised in budget compilations and bizarre rock collections, Gary Daly and Eddie Lundon regrouped to make what was to be a very personal record. One of the team assisting CHINA CRISIS to realise the sound of ‘Warped By Success’ was the future Grammy Award winning engineer Mark Phythian, with a creative relationship that continues to this day.
Developing on the mature laid back feel of ‘Diary Of A Hollow Horse’, there were jazzier overtones on the opener ‘Hand On The Wheel’ while glorious blue-eyed soul could be found on ‘Wishing Time’. The cautious optimism of ‘Everyday The Same’ recalled CHINA CRISIS’ later Virgin-era singles and heralded a new dawn for the duo, although ‘Real Tears’ touchingly captured the sadness of bereavement and ‘Hard To Be Around’ reflected on a relationship coming to the end of its natural course.
Something of a follow-up to ‘Stranger By Nature’ on ‘Diary Of A Hollow Horse’, ‘Without The Love’ celebrated the joy of parenthood while the solemn orchestrated ballad ‘The Way We Are Made’ was dedicated to Derek Jarman.
Despite being a fine collection of well-written songs, ‘Warped By Success’ is very much the forgotten album in the CHINA CRISIS portfolio. But as ELECTRICITYCLUB.CO.UK was to find out, the aftermath of its initial genesis was less than happy, perhaps indicating why it would not be until 2015 that CHINA CRISIS would release another long player in ‘Autumn In The Neighbourhood’; and while that album is being re-issued in a vinyl edition, ‘Warped By Success’ remains unavailable.
Gary Daly kindly gave a candid recollection of the background behind ‘Warped By Success’ and why for him at least, it is not among his favourites and how CHINA CRISIS eventually got back their creative mojo for ‘Autumn In The Neighbourhood’.
‘Warped By Success’ was at the time in 1994 seen as a comeback for CHINA CRISIS which seems funny now considering it had only been five years since ‘Diary Of A Hollow Horse’, compared with the timespan that occurred before ‘Autumn In The Neighbourhood’ in 2015?
I can’t imagine at the time Eddie and myself thought it was anything other than a very very different experience from being with a major label… we would have thought maybe we had come full circle, from starting out on Inevitable Records then Virgin then back to a small independent label / Stardumb. And after being responsible for soooo many people’s livelihoods, jobs etc etc, it was really quite a nice experience to be back to just Ed and myself…
How had things changed within the CHINA CRISIS camp by the time ‘Warped By Success’, both personally and creatively?
Gosh, lots… just about everything that could change, did. Our band, which had been together about 8 years, was suddenly no more. It was a mutually agreed parting of the waves, as they say but basically we had no wages for anyone and people had to make a living…
Kev got busy doing sessions and touring with bands, everyone from FISH, SQUEEZE to THE PROCLAIMERS … Gaz took over his family business and continued to play live and do sessions… Brian opened and ran his own studios up in Glasgow, Scotland.
Personally, lots of the stuff of life was happening in our lives, births deaths and marriages. And this all fed into the songwriting… Eddie singing about losing his dad on the songs ‘Thank You’ and ‘Hands On The Wheel’ and myself singing about Eddie losing his dad on ‘Real Tears’.
You were recording at Hatch Farm Studios in Surrey which was as different as you can get from Maui and Los Angeles where parts of ‘Diary Of A Hollow Horse’ had been done? Any thoughts?
Yeah, awful place, awful people! It really was a massive mistake of Eddie’s and mine to get involved with the place and the people. But it was a chance to make a record and that’s all we ever wanted to do really… it’s a definite “If I could turn back time…” moment. We have a version of the album we made with Mark Phythian, it’s a beautiful thing and we hope to release one day… I hope so.
You and Eddie were back working as a duo again. Had this been out of necessity after the full band years or had technology advanced that music could be made electronically while exuding the live performance qualities you desired?
It was basically how we found ourselves after leaving Virgin records and the band moving on, it did feel completely natural. We rented a room from Peter Coyle of THE LOTUS EATERS on Hope Street in Liverpool. Eddie and myself would make our way there each day and write and record our little instrumental demos, just like when we started out. So you can imagine after almost 10 years touring, to be back just the 2 of us demoing, it was quite lovely really.
The technology hadn’t moved on that much in the early 90s… Eddie and me would have set the room up old school, synths , drum machines, effects, portastudio, mixing desk…
Were the sessions more relaxed than before without the pressure of being on a major label? It seems to come across like that on the record…
We was enjoying ourselves lots, it was soooooo great making a record with no real producer involved, it meant Eddie and myself could properly get fully involved with guiding the tracks.
I think on reflection though, you can hear there was no-one at the helm, steering the ship, so to speak. I think there’s a lack of standout moments… most of the songs are decent, but there’s not many great performances.
I think with us making some hugely standout albums with the “band” giving the songs depth with their performances, on reflection, that’s what the songs lack… no Kev, no Brian, no Gaz, no Walter… awwwww…
‘Warped By Success’ is a great title, had that been an ironic comment on your Virgin years?
Absolutely, you have no idea what you are signing up for and then BOOM! You’ve been on the telly and suddenly you are different… not really, but you are… some more than others…
Now more than ever I think you could apply that title, just think of all the many many reality TV shows / talent shows / etc etc! Success like that really can warp your life and your mind! Success I think is something best “worked” for, but then again I’m an old Grandad now so I would say that… ahaaa!
‘Hands On The Wheel’ and ‘Every Day The Same’ appeared to reflect on the topics of the first two albums, or has ELECTRICITYCLUB.CO.UK read that wrong?
Eddie would have to vouch for ‘Hands On The Wheel’… ‘Everyday The Same’ is basically myself singing about our new found freedom and how best to engage with that, and get positive again…
There was an element of being dropped from Virgin Records which wasn’t great, everyone losing their jobs was tough. So this album being our first post Virgin Records album… there was deffo an element of us being “Indie” again which felt right…
‘Without The Love’ and ‘Real Tears’ were classic emotive CHINA CRISIS pop tunes, you certainly hadn’t lost it?
Yeah, they are both proper lovely songs. ‘Without The Love’, that’s me being a young dad and absolutely loving being home with my girls and not away all the time touring. ‘Real Tears’, well that’s just myself being Eddie’s old school buddy and watching him go through it a bit with his dad being poorly at the time. It would be great to see the Chinas perform these songs one day, I hope so .
There were more Eddie lead vocals on ‘Warped By Success’ than on other CHINA CRISIS albums, had this partly been as a result of you both writing separately during the hiatus?
Not really, because we was actually working more together after leaving Virgin than we had previously when we was still with the label and band. I think Eddie sang / wrote more then, mainly because he had more going on in his personal life…
‘Hard To Be Around’ was very honest and emotive…
It’s a funny one ‘Hard To Be Around’, at the time I dedicated it to Kevin mainly because in lots of ways, Kevin kept the Chinas going. He just made us all feel a lot better about ourselves and whatever situation we found ourselves in. But I think I’d really felt it when I could see Kevin was sort of throwing in the towel with us, not for any other reason than it was time to “move on”… but yeah, it was a hard pill to swallow .
Was ‘Good Again’ about anything specific?
Err yeah, everything that was happening round about then felt like renewal. Relationships / making a new album, it was a very exciting time. We’d gotten over no longer being with a major label and it was time to make it “Good Again”.
‘Wishing Time’ seems to have captured CHINA CRISIS at their most soulful, those vocal harmonies, woodwinds, brass and drum machine work beautifully together…
Ah yeah, that was Eddie having his SOUL II SOUL moment, I think the drum loop is possibly from ‘Back To Life’ or similar. Bowie’s ‘Young Americans’ album was a massive influence on Eddie and myself, so if you ever hear us sounding a bit “soulful”, that’s what it is…
Oh and Eddie would have got properly involved with arranging the brass which is something he loves to do… me myself, I’m more of a woodwinds kinda guy… ahaaaa
‘One Wish Too Many’ and ‘The Way We Are Made’ appear to be musically connected, how had they emerged?
‘The Way We Are Made’… having just listened to it now, crikey ! The recordings not great at all! Hearing it now, it’s deffo a rites of passage song… again, becoming a young dad, I would have been very much of a mind… the road is indeed, just as Paul McCartney and THE BEATLES had pointed out… L O N G!
You set up your own Stardumb Records imprint to release the album, how was it for you to venture into this part of the operation?
By name only… there was no Stardumb label. The company we was working with had lots and lots of differing musical projects on the go, with our album being just one of many.
We needed something / anything to separate us from the companies other super naff projects and so we came up with the name… as I said before, it was an awful, awful situation we found ourselves in.
When ‘Warped By Success’ came out, how did you find the press and audience reaction to it?
The expression “piss poor” springs to mind… awww I do hope you can print that, because it’s true! We were, as a musical force, absolutely spent! Imagine at the time, it was OASIS , BLUR, THE STONE ROSES and… ’Warped By Success’… no, not a great time… ahaaa but thems is the breaks which you have to weather… and weather them we did… and continue to do…
How do you look back on the album now, what are your own favourite tracks?
I don’t look back at that album at all. Eddie will remind me now and then just how great some of the songs are and recently we had ‘Hands On The Wheel’ in the live show and we almost had ‘Good Again’ in there.
But as memories go, I don’t “go” there… too sad and upsetting for me. They are not any of my fave CC songs but I wouldn’t want to put anyone off having a listen. Lots and lots of China fans love this album, I’m just not one of them…
Out of all the CHINA CRISIS albums, ‘Warped By Success’ is the most difficult to one to obtain, is there any chance it ever will be back in the public domain again?
Our version, certainly… but the actual album, n , there’s too much legal stuff around it. And the future is a Big Bright and Beautiful Wonderful New World .
One thing that ‘Warped By Success’ did do was reboot CHINA CRISIS as a live entity because that is one area where there has been a demand for you…
Maybes, eventually it did…we did slowly, but surely, begin to play live again.
I would say it took us a good couple of decades to get back to “Hey ! How good are CHINA CRISIS, must go and see ‘em live…”
Honestly , when we’d left Virgin in 1990, we had no live fans really, having only ventured out live when promoting each new record. And there’s a big big difference between having a live following and having hit records. So yeah , we properly got on with it and I’m glad to say, I can’t imagine we was ever better live than we are now… prettier, yeah, absolutely… but actually a better live act, I doubt it… ahaaa 😀
The ‘Warped’ experience put you off releasing new music for a long time, but you finally did again with ‘Autumn In The Neighbourhood’ in 2015? What was the spark to get you motivated into writing new songs again?
The ‘Warped’ experience wasn’t great… it didn’t so much put us off recording as make us realise times had changed. We was properly back to being just the two of us… we did tour the album and even recorded a new live album ‘Acoustically Yours’ for Paul Humphreys of OMD’s Telegraph label which was a super lovely evening at the Neptune Theatre in Liverpool that reunited the Classic 80s China’s line up plus guest appearances from Peter Coyle and Jennifer John.
So basically the China’s got busy playing live which we felt at the time we was sort of starting from scratch, not really having a “live” reputation. I think it was all the performing live that got us writing and recording again, with us being asked at almost every show “when are yous gonna record a new record????”
What made ‘Autumn In The Neighbourhood’ a much happier and more satisfying experience?
The fact the recording had purpose, it was properly funded and the fans what made it happen got properly involved. . .every step of the way… which at times was challenging with not everybody being on the same page at the same time… ahaaa, but it did work brilliantly. All the studio sessions had a great up against the legacy… Walter Becker, Mike Howlett, Langer and Winstanley, Phil Brown, Pete Walsh… all these amazing artists we’d worked with and had such success, that was the challenge. Back in the day , our recording budgets were huge, 80s style huge and although ‘Autumn’ was properly funded, it was nowhere near what it was back in the day!
Was it about being able to have more control of the creative process from start to finish, thanks to the crowdfunding process?
Yes, it absolutely was… it felt like we was back to being “indie” which is exactly how we started, ‘African & White’ on Inevitable Records, distributed by Rough Trade.
You were back working with Mark Phythian and had Carl Brown in to produce while at various points, the old band of Gazza and Brian reappear while Kevin was also there in spirit, was making the album more like a family get-together in atmosphere?
Yes, Mark and Carl and Brian all gave so much to the project… their expertise was invaluable. Mark’s ears are “GOLD” and it would be him that was responsible for the stereo loveliness coming out the speakers.
Carl and Brian were very much hands on performing and recording, both being musicians / producers with years and years of experience. They would very much want to capture all the performances and again, would be very much of a mind that “this is a bit special”, we’ve all grown up together.
Which songs ‘Autumn In The Neighbourhood’ were highlights for you?
‘Because My Heart’ is sublime , Gazza and Kevin are completely responsible for the feel of that song; I originally wrote the song on piano and when we first played it, the feel was very much ‘How Long’ by the band ACE. It was Gaz who went home and played it on guitar and then Kevin and Gaz came back into the studio and completely changed the feel to what it is on the record, which is what I like to call “line dancing fantastic”… ahaaa
I think Eddie’s song ‘Fool’ worked out amazing; I’d heard it just as a song Eddie sang with his guitar. He then came into the studio and sang and played it to a click… and boom! Months and months and months later… wow! What an arrangement… Eddie worked with a pal of ours, Paul Mitchell Davis on the brass / wind arrangement. I could imagine Walter Becker would be very very impressed… incredible!
You’ve released two solo records since ‘Autumn In The Neighbourhood’, so will there be any more new CHINA CRISIS music?
YES! We are currently working on a “Classic Crisis” album / tour for 2021… we’ll be reworking some of our classic Crisis songs, ‘Black Man Ray’, ‘Wishful Thinking’ etc etc alongside new material. So we’ll add as many new songs as we can and all in a classical setting, strings, wind and brass, top hat, black tie and tails kinda scene… ahaaaa
ELECTRICITYCLUB.CO.UK gives its sincerest thanks to Gary Daly
‘Warped By Success’ was released by Stardumb Records and is occasionally available via private sellers on eBay and Amazon Marketplace
Despite his lukewarm review of NEW ORDER’s ‘Power, Corruption & Lies’ for ‘Smash Hits’, as a fan of their singles, Neil Tennant wrote: “I’m still looking forward to their ‘Greatest Hits’”.
Not appreciating a greatest hits of an artist who you admire is the ultimate in fan snobbery; that they are in a position of being able to release one is often a symbol of wider acclaim and success.
Despite what those too cool for school hipster types would have you believe, when you are 15 years old with just £4 in your hand, if you are choosing a record of an artist who you only know the singles of, you tend to opt for a compilation where possible, that is a fact.
The greatest hits compilation has its place in documenting the immediate appeal of an artist. It can often be the only release that most casual listeners need, especially if the albums were disappointing and featured all the wrong versions of their best songs as was the case with FRANKIE GOES TO HOLLYWOOD. But then, duos like PET SHOP BOYS and ERASURE were just supreme in the singular format while conversely, there are those like HEAVEN 17 and VISAGE whose best work can be found on their first two albums.
However, bands such as NEW ORDER could often be better represented by their singles rather than their albums, as many of them were standalone releases that were not included on their long players which were often quite different in musical style.
Now while something as “commercial” as releasing a greatest hits would have been an anathema to NEW ORDER’s label Factory Records in 1983, flush with unexpected success and cash, Tony Wilson wanted to play their singles using the CD player that came with his brand new Jaguar car.
Thus, the ‘Substance’ compilation was born in 1987; issued in a variety of formats including double vinyl, cassette, DAT and CD, the latter three variants made use of the extra playing time available and included bonuses such as B-sides, tracks only previously issued in Belgium, instrumental versions and those rarely essential dub experiments.
Perhaps not unsurprisingly despite its flaws with re-recordings, edits and omissions, ‘Substance’ has gone on to sell around twelve million copies worldwide and was many fans’ entry point into NEW ORDER.
A good compilation does the job of attracting new fans while providing something extra for long standing fans and completists where possible. New versions or up-to-the-minute remixes of established standards were the fashion for a period but thankfully, this marketing strategy is today generally considered passé and previously unreleased songs are now considered the main draw.
Ultimately, what makes a great greatest hits package is a seamless listening experience, although this is something which even the best acts don’t always get right despite the quality of their best output.
So here is a personal look at the electronic legacy of greatest hits via twenty notable artist compilation albums, each with valid reasons for their inclusion, presented in yearly and then alphabetical order within. And as one great Northern English philosopher once wrote: “some are here and some are missing…”
ULTRAVOX The Collection (1984)
At the time of release, ‘The Collection’ was novel. Not only did it feature all thirteen Midge Ure-fronted ULTRAVOX singles to date, but in ‘Love’s Great Adventure’, it also included a brand new one too. Yes, 2009’s ‘The Very Best Of’ features four more tracks including the cancelled 1984 single ‘White China’, but honestly who really needs the singles from ‘U-Vox’? ‘The Collection’ was a perfect package that could be played from start to finish, from ‘Dancing With Tears in My Eyes’ to ‘Lament’ via ‘Vienna’.
The ideal DEPECHE MODE greatest hits package would be CD1 of ‘The Singles 86-98’ which ends with the ‘Violator’ 45s coupled with the innocent synthpop period gathered on ‘The Singles 81-85’. But as that doesn’t exist, the very first DM singles compilation wins over thanks to its inclusion of candid photos from the band’s history and some amusing negative review quotes, highlighting that once upon a time, DEPECHE MODE actually had a sense of humour. Oh! Those were the days!
The first compilation ‘New Man Numan’ was a 1982 singles collection that sold poorly as his star turn was on the wane. But by 1987, there was renewed interest in trailblazing exploits of Gary Numan; the ‘Exhibition’ double CD package featured not only his singles up to 1983 but choice album tracks from his imperial Beggars Banquet phase like ‘Metal’ and ‘Remind Me To Smile’ which should have been singles plus rarities like ‘On Broadway’ and B-sides such as ‘Do You Need The Service?’.
CHINA CRISIS had their fourteen track ‘Collection’ of primarily singles released in a wonderful limited edition double CD package with fourteen of their B-sides. Gary Daly and Eddie Lundon were better than their four Top20 hits suggested, with songs like ‘African & White’ and ‘Arizona Sky’ in particular deserving of much higher chart placings. Add in B-sides like ‘No Ordinary Lover’, ‘A Golden Handshake For Every Daughter’ and ‘Dockland’, and you have a near perfect document of their career.
The diminutive Glaswegian never stuck around in his bands for long but he had one of the most recognisable voices in pop, thanks to in his glorious falsetto. So what better than compiling his BRONSKI BEAT and COMMUNARDS singles alongside his solo work? From the poignant commentary on gay rights in songs like ‘Smalltown Boy’ and ‘Why?’ to the HI-NRG covers of disco standards ‘Don’t Leave Me This Way’, ‘Never Can Say Goodbye’ and ‘Mighty Real’, this was a fine collection.
After 1988’s financially disastrous ‘Spirit Of Eden’, EMI were keen to recoup their investment on the now departed TALK TALK and what better than with a compilation. While primarily based around their hit singles, ‘Natural History’ actually pulled off an accidental masterstroke by including the full-length album versions of songs like ‘Such A Shame’ and ‘Living In Another World’ which had sounded terrible as single edits. This all made for a better listening experience for those new to Mark Hollis and friends.
‘Discography’ gathered all of PET SHOP BOYS singles during what Neil Tennant has always describe as their imperial phase and could rightly be called one of the best greatest hits albums ever. Featuring four UK No1s, there were others like ‘Left To My Own Devices’, Being Boring’ and the Dusty Springfield duet ‘What Have I Done To Deserve This? that were equally as worthy. Later compilations like ‘PopArt’ mighty have ‘Go West’ and more, but ‘Discography’ captures the duo at their most consistent best.
Coming not long after ‘Discography’, ‘Pop! The First 20 Hits’ saw ERASURE take on PET SHOP BOYS at their own game. Andy Bell and Vince Clarke may have only had three less UK No1s than Neil Tennant and Chris Lowe but that’s a bit like saying Nigel Mansell wasn’t a good as Nelson Piquet on stats alone. ERASURE have always been a better singles act than they are an album one, but while a second volume was added in 2009, this initial volume is the more essential purchase.
Los Angeles goth industrial specialists Cleopatra Records pulled off a major coup by licencing the music of KRAFTWERK from their then-US label Capitol Records for a compilation album. Covering the period 1975-1978, the main point of interest for Kling Klang enthusiasts was the first time on CD release of ‘Radio-Activity’, ‘Trans Europe Express’, ‘The Robots’ and ‘Neon Lights’ in their single edits! ‘The Model’ retrospective was a good introduction to KRAFTWERK for the more cautious consumer.
Liverpool’s FRANKIE GOES TO HOLLYWOOD are probably the epitome of hype over substance, but in their name came some magnificent ground-breaking singles. For a band who released only two albums, they have been documented more than most already with six greatest hits collections and a plethora of remix packages. The very first one ‘Bang!…’ was undoubtedly the best, serving the Frankie phenomenon in mostly bite size single edit portions with album highlights and perfect for the casual but interested observer.
The first John Foxx compilation ‘Assembly’ in 1992 while welcome, suffered from being selected by the man himself, as artists are not often the best judges of their own work. Much better and more comprehensive was ‘Modern Art’ which gathered all his singles into one place in their correct versions, while also adding a remastered version of the ‘Smash Hits’ flexi-disc ‘My Face’ as a bonus for Foxx aficionados as well as new material from ‘The Pleasures Of Electricity’.
Before Jim Kerr hectored audiences to show them his hands, SIMPLE MINDS were one of the best art rock bands in the UK, swathed in Eurocentric synths and rhythms. ‘Early Gold’ satisfied those who always felt the Glaswegians lost it after ‘New Gold Dream’ by including The Blitz Club anthem ‘Changeling’, the Moroderesque ‘I Travel’ and the glory of ‘Someone Somewhere in Summertime’. However, the magnificent ‘Theme For Great Cities’ is missing but you can’t have it all…
With its hotch-potch of wrong mixes and ordering, the first edition of ‘Singles’ is historically incorrect. But unlike ‘Substance’, it has the correct takes of ‘Ceremony’ and ‘Temptation’. Yes, there’s the album cut of ‘Bizarre Love Triangle’ and an edited B-side version of 1963 as well, BUT as a listening experience, CD1 of ‘Singles’ does a better job of capturing NEW ORDER up to the end of 1987. ‘Blue Monday’ remains intact, and while the edit of ‘Thieves Like Us’ is annoying, ‘Confusion’ is more tolerable in abridged form.
First up, there is no ideal JAPAN compilation. But ‘The Very Best Of’ wins over because it was the only one that had the key Ariola Hansa era singles ‘Life In Tokyo’, ‘I Second That Emotion’ and ‘Quiet Life’ alongside the Virgin period that produced ‘Ghosts’ and ‘Nightporter’. However, the clumsy 1980 early fade of ‘Quiet Life’ was included rather than the sharper 1981 hit single edit. Also, were two versions of ‘Ghosts’ necessary when ‘Swing’ could have been dropped in? It all spoilt what potential this compendium had.
DURAN DURAN were described by The Guardian in 2015 as “an electronic band with a heavy rock guitarist bolted on” and that era of the classic Le Bon / Rhodes / Taylor / Taylor / Taylor line-up is captured in this 3CD package largely firing on all cylinders. Originally issued in 2003 as a lavish 13CD boxed set and featuring all their singles, extended versions and B-sides from that period, ‘The Singles 81-85’ is superior to the both the preceding ‘Decade’ and ‘Greatest’ compendiums.
“They only want you when you’re seventeen” sang LADYTRON on their single satirising modern day audition culture and perhaps not coincidently, their ‘Best Of 00–10’ featured that number of tracks. A fine introduction to the quartet via their more immediate songs like ‘Discotraxx’, ‘Playgirl’, ‘Runaway’ and the mighty ‘Destroy Everything You Touch’. Extra points were awarded for the right wing baiting revisionist cover of Nazi folkies DEATH IN JUNE’s ‘Little Black Angel’ in a defiant act of artistic and ideological subversion.
Often seen as Germany’s answer to DEPECHE MODE, CAMOUFLAGE added in elements of YELLOW MAGIC ORCHESTRA and have a marvellous back catalogue that is well worth investigating. ‘The Singles’ is a fine introduction, containing their signature song ‘The Great Commandment’ as well as ‘Stranger’s Thoughts’, ‘Love Is A Shield’, ‘Suspicious Love’, ‘Me & You’ plus a great cover of Moon Martin’s ‘Bad News’. With liner notes by ELECTRICITYCLUB.CO.UK, what more could you want? 😉
Jean-Michel Jarre has several greatest hits albums but they all have been frustrating listens. This has largely been due to his synthesizer symphonies not being suited to sub-three minute edits, a flaw heavily exposed on the ‘Images’ compilation. But ‘Essential Recollection’ collected the French Maestro’s most accessible moments with sympathetic fades that captured the essence of his electronic wizardry. However, 2000’s ‘The Bells’ was an odd inclusion in a collection that focussed on his earlier imperial phase.
SOFT CELL Keychains & Snowstorms – The Singles (2018)
No-one expected Marc Almond and Dave Ball to reunite as SOFT CELL for a final show in 2018, but a bigger surprise was a brand new single ‘Northern Lights’ b/w ‘Guilty (Cos I Say You Are)’. Both tracks were included on a new singles compilation which reminded people that SOFT CELL had five UK Top5 singles in just over thirteen months between 1981 and 1982. However, a minus mark gets awarded for using the inferior album mix of ‘Tainted Love’ instead of the chart topping single version!
As with JAPAN, there is no perfect OMD compilation. The brand has had some quite different phases, so means different things to different people. ‘The Best Of’ is still their biggest selling album but the comprehensive ‘Souvenir’ gathers all their singles, from the exemplarly ‘Messages’, ‘Enola Gay’ and ‘Maid Of Orleans’ to the more recent ‘Dresden’ and ‘Don’t Go’. But while there’s duffers like ‘Stand Above Me’ and ‘If You Want It’, maybe it’s the ideal time to put those CD programmers and playlists to work!
It really is the other side of love. B-sides have been a wondrous platform of adventure for the music fan, a hidden treasure trove of experimentation that was often a secret society that positioned the listener into being part of a mysterious taste elite.
So here are ELECTRICITYCLUB.CO.UK’s favourite 25 Classic Synth B-sides… but how was this list defined?
These artefacts are flipsides of vinyl or bonus tracks on CD singles; basically songs that were not featured on the original issue of a full length album, or subsequently included on a new one. However, bonus tracks on later reissues are permitted. With 25 Synth Instrumentals Of The Classic Era being covered in a separate listing, wordless wonders are also omitted. The listing runs up until the start of the 21st Century.
However, there is a limitation of one song per artist moniker in this chronological retrospective, so rare indulgers of the B-side such as HEAVEN 17, JAPAN and SIMPLE MINDS get equal billing with prolific exponents like PET SHOP BOYS, DEPECHE MODE, OMD and ULTRAVOX. That may seem unfair but then life can be unfair…
THE NORMAL TVOD (1978)
Was ‘TVOD’ actually the A-side of this seminal and only release by THE NORMAL which launched Mute Records? But as ‘Warm Leatherette’ is listed at the top of the back sleeve and has moved into legend having been covered by GRACE JONES, LAIBACH and CHICKS ON SPEED, ‘TVOD’ qualifies for this list. With its hypnotic bassline and warbling synth hook, JG Ballard makes his influence heard as Daniel Miller monotones about a dystopian future where television is the new narcotic…
In the days when the B-side mattered as much as the A-side, more intuitive purchasers found another gem on the flip of ‘Are Friends Electric?’ with this pounding system of romance. Being the antithesis of the discordant diabolis in musica of the main act, ‘We Are So Fragile’ fused Minimoogs with guitars and a four-to-the-floor beat as the vulnerability of Gary Numan connected with the chilling Cold War dystopia of the times in a musical winter of discontent.
Originally the B-side of ‘Are Friends Electric?’; now available on the album ‘Replicas’ via Beggars Banquet Records
Commissioned as the theme to Janet Street-Porter’s early youth vehicle ‘20th Century Box’ which gave platforms to two then unknown bands SPANDAU BALLET and DEPECHE MODE, the combination of Foxx’s starkly dominant Compurhythm and ARP Odyssey dystopia were harsh but strangely danceable. However, ’20th Century’ signalled the wind down of the mechanical phase of John Foxx before thawing out and turning more conventional to less distinctive effect on ‘The Garden’.
Originally the B-side of ‘Burning Car’; now available on the deluxe album ‘Metamatic’ via Esdel Records
Like a number of bands of the period, SIMPLE MINDS went off doing B-sides as they progressed, often lazily filling the flips with live tracks or instrumental versions of existing tracks. ‘New Warm Skin’ was the original B-side of ‘I Travel’ and saw the Glaswegians ape SPARKS for this claptrap filled electronic cacophony of sound. Not claustrophobic enough for ‘Empires & Dance’, this is a delightfully creepy synth laden rarity in the SIMPLE MIDS back catalogue.
Originally the B-side of ‘I Travel’; now available as a bonus track on the boxed set ‘X5’ via Virgin Records
With so many great B-sides in the long career of DEPECHE MODE, it might seem strange that their best B-side was actually their first. ‘Ice Machine’ is possibly Vince Clarke’s darkest five minutes, but it has also proved to be highly influential. ROYKSOPP and S.P.O.C.K have covered it while the song’s core arpeggio has been borrowed by LADYTRON and FEATHERS. It is not only one of DM’s best B-sides, it is among one of the best songs of the Synth Britannia era.
Available on the DEPECHE MODE boxed set ‘DMBX1’ via Mute Records
HEAVEN 17 were an act who rarely did B-sides and even this cover of a lesser known BUZZCOCKS single started life as a track for the BEF ‘Music Of Quality & Distinct Volume 1’ opus but was quickly shelved. Unusual in many respects as ‘Are Everything’ features the early HUMAN LEAGUE synth sound emblazoned with acoustic guitar from Dave Lockwood, Glenn Gregory snarls in post-punk fashion away from the new funk hybrid which was later appear on ‘Penthouse & Pavement’.
Originally the B-side of ‘I’m Your Money’; 12 inch version now available on the HEAVEN 17 album ‘Penthouse & Pavement’ via Virgin Records
Originally recorded as a 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, after JAPAN left the label, ‘European Son’ was subsequently finished off by John Punter and tagged onto a 1981 reissue of ‘Life In Tokyo’. Retrospectively, it shows David Sylvian’s vocals in transition from the catty aggression of earlier albums. In 1982, it became an A-side remixed by Steve Nye.
Originally the B-side of 1981 reissue of ‘Life In Tokyo’; now available on the JAPAN album ‘The Very Best Of’ via Virgin Records
A unique curio in the classic ULTRAVOX cannon as it does not feature Midge Ure. Chris Cross handled guitar duties and backing vocals while Warren Cann took the spoken lead. The powerful Linn driven track was provided the punch with the Minimoog bass while Billy Currie tastefully layered with his piano and violin interplay. ‘Paths & Angles’ was undoubtedly strong enough to have been an album track, but highly unlikely to have remained in this form if Ure had been involved.
Originally the B-side of ‘The Voice’; now available on the ULTRAVOX album ‘Rage In Eden’ via EMI Records
Originally recorded for a John Peel session but rescued for the B-side of ‘Living On The Ceiling’, ‘Running Thin’ featured a much starker, claustrophobic template than the subsequent ‘Happy Families’ album. Driven by a Roland drum machine, haunting blips and “elastic stretched too far” guitar, Neil Arthur’s resigned baritone matched the music backdrop. The track has since been revisited by BLANCMANGE for the upcoming 2CD ‘Happy Families Too’ 2CD set.
Originally the B-side of ‘Living On The Ceiling’; now available on the BLANCMANGE album ‘The Very Best Of’ via Music Club
Borrowing the main melody of ‘The Six Million Dollar Man’ theme and coupled with a sharp Tim Friese-Greene production, ‘One Of Our Submarines’ was actually based on the poignant story of TMDR’s uncle Stephen. He served in a submarine during World War Two but died while on manoeuvres as opposed to battle. His death became Dolby’s metaphor for the fall of the British Empire and his rebellion against the post-war Boys Own adventure illusion that his generation grew up in.
Originally the B-side of ‘She Blinded Me with Science’; now available on the THOMAS DOLBY album ‘The Golden Age Of Wireless’ via EMI Records
Outstripping the electro Tamla of the A-side, ‘You Remind Me Of Gold’ had the balance of weirdness, accessibility and the spectre of Jo Callis’ guitar synthesizer. Coupled with the precise but edgy production of Martin Rushent, this gave high hopes that the follow-up to the million selling ‘Dare’ would be a goody. Unfortunately, the band fell out with Rushent and the lukewarm ‘Hysteria’ was the result and it would take years for THE HUMAN LEAGUE to recover.
Originally the B-side of ‘Mirror Man’; now available on the HUMAN LEAGUE deluxe album ‘Dare / Fascination!’ via Virgin Records
OMD often were at their best when indulging in their vertical take-off experiments. Covered in hiss and layered with a shrilling, almost out-of-tune Mellotron, ‘Navigation’ was an abstract collage with the punching snare drum crescendo leading to a weird droning beacon of strange noises taken from their pre-OMD tapes that conjured the image of foggy uncharted oceans. It is without doubt, one of Paul Humphreys and Andy McCluskey’s stand-out recordings.
Originally the B-side of ‘Maid Of Orleans’; now available on the OMD album ‘Navigation’ via Virgin Records
Boy George once described SOFT CELL as music for teenagers who hate their parents. With ‘It’s A Mugs Game’, that ethos came to its head with this comical tirade of angry, adolescent angst! Marc Almond goes from crisis to crisis as he tries to annoy his dad by playing loud, all the records “he especially hates… ’Deep Purple In Rock, ‘Led Zeppelin II’”. But as Almond retorts: “even you hate those”! The closing rant of “I can’t wait until I’m twenty one and I can tell them all to sod off!” is classic!
Originally the B-side of ‘Where The Heart Is’; now available on the SOFT CELL album ‘The Very Best Of’ via Phonogram Records
Perhaps unsurprisingly with Colin Thurston at the production helm, the cryptically titled ‘?’ did sound like a DURAN DURAN flipside with thundering Simmons drums, disco bass and a fabulous synth solo from original keyboardist Simon Brenner. Utilising a weird chorus effect which sounded like the song was recorded on using dirty tape heads, while not a particularly prolific B-side band, TALK TALK certainly delivered more extras than perhaps JAPAN ever did.
Originally the B-side of ‘Talk Talk’. Available on the TALK TALK album ‘Asides Besides’ via EMI Music
One of the few vocal tracks to be a VISAGE B-side, ‘I’m Still Searching’ in hindsight sounds ahead of its time with its proto-PET SHOP BOYS vibe. Featuring just Steve Strange and Rusty Egan as the ULTRAVOX and MAGAZINE boys were all back in their day jobs, it hinted at a New York electronic disco direction which was expanded on with ‘Pleasure Boys’. But by the time of the third VISAGE album ‘Beat Boy’, rock was the name of the game with Strange’s voice left exposed and totally unsuited to its histrionics.
Originally the B-side of ‘Night Train’; now available on the VISAGE album ‘The Anvil’ via Rubellan Remasters
A B-side that was later issued as an A-side in various markets, ‘Situation’ was one of only three writing collaborations between Alison Moyet and Vince Clarke. At barely 2 minutes in its original form, it made its point with its rousing blues based sequenced dance pop; it became a US club favourite remixed by Francois Kevorkian who was later to work with KRAFTWERK and DEPECHE MODE. Another version mixed by ERASURE producer Mark Saunders took the song into the UK Top20 in 1990.
Originally the B-side of ‘Only You’; now available on the album ‘The Collection’ via Music Club
When Liverpool band THE WILD SWANS split, two thirds formed the basis of THE LOTUS EATERS while their singer Paul Simpson teamed up with ECHO & THE BUNNYMEN producer Kingbird aka Ian Broudie. Combining acoustic guitars and stark drum machine with strong synthesizer melodies and melancholic vocals, ‘Sad Day for England’ was a mournful recollection of young manhood. The duo split before their debut album was completed. Broudie eventually formed THE LIGHTNING SEEDS.
Originally the 12 inch B-side of ‘My Boyish Days’; now available on the CARE album ‘Diamonds & Emeralds’ via Camden Records/BMG Records
This atmospheric ballad from the ‘Seven & The Ragged Tiger’ sessions turned out to be one of the the most synth led recordings under the DURAN DURAN name. Featuring just Nick Rhodes and Simon Le Bon, it showcased the more esoteric influences of JAPAN who the pair were particularly fond of. A precursor to their painfully pretentious ARCADIA project, none of those songs ever reached the heights of ‘Secret Oktober’. It was dusted off for the 1998 Greatest Hits tour.
Originally the B-side of ‘Union Of the Snake’; now available on the DURAN DURAN boxed set ‘The Singles 81-85’ via EMI Records
B-sides are for quirky experimentation and Howard Jones certainly veered from the norm with this oddball slice of electro-ska. With the declaration that “If I haven’t got any friends, it just doesn’t matter” and “If I’ve been misunderstood, it just doesn’t matter”, the song was possibly written as a positive motivator to face the music whatever following the success of his debut single ‘New Song’. The critics may not have loved him but his fans did, with the ‘Human’s Lib’ album entering the UK chats at No1.
Originally the B-side of ‘What is Love?’; now available on the HOWARD JONES album ‘The Very Best Of’ via WEA
Subtitled ‘Sector One: The Elevator’, ‘The Nelson Highrise’ was the B-side to ‘Sounds Like A Melody’ which wasn’t released as a single in the UK. After a dynamic instrumental build of over a minute and a half, the opening line “Time is fleeting, you can’t stop time” was deeply ominous while the backing was almost industrial with very sharp edges. The dystopian air might have been a surprise to some, but then ‘Big In Japan’ was inspired by the plight of heroin addicts in Berlin…
Originally the B-side of ‘Sounds Like A Melody’; now available on the ALPHAVILLE deluxe album ‘Forever Young’ via Warner Music
Recorded during the ‘Working With Fire & Steel’ sessions produced by Mike Howlett, ‘It’s Never Too Late’ was a lost gem probably droppedby CHINA CRISIS from the album on account of it sounding like a more steadfast ‘Wishful Thinking’, featuring its familiar Emulator strings sound in the melody. Unreleased until 1985, even then it was tucked away on the limited edition 12 inch of ‘Black Man Ray’, making it one of the rarest of high quality B-sides from the era.
Originally the 12 inch limited edition B-side of ‘Black Man Ray’; now available on the CHINA CRISIS deluxe album ‘Flaunt The Imperfection’ via Caroline International
Possibly the song which indicated that PET SHOP BOYS were going to be around for a while and not just a flash in the pan, ‘That’s My Impression’ was menacing as opposed to melancholic, combining SOFT CELL with DIVINE. Neil Tennant’s final angry refrain of “I went looking for someone I couldn’t find – staring at faces by the Serpentine…” is pure Marc Almond, tense and embittered in a manner that turned out to be quite rare in PET SHOP BOYS later work.
Originally the B-side of ‘Love Comes Quickly’; now available on the PET SHOP BOYS album ‘Alternative’ via EMI Records
Is this song about JFK? Is it a homo-erotic love story that ends in murder? Who knows? But ‘1963’ was an outstanding result of the sessions NEW ORDER had with PET SHOP BOYS producer Stephen Hague that also spawned ‘True Faith’. However, much to Hooky’s annoyance, his contributions on ‘1963’ were virtually written out. Bloody mindedness ensured ‘1963’ was tucked away as a B-side for 8 years before it was released as an A-side in a more Hooky audible rework by Arthur Baker.
Originally the B-side of ‘True Faith’; now availableon the NEW ORDER album ‘Substance’ via Warner Music
Bietigheim-Bissingen’s CAMOUFLAGE took over the mantle of delivering the heavier synthpop blueprint which DEPECHE MODE started during ‘Construction Time Again’ and ‘Some Great Reward’, but left behind with ‘Black Celebration’. ‘Kling Klang’ actually was a B-side to their single ‘One Fine Day’. This was not only a tribute to KRAFTWERK but in a rarity for the trio, it was also sung in German. But it was so rigidly authentic that at times, it inadvertently sounded like a Bill Bailey musical comedy skit.
Originally the B-side of ‘One Fine Day’, now available on the CAMOUFLAGE deluxe album ‘Methods Of Silence’ via Bureau B
This bouncy tune with its lyrical celebration by Andy Bell of ABBA borrowed heavily from OMD. Vince Clarke went on record to say the record that influenced him most to start working with synthesizers was ‘Electricity’. So on ‘Over The Rainbow’, he borrowed its lead melody wholesale and added a few of the speaking clock samples that had adorned OMD’s ‘Dazzle Ships’. Listen carefully and listeners will also notice ULTRAVOX are affectionately pillaged too!
Originally the B-side of ‘Chorus’; now available in the boxed set ‘EBX4’ via Mute Records