Tag: Dead Or Alive (Page 3 of 3)

PETE BURNS 1959 – 2016

24 October 2016 / electricityclub

DEAD OR ALIVE frontman Pete Burns has sadly passed away from a heart attack, aged 57.

His manager and one-time band mate Steve Coy said: “It is with the greatest sadness that we have to break the tragic news that our beloved Pete Burns of (Dead Or Alive) died suddenly yesterday of a massive cardiac arrest. All of his family and friends are devastated by the loss of our special star”.

While better known in more recent years for his appearances on ‘Celebrity Big Brother’ and reality shows about the complications of his botched cosmetic surgery, he first became known as a flamboyant personality from the Liverpool post-punk scene based around Eric’s, the club on Mathew Street which spawned acts such as ECHO & THE BUNNYMEN, THE TEARDROP EXPLODES, OMD, WAH! and FRANKIE GOES TO HOLLYWOOD.

Born in Bebington on The Wirral, Burns worked at Probe Records, a renowned meeting place for local musicians on the Liverpool scene. His first bands were MYSTERY GIRLS and the proto-Goth NIGHTMARES IN WAX; it was the latter that morphed into DEAD OR ALIVE and with guitarist Wayne Hussey (who was later to join SISTERS OF MERCY) as one of its members, the group recorded a number of critically acclaimed, independently released singles including ‘I’m Falling’ and ‘The Stranger’.

With the music came Burns’ androgynous, ever-changing image and a sharp Merseyside wit. But with the emergence of HI-NRG in the club scene, Burns wanted to pursue a more electronic disco based sound. Signing to Epic Records in 1983, their Zeus B Held produced major label debut single was the wonderfully aggressive Goth dance hybrid of ‘Misty Circles’.

With the classic line-up of Pete Burns, Mike Percy, Tim Lever and Steve Coy, DEAD OR ALIVE came close to cracking the UK Top 40 with the subsequent singles ‘What I Want’ and ‘I’d Do Anything’. A cover of KC & THE SUNSHINE BAND’s ‘That’s the Way (I Like It)’ reached No22 and although the eventual album ‘Sophisticated Boom Boom’ was a disappointment, it did feature the brilliant Morrissey meets ABBA eloquence of ‘Far Too Hard’.

At the start of 1984, DEAD OR ALIVE looked like they’d missed the boat when their rivals FRANKIE GOES TO HOLLYWOOD reached No1 with ‘Relax’; “I was so jealous” Burns later told the BBC’s ‘Rock Family Trees’ documentary series. Inspired by the success of ‘You Think You’re A Man’ by transvestite starlet DIVINE, Burns secured the services of the song’s then unknown production team of Stock, Aitken & Waterman to work on DEAD OR ALIVE’s next single ‘You Spin Me Round (Like A Record)’.

Released at the end of 1984, this catchy tune with its booming performance from Burns was not an instant hit. Eventually it reached No1 in March 1985. The song went on to become a huge international hit and was later sung by Adam Sandler’s lead character in the 1998 movie ‘The Wedding Singer’.

DEAD OR ALIVE’s second album ‘Youthquake’ proved to be a mixed bag too, but included another hit single ‘In Too Deep’ and the magnificent eight minute epic ‘It’s Been A Long Time’ as its closer. The 1985 concert tour featured Numan band members Chris Payne and RRussell Bell in the live line-up.

Payne said in tribute: “I remember him as being a very pleasant, eloquent and actually quite a reserved character. But on stage he turned into a colossus! And good grief did he have a voice on him. I remember one of my first days rehearsing with the band in Liverpool and he sang just next to my keyboard set up and I looked up and realised he wasn’t singing into the microphone. We could still hear him above the noise!”

There were further hit singles like ‘Something In My House’ and a chart album in the self-explanatory ‘Mad Bad & Dangerous To Know’ in 1987, although DEAD OR ALIVE were suffering from being part of Stock, Aitken & Waterman’s Hit Factory and their UK popularity began to wane.

By 1989, DEAD OR ALIVE had slimmed down to a duo of Burns and Coy but scored a No1 with ‘Turn Around’ in Japan, a territory where they continued to be successful for a number of years. 1995 saw the release of ‘Nukleopatra’ including a number of songs co-written with one-time JOHN FOXX and FRANKIE GOES TO HOLLYWOOD live keyboardist Peter Oxendale, but it was notable for featuring cover versions of DAVID BOWIE’s ‘Rebel Rebel’ and BLONDIE’s ‘Picture This’.

Despite his decreased profile in the UK, Burns was invited by PET SHOP BOYS to collaborate on a song entitled ‘Jack & Jill Party’ which was released a download single in 2004. However as time went on, Burns became more known for his celebrity status rather than for music and although he had recently worked with Pete Waterman, he was declared bankrupt in December 2014.

A lavish 19 disc DEAD OR ALIVE boxed set ‘Sophisticated Boom Box MMXVI’ is scheduled for release by Edsel on 28th October 2016. It will now become a fitting epitaph to a colourful character who subverted the music scene with his entertaining, if occasionally vicious take on society.

Text by Chi Ming Lai
24th October 2016

25 FAVOURITE CLASSIC 12 INCH VERSIONS

5 October 2015 / electricityclub

‘Is That The 12 Inch Mix?’ people used to ask…

“Sometimes you never knew what you were getting when you bought the 12 inch mix” says Rob Grillo, author of the same titled book tracing the history of the extended format, “Sometimes you got the 7 inch version and a bonus track, sometimes it was just the longer album mix, and sometimes you got the normal mix when the sleeve promised a ‘brand new mix’, occasionally there would be a gargantuan explosion of noise that heralded a completely new take on the song that would blow you mind away…”

ELECTRICITY CLUB.CO.UK itself has never been particularly big on remixes or 12 inch versions. They were on occasions, an unnecessary evil. Just because a song can be extended and reworked to submission doesn’t mean it has to be… FRANKIE GOES TO HOLLYWOOD’s bassist Mark O’Toole snorted to International Musician & Recording World in 1986: “A punter walks into the shop, wants to buy a single – and there’s half a dozen mixes of it! It’s a pain in the ar*e!”

Comedian Lenny Henry summed things up best in a sketch where he entered a record shop to buy a single and was then offered a plethora of versions by the assistant… “I JUST WANT THE VERSION THEY GOT RIGHT!” he exclaimed.

In another stand-up routine, he commented that a 12 inch single could last longer than a marriage. But they could be tremendously passionate affairs as Rob Grillo remembers: “In essence, buying the 12 inch was more exciting than buying the 7 inch…”

With the restriction of tape, a razor blade and the mixing desk, the era often conspired to make more interesting, structured reworkings than the meaningless dance work-outs of today. When done well, the 12 inch extended version could totally surpass the original.

Each track on this list of classic variations was released as a 12 inch single with a corresponding original 7 inch release that was shorter (which thus excludes ‘Blue Monday’ by NEW ORDER); full length album versions that subsequently got issued as 12 inch singles are not included.

With a restriction one track per artist moniker going up to the period before remixes got a bit daft with the advent of rave culture, here are ELECTRICITYCLUB.CO.UK’s 25 choices in chronological and then alphabetical order…

SPARKS Beat The Clock – Long Version (1979)

The shorter album take of ‘Beat The Clock’ was more basic and less epic. But in this longer, more powerful and percussive 12 inch version, the star of this ace collaboration with Giorgio Moroder was the ever dependable Keith Forsey with his rumbling drumming syncopating off the precisely sequenced electronic production.

Available on the SPARKS album ‘Real Extended: The 12 inch Mixes (1979 – 1984)’ via Repertoire Records

http://allsparks.com/

DURAN DURAN Girls On Film – Night Version (1981)

At the start of their career, rather than just simply extend a song by joining together sections of tape, DURAN DURAN actually took time to rearrange and re-record their 12 inch singles. This they did on ‘Planet Earth’ and ‘My Own Way’, but the best of the early ‘Night Version’ trilogy was ‘Girls On Film’. This marvellous arrangement formed the basis of their live version.

Available on the DURAN DURAN boxed set ‘The Singles 81-85’ via EMI Records

http://www.duranduran.com/

THE HUMAN LEAGUE Don’t You Want Me – Ext Dance Mix (1981)

Effectively an instrumental of the closing track on ‘Dare’, the quality of Martin Rushent’s production was fully showcased on this ‘Ext Dance Mix’. Each synth had its own voice and placed inside a precise lattice that formed a fabulous pop tapestry. It was also notable for featuring a guitar, albeit used obliquely by Jo Callis to trigger a Roland System 700.

Available on the album ‘Original Remixes & Rarities’ via Virgin Records

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

SIMPLE MINDS The American – 12 inch Version (1981)

‘The American’ was the Glaswegians’ first single for Virgin and sounded like Moroder merged with NEU! Metallic motorik drumming from Brian McGee sans hi-hats provided an interesting rhythm construction and challenged the band into finding inventive ways of making people dance. With Mick McNeil’s pulsing synths coupled with Derek Forbes’ bass engine, this was prime art disco.

Available on the SIMPLE MINDS boxed set ‘X5’ via Virgin Records

http://www.simpleminds.com/

SOFT CELL Bedsitter – Early Morning Dance Side (1981)

SOFT CELL were quite unique in their 12 inch extended formats by often incorporating extra vocal sections like on ‘Torch’, ‘Facility Girls’ and ‘Insecure Me’. So instead of purely instrumental breakdown extensions, ‘Bedsitter’ added a marvellous rap from Marc Almond where he asked “do you look a mess, do have a hangover?” before taking a little blusher, pushing tea leaves down the drain.

Available on the SOFT CELL deluxe album ‘Non-Stop Erotic Cabaret’ via UMC

http://www.marcalmond.co.uk/

SPANDAU BALLET The Freeze – Special Mix (1981)

While the single version of ‘The Freeze’ was an enjoyable if polite slice of guitar driven disco, the 12 inch ‘Special Mix’ of SPANDAU BALLET’s second single fully utilised their Yamaha CS10 with a pulsing octave barrage that could have been borrowed from their Blitz Club contemporaries VISAGE. A closing cacophony of electronically processed percussion came over like a funkier KRAFTWERK.

Available on the SPANDAU BALLET album ‘The Twelve Inch Mixes’ via Chrysalis Records

http://www.spandauballet.com/

B-MOVIE Nowhere Girl – Version (1982)

B-MOVIE were famously the band that Phonogram pursued to take on SPANDAU BALLET and DURAN DURAN. Managed by Some Bizzare’s Stevo Pearce, he stipulated that an unknown synth duo called SOFT CELL be part of any deal. The 12 inch version of ‘Nowhere Girl’ featured an extended intro with tinkling ivories that came over like ULTRAVOX before the pulsing bass and harp-like synths kicked in.

Available on the compilation boxed set ’12” 80s Alternative’ (V/A) via UMTV

http://www.b-movie.co.uk/

CLASSIX NOUVEAUX Is It A Dream? – 12 inch Version (1982)

The best classic 12 inch versions often retained the musical structure of the song but cleverly used the technique of breakdown to achieve dynamic highs and lows where appropriate. ‘Is It A Dream?’ effectively tagged the instrumental version of the song onto the beginning which provided a build towards the main act as the recognisable elements of the tune steadily kicked in.

Available on the CLASSIX NOUVEAUX album ‘The Very Best Of’ via EMI Gold

http://www.salsolo.com/Classix_Fans.html

NEW ORDER Temptation – 12 Inch Version (1982)

A different version altogether from the 7 inch, however the 12 inch version was actually recorded in one massive 14 minute jam session with the shorter version preceding it. The recording itself was both grand and magical while marvellously flawed, with Stephen Morris’ overdriven Simmons snare panned too far to the right while band members can also be heard calling instructions and tutting.

Available on the NEW ORDER boxed set ‘Retro’ via Warner Music

http://www.neworder.com/

GARY NUMAN Music for Chameleons – Extended Version (1982)

In 7 inch form, Gary Numans ‘Music For Chameleons’ sounded incomplete. Lasting almost eight minutes, with the fluid fretless bass runs of Pino Palladino and the stuttering distorted clap of a Linn Drum providing the backbone to some classic vox humana Polymoogs, the 12 inch version’s highlight was the windy synth run in the long middle section.

Available on the GARY NUMAN album ‘Exposure: The Best of 1977-2002’ via Artful Records

http://www.numan.co.uk/

VISAGE Night Train – Dance Mix (1982)

Inspired by the burgeoning New York club scene, Rusty Egan brought in John Luongo to remix ‘Night Train’ much to Midge Ure’s dismay, leading him to end his tenure with VISAGE. But Luongo’s rework was sharper, pushing forward the female backing vocals to soulful effect in particular and replacing the clumpier snare sounds of the original album version with cleaner snappier samples.

Available on the compilation boxed set ’12″/80s/2′ (V/A) via UMTV

http://www.visage.cc/

BLANCMANGE Blind Vision – 12 Inch Version (1983)

Uunder the production supervision John Luongo who had remixed ‘Feel Me’ to great rhythmical effect, ‘Blind Vision’ was punctuated by brass, extra percussion and slap bass as well as the trademark BLANCMAGE Linn Drum claps also thrown in. A steady build-up, vocal ad-libs from Neil Arthur and a prolonged coda extended the track to a hypnotic nine and a half minutes.

Available on the BLANCMANGE album ‘Mange Tout’ via Edsel Records

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

DEAD OR ALIVE What I Want – Dance Mix (1983)

With an edgy production from Zeus B Held, ‘What I Want’ was effectively a rewrite of ‘Blue Monday’, or even ‘Shake It Up’ by DIVINE, depending on your outlook. Combining a variety of musical styles, this HI-NRG / Goth hybrid was the last track Wayne Hussey before departing for THE SISTERS OF MERCY. “Listen blue eyes, shut up!” scowled Pete Burns in this salaciously pounding affair.

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

http://www.deadoralive.net/

JOHN FOXX Endlessly – 12 Inch Version (1983)

After ‘Metamatic’ and ‘The Garden’, John Foxx started experimenting in psychedelic pop. With nods to ‘Sgt Pepper’, the original ‘Endlessy’ from 1982 had the makings of a good song, but was laboured in its arrangement. Reworked with Simmons drums, metronomic sequencers and grand vocal majestics, the Zeus B Held produced 1983 version was even more glorious in an extended 12 inch format.

Available on JOHN FOXX the boxed set ‘Metadelic’ via Edsel Records

http://www.metamatic.com/

HEAVEN 17 Crushed By The Wheels Of Industry – Extended Dance Version (1983)

Taking a leaf out of their old sparring partners THE HUMAN LEAGUE, HEAVEN 17 took off most of the vocals and played up the various instrumental elements of ‘Crushed By The Wheels Of Industry’ with a restructured rhythmical backbone. With a punchy retuned bass drum attack and Roland Bassline programming pushed out to the front, sequences and guitar synth solos were phased in and out.

Available on the HEAVEN 17 boxed set ‘The Luxury Gap’ via Virgin Records

http://www.heaven17.com/

FRANKIE GOES TO HOLLYWOOD Two Tribes – Annihilation (1984)

While Holly Johnson’s original lyric referenced the dystopian drama ‘Mad Max’, it sat well within the Cold War tensions of the period. With mighty Fairlight orchestra stabs and masterful PPG programming for the iconic synth bass, the first 12 inch version entitled ‘Annihilation’ featured the poignant authoritative voice of Patrick Allen, reprising his real life ‘Protect & Survive’ commentary…

Available on the FRANKIE GOES TO HOLLYWOOD album ‘Frankie Said’ via Union Square Music Ltd

http://www.frankiesay.com/

KRAFTWERK Tour De France – Remix (1984)

The original ‘Tour De France’ single in 1983 signalled the launch of a new KRAFTWERK album ‘Technopop’ but it was never actually released. However, ‘Tour De France’ took on a life of its own. This masterful remix by New York DJ Francois Kevorkian backed a key scene in the film ‘Breakdance’. Much more percussive than the first version, it reinforced KRAFTWERK’s standing in the US Hip-Hop scene.

Available on the KRAFTWERK single ‘Tour De France’ via EMI Records

http://www.kraftwerk.com/

GIORGIO MORODER & PHILIP OAKEY Together In Electric Dreams – Extended (1984)

One of the best 12 inch versions ever, it not only retained the essence of the original song but added enough extra elements to make it quite different too. There was more rock guitar from Richie Zito which actually enhanced the track and the false end after the guitar solo leading to a superb percussive breakdown that made the most of Arthur Barrow’s frantic Linn Drum programming.

Available on the PHILIP OAKEY & GIORGIO MORODER album ‘Philip Oakey & Giorgio Moroder’ via Virgin Records

http://www.giorgiomoroder.com/

TALK TALK It’s My Life – US Mix (1984)

The UK 12 inch extended version was a rather formless, dub excursion that never got to the point. However, taking a leaf out of DURAN DURAN’s specifically taylored remixes of songs from the ‘Rio’ album for America, EMI / Capitol commissioned Steve Thompson to construct a toughened up version of ‘It’s My Life’ to make it more MTV friendly. The song became an unexpected favourite in US clubs.

Available on the compilation boxed set ‘’12″/80s’ (V/A) via UMTV

http://spiritoftalktalk.com/

ULTRAVOX One Small Day – Special Remix Extra (1984)

One of ULTRAVOX’s more guitar driven numbers, there were eventually three different extended versions of ‘One Small Day’, the best of which was the ‘Special Remix Extra’, also known as the ‘Extended Mix’. With chopped up vocal phrases on this neo-dub mix, the instrumentation to come to the fore without Midge Ure’s shrill chorus as a distraction.

Available as the ‘Extended Mix’ on the ULTRAVOX album ‘Lament’ via EMI Gold

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

A-HA The Sun Always Shines On TV – Extended Version (1985)

From the beginning A-HA were always so much more than a teenybop group, ‘The Sun Always Shines On TV’ revealed a lyrical darkness while the combination of synths and edgy guitar put them in the same league as ULTRAVOX and ASSOCIATES. This rarer first ‘Extended Version’ made the most of the powerful instrumentation and added more drama with a slow solemn piano intro.

Available on the A-HA deluxe album ‘Hunting High & Low’ via Rhino Entertainment

http://a-ha.com/

PROPAGANDA Duel – Bitter Sweet (1985)

While the Trevor Horn produced ‘Dr. Mabuse’ was very much a Fairlight-fest, PROPAGANDA’s second single ‘Duel’ with production by Steve Lipson was based around the Synclavier, PPG and Roland Super Jupiter. Stewart Copeland from THE POLICE rhythmitised alongside the Linn Drum while the ‘Bitter Sweet’ extended mix broke down the instrumentation to reveal a highly intricate arrangement.

Available on the PROPAGANDA album ‘Outside World’ via Repertoire Records

https://www.facebook.com/Propaganda-Band-135375113199791/

OMD Forever Live & Die – Extended Mix (1986)

Not the better known but less fulfilled ‘Extended Remix’ by Tom Lord-Alge, John Potoker’s reworking did away with its daft skips and enhanced the song’s enjoyable instrumental elements largely hidden in the single mix. The wonderful end section with its wild rhythm guitar reverbed drums also revealed that despite the palatable Trans-Atlantic sound, KRAFTWERK’s ‘Radio-Activity’ still lingered.

Available on the compilation boxed set ‘Maxi Singles 80 Vol 2’ (V/A) via Wagram Music

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

PET SHOP BOYS Suburbia – The Full Horror (1986)

‘Suburbia’ was a good if slightly underwhelming track from ‘Please’ that got transformed into a more fully realised epic. Produced in this new longer version by Sarm West graduate Julian Mendelson, it was a two-parter. Complete widescreen synths and thundering rhythms, the intro and middle sections saw a pitch shifted Neil Tennant monologuing about the evils of ‘Suburbia’ in a devilish tone.

Available on the PET SHOP BOYS album ‘Disco’ via EMI Records

http://www.petshopboys.co.uk/

DEPECHE MODE Never Let Me Down Again – Split Mix (1987)

A merging of the album version with the Wasp driven bass heavy ‘Aggro Mix’ (hence the ‘Split Mix’ title), this long take on one of DEPECHE MODE’s classic songs was perfection. ‘Never Let Me Down Again’ took into account that the best 12 inch mixes usually had the actual song and an instrumental middle section before a reprise of the main chorus hook.

Available on the DEPECHE MODE album ‘Remixes 81-04’ via Mute Records

http://www.depechemode.com/

A playlist of over 130 Classic 12 Inch Versions has been assembled at https://open.spotify.com/playlist/1cKyepTy06g7I91JaV1row

Text by Chi Ming Lai with thanks to Rob Grillo and Rob Harris
5th October 2015

25 SYNTH SINGLES THAT SHOULD HAVE BEEN HITS

3 January 2015 / electricityclub

The late Ronnie Peterson has been acknowledged as one of the fastest Grand Prix drivers of all time, yet he was never crowned World Champion.

Statistics can often not be a good indicator of quality and so it is that sometimes, a great single never actually attained the sales recognition it deserved. This could have been due to timing, lack of interest from a fickle music buying public or even a saturated market.

While some of these lost singles do get forgotten, many become live standards and firm fan favourites. So here are 25 singles from predominantly established acts, or collectives featuring figures who are now well known in the music scene, that did not reach the UK Top 40 Singles Chart. Due to the sheer numbers of songs that are eligible, a cut-off point has been made for when CD singles started to become the norm around 1990.

After much deliberation, it was decided to leave out the work of ASSOCIATES as a number of their songs that would have been contenders for this list were featured in ELECTRICITYCLUB.CO.UK’s own Beginner’s Guide To Billy MacKenzie. There are of course, several other notable omissions, but this list could go on forever…

So with a restriction of one single per artist moniker, the list is presented in chronological order by year, and then alphabetically…

THE HUMAN LEAGUE Empire State Human (1979)

It seems unbelievable now that this extremely catchy single failed to be a big hit in an era when synthesizers were being accepted by the wider record buying public. After all, both SPARKS and TUBEWAY ARMY had entered the Top 20 with their Moog assisted ditties. In hindsight though, Colin Thurston’s production did sound comparatively thin next to ‘The Number One Song in Heaven’ and ‘Are Friends Electric?’. Despite a timely re-release in 1980, ‘Empire State Human’ only reached a high of No62.

Available on THE HUMAN LEAGUE album ‘Reproduction’ via Virgin Records

http://www.thehumanleague.co.uk

LORI & THE CHAMELEONS Touch (1979)

THE CHAMELEONS (not to be confused with the cult Manchester band) were actually Zoo Records supremos Bill Drummond of THE KLF fame and country house resident Dave Balfe who played keyboards with THE TEARDROP EXPLODES. On the beautifully sequenced ‘Touch’, art school student Lori Lartey innocently told of her holiday romance in Tokyo. It spent one week at No70 when re-issued on Sire Records. There was to be just one more single entitled ‘The Lonely Spy’.

Available on the compilation album ‘North By North West’ (V/A) via Korova Records / Warner Music

http://www.penkilnburn.com/

JAPAN Gentlemen Take Polaroids (1980)

After three albums with Ariola Hansa, JAPAN decamped to Virgin Records and reached No60 with ‘Gentlemen Take Polaroids’, their first single release on the label. This should have been considered a promising success, but much more was expected as the band were already playing huge venues such as The Bukodan in Tokyo. It would not be until Autumn 1981 following a cash-in release of ‘Quiet Life’ by their former label that David Sylvian and Co. were to become regular singles chart fixtures.

Full length version available on the JAPAN album ‘Gentlemen Take Polaroids’ via Virgin Records

http://www.nightporter.co.uk

ROBERT PALMER Johnny & Mary (1980)

The suave Mr Palmer took an interest in synths having become a fan of GARY NUMAN and JAPAN. ‘Johnny & Mary’ was a beautifully world weary number that hit a high of No44. Palmer was to later have massive success with a more rock flavoured sound while his bank balance was enhanced when ‘Johnny & Mary’ was covered for the ‘Papa et Nicole’ Renault adverts. Bryan Ferry’s reinterpretation with Todd Terje exposed a twilight years scrutiny on the lyrics which sadly, Palmer himself was never able to do….

Available on the ROBERT PALMER album ‘Clues’ via Island Records / Universal Music

http://www.robertpalmer.com/

SIMPLE MINDS I Travel (1980)

SIMPLE MINDS were signed to Arista Records between 1979-1980 and like JAPAN, they were met with indifference by their label. ‘I Travel’ was their penultimate single at Arista who threw in a free blue flexidisc featuring ‘Kaleidoscope’ and ‘Film Theme Dub’ as a sweetener to early purchasers. But despite airplay from Rusty Egan at The Blitz Club where its futuristic frenzy was highly welcomed, ‘I Travel’ did not make any chart impact. Arista’s 1982 cash-in reissue of ‘I Travel’ disappeared without trace…

Available on the SIMPLE MINDS album ‘Celebrate: The Greatest Hits’ via Virgin Records

http://www.simpleminds.com

ULTRAVOX Passing Strangers (1980)

Things were heading in the right direction for the Mk2 line-up of ULTRAVOX following ‘Sleepwalk’ getting to No29 in the UK chart. Built around a more synth rock structure, ‘Passing Strangers’ had the makings of a bigger hit with a great chorus and a sympathetic environment in which THE HUMAN LEAGUE and DEPECHE MODE were also managing to break through. But the single stiffed at No57 and it would take the massive surprise success of ‘Vienna’ in early 1981 to truly establish ULTRAVOX as a chart force.

Available on the ULTRAVOX album ‘The Collection’ via EMI Records

http://www.ultravox.org.uk

OUR DAUGHTER’S WEDDING Lawnchairs (1981)

New York trio OUR DAUGHTER’S WEDDING were one of the new synthpop acts to emerge following Synth Britannia from across the Atlantic and their best known song ‘Lawnchairs’ was a frantic mechanised combination of OMD and GARY NUMAN. Despite gaining regular radio play in the UK, its chart summit was No49. The trio later re-recorded ‘Lawnchairs’ with a more conventional live drum sound, but this template totally took the charm out of the song!

Available on the OUR DAUGHTER’S WEDDING album ‘Nightlife – The Collection’ via EP Music

http://www.synthpunk.org/odw/

SOFT CELL Memorabilia (1981)

Produced by Daniel Miller, ‘Memorabilia’ borrowed heavily from CERRONE’s ‘Supernature’ and the funky overtures of James Brown. Released as a 12 inch single in March 1981 but relegated to B-side status on the edited 7 inch format where ‘A Man Could Get Lost’ was the A-side, Almond recalled a list of trashy souvenirs over a linear dance track that were also metaphors for stalking. Dark yet danceable, despite not being a hit, ‘Memorabilia’ would later become citied as an influential proto-house classic.

Available on the SOFT CELL album ‘The Very Best Of’ via Phonogram / Universal Music

http://www.marcalmond.co.uk

BLANCMANGE Feel Me (1982)

If Ian Curtis had joined TALKING HEADS, then it might have sounded like this. “On reflection, I always thought it was more David Byrne than Ian Curtis but, there was never any intention” recalled Neil Arthur in 2013, “We hired a Roland Jupiter 8, an ARP sequencer and a Korg MS20 plus a Linn LM-1 which Stephen Luscombe and I programmed up” . Reaching No46, ‘Feel Me’ always had untapped hit potential as FAITHLESS’ reworking using Arthur’s vocals proved.

Available on the BLANCMANGE album ‘Happy Families’ via Edsel Records

http://www.blancmange.co.uk

THOMAS DOLBY Europa & The Pirate Twins (1982)

With its thundering Simmons drums and glistening synth riff, ‘Europa & The Pirate Twins’ was based on a real life romance of Dolby’s: “I had a girlfriend and we used to fantasise that after the apocalypse, wherever we were, we would meet up on this beach in East Anglia where I grew up… I always thought she’d end up being this big movie star or something”. Alas the single was not a Top40 hit, but the song entered the wider consciousness when its intro was used as the theme to BBC Radio1 show ‘Saturday Live’.

Available on the THOMAS DOLBY album ‘The Golden Age Of Wireless’ via EMI Records

http://www.thomasdolby.com

HEAVEN 17 Let Me Go (1982)

Glenn Gregory and Martyn Ware often cite ‘Let Me Go’ as their favourite HEAVEN 17 song. Propelled by a funky Roland TB303 Bassline in the days before it was hijacked by Acid House, ‘Let Me Go’ had hit written all over it, but stalled at No41. But in a competitive Autumn ‘82 for new releases, even songs that were to become international hits like THOMAS DOLBY’s ‘She Blinded Me With Science’ and EURYTHMICS’ ‘Love Is A Stranger’ (on its initial release) were having difficulties getting into the Top40 as well.

Available on the HEAVEN 17 album ‘The Luxury Gap’ via Virgin Records

http://www.heaven17.com

THE TEARDROP EXPLODES Tiny Children (1982)

Trip-poppers TX may not have been a synthesizer driven group as such, but this marvellously haunting ballad was layered in Prophet5 courtesy of Dave Balfe while Julian Cope sounded like a distressed little boy, lost in his sunshine playroom. Mercury Records probably thought ‘Tiny Children’ would be a hit following the success of JAPAN’s ‘Ghosts’ but released in June 1982, the sonic chill reminiscent of Copey’s hero Scott Walker was not what people were wanted to hear as they prepared for their summer holidays!

Available on THE TEARDROP EXPLODES album ‘The Greatest Hit’ via Mercury / Universal Music

https://www.headheritage.co.uk/

TEARS FOR FEARS Suffer The Children (1982)

It’s now strange to think that when TEARS FOR FEARS first appeared, they were trying to emulate OMD. ‘Suffer The Children’ took inspiration from Curt Smith and Roland Orzabal de la Quintana’s interest in Primal Scream therapy while musically, it recalled McCluskey and Humphreys’ ‘Pretending To See The Future’ but with more guitar. The child-like refrain by Ozabal’s wife within the bridge and coda would have actually sounded like an OMD hookline had it been played on synth.

Available on the TEARS FOR FEARS deluxe album ‘The Hurting’ via Mercury / Universal Music

http://tearsforfears.com/

VISAGE Pleasure Boys (1982)

In Autumn 1982, VISAGE were in a state of limbo following the departure of Midge Ure. But with John Luongo who had remixed ‘Night Train’ on board, the remaining quartet of Steve Strange, Rusty Egan, Billy Currie and Dave Formula plus new bassist Steve Barnacle explored New York electro. ‘Pleasure Boys’ was hard and aggressive with lyrics full of hedonism. But the New Romantic audience had moved on and sales were only enough for it to get to No44.

Full length dance mix version available on the VISAGE album ‘The Face – The Best Of’ via Universal Music

http://www.visage.cc/

DEAD OR ALIVE Misty Circles (1983)

Have courted the major labels for some time, DEAD OR ALIVE finally settled on Epic Records and unleashed this vicious slice of electro gothic disco in ‘Misty Circles’ as their first single release for them. Featuring guitars from a soon to be sacked Wayne Hussey, who went on to join THE SISTERS OF MERCY and then form THE MISSION, ‘Misty Circles’ had a highly unusual sound produced by Zeus B Held that was initially far darker than the romping Hi-NRG that DEAD OR ALIVE were later to have hits with.

Full length version available on the DEAD OR ALIVE album ‘Evolution’ via Epic Records / Sony Music

http://www.deadoralive.net/

JOHN FOXX Endlessly (1983)

By 1983, JOHN FOXX had moved away from pure electronic music and was now listening to both SIMPLE MINDS and U2. His third solo album ‘The Golden Section’ took on a more pop oriented slant under the auspices of producer Zeus B Held ‘Endlessly’ was initially released in 1982 as a moody Linn drum heavy psychedelic romp and failed to chart. But for the new version, thundering sequencers, Simmons drums and a danced up euphoria were added… however, it still failed to be a hit.

Available on the JOHN FOXX album ‘The Golden Section’ via Esdel Records

http://www.metamatic.com

OMD Telegraph (1983)

‘Electricity’ would have been a hit had its sales not been spread over three separate releases with three different recorded versions between 1979-80. ‘Telegraph’ was Andy McCluskey’s angry metaphoric attack on religious fundamentalism in the United States, but considered to be the most commercial track on OMD’s brave but critically panned nautical adventure ‘Dazzle Ships’. With an infectious synth melody, what was there not to like? But OMD’s audience had diminished by this time and it only got to No42.

Available on the OMD album ‘Dazzle Ships’ via Virgin Records

http://www.omd.uk.com

TALK TALK My Foolish Friend (1983)

Brilliantly produced by Rhett Davies who was best known for his slick touches on ROXY MUSIC’s ‘Avalon’, ‘My Foolish Friend’ was the last TALK TALK song to feature contributions from their original keyboardist Simon Brenner. Released in the interim between ‘The Party’s Over’ and ‘It’s My Life’ albums as a single, Mark Hollis was in wonderfully miserable mode over a dramatic synthesized backdrop. The single became lost when it only reached No57 and was not included on the ‘It’s My Life’ long player.

Available on the TALK TALK album ‘Asides Besides’ via EMI Music

http://www.spiritoftalktalk.com

THE BLUE NILE Tinseltown In The Rain (1984)

A classic song that sounded like THE PSYCHEDELIC FURS fronting OMD, ‘Tinseltown In The Rain’ is regarded as THE BLUE NILE’s signature tune. From the album ‘A Walk Across The Rooftops’ that was released as part of a deal with hi-fi manufacturer Linn Products to showcase their flagship Sondek LP12 turntable, the gorgeous melancholy of ‘Tinseltown In the Rain’ had an understated quality that ensured the trio’s sporadic releases over the next 20 years were eagerly anticipated by the musical cognoscenti.

Full length version available on THE BLUE NILE album ‘A Walk Across The Rooftops’ via Virgin Records

http://www.thebluenile.net

CHINA CRISIS Arizona Sky (1986)

Liverpudlian combo CHINA CRISIS are probably the most under rated band of their generation. Lyrically inspired by an artificially assisted gondola ride in Venice, ‘Arizona Sky’ was one of their many singles which deserved greater recognition. The nucleus of Gary Daly and Eddie Lundon usually managed at least one hit per album but with the wonderful ‘Arizona Sky’, it was not to be. It settled at No47 despite the song’s brilliant singalong chorus, infectious synthesized textures and catchy “bop-bop-be-doo-dah” refrain.

Full length version available on the CHINA CRISIS album ‘Wishful Thinking: The Very Best Of’ via Universal Music

https://www.facebook.com/pages/China-Crisis/295592467251068

ERASURE Oh L’Amour (1986)

“Why are they doing a DOLLAR song?” someone was overheard at their first visit to an ERASURE concert. And this ultimately sums up why ‘Oh L’Amour’ should have been a massive hit. Its now highly collectable ‘Thomas The Tank Engine’ cover had to be withdrawn due to copyright infringement and wouldn’t have helped availability. However, it should be noted that the original artwork does not actually feature Thomas The Tank Engine, but two incidental characters from the Reverend W Audrey’s famous books!

Available on the ERASURE album ‘Always – The Very Best Of’ via Mute Records

http://www.erasureinfo.com

NEW ORDER Bizarre Love Triangle (1986)

One of NEW ORDER’s best loved tunes, ‘Bizarre Love Triangle’ only reached No56 in the UK Chart as a single. However, the version released for 45 RPM consumption was an irritating, dance enhanced remix by Shep Pettibone which took all the subtlety out of the song with its collage of overdriven percussive samples. Far better and much more commercial was an at-the-time unreleased remix by Stephen Hague which later formed the basis of the ’94 version on ‘(the best of)’ compilation.

Available on the NEW ORDER album ‘Singles’ via Rhino Records

http://www.neworder.com

ACT Snobbery & Decay (1987)

It was the height of Thatcherism and the Synclavier driven theatrics of ‘Snobbery & Decay’ were a sharp observation by Claudia Brücken and Thomas Leer on the state of the nation. However, the UK were not yet ready for an Anglophile German to tell them about its political decline… “No sadly they didn’t” remembered Claudia Brücken in Summer of 2010, “perhaps it was just not the right moment for this song… Thomas does think that perhaps we were ahead of our time”.

Available on the CLAUDIA BRÜCKEN album ‘ComBined – The Best Of’ via Salvo / Union Square Records

http://www.claudiabrucken.co.uk

KRAFTWERK The Telephone Call (1987)

The last single featuring the classic RFWK line-up, ‘The Telephone Call’ was the most immediate track on the disappointing ‘Electric Cafe’ album. Featuring lead vocals from Karl Bartos, despite the abundance of digital synthesis and sampling, ‘The Telephone Call’ still had all the usual Kling Klang hallmarks such as pretty melodies, syncopated rhythms and slightly off-key singing to make this to ‘Electric Cafe’ what ‘Computer Love’ was to 1981’s ‘Computer World’ opus.

Available on the KRAFTWERK album ‘Techno Pop’ via Mute Records

http://www.kraftwerk.com

CAMOUFLAGE The Great Commandment (1988)

In today’s world, DEPECHE MODE influenced acts are common place but in 1989, this was highly unusual. Taking ‘Some Great Reward’ as their template, CAMOUFLAGE developed on the industrial flavoured synthpop of ‘Master & Servant’ and ‘People Are People’ which the Basildon boys had all but abandoned from ‘Black Celebration’ onwards. ‘The Great Commandment’ was probably the best single DM never recorded but while it was a hit in Europe and the US, it made no impression in Britain.

Available on the CAMOUFLAGE album ‘The Singles’ via Polydor Records / Universal Music

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

Text by Chi Ming Lai
3rd January 2015, updated 15th April 2018

Tag: Dead Or Alive (Page 3 of 3)

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