Tag: Jean-Michel Jarre (Page 9 of 9)

A Beginner’s Guide To JEAN-MICHEL JARRE

9 April 2015 /

Photo by Constantin Mashinsky

With the announcement of a brand new album by Jean-Michel Jarre, his first since ‘Téo & Téa’ in 2007, the time is right to re-evaluate his vast symphonic catalogue.

The long awaited, as-yet-untitled new album is rumoured to include collaborations with YELLO, TANGERINE DREAM and MASSIVE ATTACK as well as Gary Numan, Little Boots, Moby and Vince Clarke.

Born 1948 in Lyon, his father was the Oscar winning composer Maurice Jarre, whose iconic works included ‘Lawrence of Arabia’, ‘Doctor Zhivago’ and ‘Grand Prix’. Although his father left the family home when he was 5 years old, his maternal grandfather was to prove highly influential in his musical development. While he studied classical piano, his mother would take him to jazz clubs where he became aware of how music could be “descriptive, without lyrics”. Like any inquisitive teenager, he began to experiment with his music.

The young Jean-Michel’s further programmes of study at the Lycée Michelet, with Jeannine Rueff of the Conservatoire de Paris and Karlheinz Stockhausen in Cologne allowed him to develop his interest in musique concrete and painting. He understood that “for the first time in music, you could act as a painter with frequencies and sounds”. His imagination inspired him to unite the two artistic approaches.

Meanwhile, his interest in synthesizers began in 1969 when he was introduced to the Moog Modular while working with the Groupe De Recherches Musicales. This was to prove key to his future musical direction. He made his first synth purchases, the EMS VCS 3 and EMS Synthi AKS, which at that time were probably the two most affordable instruments on the European market.

His first commercial release was ‘La Cage’, an avant garde mixture of harmony, tape effects and synthesizers while his first solo album ‘Deserted Palace’ emerged in1972. But it was while working as a jobbing musician on soundtracks, adverts and ballet commissions that he was to discover his forte and sound. The young musician recorded a cover version of Gershon Kingsley ‘Popcorn’ under the moniker of POP CORN ORCHESTRA in 1973. It was a fairly faithful rendition but was to prove inspiring as when working on his first proper full length electronic album in 1976, Jarre adapted a melodic phrase from ‘Popcorn’. It was to become the main theme of what was to be the project’s lead single ‘Oxygène Part 4’. It was an international hit and the subsequent success of the parent album made Jean-Michel Jarre a household name…

With his synthesized symphonies, Jean-Michel Jarre has helped popularise electronic music. He has also set the standard in live presentations with his huge laser and pyrotechnic assisted extravaganzas, the first of which was a performance in 1979 to a million people at the Place De La Concorde.

With the breadth of his influence in all aspects of electronica, he could even be considered the Godfather of Trance with the dreamlike qualities of his music omnipresent in that particular dance sub-genre. But what compositions would serve as a Beginner’s Guide to his work? Here are 18 examples that while not all his outright best, traces the story of his tremendous and innovative career…

JEAN-MICHEL JARRE Oxygène Part 2 (1976)

The ‘Oxygène’ album was a glorious six part work and its first side centrepiece was a perfectly progressive spacey romp with pulsing sequences, Eminent strings, Mellotron choir and AKS waves, all set to a swung Minipops backbeat. At over 8 minutes, this elegant masterpiece could often be heard soundtracking documentaries on the universe. It actually got a three minute edit for single release in France, but it was like watching a film with the first and final reels missing.

Available on the album ‘Oxygène’ via Sony Music

JEAN-MICHEL JARRE Equinoxe Part 4 (1978)

With layers of pulsing Matrisequences driven by the custom made Geiss Rhythmicomputer, this highlight from ‘Equinoxe’ has often been remembered for what appears to sound like synthetic alarm clocks bridging the chilling string machine and fabulously brassy chorus melody before blocks of neo-gothic grandeur punctuated the closing phase. While it did not sell as well as its predecessor, ‘Equinoxe’ confirmed Jarre was not to be just a one-hit wonder.

Available on the album ‘Equinoxe’ via Sony Music

JEAN-MICHEL JARRE The Last Rumba (1981)

‘Les Chants Magnetiques’ aka ‘Magnetic Fields’ was Jarre’s first LP to utilise the Fairlight CMI which allowed him to absorb some musique concrete ideas such as water splashing and hydraulic train doors into his compositions. But to finish was ‘The Last Rumba’, which did what it said on the tin. Although the fifth part of the album, it was incongruous with its metallic textures. Very much a marmite track, it was good fun although would be considered a bonus track today.

Available on the album ‘Magnetic Fields’ via Sony Music

JEAN-MICHEL JARRE & THE PEKING CONSERVATOIRE SYMPHONY ORCHESTRA Fishing Junks At Sunset (1982)

As the first Western rock musician to be invited to play live in China, Jarre took the opportunity to work with local musicians to add a traditional flavour to his music. ‘Fishing Junks at Sunset’ used centuries old instrumentation alongside a Fairlight to provide a wondrous travelogue that captured the heart of Communist China opening its heart to the world. Incidentally, Jarre’s now iconic Laser Harp was premiered on stage during this cultural visit.

Available on the album ‘The Concerts In China’ via Sony Music

JEAN-MICHEL JARRE Music For Supermarkets Part 4 (1983)

Jarre protested at the “silly industrialisation of music” with an album pressed in a limited edition of one! ‘Music For Supermarkets’ was created for the ‘Supermarché’ art exhibition, before being auctioned off as an art piece itself. Jarre allowed Radio Luxembourg to play it uninterupted and called for fans to “tape it”. It sold for 70,000 francs and the master was burned in the presence of a bailiff; ‘Part 4’ morphed into ‘Blah Blah Café’ on ‘Zoolook’.

Reworked version available on the album ‘Zoolook’ via Sony Music

JEAN-MICHEL JARRE Ethnicolor (1984)

With the capabilities of the Fairlight creating an instrumental palette all of its own, the best single piece of its type was undoubtedly Jarre’s ‘Ethnicolor’. Using voices sampled from a variety of multilingual sources, it turned into a blast of ethnic funk after 7 minutes courtesy of bassist Marcus Miller and drummer Yogi Horton syncopating off an overdriven LinnDrum. With the surreal guitar textures of Adrian Belew, Jarre’s band experiment was a triumph.

Available on the album ‘Zoolook’ via Sony Music

JEAN-MICHEL JARRE Ron’s Piece (1986)

A poignant composition, ‘Ron’s Piece’ aka ‘Last Rendez-Vous’ had been written as part of NASA’s 30th Anniversary celebrations for astronaut Ron McNair, also a jazz saxophonist, to play and record aboard the space shuttle ‘Challenger’. Sadly, this did not happen, but a huge outdoor show in Houston went ahead as planned, with Grammy Award winning musician Kirk Walhum taking the place of McNair in an emotional tribute. On the album itself, the sax was played by Pierre Gossez.

Available on the album ‘Rendez-Vous’ via Sony Music

JEAN-MICHEL JARRE Moon Machine (1986)

A one-off track that was released as a B-side to the original 12 inch single edition of ‘Fourth Rendez-Vous’, this mechanical percussive experiment with industrial overtones was something of a departure for the Frenchman. Using rhythm more than obvious melodies, it gained something of a cult following in club circles with journalist John McCready often including it in his DJ sets alongside Giorgio Moroder’s ‘The Chase’.

Available on the album ‘Images – The Best Of’ via Sony Music

JEAN-MICHEL JARRE & HANK MARVIN London Kid (1988)

‘Revolutions’ was possibly the least satisfying of Jarre’s many musical adventures, other than perhaps ‘Sessions 2000’. By now, Jarre was a big live draw and his huge audio visual extravaganzas lit up cityscapes like a giant tourist advert. It was as if the concert was now the reason for the album. Recorded to coincide with the ‘Destination Docklands’ live debacle, ‘London Kid’ featuring the distinctive twangy guitar of Hank Marvin, was the disappointing long player’s only real highlight.

Available on the album ‘Revolutions’ via Sony Music

JEAN-MICHEL JARRE Waiting For Cousteau (1991)

A tribute to Jacques Cousteau, the ‘Waiting For Cousteau’ opus was a mixed bag, featuring a three-part Caribbean flavoured romp named after the French oceanographer’s nautical vessel ‘Calypso’ and the title track’s lengthy environmental exploration. It confused audiences who cruelly nicknamed it “Waiting For Music”. An ambient excursion with no rhythmical elements, the shimmers and minimal piano provided a highly relaxing piece that remains Jarre’s most underrated work.

Available on the album ‘Waiting For Cousteau’ via Sony Music

JEAN-MICHEL JARRE Chronologie Part 6 (1993)

‘Chronologie’ was Jarre’s flirtation with techno. A mix of old analogues such as the ARP 2600 and Minimoog sat with the digital kit like the Roland JD-800 and the Kurzweil K2000. The results were mixed and at times sounded 808 STATE with sampled scratching thrown in! ‘Chronologie Part 4’ captured some of the past glories, but another was the sixth part which recalled ‘Equinoxe Part 4’, but was more frantic with its melodic pulsing sequences, layered strings and Gallic accordion counterpoints.

Available on the album ‘Chronology’ via Sony Music

JEAN-MICHEL JARRE Oxygène 7 (1997)

Jarre finally gave what many had wanted for years, a second instalment to ‘Oxygène’. Digging out synths such as the VCS3, AKS and ARP2600, Jarre relished the limitations placed upon him by the vintage equipment. Many of the resultant tracks had more soul than much of ‘Revolutions’ or ‘Waiting For Cousteau’. The opening track featured the subtle 6/8 Minipops drive of ‘Oxygène Part 2’ and crossed it with the melodic spectre of Vangelis’ closing title theme for ‘Blade Runner’.

Available on the album ‘Oxygène 7-13’ via Sony Music

JEAN-MICHEL JARRE & APOLLO 440 Rendez-Vous 98 (1998)

Jarre’s lead single for ‘Rendez-Vous’ was reworked into a danced up  epic with APOLLO 440 for ITV’s coverage forthe 1998 World Cup in France. 12 years on, the catchy theme blended in well with more frantic beats to entice the football crowd who had latched onto acts such as THE CHEMICAL BROTHERS and UNDERWORLD. It was also featured as a bonus in a collection of club oriented remixes of the second ‘Oxygène’ installment.

Available on the album ‘Odyssey Through O2’ via Sony Music

JEAN-MICHEL JARRE Hey Gagarin (2000)

‘Metamorphoses’ was considered as Jarre’s first true vocal album, although most of the toplines came from vocodered phrases or guest vocalists such as Natacha Atlas on the alluring ‘C’est La Vie’. ‘Hey Gagarin’ was a tribute to the first man in space and actually featured Jarre’s whispered voice and well as his treated larynx. The track itself lifted-off, orbited and re-entered marvellously with a variety of sequences and dance friendly beats in the manner of Giorgio Moroder.

Available on the album ‘Metamorphoses’ via Sony Music

JEAN-MICHEL JARRE Geometry Of Love Part 1 (2003)

Only released in limited quantities in France, ‘Geometry Of Love’ was commissioned by club entrepreneur Jean-Roch as a soundtrack for his ‘VIP Room’. Featuring a more chill-out vibe as opposed to ambient, ‘Geometry Of Love Part 1’ was not unlike a PET SHOP BOYS instrumental. With its stuttering beat, it was much better than any of the best forgotten jazz odyssey excursions on ‘Sessions 2000’ which had come out the previous year.

Available on the album ‘Geometry Of Love’ via Sony Music

JEAN-MICHEL JARRE Aerology (2004)

From a compilation to present the best known of Jarre’s work remixed in 5.1 surround sound via the DVD Audio format, the collection included three new tracks themed around the collection’s title. ‘Aerology’ was floaty and trancey, embellished by tinkling piano in the manner of Robert Miles whose work Jarre had clearly influenced. There was also a sympathetic, if not wholly obvious four-to-the-floor vibe.

Available on the album ‘Aero’ via Disques Dreyfus

JEAN-MICHEL JARRE Téo & Téa (2007)

After ‘Sessions 2000’ and ‘Geometry Of Love’, ‘Téo & Téa’ was a largely good uptempo album that utilised modern hardware synths like the Minimoog Voyager and Virus Polar. However, it baffled fans who were still eagerly waiting the third instalment of the ‘Oxygène’ story. A full-on dance floor adventure in the manner of ATB and Paul Oakenfold was perhaps not what Jarre’s followers were expecting, but it proved that he was not standing still if nothing else.

Available on the album ‘Téo & Téa’ via Warner Music

JEAN-MICHEL JARRE La Cage – VITALIC RMX (2010)

‘Essentials & Rarities’ saw Jarre’s earlier work anthologised in the digital domain for the first time alongside his recognised classics. With it as bonuses came reinterpretations of this material by VITALIC, best known for his club favourite ‘Le Rock 01’. His reworking of Jarre’s percussive and experimental first release ‘La Cage’ united the generations of electronic music approaches.

Available on the album ‘Essentials & Rarities’ via Disques Dreyfus

‘Glory’ with M83 is released as a download single by Sony Music on 18th May 2015

Jean-Michel Jarre’s new album is expected to be released sometime in 2015

http://jeanmicheljarre.com/

https://www.facebook.com/jeanmicheljarre

http://jarreuk.blogspot.co.uk/

https://twitter.com/jeanmicheljarre

Text by Chi Ming Lai
9th April 2015

25 SYNTH INSTRUMENTALS OF THE CLASSIC ERA

13 August 2013 /

1972’s ‘Popcorn’ could arguably be seen as Europe’s first electronic pop hit.

Made famous by HOT BUTTER, they were actually a combo of session players led by Stan Free who had been a member of FIRST MOOG QUARTET with ‘Popcorn’ composer Gershon Kingsley. It was largely considered a novelty record but it inspired many cover versions throughout the world including France where it was a No1.

There, one came courtesy of a young musician named Jean-Michel Jarre who recorded ‘Popcorn’ under the moniker of THE POPCORN ORCHESTRA. While working on his first proper full length electronic album in 1976, Jarre adapted a melodic phrase from ‘Popcorn’ as the main theme of what was to become the project’s lead single. That composition was ‘Oxygène IV’ and the rest is history.

After ‘Oxygène IV’ became a Top 5 hit in the Autumn of 1977, the synth instrumental became a popular medium, even spawning budget covers albums such as ‘Synthesizer Hits’ and ‘Synthesizer Gold’.

But coinciding with accessibility of affordable synthesizers, instrumentals were seen by some as a cop out for a B-side or album filler. A bridge between pop and experimentation, these tracks were actually an artform of their own and many would become cult favourites among enthusiasts who understood that music did not necessarily need words to convey an emotive atmosphere or make people dance.

However today, it does appear to be a dying art with some musicians not understanding that formless noodling, club racketfests or tracks in which the vocalist appears to have forgotten to sing don’t quite cut it. So here are twenty five other instrumentals from the classic era when the synth went mainstream and discerning listeners looked forward to an imaginative wordless wonder.

This chronological by year, then alphabetical list however has a restriction of one track per artist and features no tracks that use a repeated vocal phrase as a topline, thus excluding most recordings by KRAFTWERK! And if you’re wondering where GIORGIO MORODER is, his work was covered recently in his own Beginner’s Guide to him…

NEU! Isi (1975)

By 1975, NEU! had broken into two artistic factions with Michael Rother and Klaus Dinger unable to agree a direction for their new album. So they divided its space with the manic Dinger piloting his rambling proto-punk of side two and the more sedate and thoughtful Rother directing the less jarring first side. ‘Isi’ was a wonderful synthesizer and piano instrumental that was still driven by a motorik beat but less dominantly Apache.

Available on the album ‘Neu! 75’ via Gronland Records

http://www.neu2010.com/

KRAFTWERK Franz Schubert (1977)

Effectively the closing track on KRAFTWERK’s iconic ‘Trans Europe Express’ album, this neo-classical piece was eerily emotive with its combination of Vako Orchestron string ensemble over some gentle Synthanorma Sequenzer pulsing. The haunting elegance of ‘Franz Schubert’ was like Ralf Hütter had been possessed by the ghost of the great German composer, reflecting the art of his melodic and harmonic intuition.

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

http://www.kraftwerk.com/

SPACE Magic Fly (1977)

SPACE was the brainchild of Didier Marouani who went under the pseudonym Ecama and formed the collective with Roland Romanelli, and Jannick Top. With compatriot Jean-Michel Jarre and a certain Giorgio Moroder also in the charts, the space disco of the iconic ‘Magic Fly’ heralded the start of a new European electronic sound within the mainstream. With its catchy melody and lush, accessible futurism, ‘Magic Fly’ sold millions all over the world.

Available on the album ‘Magic Fly’ via Virgin France

http://fr.space.tm.fr/

JAPAN The Tenant (1978)

Inspired by the grim Roman Polanski film, ‘The Tenant’ signalled the Lewisham combo’s move away from funk rock into artier climes. A merging of the second side of David Bowie’s ‘Low’ with classical composer Erik Satie, it saw Richard Barbieri play more with synthesizer and piano textures to create atmosphere while Mick Karn dressed the piece with his fretless bass rather than driving it. Karn’s burst of self-taught sax at the conclusion is also quite unsettling.

Available on the album ‘Obscure Alternatives’ via Sony BMG Records

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

GARY NUMAN Airlane (1979)

For anyone who first became a fan of electronic pop during the Synth Britannia era, ‘Airlane’ was a key moment. As the opening track of ‘The Pleasure Principle’ and its subsequent concert tour, it was the calling card that literally announced “GARY NUMAN IS IN THE BUILDING”! Yes, Numan had done instrumentals before, but with its sparkling Polymoog riffs, ‘Airlane’ provoked excitement and anticipation.

Available on the album ‘The Pleasure Principle’ via Beggars Banquet

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

YELLOW MAGIC ORCHESTRA Rydeen (1979)

With their eponymous debut under their belt, YELLOW MAGIC ORCHESTRA fully found their technopop sound on ‘Solid State Survivor’. Written by drummer Yukihiro Takahashi, ‘Rydeen’ was a percussively colourful pentatonic tune filled with optimism and flair. This was the trio at their best as the later ‘Technodelic’ was a quite doomy, while their swansong ‘Naughty Boys’ was overtly mainstream.

Available on the album ‘Solid State Survivor’ via Sony Music

http://www.ymo.org/

JOHN FOXX Mr No (1980)

Armed with an ARP Odyssey, Elka string machine and Roland Compurhythm, John Foxx’s ‘Mr No’ was like a futuristic Bond theme or a signature tune for some space gangster. The mechanical giro was menacingly snake-like while the swirling chill invaded the speakers to prompt some almost funky robot dancing. The ‘Metamatic’ era track originally surfaced on the ‘No-One Driving’ double single pack with aother instrumental, the more sedate ‘Gilmmer’.

Available on the album ‘Metamatic’ via Edsel Records

http://www.metamatic.com/

THE HUMAN LEAGUE Gordon’s Gin (1980)

Written by Jeff Wayne for a cinema advert, THE HUMAN LEAGUE’s cover of ‘Gordon’s Gin’ kicks in like an commercial for Moloko Plus being sold at the Korova Milk Bar. Glorious and euphoric with futuristic sounds that weighed more than Saturn, Martyn Ware and Ian Craig Marsh left the band shortly after to form a project named after an imaginary group from a scene in ‘A Clockwork Orange’ discussed by anti-hero Alex with a couple of devotchkas at the disc-bootick!

Available on the album ‘Travelogue’ via Virgin/EMI Records

http://martynwareblog.blogspot.co.uk/

ULTRAVOX Astradyne (1980)

Of ‘Astradyne’, Billy Currie said: “Midge started with that strong melody, Chris’ bass was also a very strong feature. I played a piano counter melody behind. The track was so strong that we felt at ease to lengthen it with a long textural piano bit that is sort of bell-like with the metronomic bass drum beats and the violin tremolo solo… Midge came up with that final section lift taking it out of the long ARP solo. I double it! It is a very good strong keyboard part. It is very celebratory at the end…”

Available on the album ‘Vienna’ via Chrysalis/EMI Records

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

DEPECHE MODE Big Muff (1981)

One of two Martin Gore compositions on the Vince Clarke dominated DEPECHE MODE debut ‘Speak & Spell’, ‘Big Muff’ was a fabulous highlight on the album’s more superior second side. Highly danceable and enjoyably riff laden, this futuristic romp was named after an effects pedal made by Electro-Harmonix who later branched into portable synths. It allowed many a synth obsessed teenager to declare “I like big muff” without embarrassment!

Available on the album ‘Speak & Spell’ via Mute Records

http://www.depechemode.com/

SIMPLE MINDS Theme For Great Cities (1981)

Even with the advent of the free download era, ‘Theme for Great Cities’ is one of the greatest freebies of all time having initially been part of ‘Sister Feelings Call’, a 7-track EP given gratis to early purchasers of SIMPLE MINDS’ fourth album ‘Sons & Fascination’. Starting with some haunting vox humana before a combination of CAN and TANGERINE DREAM takes hold, the rhythm section covered in dub echo drives what is possibly one of the greatest instrumental signatures ever!

Available on the album ‘Sons & Fascination/Sister Feelings Call’ via Virgin/EMI Records

http://www.simpleminds.com

VISAGE Frequency 7 – Dance Mix (1981)

Not actually written as an instrumental, the original was the B-side of VISAGE’s first single ‘Tar’ and much faster paced, featuring Steve Strange rambling about not very much. For its dance mix, ‘Frequency 7’ was slowed down and Strange’s vocal removed. The result was a masterclass in Barry Adamson’s bass counterpointing with Billy Currie’s ARP Odyssey bursts of screaming aggression and Rusty Egan’s metronomic electronic beats for a creepy robotic aesthetic.

Available on the album ‘The Anvil’ via Cherry Red

http://www.visage.cc/

BLANCMANGE Sad Day (1982)

There are two versions of this cult classic; a mutant countrified ambient piece based around the bassline of Brian Eno’s ‘The Fat Lady Of Limbourg’ from the ‘Some Bizzare Album’ and the lively Mike Oldfield inspired album version from ‘Happy Families’. Each has its merits but the percussively jaunty re-recording just wins over with its synthesized wallows, chiming guitars and crashing Simmons drums.

Available on the album ‘Happy Families’ via Edsel Records

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

DRAMATIS Pomp & Stompandstamp (1982)

The hypnotic B-side to ‘Face on The Wall’ showcased the fusion of the classical, rock and prog elements that were the core talents of Chris Payne, RRussell Bell and CedSharpley who had been the mainstay of the first GARY NUMAN backing band. Not a cover of Edward Elgar’s near-namesake composition ‘Pomp & Circumstance’ , DRAMATIS‘ rousing number would however make a perfect closer for the Last Night Of The Proms in the 22nd Century!

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

http://www.numanme.co.uk/numanme/Dramatis.htm

A FLOCK OF SEAGULLS DNA (1982)

Technically, ‘DNA’ is not a really synth instrumental with the hook line being far too guitar oriented. However, it had a key role breaking down barriers for music with a more futuristic bent in synthobic America and snatched a 1983 Grammy Award for Best Rock Instrumental Performance. And for that, ‘DNA’ deserves kudos! A FLOCK OF SEAGULLS‘ cultural impact can be measured by leader Mike Score’s iconic hair style being lampooned in ‘The Wedding Singer’ and ‘Friends’.

Available on the album ‘A Flock Of Seagulls’ via Cherry Pop

https://www.facebook.com/MikeScoreOfficial/

SOFT CELL ….So (1982)

A solo Dave Ball composition that was on the B-side of ‘What?’, the tall, pensive synthesist created an electronic disco number while Marc Almond was off doing the first MARC & THE MAMBAS’ album that would have done GIORGIO MORODER proud. Reminiscent of the Italian producer’s ‘Chase’, ‘….So’ featured wonderful percolating synths over a fabulously danceable groove and a solid metronomic beat that required no additional vocal histrionics or energetics.

Available on the album ‘Non-Stop Erotic Cabaret’ via Mercury Records

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

CARE On A White Cloud (1983)

CARE was a short lived project comprising of soon-to-be main man of THE LIGHTNING SEEDS Ian Broudie and THE WILD SWANS’ vocalist Paul Simpson. Combining acoustic strums with synthesizer melodies, CARE had promise but imploded due to musical differences. ‘On A White Cloud’ was an epic instrumental with thundering percussion, castenets, ringing guitar and heavenly synthetic layers that appeared the 12 inch B-side of the duo’s best 45 ‘Flaming Sword’.

Originally released on the 12 inch single ‘Flaming Sword’ via Arista Records, currently unavailable

http://stevomusicman.wordpress.com/2011/11/10/care/

CHINA CRISIS Dockland (1983)

CHINA CRISIS recorded a variety of instrumental sketches and the results were often superb. But as the duo of Gary Daly and Eddie Lundon only had a couple of hits, most of this material was little heard having been tucked away on B-sides. ‘Dockland’ is a prime example having been the flip of the flop single ‘Working With Fire & Steel’. The sublime nautical transience inspired by Liverpool’s once vibrant docks lying wasted in a period of high unemployment was captivating.

Available on the album ‘Collection: The Very Best of China Crisis’ 2CD edition via Virgin Records

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

DURAN DURAN Tiger Tiger (1983)

‘Tiger Tiger’ is the best JAPAN instrumental that Sylvian and Co never recorded plus some would consider any DURAN DURAN track without a Simon Le Bon vocal to be a bonus. That aside, John Taylor and Nick Rhodes had more artier aspirations so indulged on this musical tribute to the William Blake poem. Taylor does a superb Mick Karn impersonation on fretless bass while Rhodes adds a great synth melody to proceedings.

Available on the album ‘Seven & The Ragged Tiger’ via EMI Records

http://www.duranduran.com/

THE ASSEMBLY Stop/Start (1984)

Strangely enough, Vince Clarke is not really known for his instrumentals. Co-composed with  Eric Radcliffe, ‘Stop/Start’ was effectively Clarke’s first instrumental as DEPECHE MODE’s ‘Any Second Now’ had a ‘(Voices)’ variant while YAZOO’s ‘Chinese Detectives’ was only played live. A Casiotone infused ditty with Linn drums and a cute melody, ‘Stop/Start’ was the B-side to THE ASSEMBLY’s only single ‘Never Never’.

Available on the boxed set ‘Mute: Audio Documents’ via Mute Records

http://www.vinceclarkemusic.com/

HOWARD JONES Tao Te Ching (1984)

Throwing off his mental chains, Mr Jones took inspiration from his own Buddhist spirituality and the overtures of Vangelis’ 1979 album ‘China’ for this rather beautiful piece which used to open his early shows. Using pentatonic melodies and sweeping chords on ‘Tao Te Ching’ in the style of Tomita and Kitaro, it’s a shame that this aspect of Jones’ quite obvious musical capabilities has never really been explored.

Available on the album ‘The Very Best Of Howard Jones’ via Warner Music

http://www.howardjones.com/

OMD Junk Culture (1984)

Inspired by a ‘Blade Runner’ sample, ‘Junk Culture’ was a reggae-ish number set to a bizarre time signature and signalled OMD’s move away from Germanic electronica. Still experimenting, only this time with more World Music forms thanks to the advent of sampling technology, the detuned Tijuana brass, deep dub bass and schizo voice snippets recalled the work of Jah Wobble, Holger Czukay and Jaki Liebezeit.

Available on the album ‘Junk Culture’ via Virgin Records

http://www.omd.uk.com

TEARS FOR FEARS Pharaohs (1985)

‘The Marauders’ and ‘Empire Building’ showed TEARS FOR FEARS were adept at instrumentals and their best was ‘Pharaohs’, the B-side of ‘Everybody Wants To Rule The World’. Launched with a crunchy 6/8 heartbeat, the sedate piano motif and drifting synths gave a distinctly nautical feel, enhanced by sound bites from the BBC shipping forecast. But out of nowhere, the middle eight Emulator voice theme from the A-side introduces its partnering chordial guitar solo!

Available on the album ‘Songs From The Big Chair’ 2CD deluxe edition

http://tearsforfears.com/

NEW ORDER Best & Marsh (1989)

This theme was composed in 1988 for the eight part Granada TV series hosted by Factory Records’ supremo Tony Wilson and featured two of Manchester’s most iconic club footballers, George Best and Rodney Marsh. With a great string synth melody, Hooky bass, clubby beats and Italo piano stabs, this prompted the FA to commision NEW ORDER to write ‘World In Motion’ for the 1990 World Cup, while the series allowed ‘Best & Marsh’ to embark on a popular speaking tour.

Available on the album ‘Technique’ 2CD Deluxe edition via London Records

http://www.neworder.com/

VANGELIS End Titles From Blade Runner (1989)

Dramatic, tense and melodic, Vangelis’ closing theme to the acclaimed 1982 Ridley Scott directed Sci-Fi movie ‘Blade Runner’ succeeded in orchestrating a score using just synths and samples to maintain the futuristic unsettlement of the story. However, the glorious track was not actually released until 1989 on the ‘Themes’ compilation, while an actual soundtrack album didn’t actually see the light of day until 1994.

Available on the album ‘Blade Runner’ via Warner Music

http://www.vangelisworld.com/

Text by Chi Ming Lai
13th August 2013

WE HOPE YOU ENJOY OUR NEW DIRECTION Some Not So Great Albums By Some Great Acts

18 April 2011 /

While opinion is totally subjective and in the mind of the beholder, in the same way that a footballer can occasionally fluff a shot, then a musician can also score their equivalent of an own goal.

The less than impressive albums on this list have generally been derided by both fans and critics. In most cases, these recordings were made by established acts with sure-fire reputations at the height of their career; or they were part of a much vaunted comeback.

But as can be expected with the highs and lows of the music industry, a number were produced during difficult periods in an artist’s creative dynamic following personnel changes or record company pressures. So in hindsight, poor results were often predictable and inevitable. However, based on the standards of their strongest work, most of the talents mentioned here should have known better.

But even in the face of informed criticism, some musicians can be terribly stubborn and unrepentant. Reacting to negativity surrounding his infamous ‘Metal Machine Music’ double album of feedback and electronic screeching, Lou Reed famously snorted: “if they don’t like it, they can go eat rat sh*t”! Oh well, would you like fries with your rat sh*t?

Inspired by the Q Magazine article ‘Can I Have My Money Back?’ from 1996, here are 20 of the better known creative blips, in alphabetical order. It should be noted that ELECTRICITYCLUB.CO.UK actually bought all but 5 of these albums, so make of that what you will!

KARL BARTOS Electric Music (1998)

Proof that pioneering geniuses lose their way once in a while. Following his ‘Esperanto’ album in 1993 with Lothar Manteuffel of RHEINGOLD under the moniker ELEKTRIC MUSIC which many accepted as a KRAFTWERK record in all but name, Karl Bartos went to work with Bernard Sumner and Johnny Marr on ELECTRONIC’s ‘Raise The Pressure’. He found the experience liberating and on his return, adopted the guitar for his next ‘Electric Music’ album.

Speaking in 2005, he said that when he started playing music as a teenager, it was in his bedroom with his guitar pretending to be Chuck Berry and this album was him getting back to all that. ‘Young Urban Professional’ was actually a song originally written for KRAFTWERK, but is turned into THE SMITHS’ ‘Hand In Glove’ with vocoder! ‘Sunshine’ is typical of the clumpy rock that marred NEW ORDER’s 2001 comeback ‘Get Ready’ while the rest of the album is pretty much the same. Only ‘Call On Me’ possesses any kind of spark as a song. Bartos himself described ‘Electric Music’ as an “exploration of the sound of the sixties – guitar pop out of the computer” and thanks Johnny Marr in the credits! Luckily, Bartos returned to synths and was back on form with 2003’s ‘Communication’, delivering a collection that showed his former cycling partners over at Kling Klang a thing or two.

Best track: ‘Call On Me’

‘Electric Music’ was originally released by SPV Records

http://www.karlbartos.com/

DEPECHE MODE Sounds Of The Universe (2009)

Following a return to form with ‘Playing The Angel’, much was expected of ‘Sounds Of The Universe’ when the band’s biggest world tour to date was announced in 2008. Unfortunately, the lacklustre ‘Exciter’ from 2000 appeared to be the musical template and the tracks that leaked were not particularly promising. The resultant album lacked spark, dynamics and creative tension. It was dreary mid-paced electro blues that dominated on this turkey.

The outstanding track from the sessions ‘Oh Well’ was a spicy uptempo Moroder-esque collaboration between Martin Gore and Dave Gahan but only appeared in the 4CD deluxe box set while the fact that the two best tracks on the main feature were a ballad voiced by Gore and a short instrumental said it all! But this became rather trivial when Gahan was diagnosed with a life threatening illness while on out on the road in Athens!

Best tracks: ‘Jezebel’, ‘Spacewalker’, ‘Oh Well’ (deluxe box set only)

‘Sounds Of The Universe’ was originally released by Mute Records

http://www.depechemode.com

DURAN DURAN Thank You (1995)

This covers album was recorded at the behest of EMI Records who were strangely impressed by DURAN DURAN’s rather strained cover of THE VELVET UNDERGROUND’s ‘Femme Fatale’ from ‘Wedding Album’ and eager for a quick cash-in on their 1993 renaissance. Among the songs attempted were ironic takes on ‘White Lies (Don’t Do It)’ and another drug dependency tale ‘Perfect Day’, as well as songs by Bob Dylan, Elvis Costello and Sly Stone!

The covers of Iggy Pop’s ‘Success’ and THE DOORS’ ‘Crystal Ship’ were actually quite enjoyable but among all the ham reinterpretations of established standards, the band actually covered themselves in a new version of ‘The Chauffeur’ entitled ‘Drive By’! Often regarded as one of the worst albums ever recorded, this disaster was dubbed “No Thank You” by many fans! Worse was to come for DURAN DURAN though as John Taylor left the band and EMI UK then refused to release their 1997 album ‘Medazzaland’. It would take a reunion of the classic line-up in 2004 to get them back on track and it wasn’t until 2011’s ‘All You Need Is Now’ album that they fully recaptured their former artistic glories.

Best tracks: ‘Success’, ‘Crystal Ship’

‘Thank You’ was originally released by EMI Records

http://www.duranduran.com

ERASURE Loveboat (2000)

In a poor period for Andy and Vince, this was a close run thing with their covers album ‘Other People’s Songs’ but at least with the latter, there were quality songs on show even if some of the versions left a lot to be desired. The problem wasn’t just the emphasis on guitar driven dynamics, it was also severely lacking in the usual ERASURE charm. Andy Bell admitted how shocked he was when he heard how “weird and indie” Rob Kirwan’s final mix sounded.

Despite production by Flood,  it was all very muddy. And even the album’s one potentially great song ‘Moon & The Sky’ was missing an uplifting chorus which was only later added to the Heaven Scent Radio Re-Work version that was released as a single. The redeeming consequence though was that despite these tough times creatively, ERASURE took to soft synths and made one of their best albums in 2005 with ‘Nightbird’.

Best tracks: ‘Freedom’, ‘Moon & The Sky’

‘Loveboat’ was originally released by Mute Records

http://www.erasureinfo.com

HEAVEN 17 Teddy Bear, Duke & Psycho (1988)

‘Teddy Bear, Duke & Psycho’ were the affectionate nicknames given by Terence Trent D’Arby respectively to HEAVEN 17’s Martyn Ware, Glenn Gregory and Ian Craig Marsh. The conventional sounding ‘Pleasure One’ released in 1986 had been given a lukewarm reception, while Martyn Ware’s success as a producer for artists such as Tina Turner and Mr D’Arby himself may have started to spread his creative energies just a little too thinly.

Whatever, when ‘The Ballad Of Go Go Brown’ was released as lead single and Glenn Gregory appeared on the album cover wearing a Stetson and cowboy boots, the writing was on the wall. A lot of the album features the blue eyed soul of the times but with younger acts like WET WET WET, AZTEC CAMERA, HUE & CRY and even PERFECT DAY (featuring a certain Mark Jones of Wall Of Sound fame!) gaining the public’s attention, HEAVEN 17 then went on hiatus for the next nine years before returning with the electronically driven triumph ‘Bigger Than America’.

Best tracks: ‘Big Square People’, ‘Train Of Love In Motion’

‘Teddy Bear, Duke & Psycho’ was originally released by Virgin Records

http://www.heaven17.com

THE HUMAN LEAGUE Crash (1986)

Work had started on ‘Crash’ in 1985 with producer Colin Thurston but the results were not deemed suitable for release by Virgin Records. To overcome the creative block, THE HUMAN LEAGUE were despatched to Minneapolis to record with top producers Jimmy Jam and Terry Lewis. Here, they became part of the manufactured R’n’B conveyor belt that had already seen success for Janet Jackson and Alexander O’Neal.

Ian Burden in particular was considered surplus to requirements by the producers. Disconcertingly, the album’s two strongest numbers ‘Human’ and ‘Love Is All That Matters’ had no songwriting input from any of THE HUMAN LEAGUE themselves… but then, they weren’t involved in the album’s two stinkers either! The David Eiland composed ‘Swang’ was horrible while ‘I Need Your Loving’ surely had to have been a Janet Jackson reject? Eventually, Oakey and co went home leaving Jam and Lewis to finish ‘Crash’. ‘Human’ was an American No1 and helped keep THE HUMAN LEAGUE’s profile up Stateside while the album’s end results sounded nothing like them with Phil Oakey’s voice left exposed as it was not really suited to the dynamics of soul. It would take almost ten years for them to regain momentum with 1995’s ‘Octopus’.

Best tracks: ‘Human’, ‘Love Is All That Matters’, ‘Money’

‘Crash’ was originally released by Virgin Records

http://www.thehumanleague.co.uk

JAPAN Rain Tree Crow (1991)

This was the much heralded reunion of David Sylvian, Mick Karn, Steve Jansen and Richard Barbieri aka JAPAN, a band who many considered had broken up before their time following the highly acclaimed ‘Tin Drum’ album in 1981. However, the split was due to personal rather than artistic differences when Karn’s girlfriend Yuka Fujii left him for Sylvian. Time eventually healed wounds and the quartet gathered together in France.

Under the Sylvian inspired Native American moniker RAIN TREE CROW, the idea had been to compose and record as a group through improvisation as opposed Sylvian being sole songwriter and studio dictator which had previously been the case during the JAPAN days. However, Sylvian’s stubborn imposing character led to a return to old ways. Supported by a huge budget from Virgin Records, unbelievably it was exceeded. So Virgin gave them an ultimatum where no more money would be forthcoming unless the project was presented under the name of JAPAN. The others agreed but Sylvian refused. Walking off with the tapes to mix the album under his own finance and supervision, he refused to let any of his bandmates in on the sessions! The result was an unfocussed set consisting of progressive avant jazz and self-indulgent ethnic instrumental pieces tha sounded unfinsihed. Only the magnificent single ‘Blackwater’ bore any kind of relation to JAPAN’s brilliant legacy. The quartet never worked together again and with Mick Karn’s sad passing, never will.

Best track: ‘Blackwater’

‘Rain Tree Crow’ was originally released by Virgin Records

http://www.nightporter.co.uk

JEAN MICHEL JARRE Sessions 2000 (2002)

It is always going to end in tears when an artist embarks on a jazz odyssey! And so it was when Jean-Michel Jarre came up with what appeared to be an attempt to break his then recording contract with Sony Music. ‘Sessions 2000’ contained six tracks named presumably after the days they were composed. Recorded by Jarre with collaborator Francis Rimbert, all had deliberate chill-out lounge jazz undertones and unfortunately, a distinct lack of melody.

‘June 21’ just plods along aimlessly for over six minutes while ‘September 14’ aims at the atmosphere of ‘Twin Peaks’ but does nothing in its excruciating nine! Haunting piano and detuned tones colour the Ryuichi Sakamoto influenced ‘May 1’ but any potential is unrealised. Only ‘March 23’ has any kind of musical shape with a distinct rhythmic pulse textured with synthetic brass and slide guitar samples but is far too long. Jarre eventually got back up to speed with the improved but still laid back ‘Geometry of Love’ and the dance driven ‘Teo & Tea’.

Best track: ‘March 23’

‘Sessions 2000’ was originally released by Sony Music

http://www.jeanmicheljarre.com

KRAFTWERK Tour De France Soundtracks (2004)

The first new material from KRAFTWERK since the disappointing ‘Expo 2000’, this was Ralf Hütter and Florian Schneider’s opportunity to reconsolidate their position as electronic godfathers. However, it was also 14 years since the departures of percussionists Wolfgang Flür and Karl Bartos, and it showed. One of the weakest links in ‘Tour De France Soundtracks’ was the rhythm programming which lacked punch and neither encouraged excitement or dancing.

Ironically for an album about cycling, ‘Tour De France Soundtracks’ was strangely pedestrian. Everything was tightly sequenced and structured but noticeably absent was the humanity and humour which were two of KRAFTWERK’s strongest suits, even on tracks like ‘Sex Object’ and ‘Boing Boom Tschak’ from 1986’s lacklustre predecessor ‘Electric Cafe’. The reworkings of the original 1983 ‘Tour De France’ track are the best things on here while Karl Bartos’ ‘Communication’ album, which happened to be released a few weeks later, was infinitely superior.

Best track: ‘Tour De France’, ‘Tour De France Etape 1’

‘Tour De France Soundtracks’ was originally released by EMI Records

http://www.kraftwerk.com

NEW ORDER Waiting For The Sirens’ Call (2004)

NEW ORDER’s musical strength was fusing the spirit of punk into electronics and dance. However, with keyboardist Gillian Gilbert leaving the band on their recorded return, Messrs Sumner, Hooky and Morris filled the void with a bunch of stodgy rock numbers on 2001’s ‘Get Ready’. For the next album, the trend towards rock continued although there were marginally more synths this time although the array of producers involved confused matters.

As possibly the worst song NEW ORDER have ever recorded, ‘Who’s Joe?’ had none of the spirit of their best guitar numbers. Even the lead single ‘Krafty’ was uninspiring NEW ORDER by numbers while its follow-up ‘Jetstream’ featuring SCISSOR SISTERS’ Ana Matronic was terribly lame despite being produced by Stuart Price. Only the title track and ‘Dracula’s Castle’ have any flashes of their classic brilliance. Legend has it that when Peter Saville was commissioned to design the sleeve, he was so unimpressed by the quality of the album that he decided to send an ironic message to warn any potential punters!

Best tracks: ‘Waiting For The Sirens’ Call’, ‘Dracula’s Castle’

‘Waiting For The Sirens’ Call’ was originally released by London Records

http://www.neworder.com

GARY NUMAN Warriors (1983)

Things had looked promising with Gary Numan returning to the live stage after retiring in 1981. Bill Nelson was slotted in to produce ‘Warriors’, but the pair fell out very early on in the sessions. Nelson then had his more trebly cutting mixes wiped by Numan so asked for his name to be taken off the credits! With the alien embracement of jazz and funk influences, ‘Warriors’ ended up a well played if confused, characterless body of work.

The use of some top flight session musicians was a major part of this mess. Dick Morrissey played saxophone solos whether they really ought to have been there or not, while Joe Hubbard’s slap bass was at times self-indulgent and wholly incongruous with the Numan sound. Although there were a couple of good tracks like the dreamy ‘The Iceman Comes’ and the synthetic THIN LIZZY of ‘My Centurion’, this was the start of a creative dip that Gary Numan wouldn’t truly recover from until 1994. In between, he appeared far more interested in flying than his music career.

Best tracks: ‘The Iceman Comes’, ‘My Centurion’

‘Warriors’ was originally released by Beggars Banquet Records

http://www.numan.co.uk

OMD Liberator (1993)

Following the success of ‘Sugar Tax’ in 1991, remaining sole OMD founder Andy McCluskey was on a commercial roll and decided to continue this well trodden poptastic path. As a result, ‘Liberator’ featured lots of busy modern dance effects. “It was an album for kids” lamented McCluskey later to Jens Lindell on Swedish radio in 1996. But by the time of its release in 1993, Da Kidz were worshipping acts such as TAKE THAT and EAST17 who were closer in age to the intended demographic.

An album of C-sides, ‘Stand Above Me’, ‘Everyday’, ‘Love And Hate You’ were all painfully poppy and not exactly the strongest songs in the OMD canon. Meanwhile, opinions are still divided about the synth MOR tune ‘Dream Of Me’, based on LOVE UNLIMITED ORCHESTRA’s ‘Love’s Theme’. The confused schizophrenic nature of the album’s concept was compounded by the pure genius of darker, more traditional OMD numbers like ‘King Of Stone’ and ‘Christine’. The muted reception to ‘Liberator’ led to the brave but conventional and ultimately doomed ‘Universal’ in 1996, before McCluskey retired the OMD brand. Bruised, he then set his sights on launching ATOMIC KITTEN! And that is a story in itself!

Best tracks: ‘King Of Stone’, ‘Christine’, ‘Best Years Of Our Lives’

‘Liberator’ was originally released by Virgin Records

http://www.omd.uk.com

PET SHOP BOYS Release (2002)

With pun totally intended, ‘Release’ was marred by the input of THE SMITHS’ famed guitarist Johnny Marr who had already used his influence to fill the last ELECTRONIC album ‘Twisted Tenderness’ with harmonica, getting Bernard Sumner rock out again in the process and even inspiring Karl Bartos to use guitar on every track of his ‘Electric Music’ album… note the irony with both band monikers!

Neil Tennant and Chris Lowe meanwhile attempted a collection of understated songs which were not only free of club derived beats but also of hooks and melodies! ‘Release’ certainly had none of the quality of their other understated album ‘Behaviour’. ‘I Get Along’ comes over like a camp version of Oasis while the worthiness of ‘Here’ wasn’t revealed until PET SHOP BOYS’ own dance remix for ‘Disco Vol3’. ‘The Night I Fell In Love’ is a lyrically amusing narrative about Eminem having a gay fling with a fan, but apart from the uptempo ‘The Samurai In Autumn’, this album is mostly plodding six-string led numbers devoid of any of the mastery that made them great. They were wearing someone else’s clothes and they didn’t fit. Ironically, ‘Release’really was PET SHOP BOYS ‘Being Boring’! And did you know that Johnny Marr in French (J’en Ai Marre) means “I am fed up”?

Best track: ‘The Samurai In Autumn’

‘Release’ was originally released by EMI Records

http://www.petshopboys.co.uk

SIMPLE MINDS Street Fighting Years (1989)

Lambasted for embracing stadium rock, one thing though about 1985’s ‘Once Upon A Time’ was that it was an enjoyable uptempo synthetic rock record that successfully exploited its commercial possibilities with its sharp radio friendly outlook. However, when they took the album out on the road, Jim Kerr and co persisted with overlong, pompous arrangements and hectored the audience with tiresome repeated shouts of “show me your hands” and “higher”!

For the ‘Street Fighting Years’ album, the band retreated to the tranquillity of rural Scotland to inspire a more earnest, political direction… unfortunately, the overlong, pompous arrangements remained! Instrumentally, the bombast and synths were replaced by brushes, rootsy bottleneck guitar and Hammond organ flourishes that were ubiquitous of the period. But the songs meandered along formlessly at over six minutes at a time. Their only UK No1 single ‘Belfast Child’ outstayed its welcome by at least four and a half minutes! Even the production skills of Trevor Horn and Stephen J Lipson, who were recruited because Jim Kerr was a fan of PROPAGANDA’s ‘A Secret Wish’, couldn’t save this one!

Best track: ‘Wall Of Love’

‘Street Fighting Years’ was originally released by Virgin Records

https://www.simpleminds.com/

SPARKS Terminal Jive (1980)

Following the success of the singles ‘The No1 Song In Heaven’, ‘Beat The Clock’ and ‘Tryouts For The Human Race’ from the Giorgio Moroder steered album ‘No1 In Heaven’, SPARKS were despatched by Virgin Records to record a swift follow-up. Although Moroder was still nominally at the helm, ‘Terminal Jive’ was more ‘Hot Stuff’ than ‘I Feel Love’. Harold Faltermeyer of ‘Axel F’ fame took up a large part of the production duties as Moroder started to lose interest.

The songs were mostly lethargic synth assisted FM rock numbers. ‘Rock ‘N’ Roll People In A Disco World’ seemed to reflect the confused direction both lyrically and musically. Ironically, despite featuring more guitars and therefore a more American friendly sound, ‘Terminal Jive’ was the only SPARKS album that wasn’t issued in the US on its original release. The highlights were ‘When I’m With You’ which was a massive hit single in France and the satirically pervy ‘Young Girls’. However, the lack of quality material, as summed up by the inclusion of the instrumental version of ‘When I’m With You’, was the real problem. Disillusioned, SPARKS left Europe and returned to the States where they attained some varied domestic success having been previously ignored by their compatriots. They wouldn’t be seen much in Europe again until 1994 when the brilliant ‘When Do I Get To Sing My Way’ became as smash and gave them an unexpected career renaissance.

Best tracks: ‘When I’m With You’, ‘Young Girls’, ‘The Greatest Show On Earth’

‘Terminal Jive’ was originally released by Virgin Records

http://allsparks.com

TANGERINE DREAM Cyclone (1978)

So this was a great idea, a TANGERINE DREAM album with vocals and flute! Featuring Steve Jolliffe on those said two colours, the first 13 minute track ‘Bent Cold Sidewalk’ came over like GENESIS and JETHRO TULL with its mystical lyrics and Hobbit vocal delivery. The uptempo ‘Rising Runner Missed By Endless Sender’ actually sounded like ULTRAVOX, but unfortunately in their Foxx-less and Ure-less ‘Ingenuity’ guise fronted by the best forgotten Sam Blue!

The progressive rock overtones took a breather on the more traditionally cosmic instrumental ‘Madrigal Meridian’ which saved the show, but most TD fans had probably headed down to the second hand stores by the end of side one. Although not well received, such was Messrs Froese and Franke standing at the time, ‘Cyclone’ was TANGERINE DREAM’s sixth best-selling album in the UK.

Best Track: ‘Madrigal Meridian’

‘Cyclone’ was originally released by Virgin Records

http://www.tangerinedream.org

TEARS FOR FEARS Everybody Loves A Happy Ending (2004)

‘Everybody Loves A Happy Ending’ saw TEARS FOR FEARS’ original nucleus of Roland Orzabal and Curt Smith reunited for the first time since the tedious ‘The Seeds Of Love’ album from 1989. Friends since childhood, Orzabal’s domination of those sessions proved too much for Smith and it would be many years before they would even speak again. However, the reunion was already in trouble when Arista Records, who had signed the duo, pulled the comeback album.

But it was easy to see why… the album consisted of dull derivative compositions with little flair. The title track was another attempt at THE BEATLES pastiches from the last time Orzabal and Smith recorded together. Americana was one of the main templates with ‘Call Me Mellow’ basically a retread of THE LAs’ similarly influenced ‘There She Goes’. Eventually released on Gut Records after a year’s delay, only the original closing track ‘Last Days On Earth’ had any redeeming features but even that sounded like The Isley Brothers. As further a sign of their lack of creative juice, the duo even took to using Gary Jules’ arrangement of ‘Mad World’ from the ‘Donnie Darko’ soundtrack when performing the song live! Anyone who expected the sixth form synth angst of ‘The Hurting’ or even the MTV friendly rock of ‘Songs From The Big Chair’ was going to be disappointed.

Best track: ‘Last Days On Earth’

‘Everybody Loves A Happy Ending’ was originally released by Gut Records

http://www.tearsforfears.net

ULTRAVOX U-Vox (1986)

Also known by fans as “The Dreaded Pink Thing”, the signs had not been good when drummer Warren Cann was booted out of the band for preferring to use computer generated percussion while in the wake of his successful solo career, Midge Ure was dictating a more back-to-basics approach. Paradoxically though, soulful backing vocalists, funk bass, orchestras, brass sections and sax solos all entered into the equation, resulting in a totally unfocused sound.

‘Sweet Surrender’ was frankly a bit of a mess while ‘Moon Madness’ didn’t know whether it should have been rock or jazz. Backed by The Chieftains and featuring no synthesizers at all, ‘All Fall Down’ polarised listeners with its Celtic folk roots and anti-war message. But the poor title ‘U-Vox’ summed it all up… a band with something missing! However, ‘The Prize’ was as good as anything TEARS FOR FEARS or SIMPLE MINDS did in their stadium phase, ‘Time To Kill’ retained some European cool despite the acoustic guitars and the epic ‘All In One Day’ was the best thing Scott Walker never recorded.

Best tracks: ‘The Prize’, ‘Time To Kill’, ‘All In One Day’

‘U-Vox’ was originally released by Chrysalis Records

http://www.ultravox.org.uk

VISAGE Beat Boy (1984)

Midge Ure and Billy Currie had both left VISAGE in 1982, leaving Steve Strange and Rusty Egan with the VISAGE name and ownership of a very expensive Synclavier computer synthesizer. Despite the promising edgy electro-disco of interim single ‘Pleasure Boys’, the direction chosen for ‘Beat Boy’ was an ill-advised sojourn into rock with a group of session musicians filling in slots vacated by the former members of ULTRAVOX and MAGAZINE.

Without Ure’s production guidance, Steve Strange’s singing was all over the place. Neither ‘Only The Good Die Young’ nor the dreadful title track knew when to finish, while ‘Can You Hear Me?’ didn’t know when to actually start. And the backing vocals by guitarist Andy Barnett on the gross heavy metal of ‘Casualty’ were truly appalling! The eight tracks that made up ‘Beat Boy’ were all far too long although ‘Questions’ possessed a funky energy while ‘Love Glove’ could have easily come off ‘The Anvil’. However, this poor album led to the end of VISAGE. Rusty Egan went to work for U2 while Strange formed the unsuccessful STRANGE CRUISE and sadly later experienced some well documented personal difficulties.

Best tracks: ‘Love Glove’, ‘Questions’

‘Beat Boy’ was originally released by Polydor Records

http://therealvisage.com/

NEIL YOUNG Trans (1982)

Many of the albums mentioned have had the disaster of synth based acts adopting more conventional colours. This was one which where it happened the other way round. ‘Trans’ was Neil Young’s 1982 excursion into synthesizers, Linn Drum computers and vocoders. Despite the noble gesture of wishing to artistically express the difficulties of communicating with his son Ben who had cerebral palsy, ‘Trans’ didn’t work.

‘We R In Control’ and ‘Computer Cowboy’ both sounded like Metal Mickey fronting THE EAGLES while ‘Sample And Hold’ was an excessively long robotic march. However, there was an almost ethereal ‘Neon Lights’-like beauty in ‘Transformer Man’. Although there were still enough essential elements for ‘Trans’ to be nothing but a Neil Young album, it baffled his fans and was lambasted by the real music brigade. “I could never get anybody to believe that the f***ing idea was any good” said Young looking back, perhaps because it wasn’t in Young’s instinctive musical DNA to effectively use electronics. Indeed, he was later sued by his label Geffen Records for producing “deliberately uncommercial and unrepresentative work”!

Best Track: ‘Transformer Man’

‘Trans’ was originally released by Geffen Records

http://www.neilyoung.com

Text by Chi Ming Lai
18th April 2011

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