Tag: Joy Division (Page 4 of 5)

25 CLASSIC STANDALONE SYNTH SINGLES

2 August 2016 / electricityclub

The single is the lifeblood of pop music, serving the purpose of a trailer to an artist’s new album or as an entity on its own.

The non-album single first came to prominence with THE BEATLES and THE WALKER BROTHERS, but as rock music in particular got more serious, bands like PINK FLOYD and LED ZEPPELIN looked down on the shorter format, refusing to even release singles and focussing only on albums.

With punk and new wave, acts like THE JAM, THE CLASH and SIOUXSIE & THE BANSHEES frequently issued standalone singles, often as a document of developing ideals or even to indulge in the occasional cover version. But others like IAN DURY & THE BLOCKHEADS saw it as statement of not ripping-off their audience by effectively making them buy the same song twice.

All the singles listed here were released in 7 inch format and not included on any of the artist’s original edition albums in the UK. Songs that were singles to promote compilation albums, remix collections or films are permitted, but singles by bands that did not actually get round to releasing a full length album are not included.

So here are ELECTRICITYCLUB’CO.UK’s 25 Classic Standalone Synth Singles presented in chronological, and then alphabetical order.

FAD GADGET Ricky’s Hand (1980)

The unsettling second single by former Leeds Polytechnic art student Frank Tovey was a commentary on the dangers of drink driving as “Ricky contravened the Highway Code”. Featuring an electric drill alongside assorted synths and industrial rhythms, ‘Ricky’s Hand’ was not included on the debut FAD GADGET long player ‘Fireside Favourites’ that came out a few months later, but it helped establish Mute Records’ credentials as an early champion of independent electronic music.

Now available on the album ‘The Best Of’ via Mute Records

http://www.fadgadget.co.uk

JOHN FOXX Miles Away (1980)

John Foxx’s first release after the ‘Metamatic’ period recalled his twilight years with ULTRAVOX and in particular ‘Slow Motion’. Featuring live drums from Edward Case, guitars were replicated by treated layers of ARP Odyssey. While not as accomplished as ‘Slow Motion’, ‘Miles Away’ was a worthy transitional recording although where Foxx headed next was the more romantic and band oriented textures of ‘The Garden’.

Now available on the album ’20th Century: The Noise’ via Metamatic Records

http://www.metamatic.com/

JAPAN I Second That Emotion (1980)

With JAPAN not making any headway in the UK singles charts, their manager Simon Napier-Bell felt the only solution was to doa cover version. David Sylvian visited his parents’ Motown collection and the song he chose was a lively Smokey Robinson number. Slowed down and given a more arty Ferry-ish treatment, ‘I Second That Emotion’ was not a hit on its original release, but the world belatedly caught up when a remixed reissue reached No11 in 1982.

Now available on the album ‘‘The Very Best Of’ via Virgin Records

JOY DIVISION Love Will Tear Us Apart (1980)

With a haunting string line from an ARP Omni, ‘Love Will Tear Us Apart’ was the posthumous hit single that documented the relationship turmoil which JOY DIVISION’s lead singer Ian Curtis was facing prior to his suicide. The initial attempt at recording had been much faster and tighter, but producer Martin Hannett slowed the band down and suggested Curtis take on a more Sinatra based drawl. The looser end result added further poignancy.

Now available on the album ‘Substance’ via Rhino

http://joydivisionofficial.com/

GARY NUMAN I Die: You Die (1980)

A statement on his fractious relationship with the press, incessant riffs, flanged guitar and swooping Polymoog provided melody, grit and tension in equal measures. Meanwhile, real drums and a Roland Compurhythm combined to provide a solid but unusual backbone. It was not included on the original LP version of ‘Telekon’, but did feature on the cassette. Numan felt he was giving value to his fans, but casual followers didn’t buy the album as a result and it affected wider sales momentum.

Now available on the album ‘Premier Hits’ via Beggars Banquet

http://www.garynuman.co.uk/

THE BLUE NILE I Love This Life (1981)

‘I Love This Life’ was the first release from THE BLUE NILE and the esoteric template that later emerged on ‘A Walk Across The Rooftops’ was already omnipresent. Rawer and more aggressive than songs like ‘Stay’ and ‘Tinseltown In The Rain’, this was a fine opening gambit from the enigmatic Glaswegian trio who had met at university. Originally self-released, the single was picked up by RSO who promptly folded after its re-release.

Now available on the deluxe edition album ‘A Walk Across The Rooftops’ via Virgin Records

http://www.thebluenile.net

THE CURE Charlotte Sometimes (1981)

Smothered in ARP Quartet and electronic drums but maintaining the claustrophobic feel of that year’s ‘Faith’ album, the haunting ‘Charlotte Sometimes’ co-produced by Mike Hedges was an interim 45 prior to the doomfest of ‘Pornography’. The band’s potential for success now looked like a real threat as The Raincoat Brigade seeked out a successor to JOY DIVISION. But in late 1982, THE CURE lightened up for the first of their fantasy singles, ‘Let’s Go to Bed’.

Now available on the album ‘Staring At The Sea’ via Fiction Records

http://www.thecure.com/

HEAVEN 17 I’m Your Money (1981)

Following the politically charged electro-funk of ‘(We Don’t Need This) Fascist Groove Thang’, Martyn Ware and Ian Craig Marsh returned to their roots in THE HUMAN LEAGUE with the more exclusively synth driven ‘I’m Your Money’. The multi-lingual phrases highlighted an expanding world market while Glenn Gregory provided commentary on how personal relationships were like business transactions.

12 inch version now available on the album ‘Penthouse & Pavement’ via Virgin Records

http://www.heaven17.com

JON & VANGELIS I’ll Find My Way Home (1981)

Having scored an unexpected UK hit with the beautiful synth laden ‘I Hear You Now’, Jon & Vangelis did it again with ‘I’ll Find My Way Home’, a song that had not been originally included on their second album ‘The Friends Of Mr Cairo’. Jon Anderson’s lyrics were almost spiritual while the widescreen sonic backing from his Greek chum complimented the mood. Vangelis himself was about to enter his most high profile period with ‘Chariots Of Fire’ and ‘Blade Runner’.

Now available on the album ‘The Friends Of Mr Cairo’ via Polydor Records / Universal Music

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

CHINA CRISIS Scream Down At Me (1982)

It’s strange to think now that when CHINA CRISIS first emerged with ‘African & White’, they were quite uptempo and percussive, influenced by TALKING HEADS and MAGAZINE. ‘Scream Down At Me’ was unusual in many respects, being more dynamic than most of the material that featured on their debut album ‘Difficult Shapes & Passive Rhythms…’; the single showcased a degree of frantic art funk tension that was never to be repeated by the band.

Now available on the album ‘Ultimate Crisis’ via Music Club Deluxe

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

THOMAS DOLBY She Blinded Me With Science (1982)

Following the cult success of his debut album ‘The Golden Age Of Wireless’, Thomas Dolby sent up the mad scientist image he had accquired by actually employing a real mad scientist in Doctor Magnus Pyke for his next single. Produced by Tim Friese-Greene, this slice of gloriously eccentric synthpop had been recorded as a non-LP one-off, but its chart success in America led to ‘She Blinded Me With Science’ being appended to the album.

Now available on the album ‘The Golden Age Of Wireless’ via EMI Music

http://www.thomasdolby.com

SOFT CELL What! (1982)

‘What!’ effectively bookended Marc Almond and Dave Ball’s imperial pop period which had started with ‘Tainted Love’. Another song that came via the Northern Soul scene, it was originally recorded by Judy Street and had more than a passing resemblance to ‘Always Something There To Remind Me’. The recording was quickly disowned and was to be SOFT CELL’s last Top10 single before the duo entered much darker musical territory and on the path to ‘Mr Self Destruct’.

Now available on the album ‘Non-Stop Erotic Cabaret’ via Phonogram / Universal Music

http://www.softcell.co.uk

YAZOO The Other Side Of Love (1982)

An occasional trait of standalone singles was how they were often quickly recorded and rush-released, due to an impending tour or greatest hits. In the case of YAZOO, it was the former. One of only three co-writes by Alison Moyet and Vince Clarke, this bright if almost forgettable tune has been described by Moyet as “hateful”. However, ‘The Other Side of Love’ allowed Clarke to put his new Fairlight CMI through its paces, while a gospel flavour came from SYLVIA & THE SAPPHIRES.

Now available on the album ‘The Collection’ via Music Club Deluxe

http://www.yazooinfo.com/

DURAN DURAN Is There Something I Should Know? (1983)

Released in the interim between the ‘Rio’ and ‘Seven & The Ragged Tiger’ albums, ‘Is There Something I Should Know?’ was a cynical attempt to ensure DURAN DURAN got a UK No1. Nick Rhodes made it clear the song was not going to be on the next album while completely different versions featured on the 7 and 12 inch formats. This synth laden single featured that dreadfully unforgettable line “You’re about as easy as a nuclear war”!

Now available on the album ‘Greatest’ via EMI Music

http://www.duranduran.com

THE HUMAN LEAGUE Fascination (1983)

THE HUMAN LEAGUE were in limbo after the departure of producer Martin Rushent from the sessions to record a follow-up to the massive selling ‘Dare’. A song he worked on was prepared for single release to buy the band some extra time. Subsequently remixed by Chris Thomas, ‘Fascination’ featured a charming four way call-and-response vocal while the huge use of portamento on the lead synth line fooled buyers into returning their singles to the shops thinking it was warped!

Now available on the album ‘Greatest Hits’ via Virgin Records

http://www.thehumanleague.com

KRAFTWERK Tour De France (1983)

Borrowed from Paul Hindemith’s ‘Heiter Bewegt – Sonate Für Flöte Und Klavier’ composed in 1936, an Emulator was used to synchronise voices and mechanical sounds to a marvellous electronic percussion pattern. ‘Tour De France’ successfully reinforced KRAFTWERK’s credibility within Urban America. But feeling left behind in comparison to THE ART OF NOISE, Ralf Hütter demanded their upcoming ‘Technopop’ album to be reworked with a Synclavier’…

Alternate 2003 version now available on the album ‘Tour De France Soundtracks’ via EMI Music

http://www.kraftwerk.com

ROBERT GÖRL Mit Dir (1984)

Dark and brooding, the debut single from the DAF drummer became a highly regarded cult classic. The slow stark Teutonic electro of ‘Mit Dir’ was considerably less harsh than his band’s pioneering electronic body music. Although not featured on Görl’s first solo album ‘Night Full Of Tension’, ‘Mit Dir’ did much to help lighten his mood considerably that he was attempting synthpop with EURYTHMICS’ Annie Lennox on songs like ‘Darling Don’t Leave Me’.

12 inch version now available on the album ‘Night Full Of Tension’ via Mute Records

http://www.robert-goerl.de

ULTRAVOX Love’s Great Adventure (1984)

ULTRAVOX had a run of 11 successive Top30 singles in their classic Midge Ure-fronted incarnation so when ‘The Collection’ was being prepared by Chrysalis Records, the band suggested including a new track which was an unusual move for the time. Based on a demo rejected by Levi’s for an ad campaign, the huge symphonic pomp of ‘Loves Great Adventure’ was a brilliantly glorious statement with Billy Currie’s OSCar interventions being its undoubted musical highlight.

Now available on the album ‘The Very Best Of’ via EMI Records

http://www.ultravox.org.uk

DEPECHE MODE Shake The Disease (1985)

An important interim single for DEPECHE MODE, ‘Shake The Disease’ was the bridge between the industrial flavoured synthpop of ‘Some Great Reward’ and the darker aesthetics of ‘Black Celebration’. Much more accomplished than the more throwaway standalones like ‘It’s Called A Heart’ and ‘But Not Tonight’ which followed, ‘Shake The Disease’ continues to be performed live at DM shows in a less interesting stripped down form with Martin Gore on lead vocals.

Now available on the album ‘The Singles 81-85’ via Mute Records

http://www.depechemode.com

SIMPLE MINDS Don’t You (1985)

With ambitions to break the US market, SIMPLE MINDS were offered a song written by Steve Chiff and producer Keith Forsey for a John Hughes movie ‘The Breakfast Club’. The song had already been rejected by Billy Idol and Bryan Ferry, so was reluctantly recorded by the band at a studio in Wembley. With the right balance of synths and FM rock, ‘Don’t You’ became an unexpected American No1 on the back of the movie’s success and took Jim Kerr and Co into the stadiums of the world.

Now available on the album ‘Celebrate: The Greatest Hits’ via Virgin Records

http://www.simpleminds.com

SPARKS Change (1985)

Post-Moroder, SPARKS had returned Stateside to hone a more rock-orientated sound. But they returned to their more eccentric side with ‘Change’, a one-off for London Records. Engineered by Dan Lacksman of TELEX, it featured a sonic passage that would have made Trevor Horn proud. Lines such as “I’ve been thinking we’ll get back together again someday – your hair will be some weird color by then…” reminded European audiences of how quirky SPARKS could be.

Now available on the album ‘New Music For Amnesiacs – The Essential Collection’ via Lil Beethoven Records

http://www.allsparks.com

OMD If You Leave (1986)

Love it or loathe it, OMD’s contribution to the ‘Pretty In Pink’ soundtrack was a massive US hit and the reason why youngsters are still discovering the band. Produced by Tom Lord-Alge, while the Fairlight assisted sound appears at odds with Paul Humphreys and Andy McCluskey’s pioneering synthpop, the intro of ‘If You Leave’ actually follows a chord progression very similar to ‘Enola Gay’. Interestingly, the song failed to enter the Top40 on its release in the UK.

Now available on the album ‘Messages’ via Virgin Records

http://www.metamatic.com

NEW ORDER Touched By The Hand Of God (1987)

When NEW ORDER issued their ‘Substance’ 12 inch singles collection, 9 out of its 12 songs had not featured on their previous albums. The Diego Maradona inspired ‘Touched By The Hand Of God’ is one of the Mancunian’s combo’s more underrated singles. With a synth riff borrowed from Shannon’s ‘Let The Music Play’, it successfully combined some gritty rock energy to a solid Italo disco backbone featuring a great sequenced bassline.

Now available on the album ‘Singles’ via Rhino

http://www.neworder.com

ERASURE Stop! (1988)

Recorded for the ‘Crackers International’ EP between ‘The Innocents’ and ‘Wild!’, ‘Stop!’ was a throbbing Moroder-inspired disco tune that borrowed counter-melodies from Donna Summer’s ‘Love’s Unkind’. Independent labels such as Mute and Factory were more likely to indulge in releases that weren’t specifically tied in to albums, and it proved to be a perfect move to maintain ERASURE’s profile while they were preparing their next plan of action.

Now available on the album ‘Total Pop! The First 40 Hits’ via Mute Records

http://www.erasure.com

PET SHOP BOYS Where The Streets Have No Name (1991)

Chris Lowe felt that the opener on U2’s ‘The Joshua Tree’ would make a good HI-NRG track. A cheeky send-up of how Bono and Co would often drop snippets of covers into live versions, ‘Can’t Take My Eyes Off Of You’ made famous by Andy Williams was segued into ‘Where The Streets Have No Name’. It all seemed so camp and ridiculous in the video when Neil Tennant was singing it wearing a Stetson, but then in 1992, out popped Bono doing something similar on their ‘Zoo TV’ tour!

Now available on the album ‘Pop Art’ via EMI Music

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

Text by Chi Ming Lai
2nd August 2016

25 FAVOURITE SYNTH SONGS BY NON-SYNTH ACTS

31 March 2016 / electricityclub

Strangely, it really was like a fanfare for the common man…

When the recently departed Keith Emerson used a Minimoog for the solo on EMERSON, LAKE & PALMER’s ‘Lucky Man’ in 1970, little would he predict that nearly half a decade later, the floodgates would start to open for many rock bands eager to exploit the synthesizer as an alternative lead instrument to the electric guitar.

Pete Townshend’s use of the EMS VCS3, ARP 2500 and ARP 2600 on the ‘Who’s Next’ album was another key recording which featured electronics within an experimental rock context. Meanwhile PINK FLOYD famously took an EMS Synthi AKS with its built-in digital sequencer into the stratosphere for ‘On The Run’ from ‘Dark Side Of The Moon’.

Although these tracks used synthesizers, they could hardly be classified as synthpop. But what of the occasions when rock artists go the full hog and enter the murky world of synths, sequencers and drum machines? While occasional dabbling in the electronic world has been common, a full volte-face has been rare.

One of the most recent examples of an artist transferring allegiances has been John Grant, former vocalist with THE CZARS who recorded his 2010 debut solo album ‘Queen of Denmark’ in collaboration with the American folk-rock band MIDLAKE. Grant said to The Quietus in 2013: “I wanna be the guy who is surrounded by all this synth hardware on stage. Like Jean-Michel Jarre, or Vangelis or one of those guys. I wanna be the guys from Yello and Cabaret Voltaire. I wanna understand, it’s such a subtle art form. I wish I was a robot, like Kraftwerk!”

So here is a list of 25 favourite songs by non-synth acts who risked soiling their reputation by delving into the murky world of synthesizers. All songs feature the synth as the dominant melodic instrument and are by artists who are generally perceived to be guitar or rock driven. Those considered to have a strong association with the synthesizer, like SPARKS, SPANDAU BALLET, NEW ORDER, ASSOCIATES, TALK TALK, LCD SOUNDSYSTEM and THE KILLERS have not been included.

So presented in chronological and then alphabetical order, here are ELECTRICITYCLUB.CO.UK’s choices…

THE MOTORS Airport (1978)

The traditional Pub Rock sound of THE MOTORS was transformed with ‘Airport’, its intro and chorus ARP Odyssey synth riff being one that wouldn’t have felt out of place on an OMD song. The piece itself was an anti-paean to an airport, one which had cruelly flown the lead vocalist Andy McMaster’s love interest away from him, and the addition of ABBA-esque pianos sealed its fate as a one of a kind single for the band.

Available on the album ‘Approved By’ via Captain Oi!

http://www.andymcmaster.net/

SQUEEZE Take Me I’m Yours (1978)

With A&M getting concerned that there were no obvious singles on their debut album, Glenn Tilbrook made the decision to hire “lots of synths and a bloke who knew how to work them” and then went about “pretending to be Kraftwerk”! A squelchy synth bass and lo-fi drum machine dominates throughout ‘Take Me I’m Yours’. THE DROYDS reworked it as a wonderfully deadpan, fully electronic interpretation, revealing it as the true slice of synthpop it was always destined to be.

Available on the album ‘Greatest Hits’ via A&M Records

http://www.squeezeofficial.com/

JOY DIVISION Atmosphere (1980)

While JOY DIVISION had played around with syndrums and electronic effects on ‘Unknown Pleasures’ to complement their gloomy guitar driven sound, they had yet to produce a song using synths as a melodic lead. Recorded using an ARP Solina, the chilling ‘Atmosphere’ with its tender bass playing and percussive grandeur was the band’s most complete recording to date. But it was given a limited run of 1578 copies by French art label Sordide Sentimentale, before a wider re-release.

Available on the JOY DIVISION album ‘Substance’ via Rhino

http://joydivisionofficial.com/

JONA LEWIE You’ll Always Find Me in the Kitchen At Parties (1980)

This VERY electronic Polymoog-driven single was almost entirely self-produced by Lewie with the exception of some live bass by Norman Watt-Roy and hi-hats from Bob Andrews. It was rumoured that Kirsty MacColl provided backing vocals, although this was denied by Lewie. MacColl appeared on Top Of The Pops to perform ‘You’ll Always Find Me In The Kitchen At Parties’ in an appearance which one could imagine Phil Oakey watching and thinking, “hmm, this is a good idea!”

Available on the album ‘The Best Of’ via Union Square Music

http://www.jonalewie.com/

PAUL McCARTNEY Temporary Secretary (1980)

Having explored art funk on ‘Coming Up’ and impersonated Ron Mael from SPARKS in its video, Macca went the full electronic dance hog with the quite bizarre ‘Temporary Secretary’. With prominent sequencer patterns to simulate a typewriter and detached deadpan vocals, this oddball experiment confused fans of WINGS and THE BEATLES. Self-produced, the single was issued on 12 inch to accommodate a 10 minute B-side ‘Secret Friend’ and failed to chart.

Available on the PAUL McCARTNEY album ‘McCartney II’ via EMI Records

http://www.paulmccartney.com/

HAZEL O’CONNOR Eighth Day (1980)

From the Hazel O’Connor starring movie ‘Breaking Glass’, ‘Eighth Day’ was written by the singer to parallel the biblical story of Genesis, but with machines taking over on the final day. Produced by Tony Visconti, synths are used effectively throughout to echo the content of the song and whilst the look of the film may not have dated so well, the lyrics to ‘Eighth Day’ still feel relevant and paint a picture of a future world slowly pulled apart by developing technology.

Available on the album ‘Breaking Glass’ via Spectrum Music

http://www.hazeloconnor.com/

ROBERT PALMER Johnny & Mary (1980)

After surprisingly recording GARY NUMAN’s ‘I Dream of Wires’ on his album ‘Clues’, another album track ‘Johnny & Mary’ also showcased some impressive electronics. Although not a huge UK hit when released as a single (only reaching No.44), ‘Johnny & Mary’ with its hypnotic synth bassline and narrative-driven lyrics got a new lease of life in 2015 with BRYAN FERRY providing vocals in a more down-tempo incarnation featuring on TODD TERJE’s 2015 debut ‘It’s Album Time’.

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

http://www.robertpalmer.com/

SIOUXSIE & THE BANSHEES Red Light (1980)

By 1980, SIOUXSIE & THE BANSHEES had fragmented and were in an interim period without a permanent guitarist which pushed the then-trio into various modes of experimentation. Featuring a Roland Compurhythm and a camera shutter motor rewind as its backbeat, the minimal ‘Red Light’ was dominated by ominous synth played by Steve Severin to evoke a smoky club atmosphere.

Available on the SIOUXSIE & THE BANSHEES album via Polydor

http://siouxsieandthebanshees.co.uk

GODLEY & CREME Under Your Thumb (1981)

After 10CC, the Godley & Creme single ‘Under Your Thumb’ came as a surprise with its hi-hat driven drum machine and primarily electronic instrumentation. The song echoed KRAFTWERK’s ‘Trans-Europe Express’, with its rhythmic nature tying in with the train journey narrative of the lyric. An epic ghost story set to a synthpop template, the duo became more established as promo video directors for artists including VISAGE and DURAN DURAN.

Available on the album ‘Cry: The Very Best Of’ via Polydor / Universal Music

https://www.discogs.com/artist/104312-Godley-Creme

BILL NELSON Living In My Limousine (1981)

After BE BOP DELUXE, guitar virtuoso Nelson formed RED NOISE in 1978 with a more electronic focus. But when Nelson recorded the decisively Bowie-esque ‘Quit Dreaming & Get On The Beam’, his label Harvest refused to release it. Nelson bought the unreleased songs for his own label, Cocteau. A solo single ‘Do You Dream In Colour?’ gained radio play and the album was released by Mercury Records; ‘Living In My Limousine’ with its Numanesque detachment was one of the highlights.

Available on the BILL NELSON album ‘Quit Dreaming & Get On The Beam’ via Mercury Records

http://www.billnelson.com/

PETE SHELLEY Homosapien (1981)

‘Homosapien’ came about after the aborted fourth BUZZCOCKS album; producer Martin Rushent suggested to frontman Pete Shelley that they should work using the latest electronic equipment. Seen as Shelley’s coming out song, synths and 12 string guitar combined for a wonderful futuristic snarl. The lyric “Homo Superior in my interior” got the song a Radio1 ban and while it was recorded before THE HUMAN LEAGUE’s ‘Dare’, the parent album was not issued until 1982.

Available on the PETE SHELLEY album ‘Homosapien’ via Active Distribution Ltd

http://www.buzzcocks.com/

DAVE STEWART & BARBARA GASKIN It’s My Party (1981)

Keyboardist Dave Stewart (not to be confused with one half of EURYTHMICS) was best known for being part of progressive rock acts NATIONAL HEALTH and EGG, although link-ups with Colin Blunstone and Barbara Gaskin gave both hits with reworked electronic cover versions of ‘What Becomes Of The Broken Hearted’ and ‘It’s My Party’ respectively. The latter topped the UK charts in 1981 after successfully jumping on the coat tails of the first wave of British synth acts.

Available on the album ‘Up From The Dark’ via Broken Records

http://www.davebarb.com/

NEIL YOUNG Transformer Man (1982)

Between 1980-1982, Young was carrying out a therapy program for his young son Ben who had cerebral palsy. The music of KRAFTWERK reflected Young’s attempts to communicate with his son. Acquiring a Vocoder, Synclavier and Linn Drum Computer, while much of the ‘Trans’ album did not work, there was an ethereal ‘Neon Lights’ beauty in ‘Transformer Man’. For his troubles, Young was sued by his label Geffen Records for “deliberately uncommercial and unrepresentative work”!

Available on the NEIL YOUNG album ‘Trans’ via Geffen Records

http://www.neilyoung.com/

THE CURE The Walk (1983)

THE CURE were down to a duo with Lol Tolhurst ditching his drum kit for keyboards, leaving Robert Smith with a far wider artistic freedom outside of the act’s previous band-based context. The resultant fantasy single ‘The Walk’ arguably started the tit-for-tat war with NEW ORDER, its octave synth bassline and machine-like kick drum blatantly templating ‘Blue Monday’. ‘The Walk’ had all the ingredients for perfect synthpop with its sawtooth hook and off the wall lyrics.

Available on the album ‘Japanese Whispers’ via Fiction Records

http://www.thecure.com/

FREEEZ IOU (1983)

Following their 1980 hit ‘Southern Freeez’, jazz funksters FREEEZ had fragmented to a duo. Fascinated by the urban electro hybrid of Afrika Bambaataa’s ‘Planet Rock’ produced by Arthur Baker, they jetted off to meet him in New York. Baker suggested recording his self-penned ‘IOU’. The similarity to the Roland TR808 rhythms heard on ‘Planet Rock’ and NEW ORDER’s ‘Confusion’ can be explained by Baker refusing the let anyone tamper with his beloved machine.

Available on the FREEEZ album ‘Gonna Get You’ via Cherry Red

https://www.discogs.com/artist/8670-Freeez

GENESIS Mama (1983)

While Tony Banks’ keyboards have always been a key factor in the sound of GENESIS, 1983 saw a distorted Linn LM-1 Drum Computer taking centre stage alongside some sinister minor key synthesizer lines played on a Prophet 10 at the start of ‘Mama’. Building in a similar fashion to ‘In Your Room’ by DEPECHE MODE, the story of a young man with a mother fixation, longing for a prostitute, took an unexpected genre twist with Phil Collins’ creepy laugh inspired by Grandmaster Flash.

Available on the album ‘Genesis’ via Virgin Records

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

QUEEN I Want To Break Free (1984)

QUEEN used to declare “no synthesizers” on their albums, but by 1980’s ‘The Game’, an Oberheim OBX entered the ranks. Recording ‘I Want To Break Free’ had been tense, due to writer and bass player John Deacon’s insistence that the guitar solo had to be played on a Roland Jupiter 8 by session musician Fred Mandel. For its single release, the Linn Drum driven song was extended to include more synth in the intro and the bridge after the solo, emotively enhancing the less synthy album cut.

Available on the album ‘Greatest Hits II’ via EMI Music

http://www.queenonline.com/

LEONARD COHEN First We Take Manhattan (1988)

Originally recorded by Jennifer Warnes in 1985, the doom laden Canadian poet recorded his own sinsister synth interpretation. Tightly produced with sequenced digital slap bass, Linn Drum and sombre synth sweeps, ‘First We Take Manhattan’ was Cohen’s commentary on terrorism where “there are no alibis or no compromises”. Contrasting with a soulful bridge from Anjani Thomas, it made Cohen’s vocal even more resonant.

Available on the album ‘I’m Your Man’ via Sony Music

http://www.leonardcohen.com/

JULIAN COPE Just Like Pooh Bear (1995)

It doesn’t take a musical genius to work out just who Mr Cope is parodying here… the bassline, sequencing and drum programming on ‘Just Like Pooh Bear’ hilariously rip-off DEAD OR ALIVE’s ‘You Spin Me Around’. If this track had gone anywhere remotely near the charts, some sort of legal action would surely have ensued. The song judged on its own merits is an uber-catchy piece of synthpop work with some pretty filthy lyrics.

Available on the album ’20 Mothers’ via Echo Records

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

THE BLOODHOUND GANG The Bad Touch (2004)

THE BLOODHOUND GANG’s ‘The Bad Touch’ with its double-entendres easily pushed all the necessary synthpop buttons.. The promo video itself went on to prove itself a little too controversial with a scene involving two gay characters being bashed with baguettes getting cut, resulting in singer Jimmy Pop offering to “…give any gay man two tickets to the Andrew Lloyd Webber musical of his choice if he could describe exactly who’s going to become violent based on that scene”.

Available on the album ‘Hooray For Boobies’ via Interscope Records

http://www.bloodhoundgang.com/

KELLY OSBOURNE One Word (2005)

After her initial pop punk adventures, Ozzy’s youngest daughter surprised everyone with the classic synthpop of ‘One Word’ penned by 4 NON BLONDES’ Linda Perry. However, it was perhaps a little bit too classic sounding, with a more than passing resemblance to VISAGE’s ‘Fade to Grey’; it was so uncanny that legal action was launched. The matter was settled with Midge Ure, Billy Currie and Chris Payne each awarded a share of the royalties.

Available on the KELLY OSBORNE album ‘Sleeping In The Nothing’ via Sanctuary Records

http://kellyosbourne.com/

THE KILLERS Human (2008)

Synth was the rogue element of THE KILLERS’ debut album ‘Hot Fuss’, reflecting singer Brandon Flowers’ love of NEW ORDER and DURAN DURAN. It wasn’t until ‘Human’, co-produced by Stuart Price, that THE KILLERS came up with a true synthpop anthem. A soaring rework of the ALPHAVILLE’s ‘Forever Young’, the thundering motorik dancebeat confused their more rock-inclined fanbase, as did the Hunter S Thompson referencing refrain of “are we human or are we dancer?”.

Available on THE KILLERS album ‘Direct Hits’ via Island Records

http://www.thekillersmusic.com/

MGMT Time To Pretend (2008)

Originally recorded for a 2005 EP, ‘Time To Pretend’ was stoner rock gone synthpop. Re-recorded for the ‘Oracular Spectacular’ album, the duo used a number of piercing monophonic synth lines to aurally represent the hatching of eggs laid by a deceased praying mantis. A lyrical fantasy about leading the rock star life of drugs and models, the overdriven drums and dominant synth bass pattern provided a perfect crossover record for MGMT.

Available on the MGMT album ‘Oracular Spectacular’ via Columbia Music

http://whoismgmt.com/

EDITORS Papillon (2009)

EDITORS followed a keyboard-based trajectory with their third album ‘In This Light & on This Evening’. The Flood-produced ‘Papillon’ was their most synth-dominated single to date, although a pure electronic fix of the song was provided by the fantastic TIESTO remix. The decision to “go synth” didn’t go without ramifications though, with lead guitarist Chris Urbanowicz departing in 2012 citing the band’s “future musical direction” as his reason to bail from the outfit.

Available on the album ‘In This Light & On This Evening’ via Kitchenware

http://www.editorsofficial.com/

JOHN GRANT Pale Green Ghosts (2013)

With John Grant, there are echoes of when hardcore folk fans screamed “JUDAS!” as Bob Dylan introduced electric guitars into his sound. Grant chose a folk festival for his we hope you enjoy our new direction moment, premiering a brace of synth/drum machine-based songs which prompted half the audience to walk out. ‘Pale Green Ghosts’, produced with Biggie Viera of GUS GUS, showcased an artist unafraid to embrace a polar opposite style and actually pulling it off successfully.

Available on the album ‘Pale Green Ghosts’ via Bella Union

http://johngrantmusic.com/

Text by Chi Ming Lai and Paul Boddy
31st March 2016

B-Movie: Lust & Sound In West Berlin 1979 – 1989 at Manchester Home

1 October 2015 / electricityclub

‘B-Movie: Lust & Sound In West Berlin 1979 – 1989’ is an insightful new documentary about the music, art and chaos of the divided city before its infamous wall came down.

Starting with punk and ending with The Love Parade, anything seemed possible in a place that was unlike anywhere else in Europe. Using mostly unreleased footage, photos and original interviews, it tells the story of the cultural interzone from the view of Mark Reeder who also narrates the film.

Having made its UK premiere at Sheffield’s Showroom Workstation the previous night, the showing at Home in Manchester was attended by NEW ORDER’s Bernard Sumner.

It was Reeder’s long-time friend who gave him the Transcendent 2000 synth which he had built from a kit while watching Spaghetti Westerns on late night TV and used with JOY DIVISION. Also present were other figures from Manchester’s music scene such as Martyn Walsh from INSPIRAL CARPETS, A CERTAIN RATIO’s Jez Kerr, Alan Hempsall from CRISPY AMBULANCE and indie duo MFU.

Now best known as a remixer and for his iconic trance label MFS, Reeder left Manchester in 1978 to explore his passion for electronic music from Germany such as KRAFTWERK and NEU! Having visited Düsseldorf, his next destination was West Berlin, home of TANGERINE DREAM.

Iconised by David Bowie who recorded his ‘Heroes’ album at the city’s Hansa Tonstudio and the controversial film ‘Christiane F’, West Berlin was the satellite symbol of freedom and hedonism during The Cold War. Slap bang in the middle of the Communist governed DDR, it was occupied in three sectors by British, French and American armed forces while surrounded by The Warsaw Pact.

The first person Reeder encountered was a six foot six transvestite who was stacking shelves in a supermarket; he soon immersed himself in the vibrant tension of the city which became a breeding ground for the artistic avant-garde. ‘B-Movie: Lust & Sound In West Berlin 1979 – 1989’ is Reeder’s own journey as he finds himself working as Factory Records’ German representative, a roadie, a musician, a manager, a sound engineer and even an actor in video nasties!

Mark Reeder’s personal links with Factory Records and JOY DIVISION enabled him to bring the quartet over to play the one of city’s most notable venues Kant Kino. Although the gig was only attended by around 150 Berliners, it was to become highly influential on those present, while the band documented their experience in the shape of one of their last ever studio recordings ‘Komakino’.

All West Berliners were excused National Service while the city itself was cheap to live in, compared with the rest of the Federal Republic. The assorted circumstances allowed colourful, free thinking characters to evolve within the squats and communes.

B-MOVIE Malaria The inherent self-sufficiency aspect of life in West Berlin meant that performance art noise merchants such as MALARIA! and EINSTÜRZENDE NEUBAUTEN could exist, free from interference and commercial considerations. It was like “one massive band” in this Radikalinski scene.

This environment ultimately fuelled West Berlin’s notorious and decadent nightlife. On a visit with his band THE BIRTHDAY PARTY in 1982, Nick Cave became fascinated with the city and remained, crashing over at Reeder’s apartment in the process. But some of the less confrontational aspects of West Berlin did crossover into the mainstream with the success of NENA and her massive 1983 German language hit ’99 Luftballons’ in the US.

Reeder himself made a bid for stardom as a member of SHARK VEGAS with the singles ‘You Hurt Me’ produced by Bernard Sumner and ‘Love Habit’ whose video was shot on Die Glienicker Brücke which symbolised another divide between East and West. But despite touring with NEW ORDER in 1984, fame did not materialise and Reeder ended up doing voices on porn movies to make a living.

Meanwhile, as things started to get artistically stale in the city, technological advancement courtesy of samplers and the advent of club culture allowed DJs such as WESTBAM to make an impression. Reeder’s original vision of a Berlin engulfed by electronic sound was now actually becoming a reality. But while this was happening, politically, the times they were-a-changing…

The fall of The Berlin Wall is symbolised in the film by footage of David Hasselhoff singing his West German Schlager rock No1 ‘Looking For Freedom’ on 31st December 1989… ironically, no footage exists of Reeder during this period because he was on holiday in Ceaușescu’s Romania at the time! It was not just the end of Communist rule and East Berlin, but also the end of West Berlin and the unique enclave that had flourished in its own, idealistic manner.

Complimenting ‘B-Movie: Lust & Sound In West Berlin 1979 – 1989’ is the top notch soundtrack compiled by Reeder; as well as the local music of the period from MALARIA, DIE TOTEN HOSEN, DIE ARTZE and EINSTÜRZENDE NEUBAUTEN, there is more recent material from the likes of WESTBAM whose ‘You Need The Drugs‘ with Richard Butler is a recurring tune throughout the film.

Chaired by Haçienda DJ and noted cultural commentator Dave Haslam, the Q&A afterwards with Reeder was amusing and informative. The first question came from Bernard Sumner, mischievously keen to bait the man who introduced him to Italo and New York disco – “Did you smuggle anything out of East Berlin… like Russian uniforms?”

Reeder shared a story on how after returning from a trip to East Berlin, he was attempting to smuggle a uniform through Checkpoint Charlie while his SHARK VEGAS bandmate Alistair Gray was hiding a bundle of red flag material, all unbeknown to Sumner. If caught, there was the penalty of exile to a salt mine in Siberia!

“I had a brand new East German uniform underneath my clothes… I looked like Arnie Schwarzenegger! The trousers were a bit long so I rolled them up!” recalled the Denton lad, “the border guard waved me through but then behind me, this bundle Alistair had broke open and cascaded all over the floor! I thought F*CK! As they dragged Alistair off, he was pointing and I looked down… this uniform trouser was sticking out”! Luckily for Reeder, two other men also passing the checkpoint started an argument so the guards’ attention was drawn on them and he got across the border unhindered.

Reeder also revealed his subversive activities in music had led to the East German Ministry for State Security aka The Stasi compiling a file on him. But instead of preventing entry, they always welcomed him so they could keep him under surveillance while he worked in a recording studio.

“They said I was out to corrupt the youth of East Germany” Reeder fondly remembered on being watched by The Stasi, “they even asked their spy in MI5 to correlate if I was working for them, because they thought I must have been working for somebody! I was making Western TV programmes like ‘The Tube’ and showing East Germany in a positive light, yet on the other side, I was smuggling in music and doing these secret gigs so they didn’t know where to put me! At one point, they even thought I was gonna try and break someone out of prison!”

It turned out a young punk who had joined Reeder’s circle was actually a Stasi undercover operative! “I better not have a Stasi file cos of you!” snorted Sumner playfully to roars of laughter from those present.

Mark Reeder’s life in West Berlin makes for a fascinating and enjoyable documentary that could be subtitled ‘An Englishman In Berlin’; yet ‘B-Movie: Lust & Sound In West Berlin 1979 – 1989’ only tells part of the story. Will there be a second instalment?

“Abwarten und Tee trinken” as they say in Germany 😉

‘B-Movie: Lust & Sound In West Berlin 1979 – 1989’ is released by Edel as a DVD and Blu-ray on 2nd October 2015, available through Amazon Germany. The film is also available to download via iTunes at http://apple.co/1ULinCv

The soundtrack album featuring JOY DIVISION, DIE TÖTEN HOSEN, WESTBAM, SHARK VEGAS and MALARIA! is also available as a 2CD, double vinyl LP and download

The Mark Reeder single ‘Mauerstadt’ is available for download while there is also an accompanying ‘B-Book’ and a deluxe Gesamtbox containing all formats – further details at http://b-movie-der-film.de/b-kenner.html

http://www.b-movie-der-film.de/

https://www.facebook.com/lustandsoundinwestberlin/

https://www.facebook.com/markreedermusic

http://www.5point1.org/info.html

http://homemcr.org/

Text by Chi Ming Lai
1st October 2015

A Beginner’s Guide To FACTORY RECORDS

21 September 2015 / electricityclub

With an identifiable post-modern aesthetic and idealistic ethos, Factory Records was one of the most iconic record labels that emerged post-punk.

Founded in 1978 by Granada TV presenter Tony Wilson and actor Alan Erasmus, noted record producer Martin Hannett and graphic designer Peter Saville were also part of the original directorship, along with JOY DIVISION manager Rob Gretton.

A respected television journalist, Wilson became more widely known for his TV series ‘So It Goes’ which featured acts such as IGGY POP, THE SEX PISTOLS and BUZZCOCKS, so was seen as a champion of new music.

The Factory name was first used for a club venture which showcased bands like THE DURUTTI COLUMN, CABARET VOLTAIRE and JOY DIVISION. All three featured on the label’s debut double EP release ‘A Factory Sample’. The combined run-out groove messages read: “EVERYTHING – IS REPAIRABLE – EVERYTHING – IS BROKEN”. The release was given the catalogue number FAC2, as FAC1 had been allocated to a poster designed by Peter Saville for the club.

FAC1 was famously not printed in time for the opening event but despite his reputation for not meeting deadlines, Saville’s style was to become a highly coveted and he was head-hunted in early 1980 to work for boutique Virgin subsidiary Dindisc Records who had signed OMD following their debut on Factory.

Factory Records was initially based in Alan Erasmus’ flat at 86 Palatine Road in Didsbury, Manchester. It was very much a home-based operation, with members of JOY DIVISION once being roped in to glue together the striking sandpaper sleeves for ‘The Return of the Durutti Column’… inspired by Situationist Guy Debord’s book ‘Mémoires’, the album was intended to destroy the records next to it but as Factory used wallpaper paste rather than glue, the sleeves later themselves fell apart!

Factory were known for their extravagant packaging, off-the-wall promotional gimmicks and in-jokes like the Menstrual Abacus (FAC8), Martin Hannett’s legal settlement (FAC61) and Rob Gretton’s dental work (FAC99). Pop magazine Smash Hits even joked that they would be doing a NEW ORDER poster magazine, but it would be baked inside a cake and made available only in the Channel Islands.

Factory’s first LP ‘Unknown Pleasures’ by JOY DIVISION was released in June 1979 to wide acclaim. But the success was later clouded by tragedy when their charismatic singer Ian Curtis took his own life in May 1980 prior to the release of the single ‘Love Will Tear Us Apart’ and second album ‘Closer’. With the future uncertain for Factory, hopes rested on A CERTAIN RATIO. Together with Alan Erasmus, Tony Wilson managed the doomy post-punk funk merchants, but the band polarised audiences.

JOY DIVISION’s remaining members Bernard Sumner, Peter Hook and Stephen Morris recruited Gillian Gilbert to become NEW ORDER. Although their sombre 1981 debut album ‘Movement’ was generally panned, the quartet reinvigorated themselves by taking an interest in the New York club scene. This led to Factory and NEW ORDER’s decision to open a nightclub in Manchester. Legend has it that Rob Gretton (himself a former DJ) wanted to have a place where he could “ogle women”.

The move infuriated Martin Hannett, who had wanted to purchase a recording studio with a Fairlight CMI, and threatened to wind-up the company. With the Factory catalogue number of FAC51, The Haçienda opened in May 1982 and was a loss making enterprise for the next five years.

Even when the advent of acid house in 1987 filled the club every weekend thereafter, the crowds’ preference for illegal Ecstasy and therefore water, rather than the licensed and more profitable alcohol meant that Factory’s cashflow was tenuous to say the least. Problems with the Inland Revenue, Police and local gangsters meant the writing was on the wall. However, Factory still went ahead with a move out of Palatine Road into the rather expensive FAC251 building on Charles Street in September 1990.

But a major UK property slump occurred soon after and was set to cripple the label even further. By the beginning of 1992, both HAPPY MONDAYS and NEW ORDER were over budget and late in delivering their respective new albums ‘Yes Please’ and ‘Republic’.

London Records entered negotiations to take over Factory, but the deal fell through when it was discovered the label did not actually own many of its master recordings. So Factory was left to collapse in November 1992, while NEW ORDER signed a separate deal with London. When asked by Q Magazine what he was getting with London that was different from Factory, Sumner sheepishly replied “PAID!” But Factory had never been a conventional A&R led company.

It had let OMD and JAMES leave for major deals, and passed on THE SMITHS, THE STONE ROSES and BLACK BOX. It was not very business minded either, with the elaborate die-cut packaging for NEW ORDER’s ‘Blue Monday’ initially costing more than the per unit net profit.

The label’s idealistic ethos meant commercially unviable acts like MINNY POPS and STOCKHOLM MONSTERS had a platform to release records, but it also meant there was seldom enough capital coming in, other than monies from sales of JOY DIVISION and NEW ORDER. However, much of that was being syphoned off to keep The Haçienda afloat which had its own troubles relating to drug dealing, police clampdowns and rival factions of gun-toting gangsters.

In ELECTRICITYCLUB.CO.UK’s view, while JOY DIVISION and NEW ORDER undoubtedly had a huge influence on music, Factory perhaps did not have a wider back catalogue that was as strong as Virgin or Mute.

Smash Hits’ independent scene columnist Red Starr once said Factory’s artwork was often better than the records they contained. But Factory’s visual presentation has made its presence felt in popular culture from Next to Givenchy, while other observers relished Tony Wilson’s cool credentials (to quote HAPPY MONDAYS’ Bez) as “a Red on the quiet” and his undoubted ability to give a good quote. Sadly today, many of Factory’s major players like Wilson, Rob Gretton and Martin Hannett are no longer with us.

So via its great and not so good, using a restriction of one song per artist moniker, presented here is ELECTRICITYCLUB.CO.UK’s take on Factory Records’ arty, but chaotic adventure…

OMD Electricity (1979)

FAC6 was the first single to be released on Factory. Tony Wilson has often been credited with discovering OMD, but it has also been said that he was largely oblivious to their charms. The instigation to release ‘Electricity’ on Factory came from his then-wife Lindsay. According to her memoir ‘Mr Manchester and the Factory Girl’, the former Mrs Wilson reckoned that the decision to allow OMD to sign to Dindisc was a tit-for-tat response by her husband, to spite her in their fractious marriage.

Available on the OMD album ‘Peel Sessions 1979-1983’ via Virgin Records

http://www.omd.uk.com

JOY DIVISION Decades (1980)

‘Atmosphere’ was possibly JOY DIVISION’s greatest song, but was originally released on Sordide Sentimental rather than Factory as part of the ‘Licht Und Blindheit’ package. Next in line though, ‘Decades’ was the sonic cathedral that Martin Hannett had been striving for in the studio. With layers of ARP Omni processed through a Marshall Time Modulator and percussion enhanced through an AMS Digital Delay, it provided a solemn but beautiful Gothic backdrop for Ian Curtis’ elaborate musical suicide note.

Available on the JOY DIVISION album ‘Closer’ via London Records

http://joydivisionofficial.com/

A CERTAIN RATIO Shack Up (1980)

Originally issued in July 1980 on Factory’s Benelux arm which acted as an outlet for spare recordings by Factory bands, ‘Shack Up’ was a cover of a cult club favourite originally recorded by BANBARRA and showcased A CERTAIN RATIO’s new funkier direction. Other subsequent exclusive releases via Factory Benelux included NEW ORDER’s superior 12 inch remix of ‘Everything’s Gone Green’ and the instrumental ‘Murder’. ‘Shack Up’ was given a more accessible ELECTRONIC makeover in 1994.

Available on the A CERTAIN RATIO album ‘Early: A Definitive Anthology Of ACR Recordings From 1978-85’ via Soul Jazz Records

https://www.acrmcr.com/

THE NAMES Night Shift (1981)

Led by Michel Sordinia, Belgian band THE NAMES were archetypical of the post-punk miserablism that Factory was signing in the wake of JOY DIVISION. Better than most of their contemporaries with the icy synth embellishing the cacophonic Martin Hannett produced soundtrack, ‘Nightshift’ was a promising release, although unlikely to crossover beyond alternative circles. Their debut album ‘Swimming’ came out on Les Disques du Crepuscule in 1982.

Available on THE NAMES album ‘Swimming’ via Factory Benelux

http://www.thenames.be/

NEW ORDER Your Silent Face (1983)

‘Your Silent Face’ was dubbed the “KRAFTWERK one”, the ultimate homage to the romantic ‘Trans-Europe Express’ era of the Düsseldorf quartett. With the replication of the pulsating Synthanorma sequence and Vako Orchestron strings from ‘Franz Schubert’ using a SCI Polysequencer and Emulator, this was the stand-out song from NEW ORDER’s second album. Incidentally, the original artwork package featuring a cryptic colour alphabet code saw Peter Saville spell the title incorrectly as ‘Power, Corrruption & Lies’!

Available on the NEW ORDER album ‘Power, Corruption & Lies’ via London Records

http://www.neworder.com

CABARET VOLTAIRE Yashar (1983)

Returning to the Factory fold for a one-off interim release before moving on to their much lauded Some Bizzare / Virgin phase, ‘Yashar’ launched the more club friendly direction of CABARET VOLTAIRE. The single went down particularly well on the New York club scene. A track originally from their 1982 album ‘2X45’, it was extended and remixed to nearly eight minutes by John Robie who had worked with Arthur Baker on AFRIKA BAMBAATAA’s ‘Planet Rock’.

Available on the compilation album ‘Of Factory New York’ (V/A) via Factory Benelux

https://www.facebook.com/CabaretVoltaireOfficial

SECTION 25 Looking From A Hilltop (1984)

In a change of direction where founder member Larry Cassidy stated “you can’t be a punk all your life”, Factory Records stalwarts SECTION 25 recruited vocalist Jenny Ross and keyboardist Angela Cassidy to go electro. Produced by Bernard Sumner and Donald Johnson, the clattering drum machine, accompanied by ominous synth lines and hypnotic sequenced modulations, dominated the mix of FAC108 to provide what was to become a much revered cult club classic.

Available on the album ‘From The Hip’ via Factory Benelux

http://www.section25.com

AD INFINITUM Telstar (1984)

This cover of Joe Meek’s ‘Telstar’ for FAC93 was rumoured to be NEW ORDER in disguise. This curio certainly had a number of distinct elements like the Hooky bass and the drum programming style which recalled ‘Bizarre Love Triangle’. Peter Hook was indeed involved, as was Andy Connell who went on to form SWING OUT SISTER. Fronted by Lindsay Reade, her intended new original lyrics for ‘Telstar’ were vetoed by The Joe Meek Estate, so a version with more abstract vocals was released instead.

Available on the compilation album ‘Fac Dance 02’ (V/A) via Strut Records

http://www.strut-records.com/Fac-Dance-2/

THE WAKE Talk About The Past (1984)

THE WAKE were probably what NEW ORDER would have continued to sound like had they not discovered the joys of the dancefloor. A dour Scottish four-piece who also had a female keyboard player Carolyn Allen in their ranks, their music could be claustrophobic. ‘Talk About the Past’ however showed a brighter side with scratchy rhythm guitar, shiny synths, melodica flourishes and barely audible vocals. Featuring Vini Reilly of THE DURUTTI COLUMN on piano, FAC88 was probably their career highlight.

Available on THE WAKE album ‘Here Comes Everybody’ via Factory Benelux

http://factorybenelux.com/the_wake.html

MARCEL KING Reach For Love – New York Remix (1985)

Another Bernard Sumner’s production with Donald Johnson, ‘Reach For Love’ featured the late MARCEL KING who was a member of SWEET SENSATION, a vocal group who won ‘New Faces’ and had a No1 with ‘Sad Sweet Dreamer’. A vibrant electro disco tune, HAPPY MONDAYS’ Shaun Ryder remarked that if this had been released on a label other than Factory, it would have been a hit! The beefier New York Remix was issued on a second version of the 12 inch.

Available on the compilation album ‘Of Factory New York’ (V/A) via Factory Benelux

http://factorybenelux.com/of_factory_new_york_fbn55.html

SHARK VEGAS You Hurt Me (1986)

Mark Reeder was Factory Records representative in Germany between 1978 to 1982. Reeder often sent records to Bernard Sumner from the emerging electronic club scenes around the world. His own Deutsche musical journey started with DIE UNBEKANNTEN, who mutated into SHARK VEGAS and delivered this 1986 Factory release. ‘You Hurt Me’ was produced by Sumner and characterised by the New York disco sequence programming that made NEW ORDER famous.

Available on the MARK REEDER album ‘Collaborator’ via Factory Benelux

http://www.5point1.org/

THE RAILWAY CHILDREN Brighter (1987)

Led by Gary Newby, THE RAILWAY CHILDREN showed promise by taking the more guitar driven aspects of NEW ORDER to the next level. Produced by ’Low-life’ engineer Michael Johnson, their second single ‘Brighter’ took a marimba sample and sequenced it as the backbone to a marvellous melodic number that could compete with THE SMITHS and LLOYD COLE & THE COMMOTIONS. However, despite releasing a full-length album on Factory, THE RAILWAY CHILDREN departed to Virgin Records.

Available on THE RAILWAY CHILDREN album ‘Reunion Wilderness’ via Ether

http://www.railwaychildren.co.uk/

THE DURUTTI COLUMN Otis (1988)

Having shown his atmospheric and melodic credentials with the beautiful ‘For Belgian Friends’ in 1980, the latest technology was perfect foil for the most Factory of the label’s artists Vini Reilly aka THE DURUTTI COLUMN. Finally convinced to stop singing, the instrumental ‘Vini Reilly’ album opened the musician’s texture palette with the dreamy ‘Otis’ being the pivotal track. Over a hypnotic sequence, samples of the late iconic soul singer were flown in as Reilly improvised along on his six-string.

Available on THE DURUTTI COLUMN album ‘Vini Reilly’ via Kookydisc

http://www.thedurutticolumn.com

HAPPY MONDAYS WFL – Vince Clarke remix (1988)

With a name inspired by NEW ORDER’s best selling 12 inch single, HAPPY MONDAYS would emerge as Factory’s other best-selling act. It was a steady start for the band who began as something much more ordinary. But when they merged acid house with indie guitar rock, Shaun Ryder, Bez and Co would be hailed as flagbearers for the Ecstasy fuelled mini-movement known as ‘Baggy’ along with THE STONE ROSES. The Vince Clarke electronic remix of ‘Wrote For Luck’ from ‘Bummed’ aided the crossover process.

Available on the HAPPY MONDAYS album ‘Bummed’ via Rhino UK

http://www.happymondaysonline.com

ELECTRONIC Getting Away With It (1989)

Frustrated with the conflicts and confines within NEW ORDER, Bernard Sumner had planned a solo album. But on bumping into Johnny Marr who had just departed THE SMITHS, it was turned into a collaborative project with the occasional guests. ELECTRONIC not just in name but also in nature, the first offering was the very PET SHOP BOYS-like ‘Getting Away With It’ featuring additional vocals by Neil Tennant and a beautiful string arrangement by Anne Dudley.

Available on the ELECTRONIC album ‘Electronic’ via EMI Records

http://www.electronicband.com/

REVENGE Slave (1990)

The appropriately named REVENGE was Peter Hook’s response to ELECTRONIC. However, it was not particularly well-received by the music press. A slightly messy track in its original album incarnation, the superior New York disco oriented single remix by Daddy-O also featured a surprise rap. It enhanced the song’s lyrical slant which with the well-documented joyless division between himself and Sumner, appears now to be a veiled attack on his bandmate. Hook’s project later morphed into MONACO.

Available on the REVENGE album ‘One True Passion V2.0’ via LTM Records

http://www.peterhook.co.uk

THE OTHER TWO Tasty Fish (1991)

Not to be left out of the NEW ORDER side project game, Gillian Gilbert and Stephen Morris formed the ironically named THE OTHER TWO. Amusingly titled after a Fish and Chip shop near Stockport, ‘Tasty Fish’ was a catchy electropop single with a confident vocal from Gilbert that should have been a hit. Factory was beginning to enter a state of turmoil by this point and the CD version of the ‘Tasty Fish’ single never made it into the shops until it started its descent from its UK chart high of No41.

Available on THE OTHER TWO album ‘And You’ via LTM Records

http://theothertwo.co.uk/

CATH CARROLL Moves Like You (1991)

Previously a member of MIAOW, CATH CARROLL was treated like a future star by Factory. Mixed by Martyn Phillips who had also worked with THE BELOVED, ‘Moves Like You’ was a fine example of the blissful house influenced pop of the period. As with ‘Reach For Love’, it probably would have been a major hit had it been released on a label other than Factory. With expensive studio and photo sessions lavished on her, she is often held up as a symbol of why Factory eventually collapsed.

Available on the CATH CARROLL album ‘England Made Me’ via LTM Records

http://www.ltmrecordings.com/cath_carroll.html

Dedicated to the memories of Larry Cassidy, Ian Curtis, Rob Gretton, Martin Hannett, Marcel King, Jenny Ross and Tony Wilson

Special thanks to James Nice at Factory Benelux

A varied selection of the Factory catalogue can be found on the 4CD box set ‘Factory Records: Communications 1978-92’ via Rhino Records

The DVD ‘Shadowplayers: Factory Records 1978-81’ directed by James Nice is released by LTM

http://factorybenelux.com/

http://www.factoryrecords.net/

http://factoryrecords.org/factory-records.php

http://cerysmaticfactory.info/index.php

Text by Chi Ming Lai
21st September 2015, updated 9th May 2020

An Evening with BERNARD SUMNER

3 October 2014 / electricityclub

Chapter & Verse – NEW ORDER, JOY DIVISION & Me

The history of JOY DIVISION and NEW ORDER is so fascinating, it is unsurprising that two films ’24 Hour Party People’ and ‘Control’ have been made using elements of those stories. However, those productions have been focussed around Factory Records impresario Tony Wilson and the short life of JOY DIVISION singer Ian Curtis respectively.

Books about the period meanwhile have been a plenty, starting with the Mark Johnson’s ‘An Ideal For Living – A History Of Joy Division & New Order’, progressing to Mick Middles’ ‘From Joy Division to New Order – The Factory Story’, ‘Touching From A Distance’ by Ian Curtis’ widow Deborah and more recently, ‘Unknown Pleasures’ by bass player Peter Hook.

But now, Bernard Sumner, a founder member of both iconic bands, has finally opened out to tell his side of the story with the publication of his memoirs entitled ‘Chapter & Verse – New Order, Joy Division & Me’. With luminaries present such as Daniel Miller and Arthur Baker, the NEW ORDER front man launched the book at a special event at London’s Waterstones book shop in Trafalgar Square with The Guardian’s Dave Simpson steering the conversation.

Sumner described it as containing “the stuff that matters” with “answers to questions that have never been asked”. While NEW ORDER’s hedonistic antics have been widely documented elsewhere, ‘Chapter & Verse – New Order, Joy Division & Me’ only touches on them. Instead, Sumner’s account is more personal and emotional. But it also contains his well-known sharpness and wit.

In the ensuing chat, Sumner reflected on his tough but happy childhood in Salford which he suggested had hardened him to overcome the tragic events that were to follow. This inevitably led to a discussion on the late Ian Curtis; Sumner had attempted hypnotic regression to persuade the enigmatic JOY DIVISION singer to escape his death wish in the weeks before his suicide.

This session was recorded on cassette and has been transcribed as an appendix for the book… it does not make easy reading but it is a intriguing historical document that puts into further context, the mindset of Ian Curtis. “It was my feeble attempt to try and unlock something that might be causing him all the troubles he was having” Sumner added. But Curtis is remembered by his friend as “a good guy” who woke up “from a dream only to find that the dream was actually happening” and that “love was literally tearing him apart”.

Interestingly, although having now spent almost 37 years in the business, Sumner confessed he was not into music until his late teens but the change came via the emotive Ennio Morricone soundtracks of the Sergio Leone directed Spaghetti Westerns such as ‘The Good, The Bad, & The Ugly’, ‘For A Few Dollars More’ and ‘Once A Upon A Time In The West’.

Anyone who has listened closely to ‘Elegia’, ‘Ruined In A Day’ or even ‘Blue Monday’ will recognise how these soundscapes helped shape NEW ORDER’s aural template plus of course, the band have been taking to the stage accompanied by the haunting melancholy of ‘The Ecstacy Of Gold’. On the profound effect these movies had on him, Sumner pointed out “what had gone before was corny John Wayne films, the Indians were bad and the cowboys were good! Suddenly, you had these weird Italian Western films that were shot in a spectacular way and EVERYONE in the film was bad, no-one was good!”

In the corresponding open Q&A with the attentive and appreciative audience, Sumner hinted as to the direction of the new NEW ORDER album with good news for anyone who may have been disappointed by ‘Get Ready’ and ‘Waiting For The Sirens’ Call’; “It’s quite electronic in nature” he announced.

On why the more recent NEW ORDER albums had been more guitar focussed, he commented that at the start of the noughties, electronic music had become “a bit too compartmentalised for my tastes… you couldn’t just write a good electronic song, it had to be about what genre it was, and that ‘you can’t play that piano sound, it’s not allowed anymore! You can’t use that beat’… so when you start applying these kinds of rules to music, it becomes boring”.

But he said: “electronic music has become more open and free” and after his break from synthesizers, he had “fallen in love with them again”.

There were also clues as to the form the artwork would take with the news that the legendary Peter Saville would be on board as with NEW ORDER’s other albums. “Peter’s got more and more minimalist… one of the ideas is to put a simple line across the album… but in nice colours!” quipped Sumner to laughter from the audience. But apparently when Sumner met up with Saville a few weeks later to green light the concept, the perfectionist graphic design icon apparently said: “yeah, I’ve been thinking about getting rid of the line!”. Chuckling away, Sumner told everyone: “You should see his business card, you need a magnifying glass to read it!”

An Evening with BERNARD SUMNER01

Before the Q&A though, Sumner concluded the main part of the evening with a few words about his estranged former band mate Peter Hook, the departure of whom is discussed in greater detail within the book. Asked if it was strange to carry on as NEW ORDER without the Bass Viking, Sumner sheepishly replied: “It would have been stranger carrying on with Hooky! We didn’t get rid of Hooky, he decided to go. I hope he’s happy in what he’s doing… even though he called me a c*nt!”

Overall, ‘Chapter & Verse – New Order, Joy Division & Me’ is a good, informative read with an endearing, self-deprecating sense of humour. Considering that Sumner has had to face the premature passing of close friends such as Ian Curtis, Ruth Polsky, Martin Hannett, Rob Gretton and Tony Wilson, that he has been able to maintain such positivity over the years is a considerable achievement. And with NEW ORDER having signed to Mute Records, the story continues into its next phase. Whatever happens now, it’s just ‘A Means To An End’. After all, Sumner has already crammed more into his life than most people have twenty times over.

In book’s postscript, Sumner notes: “This book is about what it means to be truly alive. It’s about operating outside the system and beating it. It’s about surviving catastrophe. It’s about hanging on to some of the things you once valued as a kid and how, along with that, just having fun can lead to – and in fact is – success. You just have to take a few steps back from life occasionally to see things how they ought to be”.

Trivia fact from the evening: The song ‘1963’ was named so because it rhymed with the word “January”!

BERNARD SUMNER ‘Chapter & Verse: New Order, Joy Division & Me’ is published by Bantam Press

http://www.neworder.com/

https://www.facebook.com/NewOrderOfficial

http://www.neworderonline.com/

Text and photos by Chi Ming Lai
3rd October 2014

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