Tag: Martyn Ware (Page 7 of 7)

MARTYN WARE: The BEF Interview

20 May 2011 /

This Autumn sees the reissue of BRITISH ELECTRIC FOUNDATION’s ‘Music Of Quality & Distinction Volumes 1 & 2’.

Ambitiously conceived as a high-tech covers project with HEAVEN 17’s Martyn Ware as musical director and in a production partnership with bandmate Ian Craig Marsh, ‘Volume 1′ featured guest vocalists such as the late Billy MacKenzie from ASSOCIATES, MANFRED MANN’s Paul Jones, HEAVEN 17’s Glenn Gregory, Bernie Nolan, Sandie Shaw and Paula Yates. There were also cameo appearances from Midge Ure and Bob Geldof under the pseudonym of THE NANCY BOYS.

There was an impressive supporting cast of musicians who included THE SHADOWS’ Hank Marvin, MAGAZINE’s John McGeoch, I LEVEL’s Jo Dworniak, Nick Plytas and John Foxx. However most notably, ‘Volume 1′ saw the recorded return of Tina Turner on a blistering reworking of THE TEMPTATIONS’ ‘Ball Of Confusion’.

Although impressively co-ordinated, Volume 1 did not sell in huge numbers but the working relationship with Tina Turner gelled which led to Martyn Ware producing her comeback single, a magnificently moody version of Al Green’s ‘Let’s Stay Together’. Becoming a massive worldwide hit, it effectively revived her career.

For 1991’s ‘Volume 2’, she reciprocated by singing the Sam Cooke classic ‘A Change Is Gonna Come’ while this collection also saw the return of  Billy MacKenzie on Denise Williams’ ‘Free’. The album featured a greater emphasis on Ware’s love of soul which was highlighted by guest vocalists such as Green Gartside, Chaka Khan, Terence Trent D’Arby, Lalah Hathaway and Billy Preston.

Now, a ‘Volume 3’ entitled ‘Dark’ is being completed while the work of BEF is to be celebrated in a live extravaganza at London’s Roundhouse this October that will feature the live premiere of HEAVEN 17’s ‘The Luxury Gap’ in 3-D sound on Friday 14th and a BEF concert on Saturday 15th with guest vocalists Andy Bell, Midge Ure, Boy George, Kim Wilde and Sandie Shaw already confirmed.

Following his interview last year, Martyn Ware was kind enough speak about the whole BEF production concept, ‘The Luxury Gap’ and the forthcoming live weekender.

It’s amazing to think now that back in 1981, Virgin Records were prepared to finance such an ambitious project by a then comparatively unknown musician / producer…

There were visionary people, it’s only in the fullness of time that you realise how visionary. I have to give Virgin a lot of respect because initially when I left THE HUMAN LEAGUE, I signed to them as BEF, not HEAVEN 17. They were really bought into the idea, big style. I said if I was really going to make it real as opposed to some fancy marketing fluff, I wanted to really organise it as a proper production company and make it work by bringing forward lots of different projects. And the manifesto for that was the ‘Music Of Quality & Distinction’ album, it was like a calling card really for our production style. I was ridiculously gung ho I think… I’d just ring people up, they didn’t know who the hell I was!

How did the idea first come about?

I really wanted to get up to speed in terms of putting myself and Ian Marsh up on the map as a production team that people would be interested in. I couldn’t think of a better way of doing it than appealing to people’s artistic nature.

Was the seed of this in THE HUMAN LEAGUE’s live act when you used to do covers?

Yeah, there’s always been the element of the curator in me I suppose, wanting to reinterpret things and try to change people’s perceptions through the medium of reinterpretation… and that’s a very pretentious way of saying “doing cover versions”! The point is, applying the skills and palette of sounds that we’d used with THE HUMAN LEAGUE, adding some real instruments in there and seeing what would come out. And it turned out to be the palette of sounds that we used for ‘Penthouse and Pavement’.

At the time, many were expecting the songs to be arranged in the style of HEAVEN 17 but with other vocalists. But the arrangements were quite varied from glam rock to big ballads plus a variety of conventional instrumentation. How did decide how the recordings would actually sound?

It started out with the idea that it was going to be electronic really, and then it quickly became apparent that it was just restricting ourselves too much. It turned into something that in the same way I wanted to put ourselves on the map in terms of vocalists, I also wanted to do it in terms of musicians as well. Hence getting people like John McGeoch who I had massive respect for, Neville ‘Breeze’ McKreith and David ‘Baps’ Baptiste from BEGGAR & CO and other musicians from the funkier end of the spectrum.

These weren’t old session players we were using, these were young guys with an average age of 22. We had older musicians too like Paul Jones from MANFRED MANN playing harmonica on ‘Ball Of Confusion’ just generally mixing and matching and mashing styles up. It all seems straightforward now because that sort of thing has been done so much in the last few years but at the time it was pretty cutting edge. It was like being a demented puppet master, but a friendly Northern version.

The one that stands out for me is Bowie’s ‘The Secret Life Of Arabia’. Not only was Billy MacKenzie amazing but so were the funk musicians juxtaposing with your Linn Drum programming and Roland Vocoder choral pads…

I love that! What an incredible talent, I loved what he did and how he appeared right from the second I heard ASSOCIATES’ ‘Party Fears Two’ on some late evening music show. He just looked like a Hollywood star. I am not gay but if I was… I thought he was utterly beautiful and stellar! *laughs*

What was he like to work with?

We got on really well, he was the first on the list of people that I rang up. Everybody knows he was bonkers and had a particular take on things but musically, we fitted together very well. He lacked a little in terms of understanding the production process and how sound fitted together but what he lacked in that respect, he made up for in his arrangement ideas.

I was, if you like, kind of filling in the missing parts for him. But he turned round to me after we’d done a couple of tracks on the ‘Perhaps’ album and he said “Martyn, you’ve got a pop heart” which I though was the nicest compliment anyone’s ever paid me.

There was a group called THE HEREAFTER credited with backing vocals on Volume 1. Was that you and Glenn Gregory?

Yeah! I just love the name… HEAVEN 17 and THE HEREAFTER… c’mon! I might revive that for the live show *laughs*

What inspired the Volume 1 album artwork?

We always liked the whole notion of packaging for different types of goods. So Ian Marsh had a shirt box which said “shirts of quality & distinction”. It was literally a box in black and white of people getting out of an E-Type Jag in front a big posh hotel. So I thought “we’re going to recreate that photo and call the album Music Of Quality & Distinction”!

You used the Synclavier 2 quite a bit on the album but when HEAVEN 17 eventually acquired a computer musical instrument, you settled on a Fairlight. What were your operational reasons for this?

The operational reasons for moving to the Fairlight were that Ian had bought one without asking anyone and with his own money… £40,000! I was going “Are you sure about this Ian?”, it seemed a little extreme but he was keen so… those days have gone! But I was very keen on the Synclavier from the point of view in that the purity of the sounds was so amazing. There was also another machine, I can’t remember what it was called now but it had a green computer screen built-in. It was like an early graphic visual representation programmer.

We also used a PC called an Osborne which we used for programming sequence parts just before we got into Macs and everything. We just hired stuff in and tried different things, it was being in a giant toy store. The LinnDrum was just brilliant, we wanted everything to be as good that was at rhythm. We thought that merging it with the human aspects of live players was pretty unique at the time.

Did you use the Synclavier on ‘The Luxury Gap’?

No, we’d moved on by then to programming using the Roland MC4 Microcomposer, so there was a lot of numeric programming on that album. That drove my System 100 and Ian’s System 100M. The original demos are really just the programmed parts which then got layered over with real instruments. The programmed parts, as you’d expect, combined with the LinnDrum sounded extremely robotic and not necessarily in a good way, it sounded too ‘white bread’ for me.

By that time, I’d moved into a different headspace. It was the idea of programmed parts inspiring musicians who weren’t used to listening to programmed material to syncopate off them and that was interesting. On ‘The Luxury Gap’, Simon Phillips came in and played on ‘Lady Ice And Mr Hex’. He played the most amazing syncopated, polyrhythmic thing on a giant drum kit with three bass drums and twenty toms… that was all inspired by the nuts nature of the original LinnDrum programme.

Volume 2 finally appeared in 1991 and had much more of a soulful live feel didn’t it?

It was more aiming for the mainstream market , it wasn’t really meant for the cognoscenti. It was almost Trans-Atlantic rather than European, it’s got quite an American feel but not in a detrimental way. I saw Green Gartside from SCRITTI POLITTI the other day who did ‘I Don’t Know Why I Love You’ which I really like, I still play it.

He said he really likes it now but he wasn’t so sure at the time. I had to push him hard to do that track because he doesn’t really see himself as a soul singer. And I think he’s got an incredibly soulful voice, although it’s not necessarily in the purist genre based sense of soul. I always think that about Kate Bush as well. Essentially, some people have got soulful voices whether they choose to sing what we regard to be soul music or not. Peter Gabriel fits into that bag as well.

What are your favourites from the first two volumes?

‘Secret Life Of Arabia’ was very successful as far as I was concerned. I really like ‘Wichita Lineman’, that’s an interesting version of that song and Glenn sings it really well. I also really like ‘It’s Over’ with Billy MacKenzie, it’s so completely over the top and kind of operatic. Of course ‘Ball Of Confusion’, it was very successful and led to me working with Tina Turner.

On the second album, I like the Green track. I personally, although I’ve never heard anyone else say it, really like ‘Someday We’ll All Be Free’ sung by Chaka Khan and I’m very fond of ‘Family Affair’. Lalah Hathaway’s got a great voice, I don’t know what really happened to her. I also loved Mavis Staples doing ‘A Song For You’.

When we last spoke, you revealed that you’d just finished the backing track to DELFONICS’ ‘Didn’t I Blow Your Mind?’ for ‘Dark’. Are you able to reveal any more of the other tracks that will be on the finished album and any of the vocalists?

Andy Bell’s going to do ‘Breathing’ by Kate Bush; Kim Wilde is going do a minimalist System 100 only arrangement which I’ve done with Brian Duffy of MODIFIED TOY ORCHESTRA of a song called ‘Everytime I See You I Go Wild’ by JJ Barnes, it’s a classic Northern Soul tune co-written by Stevie Wonder.

Billie Godfrey who sings with HEAVEN 17 has done a version of the BRONSKI BEAT song ‘Smalltown Boy’ which is really interesting, it’s like an epic eight minute version and quite cinematic. Polly Scattergood who’s on Mute has done a version of Dusty Springfield’s ‘The Look Of Love’. With Glenn, I’m going to be working on ‘It Was A Very Good Year’ by Frank Sinatra, an electronic soundscape version of it. If you think about the original fantastic orchestral arrangement, it’s like a series of little episodes of a short story and I want to do the same but using electronics instead. I think it will work really well.

So is ‘Dark’ much more of an electronic album than any previously in the BEF covers series?

Yes, the basic premise is dark, minimalist electronic versions of previously normal songs. It’s expanded a bit since that original theory because I realise now is that what I really want to do is either minimalist or soundtrack-ish type things but none of it is going to be normal, just pure electronic.

You’re going to celebrate the legacy of BEF with a two day live event featuring HEAVEN 17’s ‘The Luxury Gap’ on day one and BEF on day two. How are the arrangements coming along?

It’s a massive amount of work, it all seems very simple when you’re talking about it in a meeting. Just contacting people and getting them to respond to emails, these generally aren’t people you can just ring up out of the blue however much you get on with them, they’re just not available a lot of the time.

It slows the whole process down. I’m doing this and the BEF album with no finance or record company support. You’re asking for people’s faith and for them to approach it as a good idea from an artistic point of view, and therefore trying to leverage my reputation over thirty years amongst people who know.

It’s tricky but it’ll all come out in the wash. I’m sure that it’s going to be an extraordinary night. I’m very happy that people have agreed to do it so far in advance. There’s already been three months of hard work from all concerned to try and get this together. I’m lucky to be getting these people for one night. It’s genuinely not going to happen anywhere else, it is a one-off!

What are your sound challenges for these two shows at The Roundhouse?

The challenge for the HEAVEN 17 Luxury Gap performance is to create a show that’s never been created before which is equipping the entire auditorium in 3-Dimensional sound. I do with my other hat on with Illustrious so I’m not freaking out as it’s what we do for a living. But I don’t think people are going to be quite ready for it, they’re going to be gobsmacked. No rock band has ever done this before and that includes PINK FLOYD… they’ve done quadraphonic but this is the next level up. So that in itself plus programming in an entire album. And we’ll be doing songs that aren’t on ‘The Luxury Gap’, like with the ‘Penthouse and Pavement’ show.

And then the challenges for the BEF night are just the logistics, programming it all, getting everybody in and there at the right time, and the rehearsals… can you imagine that? *laughs*

Are the HEAVEN 17 regulars like Billie Godfrey, Asa Bennett and Joel Farland going to be the house band for the BEF show?

Yes, and we’re getting a great looking girl keyboard player Berenice Scott, because there are a lot more parts on ‘The Luxury Gap’ and the BEF albums than on ‘Penthouse and Pavement’.

That’s an impressive line-up of guest vocalists you’ve gathered so far. Can you say who will be doing what song?

Andy Bell’s going to do ‘Secret Life Of Arabia’, I can’t think of a better person to take it on. Sandie Shaw will do ‘Anyone Who Had A Heart’ and Glenn will do ‘Wichita Lineman’.

For the live show, the idea is that each of the artists on ‘Dark’ will do one of the tracks of their choice from Volumes 1 and 2, and then the new track that they’re doing.

Any chance you could get Phil Oakey to do ‘You’ve Lost That Loving Feeling’ or ‘Rock ‘N’ Roll Part 1′ for old times sake?

I’m working on it, that’s all I can say!

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Martyn Ware

Special thanks also to Peter Noble at Noble PR

BEF ‘Music Of Quality & Distinction Volumes 1 & 2’ are due for release as a remastered boxed set by EMI in Autumn 2011

HEAVEN 17 perform ‘The Luxury Gap’ on Friday 14th October 14th 2011, followed by BEF ‘Music of Quality & Distinction Live ‘on Saturday 15th October 2011 – the event takes place at The Roundhouse in Chalk Farm, London. Day tickets cost £23.50 while weekend tickets are £42.50 subject to booking fee.

http://martynwareblog.blogspot.com/

https://www.heaven17.com/

Text and Interview by Chi Ming Lai
20th May 2011

CLAUDIA BRÜCKEN & FRIENDS Live at The Scala

13 March 2011 /

“Sooner or later, one has to take sides in order to remain human” CLAUDIA BRÜCKEN 2005

Claudia Brücken is the original first lady of cinematic electronic pop. Successfully maintaining an icy but approachable aura that draws from Germanic divas as varied as Marlene Dietrich, Nico, Nina Hagen and Gina Kikoine, one aspect that stands out about her is how she’s maintained her values and artistic integrity over the years.

For her, it is all about quality rather than quantity. She could so easily have been trudging around the dreaded ‘Here & Now’ and ‘Rewind’ circuit singing ‘Duel and ‘Dr. Mabuse’ accompanied by an unsympathetic house band. But thankfully, she is much better than that.

Her varied back catalogue as a solo artist and with PROPAGANDA, ACT and ONETWO (as collected on her recent retrospective ‘ComBined’) has captured the essence of her thoughtful imagination and focussed aspirations. It’s a testament to the strength of her musical reputation that she’s been able to gather the ComBinations of very special guests who join her tonight to celebrate her illustrious career.

The list reads like a who’s who of avant pop: Paul Humphreys, Glenn Gregory, Martyn Ware, Andy Bell, Susanne Freytag, Ralf Dörper, Andrew Poppy. And together, they gather to perform a cross section of her Eurocentric classics for an eager audience that has waited years for a solo CLAUDIA BRÜCKEN concert.

Taking to the stage, the glamorously attired Claudia is joined by her ONETWO partner Paul Humphreys who acts as the evening’s musical director plus the regular live band of guitarist James Watson and MANHATTAN CLIQUE’s Philip Larsen. With the addition of one time PET SHOP BOYS percussionist Dawne Adams, they are the core musicians for this unique live event.

The loyal Claudia faithful, who have travelled far and wide to here on this cold March night, are rewarded with ‘Kiss Like Ether’ as the show’s opener, its squelchy ‘State Of Independence’ bass driving alongside the ethereal voices of Claudia in harmony with backing singers Melissa D’Arcy and Dave Watson.

‘Sequentia’ follows and fills The Scala with the chilling widescreen spectre of the ASSOCIATES. Many have said Claudia duetting with the late Billy MacKenzie would have made a dreamboat pairing. Both songs act perfectly as a two movement overture to the stylish proceedings.

The first guests of the night arrive in the shape of a three quarters reunion of PROPAGANDA for ‘Dr Mabuse’. Ralf Dörper reprises his stern role from the original while Susanne Freytag completes the trio by concurring with Claudia in her distinct Teutonic tone.

Watching this reunion reminds everyone that not only were the Düsseldorf based quartet the “ABBA in Hell”, but they were also the proto-LADYTRON. ‘Dr Mabuse’ sounds magnificent and loses none of its mystery and magic.

It’s all lovingly recreated using laptops and Roland Fantom workstations… and to think this could have only been produced in 1984 using Trevor Horn’s £40,000 Fairlight… a new Toyota MR-2 (as emblazoned on the cover of LA ROUX’s ‘In For The Kill’) would have cost around £10,000 then! How technology has moved on!

The only disappointment is that the mics cut in and out with Susanne Freytag particularly being unable to be heard at times. Apart from this slight glitch, the music comes over loud and clear throughout the evening. Interestingly, ‘Absolut(E)’ almost steals the show in this early section, the beefy house rhythms that drive it are further enhanced by some finely tuned programming and a crystal sound.

Despite the all-star cast, one person who doesn’t appear tonight is DEPECHE MODE’s Martin Gore. On his co-write ‘Cloud Nine’ though, James Watson acts as a worthy substitute recreating Gore’s distinct six string rhythm textures before finishing with a layer of pretty infinite guitar to enhance one of the highlights from ‘Instead’.

Claudia then introduces HEAVEN 17’s Glenn Gregory who returns the compliment of Claudia’s appearance at last year’s triumphant Sheffield Magna gig to take over Thomas Leer’s vocal duties on ACT’s ‘Snobbery And Decay’. Poor Thomas was unable to take part due to a hospitalised illness and was sadly missed. But Mr Gregory did a superb job on one of the great lost ZTT singles that lyrically has now become relevant again, thanks unfortunately to a return to the unpleasant social economic climate of 1987.

Following on, Martyn Ware joins his erstwhile HEAVEN 17 colleague to tackle the demo version of ‘Temptation’. Much starker than the soul fusion of the famous hit single, Claudia gives it a sexy deadpan delivery over the backing like a more sinister electronic take on SOFT CELL’s version of ‘Tainted Love’.

HEAVEN 17 remain for the debut recital of country and western cover ‘When Your Heart Runs Out Of Time’ from the film Insignificance. This cult favourite narrowly missed inclusion on ‘ComBined’ but was luckily dusted off for inclusion on ZTT’s ‘The Art Of The 12 Inch’ collection. Tonight, it soars with its synthesized instrumentation arranged like an ULTRAVOX ballad, almost in tribute to the recording’s producer Midge Ure.

Everything takes a breather when ZTT’s arch minimalist Andrew Poppy accompanies Claudia on solo piano for a stark cover that was first premiered on their ‘Another Language’ album. The audience are respectfully attentive as the pair tackle a touching rendition of KATE BUSH’s ‘Running Up That Hill’ before following with an emotional take on ROY ORBISON’s ‘In Dreams’.

Claudia then steps out of the spotlight for a moment as Susanne Freytag re-emerges next to the microphone stand and announces “all that we see or seem is but a dream within a dream”.

Written by Edgar Allan Poe in 1849, that segment of poem initiates an unexpected but breathtaking rendition of the epic opener from ‘A Secret Wish’. Textured with real trumpet, it is magnificent and brooding with the incessant backing sounding like a cross between PET SHOP BOYS and prime SIMPLE MINDS that builds to the massive percussive break.

Dawne Adams is a total star here, frantically doing justice to original exponential template on this most special of moments.

The audience then get even more secret wishes as Ralf Dörper returns and shouts “PROPAGANDA” over some bleepy mechanics to launch ‘P.Machinery’. The second instalment of the 3/4 reunion is full of motor, power, force, motion and drive. The machine funk and synthetic brass stabs are all faithfully recreated, testament to Paul Humphreys’ engineering and programming skills.

‘Night School’ is the first of Claudia’s new songs tonight and the groove laden shuffle keeps the momentum going. “What are you waiting for?” monologues Claudia during the song… it turns out it’s actually Susanne Freytag who almost doesn’t make it on stage for ‘Light My Way’ when it inadvertently starts without her! But it turns out to be a fine live debut of what in 1993 was originally the first recorded return of the PROPAGANDA ladies since ‘A Secret Wish’.

The brilliant ‘Home (Tonight)’ from ONETWO’s ‘Instead’ appears in blistering remix form steered by Philip Larsen to compliment the superb collection of dancier numbers that make up this second half of the show.

Andy Bell arrives fresh faced for their energetic duet ‘Delicious’ with the playful chemistry between Claudia and himself very apparent on stage. Friends since collaborating on his 2005 MANHATTAN CLIQUE produced solo debut ‘Electric Blue’, Andy Bell stays on for a superb airing of ACT’s ‘Absolutely Immune’. Amusingly requiring a lyric sheet and a trendy pair of spectacles to complete the task, he is on good form throughout and all bodes well for Mute’s Short Circuit 2011 concert at The Roundhouse in May and the new ERASURE album due later this year.

For the last song ‘Duel’, Claudia’s best known song is joined by Susanne Freytag on keyboards while Paul Humphreys does rather a good job hammering away for the song’s mad piano solo!

Meanwhile, Melissa D’Arcy treats everyone to a marvellous dance routine in semi-literal fashion that sparkles and shines. ‘Duel’ is such a classic, it can’t do any wrong and is a fitting end for the main set.

Sending a little sign of Claudia’s continued excellence after over 25 years in the business, the encore is the Stephen Hague co-write ‘Thank You’. Like A-HA’s 2009 hit single ‘Foot Of The Mountain’, ‘Thank You’ brings Claudia’s sound up-to-date while retaining all the classic qualities of the past. It acts as a perfect finale with its JOHN BARRY-esque vibes and wonderfully moody percussive textures.

This was a once in a lifetime experience. With a well paced set, the song choice tonight couldn’t be faulted. Love and a million other things could certainly be felt with Claudia quite visibly moved by an ecstatic response from the crowd.

In fine voice throughout, she captured the hearts of all who were present and was humbly appreciative in return. It was an outstanding evening, delightfully performed and presented… almost perfect in fact.

For those who missed this special occasion, the concert was filmed and is due to be released on DVD later this year.

‘ComBined’ is released by ZTT/Salvo and available now

http://www.claudiabrucken.co.uk/

https://www.facebook.com/ClaudiaBruckenMusic

https://twitter.com/claudiabrucken1

Text by Chi Ming Lai
Photos by Richard Price
13th March 2011

MARTYN WARE: The HEAVEN 17 Interview

23 October 2010 /

History Will Repeat Itself and the HEAVEN 17 renaissance continues…

Following a well received collaboration with LA ROUX for BBC 6Music and not one, but two TV specials featuring the triumphant concert at Sheffield Magna and ‘The Story Of Penthouse’ and Pavement, Glenn Gregory and Martyn Ware are about to embark on a full UK tour celebrating their landmark debut album after a successful European excursion earlier this year.

Martyn Ware of course was a founder member of THE HUMAN LEAGUE before leaving with Ian Craig Marsh to form the production company BRITISH ELECTRIC FOUNDATION (BEF). With its pop subsidiary HEAVEN 17 featuring Glenn Gregory, the success of ‘Penthouse & Pavement’ and ‘The Luxury Gap’ with its international hits ‘Temptation’ and ‘Come Live With Me’ led to it becoming the priority project over at BEF Head Office.

Simultaneously though, Ware was able to maintain a successful production career which over the years has taken in artists such as Tina Turner, Terence Trent D’Arby and Marc Almond as well as ASSOCIATES and ERASURE. He later founded Illustrious with Vince Clarke to exploit the creative and commercial possibilities of 3D sound technology.

Through Illustrious, he also conceived Future Of Sound, a not-for-profit organisation to provide a forum for the discussion of new and convergent art forms. Among those involved are HEAVEN 17’s guitarist/programmer Asa Bennett and artist Malcolm Garrett, best known for his album artwork for DURAN DURAN and SIMPLE MINDS.

As part of the 30th Anniversary celebrations, the homecoming show at the Magna featuring the ‘Penthouse and Pavement’ album and the extended cut of ‘The Story Of Penthouse and Pavement’ are released as a double DVD package.

Featuring additional BEF cover gems ‘Perfect Day’ and ‘Wichita Lineman’ alongside ‘Ball of Confusion’ sang by Billie Godfrey and ‘These Boots Are Made for Walking’ featuring PROPAGANDA’s Claudia Brücken, Strong Films have successfully captured the evening’s vibrant performance including the futuristic LED screen projections where a variety of visual artists were given free reign to interpret HEAVEN 17 and BEF’s music of distinct quality. These digital videos have been included as bonuses along with rehearsal footage to give a unique multimedia insight into this special live presentation.

Also being released is a deluxe 3 disc collector’s edition of ‘Penthouse & Pavement’ featuring a CD demos from 1980 with versions of songs from the ‘Pavement’ side predating the Linn Drum Computer. These showcase a unique hybrid funk driven by crashing early HUMAN LEAGUE style rhythm sounds. In addition, there are alternate mixes of instrumentals like ‘Music To Kill Your Parents By’, ‘Uptown Apocalypse’ and ‘A Baby Called Billy’ from the BEF ‘Music For Stowaways’ sessions.

In the midst of a busy promotional schedule for the ‘Penthouse & Pavement’ tour and its related artefacts, Martyn Ware took time out to talk about his career and the resurgent interest in HEAVEN 17.

How was it playing Back To The Phuture night at Bestival in September? I understand you played ‘And That’s No Lie’?

It was an amazing event actually. We did an hour with Elly from LA ROUX on Radio Bestival or whatever, so that was before we even went on stage, that was quite fun. It was in a big top, we headlined that night. It’s kind of a warm-up because the main days are Friday, Saturday and Sunday but there was like 8500 people there. The big top was completely full but more to the point, it was about 90% people under 30 and they all got it. It was not a shock as such but very heartening to see that people were digging it and presumably, most of them weren’t familiar with a lot of the songs!

Elly from LA ROUX joined you on stage for ‘Sign Your Name’. Are there any plans to work together in the studio?

We’re constantly talking about doing stuff. It’s not so much us. Elly, she’s writing a new album and I think she’s trying not to be too distracted. But we are intent on working together. Obviously at some point, we’ve still got an intention of possibly re-releasing ‘Temptation’ with her singing the lead part.

I spoke to your backing singer Billie Godfrey earlier this year and she suggested that  ‘Are You Ready?’ from ‘Before After’ might be good as a LA SEVENTEEN collaboration?

She would do cos she co-wrote it! We love Billie. *laughs*

I do like that song; we’ve only performed it live once I think at The Scala in 2005, so we may revisit that. We’ve got seven albums worth of stuff to pick from so you can’t fit everything in, it’s impossible!

You have a UK tour this November playing the whole of ‘Penthouse & Pavement’. Have you arranged anything different for the forthcoming shows?

Me and Glenn were discussing the tracklisting for the new tour and he put a provisional one together. I looked at it and it was two hours long! Even hardened HEAVEN 17 fans would find it a bit wearing! We do have a lot of stuff and we will do a couple of interesting new things on the tour.

Anything you can give away?

Not yet, we haven’t really narrowed it down but we are planning to do at least one track HEAVEN 17 track that we’ve not done before and then another BEF track.

How did you find touring Europe in your own right earlier in the year?

Tremendous, it was a lot of fun. It was great touring on a sleeper bus, everyone loved it. Not particularly comfortable, but Glenn liked it because he could hold court and it was like being in his own pub travelling around! Of course, I’ve given up drinking now which is not a good thing when you’re touring.

It’s good fun for us, not a chore and I’m sure we’d think differently if it was like 50 odd dates. A short tour, we look forward to very much. Also, the people we work with are all so professional, a lot of them work with other bands and say they enjoy working with us a lot. It’s a nice vibe. It’s driven by a love of music and everybody gets on. Isn’t that the ideal kind of job to have?

I was at the Cologne show and it was a mad evening that went on for ages due to a few technical hiccups but you really rose to the occasion with Glenn doing a few acoustic renditions. What are your personal memories of that night?

Is that the one where the drum kit fell apart?

Yes, and someone threw some underwear at you!

Oh, I loved that! The underwear was great! The one I particularly remember was Hamburg at Fabric. It was astonishing, just doing loads of encores until we ran out. The reception that we received generally in Germany was just outstanding, we weren’t really expecting it. We thought we’d be well received but as a curious pleasure rather than in some cases, ecstatic! So if we get that kind of response on the British shows, we’ll be very happy.

Photo by Virginia Turbett

Which song did you find the most challenging to recreate for the live environment?

‘I’m Your Money’, it’s difficult because it’s such a particular sounding record that. We weren’t writing songs with the anticipation of playing them live so ‘I’m Your Money’ is very… say for instance we waved a magic wand and it was exactly the backing track that we did… we can’t do because we don’t have the original tapes.

But if it was exactly the same backing track as we did in the 1981, I think it would really jar on the ear! It’s incredibly repetitive and monotonous but on record, it sounds great. So you kind of have to back off on the frequencies that really hurt and really make it work in a different way. What’s made it work for us is the brilliance of Julian Crampton on the synth bass; he’s given it all sorts of funky inflections. It’s leaning toward that FUNKADELIC thing which is great. It wasn’t difficult in terms of programming; it was more in terms of vibe.

I’ve noticed Glenn has a habit of missing his cues live. What’s the thing you always hope you don’t do during a gig?

Losing my voice towards the end is a big issue because I do a lot of singing, probably more than people realise. The focus is on Glenn obviously and Billie but when are only touring with one girl, which is what we’re doing with the ‘Penthouse & Pavement’ line-up, what we normally use the second girl for plus all the unison and harmonies stuff with Glenn is me and it’s tough on the voice. What’s particularly tough is the whole monitoring set-up is for Glenn which is fine for him because he’s got in-ear monitoring and he’s the lead singer so he can have what he wants basically… I normally have to put up with what’s left! *laughs*

So you can easily strain your voice if you’re not careful. It doesn’t matter on one-off gigs particularly but on a tour you’ve really got to be careful.

Have you had any voice training or anything?

No, but I know how to breathe and how to achieve what I want economically and when to do chest and when to do falsetto, what my break point is; and I’ve learnt through just literally being streetwise about it, what works and what doesn’t. Like Glenn, my voice has got more powerful over the years… if we were to sing acappella, I’d out-sing Glenn in terms of volume! Also, I’ve got a tendency in winter to get chest infections if I’m not careful so it’s always an issue for me… it’s happened on two tours so far and it’s a horrible thing when you have to sing through that! *laughs*

HEAVEN 17’s profile had been enhanced by the LA ROUX collaboration and the two ‘Penthouse & Pavement’ programmes on the BBC including the documentary…

That was amazing! It’s an endorsement of the idea that you should just do stuff rather than think about it too much because a good friend of ours, Joe Strong of Strong Films had wanted to do proper HEAVEN 17 documentary about that period of our development for a while. He’d heard all the stories when we were out getting p*ssed and thought it would make a good story. So we did it for our own reasons and we were just going to release it on DVD. It was just one of those fortunate coincidences. Joe has a lot of contacts in the BBC and at the time, he mentioned to somebody that he just finished editing and this person said “that’s good because we’re just doing an 80s season on BBC2, would you like to launch it?”.

Originally, the idea was to have two solid hours of HEAVEN 17 on BBC and we were going “this is insane!”, you couldn’t buy that kind of exposure! The only other band that’s got that kind of exposure this year as a legacy act is THE ROLLING STONES! Of course, it cost quite a lot of money to push it though and get it all edited and we’re still trying to make the money back but the point is, if you show faith in quality material and it’s shot well and the story’s interesting, it creates a virtuous circle of people having confidence that you’re doing things for the right reason. That means a lot in the BBC in particular because they’re not so commercially driven, they just want good quality stuff.

And it’s led to all sorts for us. It’s led to a massively increased amount of live work because we’ve just signed to William Morris Agency who are huge. And at the very outset from when we signed to them, we said “there’s no point in getting signed to a bigger agency if we’re going to get lost in their vast slate of artists but we want establish ourselves as credible artists from that period and we want top perform as credible artists, not just some trixy 80’s pop band! That’s where we want to go, can you help us?” And they said “That’s fine, then if you do it properly, we can get you into all sorts of festivals”.

We’ve hardly scraped the surface in terms of festivals across the world, we’ve done a couple in Europe but the rest have been in the UK. We’ve never yet played properly live in America which is amazing frankly seeing as we had a No1 record in the Billboard Dance Charts in the 80s with ‘Let Me Go’.

So we have a vision for the future for the first time in a long, long time. We have a structured plan and we got David Stanbury who’s our new manager… we’re really putting some effort and money into it. For the first six months of this year, we were running at a loss. But now it’s paying back. It’s a big thing to do when you don’t have the support of a record company, much harder.

There’s lots of things you can do that don’t require big time logistic support like ELECTRICITYCLUB.CO.UK and lots of other blogs around the world. We’ve put a lot of effort into it, we believe in what we’re doing and we believed what we were doing in the past was really good and we believe that we’re good at performing it. So do fortunately, the audience.

How did you convince Phil Oakey to discuss the break-up of the original HUMAN LEAGUE on the documentary?

What it was, we were going up to Sheffield to perform at a charity gig for a friend of ours Dave Kilner from Radio Hallam who unfortunately died. We’d done some filming when Glenn and James said “can’t you just ring up Phil?” cos we’re mates now. But he’s notoriously difficult to contact, let alone get him to approve anything!

So they kept bugging me and bugging me. I said I’d give Phil a call and see what happens! I said “we’re in Sheffield City Hall… it will take about quarter of an hour, would you come down?”. And he said yes! I couldn’t believe it! So I took my little flip HD camera, set it up on my home tripod… it came out looking like CCTV footage in an interrogation room which I quite like because we didn’t have any proper lighting or anything! But we didn’t have anything planned. He didn’t say “don’t ask me about this”, I just asked him as a mate what he thought and he was very candid.

You’re working a lot with Mark Jones and his Back To the Phuture brand. Of course, his Wall Of Sound label have signed THE HUMAN LEAGUE… you know what I’m going to ask? Any chance of you and Phil Oakey writing or recording together again?

I don’t know, I personally would love to do it. I don’t have any issues left. Some of the best creative work I’ve ever been involved with was writing with Phil, he’s a brilliant lyric and leadline writer. What can I say? The first two HUMAN LEAGUE albums ‘Reproduction’ and ‘Travelogue’ have some genuinely fantastic moments on them. Still ’til this day, I think things like ‘The Black Hit Of Space’ and ‘Marianne’ are unsurpassable in that genre to be honest. I’d love to work with Phil, it might be a bit strange after all these years but I personally would love it.

I understand Phil might be doing a solo album in parallel with THE HUMAN LEAGUE so I don’t know if…

… there’s an opportunity possibly! Yeah, he seems a lot more open to collaboration now. He’s always done a bit before, he did ‘Together In Electric Dreams’ and that stuff with ALL SEEING EYE at one point but it’s good for him to spread his wings a bit because he’s got an iconic voice and songwriting style. It’s not for me to say but there is a possibility he could work in different environments other than THE HUMAN LEAGUE. Sometimes it’s just good to free yourself to do something with no expectations.

So have you got anything going on outside of HEAVEN 17 at the moment?

I’m doing the new BEF album ‘Dark’. I’m a bit nervous about saying which tracks I’m doing in case anyone nicks the idea but I suppose I could tell you one of them… last week I just finished ‘Didn’t I Blow Your Mind This Time’ by THE DELFONICS. It sounds amazing even though I say so myself, I’m so pleased with it. It’s done in a kind of darker fashion.

Are you able to say who’s singing it?

I don’t know, I haven’t got any singers yet, I’ve just done the backing tracks. I’m still open to suggestions if you’ve got any ideas! But it has to be either established artists or contemporary artists who are quite high profile, that’s the only thing! I’ve got plenty of people suggesting complete unknowns to me and I just haven’t got room for that because I’ve got to sell some albums. Talent we’re not short of but I need to get some famous people on board.

The concept works and I’m really pleased with it. Glenn’s obviously going to do it and Martin Fry from ABC’s agreed to do one. I’ve not asked Elly from LA ROUX but I’d be surprised if she said no… and so on and so forth. There are various people, contemporary singers that I like. I really like the singer from EVERYTHING EVERYTHING, I like his voice a lot. I think he might be suitable for something quite dark. I’m thinking about getting some actors in as well. I quite like the Rod McKuen kind of direction or William Shatner, depending on how you look at it *laughs*

‘Penthouse & Pavement’ is being reissued in a 3 disc package with a CD of demos. How different do these sound compared with the recorded versions? As different as the two versions of  ‘Temptation’?

Some of them are… some of them are very similar and we just polished them up. But the biggest revelations are the demos that we found that were lost for 30 years literally of ‘Play To Win’, ‘Penthouse & Pavement’ and ‘Soul Warfare’ which are awe inspiringly different and funky. They sound like rare groove versions of HEAVEN 17. Both myself and Glenn had completely forgotten they existed. Just for those three tracks alone, I was so vibing on that… I think that’s worth the purchase price alone. But there’s a whole bunch of half baked/half finished experiments, there’s about half an hours worth of different experimental tracks that never turned into anything which we found as well which was really exciting. That CD is pretty damn good actually, I must say! And it was all made ’round about this time thirty years ago.

With those three ‘Pavement’ demos you just mentioned, can I just ask what you were using rhythmically on those because I’m assuming you didn’t have the Linn Drum Computer at that point?

No, it was just immediately prior to us getting the Linn Drum so those original demos we’d have been using the Roland System 100.

If the whole album had sounded like the ‘Penthouse’ side, then it would have been based on these demos if you know what I mean.

But the guitar and bass playing, this was when we first met John Wilson and there was no pressure on him, he was pouring out… very relaxed playing and super funky! He was a very young guy bear in mind, so we go into a professional studio… he still great on the album but now you can hear the difference. He was very relaxed in Sheffield, kind of loose in that great way but down in Townhouse when we recorded him, he was more pin sharp but not quite as loose.

Can I ask whatever happened to John Wilson?

Yes, you can. He recorded with us for three albums and then he just kind of disappeared. He worked with various people as a session player for a while but he was always incredibly shy, he wasn’t made for the rough ‘n’ tumble of the music business. And I think what happened if I remember rightly is somebody didn’t pay him for a bunch of sessions he did. These are the sort of things you have to roll with the punches or else you’ll never have a music career, disappointment happens on a weekly basis! But he just couldn’t handle it, he was very religious and I think he just thought “I don’t want any of this” and went back to his bedroom… I think! For all I know, he might be out there playing, we’d love to contact him and offer him some work.

Photo by Gered Mankowitz

You were harnessing a lot of new digital technology like the Linn Drum Computer at the time which was one of the distinguishing features of HEAVEN 17 at the time. How did that open up your horizons as to what you could achieve musically for the album?

The Linn Drum became within a day, the new direction… that and discovering John Wilson were the two things that defined ‘Penthouse & Pavement’.

I just got on well with programming it. It appealed to my mentality because you had to approach it from breaking the song down into bars and then at the end of a section you fill, it appealed to the logical part of my brain very much. It got to the point where I could programme really complex stuff in an hour for a 4-5 minute song. That would be the definitive thing, it’s not like “it kind of sounds alright, what shall we do?” because the sounds were very solid and good. They responded to an experienced engineer or producer toughening them up or compressing them.

It was our idea of heaven after subjecting ourselves to desistitudes of live players. Suddenly, we controlled something that sounded kind of real so it was the ideal bridge for us from the purely electronic world to the apparently real world. But it was rhythmic surrealism because there was loads of stuff I could do with the Linn Drum that was physically impossible for a drummer… and that I got criticised by various drummers saying “you couldn’t even play that!” But well, that’s good because then we’re doing something no-one else has ever done before!

So how does Joel McFarland, your live drummer find doing all this stuff?

He regards it as an amazing challenge. He’s got a first class degree in percussion from The Royal Academy of Music, he’s one of these dudes who could do the Evelyn Glennie thing with multiple mallets and stuff. He can play Stockhausen, all that sh*t!

His favourite thing is Linn Drum programming so we’ve got the actual original sounds and we just put them into his Yamaha brain, the central processing unit for his drum kit and we just wind him up and let him go!

What did you use for percussion on the more electronic ‘Penthouse’ side, was it an analogue drum machine?

I think it was all System 100 although we did have a Roland TR606 but the sounds were so terrible! And the only other drum machine we had was a Doctor Rhythm.

The subject matter in ‘Penthouse & Pavement’ is still relevant in the current climate. Musical trends are cyclical but so it seems are politics and economics. What are your thoughts on that?

Incredibly sad! But I’ve got a funny story for you… somebody on Facebook today said “Can’t believe it! Miners are celebrating, Liverpudlians are celebrating! Is Margaret Thatcher dead?” It just made me laugh, it’s very good isn’t it?

I think what is doubly ironic is one of the lines on the first song of ‘Penthouse & Pavement’ is “History will repeat itself”… and it has! And oh my god, we’ve got some suffering to come! I mean morally and conceptually, I fear for the working classes in Britain. I think there will be civil insurrection. And I’ve lost count of the number of people who say we should reissue ‘(We Don’t Need This) Fascist Groove Thang’!

Are there any plans to take ‘The Luxury Gap’ out live in the future?

Yes! Glenn in his traditional role as sceptic is um-ing and ah-ing while in my traditional role as ‘bull in a china shop’ is going “of course we’re going to do it”! So it’s somewhere between the two. It’s looking quite likely that we’ll be doing another European series of dates in late Autumn next year.

And we almost certainly will do ‘The Luxury Gap’ there as a trial before we bring it over to Britain. It’s a different kind of album to do live because I think it’s going to require an extra keyboard player because of all the brass and the strings.

We don’t really like putting too much on the backing track, you can end up sounding a bit karaoke if you’re not careful. But then it’s a cost issue, it’s all difficult. For instance, the European tour we did… even though it did very well at the box office, it just about broke even because of the production we were carting around with us. It’s a bit more economical in Britain because we’ll be selling more tickets anyway. It’s fine here but in Europe, you have to show faith and spend a bit of money to break the market.

‘The Luxury Gap’ sold a lot more than ‘Penthouse & Pavement’, it was more directed at the general public rather than the cognoscenti. That’s the definition of popular music, if you can do it intelligently then you’ve got the best of both worlds. I’m very proud of ‘The Luxury Gap’, it a very good album. Musically it’s very intelligent, there are certain elements that are superlative frankly like having THE PHENIX HORNS ESQUIRE, ‘Temptation’ etc. Some of the lesser known tracks work really well, you’ve got Simon Phillips on drums…

… ‘Lady Ice And Mr Hex’ is one of my favourites

Yeah, I mean it’s a brilliant piece, certain elements of it are serendipitously brilliant but then I’m a big fan of ‘How Men Are’ looking back on it. I think it’s an under rated album and that was when we were probably in our most daring and creative phase. I regard ‘Penthouse & Pavement’ is the most groundbreaking of the albums, but that’s primarily because of what was going on around it at the time.

Looking back on the ‘Pleasure One’ and ‘Teddy Bear, Duke & Psycho’ period after that, what do you think now?

I think after ‘How Men Are’, several things happened. There was an overall moving away from daring music that was going on in the British music scene towards a more structured marketed thing. We weren’t new anymore so the only path we had to go down was carrying on writing good pop songs.

And during ‘How Men Are’ when we were trying to get on Top Of The Pops to do ‘Sunset Now’, Glenn exploded his cartilage in his knee on the day we were meant to film that and he had to go to hospital. And nobody but nobody f***ed off the BBC in those days! If you ever f***ed up their schedules, you never got on Top Of The Pops again and that’s exactly what happened! Which is really wrong but that’s just the way it was! That kind of killed the promotional activity on that album which is a real pity… not abroad but just in Britain.

So consequently when it came to making ‘Pleasure One’, we’d lost our confidence a bit because it felt like we were slipping. So we started employing more session players and moving towards a more traditional rock sound. And that wasn’t a deliberate decision. We lost confidence not in our songwriting but in the sound that we had, so it like really lost a bit of identity…

… yes, it happened to THE HUMAN LEAGUE, OMD, ULTRAVOX; it happened to the whole lot of you!

We wanted to move on but there wasn’t anywhere to move on to from a sound point of view. We couldn’t go back to being all electronic, it seemed like we had to keep trying new stuff but in the end, it sounded a bit more old fashioned. Having said that, I think ‘Contenders’ is one of my favourite tracks we ever did, I really like that. But generally, the album wasn’t fantastic I have to say!

And ‘Teddy Bear, Duke & Psycho’ was the nail in the coffin; we’d completely lost our way by then as far as I was concerned! We were retreading some ideas and some of the things we were doing were not working. I think we all knew it had run its course at that point. But ironically, it wasn’t that we’d run out of musical ideas, it was just that vehicle because at that time, I was doing Terence Trent D’Arby’s album which showed myself, Glenn and Ian that we’d still got creative ideas but we’d lost focus on what HEAVEN 17 should be at that point.

The break did you good as you came back with ‘Bigger Than America’ in 1996.

I really like that album, it was our attempt to get back to the electronic sound. I said we’ve only got one chance to do this retro thing and show people because everyone was in the middle of that dance thing at that time. We thought we’d show them what these original sounds are like in a song context and things like ‘Dive’, ‘Bigger Than America’ and ‘We Blame Love’, they’re really good.

But you had a setback almost straight away. Any thoughts about how that album disappeared off the radar?

It was bad timing, we signed to an imprint that was owned by the guys who did SNAP! They then basically lost interest in their label about a month after our record came out and it reverted back to Warners in Britain who’d got no interest whatsoever in the album so they just killed it!, They were just terrible, they’d got no idea and didn’t particularly like it. It was just marking time really. Which was a pity because there was some good things on that album, it could have been more successful. I think we might re-release it on our website.

You’ve re-released your last album ‘Before After’ through the website as a limited edition of 100, each in unique artwork. How did this idea come about ?

What happened was we originally couldn’t find anybody to put it out so we pressed some up ourselves to sell it and then it got picked up by another label. But we’d forgotten there were 100 that we’d pressed up that were just sitting around in a box. So these albums are still in the wrapper, we might as well sell these. And then we came up with the idea from seeing an exhibition of an artist who had done 50 different covers for a 12 inch single. And I thought wouldn’t it be great to do 100 different album covers and do it as an art piece, signed with a letter of authenticity.

It’ll help pay for the next album that we make or whatever. And so we did it and it came out really well. They’re all excellent, the great thing is people have started going when they get their copy “oh, I’ve got Number 43 and this is what it looks like… “ and because they’re all completely different, they post them up on line. It’s really nice. We’ll sell them at the gigs as well and it’ll sell out once we start touring.

What’s next for yourself? Will you do another ambient project with Vince Clarke?

We’re not going to do anymore new stuff on Mute but there is ten years of Illustrious output which I’ve never released. So I might do a big boxed set in some interesting format which I’ve yet to determine.

I love ‘Spectrum Pursuit Vehicle’…

… it’s good isn’t it? We’ve got seven or eight hours of this stuff, some of it’s really good. I’m sitting on it really because I know somebody will want to buy it eventually.

‘Spectrum Pursuit Vehicle’ is not facile stuff, some thought went into it and it’s beautiful… it’s not whale song or terrible spa music! And that album was rendered in binaural so it does mess with your head when you listen to it on headphones.

Anything else?

I’m just negotiating doing a Future Of Sound event in Sydney Opera House next June which is going to be called Future Of The Centres. I’m probably going to compose a new piece for that together with various other artists. I’ve been talking to The British Film Institute about doing a soundtrack to a quite important Russian science fiction film from the 1920s which I can’t reveal what it is. That would almost certainly be on at the BFI in the middle of next year. I’m looking at various other compositional stuff with the BFI where they’re re-examining what was new over the years. I’m hoping to be the music curator for that. There’s quite a lot of stuff coming up.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Martyn Ware

Additional thanks go to Peter Noble at Noble PR and Kayleigh Watson at Name PR

The deluxe 3 disc collector’s edition of ‘Penthouse & Pavement’ is released by Virgin Records on 22nd November 2010

The ‘Penthouse and Pavement Live in Concert’ with ‘The Story Of Penthouse And Pavement’ double DVD is released by Blink TV on 15th November 2010 and will be available at the merchandise stand during the tour.

HEAVEN 17’s 30th Anniversary Penthouse and Pavement Tour

Dates include: Edinburgh HMV Picture House (22nd November), Glasgow O2 ABC (23rd November), Manchester Ritz (25th November), Birmingham HMV Institute (26th November), London HMV Forum (28th November), Oxford O2 Academy (29th November), Brighton Corn Exchange (30th November), Bristol O2 Academy (1st December)

https://www.heaven17.com/

https://www.facebook.com/heaven17official

Text and Interview by Chi Ming Lai
Photos by Tracy Welsh and Virginia Turbett
23rd October 2010

SYNTH BRITANNIA

27 March 2010 /

Synth You’ve Been Gone…

BBC4’s marvellous ‘Synth Britannia’ celebrated the rise of the synthesizer and how it changed popular music forever, particularly in the UK.

Superbly produced and directed by Ben Whalley with interlinking cultural commentary provided by ‘Rip It Up And Start Again’  author Simon Reynolds, it was an empathetic documentary that captured the spirit of a golden era.

The contributors to the programme read like a ‘Who’s Who?’ of electronic music: Wolfgang Flür; Daniel Miller; Richard H Kirk; John Foxx; Gary Numan; Phil Oakey; Martyn Ware; Andy McCluskey; Paul Humphreys, Martin Gore; Vince Clarke; Andy Fletcher; Midge Ure; Dave Ball; Alison Moyet; Susanne Sulley; Joanne Catherall; Bernard Sumner; Neil Tennant; Chris Lowe.

They were to become the heroes of the revolution, rebels with a cause, poster boys and girls of the VCO! Although there were a few errors, especially with regards dates like when OMD signed to Factory and the single of ULTRAVOX’s ‘Vienna’ was released, this was an entertaining 90 minutes.

The new attitude brought about by punk in 1977 was still a bit too rock’n’roll for some like the young Daniel Miller, learning three chords was still three too many! But armed with newly affordable silicon-chipped technology by Korg and Roland from Japan, the true DIY spirit encouraged by the new wave would be fully exploited. Wonderful and weird sounds could be made using just one finger, knob twiddling would become the new art! Daniel Miller and Martyn Ware gleefully tell of their first synth purchase, in both cases it was the Korg 700s. The accessibility of the budget priced synthesizer offered the ultimate challenge to musical convention. It was electric dreams over acoustic nightmares!

Like some on this programme, my first introduction to the sound of the synthesizer came via KRAFTWERK and Walter (now Wendy) Carlos. In the summer of 1976, my junior school teacher was the young and pretty Miss Neilson.

She’d already shown her Bohemian colours by naming our pet guinea pig ‘Bilbo’!! But one day in PE, she made Class4 interpret movement to ‘Autobahn’ and the soundtrack to ‘A Clockwork Orange’!!!

Although too young to really appreciate what was going on, my aural palette was being shaped by this fantastic cacophony of electronics. Novelty instrumental hits like Jean Michel Jarre’s ‘Oxygene Part VI’ and SPACE’s ‘Magic Fly’ soon followed and caught my pre-teen futuristic mind as I eagerly waited for the next episode of ‘Space 1999’! The importance of science fiction in the development and imagination of electronic music cannot be underestimated with ‘Dr Who’ and the writings of JG Ballard being particularly important influences.

Donna Summer’s ‘I Feel Love’ was Year Zero for modern electronic pop music as we know it. Producer Giorgio Moroder‘s throbbing sequencers and dance beats were “the future of the future”.

But Gary Numan’s first appearance in May 1979 on ‘Top Of The Pops’ was for many including myself, their ‘Ziggy Stardust’ moment in the birth of synthpop, ‘Are ‘Friends’ Electric?’ was cold and detached, the discordant Moog machinery and the haunted vocal sneer connected with many during this gloomy period in Britain.

It seems unbelievable now, but it was the talk of school the following morning. Electronic music had just found its first pop star!

Unemployment in the UK was at an all time high. Margaret Thatcher was now in power while across the Atlantic, Ronald Reagan was “President Elect”! With fascist gods in motion, the Cold War had heightened to the point where no-one’s future on this earth could be guaranteed. Whilst OMD’s ‘Enola Gay’ related to the nuclear holocaust paranoia of the time via some incongruous melodic warmth, there were a number of other pop-orientated bands just around the corner.

The new Mk2 version of THE HUMAN LEAGUE, SOFT CELL and DEPECHE MODE all possessed a defiant spirit of optimism in the face of adversity because ultimately “everybody needs love and affection”! The music was emotive and avant, all at the same time! “We never wanted to be KRAFTWERK” says Phil Oakey, “we wanted to be a pop band!”

The use of synthesizers was a statement of intent, like an act of artistic subversion. But as Marc Almond once said, you can only truly subvert when you have access to the mainstream. How can you change the world if no-one hears you? Musically, the best way to achieve this was going to be through pop songs! Whilst owing a debt to KRAFTWERK and taking advantage of the door opened by Gary Numan, these acts managed to appeal to people who didn’t necessarily know what a Linn Drum Computer was! Joanne Catherall and Susanne Sulley amusingly recalled when the UK’s first Linn LM-1 was delivered to Martin Rushent’s Genetic Studios for the making of ‘Dare’: “They were all very excited… OK boys!”

There are several technology driven insights like Paul Humphreys playing ‘Enola Gay’ on the Korg Micro-Preset, John Foxx demonstrating the ARP Odyssey and Daniel Miller operating the ARP 2600 which was used on all the early DEPECHE MODE albums. There were often misconceptions about how this stuff worked though. “The number of people who thought that the equipment wrote the song for you: ‘well anybody can do it with the equipment you’ve got!'” remembers Andy McCluskey, “F*** OFF!!”

“You’ve got to remember it was the first time ever that someone could sit and make a record on their own” says Midge Ure, stating the recording of EURYTHMICS ‘Sweet Dreams’ in a basement on an 8 track tape machine as an example! But as the success of synthesizer continued, the backlash set in. Numan was particularly the victim of some venomous media attacks; not only was he doing electronic music but he had none of the anti-hero stance of punk… he wanted to be a popstar: “I don’t speak for the people because I don’t know them!” he exclaimed!

Andy Fletcher tells of the Battle Royale that DEPECHE MODE were always having with the press. People insisted it wasn’t proper music. The Musicians Union even tried to ban the use of synths in studios and live performance!

I remember fellow classmates unceremoniously smashed up and burned a copy of ‘Cars’… AND THEN presented me with the remains! If I wasn’t already feeling isolated, then this sort of intimidation was certainly going to seal it!

Martin Gore quotes a disgruntled rock journalist who described the genre as being for “alienated youth everywhere, and Germans!” As an outsider with a typical post-war ‘Boys Own’ fascination for Airfix kits and Messerschmitts, this music would define me! What did these narrow-minded hooligans know?

Worshipping America was not what I wanted! To me, soul and jazz funk (much like R’n’B today) was the horrid soundtrack of the school bully! SYNTHPOP and its Mittel Europa romanticism appealed to my sense of elitism. I could wear my intelligence on my sleeve, it would become my badge of honour! Pretentious… MOI?

The move towards today’s electronic based dance music as pioneered by Giorgio Moroder is symbolised by the success of NEW ORDER and PET SHOP BOYS. Legend has it that KRAFTWERK were so impressed by the sound of ‘Blue Monday’, they sent an engineer down to Britannia Row Studios to check out the equipment only to find out it was comparatively unsophisticated! But ‘Synth Britannia’ actually goes on to suggest that the success of the third generation acts like Howard Jones and THOMPSON TWINS was the death of this fantastic period.

“There was too much synthpop around, it was all very well being on a synth but actually the melodies and how some of the songs were structured was quite traditional and trite…” sighs Simon Reynolds, “it wasn’t that inventive as electronic music!” – he was right!

Unfortunately by the mid-80s, most of our heroes had given up the fight and went conventional. “We were all a bit lost by then” says Phil Oakey, “like we didn’t have anything to prove!” After declaring in 1980 that ‘Travelogue’ contained “synthesizers and vocals only”, THE HUMAN LEAGUE had by the disappointing ‘Hysteria’ credited Jo Callis with “guitars, keyboards, vocals”, sadly in that order!

Meanwhile OMD went from listing all their equipment on their ‘Dazzle Ships’ and ‘Junk Culture’ albums to Paul Humphreys simply being on “vocals, electronic keyboards, piano” for ‘Crush’! The lure of dollars to water down the synthesized sound for synthobic America just couldn’t be resisted anymore! This classic era of quality synthpop was sadly now over!

However, while the others fragmented, DEPECHE MODE got darker and stuck to their electronic blueprint, eventually achieving massive success in the US from 1988. So it would seem these pioneering acts’ original Eurocentric electronic manifestos had been right after all.

Their legacy is evident today: LITTLE BOOTS and LA ROUX have hit the Top 10, and collaborated on the marvellous BBC6 Music ‘Back To The Phuture’ live sessions with Gary Numan and HEAVEN 17 respectively; rock band MUSE credit “synths and programming” on their new album while featuring a song that sounds like ‘Vienna’; and a girl group cover of ‘Just Can’t Get Enough’ is a ‘Comic Relief’ charity single!

Meanwhile, the synthpop era’s big international No1s ‘Don’t You Want Me?’ and ‘Tainted Love’ are still being played at weddings and night clubs, ironically often being sung along to by the same bully boys who were setting fire to Gary Numan records years earlier!! “It was exciting to be part of a musical movement that had never been done before, it was a fine time” smiles Vince Clarke.

‘Synth Britannia’ ends appropriately enough with ‘Together in Electric Dreams’ and this final quote from Andy McCluskey: “We were trying to do something new, that is specifically why we chose electronics, we wanted to sweep away all of the rock clichés! And then what happens towards the end of the 80s and even worse, the mid 90s? Everybody decides guitars are back, synthesizers are somehow old fashioned AND, we get Oasis!!”

McCluskey holds his hand to his head in despair but today, most of the acts featured in ‘Synth Britannia’ are still playing to packed audiences around the world.

What was originally an electric dream is now a full blown reality. JUSTICE and a job well done 🙂

Ohm Sweet Ohm! The ‘Synth Britannia’ Soundtrack

DEPECHE MODE New Life
WENDY CARLOS William Tell Overture
WENDY CARLOS Title Music from ‘A Clockwork Orange’
KRAFTWERK Autobahn
THE CLASH White Riot
THE NORMAL TVOD
THE NORMAL Warm Leatherette
THE FUTURE 4JG
THE HUMAN LEAGUE Being Boiled
DONNA SUMMER I Feel Love
CABARET VOLTAIRE Seconds Too Late
CABARET VOLTAIRE Nag Nag Nag
OMD Messages
OMD Enola Gay
JOY DIVISION Atmosphere
JOHN FOXX Underpass
THROBBING GRISTLE Still Walking
THROBBING GRISTLE Hot on the Heals of Love
FAD GADGET Back to Nature
SILICON TEENS Memphis Tennessee
TUBEWAY ARMY Are ‘Friends’ Electric?
GARY NUMAN Cars
VISAGE Fade to Grey
THE FLYING LIZARDS Money
DEPECHE MODE New Life
DEPECHE MODE Just Can’t Get Enough
DEPECHE MODE Sometimes I Wish I Was Dead
THE HUMAN LEAGUE Don’t You Want Me
HEAVEN 17 – Penthouse & Pavement
CABARET VOLTAIRE Landslide
SOFT CELL Tainted Love
YAZOO Only You
YAZOO Don’t Go
OMD Maid of Orleans
EURYTHMICS Sweet Dreams
ULTRAVOX Vienna
KRAFTWERK The Model
DEPECHE MODE Everything Counts
DEPECHE MODE Master and Servant
PET SHOP BOYS West End Girls
NEW ORDER Ceremony
NEW ORDER Blue Monday
PHILIP OAKEY & GIORGIO MORODER Together in Electric Dreams

Text by Chi Ming Lai
27th March 2010, updated 29th November 2014

HEAVEN 17 Penthouse & Penthouse Live

15 March 2010 /

To celebrate the upcoming 30th anniversary of the recording of ‘Penthouse And Pavement’, HEAVEN 17 returned home to play at the local renovated symbol of the Industrial Revolution which is the Magna Science Park and perform this seminal album in its entirety.

Doing away with the standard support act, the audience were instead presented an audio/visual art installation using LED screens featuring the companion instrumental BEF album ‘Music For Stowaways’.

Produced by HEAVEN 17 founders Martyn Ware and Ian Craig Marsh after they left THE HUMAN LEAGUE in 1980, it predicted iPod culture (‘Stowaway’ was the original name of the Sony Walkman) by illustrating the concept of mobile headphone music as a rolling film soundtrack to one’s day-to-day life.

Not only that but some of the titles like ‘Uptown Apocalypse’, ‘Rise Of The East’ and ‘Decline Of The West’ couldn’t be more relevant 30 years on. With echoes of THE HUMAN LEAGUE’s aborted support slot for the 1979 TALKING HEADS tour which was intending to feature “specially taped songs and rhythms with synchronised moving pictures and snapshots instead of The League”, this esoteric start to proceedings was lost on some of the crowd who sadly got a bit impatient and rudely started slow hand clapping et al!

But arriving to the sinister percussive tones of ‘Music To Kill Your Parents By’, the backing band of guitarist Asa Bennett, Joel Farland on electronic percussion and funk bassist Julian Crampton took to the stage before being followed by HEAVEN 17’s live nucleus of Martyn Ware, Glenn Gregory and their forever gorgeous backing vocalist Billie Godfrey to launch into a rousing ‘(We Don’t Need This) Fascist Groove Thang’.

Playing the ‘Pavement’ A-side of the original vinyl release in order, this electro-funk hybrid sounded magnificent, particularly with Julian Crampton’s slap bass runs coming to the fore.

Billie Godfrey gave the title track barrels of sumptuous passion as she would throughout many of the numbers tonight, also adding a touch of soulful warmth to many of the predominantly synthetic backing tracks on the ‘Penthouse’ flipside.

But before tackling this, four tracks from BEF’s ambitious if slightly flawed ‘Music Of Quality & Distinction Volume 1’ covers album formed the musical interlude. Originally billed by some observers as a Hi-Tech K-Tel album, although it sold poorly, it kick started Martyn Ware’s association with the legendary Tina Turner and ultimately relaunched her career in the process.

Tonight though, it’s Billie Godfrey who understudies for the former Miss Anna Mae Bullock on ‘Ball Of Confusion’ while special guest Claudia Brücken of PROPAGANDA and ONETWO joins proceedings to replace the late Paula Yates’ catty whine with a more assured teutonic tone for ‘These Boots Are Made For Walking’.

Big Glenn of course adds his two contributions from the album ‘Wichita Lineman’ and ‘Perfect Day’ which are great to hear live for the first time but not before he straps on an acoustic guitar to give an impromptu solo version of ‘Geisha Boys & Temple Girls’ which also gets a strum during the ‘Wichita Lineman’ coda. “Don’t tell Phil Oakey, he’ll kick me out of the electronic club” he laughed! Returning to the ‘Penthouse And Pavement’, the crowd finally gets ‘Geisha Boys…’ proper while the remaining four electronically driven pieces do not disappoint.

Songs such as ‘Let’s All Make A Bomb’, ‘Height Of The Fighting’ and that ode to the dangers of religious fundamentalism ‘We’re Going To Live For A Very Long Time’ sound even more poignant than ever despite their Cold War origins. Indeed, some of these numbers even become powerful singalongs, quite incongruous for what are basically a set of avant-pop compositions with not a hit single among them! At times, it sounds like the roots of modern electronic dance music.

For the encore, the crowd are treated to something special in both sides of HEAVEN 17’s second (and non-album) single. BUZZCOCKS’ ‘Are Everything’ possesses a snarly cyber-punk edge, enhanced by Glenn staring at the ground to glance at a lyric sheet while the vastly underrated ‘I’m Your Money’ is delivered in its full brilliance with its sub ‘Trans-Europe Express’ mechanical rhythm structure and rousing refrain. The various ‘Linguaphone’ business phrases recall an age when traveling to Europe was still a major logistical undertaking and the internet only had military applications!

Closing with ‘Let Me Go’, ‘Temptation’ and THE HUMAN LEAGUE’s ‘Being Boiled’, the whole presentation is an outstanding statement of musical and social values. Although ‘Come Live With Me’ and ‘Crushed By The Wheels Of Industry’ are missing tonight, for the same reasons that THE HUMAN LEAGUE dropped ‘Human’ from the ‘Steel City’ tour, it is appropriate every now and then to follow one’s artistic motivations rather than commercial ones to restore artistic integrity. The evening really did prove to be music of distinct quality.

‘Penthouse & Pavement’ is available on CD and download via Virgin Records

https://www.heaven17.com/

Text and Photos by Chi Ming Lai
15th March 2010

Newer posts »

© 2017 ELECTRICITYCLUB.CO.UK | Email: theelectricityclub@googlemail.com
Privacy Policy

Up ↑