Tag: Simple Minds (Page 1 of 8)

HEAVEN SENT The Rise Of New Pop 1979-1983

3 July 2024 /

Unlike “New Romantic”, “New Pop” was a term that never truly stuck… it was coined by Paul Morley, then a polarising writer for NME. It was used to describe forward thinking music that, while rooted in post-punk, was accessible and looked to overthrow rockist conventions by unashamedly blending a variety of styles.

The acts who found themselves considered as part of this movement included THE CURE, SIMPLE MINDS, OMD, JAPAN, CHINA CRISIS, THE HUMAN LEAGUE, SOFT CELL, HEAVEN 17, EURYTHMICS, TEARS FOR FEARS, A FLOCK OF SEAGULLS, FUN BOY THREE, SCRITTI POLITTI, THE STYLE COUNCIL, ALTERED IMAGES, DEXY’S MIDNIGHT RUNNERS, MONSOON, THE TEARDROP EXPLODES, ABC, HAIRCUT 100, THE PALE FOUNTAINS, EYELESS IN GAZA, BLUE RONDO A LA TURK, RIP RIG & PANIC, JOBOXERS, THE HIGSONS and even THE STRANGLERS.

This was a broad church that many would not have granted a common association but that was the point. Even in what appeared to be traditional band formats, new technology meant synths emulated brass sections or funk basslines while drum machines took the place of conventional sticksmen and it could all be recorded in a DIY fashion with portastudios and the like.

New Pop was about the aspirations of those disenchanted with the Winter of Discontent and then the Conservative government under Margaret Thatcher to pick up musical instruments without any formal training. The intention was to be heard, whether in the clubs, on the radio or in the charts. The ever dependable Cherry Red present ‘Heaven Sent – The Rise Of New Pop 1979-1983’, a 4CD collection compiled by the team who curated the ‘Musik Music Musique’ sets.

Of the artists that ELECTRICITYCLUB.CO.UK would appreciate, there are fine choices that are off the beaten track away from obvious hits; THE HUMAN LEAGUE are represented by the excellent ‘Boys & Girls’ which was the first single after the departure of Martyn Ware and Ian Craig Marsh while the latter pair’s HEAVEN 17 contribute the locomotive snap of ‘I’m Your Money’. OMD have ‘Red Frame / White Light’, the lightweight ditty about the 632 3003 phonebox which served as their office in their formative years.

But synthpop was taken to the next level with the gritty social commentary of ‘Bedsitter’ proving that SOFT CELL were more than a one hit wonders and could chart with self-written material. A sign of how angst ridden youngsters were expressing their existential and political concerns to music came with fine debut offerings respectively from TEARS FOR FEARS and CHINA CRISIS but while ‘Suffer The Children’ and ‘African & White’ were not Top40 hits, they were hints of their mainstream success to come.

A year before they subverted the singles chart with ‘Party Fears Two’, ASSOCIATES were peddling the more challenging ‘Q Quarters’ while on THE CURE lightened up with ‘Let’s Go To Bed’ in the first of their fantasy singles trilogy that would later include ‘The Walk’ and ‘The Love Cats’. And prior to DEAD OR ALIVE becoming a HI-NRG disco act, they were a brooding goth band with ‘The Stranger’ in its original Black Eyes Records incarnation as wonderful evidence of that.

Maturer acts who made an impression during this period like M, THE BUGGLES and NEW MUSIK are all present and correct with their biggest hits while one song that deserved to be a hit was the bizarre but brilliant techno-swing of ‘An Englishman In New York’ from 10CC refugees Kevin Godley and Lol Creme.

Capturing two acts in transition, fresh after departing THE TOURISTS, EURYTHMICS get served by their first German influenced single ‘Never Gonna Cry Again’ while the 7 inch single edit of ‘The Art Of Parties’ by JAPAN and its brass-fuelled exploration of more rhythmic territory makes a rare digital appearance.

The epitome of New Pop has often been seen to be ABC with ‘Poison Arrow’ and with the band plus assorted session musicians tracing the pre-programmed guide track helmed by Trevor Horn with live instrumentation, modern production was born where funk, soul and orchestrations could sit alongside the mechanised synthpop that had achieved a wider breakthrough in 1981.

With New Pop, funk was often a constituent and FAD GADGET’s ‘Make Room’ brought that in spades alongside the synth, while COLOURBOX had a cross of electronics, funk and reggae in ‘Shotgun’, although both were perhaps too idiosyncratic to crossover to wider audiences.

There’s also the inclusion of the first Thomas Dolby single ‘Urges’ co-produced by XTC’s Andy Partridge and the boxed set’s title song ‘Heaven Sent’, Paul Haig’s excellent take on SIMPLE MINDS ‘I Travel’ polished for the New York dancefloor by producer Alex Sadkin; to have the former JOSEF K frontman and his song originally written for the band in this position is fitting as Paul Morley had designated Paul Haig “the enigmatic fourth man” in a quartet of New Pop saviours which also included Billy Mackenzie, Jim Kerr and Martin Fry.

The delight in these boxed sets is to rediscover music that has been largely forgotten over time and one is ‘Dance Sucker’, an electro-funk stomper by SET THE TONE; a combo featuring one-time SIMPLE MINDS drummer Kenny Hyslop, it was he who taped the track ‘Too Through’ by BAD GIRLS off Kiss FM in New York that inspired the band to write ‘Promised You A Miracle’; SIMPLE MINDS themselves feature with the underrated ‘Sweat In Bullet’ from 1981.

One nice surprise is THE UNDERTONES’ synth flavoured ‘Beautiful Friend’ where they appear to have actually got THE HUMAN LEAGUE in to advise them while Pauline Murray with THE INVISIBLE GIRLS are delightfully rousing with the Martin Hannett produced ‘Dream Sequence 1’. Another fine inclusion is Edinburgh’s TV21 and their Mike Howlett produced single ‘All Join Hands’ with its combination of sequencers and strings.

By 1983, THE STRANGLERS had shed their more aggressive tendencies with the pretty ‘European Female’ but harking back to those days, Hazel O’Connor’s cover of their ‘Hanging Around’ begins as an enigmatic Casiobeat cover with the ‘Breaking Glass’ star trying to be Grace Jones before morphing into a more routine reinterpretation with synth and sax. And speaking of Grace Jones, her reggae cover of JOY DIVISION’s ‘She’s Lost Control’ has to be heard to be believed.

One hit wonders from THE FLYING LIZARDS, DEPARTMENT S and THE PASSIONS add to the fun but some of the inclusions have not aged well. ‘The House That Jack Built’ by Paul Weller protégée Tracie Young is frankly dreadful while the embarrassing ‘John Wayne Is Big Leggy’ by HAYSI FANTAYZEE only gets a free pass because Kate Garner and Jeremy Healy comically subverted Top Of The Pops by performing this song about anal sex with unambiguous actions to boot!

Not everything on ‘Heaven Sent – The Rise Of New Pop 1979-1983’ will satisfy the majority of listeners but what cannot be denied about most of the inclusions is that they are largely inventive and exciting. It is a period to savour because what then comes after is the bland sophisti-pop and cod soul meanderings of SADE, SIMPLY RED, GO WEST, SWING OUT SISTER, HUE & CRY, CURIOSITY KILLED THE CAT, WET WET WET and LIVING IN A BOX with their far more musically conservative (with a small ‘c’) disposition.

‘Heaven Sent – The Rise Of New Pop 1979-1983’ is released by Cherry Red Records as a 4CD boxed set on 26 July 2024

https://www.cherryred.co.uk/heaven-sent-the-rise-of-new-pop-1979-1983-various-artists-4cd-box-set

Text by Chi Ming Lai
3 July 2024

THE ELECTRONIC LEGACY OF 1979

1 January 2024 /

While 1979 saw a post-punk revolution with new wave and ska emerge as energetic expressions of youth with the likes of JOY DIVISION, XTC, THE SPECIALS and MADNESS, maturer acts with power pop sensibilities such as BLONDIE and THE POLICE dominated the UK charts.

But the synthesizer had become a new tool of creativity for those who weren’t interested in learning chords on a guitar and preferred to use one finger, thanks to its new found affordability with refined technology from Japan. While electronics had been present in disco, progressive rock and esoteric avant garde forms, following seminal records in 1978 such as ‘Warm Leatherette’ b/w ‘TVOD’ by THE NORMAL and ‘Being Boiled’ by THE HUMAN LEAGUE, a new DIY artpop form was developing that would eventually take on KRAFTWERK at their own game.

Among those fledgling electronic acts who released their debut singles in 1979 on independent labels were OMD with ‘Electricity’ on Factory Records and FAD GADGET with ‘Back To Nature’ on Mute Records. Meanwhile on another independent Rough Trade, CABARET VOLTAIRE achieved a wider breakthrough with ‘Nag Nag Nag’, the standalone single accompanying their first album ‘Mix-Up’.

Having experimented with synths on ‘Low’ released in 1977, David Bowie had gone to see THE HUMAN LEAGUE at The Nashville in late 1978 and hailed them as “the future of rock ‘n’ roll”. Alas it was TUBEWAY ARMY fronted by Gary Numan who beat THE HUMAN LEAGUE to the top of the UK singles charts in Summer 1979 with Are Friends Electric?’. However, just a few weeks earlier, SPARKS had taken the Giorgio Moroder produced ‘No1 Song In Heaven’ into the UK Top20. But however history is perceived, a revolution had begun that would lead to the dawn of “synthpop” in 1980.

Here are 20 albums which ELECTRICITYCLUB.CO.UK sees as contributing to the electronic legacy of 1979. They are listed in alphabetical order with a restriction of one album per artist moniker, meaning Gary Numan and Edgar Froese appear twice…

ASHRA Correlations

As ASHRA, Manuel Göttsching released what many consider to be his first ambient masterpiece ‘New Age Of Earth’. On 1978’s ‘Blackouts’, he expanded the line-up to include drumming synthesist Harald Grosskopf and guitarist Lutz Ulbrich which continued on ‘Correlations’. Despite being more rock-oriented, it featured sequenced electronics with ‘Club Cannibal’ almost entering Jean-Michel Jarre territory.

‘Correlations’ is still available via Spalax Music

https://www.electricityclub.co.uk/manuel-gottsching-1952-2022/

PETER BAUMANN Trans Harmonic Nights

Although he had released ‘Romance ‘76’ while still a member of TANGERINE DREAM, Peter Baumann’s first solo album after departing the band was something of an interim record before venturing into electronic pop with ‘Repeat Repeat’. Mostly shorter instrumental compositions using mysterious melodies and occasional vocoder textures, ‘Trans Harmonic Nights’ remains something of an underrated electronic gem.

‘Trans Harmonic Nights’ is still available via Cherry Red Records

https://www.cherryred.co.uk/product/trans-harmonic-nights-remastered-edition/

EDGAR FROESE Stuntman

With TANGERINE DREAM taking a misstep with ‘Cyclone’ and perhaps prompted by the success of Jean-Michel Jarre’s electronic symphonies, on his fifth solo album ‘Stuntman’, Edgar Froese was at his most accessible with strong synth melodies, particularly on the title track. Elsewhere, new ages resonances were starting to develop while on ‘Drunk Mozart In The Desert’, there was atmospherics coupled with a rhythmic bounce.

‘Stuntman’ is still available via Virgin Records

https://www.edgarfroese.de/

GINA X PERFORMANCE Nice Mover

Produced and co-written by Zeus B Held, the debut album by androgynous art history student Gina Kikoine featured an array of ARP and Moog synths to signal the birth of a new European Underground. Cult club favourite ‘No GDM’ was written in honour of the “great dark man” Quentin Crisp while other highlights included the detached vocoder assisted robotic soul of the title song and the feisty gender statement ‘Be A Boy’.

Available on the album ‘Nice Mover + Voyeur’ via Les Disques du Crepuscule

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

GIORGIO E=MC²

With Giorgio Moroder acquiring Roland’s new System 700 and an MC8 Micro-composer to control it, ‘E=MC2’ was touted as the first “electronic live-to-digital” album. This allowed for an uptempo funkiness previously unheard on sequencer based music to come into play. With the electronically treated vocals and euphoric energy of the marvellous ‘What A Night’, the sound of DAFT PUNK was inadvertently being invented!

‘E=MC²’ is still available via Repertoire Records

https://www.giorgiomoroder.com/

STEVE HILLAGE Rainbow Dome Musick

As a member of GONG and solo artist, Steve Hillage had a love of German experimental music and ventured into ambient with long standing partner Miquette Giraudy. Recorded for the Rainbow Dome at the ‘Festival For Mind-Body-Spirit’ at London’s Olympia, these two lengthy Moog and ARP assisted tracks each had a beautifully spacey vibe to induce total relaxation with a colourful sound spectrum.

‘Rainbow Dome Musick’ is still available via Virgin Records

http://www.stevehillage.com/

THE HUMAN LEAGUE Reproduction

With a manifesto of “synthesizers and vocals only”, the debut album by THE HUMAN LEAGUE included ‘Empire State Human’, ‘Circus Of Death’, ‘Almost Medieval’, ‘Blind Youth’ and a stark cover of ‘You’ve Lost That Loving Feeling’. Produced by Colin Thurston, while ‘Reproduction’ was not a commercial success, Philip Oakey, Ian Craig Marsh and Martyn Ware gained valuable experience that would progress their careers.

‘Reproduction’ is still available via Virgin Records

https://www.electricityclub.co.uk/martyn-ware-the-reproduction-travelogue-interview/

JAPAN Quiet Life

Although considered a 1980 album, the third JAPAN long player was actually released late 1979 in Japan, Canada, Holland and Germany. Featuring the sequencer-driven title song as well as the rockier ‘Halloween’ and a cover of THE VELVET UNDERGROUND’s ‘All Tomorrow’s Parties’, despite Roxy rip-off accusations, it was a major artistic step forward as a quality timeless work embracing synths, muzak and orchestrations.

‘Quiet Life’ is still available via BMG

https://www.electricityclub.co.uk/rob-dean-the-quiet-life-interview/

GARY NUMAN The Pleasure Principle

Devoid of guitar but using a flesh-and-blood rhythm section, Gary Numan realised his dream of producing a new form, machine rock. Synths were fed through guitar effects pedals to add a more sinister metallic tone and while there was sombre isolation communicated on all the songs, there was a catchy melodic sensibility to songs such as ‘Cars’, ‘Metal’, ‘Films’, ‘Engineers’ and ‘M.E.’ which turned Numan into the first synthesizer pop star.

‘The Pleasure Principle’ is still available via Beggars Banquet

https://garynuman.com/

ROBERT RENTAL & THOMAS LEER The Bridge

Originally released on THROBBING GRISTLE’s Industrial Records, ‘The Bridge’ album saw Scottish duo Thomas Leer and Robert Rental trading vocal and instrumental duties using early affordable synths such as the EDP Wasp. Comprising of a side of five songs and a side with four ambient instrumentals, ‘Day Breaks, Night Heals’ and ‘Monochrome Days’ both showcased an avant pop sensibility. Robert Rental sadly passed away in 2000.

‘The Bridge’ is still available via Mute Artists

https://www.electricityclub.co.uk/story-of-thomas-leer-robert-rental/

ROEDELIUS Selbstportrait

Best known as a member of CLUSTER with the late Dieter Moebius and working with Brian Eno on two albums, ‘Selbstportrait’ was Hans-Joachim Roedelius’ third solo long player. This was a “self-portrait” reflecting the gentle introspective ambience of the record. Something of a sister record to the 1977’s marvellous ‘Sowiesoso’, it was more accessible than CLUSTER’s own structurally minimal ‘Grosses Wasser’ also issued in 1979.

‘Selbstportrait’ is still available via Bureau B

https://www.roedelius.com/

KLAUS SCHULZE Dune

After the ambitious double opus ‘X’ which also incorporated strings in a record comprising of “Six Musical Biographies” in honour of figures including philosopher Friedrich Nietzsche and ‘Dune’ author Frank Herbert, Klaus Schulze conceived an actual album called ‘Dune’. Something of a diversion, ‘Shadows of Ignorance’ featured the eccentric poetry of Arthur Brown while the experimental ambient title track made use of cello.

‘Dune’ is still available via Bureau B

https://klaus-schulze.com/

SIMPLE MINDS Real To Real Cacophony

Stronger than their debut LP ‘Life In A Day’, SIMPLE MINDS started experimenting with more electronics and a very European austere on its swift follow-up ‘Real To Real Cacophony’ with the title song presenting their take on KRAFTWERK’s ‘Radio-Activity’. Underground and pulsating through on ‘Changeling’, that breakthrough single and ‘Premonition’ really were a sign of things to come in their dark avant disco templates.

‘Real To Real Cacophony’ is still available via Virgin Records

https://www.simpleminds.com/

SPARKS No1 In Heaven

Following the inspirational success of ‘I Feel Love’, SPARKS were put in contact with its producer Giorgio Moroder who had aspirations to work with a band. The resultant album saw Russell Mael’s flamboyant falsetto fitting well with the pulsing electronic disco template. ‘The No1 Song In Heaven’ hit the UK Top 20 a few months before ‘Are Friends Electric?’ while the follow-up ‘Beat The Clock’ got into the Top 10.

‘No1 In Heaven’ is still available via Lil Beethoven Records

http://www.allsparks.com/

TANGERINE DREAM Force Majeure

Still feeling the void left by the departure of Pete Baumann, following the vocal experiment of ‘Cyclone’, Edgar Froese and Christopher Franke opted to retain drummer in Klaus Krüger. While there was also increased guitar and piano usage, the title song and ‘Thru Metamorphic Rocks’ utilised pulsing sequencer passages to signal the future Hollywood direction that TANGERINE DREAM would head in.

‘Force Majeure’ is still available via Virgin Records

https://www.tangerinedreammusic.com/

TELEX Looking For Saint Tropez

The ethos of Belgian trio TELEX was “making something really European, different from rock, without guitar”. ‘Looking For Saint Tropez’ contained ‘Moscow Diskow’ which took the Trans-Siberian Express to Moscow by adding a funkier groove. Also included were funereal robotic covers of ‘Rock Around The Clock’ which was a UK Top40 hit and Plastic Bertrand’s ‘Ça Plane Pour Moi’ as well as their deadpan debut single ‘Twist A Saint Tropez’.

‘Looking For Saint Tropez’ is still available via Mute Artists

https://www.facebook.com/ThisIsTelex

THROBBING GRISTLE 20 Jazz Funk Greats

The title and the group photo on Beachy Head were tongue-in-cheek statements but THROBBING GRISTLE were still deathly uncompromising as shown by ‘Persuasion’. However, there were glints of light with the glorious cascading instrumental ‘Walkabout’ and mutant disco lento of ‘Hot On The Heels Of Love’ as Cosey Fanni Tutti’s whispered vocals competed with synthetic whip-crack and drill noises!

‘20 Jazz Funk Greats’ is still available via Mute Artists

https://www.throbbing-gristle.com/

TUBEWAY ARMY Replicas

Whereas the TUBEWAY ARMY debut featured punk tunes with added synth, ‘Replicas’ would see the Philip K Dick inspired dystopian vision of Gary Numan paired with appropriate electronic sounds as the main melodic component on the now classic UK No1 ‘Are Friends Electric?’. But the earlier singles ‘Down In The Park’ and the lengthy instrumental ‘I Nearly Married A Human’ pointed to a future guitar-free follow-up.

‘Replicas’ is still available via Beggars Banquet

https://www.electricityclub.co.uk/beginners-guide-gary-numan/

VANGELIS China

Although VANGELIS had never been to China at the time the album was recorded, he had developed a passionate fascination for its people, culture and vast landscape, noting a connection between ethnic Greek and Chinese music. Using traditional elements alongside his synthesizers, the centrepieces were the majestic ‘Chung Kuo’ and the meditative pentatonic piece ‘The Tao Of Love’. ‘China’ remains an underrated record in his canon.

‘China’ is still available via Universal Music

https://elsew.com/

YELLOW MAGIC ORCHESTRA Solid State Survivor

The second and best YELLOW MAGIC ORCHESTRA album featured an embarrassment of riches.  It included the glorious Technopop of ‘Rydeen’, the mighty citypop of ‘Technopolis’, the moodier ‘Castalia’ and the Cossack romp of ‘Absolute Ego Dance’.  But it was the iconic ‘Behind The Mask’ originally composed for Seiko which was later covered by Greg Phillinganes, Eric Clapton and Michael Jackson.

‘Solid State Survivor’ is still available via Sony Music Direct

http://www.ymo.org/

Text by Chi Ming Lai
1 January 2024

THE ELECTRONIC LEGACY OF 1980

29 December 2023 /

David Bowie had famously dropped in to see THE HUMAN LEAGUE at The Nashville in late 1978 and hailed them as “the future of rock ‘n’ roll”.

But it was TUBEWAY ARMY fronted by Gary Numan who beat THE HUMAN LEAGUE to the top of the UK singles charts in Summer 1979 with Are Friends Electric?’ while just a few weeks earlier, SPARKS had been become willing conspirators with Giorgio Moroder on ‘The No1 Song In Heaven’ to effectively invent the synth duo.

Although it was the dawn of synth, 1980 was a transitional time when the synth was still the exception rather than the rule. The landscape was changing and the seed of what became the New Romantic movement had been planted.

Following the critical mauling he received for his 1979 album ‘Lodger’ but aware of his burgeoning influence in these futuristic sounds, Bowie headed down to The Blitz with RCA assistant and club regular Jacqueline Bucknell to cast extras including the late Steve Strange for the video of his new single ‘Ashes To Ashes’. It hit the top of UK charts and confirmed that once again “There’s old wave. There’s new wave. And there’s David Bowie…”

While Bowie’s was not an electronic artist in the way some of the next generation of artists had declared themselves, he couldn’t resist a sly dig at the acts that he’d inspired, using the line “same old thing in brand new drag” on the track ‘Teenage Wildlife’ from his next album ‘Scary Monsters’. And he was eventually to beat previous winner Gary Numan to the year’s ‘Best Male Singer’ accolade at the BBC endorsed British Rock & Pop Awards.

Belatedly looking back to 42 years ago before automatic stations came, here are 20 albums which ELECTRICITYCLUB.CO.UK sees as contributing to the electronic legacy of 1980. They are listed in alphabetical order with a restriction of one album per act.

BUGGLES The Age Of Plastic

Trevor Horn and Geoff Downes met while working with Tina Charles and her producer Biddu. Together they would go on to form BUGGLES and score a No1 with ‘Video Killed The Radio Star’. From the parent album ‘The Age Of Plastic’, ‘Astroboy’ developed on the duo’s sonic adventures while ‘The Plastic Age’ and ‘Clean Clean’ provided further if minor hits. Horn would go on become a top record producer.

‘The Age Of Plastic’ is still available via Island Records / Universal Music

https://twitter.com/Trevor_Horn_

DALEK I Compass Kum’Pas

Before OMD, the electronic duo on The Wirral was DALEK I LOVE YOU. However, by the time their debut album ‘Compass Kum’pas’ was released, OMD were having hits and keyboards man Dave Hughes had left to join their live band. Although Alan Gill’s vocals could polarise opinion, ‘Destiny’ was their most immediate song with a precise percussive appeal while ‘The World’ was eccentric and retro-futuristic.

‘Compass Kum’Pas’ is still available via Mercury Records

http://www.discogs.com/artist/Dalek+I

FAD GADGET Fireside Favourites

The success of the singles ‘Back To Nature’ and ‘Ricky’s Hand’ attracted a loyal fanbase, so a FAD GADGET album  ‘Fireside Favourites’ was eagerly anticipated. Developing on the minimal industrialism of the singles, the superb ‘Coitus Interruptus’ was a cynical commentary on casual relationships while offering his own brand of romantic macabre in the fear of the imminent nuclear apocalypse was the neo-title song ‘Fireside Favourite’.

‘Fireside Favourites’ is still available via Mute Records

https://mute.com/artists/fad-gadget

JOHN FOXX Metamatic

On the ULTRAVOX! debut,John Foxx announced “I want to be a machine”. On signing to Virgin Records as a solo artist, he virtually went the full hog with the seminal JG Ballard inspired ’Metamatic’. ‘Underpass’ and ‘No-One Driving’ were surprise hit singles that underlined the dystopian times while the fabulous ‘A New Kind Of Man’ and the deviant ‘He’s A Liquid’ were pure unadulterated Sci-Fi driven by the cold mechanics of a Roland Compurhythm.

‘Metamatic’ is still available via Metamatic Records

http://www.metamatic.com/

HARALD GROSSKOPF Synthesist

Having worked with Klaus Schulze and Manuel Göttsching, drummer turned keyboard player Harald Grosskopf took the plunge to go solo with the mind bending album ‘Synthesist’. A work comprising of eight instrumentals that blended a sonic tapestry of synthesizer soundscapes with drumming that provided colour as opposed to dominance, it musically followed in the exquisite tradition of his Berlin electronic friends.

‘Synthesist‘ is still available via by Bureau B

https://www.haraldgrosskopf.de/englisch/home.html

THE HUMAN LEAGUE Travelogue

With THE HUMAN LEAGUE learning lessons from their debut ‘Reproduction’, ‘Travelogue’ had more presence by creatively utilising the harsh screeching frequencies from overdriving their studio desk. ‘The Black Hit Of Space’ had its surreal Sci-Fi lyrics while ‘Dreams Of Leaving’ was a fantastically emotive slice of prog synth. There were glorious cover versions in ‘Only After Dark’ and ‘Gordon’s Gin’. While it was a breakthrough, all was not happy…

‘Travelogue’ is still available via Virgin Records

https://martynwareofficial.co.uk/

JAPAN Gentlemen Take Polaroids

Dropped by Ariola Hansa, JAPAN found a refuge at Virgin Records. The bossa nova driven ‘Swing’ explored exotic grooves while the haunting ‘Nightporter’ was the ultimate Erik Satie tribute. An interest in Japanese technopop produced the brilliant ‘Methods Of Dance’ and saw leader David Sylvian collaborate with YELLOW MAGIC ORCHESTRA’s Ryuichi Sakamoto on ‘Taking Islands In Africa’.

‘Gentlemen Take Polaroids’ is still available via Virgin Records

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

JOY DIVISION Closer

While not strictly an electronic album in full, half of ‘Closer’ was dominated by polyphonic synthesizers. Featuring an ARP Omni and an early version of Simmons drums, ‘Isolation’ was the most electronic track JOY DIVISION ever recorded. On the second side, ‘Heart & Soul’, ‘The Eternal’ and ‘Decades’ provided the solemn but beautiful Gothic backdrop producer by Martin Hannett for Ian Curtis’ elaborate musical suicide note.

‘Closer’ is still available via Rhino

http://joydivisionofficial.com/

LA DÜSSELDORF Individuellos

LA DÜSSELDORF were fronted by the late Klaus Dinger of NEU! There was a greater presence of electronics and the first half of ‘Individuellos’was dominated by variations on ‘Menschen’, a grand statement sounding like a blueprint for Phil Lynott’s ‘Yellow Pearl’. ‘Dampfriemen’ was a quirky slice of synth oompah with comedic chants and a kazoo section while the piano laden ‘Das Yvönnchen’ provided a beautiful closer.

‘Individuellos’ is still available via Warner Germany

https://www.discogs.com/artist/152540-La-Düsseldorf

NEW MUSIK From A To B

Time has shown that Tony Mansfield and NEW MUSIK with their strummed guitar alongside pretty synth melodies were underrated. Featuring the hits ‘Living By Numbers’, ‘This World Of Water’ and ‘Sanctuary’ as well as ‘On Islands’ which was later covered by CAMOUFLAGE, the band were dismissed as a novelty act due to the silly voices in their songs. Mansfield went on to produce A-HA, NAKED EYES and VICIOUS PINK.

‘From A To B’ is still available via Lemon Records

https://www.new-musik.co.uk/

GARY NUMAN Telekon

The negative side of fame got into the psyche of Gary Numan and his new songs took on a more personal downbeat nature away from the Sci-Fi dystopia of his previous work. ‘This Wreckage’ and ‘Please Push No More’ summed up the self-doubt but while ‘Remind Me To Smile’ could have been a single, ‘Telekon’ suffered from not having the hit single ‘We Are Glass’ and ‘I Die: You Die’ included on the original LP release.

‘Telekon’ is still available via Beggars Banquet

https://garynuman.com/

OMD Orchestral Manoeuvres In The Dark

OMD released two albums in 1980 but their self-titled debut captured Andy McCluskey and Paul Humphreys using the most basic equipment, the duo not even having a polyphonic synth at the time. With energetic post-punk synth numbers such as ‘Electricity’ and ‘Bunker Soldiers’, on the other side of the coin were ‘Almost’ and ‘The Messerschmitt Twins’. An early version of ‘Messages’ pointed to a future with hit singles.

‘Orchestral Manoeuvres In The Dark’ is still available via Virgin Records

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

ROBERT PALMER Clues

Although rooted in the blues via his previous band VINEGAR JOE, Robert Palmer took an interest in synths having become a fan of Gary Numan. That led to two collaborations including a version of ‘I Dream Of Wires’ released before Numan’s own recording and the Eastern flavoured ‘Found You Now’. The electronic centrepiece was the beautifully world weary ‘Johnny & Mary’ while ‘Looking for Clues’ added synthy art funk to the mix.

‘Clues’ is still available via Island Records / Universal Music

http://www.robertpalmer.com/

SILICON TEENS Music For Parties

Following the acclaim for THE NORMAL, Daniel Miller undertook a new project SILICON TEENS as a fictitious synth group where rock ’n’ roll standards such as ‘Memphis Tennessee’, ‘Just Like Eddie’, ‘Let’s Dance’ and ‘Sweet Little Sixteen’ were enjoyably reinterpreted in a quirky synthpop style with Miller adding his deadpan monotone vocal. Frank Tovey aka FAD GADGET played the role of lead singer “Darryl” for videos and press.

‘Music For Parties’ is still available via Mute Records

https://mute.com/artists/silicon-teens

SIMPLE MINDS Empires & Dance

Tours opening for Gary Numan and Peter Gabriel took SIMPLE MINDS around Europe to experience Cold War tensions at closer hand. Their wired mood was captured on ‘Empires & Dance’. With its speedy Moroder-esque influence, ‘I Travel’ was a screeching futuristic frenzy and ‘Celebrate’ brought some industrial Schaffel to the party. ’30 Frames A Second’ took a trip down the autobahn but ‘Twist / Run / Repulsion’ messed with the headspace of listeners.

‘Empires & Dance’ is still available via Virgin Records

https://www.simpleminds.com/

SPARKS Terminal Jive

Following the Giorgio Moroder steered album ‘No1 In Heaven’, SPARKS were despatched by Virgin Records to record a swift follow-up. Although Moroder was still nominally at the helm, Harold Faltermeyer took the majority of production duties on ‘Terminal Jive’. ‘Rock ‘N’ Roll People In A Disco World’ seemed to reflect the confused direction but ‘When I’m With You’ was a massive hit single in France, leading to the Mael Brothers’ relocation.

‘Terminal Jive’ is still available via Repertoire Records

http://allsparks.com

TANGERINE DREAM Tangram

After experiments with vocals on ‘Cyclone’ and live drums on ‘Force Majeure’, with the recruitment on keyboards with Johannes Schmoelling to fill the difficult to fill void left by the departure of Peter Baumann, Edgar Froese and Christopher Franke got back on track, combining a more immediate sequencer drive with the melodic New Age resonances on the two part ‘Tangram’ set that would characterise TANGERINE DREAM’s later work.

‘Tangram’ is still available via Virgin Records

https://tangerinedreammusic.com/

TELEX Neurovision

The second TELEX album ‘Neurovision’ continued with the trio’s tradition of deadpan electronic covers and a gloriously metronomic take on ‘Dance To The Music’ showcased their penchant for mischievous subversion. But this mischief came to its head with their lampooning self-composed number ‘Euro-Vision’, a bouncy electropop tune which they actually entered for 1980 Eurovision Song Contest, coming seventeenth!

‘Neurovision’ is still available via Mute Artists

https://mutebank.co.uk/collections/telex

ULTRAVOX Vienna

Following the first VISAGE sessions, Midge Ure was invited to join Billy Currie, Chris Cross and Warren Cann in ULTRAVOX. Providing a sonic continuity from the John Foxx-led era was producer Conny Plank while the robotic spy story ‘Mr X’ voiced by Cann provided another link. Opening with the mighty instrumental ‘Astradyne’ and closing with the synthesized heavy metal of ‘All Stood Still’, the ‘Vienna’ album was a triumph.

‘Vienna’ is still available via Chrysalis Records

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

VISAGE Visage

Formed as a reaction to the shortage of new electronic dance music to play at The Blitz Club, ex-RICH KIDS members Midge Ure and Rusty Egan recruited its figurehead Steve Strange to front the project under the name of VISAGE. Billy Currie, Dave Formula, John McGeoch and Barry Adamson joined later and captured a synthesized European romanticism that boasted the German No1 ‘Fade To Grey’ as well as two other hits in ‘Mind Of A Toy’ and the eponymous title track.

‘Visage’ is still available via Rubellan Remasters

https://www.therealvisage.com/

Text by Chi Ming Lai
29 December 2023

A Short Conversation with BERENICE SCOTT

3 November 2023 /

Berenice Scott is the musician and singer-songwriter who has played live with the likes of HEAVEN 17, BEF, JOHNNY HATES JAZZ, HOLY HOLY, P!NK and SIMPLE MINDS.

In her latest role as keyboardist for SIMPLE MINDS, she was part of the band which performed their classic 1982 album ‘New Gold Dream’ for a new concert recording ‘Live At Paisley Abbey’. In a connection with HEAVEN 17, the original album was produced and engineered by Peter Walsh who also worked on ‘Penthouse & Pavement’.

Together with HEAVEN 17’s Glenn Gregory, Berenice Scott is also an acclaimed composer for TV and film while also fronting their more pop-oriented duo AFTERHERE whose first album ‘Addict’ was released in 2018.

Berenice Scott independently released her debut solo album ‘Ten Takes’ in 2007 and followed it up with the excellent ‘Polarity’ in 2014. Now in ‘A Joni Kind Of Mood’, as the title suggests, her new album features intimate personal arrangements of Joni Mitchell songs plus her own compositions that encapsulate the spirit of the influential Canadian artist. She chatted about this musical journey to ELECTRICITYCLUB.CO.UK and much more…

People are likely to be familiar with you playing live with HEAVEN 17 but may not be aware you have been performing with SIMPLE MINDS for the past few years, how has that been?

Yeah, that’s been great, it was a good long process leading up to it, learning all the material and about their back catalogue which was the first thing I did when I got the call to meet Charlie Burchill and Jim Kerr. I put a playlist together of their immense catalogue and went through it like that. It’s been very informative, challenging and rewarding all at the same time.

As you did you HEAVEN 17, you have performed a classic album with SIMPLE MINDS, in this case ‘New Gold Dream’, have you had analysed musically why that record has meant so much to people for so long?

I think that’s a really good question because I definitely saw that correlation between that album in particular and that period of music which HEAVEN 17 were a part of. I heard a lot of stories from Glenn about how they would all bump into each other at The Townhouse, so there was a lot of history there that I wasn’t aware of at all because it was a little bit before my time.

I can hear it in the sounds and the synths… but SIMPLE MINDS moved away from that into more stadium rock. I think it’s all to do with the analogue synths and the way that they approached using them. I know Charlie is a massive fan of synths and does a lot of that himself. And it’s the same with HEAVEN 17, the both of them have that love affair with synths, the organic nature of those early instruments. You couldn’t always recreate those sounds that you discovered, you put it down on tape and then because you couldn’t always programme that into a memory like with the early Moogs, that’s just it there, printed, like a painting…

Did you have any particular tracks from ‘New Gold Dream’ that you particularly enjoyed playing in your keyboardist role?

I love playing them all for different reasons but ‘Hunter & The Hunted’, when I first heard that to learn the solo, I was like “ooooh”! I didn’t know about the history of it at first but then Charlie told me it was Herbie Hancock! Fantastic! It was an interesting solo to learn, I wanted to recreate it as close as possible. Roland helped me recreate the sound for that.

What have been the differences for you between performing with HEAVEN 17 and SIMPLE MINDS?

There’s a different vibe, how they are on stage is very different. It’s not so much that one is serious and one isn’t, but I’ve never really analysed that. But there’s a definite different feel on stage. The SIMPLE MINDS band is quite big and it’s more contained with HEAVEN 17 so the proximity is closer to Martyn and Glenn. It can be quite vast with SIMPLE MINDS with the arena venues and festival shows.

After doing the soundtrack to TV drama ‘Liar’ with Glenn, the commissions have been coming in with ‘Vigil’, ‘Vanity Fair’ and ‘The Suspect’ being recent examples, how have your approaches grown and changed as you’ve progressed?

It changes due to the subject and what the directors and production companies want, so you are accommodating and adapting to that. I wouldn’t say I was necessarily getting better but the workflow can become a bit more streamlined. I think the approach for me has always been the same since the beginning. But you are really just trying to fit the bill, that’s the most important thing and do that as efficiently and as good as possible.

I hadn’t realised you did the music for a 2017 off-Broadway production of ‘A Clockwork Orange’ which is obviously interesting because of the HEAVEN 17 connection?

That was great, obviously that is a favourite film of Glenn and Martyn so that was one side of it. I love Stanley Kubrick so it was strange and wonderful. When we went over for the opening night, it was a real New York affair.

Will there be any more song oriented work with Glenn as AFTERHERE following 2018’s ‘Addict’?

Definitely, it’s just finding the time to do it, obviously the past 4 years, it’s been pretty much impossible with touring and the pandemic. But yes, there will be another AFTERHERE album.

It’s been 9 years since ‘Polarity’, how do you look back on that record?

NO! It’s not been 9 years! It’s a different kind of world now, everything has been altered and is just different, so maybe there’s a feeling of that being longer because it was almost a different epoch! I’m still the same, I still do music for the same reasons but I’ve lived more of course…

I’d argue that you appear more confident now…

Oh really, that’s good, OK! We haven’t seen each other for years? *laughs*

It’s been a while, it was 2018 for the AFTERHERE album launch, the girl then compared with the girl who I met at the HEAVEN 17 aftershow party in 2012 who was actually quite shy… *laughs*

YEAH! I can see that, I definitely think dealing with a lot of work situations and being on the road, it’s not that it hardens you up but you do approach each day as “I’ve got to just get this done”. But at the same time, you’re right, I think it’s important to remember that soft side because you don’t want that hardening up, otherwise I’ll lose connection with creativity, it’s something that has happened to me too. Which is why there’s a neat segue into the ‘A Joni Kind Of Mood’ album, I spent time doing that because I felt I was losing that soft creativity core.

So what got you into ‘A Joni Kind Of Mood’?

I was going through periods of feeling pretty lost for various reasons and Joni Mitchell’s music saved me in a way. I found the way life changes on a personal level and also musically… just life, the same reasons that she wrote those songs, for herself.

The beauty of her music is that you relate it to yourself, you’re not necessarily thinking about the artist, you’re thinking about the art which is incredible… I wanted to sing them.

You make a good point about the importance of the art, because I think today with the music industry in this social media world with TikTok and this Instagram reel nonsense, it seems to be now about how much flesh you show or how loud you can shout, have you any thoughts about that?

Hmmm! There’s always been that quick sell nature and there will always be that with humanity, in every industry, there’s a quick sell. I do worry that people are not spending their formative years well, when you should be locking yourself away to get to grips with your art, because it’s not easy to do it, to express yourself. I think a lot of time is spent on the outside with social media… I mean, it’s good to use it to promote yourself but there’s pros and cons; I do think an element of “practice” time is needed, do you know what I mean?

Are all the songs on ‘A Joni Kind Of Mood’ covers?

There’s a couple which are original which weren’t necessarily based on Joni, but fitted the mood of how I feel when I am listening to Joni… I thought why not?

How did you choose the songs because ‘Both Sides Now’ and ‘A Case Of You’ are quite well known ones to take on which is quite brave?

There’s definitely a fear factor but you know what, you only live once don’t you… I think my favourite Joni Mitchell album at the moment (because I’m sure it will change, and it will change) is ‘Hejira’ the album. So I started with a couple of those, I think ‘Little Green’ is such a beautiful sentiment, the more I started listening to the lyrics, the more it resonated so that’s why I chose that one. Then I was thinking more, not necessarily her more mainstream ones, but they are just lovely tunes and I just wanted to try them.

Why did you choose the ‘Hejira’ title song as the first single as it’s not an obvious choice because it’s really long?

Yes, it’s a bit long and impossible to get radio play but that’s fine! *laughs*

This is very much a personal project but there are Joni fans out there and I hope it resonates with them; ‘Hejira’ is just an amazing piece of poetry music and you don’t hear many 9 minutes tracks! But it’s just poetry and poems are long and that’s that.

What about the other songs of your own that fitted in with the vibe of this record rather than say the next AFTERHERE record?

I think as I was working through them, and how that was panning out, I don’t really know, it all just fell into place really.

You’re a Roland Ambassador, is there anything new in tech and gear that has excited you?

I’ve just got my hands recently on the GAIA 2… oh my goodness, it’s absolutely incredible! Normally it takes a while to get to know keyboards but I just plugged and played the other day, I was there for 2 hours with my headphones! Absolutely amazing! From an instant play, it sounds incredible and everything is accessible, it’s got some amazing features on the interface, it’s everything in one. I’m kinda blown away by it at the moment and I can’t wait to have some more time with it. Roland have asked me to do a little video for it so that will be my first port of call. I’m excited about that!

I really enjoy working with them, they’re such a great company and have been so supportive over the years. I can’t really tell you how amazing to work closely with them. It’s been one of my favourite things about my music career so far.

How are you releasing ‘A Joni Kind Of Mood’?

I think potentially there may be some physical but at the moment it’s just digital because obviously that’s easy, it’s across all platforms and so accessible. If there’s a demand for some vinyl, I guess we’ll put that together, we’ll see how it goes really.

What is next for you?

I’ve got a gig on 12 January 2024 at PizzaExpressLive in Holborn, that’s the next big step which I’m really excited about.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Berenice Scott

Additional thanks to Sacha Taylor-Cox at Hush PR

‘A Joni Kind Of Mood’ is available now via the usual online platforms

Berenice Scott performs songs from the album at PizzaExpressLive in Holborn on Friday 12 January 2024, tickets available from https://www.pizzaexpresslive.com/whats-on/berenice-scott

http://www.berenicescott.co.uk/

http://www.facebook.com/berenicescott

https://twitter.com/berenicescott

https://www.instagram.com/berenicescott/

https://open.spotify.com/artist/3DbWAPmoi3cZVnTbbHTgi8

Text and Interview by Chi Ming Lai
3 November 2023

25 FAVOURITE MUSIC BOOKS

17 June 2023 /

Factory Records impresario and Granada TV presenter Tony Wilson once said: “When forced to pick between truth and legend, print the legend.”

Books about the trials and tribulations of the music industry come in all shapes, sizes and angles. The approach can be tricky… should they be personal accounts, encyclopaedic histories, stories based on real life but with some spin, or just snapshots of an era?

In recent years, autobiographies and memoirs have become very popular as money for old rope in the absence of physical music sales. These can range from being informative and hilarious to extremely bitter, with others coming over very dull in an attempt not to upset anybody. Meanwhile others feature so many falsehoods that they may as well be placed in the ‘Fiction’ section.

One less appealing format that has been gaining increasing prevalence is the fan memory compendium; this could be seen as a lazy and cheaper way of producing a publication as followers compete to be seen as the biggest fan. Meanwhile others, notably members of lower league bands, try to make out they were massive fans in the first place with recollections that are actually veiled attempts to promote their own music.

When writing a music book, it helps to actually read and research a few beforehand. In addition, when deciding whether a point is worthy of inclusion, the viewpoint of the reader must always be taken into consideration as they hypothetically ponder “so what?”. 

The 21st Century ubiquity of social media has proved that not everyone can string a coherent sentence together.  But where that may seem a barrier, a ghost writer can be the subject’s best friend and a number of the books listed here have taken that route.

Not a best of list, here are 25 music books that have become the personal favourites of ELECTRICITYCLUB.CO.UK listed in yearly and then alphabetical order by title.

DEPECHE MODE: BLACK CELEBRATION Steve Malins (1999)

Steve Malins’ biography features interviews with Alan Wilder, Daniel Miller and Flood. Offering assessment on the unusual band dynamic, one story that highlights things were going south is the debauched cricket match between DEPECHE MODE and OMD during the 1988 US tour. The continually underappreciated Wilder declares how he proudly bowled out Andy McCluskey whom he intensely disliked. Meanwhile Dave Gahan hovered up a line of coke before going into bat and was inevitably out for a golden duck!

‘Black Celebration’ was originally published by Andre Deutsch Ltd with 2001, 2005 + 2013 updated editions

https://www.depechemode.com/

TAINTED LIFE Marc Almond (1999)

This is a frank but humorous autobiography by the SOFT CELL frontman about living life with art school aspirations but suddenly thrust into becoming a pop star and having false tabloid stories written about him in a homophobic world. Attempting to rebuild a career having signed to Warners in 1991, in a reality check, he is told by MD Rob Dickens that the world does not need another Marc Almond album and suggests recording a Trevor Horn produced cover of Jacques Brel’s ‘Jacky’ as made famous by Scott Walker…

‘Tainted Life’ was originally published by Pan Books

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

I WAS A ROBOT Wolfgang Flür (2000)

‘I Was A Robot’ was the controversial autobiographical exposé of the KRAFTWERK machine combined with Wolfgang Flür’s partying exploits. However, as his account of OMD coming backstage to meet the band after the Liverpool Empire gig in 1975 has since proved to be false while his musical contribution to KRAFTWERK recordings has been shown to have been minimal, although entertaining, parts of this book should be taken with a pinch of salt.

‘I Was A Robot’ was originally published by Omnibus Press with 2003 + 2017 revised editions

https://www.facebook.com/WolfgangFlur1

THE ENCYCLOPAEDIA OF CLASSIC 80s POP Jonathan Blythe (2002)

Written in the irreverent vein of classic Neil Tennant-era Smash Hits, the best quote in this amusing book is about DURAN DURAN: “You will have surely have wondered why the girl you fancied seemed far more interested in a slightly porky bloke with bleached-blond hair and a foppish name. The compilation ‘Decade’ contains the 80s hits, but if you want a more comprehensive overview, go for the other one ‘Greatest’. You can usually find them both in the ‘CDs for £5.99’ section, to be honest”

‘The Encyclopaedia Of Classic 80s Pop’ was originally published by Allison & Busby

https://www.goodreads.com/en/book/show/1172733.The_Encyclopaedia_Of_Classic_80s_Pop

24 HOUR PARTY PEOPLE Tony Wilson (2002)

Given the Factory Records catalogue number FAC 424 and subtitled “What The Sleeve Notes Never Tell You”, this account of the Manchester independent label is centred around Wilson’s noted ego where the narrative reads as enjoyable spin rather than factual stories about the label, its bands and The Haçienda. His alleged legendary quote that ”The musicians own everything. The company owns nothing. All our bands have the freedom to f**k off” was to prove to be his downfall…

’24 Hour Party People’ was originally published by Macmillan

https://factoryrecords.org/

NEW ROMANTICS: THE LOOK Dave Rimmer (2003)

Smash Hits writer and author of ‘Like Punk Never Happened…’ Dave Rimmer takes a look at the flamboyant New Romantics via The Blitz Club playlists and profiles of SPANDAU BALLET, VISAGE, DURAN DURAN, SOFT CELL, DEPECHE MODE, KRAFTWERK and DAF. The Myth of Berlin and Futurism are also discussed and there are plenty of glossy photos that encapsulate its spirit.

‘The Look’ was originally published by Omnibus Press

https://www.rocksbackpages.com/Library/Writer/dave-rimmer/

IF I WAS Midge Ure (2004)

With dry humour, this is a sincere and honest account by Midge Ure of his career which included being a teen pop idol with SLIK who had their own Look-In magazine comic strip. As well as accounts of his success with ULTRAVOX and VISAGE and as a solo artist, there is also his darker descent into alcoholism in the wake of low sales. Our hero is candid about the occasionally tense dynamics with his colleagues, while an insight into VISAGE’s original contract with Polydor makes very interesting reading.

‘If I Was’ was originally published by Virgin Books with 2011 revised edition

http://www.midgeure.co.uk/

PET SHOP BOYS, CATALOGUE Philip Hoare & Chris Heath (2006)

This is a superbly presented visual retrospective of PET SHOP BOYS up to ‘Battleship Potemkin’ featuring artwork, video stills, stage sets and other artefacts accompanied by insightful commentary. There is also a chronology included as well as an interview with Neil Tennant and Chris Lowe who again steals the show with the quip “We still are grumpy, actually”!

‘Catalogue’ was originally published by Thames and Hudson Ltd

https://www.petshopboys.co.uk/

BRIAN ENO: ON SOME FARAWAY BEACH David Sheppard (2008)

Credited with taking David Bowie into “a whole new school of pretension” with The Berlin Trilogy, this authorised biography on Brian Eno traces his career beginning as a self-confessed non-musician with ROXY MUSIC twisting knobs on a VCS3 to producing U2. In between, he makes synthesizers go bong, popularises ambient music, develops Oblique Strategies with artist Peter Schmidt and gets his head around programming the Yamaha DX7. But the biggest revelation in the book? “Eno was shagging more women than Ferry”!

‘On Some Faraway Beach’ was originally published by Orion

http://www.enoweb.co.uk/

SPARKS: No1 SONG IN HEAVEN Dave Thompson (2009)

An enjoyable unauthorised biography of SPARKS, Ron and Russell Mael’s endearingly witty contributions to this book come from the author’s interviews with the brothers conducted between 1985-2009. There are also press cuttings, an expansive discography and a collector’s guide alongside quotes from former backing band members. But while the stories of the various albums are detailed, those wanting gossip on personal lives will be disappointed.

‘No1 Song In Heaven’ was originally published by Cherry Red Books

http://allsparks.com/

GARY NUMAN: BACK STAGE Stephen Roper (2012)

‘A Book Of Reflections’, long time Numanoid Stephen Roper gives a comprehensive account of the imperial years of Gary Numan from 1979 to 1981 via a series of interviews and memories from band members Chris Payne, RRussell Bell and the late Cedric Sharpley as well as the man himself. OMD’s Andy McCluskey, SIMPLE MINDS’ Jim Kerr and Nash The Slash give the viewpoint of the support acts while there are also additional observations from John Foxx, Richard Jobson and Jerry Casale.

‘Back Stage’ was originally published independently with revised 2017 eBook edition available from https://back-stage.dpdcart.com/cart/view#/

https://www.youtube.com/channel/UC-rRuX6k___Y4ZkTHwQg–Q

IN THE PLEASURE GROOVE: LOVE, DEATH & DURAN DURAN John Taylor (2012)

This autobiography traces the story of how a nervous bespectacled Brummie lad called Nigel became an international sex symbol as John Taylor, bassist of DURAN DURAN; “Now, I had only to wink in a girl’s direction in a hotel lobby, backstage or at a record company party, and have company until the morning” he recalls. As outrageous and debauched as some of these anecdotes of sex and drugs and rock ‘n’ roll are, it would have been very difficult for anyone thrust into this position aged 21 to have acted any differently.

‘In The Pleasure Groove’ was originally published by Sphere

http://www.duranduran.com/

MAD WORLD Lori Majeski & Jonathan Bernstein (2014)

‘Mad World’ delves into the spirit, the politics and the heartache behind some of the greatest songs in popular culture with an American MTV viewpoint courtesy of enthusiastic Duranie Lori Majewski, balanced by the critique of Glaswegian Jonathan Bernstein. The contrasting dynamic ensures a celebration of the era while simultaneously pulling no punches with Bernstein lobbing hand grenades in the direction of KAJAGOOGOO and THOMPSON TWINS!

‘Mad World’ was originally published by Abrams Image

https://www.facebook.com/madworldthebook

JAPAN: A FOREIGN PLACE Anthony Reynolds (2015)

With the co-operation of Richard Barbieri, Steve Jansen and Rob Dean, this book is the first of its kind about the influential enigma that was JAPAN. With detailed accounts by band members and controversial manager Simon Napier-Bell among others, notably absent is David Sylvian who appears via archive interviews while the late Mick Karn is quoted from his own autobiography ‘Japan & Self Existence’.

‘A Foreign Place’ was originally published by Burning Shed

http://nightporter.co.uk/

ELECTRI_CITY: THE DÜSSELDORF SCHOOL OF ELECTRONIC MUSIC Rudi Esch (2016)

First published in German in 2015, this history gives a fascinating insider’s account of The Düsseldorf School and its cultural significance via interview quotes. Contributors on the home side include Wolfgang Flür, Robert Görl, Gabi Delgado, Hans Lampe, Ralf Dörper and Susanne Freytag, while the Brits they influenced feature Andy McCluskey, Martyn Ware, Dave Ball and Daniel Miller among their number. As Robert Görl says: “Wir wollten lieber mit Maschinen arbeiten… We always preferred working with machines”.

‘Electri_City’ was originally published by Omnibus Press

https://www.facebook.com/Electri.city.Esch

LET’S MAKE LOTS OF MONEY Tom Watkins with Matthew Lindsay (2016)

Subtitled “Secrets of a Rich, Fat, Gay, Lucky Bastard”, this is the autobiography of the late Tom Watkins, the Svengali who managed PET SHOP BOYS, BROS and EAST 17. “A big man with a loud voice” said Neil Tennant, but he had a bolshy ability to extract favourable deals including a rumoured 20% commission on gross income while always asking “What would Edna in Huddersfield think?”. Later becoming disillusioned with the pop industry, he describes ‘The X Factor’ as being like “a Nuremberg Rally on pink drugs”

‘Let’s Make Lots Of Money’ was originally published by Virgin Books

https://www.electricityclub.co.uk/tom-watkins-lets-make-lots-of-money/

SUBSTANCE: INSIDE NEW ORDER Peter Hook (2016)

An informative in-depth look inside NEW ORDER, this huge memoir running to over 750 pages by Peter Hook was informative but not unsurprisingly tinged with bitterness and anger. But if you want to know where the band played on 9 April 1985, it’s here! There are track-by-track rundowns of each NEW ORDER album (apart from ’Republic’) and if you’ve always wanted to find out which sequencer was used on ‘True Faith’ or what Hooky’s Top16 bass cab messages are, then look no further!

‘Substance’ was originally published by Simon & Schuster

https://www.facebook.com/peterhookandthelight/

RECORD PLAY PAUSE + FAST FORWARD: Stephen Morris (2019 + 2020)

Effectively a lengthy book divided into two parts, Volume I of Stephen Morris’ memoir demonstrated his abilities as an engaging storyteller blessed with an entertaining dry wit, able to convey his growing up in an amusing and relatable manner. In the NEW ORDER dominated Volume II, readers cannot help but laugh out loud when our hero discovers that the 10 mile shooting range of his newly acquired ex-British Army Abbot FV433 self-propelled gun will make Bernard Sumner’s house in Alderley Edge an easy target!

‘Record Play Pause Rewind’ + ‘Fast Forward’ were originally published by Constable

https://twitter.com/stephenpdmorris

ELECTRONIC BOY: MY LIFE IN & OUT OF SOFT CELL Dave Ball (2020)

The quiet half of SOFT CELL, Dave Ball attended the same Blackpool school as Chris Lowe from PET SHOP BOYS but they never met. There was obviously something in the sea and the accounts of the Northern Soul scene point towards how that influence, along with the affordability of synthesizers, was to seed a long and successful music career which later included THE GRID. The Electronic Boy is honest about his various demons, but there is also humour and an equipment list appendix plus plenty of technical talk.

‘Electronic Boy’ was originally published by Omnibus Press

https://www.facebook.com/daveballofficial

ADVENTURES IN MODERN RECORDING Trevor Horn (2022)

Chaptered around 23 significant pieces of music in the life of Trevor Horn, the producer provides an insight into the making of his greatest moments. Music industry politics are discussed, notably with his ZTT signings FRANKIE GOES HOLLYWOOD, PROPAGANDA and THE ART OF NOISE. Among the revelations are getting bassist Mark Lickley fired from ABC but in all, this is a fun read with lots of name dropping… so imagine sitting in a van with Grace Jones and Jackie Chan that has no seat belts!

‘Adventures In Modern Recording’ was originally published by Nine Eight

https://www.facebook.com/trevorhornofficial

ELECTRONICALLY YOURS Vol1 Martyn Ware (2022)

An autobiography that covers up to the end of 1992, a quarter of the book is brilliantly devoted to a track-by-track analysis of every released recording that Martyn Ware was involved in by THE HUMAN LEAGUE, HEAVEN 17 and BEF. Politics looms within ‘Electronically Yours Vol1’ but without this socially conscientious drive , there would be no ‘Penthouse & Pavement’ or ‘The Luxury Gap’. With the recent passing of Tina Turner, Ware’s accounts of working with her now have added poignancy.

‘Electronically Yours Vol1’ was originally published by Constable

https://martynwareofficial.co.uk/

LISTENING TO THE MUSIC THE MACHINES MAKE Richard Evans (2022)

Focussing on “inventing electronic pop”, ‘Listening To The Music The Machines Make’ tells the story of the Synth Britannia generation by referencing archive material rather than via new interviews with the protagonists of the period. The end result is a more accurate picture of how synthesized forms were derided by a hostile music press back in the day, contrasting the rose tinted view projected by some cultural observers and fans today. But over 40 years on, this music has won the fight with many of the acts still performing today.

‘Listening To The Music The Machines Make’ was originally published by Omnibus Press

https://inventingelectronicpop.com/

THE SOUND OF THE MACHINE: MY LIFE IN KRAFTWERK & BEYOND Karl Bartos (2022)

A detailed autobiography of Karl Bartos about his time in KRAFTWERK and more, his optimistic disposition is a key aspect of this story. But although rising to the ranks of co-writer for ‘The Man Machine’ album, some members were more equal than others as Ralf Hütter bagged himself 50% of the publishing for the lyrics of ‘Spacelab’ and ‘Metropolis’ despite those tracks containing one word, thus reducing Bartos’ musical share! Bitterness is largely absent from this book, but it is no “sex, synths und schlagzeug” romp either.

‘The Sound Of The Machine’ was originally published by Omnibus Press

http://www.karlbartos.com/

THEMES FOR GREAT CITIES: A NEW HISTORY OF SIMPLE MINDS Graeme Thompson (2022)

Featuring new interviews with original members Jim Kerr, Charlie Burchill, Mick MacNeil and Derek Forbes, this biography focuses on the SIMPLE MINDS era of 1979-1985 when they were at their imperial and imaginative best. So where did it all go wrong? The book reveals what ELECTRICITYCLUB.CO.UK has thought since buying the album in 1984 and that Jim Kerr himself now confirms… the second half of ‘Sparkle In The Rain’ is not particularly good! So who agrees? “LET ME SEE YOUR HANDS!”

‘Themes For Great Cities’ was originally published by Constable

https://www.simpleminds.com/

CONFORM TO DEFORM: THE WEIRD & WONDERFUL WORLD OF SOME BIZZARE Wesley Doyle (2023)

The story of Some Bizzare was always going to be a grand undertaking but Wesley Doyle managed to assemble Marc Almond, Dave Ball, Matt Johnson, Daniel Miller, Steve Hovington, Neil Arthur, JG Thirlwell, Stephen Mallinder, Anni Hogan, Stevo Pearce and his long suffering personal assistant Jane Rolink to document the rise and fall of the label that got into bed with the majors. Opting for a chronological quotes narrative, the book captures the personality of the characters involved and the tensions between them.

‘Conform To Deform’ was originally published by Jawbone Press

https://twitter.com/WesleyDoyleUK

Text by Chi Ming Lai
13 June 2023

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