Tag: Simple Minds (Page 7 of 9)

A Beginner’s Guide To TREVOR HORN

13 February 2016 / electricityclub

Trevor Horn is a producer who can be said to have shaped modern pop music.

He began his professional music career as a session bassist, most notably for UK disco starlet Tina Charles and her producer Biddu. Another member of her backing band was keyboard player Geoff Downes; together they would go on to form BUGGLES and score a No1 in 1979 with ‘Video Killed The Radio Star’.

But Horn’s pop stardom was to be short-lived. Despite their musical virtuosity, BUGGLES were an unusual looking pair… so with his best interests at heart, his wife and business partner Jill Sinclair advised that while he wasn’t going to be the greatest frontman in the world, there was a chance he could make it as a top record producer.

In 1981, Horn started a run of producing and co-writing four singles for pop duo DOLLAR; this attracted the attention of NME journalist Paul Morley and they would later establish the ZTT label through Island Records.

Also listening were Sheffield band ABC who asked him to produce their debut album ‘The Lexicon Of Love’. It was during these 1982 sessions that Horn brought together his classic studio team of arranger Anne Dudley, engineer Gary Langan and Fairlight specialist JJ Jeczalik for the first time; the three would later become THE ART OF NOISE.

During this early phase of his production career, Horn favoured the Fairlight CMI as his tool of choice; it had been demonstrated to him electronic music pioneer and Simmons SDS-V co-designer Richard James Burgess, who had worked with him on the first BUGGLES album ‘The Age Of Plastic’.

The Fairlight also allowed for many arrangement possibilities and not just one, but two, three or four different remixes of a single track, a promotional tactic that was employed heavily at ZTT with FRANKIE GOES TO HOLLYWOOD, THE ART OF NOISE, PROPAGANDA and ACT.

Horn had first become interested in more mechanised musical templates after hearing ‘Warm Leatherette’ by THE NORMAL in 1978. So when the Linn Drum Computer came along, it was like manna from heaven for the forward thinking Horn. He told The Guardian in 2004: “You could tell the Linn what to do, which was unbelievable because before then you had to tell the drummer what to do and he was generally a pain in the a*se”. However, Horn did use accomplished session musicians when needed to compliment his carefully controlled direction.

Horn would go on to win BRIT Awards for ‘Best British Producer’ in 1983, 1985 and 1992. In 2010, he received an Ivor Novello Award for ‘Outstanding Contribution to British Music’. His production portfolio is vast, taking in Paul McCartney, Tom Jones, Cher, Rod Stewart, Malcolm McLaren, Robbie Williams, Leann Rimes, Lisa Stansfield and Charlotte Church among many, plus lesser known acts such as INTERPLAY and THE MINT JULEPS.

Not necessarily collecting his best known or mainstream work, but certainly listing some of his more interesting adventures in modern recording, here are eighteen works from Trevor Horn that fit closest to the electro ethos of ELECTRICITYCLUB.CO.UK, presented in chronological order…

ABC Poison Arrow (1982)

ABC’s first single ‘Tears Are Not Enough’ produced by Steve Brown was loose, scratchy funk that fitted in with the times, but the Sheffield combo wanted to be a far more polished and approached Horn to hone their sound. The first fruit of labours was ‘Poison Arrow’ was held together with a drum machine backbone and augmented by some dramatic piano passages from Anne Dudley in her first session with Horn. The chemistry of all involved led to a musical masterpiece of the era, ‘The Lexicon Of Love’.

Available on the ABC album ‘The Lexicon Of Love’ via Mercury Records

http://www.abcmartinfry.com/

SPANDAU BALLET Instinction (1982)

Horn reworked Richard James Burgess’ production of ‘Instinction’ and threw in reworked synths from Anne Dudley and extra bombastic percussion; it saved SPANDAU BALLET’s career. However, further sessions were abandoned when, according to songwriter Gary Kemp in his autobiography ‘I Know This Much: From Soho to Spandau’, Horn wanted drummer John Keeble replaced with a drum machine. Kemp stuck by his bandmate and went with IMAGINATION producers Swain and Jolley for the ‘True’ album.

Available on the SPANDAU BALLET album ‘Gold : The Best Of’ via EMI Records

http://thestory.spandauballet.com/

YES Owner Of A Lonely Heart (1983)

In 1981, Horn had partly abandoned work on the second BUGGLES album to join Geoff Downes in YES; the press dubbed the new line-up YUGGLES! But Horn amicably left a few months later to finish what became ‘Adventures In Modern Recording’ and kickstart his production career. With Gary Langan and JJ Jeczalik on board, ‘Owner Of A Lonely Heart’, could be considered as the birth of THE ART OF NOISE; the stabbing samples of a jazz orchestra and tight programmed drums provided a distinctive counterpoint.

Available on the YES album ‘90125’ via Atlantic Records

http://www.jonanderson.com/

THE ART OF NOISE Moments In Love (1983)

THE ART OF NOISE “happened because of a happy accident” said Gary Langan. But Trevor Horn was not their producer – “Well, he wasn’t the producer!!” Langan clarified,“we were the producers! If I’m being really honest, we were a little naive. Anne, JJ and myself really had no intention of forming a band… so when we signed to ZTT, we needed somebody to do all the artwork and how it was going to portrayed which was really down to Paul and Trevor”. It was an indicator of how powerful Horn’s name had become.

Available on THE ART OF NOISE album ‘Who’s Afraid Of…?’ via Union Square / Salvo

http://www.theartofnoiseonline.com/

PROPAGANDA Dr Mabuse (1984)

Düsseldorf’s PROPAGANDA were the proto-LADYTRON or ABBA in Hell, depending on your point of view! They boasted within their ranks Ralf Dörper and Michael Mertens, plus two mini-Marlenes in Claudia Brücken and Susanne Freytag. The magnificent Fritz Lang film noir of ‘Dr Mabuse’ was their opening salvo. Produced by Horn, the success of FRANKIE GOES TO HOLLYWOOD however meant the producer’s helm was handed over to his engineer Stephen J Lipson, although Horn was later involved in the final mix.

Available on the PROPAGANDA album ‘A Secret Wish’ via Union Square / Salvo

http://www.propagandamachine.info/

FRANKIE GOES TO HOLLYWOOD The Power Of Love (1984)

A key signing to ZTT, regardless of who was actually playing and what the band would have achieved without Trevor Horn, in their short life FRANKIE GOES TO HOLLYWOOD were a thrilling adventure that wouldn’t have worked without the songs, which were largely written by Holly Johnson, Peter Gill and Mark O’Toole. ‘Relax’ and ‘Two Tribes’ got the ball rolling, but the classical grandeur of ‘The Power Of Love’ was an outstanding piece of work in anyone’s book.

Available on the album ‘Bang!: The Greatest Hits’ via Warner Music

http://www.frankiesay.com/

GODLEY & CREME Cry (1985)

After they left 10CC, Kevin Godley and Lol Creme’s appetite for experimentation with tracks like ‘Babies’ led them to be called “the older generation’s Depeche Mode” by Smash Hits. They also branched out into directing promo videos for VISAGE and DURAN DURAN. It was while doing videos for FRANKIE GOES TO HOLLYWOOD that they ended up working with Trevor Horn. Almost sparse by Horn’s standards with a metronomic tension alongside minimal guitar, ‘Cry’ was a terrific pop statement.

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

http://www.trevorhorn.com/

GRACE JONES Slave To The Rhythm (1985)

Trevor Horn took his multiple remix approach to its zenith with Grace Jones’ seventh album; rather than actually do a collection of songs, why not do an album that was effectively multiple remixes and interpretations of one song? While the familiar single version of ‘Slave To The Rhythm’ was wonderful, sun-kissed funky pop, the album’s fifth track take was far more aggressive, with a punchy synth brass riff taking centre stage to make the most out of Miss Jones’ enigmatically frightening demeanour.

Available on the album ‘Slave To The Rhythm’ via Culture Factory

https://www.facebook.com/GraceJonesOfficial/

ACT Chance (1988)

Following her departure from PROPAGANDA, Claudia Brücken teamed up with early electro trailblazer Thomas Leer in ACT. The Trevor Horn produced ‘Chance’ was released as their third single, but withdrawn due to the 12″ mix containing an unauthorised varispeeded sample of ABBA’s ‘Take A Chance On Me’. Far more theatrical and spielerisch than PROPAGANDA, ACT were however, less well received with the eventual Stephen J Lipson produced ‘Laughter, Tears & Rage’ not making quite the impact that was hoped for.

Available on the album ‘Love & Hate’ via Union Square / Salvo

http://www.ztt.com/artists/act/

PET SHOP BOYS Left To My Own Devices (1988)

“Che Guevara and Debussy to a disco beat” was a concept coined by Horn while he was working in the studio with Neil Tennant and Chris Lowe. Taking in the then ubiquitous form of acid house, ‘Left To My Own Devices’ incorporated a dramatic string arrangement by Richard Niles and the opera stylings of soprano Sally Bradshaw. One of PET SHOP BOYS’ most striking recordings it had been intended to programme the synthesizers and record the orchestra in one day… six months later, the song was finished.

Available on the album ‘Introspective’ via EMI Records

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

SIMPLE MINDS Wall Of Love (1989)

The bombastic tendencies of the now stadium friendly SIMPLE MINDS were well-suited to the Trevor Horn treatment, although paradoxically by the time they got into the studio together in 1988, the Glaswegians were favouring a more restrained follow-up to the rock monster that was ‘Once Upon A Time’. Time has not been kind to ‘Street Fighting Years’ album, which now comes across as self-indulgent and over-politicised. But one track with a vibrant energy despite the soapbox was the more classic sounding ‘Wall Of Love’.

Available on the boxed set ‘Street Fighting Years’ via Virgin Records

http://www.simpleminds.com/

SEAL Crazy (1990)

SEAL found fame as the voice of ADAMSKI’s ‘Killer’ which reached No1 in 1990. Possessing a soulful voice that suited both dance and rock, Horn couldn’t believe his luck when he discovered he was a free agent. A deal with ZTT was sealed and their first single together was the mighty techno rock of ‘Crazy’. It was the perfect platform for SEAL’s crossover potential and the Paddington-born singer found fame in America with ‘Kiss From A Rose’, which was also produced by Horn and netted a 1995 Grammy Award.

Available on the album ‘Seal’ via ZTT Records

http://seal.com/

MARC ALMOND Jacky (1991)

If it wasn’t for Marc Almond, then the path for FRANKIE GOES TO HOLLYWOOD and PET SHOP BOYS might not have been so smooth. Signing with Warners, this cover of Jacques Brel’s ‘Les Chanson De Jacky’, made famous in an English version by Scott Walker, was a compromise reached by Almond to regain both his pop and artistic high ground. While basically a technologically enhanced remake of Walker’s cover, Horn’s production was mighty and cute, in a stupid arse way 😉

Available on the album ‘Tenement Symphony’ via Warner Music

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

MIKE OLDFIELD Sentinel (1992)

Virgin Records had always been pushing Mike Oldfiels for a ‘Tubular Bells II’ since the original in 1973. But ironically, when Oldfield departed the label for Warners, he did just that. Horn was a natural choice as producer for this long awaited follow-up. The first ‘Tubular Bells’ featured no synthesizers at all; with the titled inspired by an Arthur C. Clarke short story, not only did ‘Sentinel’ exploit the use of modern studio technology, but beautiful female vocals were also part of this more obviously melodic reprise.

Available on the album ‘Tubular Bells II’ via Warner Music

http://mikeoldfieldofficial.com/

TINA TURNER Whatever You Want (1996)

Written by Arthur Baker, Taylor Dayne and Fred Zarr, ‘Whatever You Want’ for Tina Turner was an archetypical production from Horn. Using the most up-to-date technology yet retaining a vital musicality, there was always space for the lead vocalist to perform to their maximum. However, it always was a time consuming process. Legend has it that when ROBBIE WILLIAMS handed over his demos for the 2009 album ‘Reality Killed The Video Star’, he apparently said to Horn “I’ll see you in six months!”

Available on the album ‘Wildest Dreams’ via EMI Music

http://www.tinaturnerofficial.com/

TATU Not Gonna Get Us (2002)

Faux lesbian duo Julia Volkova and Lena Katina caused a stir with the Horn produced No1 single ‘All The Things She Said’ and its accompanying video that broke many broadcast taboos. Much more interesting musically though was another Horn produced track ‘Not Gonna Get Us’. Sounding like THE PRODIGY fronted by fleas on helium, ‘Нас Не Догонят’ (as it was originally titled in Russian) was heavier than usual Europop, with a rebellious teenage angst message.

Available on the album ‘200 km/h In The Wrong Lane’ via Interscope Records

http://www.tatu.ru/

DELAYS Valentine (2006)

In 2003, Horn worked with Glaswegians BELLE & SEBASTIAN for the first time. And after the hangover of Britpop, indie bands were starting to embrace synths again. Southampton band DELAYS almost went the full hog with the brilliant ‘Valentine’, a Horn-assisted disco number. The pulsing sequences and syncopated rhythm section were pure DURAN DURAN, although Greg Gilbert’s raspy falsetto in the soaring chorus and some choppy guitar ensured the band weren’t totally detached from their roots.

Available on the album ‘You See Colours’ via Rough Trade

https://www.facebook.com/thedelays

PET SHOP BOYS I’m With Stupid (2006)

PET SHOP BOYS reunited with Trevor Horn, ‘I’m With Stupid’ was a perfect politically charged jape at the special relationship between George W Bush and Tony Blair. The satirical lyrical content was enhanced further with an amusing promo video featuring ‘Little Britain’ stars Matt Lucas and David Walliams. However, other than the brilliantly hypnotic opener ‘Psychological’, the remainder of the ‘Fundamental’ album was lacklustre.

Available on the album ‘Fundamental’ via EMI Music

https://www.facebook.com/petshopboys/

Text by Chi Ming Lai
13th February 2016

25 FAVOURITE CLASSIC 12 INCH VERSIONS

5 October 2015 / electricityclub

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

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

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

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

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

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

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

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

SPARKS Beat The Clock – Long Version (1979)

The shorter album take of ‘Beat The Clock’ was more basic and less epic. But in this longer, more powerful and percussive 12 inch version, the star of this ace collaboration with Giorgio Moroder was the ever dependable Keith Forsey with his rumbling drumming syncopating off the precisely sequenced electronic production. Russell Mael was at his best in fully fledged falsetto mode, while Ron stood more motionless, safe in the knowledge than he didn’t even have to play anymore.

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

http://allsparks.com/

DURAN DURAN Girls On Film – Night Version (1981)

At the start of their career, rather than just simply extend a song by joining together sections of tape, DURAN DURAN actually took time to rearrange and re-record their 12 inch singles. This they did on ‘Planet Earth’ and ‘My Own Way’. From its opening Compurhythm beat and first instrumental chorus set to Nick Rhodes’ swimmy Crumar Performer to Simon Le Bon’s closing verse ad-lib, the best of the early ‘Night Version’ trilogy was ‘Girls On Film’.

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

http://www.duranduran.com/

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

Effectively an instrumental of the closing track on ‘Dare’, the quality of Martin Rushent’s production was fully showcased on this ‘Ext Dance Mix’. Each synth had its own voice and placed inside a precise lattice that formed a fabulous pop tapestry. It was also notable for featuring a guitar, albeit used obliquely by Jo Callis to trigger a Roland System 700. Even without its lead vocals, ‘Don’t You Want Me’ was a fine example of well-crafted, melodic electronic music.

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

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

SIMPLE MINDS The American – 12 inch Version (1981)

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

Available on the boxed set ‘X5’ via Virgin Records

http://www.simpleminds.com/

SOFT CELL Bedsitter – Early Morning Dance Side (1981)

SOFT CELL were quite unique in their 12 inch extended formats by often incorporating extra vocal sections like on ‘Torch’, ‘Facility Girls’ and ‘Insecure Me’. So ‘Bedsitter’ added a marvellous rap from Marc Almond where he asked “do you look a mess, do have a hangover?” before taking a little blusher, pushing tea leaves down the drain and starting the night life over again. This literal kitchen sink drama to song concept won SOFT CELL many ardent followers.

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

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

SPANDAU BALLET The Freeze – Special Mix (1981)

While the single version of ‘The Freeze’ was a polite slice of guitar driven disco, the 12 inch ‘Special Mix’ of SPANDAU BALLET’s second single utilised their Yamaha CS10 with a pulsing octave barrage that could have been borrowed from VISAGE. A closing cacophony of electronically processed percussion came over like a funkier KRAFTWERK but with the overblown vocal histrionics of Tony ‘Foghorn’ Hadley, this could only have been the Islington quintet.

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

http://www.spandauballet.com/

B-MOVIE Nowhere Girl – Version (1982)

B-MOVIE were the band that Phonogram pursued to take on SPANDAU BALLET and DURAN DURAN. Managed by Some Bizzare’s Stevo Pearce, he stipulated that an unknown duo called SOFT CELL be part of any deal. Possibly the best single featuring the original line-up, the 12 inch version of ‘Nowhere Girl’ featured an extended intro with just a solid beat along with tinkling ivories that came over like ULTRAVOX in full flight before the pulsing bass and harp-like synths kicked in.

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

https://www.b-movie.org/

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

The best classic 12 inch versions often retained the musical structure of the song but cleverly used the technique of breakdown to achieve the dynamic highs and lows. The 12 inch version of ‘Is It A Dream?’ effectively tagged the instrumental version of the song onto the beginning which provided a build towards the main act as the recognisable elements of the tune steadily kicked it. A final coda of thumping Simmonds drums and brassy synth provided the piece de resistance.

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

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

NEW ORDER Temptation – 12 Inch Version (1982)

A different version altogether from the 7 inch, however the 12 inch version was actually recorded in one massive 14 minute jam session with the shorter version preceding it. The recording itself was marvellously flawed, with Stephen Morris’ overdriven Simmons snare panned too far to the right while band members can also be heard calling instructions and tutting. The final closing refrains and the iconic “oooh-oo-ooh” vocal hook to the drum breakdown made ‘Temptation’ magical.

Available on the boxed set ‘Retro’ via Warner Music

http://www.neworder.com/

GARY NUMAN Music for Chameleons – Extended Version (1982)

In 7 inch form, GARY NUMAN’s ‘Music For Chameleons’ sounded incomplete. Lasting almost eight minutes, with the fluid fretless bass runs of Pino Palladino and the stuttering distorted clap of a Linn Drum providing the backbone to some classic vox humana Polymoogs, the 12 inch version’s highlight was the windy synth run in the long middle section. The effect of this was ruined on the ‘I Assassin’ album version which clumsily edited this section out!

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

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

VISAGE Night Train – Dance Mix (1982)

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

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

http://www.visage.cc/

BLANCMANGE Blind Vision – 12 Inch Version (1983)

Possibly BLANCMANGE’s most overt disco number, under the production supervision of New York club specialist John Luongo who had remixed ‘Feel Me’ to great rhythmical effect, ‘Blind Vision’ was punctuated by brass, extra percussion and slap bass as well as the trademark BLANCMANGE Linn Drum claps also thrown in. A steady build-up, vocal ad-libs from Neil Arthur and a prolonged coda extended the track to a hypnotic nine and a half minutes.

Available on the album ‘Mange Tout’ via Edsel Records

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

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

With an edgy production from Zeus B Held, ‘What I Want’ was a rewrite of ‘Blue Monday’ or even ‘Shake It Up’ by DIVINE, depending on your outlook. This HI-NRG / Goth hybrid was the last track Wayne Hussey would play on as a member of DEAD OF ALIVE before departing for THE SISTERS OF MERCY. “Listen blue eyes, shut up!” scowled Pete Burns showing that he was a top rather than a bottom in this salaciously pounding affair.

Available on the album ‘Sophisticated Boom Boom’ via Cherry Pop

http://www.deadoralive.net/

JOHN FOXX Endlessly – 12 Inch Version (1983)

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

Available on the boxed set ‘Metadelic’ via Edsel Records

http://www.metamatic.com/

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

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

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

http://www.heaven17.com/

FRANKIE GOES TO HOLLYWOOD Two Tribes – Annihilation (1984)

Sounding like SIMPLE MINDS, ‘Two Tribes’ was influenced by ‘I Travel’, itself inspired by European right wing terrorism. While Holly Johnson’s original lyric referenced the dystopian drama ‘Mad Max’, it sat well within the Cold War tensions of the period. With Fairlight orchestra stabs and masterful PPG programming for the iconic synth bass, the first ‘Annihilation’ 12 inch featured the poignant authoritative voice of Patrick Allen, reprising his real life ‘Protect & Survive’ commentary…

Available on the album ‘Frankie Said’ via Union Square Music Ltd

http://www.frankiesay.com/

KRAFTWERK Tour De France – Remix (1984)

The original ‘Tour De France’ single in 1983 signalled the launch of a new KRAFTWERK album ‘Technopop’. Despite being given an EMI catalogue number, it was never released. However, ‘Tour De France’ took on a life of its own. This masterful remix by New York DJ Francois Kevorkian backed a key scene in the film ‘Breakdance’ which lead to a release of this rework. Much more percussive and less song based than the first version, it reinforced KRAFTWERK’s standing in US Hip-Hop.

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

http://www.kraftwerk.com/

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

One of the best 12 inch versions ever, it not only retained the essence of the original song but added enough extra elements to make it quite different too. There was more rock guitar from Richie Zito and the false end after the guitar solo leading to a superb percussive breakdown that made the most of Arthur Barrow’s frantic Linn Drum programming. Of course, ‘Together In Electric Dreams’ wouldn’t have been any good without Moroder’s songcraft and Oakey’s deadpan lyricism.

Available on the album ‘Philip Oakey & Giorgio Moroder’ via Virgin Records

http://www.giorgiomoroder.com/

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

The UK 12 inch extended version was a rather formless, dub excursion. However, taking a leaf out of DURAN DURAN’s specifically taylored remixes of songs from the ‘Rio’ album for America, EMI / Capitol commissioned Steve Thompson to construct a toughened up version of ‘It’s My Life’ to make it more MTV friendly. The song became an unexpected favourite in US clubs. One impressionable teenager who was no doubt listening was Gwen Stefani who covered the song in 2003.

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

http://spiritoftalktalk.com/

ULTRAVOX One Small Day – Special Remix Extra (1984)

One of ULTRAVOX’s more guitar driven numbers, there were eventually three different extended versions of ‘One Small Day’, the best of which was the ‘Special Remix Extra’ (also known as the ‘Extended Mix’) that was issued on the second of the 12 inch releases. With chopped up vocal phrases replacing a conventional vocal on this neo-dub mix, it allowed the instrumentation to come to the fore without Midge Ure’s shrill chorus acting as a distraction.

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

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

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

Despite being labelled a teenybop group, from the beginning A-HA were always so much more than just the catchy pop of ‘Take On Me’. ‘The Sun Always Shines On TV’ revealed a lyrical darkness while the combination of synths and edgy guitar put them in the same league as ULTRAVOX and ASSOCIATES. This rarer first ‘Extended Version’ made the most of the powerful instrumentation and added more drama with a slow solemn piano intro. And just listen to that emotive string synth solo…

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

http://a-ha.com/

PROPAGANDA Duel – Bitter Sweet (1985)

While ‘Dr. Mabuse’ was a Trevor Horn production, PROPAGANDA’s second single ‘Duel’ produced by Steve Lipson was based around the Synclavier, PPG and Roland Super Jupiter. To add some syncopation, Stewart Copeland from THE POLICE rhythmitised alongside the Linn Drum while the ‘Bitter Sweet’ extended mix broke down the instrumentation to reveal a highly intricate arrangement. The programmed piano solo is still one of the maddest bursts of music ever!

Available on the album ‘Outside World’ via Repertoire Records

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

OMD Forever Live & Die – Extended Mix (1986)

Not the better known but less fulfilled ‘Extended Remix’ by Tom Lord-Alge, John Potoker’s reworking did away with its daft skips and enhanced the song’s enjoyable instrumental elements. The wonderful end section with its wild rhythm guitar from Kamil Rastam and Malcolm Holmes’ reverbed drums also revealed that despite the song’s palatable Trans-Atlantic sound, OMD’s classic synthetic choirs reminiscent of KRAFTWERK’s ‘Radio-Activity’ still lingered.

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

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

PET SHOP BOYS Suburbia – The Full Horror (1986)

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

Available on the album ‘Disco’ via EMI Records

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

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

A merging of the album version with the Wasp driven bass heavy ‘Aggro Mix’ (hence the ‘Split Mix’ title), this sub-ten minute take on one of DEPECHE MODE’s classic songs was perfection. Other DM 12 inch versions were tiresome like the ‘Slavery Whip Mix’ of ‘Master & Servant’, but ‘Never Let Me Down Again’ took into account that the best 12 inch mixes usually had the actual song and an instrumental middle section before a reprise of the main chorus hook.

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

http://www.depechemode.com/

ELECTRICITYCLUB.CO.UK’s Classic 12 Inch Versions playlist can be heard on Spotify at https://open.spotify.com/playlist/1cKyepTy06g7I91JaV1row

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

A Beginner’s Guide To VINCE CLARKE

18 May 2015 / electricityclub

It would be fair to say that Mute Records’ initial commercial success came on the back of Vince Clarke’s songcraft.

First with DEPECHE MODE in 1981 and then YAZOO in 1982, Clarke demonstrated that Mute Records had some marvellous pop sensibilities amongst all the cult acclaim that was accorded to acts like THE NORMAL, DAF and FAD GADGET.

He was to become one of the key players in an exciting period of music that was eventually documented in the BBC4 programme ‘Synth Britannia’. Born Vincent John Martin in Basildon, Clarke cut his teeth performing his own songs with a number of local bands including FRENCH LOOK. But it was when he formed COMPOSITION OF SOUND with Martin Gore and Andy Fletcher that things got more serious. There was a new music revolution around the corner involving affordable synthesizers from Japan.

With Clarke’s love of OMD’s now classic ‘Electricity’ single and its B-side ‘Almost’ coinciding with Martin Gore’s purchase of a Yamaha CS5, he and Fletch soon bought a Kawai 100f and Moog Prodigy respectively to follow this new futuristic direction. However, unhappy with his own voice, Clarke recruited college student Dave Gahan as vocalist to fully realise their new ultrapop sound. They renamed themselves DEPECHE MODE after a French fashion magazine.

Signing to Mute Records, the debut single ‘Dreaming of Me’ made an impressive first chart showing at No57 for DEPECHE MODE in Spring 1981 while they also appeared on the ‘Some Bizzare Album’ compiled by Futurist DJ Stevo Pearce which also showcased SOFT CELL, THE THE, B-MOVIE and BLANCMANGE. But after the hit singles ‘New Life’ and ‘Just Can’t Get Enough’, Clarke soon became disillusioned with touring and the general pop circus despite the success. And there was also that old chestnut of musical differences.

A song submitted by Clarke at rehearsals called ‘Only You’ had apparently been rejected by the other members of DEPECHE MODE. So teaming up with local girl Alison Moyet in a new combo called YAZOO, they released ‘Only You’. It reached No2 in the UK singles chart, higher than any DEPECHE MODE single had reached at the time and Clarke was vindicated. Although denied the top spot, the song reached No1 in an accapella rendition by THE FLYING PICKETS in 1984.

However, Clarke was reprising the personal disillusionment that had seen him leave DEPECHE MODE. He moved on to produce his mate Robert Marlow via his own Reset Records imprint and record as THE ASSEMBLY with THE UNDERTONES’ Fergal Sharkey and YAZOO’s producer Eric Radcliffe.

But it was in 1985 that Clarke finally settled down; he placed a small ad in Melody Maker that said “Versatile voice wanted for established songwriter”. After auditions, Andy Bell was the succesful applicant and ERASURE were formed. Although success was not instant, the chemistry between Clarke and Bell possessed a special spark both musically and personally; the pair have become one of the most consistent UK pop acts ever with hits such as ‘Sometimes’, ‘Victim Of Love’, ‘The Circus’, ‘A Little Respect’, ‘Stop!’, ‘Chorus’ and ‘Breath Of Life’.

Running in parallel over the years, there have been numerous other projects with 3D sound and computer games. Following working together on ERASURE’s ‘I Say I Say I Say’ issued in 1994, Clarke founded the Illustrious company with Martyn Ware to exploit the creative possibilities of 3D sound technology. Their first release was ‘Pretentious’ as THE CLARKE & WARE EXPERIMENT.

Photo by Joe Dilworth

With THE SATURDAYS in particular, this five piece girl group were practically joined at the hip with Clarke; their first single ‘If This Is Love’ sampled YAZOO’s ‘Situation’ while their sixth was a cover of ‘Just Can’t Get Enough’ for Comic Relief!

Indeed, as YAZOO reformed in 2008 for the ‘Reconnected’ live tour, their musical template was a much coveted sound among girl groups in the late noughties, the best example of which was RED BLOODED WOMEN using ‘Don’t Go’ as the basis for their feisty number ‘Colour Me Dirty’. It was recognition of how absorbed into the mainstream Clarke’s music had become.

Remixes in particular have seen Vince Clarke’s portfolio expand. His Midas touch has been commissioned notably for songs by SPARKS, GOLDFRAPP, BLANCMANGE and FUTURE ISLANDS. But his appeal has spread across all genres, as indicated by HAPPY MONDAYS’ 1988 invitation to rework ‘Wrote For Luck’ as well as more comparatively recently, remixes of FRANZ FERDINAND’s ‘No You Girls’, DIDO’s ‘End of Night’ and THE SATURDAYS’ ‘Issues’.

But one of the best covers of his songs came in 2012 when RÖYKSOPP and Susanne Sundfør recorded ‘Ice Machine’. With ERASURE releasing their best album in nearly a decade with ‘The Violet Flame’ and ‘Only You’ being used in a McVities TV ad, Clarke’s stock is as high as ever. Further reinforcement came recently via an episode of the acclaimed Cold War spy drama ‘The Americans’, which featured ‘Upstairs at Eric’s’ as part of the plot.

So what tracks would make up an imaginary 20 track double CD retrospective as an introduction to Vince Clarke’s work? With a restriction of one track per album project, this list is not a best of as such, but a chronological compendium of historic and artistic adventures that capture the career diversity of a man who used synthesizers to present traditional song structures with that something different.

DEPECHE MODE Photographic – Some Bizzare Version (1981)

The recording that started it all off, the first version of ‘Photographic’ was driven by Mute supremo Daniel Miller’s klanky Korg 55 Rhythm box. It was undoubtedly the stand-out on the ‘Some Bizzare Album’, shading SOFT CELL’s ‘The Girl With The Patent Leather Face’. Much darker than the eventual ‘Speak & Spell’ album take, while tuneful, ‘Photographic’ was not indicative of the supreme pop nous that Clarke was later reveal.

Available on the DEPECHE MODE album ‘The Singles 81-85’ via Mute Records

http://www.depechemode.com

DEPECHE MODE Dreaming Of Me (1981)

A fine debut single from DEPECHE MODE, the infectious melody of ‘Dreaming Of Me’ and closing “la-la-la” refrain borrowed from ‘Make Me Smile (Come Up & See Me)’ by COCKNEY REBEL (incidentally later covered by ERASURE) were a dreamboat combination as a naïve but snarly Dave Gahan interpreted Clarke’s rather bizarre lyrics. although not a Top 40 hit, as a great slice of synthpop, it certainly deserved to be…

Available as a bonus track on the DEPECHE MODE album ‘Speak & Spell’ via Mute Records

https://www.facebook.com/pages/Depeche-Mode-Information-Service-1981/342571782527621

YAZOO In My Room – David Jensen BBC Session Version (1982)

‘In My Room’ was a good song from ‘Upstairs at Eric’s’ but was spoiled by the tape loop experiments featuring Clarke’s voice For a David Jensen BBC session, these spoken word passages were omitted and the track was reworked using a Fairlight. While much sparser, this superior version allowed the beautifully dark nature of ‘In My Room’ to shine with Alison Moyet on tremendously passionate vocal form.

Available on the compilation box set ‘Mute Audio Documents’ via Mute Records

http://www.yazooinfo.com/

YAZOO Ode To Boy (1982)

Originally the B-side to ‘The Other Side Of Love’, ‘Ode to Boy’ was one of only three songwriting collaborations Clarke did with Moyet while in YAZOO. The song itself was Moyet’s own personal tribute to Clarke, and despite their difficulties in gelling as people, the chemistry between them in this sparse but hypnotic track showed that musically at least, there was potentially more great work to come, had they been able to stay together.

Available on the YAZOO album ‘‘You & Me Both’ via Mute Records

http://www.alisonmoyet.com

THE ASSEMBLY Never Never (1983)

On what turned out to be THE ASSEMBLY’s only single, ‘Never Never’ saw Fergal Sharkey providing his distinctive warble which was marvellously counterpointed with his very Moyet-esque backing vocals. It was an interesting concept to feature guest vocalists over Clarke’s songs but the only track that did eventually surface from these sessions was ‘One Day’ with Paul Quinn from BOURGIE BOURGIE.

Available on the compilation box set ‘Mute Audio Documents’ via Mute Records

http://mute.com/artists/the-assembly

ROBERT MARLOW The Face Of Dorian Gray (1983)

“In the middle of the YAZOO project, I tapped him on the shoulder and said ‘I’ve got some songs, can you give me a day in the studio?’” recalled Robert Marlow, Clarke’s best friend and a cult figure in the Basildon music scene. ‘The Face Of Dorian Grey’ was the first fruit of labours and was released on Reset Records, a label set up by Clarke and Eric Radcliffe that was licensed initially to RCA. But the single wasn’t a hit and RCA later withdrew funding.

Available on the ROBERT MARLOW album ‘‘Peter Pan Effect’ via Energy Records

http://www.discogs.com/artist/Robert+Marlow

ERASURE Who Needs Love (1985)

Clarke placed a small ad in Melody Maker that said “Versatile voice wanted for established songwriter”; a 21 year old Andy Bell was audition #36 and what set the ex-butcher apart from the others was his ability to hit falsetto during the audition piece ‘Who Needs Love (Like That)’. Impressing not only with his Moyet-esque vocal technique but range too, in neo-X Factor style, the judging panel of Clarke, producer Flood and Daniel Miller declared Bell as the winner… ERASURE were born.

Available on the ERASURE album ‘Wonderland’ via Mute Records

http://www.erasureinfo.com/

TWILIGHT Just Me Alone (1985)

TWILIGHT comprised of ERASURE’s tour manager Andrew Mansi and soon-to-be NITZER EBB tour manager Steev Toth. Vince Clarke would produce what turned out to be their only single. ‘Just Me Alone’ was great synthpop regardless, but that VC touch gave it something special. The B-side ‘Talk To You’ showed TWILIGHT did indeed have songwriting talent, but the duo went back to their day jobs with their point proven.

Originally released as a single via Polydor Records, currently unavailable

http://www.discogs.com/artist/799006-Twilight-16

ERASURE Blue Savannah (1989)

Imagine Roy Orbison doing electropop… that was the concept of ‘Blue Savannah’. Uncluttered and full of soaring optimism, this glorious ditty has crossed over to be one of ERASURE’s most universally loved songs and is without doubt, equal to ‘A Little Respect’. It came in the middle of an imperial phase that began with ‘The Innocents’ and continued to the ‘ABBA-Esque’ EP reaching No1 and the spectacular 1992 theatrical shows.

Available on the ERASURE album ‘Wild!’ via Mute Records

http://mute.com/artists/erasure

ERASURE Fingers & Thumbs (1995)

ERASURE’s seventh self-titled album was Vince Clarke’s attempt at prog synth or as Andy Bell referred to it, the duo’s own ‘Dark Side Of The Moon’ ie ‘Bright Side Of The Sun’. It was an ambitious, if flawed opus with extended intros and the sub-10 minute numbers like ‘Rock Me Gently’. The brilliant ‘Fingers and Thumbs (Cold Summer’s Day)’ was possibly their most underrated single.

Available on the ERASURE album ‘Total Pop! – The First 40 Hits’ via Mute Records

http://www.andybell.com/

CHINESE DETECTIVES Chinese Detectives (1995)

CHINESE DETECTIVES hailed from Norway and only doing cover versions of New Wave classics as a “SILICON TEENS of the 90s”. Among their reworkings was ‘Situation’ but with a taste for the obscure, having named themselves after the plinky instrumental interlude of YAZOO’s 1982 concert tour, they recorded their own version of it. Very much a note-for-note transcription, it remains the only officially released version of the track.

Available on the CHINESE DETECTIVES album ‘Are Kisses Out of Fashion’ via Sub Culture Records

http://chinesedetectives.bandcamp.com/

VINCENT CLARKE & MARTYN WARE Green (2001)

When Vince Clarke and Martyn Ware followed up ‘Pretentious’, ‘Spectrum Pursuit Vehicle’ formed part of an art installation where the colours referred to in the titles of the six lengthy pieces were “programmed to cross fade imperceptibly to create an infinite variation of hue”. Using binaural 3D mixing techniques, tracks such as ‘Green’ took the looming symphonic string template of OMD’s ’66 & Fading’ into a new spacey dimension.

Available on the VINCENT CLARKE & MARTYN WARE album ‘Spectrum Pursuit Vehicle’ via Mute Records

http://www.illustriouscompany.co.uk

SIMPLE MINDS The Floating World (2002)

‘The Floating World’ was an instrumental that closed the SIMPLE MINDS’ rather dull ‘Cry’ album. Basically a thumping rave version of the ‘Dr Who Theme’, closer scrutiny revealed this track to be written by one ‘V. Clarke’. It was more like the band’s early electronic experiments such as ‘Film Theme’ and ‘Theme For Great Cities’; this unlikely collaboration was SIMPLE MINDS’ most interesting work in nearly 15 years.

Available on the SIMPLE MINDS album ‘Cry’ via Eagle Records

http://www.simpleminds.com

ERASURE Here I Am Impossible Again (2005)

Following 2001’s dull “indie” album ‘Loveboat’ and their inconclusive covers compendium ‘Other People’s Songs’, Andy Bell and Vince Clarke made ‘Nightbird’, possibly their best album since ‘The Innocents’. Made entirely using soft synths and more layered than anything before, ‘Here I Go Impossible Again’ was one of the highlights in a brilliant cohesive collection of work. It was proof if that if you’ve got it but have lost it, you can get it again back if you keep trying…

Available on the ERASURE album ‘Nightbird’ via Mute Records

https://www.facebook.com/erasureinfo

POLLY SCATTERGOOD Other Too Endless – Vince Clarke Remix (2009)

Polly Scattergood was managed by former Mute plugger Neil Ferris and her self-titled debut came out on Mute in 2009. An intense organic collection of ethereal songs, Scattergood was a promising talent unafraid to express emotion and vulnerability. From it, ‘Other Too Endless’ was bolstered by a superb VC remix and highlighted the compatibility of her sound within a synthesized pop environment.

Available on the POLLY SCATTERGOOD single ‘Other Too Endless’ via Mute Records

http://www.pollyscattergood.com/

THE GOOD NATURED Ghost Train – Vox Mix (2011)

THE GOOD NATURED were a British pop trio who initially made a splash with a more conventional template on singles like ‘Be My Animal’. But they keen to collaborate and explore more electronic territory. ‘Ghost Train’ originated from a demo that Clarke sent over to the band. Singer Sarah McIntosh’s voice was given a layered, almost robotic aesthetic. Like a futuristic funfair ride, ‘Ghost Train’ swooped in a manner that was very appealing. They later changed their name to LOVESTARRS.

Originally released as a free download via Astralwerks, currently unavailable

http://www.lovestarrs.com/

ELECTRIC YOUTH The Best Thing (2012)

ELECTRIC YOUTH are a synthesizer couple hailing from Edmonton in Canada. Having enjoyed ‘A Real Hero’, Bronwyn Griffin and Austin Garrick’s contribution to the ‘Drive’ soundtrack, Clarke accepted the duo’s invitation to provide his production and mixing skills to the dreamy synthpop of ‘The Best Thing’. Bringing a vintage Yamaha CS80 along to the session, this laid back but melodic ditty was enhanced by the input and came out as ELECTRIC YOUTH’s second single.

Available on the ELECTRIC YOUTH album ‘Innerworld’ via Last Gang Entertainment / Secretly Canadian

http://www.electricyouthmusic.com/

VCMG Lowly (2012)

At 2011’s Short Circuit Presents Mute, Martin Gore discussed with Vince Clarke about collaborating on some minimal techno sketches. After a period of exchanging sound files via the web, the fruits of their endeavours were released as ‘Ssss’ by Mute. Very much Martin Gore’s “kind of disco”, tracks like ‘Spock’ and ‘Single Blip’ were more accessible than purer forms of techno, but the best track was ‘Lowly’ with its sweeping synthetic strings over robotic rhythms.

Available on the VCMG album ‘Ssss’ via Mute Records

http://mute.com/artists/vcmg

VINCE CLARKE & ANA BRUN Fly On The Windscreen (2012)

Novelist Tonya Hurley commissioned her brother-in-law to record a stark cover of his former band’s ‘Fly On The Windscreen’ with vocalist Ane Brun, as part of promotion for her literary trilogy ‘The Blessed’. While the original guitar-like textures were retained, the rest of the widescreen arrangement was quite different with a vulnerable feminine Gothic twist that acted as the ‘Twilight’ Generation’s perfect introduction to DEPECHE MODE.

Available on the VINCE CLARKE download single ‘Fly On The Windscreen’ via Amazon and iTunes

http://www.vinceclarkemusic.com

ERASURE Dead Of Night (2014)

Following the disappointment of 2011’s ‘Tomorrow’s World’, ‘The Violet Flame’, produced by Richard X saw ERASURE return to form and express an infectious zest for the future. Following his VCMG techno project, the songs began with Vince Clarke’s pre-recorded dance grooves. The result was a much more immediate album and ‘Dead Of Night’ was its euphoric opening number.

Available on the ERASURE album ‘The Violet Flame’ via Mute Artists

https://twitter.com/erasureinfo

Text by Chi Ming Lai
18th May 2015

LIKE LUKEWARM WATER… Poor Singles by Great Acts

17 January 2015 / electricityclub

Artists are not infallible creatures and even on great albums, there’s often a duff song that somehow gets released as a single and becomes a hit.

Some of these inferior singles though get found out early on and deservedly fail to capture the public’s imagination. However, sometimes the artists themselves will realise the errors of their ways with these less than satisfactory offerings.

They might quickly drop the track from the live set or rewrite history by excluding the said offending item from greatest hits packages. As a singular follow-up to the ‘We Hope You Enjoy Our New Direction’ albums article, here are twenty singles by your favourite acts who really should have known better.

Arranged in chronological and then alphabetical order with a restriction of one release per artist, these singles are, in the words of SPINAL TAP’s Nigel Tufnel, “like lukewarm water…” – a Spotify playlist is therefore not required 😉

JAPAN Don’t Rain On My Parade (1978)

Was this really the band who were to record ‘Ghosts’ four years later? You certainly wouldn’t have put your money on JAPAN becoming chart regulars by 1982 based on ‘Don’t Rain On My Parade’, a cover of BARBRA STREISAND’s set piece from ‘Funny Girl’ This hilarious two fingers rock thrash, with an unrecognisable David Sylvian snarling away, found an audience in Japan itself, which subsequently allowed them to develop into the artful combo they are better known as.

Available on the album ‘Adolescent Sex’ via Sony BMG Records

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

TEARS FOR FEARS The Way You Are (1983)

After the success of their debut ‘The Hurting’, TEARS FOR FEARS’ label wanted an interim release. But after several months exploring their artier aspirations, the resultant single was poor. ‘The Way You Are’ was Curt Smith and Roland Orzabal trying to be JAPAN, only they weren’t very good at it! Smith said it was “probably one of the worst recordings I think we’ve done”. The change of direction to produce the rockier, more MTV friendly opus ‘Songs From The Big Chair’ proved to be far more fruitful.

Available on the album ‘Songs From The Big Chair – Deluxe Edition’ via Mercury Records

http://tearsforfears.com/

VISAGE Beat Boy (1984)

The lack of input from departed founder member Midge Ure as producer really exposed itself on VISAGE’s third long player ‘Beat Boy’. Most of the songs went on for far too long while Steve Strange’s flat, tuneless vocals and banal lyrics were allowed to run riot. Running for a painful six minutes on the album, even in edited single form, the title track really needed a ‘Go Faster’ stripe as the attempt to merge rock guitars with Fairlight stabs and industrialised percussion failed miserably.

Album version available on the album ‘Beat Boy’ via Cherry Pop

http://www.visage.cc/

BRONSKI BEAT & MARC ALMOND I Feel Love / Johnny Remember Me (1985)

‘I Feel Love’ looked like a dream combination for Jimmy Somerville’s swansong with BRONSKI BEAT to be paired with the one-time SOFT CELL front man. With ‘Love To Love You Baby’ and ‘Johnny Remember Me’ segued onto the main act, the well intentioned recording ended up a total cut ‘n’ paste mess with the poor stop / start edit into ‘Johnny Remember Me’ being particularly embarrassing. Meanwhile, the screaming match between Somerville and Almond was painful to the ears.

Available on the album ‘The Singles Collection 1984/1990’ via London Records

http://www.jimmysomerville.co.uk/

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

JOHN FOXX Enter The Angel (1985)

An attempt at crossing ‘Endlessly’ with ‘Like A Miracle’, the lukewarm ‘Enter The Angel’ from the ‘In Mysterious Ways’ album had none of the electro innovation of ‘Metamatic’ or the neu romance of ‘The Garden’. Featuring Eddi Reader from FAIRGROUND ATTRACTION on backing vocals, Foxx had gone all conventional and no longer stood out from the crowd like he once had. And the result was that the quiet man effectively retired from music until his 1997 re-emergence.

Available on the album ‘Modern Art: The Best Of’ via Music Club

http://www.metamatic.com

HOWARD JONES Look Mama (1985)

Howard Jones did much to further the cause of electronic music with his one-man synth act. But ‘Look Mama’, the second single from his second album ‘Dream Into Action’ was a tedious narrative about an interfering mother that was one of the weakest songs on the collection. Featuring a plethora of state-of-the-art digital sounds, their prominence was quite obviously to cover a weak tune. Amazingly, this one got into the UK Top 10!

Available on the album ‘Best: 1983 – 2017’ via Cherry Red

http://www.howardjones.com

THE HUMAN LEAGUE I Need Your Loving (1986)

THE HUMAN LEAGUE’s fifth album ‘Crash’ was largely rotten, save ‘Human’ and ‘Love Is All That Matters’, two Jam and Lewis numbers that were totally unrepresentative of Da League’s own sound. ‘I Need Your Loving’ had a crew of six on the writing credits, none of them members of the band! This had to have been a Janet Jackson cast-off from ‘Control’… Phil Oakey has been many things but Alexander O’Neal he certainly wasn’t while Joanne and Susanne could never sound like Cherelle!

Available on the album ‘Crash’ via Virgin Records

http://www.thehumanleague.co.uk

GARY NUMAN I Can’t Stop (1986)

A toss-up between this and ‘This Is Love’, these two singles from the below-par ‘Strange Charm’ both actually got in the UK Top 40… quite shocking when far superior singles from previous album ‘The Fury’ failed to make any chart impact. By 1986, Numan wasn’t sure if he wanted to be THE POWER STATION or Prince so ‘I Can’t Stop’ was frankly, all over the place! Whatever, flying took more of an interest in his life, Gary Numan’s career dip would not be reversed until 1994’s ‘Sacrifice’.

Available on the album ‘Strange Charm’ via Eagle Records

http://www.numan.co.uk

ULTRAVOX Same Old Story (1986)

The signs had not been good when drummer Warren Cann was fired from the band for preferring to use programmed percussion. With the success of his solo career, Midge Ure was dictating a more conventional back-to-basics approach. But while the soulful backing vocalists, live drums and brass section on ‘Same Old Story’ kept ULTRAVOX sounding with the times, the bland played on. The poor title of the parent album ‘U-Vox’ summed it all up… a band with something missing!

Album version available on the album ‘U-Vox’ via EMI Music

http://www.ultravox.org.uk

A-HA Touchy! (1988)

Such is life, the brilliant predecessor ‘The Blood That Moves The Body’ only reached No28 in the UK singles chart. Instead, the public took its rather ordinary and annoying follow-up ‘Touchy!’ to No11! Devoid of the usual emotive but melodic melancholy that had made songs such as ‘The Sun Always Shines On TV’ and ‘Hunting High & Low’ so dramatically appealing, the lead synth brass line, which ubiquitous for the time, was particularly annoying!

Available on the album ‘Stay On These Roads’ via Warner Music

http://a-ha.com/

HEAVEN 17 The Ballad Of Go Go Brown (1988)

When Glenn Gregory appeared on the single sleeve wearing a Stetson, the writing was on the wall. ‘The Ballad Of Go Go Brown’ with its slide guitar and harmonica was the antithesis of the funky modernism that HEAVEN 17 had previously stood for. Martyn Ware’s success as a producer for artists such as TINA TURNER and TERENCE D’ARBY around this time proved he hadn’t lost his creative nous… the once innovative trio had run out of steam.

Available on the album ‘Play To Win: The Best Of’ via Music Club Deluxe

http://www.heaven17.com

NEW ORDER Fine Time (1988)

NEW ORDER were acknowledged as a supreme singles act… until this! ‘Fine Time’ spoilt an otherwise brilliant album in ‘Technique’. A sly send-up of the acid house scene, even Bernard Sumner admitted it was “a novelty record”. A pitch shifted vocal was made to sound like an inebriate jackmaster impersonating Barry White, while the messy backing track was complimented by some bleeting sheep. One thing good about the single edit though is that it’s shorter!

Available on the album ‘Singles’ via Rhino Records

http://www.neworder.com/

EURYTHMICS Revival (1989)

1987’s ‘Savage’ album was a laudable attempt by Annie Lennox and David A Stewart’s to get back to their electronic roots after their overt flirtation with America for their previous two long players ‘Be Yourself Tonight’ and ‘Revenge’. But to launch the 1989 album ‘We Two Are One’, EURYTHMICS got all bland again on ‘Revival’. The squelchy synth bass could not disguise a lifeless tune that ironically, despite its rhythm ‘n’ blues influences, was lacking in soul.

Available on the album ‘We Too Are One’ via RCA / Sony BMG Records

http://eurythmics.com/

DURAN DURAN Violence of Summer (1990)

DURAN DURAN’s cover of ‘White Lines (Don’t Do It)’ is more comical than awful! But ‘Violence Of Summer (Love’s Taking Over)’ was a poor relaunch of their classic five-piece band format with guitarist Warren Cuccurullo and drummer Sterling Campbell joining the fold, following two albums as a trio. What they forgot to add to the line-up though was some tunes… unsurprisingly, ‘The Violence Of Summer’ has never made it onto any DURAN DURAN compilation CDs.

Available on the album ‘Liberty’ via EMI Music

http://www.duranduran.com

SIMPLE MINDS She’s A River (1995)

For SIMPLE MINDS’ worst commitment to the singular format, it was tempting to list ‘Belfast Child’ or their cover of PRINCE’s ‘Sign O’ The Times’, but the ploddy ‘She’s A River’ wins out. With overblown guitar histrionics, big drums and a virtually anonymous verse with no hook. Bizarrely, pop duo HURTS revived the template of ‘She’s A River’ for the even more appalling ‘Miracle’ in 2013!

Available on the album ‘Good News from the Next World’ via Virgin Records

http://www.simpleminds.com

PET SHOP BOYS New York City Boy (1999)

PET SHOP BOYS are as perfect singles act as you can get, but even they were not flawless. For their worst offering, it was a close race between the inappropriately titled ‘Winner’ and the camp OASIS of ‘I Get Along’. But ‘New York City Boy’ has to be Neil Tennant and Chris Lowe’s least convincing single. While ‘Go West’ took a VILLAGE PEOPLE song and applied an elegiac PET SHOP BOYS template, ‘New York City Boy’ was misguided attempt to try and actually be New York’s favourite disco queens.

Available on the album ‘Nightlife’ via EMI Music

http://www.petshopboys.co.uk

KRAFTWERK Expo 2000 (2000)

In a scandal equivalent to the UK’s Millenium Dome project, KRAFTWERK pocketed 400,000 Deutsch Marks for a five syllable processed voice jingle for Expo 2000! At the time, it was their first new composition for 14 years. Lacking the percussive drive previously provided by the now-absent Karl Bartos and Wolfgang Flür, ‘Expo 2000’ was a meandering, formless ditty which lacked the klassik melodicism that made KRAFTWERK great.

Available on the single ‘Expo 2000’ via EMI Music

http://www.kraftwerk.com

DEPECHE MODE Peace (2009)

‘Sounds Of The Universe’ is such a dire body of work. So surreally imagine as a diversion from its uninspired electro blues rock, John Lennon trying to write a KRAFTWERK song during THE BEATLES sessions that produced ‘Across The Universe’? Sounds interesting doesn’t it? DEPECHE MODE worked on the concept but came up with the ghastly ‘Peace’. No pleasures remained as the strained and nauseating chorus, attached to a lame verse, was more likely to harm diplomatic relations.

Available on the album ‘Sounds Of The Universe’ via Sony Music

http://www.depechemode.com

OMD If You Want It (2010)

For anyone who had loved OMD’s pioneering early catalogue, ‘If You Want It’ was horrid. An attempt at a soaring OASIS styled anthem, ‘If You Want It’ was not what fans were expecting. With an excruciatingly high key and a joint compositional credit to Tracey Carmen, who had worked with Andy McCluskey’s girl group creation ATOMIC KITTEN, its true origins can only be guessed at. But thankfully, OMD managed to snatch victory from the jaws of defeat with 2013’s ‘English Electric’ opus.

Available on the album ‘History Of Modern’ via Blue Noise

http://www.omd.uk.com

ERASURE When I Start To (2011)

On paper, things were not promising as the severely over rated FRANKMUZIK was recruited to apply his modern dance production aesthetic to Andy Bell and Vince Clarke’s classic synthpop on the ‘Tomorrow’s World’ album. But its first single ‘When I Start To (Break It All Down)’ sounded like a rather anodyne TAKE THAT ballad and Bell’s voice was strained to an auto tuned flatness, lacking power and soul.

Available on the album ‘Tomorrow’s World’ via Mute Artists

http://www.erasureinfo.com

Text by Chi Ming Lai
17th January 2015

25 SYNTH SINGLES THAT SHOULD HAVE BEEN HITS

3 January 2015 / electricityclub

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

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

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

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

THE HUMAN LEAGUE Empire State Human (1979)

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

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

http://www.thehumanleague.co.uk

LORI & THE CHAMELEONS Touch (1979)

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

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

http://www.penkilnburn.com/

JAPAN Gentlemen Take Polaroids (1980)

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

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

http://www.nightporter.co.uk

ROBERT PALMER Johnny & Mary (1980)

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

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

http://www.robertpalmer.com/

SIMPLE MINDS I Travel (1980)

SIMPLE MINDS were signed to Arista Records between 1979-1980 and like JAPAN, they were met with indifference by their label. ‘I Travel’ was their penultimate single at Arista who threw in a free blue flexidisc featuring ‘Kaleidoscope’ and ‘Film Theme Dub’ as a sweetener to early purchasers. But despite airplay at The Blitz Club where its futuristic frenzy was highly welcomed, ‘I Travel’ did not make any chart impact.

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

http://www.simpleminds.com

ULTRAVOX Passing Strangers (1980)

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

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

http://www.ultravox.org.uk

OUR DAUGHTER’S WEDDING Lawnchairs (1981)

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

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

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

SOFT CELL Memorabilia (1981)

Produced by Daniel Miller, ‘Memorabilia’ borrowed heavily from Cerrone’s ‘Supernature’. Released as a 12 inch single but relegated to B-side on the edited 7 inch with ‘A Man Could Get Lost’ as the A-side, Almond recalled a list of trashy souvenirs that were also metaphors for stalking. Dark yet danceable, despite not being a hit, ‘Memorabilia’ would later becitied as an influential proto-house classic.

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

http://www.marcalmond.co.uk

TEARS FOR FEARS Suffer The Children (1981)

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

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

http://tearsforfears.com/

BLANCMANGE Feel Me (1982)

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

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

http://www.blancmange.co.uk

THOMAS DOLBY Europa & The Pirate Twins (1982)

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

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

http://www.thomasdolby.com

HEAVEN 17 Let Me Go (1982)

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

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

http://www.heaven17.com

THE TEARDROP EXPLODES Tiny Children (1982)

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

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

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

VISAGE Pleasure Boys (1982)

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

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

http://www.visage.cc/

DEAD OR ALIVE Misty Circles (1983)

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

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

http://www.deadoralive.net/

JOHN FOXX Endlessly (1983)

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

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

http://www.metamatic.com

OMD Telegraph (1983)

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

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

http://www.omd.uk.com

TALK TALK My Foolish Friend (1983)

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

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

http://www.spiritoftalktalk.com

THE BLUE NILE Tinseltown In The Rain (1984)

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

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

http://www.thebluenile.net

CHINA CRISIS Arizona Sky (1986)

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

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

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

ERASURE Oh L’Amour (1986)

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

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

http://www.erasureinfo.com

NEW ORDER Bizarre Love Triangle (1986)

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

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

http://www.neworder.com

ACT Snobbery & Decay (1987)

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

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

http://www.claudiabrucken.co.uk

KRAFTWERK The Telephone Call (1987)

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

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

http://www.kraftwerk.com

CAMOUFLAGE The Great Commandment (1988)

Today, DEPECHE MODE influenced acts are common place but in 1988, this was highly unusual. Taking ‘Some Great Reward’ as their template, CAMOUFLAGE developed on the industrial flavoured synthpop of ‘Master & Servant’ and ‘People Are People’ which DM had all but abandoned from ‘Black Celebration’ onwards. ‘The Great Commandment’ was probably the best single DM never recorded but while it was a hit in Europe and the US, it made no impression in the UK.

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

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

Text by Chi Ming Lai
3rd January 2015

Tag: Simple Minds (Page 7 of 9)

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