1981 is the year covered by the second instalment of Cherry Red’s ‘Musik Music Musique’ series.
1980 was something of a transition year for the synth as it knocked on the door of the mainstream charts but by 1981, it was more or less let in with welcome arms. From the same team behind the ‘Close To The Noise Floor’ compendiums and the most excellent ‘Electrical Language’ boxed set, ‘Musik Music Musique 2.0 1981 – The Rise Of Synth Pop’ presents rarities alongside hits and key album tracks from what many consider the best year in music and one that contributes the most to the legacy of electronic music in its wider acceptance and impact.
Featuring HEAVEN 17 with ‘(We Don’t Need This) Fascist Groove Thang’, OMD with ‘Souvenir’ and the eponymous single by VISAGE, these songs are iconic 1981 canon that need no further discussion. Meanwhile the longevity of magnificent album tracks such as ‘Frustration’ by SOFT CELL and ‘I Remember (Death In The Afternoon)’ by ULTRAVOX can be summed by the fact that they have featured in 21st Century live sets alongside their parent acts’ hits.
Although not quite as celebrated, ‘You Were There’ from pastoral second John Foxx long player ‘The Garden’ captures the move from stark JG Ballard imagery to something almost romantic. DEVO are represented by the LinnDrum driven ‘Through Being Cool’, the opener of the ‘New Traditionalists’ album which comes as a statement that the mainstream was their next target; the Akron quintet were one of the many acts signed by Virgin Records as the label focussed on a synth focussed takeover that ultimately shaped the sonic landscape of 1981.
Then there’s TEARS FOR FEARS’ promising debut ‘Suffer The Children’ in its original synthier single recording and The Blitz Club favourite ‘Bostich’ from quirky Swiss pioneers YELLO. Another Blitz staple ‘No GDM’ from GINA X PERFORMANCE gets included despite being of 1978 vintage due to its first UK single release in 1981. The use of synth came in all sorts of shapes and FASHIØN presented a funkier take with ‘Move Øn’ while the track’s producer Zeus B Held took a more typically offbeat kosmische approach on his own ‘Cowboy On The Beach’.
Pivotal releases by JAPAN with the ‘The Art Of Parties’ (here in the more metallic ‘Tin Drum’ album version) and A FLOCK OF SEAGULLS ‘(It’s Not Me) Talking’ highlight those bands’ then-potential for mainstream success. But in the battle of the New Romantic boy bands, the sitar tinged DURAN DURAN B-side ‘Khanada’ easily blows away the SPANDAU BALLET album track ‘Reformation’ in an ominous sign as to who would crack it biggest worldwide.
The great lost band of this era, B-MOVIE issued the first of several versions of ‘Nowhere Girl’ in December 1980 on Dead Good Records and its inclusion showcases the song’s promise which was then more fully realised on the 1982 Some Bizzare single produced by the late Steve Brown although sadly, this was still not a hit.
The best and most synth flavoured pop hits from the period’s feisty females like Kim Wilde and Toyah are appropriate inclusions, as is Hazel O’Connor’s largely forgotten SPARKS homage ‘(Cover Plus) We’re All Grown Up’. But the less said about racist novelty records such as ‘Japanese Boy’ by Aneka, the better… the actual nation of Japan though is correctly represented by their most notable electronic exponents YELLOW MAGIC ORCHESTRA with ‘Cue’ from ‘BGM’, the first release to feature the Roland TR808 Rhythm Composer.
With these type of boxed sets, it’s the less familiar tracks that are always the most interesting. As the best looking member of TANGERINE DREAM, Peter Baumann had a crack at the single charts with the catchy Robert Palmer produced ‘Repeat, Repeat’ while former Gary Numan backing band DRAMATIS are represented by ‘Lady DJ’ although its epic A side ‘Ex Luna Scientia’ would have equally merited inclusion. But BEASTS IN CAGES who later became HARD CORPS stand out with the stark dystopia of ‘Sandcastles’.
The one that “should-have-been-a-pop-hit” is the ABBA-esque ‘I Can’t Hold On’ by Natasha England and it’s a shame that her career is remembered for a lame opportunistic cover of ‘Iko Iko’ rather than this, but the delightful ‘Twelfth House’ demonstrates again how under-rated Tony Mansfield’s NEW MUSIK were, and this with a B-side!
The rather fraught ‘Wonderlust’ by THE FALLOUT CLUB captures the late Trevor Herion in fine form on a Thomas Dolby produced number with a dramatic Spaghetti Western flavour that is lushly sculpted with electronics. Over a more sedate rhythm box mantra, ‘Love Moves In Strange Ways’ from BLUE ZOO swirls with a not entirely dissimilar mood.
Mute Records founder Daniel Miller was breaking through with his productions for DEPECHE MODE in 1981, but representation on ‘Musik Music Musique 2.0’ comes via the colder austere of ‘Science Fiction’ by Alan Burnham. ‘West End’ by Thomas Leer adds some jazzy freeform synth soloing to the vocal free backdrop, while ‘Surface Tension’ from ANALYSIS is an appealing instrumental.
The strangely accessible weirdness of CHRIS & COSEY’s ‘This Is Me’, MYSTERY PLANE’s ‘Something To Prove’ and the gritty ‘Brix’ from PORTION CONTROL will delight those more into the leftfield, while AK-47’s ‘Stop! Dance!’, the work of Simon Leonard (later of I START COUNTING and KOMPUTER fame) is another DIY experiment in that aesthetic vein.
Some tracks are interesting but not essential like Richard Bone’s ‘Alien Girl’ which comes over like an amusing pub singer SILICON TEENS, Johnny Warman’s appealing robopop on ‘Will You Dance With Me?’ and the synth dressed New Wave of ‘Close-Up’ by THOSE FRENCH GIRLS. For something more typically artschool, there’s the timpani laden ‘Taboos’ by THE PASSAGE and SECOND LAYER’s screechy ‘In Bits’.
More surprising is Swedish songstress Virna Lindt with her ‘Young & Hip’ which oddly combines showtune theatrics with blippy synth and ska! The set ends rather fittingly with Cherry Red’s very own EYELESS IN GAZA with the abstract atmospherics of ‘The Eyes Of Beautiful Losers’ although they too would eventually produce their own rousing synthpop statement ‘Sunbursts In’ in 1984.
Outside of the music, the booklet is a bit disappointing with the photos of OMD, TEARS FOR FEARS, HEAVEN 17, B-MOVIE and a glam-bouffanted Kim Wilde all coming from the wrong eras. And while the liner notes provide helpful information on the lesser known acts, clangers such as stating Toyah’s ‘Thunder In The Mountains’ was from the album ‘The Changeling’ when it was a standalone 45, “GONG’s Mike Hewlett” and “memorable sleeve designs by Malcolm Garrett’s Altered IMaGes” do not help those who wish to discover the origins of those accumulated gems.
But these quibbles aside, overall ‘Musik Music Musique 2.0’ is a good collection, although with fewer rare jewels compared with the first 1980 volume which perhaps points to the fact that those who had the shine to breakthrough actually did… 40 years on though, many of those hit making acts (or variations of) are still performing live in some form.
Was 1981 the most important year in synth as far becoming ubiquitous in the mainstream and hitting the top of the charts internationally? With VISAGE’s ‘Fade To Grey’ becoming a West German No1 in Spring 1981 through to SOFT CELL taking the summer topspot in the UK and culminating in THE HUMAN LEAGUE eventually taking ‘Don’t You Want Me?’ to No1 in the US, the sound of synth had done its job. Setting the scene for 1982 and 1983, further editions of ‘Musik Music Musique’ are planned.
‘Blitzed’ is the new Sky Arts documentary about the colourful London club night attended by aspirational young people driven to escape, express and create.
It was the start of the Thatcher era and before it was infiltrated by leg warmers, deely boppers, fluffy dice, yuppies and soddin’ Pat Sharp, the clientele of The Blitz were planting the seeds that were to shape the eighth decade of the 20th Century.
With the late Steve Strange acting as its Pied Piper, these personalities who emerged from a movement that got labelled The Blitz Kids, The Cult With No Name and The New Romantics were to have a big impact on popular culture. They included costume designers Fiona Dealey and Michele Clapton, journalists Robert Elms and Dylan Jones as well as royal hat maker Stephen Jones. They tell their stories of that flamboyant period alongside the usual suspects of Rusty Egan, Boy George, Steve Dagger, Princess Julia, Gary Kemp, Marilyn, Andy Polaris, Chris Sullivan and Midge Ure.
While those not fully immersed in the history of The Blitz Club will delight in the 90 minutes of ‘Blitzed’, aficionados of New Romantic history will be disappointed to see many of the same old faces repeating variations on anecdotes told many times before. Meanwhile others will despair that music is not the main topic of discussion, although it would be fair to say that TV specials looking at key hit songs by VISAGE, ULTRAVOX, SPANDAU BALLET and CULTURE CLUB have been a plenty on Channel 5 lately…
However, some new faces do appear and Darla Jane Gilroy’s recollections of being chosen to be an extra in David Bowie’s ‘Ashes To Ashes’ video after he graced The Blitz are delightful.
The inclusion of Elly Jackson of LA ROUX though is questionable; obviously chosen as an example of a modern day Blitz Kid because of her “Flock of Tilda Swintons” hairdo and having a No1 with the synth-driven ‘Bulletproof’ in 2009, she comes across as blissfully unaware of the long term influence of The Blitz but then she did aspire to be a folk singer as a teenager!
Another frustrating aspect of ‘Blitzed’ that could have been better researched is when David Bowie is mentioned in his position as the Godfather of The Blitz; a fair proportion of the archive footage accompanying this section is from after the club closed including his spiky-haired ‘Glass Spider’ period in 1987 and in one clip, the ‘Earthling’ period of 1997!
Reliably entertaining in ‘Blitzed’, resident DJ Rusty Egan makes some memorable and amusing observations of the time. Acting as co-consultant and providing new music for the documentary, the recently released soundtrack album additionally features period pieces by his former protégés SHOCK and RONNY as well as inspired by tracks from artists such as WE ARE BRANDO and TINY MAGNETIC PETS who he would be playing at The Blitz Club if it was still around and hadn’t closed in Spring 1981. The interconnected collection concludes with a live version of David Bowie’s ‘Where Are We Now?’ by Boy George.
Edited down from an amusing conversation that went on for nearly 4 hours, Rusty Egan chatted about the making of the ‘Blitzed’ documentary and its accompanying soundtrack.
It looks like the ‘Blitzed’ documentary has gone down well with the general public?
Yeah, it’s been very well received by the GENERAL public. But within the community of actual Blitz Kids, I put together a list of 50 or so of the most important people that went to The Blitz like John Galliano who would have been 18-19 year old students and part of the hub… I shared it online and called it “The 50 Blitz Kids Who Were Too Cool To Be In A Documentary About The Blitz”! *roars of laughter*
The quip went down well with them because they were being labelled “too cool”, it’s got a funny juxtaposition; of course, a lot of them couldn’t be squeezed into 90 minutes anyway!
So I acknowledged them by doing a video for a track called ‘Catwalk’ which is part of the ‘Blitzed’ soundtrack… I told them I wouldn’t be in the documentary unless I did the music! It was my chance to right some wrongs, the sound I was trying to get on the accompanying OST album, whether I wrote it, produced it or got someone else to do it, was not a retro album or another compilation with ‘Ashes To Ashes’ or ‘The Model’ which it easily could have been, it’s a different thing!
‘Catwalk’ appears to have the same chord progression as ‘The Model’ by KRAFTWERK?
NO! It’s the same chord progression as ‘Turn To Dust’ which Boy George sent me which I stripped down and added my sequence. So it was that music which accompanied the video footage of KRAFTWERK. But with that chord progression of ‘The Model’, you could sing 50 or so reggae or dance tunes over that…
…yeah! ‘Ride On Time’ by BLACK BOX is one!!
Well there you go!! I could probably do a mash-up of ‘The Model’ with ‘Ride On Time’! The DJ Robin Skouteris did one mixing ‘Fade To Grey’ with ‘Magic Fly’ and HURTS ‘Wonderful Life’ and even dropped PET SHOP BOYS in! He could stick the song ‘New Romantics’ by Taylor Swift with Dolly Parton and Mark Ronson in a never ending mix, unbelievable what he can do with the technology of today!
It would be fair to say people who had been more aware of The Blitz and its history have said many of the same people who were in the BBC’s ‘A Fine Romance’ 2001 documentary were in ‘Blitzed’?
When the producers said they wanted my help and said they wanted the phone numbers of Midge Ure, Boy George etc, I thought “oh, same old sh*t!” – so there was a bit of bartering, I said I’d to it if I did the music and I got paid!
Chris Payne did a piano and violin version of ‘Fade To Grey’. I thought I should put bass and drums onto that and extend it, cos you know I love an extended, and then for people like you, there’s a three and a half minute version there! *laughs*
Now, there was Chris Payne, Rusty Egan and Oscar Egan, there was no Midge Ure or Billy Currie, just us three making a version of ‘Fade To Grey’ at 105 BPM. I think it’s a good beautiful piece of music with wonderful arpeggios from Chris, low voice by me and my ex, the French speaking Belgian girl Brigitte. I am still in contact with her so I asked her to reprise it, we did as good as we could without Midge or Billy in our remake of ‘Fade To Grey’.
It’s all in my home studio, not in Abbey Road! Everybody says they’ve liked what we’ve done, that’s it! It’s not like I’ve added a rapper! I didn’t add a dance beat, I just made it clearer and louder with a middle break. It’s not like I had Abbey Road, the mixing desk of Conny Plank, Alan Parsons producing, Michael Rother on guitar and made a pile of sh*t! If I did that, you’d be right to have a go! It’s a labour of love!
Some more seasoned enthusiasts did not really find out anything new from watching ‘Blitzed’, it could have benefitted from the perspective of say, actress Eve Ferret who actually performed at The Blitz and Jacqueline Bucknell who brought David Bowie down that night…
I gave the producers a list of everyone, you know me, I’m very inclusive… Marilyn actually didn’t want to do it, I had to phone him up and told him “it’s better to be in it than not in it”… I do agree with you, but you’re discussing something I had no control over.
Overall, were you happy with how ‘Blitzed’ turned out?
NO, I LOOK FAT!
Yeah, a white shell suit is not a good look on you even if it’s Ralph Lauren!! *laughs*
They told me everyone wears black, please wear white!!!!
But yes, I’m pleased with the documentary because when was the last time fashion was intertwined with music? You don’t look at THE KILLERS and go “what are they wearing?”, they’re just a band from Las Vegas! You don’t look at NEW ORDER and go “what is Barney wearing?”, they’re not a fashionable band.
SPANDAU BALLET were very ambitious and eventually successful, but you helped them out?
Steve Strange fancied Martin Kemp so wanted to put SPANDAU BALLET on at The Blitz. But he asked me to take a look and advise them what to do, so I did!
Gary Kemp could sit there in his mansion and talk about how he knew if he jumped on that stage, he could take the scene… but he didn’t know Richard James Burgess, he didn’t know how to make a dance record, he didn’t know what a synthesizer was, he was just a young kid.
That SPANDAU BALLET comeback song ‘Once More’ in 2009, it was so bloomin’ middle of the road, it needed its own government safety film!! *laughs*
Ouch! They wanted to be pop stars, as did DURAN DURAN and DEPECHE MODE, they wanted to make pop music.
‘Blitzed’ is not a music documentary but were you surprised ‘Vienna’ only got mentioned for 15 seconds and ‘Fade To Grey’ for about 30?
I actually didn’t want them to play ‘Vienna’, I didn’t want them to play ‘Ashes To Ashes’, cos I didn’t want them playing the same songs… having that clip of Bowie doing ‘Heroes’ on ‘Top Of The Pops’ probably cost them £20,000! The labels have a chart of what songs are worth and they run it like a business, and because they go on the premise that they generally can only sell a song once, the price can be very high!
So what’s your favourite moment on ‘Blitzed’ that isn’t you?
I loved Boy George in it… y’know he could have died several times over the decades, but I saw a happy Boy George who had a whiter smile than me, happy to tell people he was a thief because he had no money and lived in a squat… thing is, Steve Strange was also a thief but lied about it! They had nothing and wanted to be wearing the latest clothes! They wanted to go clubbing every night and that cost a fortune!
Whereas although I went to borstal like in the film ‘Scum’ and I learned to survive with billiard balls in a sock to protect myself, I was always nice and said “come and stay round my house” and they would rob me sadly! Looking back at those people from 40 years ago, they are many who never made it, I could list a load of people. Y’know, it’s lovely to be an old man with my bus pass and to get my jab, having people I knew when I was 20 like Eve Ferret contacting me on a daily basis.
A lot of people don’t like me, they like Steve Strange and feel I shouldn’t be taking any of the glory on ‘Blitzed’. Even a friend of mine who I got DEPECHE MODE tickets for on the last tour wrote “it’s not all about you Rusty”… but I didn’t make the documentary, I’m just a bloke in it! I’VE GOT NO CONTROL OVER NOTHING!
Your new song ‘When We Were Young’ features prominently in ‘Blitzed’, it’s quite obviously influenced by Gina X’s ‘No GDM’ but I just wanted to say that its co-writer Zeus B Held has heard it and says he’s not going to sue you! *laughs*
Well, if he did, he wouldn’t be suing me, he’d be suing Paul Statham of B-MOVIE who came up with the music! He sent me the bassline and synthline, I put in a straight four LinnDrum beat and made it bigger. But ‘No GDM’ was a song I heard in Düsseldorf and brought in to play at The Blitz and it inspired so many people in the UK like FASHION and DEAD OR ALIVE because it was produced by Zeus B Held, ‘Nice Mover’ was another one from the album that I played.
So yes, I agree 100% that there’s a link! But the end result with the lyrics about “Tonight’s the night, we danced to Iggy, Ferry and Bolan, hey, we found love when we were young” became perfect for ‘Blitzed’.
‘When We Were Young’ manages to be retro-referencing but modern, and that’s quite a tricky thing to achieve…
You know that’s what I was trying to do, cos you kept moaning “Rusty, can you stop trying to be modern?!?” *laughs*
It’s my sound but we are in 2021 and I don’t want to be on at Rewind or Let’s Rock between Limahl and Kim Wilde! I’ll be hopefully doing Rusty Egan Presents VISAGE 1980-2021 at W-Festival in Belgium this August, performing the first two albums with Zaine Griff, Chris Payne and Dave Brookes before OMD headline on the Saturday night.
It’s is so difficult to write anything completely original! If I spoke to Ralf Hütter, he would say that to do KRAFTWERK, he had to put his blinkers on, turn everything off, turn off American Forces radio, turn off the TV with its schlager music, go into the lab at Kling Klang, be German and go into himself as to who he is!
So what was unique about the era captured in ‘Blitzed’ and why could it not really happen today?
As you know, I still go to night clubs and I went to one called The Box in Soho which I’ve been to about 20 times. It’s been going for about 7 or 8 years and is described as the “Studio 54 of today” and “The Blitz Club of today”. There are creative people in their 20s there who love Lee Bowery and Boy George, the sort of people who support LGBTQ+, would watch the Channel 4 drama series ‘It’s A Sin’ and love the music of the 80s or similar. They are creative types who can’t make a living from what they do, but might be influencers…
I met with the owners of ‘The Box’, the club started in New York and it was attended by the richest people in the city, the dot com millionaires, the “in with the in-crowd” types! They were putting on people miming to Lady Gaga songs and freak shows of people putting knitting needles through their nipples as entertainment. So it was loads of rich people throwing away money that flew in their letter box while they were asleep on their friends or so-called models on Instagram, all while the DJ is playing Kanye West!
But it sounds like a nightmare! That doesn’t interest me! So I suggested them putting on original artists and musicians, but they said they didn’t want to do it as they were making loads of money with people coming in six nights a week! Everything was about money!
The thing is, The Blitz was real, we were all broke, we were all thieves or on the dole, we were no-ones! The Box looks like The Blitz, but it’s not!
ELECTRICITYCLUB.CO.UK gives its warmest thanks to Rusty Egan
‘Blitzed’ is available on demand via Sky
The ‘Blitzed’ soundtrack album is released by Future Music and available now via digital outlets
Rusty Egan, Zaine Griff, Chris Payne and Dave Brooks perform the music of VISAGE 1980 x 2021 at W-Festival in Belgium on Saturday 28th August 2021 – tickets are available from https://w-festival.com/en/
The origin of the BBC radio session came about due to restrictions imposed on the corporation by the Musicians Union and Phonographic Performance Limited with regards the airing of recorded music.
The thinking behind this was to create employment, as well as force people to buy records and not listen to them free of charge on the air. As a result, the BBC had to hire bands and orchestras to perform cover versions of recorded music to make up for the shortfall.
When the policy evolved with the advent of the more pop and rock oriented station Radio1, bands ventured into BBC’s Maida Vale studios to lay down between 3 to 5 tracks, with in-house personnel such as John Walters, Dale Griffin, Jeff Griffin, Chris Lycett, Mike Robinson, John Owen Williams and (not that) Tony Wilson helming the sessions.
The most celebrated of these BBC sessions were recorded for John Peel, but equally of merit and perhaps more of an indicator to potential breakthroughs into the mainstream were those produced for Richard Skinner and Kid Jensen.
Sessions were usually recorded and mixed in a single day, so had a rougher feel that lay somewhere between a live performance and a studio recording, sounding almost like a polished demo.
While acts would often use the opportunity to promote their latest single or album, others would premiere recently written compositions, try out different arrangements on established songs or perform cover versions. A number of these session recordings were even superior to their eventual officially released versions.
So ELECTRICITYCLUB.CO.UK presents its favourite 25 BBC Radio1 session tracks with other selection criteria including rare songs or tracks capturing the zeitgeist and signalling a change in the course of music. Presented in chronological and then alphabetical order within each year with a restriction of one track per artist moniker, here are some special moments from our beloved Auntie Beeb.
THE HUMAN LEAGUE Blind Youth (John Peel 1978)
In Summer 1978, THE HUMAN LEAGUE perhaps surprisingly recorded their only session for the BBC which included ‘Being Boiled’, ‘No Time’ (which became ‘The Word Before Last’), a cover of ‘You’ve Lost That Lovin’ Feeling’ and ‘Blind Youth’. The latter was the frantic percussive highlight of the four, a wonderfully shambolic slice of synth punk with bum bleeps and avant waves of white noise, all held together by the metallic rhythmic bed of a sequenced Roland System 100.
TUBEWAY ARMY I Nearly Married A Human (John Peel 1979)
Although only comprising of three tracks, Gary Numan’s session as TUBEWAY ARMY for John Peel in early 1979 captured an artist in transition. From the comparatively punky ‘Me! I Disconnect From You’ to the dystopian synthpop of ‘Down In The Park’, the electronics were gaining more prominence to suit his increasingly unsettling lyrical themes. And on the mostly instrumental ‘I Nearly Married A Human’, the machines launched a coup d’etat and took over like an army of replicants with the murmurs of the title being the only sign of flesh and blood.
Several months after the release of their self-titled debut long player, OMD returned for their second of their four John Peel sessions with Paul Humphreys and Andy McCluskey accompanied by drummer Malcolm Holmes and keyboardist Dave Hughes. By now, their live sound had expanded and this change was captured on this session with the version of ‘Pretending To See The Future’ having more presence and a looser percussive edge compared with the underwhelming drum machine-led album version.
One of the bands alongside SOFT CELL, DEPECHE MODE and BLANCMANGE who got a profile boost from their inclusion on the ‘Some Bizzare Album’, although they were signed by Phonogram to take on DURAN DURAN, B-MOVIE had more of a psychedelic vibe as reflected by songs like ‘Welcome To The Shrink’ and ‘All Fall Down’ on their first John Peel session in March 1981. But the highlight was ‘Polar Opposites’ with its mighty ‘2001: A Space Odyssey’ synth line. It would have made a great single, but never properly was!
Broadcast in Summer 1981, this session captured the original DEPECHE MODE line-up of Dave Gahan, Martin Gore, Andy Fletcher and Vince Clarke several months before the release of debut album ‘Speak & Spell’. Refining into a pop band but still retaining much of the synthetic rawness that linked them artistically to acts like FAD GADGET, the session was characterised by use of the Korg Rhythm KR55 drum machine with its charming klanky metallics. This version of ‘Boys Say Go’ possessed an aggression that was lost on the eventual album cut.
Like THE HUMAN LEAGUE, DURAN DURAN only did the one BBC session for their biggest champion Peter Powell. Broadcast in June 1981 to coincide with the release of their self-titled debut, they recorded near-facsimile versions of ‘Girls On Film’, ‘Anyone Out There’ and ‘Night Boat’. But a surprise came with ‘Like An Angel’, a sprightly love song unreleased at the time which pointed away from the New Romantics to the more mainstream pop ambition of the ‘Rio’ opus that was to come just a year later.
Available on the DURAN DURAN boxed set ‘Duran Duran’ via EMI Records
Contributing five songs to their first BBC session as ‘Tainted Love’ was rising up the UK chart, brilliant songs like ‘Bedsitter’, ‘Entertain Me’, ‘Chips On My Shoulder’ and ‘Youth’ demonstrated the potential of Marc Almond and Dave Ball, even in basic form. While ‘Seedy Films’ was faster paced and a bit “snap, crackle and pop” compared to the more sophisticated and laid-back clarinet-laden ‘Non-Stop Erotic Cabaret’ album version, it outlined why at the time, SOFT CELL were rated higher than DEPECHE MODE.
‘Studio B15’ was a short-lived Sunday afternoon magazine show presented by the late Adrian Love that often invited their guests to perform live. SPANDAU BALLET had just released their debut album ‘Journeys To Glory’ and as a band that didn’t tour and rarely played live, this was an opportunity to demonstrate their abilities. ‘Mandolin’ featured a prominent Yamaha CS10 synth line while this version featured Simmons drums and a much clearer vocal with a more pronounced diction from Tony Hadley compared to the oddly smothered album version.
Aired in February 1982, BLANCMANGE were captured in their only John Peel session as a much darker proposition than was later perceived by their UK chart success. It included an early take on ‘Living On The Ceiling’ without its Indian embellishments but the session was notable for ‘I Would’ and ‘Running Thin’, two songs that would not make it onto the ‘Happily Families’ tracklisting. ‘Running Thin’ in particular saw Neil Arthur and Stephen Luscombe trapped in a stark state of gloomy resignation.
Recorded nearly six months before the release of their debut album, CHINA CRISIS’ first John Peel session saw the duo exploring territory that sat between electronic and traditional pop. ‘Seven Sports For All’ and ‘Some People I Know To Lead Fantastic Lives’ ended up on the album while the more moody ‘Be Suspicious’ was already a B-side. But this version of ‘This Occupation’ was pure machine-propelled synthpop complete with sequencing and strong lead lines; later recordings that appeared on the B-sides of ‘Wishful Thinking’ were never as good.
After their 1981 German-inspired debut ‘In The Garden’, Annie Lennox and David A Stewart explored the possibilities of the synthesizer and acquired a Movement Drum Computer to live up to their moniker. In a BBC session that also included ‘Love Is A Stranger’ which was soon to be issued as a single , ‘I’ve Got An Angel’ was an unusual hybrid of synths, electronic drums and wah-wah guitar, with flute by the front woman alongside her particularly intense and raw vocal. By comparison, the released version on the ‘Sweet Dreams (Are Made Of This)’ album was more restrained.
Not actually recorded at the BBC, NEW ORDER’s second self-produced John Peel session was a fascinating document of the Mancunian’s transitioning sound with the throbbing sequences of ‘586’ highlighting a future proto-dance direction. Meanwhile ‘Turn The Heater On’ was a cover of the Keith Hudson reggae song in tribute to Ian Curtis and ‘We All Stand’ had avant jazz overtones. But ‘Too Late’ was significant, sounding like it could have come off debut album ‘Movement’ with its lingering gothic doom but also remaining unreleased, discarded as if a relic from another era.
Featuring ‘The Prisoner’, ‘The Hurting’, ‘Start Of The Breakdown’ and ‘Memories Fade’, the arrangements for this BBC session aired after TEARS FOR FEARS’ success with ‘Mad World’ differed significantly from the versions on their debut album. Featuring Linn Drum programming and Banshees-like guitar instead of sax, this version of ‘Memories Fade’ was far superior, utilising a much more powerful mechanised rhythmic tension that reflected the fraught paranoia and resignation of Roland Orzabal’s lyrical angst.
Available on the TEARS FOR FEARS boxed set ‘The Hurting’ via Mercury Records
Reshaped with a Fairlight and Linn Drum Computer, this version of ‘In My Room’ recorded in session for Kid Jensen was far superior to the irritating album version on ‘Upstairs At Eric’s’. Forming the basis for the live interpretation, it was now free of Vince Clarke’s “Our Father” tape loop monologue and allowed Alison Moyet space to express her emotive frustration to reveal a fantastic song free of distractions. Other songs in the session included beefed up takes on ‘Bring Your Love Down (Didn’t I)’, ‘Situation’ and ‘Too Pieces’.
Co-written with Wayne Hussey, ‘Give It To Me’ was Pete Burns at his filthy lyrical best, declaring that “Apart from all your obvious attractions, I’ve got the bullets, you’ve got the gun, bang me into action, let’s make this obvious distraction, physically you are just what I wanted!”. Although this slice of Middle Eastern favoured HI-NRG later surfaced as a bonus track on the 12 inch single of ‘I’d Do Anything’, it seems almost unbelievable now that this potential hit single was never developed further in the studio.
Available on the DEAD OR ALIVE boxed set ‘Sophisticated Boom Box MMXVI’ via Edsel Records
JOHN FOXX Hiroshima Mon Amour (Saturday Live 1983)
‘Saturday Live’ was a show that featured interviews and live sessions. Having ventured out touring for the first time since his ULTRAVOX days in support of his third solo album ‘The Golden Section’, John Foxx eschewed material from ‘Metamatic’ but perhaps more surprisingly, mined his former band’s catalogue. Backed by Robin Simon, Peter Oxdendale, David Levy and Barry Watts, Foxx performed an interesting arrangement of ‘Hiroshima Mon Amour’ sans rhythm machine but with guitars, ARP Odyssey and the ubiquitous thud of Simmons drums.
Available on the JOHN FOXX album ‘Metadelic’ via Edsel Records
HOWARD JONES Don’t Put These Curses On Me (Kid Jensen 1983)
Having triumphed opening for CHINA CRISIS in Spring 1983, Howard Jones impressed with his first BBC session featuring songs like ‘New Song’ and ‘Natural’ which would be included on his debut album ‘Human’s Lib’. The album title track also featured on the session with its original love triangle monologue intro. But ‘Don’t Put These Curses On Me’ would not be released until 2003, thanks to Jones considering the song unlucky following an equipment breakdown while attempting to perform it on the live Channel 4 TV show ‘Loose Talk’.
Available on the HOWARD JONES boxed set ‘Human’s Lib’ via Cherry Red Records
SIMPLE MINDS The Kick Inside Of Me (Kid Jensen 1983)
By the end of 1983, SIMPLE MINDS were leaning heavily towards more rockist climes with songs like ‘Waterfront’. But for a three song BBC session which also featured a reprise of ‘New Gold Dream’, there was the debut of ‘The Kick Inside Of Me’, a lively track with catchy synth riffs, an infectious bassline and minimal guitar. But come the released version for the Steve Lillywhite produced ‘Sparkle In The Rain’, it had totally been ruined with distorted guitar, overblown drums and yobbish shouting in a pointless attempt to emulate THE SEX PISTOLS!
This session captured TALK TALK after the departure of keyboardist Simon Brenner but before producer Tim Friese-Greene came on board as Mark Hollis’ writing partner. Showcasing at the time four brand new songs, only ‘Call In The Night Boy’ ended up on the next album ‘It’s My Life’ while ‘For What It’s Worth’ and ‘Again A Game Again’ became B-sides. But most interesting was ‘Why Is It So Hard?’ which was only released in Canada on the ‘It’s My Mix’ EP as an Extended Version and didn’t get a UK release until 1998 on the ‘Asides Bsides’ collection.
With only Steve Strange and Rusty Egan now remaining, VISAGE surprised all by recording a BBC session with new members Steve Barnacle and Andy Barnett, featuring previously unheard songs ‘Can You Hear Me?’, ‘Only The Good Die Young’, ‘The Promise’ and the funky standout ‘Questions’. With a more live feel, there was hope that VISAGE would be able to sustain some creative momentum despite the departure of Midge Ure, Billy Currie and Dave Formula but the eventual over-produced ‘Beat Boy’ album was rotten, marred by heavy metal guitar and hopelessly off-key singing!
Despite the patronage of Rusty Egan, Daniel Miller and Martin Rushent as well as a tour opening for DEPECHE MODE, the industrial pop of HARD CORPS did not breakthrough and by the time their only album ‘Metal + Flesh’ was released in 1990, all momentum had been lost. But the gothic tension and edgy energy of their music was perhaps best represented by their BBC sessions for John Peel and Richard Skinner, with ‘Metal + Flesh’ from the 1984 Peel session far outstripping the eventual album title track studio incarnation.
For an Autumn session before the release of their debut album ‘The Age Of Consent’, BRONSKI BEAT took the unusual step of recording three solo tracks, with the only band offering being a take on ‘Why?’ B-side ‘Close To the Edge’. Larry Steinbachek presented a HI-NRG instrumental ‘Ultraclone’ while Jimmy Somerville offered the acapella ‘Puit D’amour’. But Steve Bronski contributed the most unusual track, a beautifully new age piece called ‘The Potato Fields’ which took its lead from the Japanese composer Kitaro, a version of which ended up as a bonus on the ‘I Feel Love’ 12 inch.
From Spring 1984 to coincide with the release of their new single ‘Blue Emotion’, FIAT LUX stepped into BBC Maida Vale for a session to demonstrate their diversity and musicality as more than just a synth act. As well as ‘Blue Emotion’, there was its Brechtean B-side ‘Sleepless Nightmare’ and an acoustic version of ‘Secrets’. But best of all was ‘Breaking The Boundary’, a glorious burst of uptempo North European melancholy that did not officially see the light of day until the shelved FIAT LUX album ‘Ark Of Embers was finally released by Cherry Red Records in 2019.
ERASURE Who Needs Love Like That? (Bruno Brookes 1985)
With ERASURE, Vince Clarke had found himself back to square one after YAZOO and THE ASSEMBLY. Recruiting Andy Bell as the flamboyant front man capable of falsetto and creating the vocal tones of Alison Moyet, ‘Who Needs Love Like That?’ did sound like a YAZOO outtake and in this BBC session recording, was busier and more percussive than the already released single version. While ERASURE were not an instant success, the song did eventually chart on its remixed re-release in 1992.
Available on the ERASURE deluxe album ‘Wonderland’ via Mute Records
John Peel was not a fan of PET SHOP BOYS or much synthpop for that matter, so it was a surprise when Neil Tennant and Chris Love did a session for him using the back to basics approach that they had adopted for the ‘Release’ tour with guitars, bass and percussion in the line-up. But the bonus for fans was that two of the songs recorded ‘If Looks Could Kill’ and ‘A Powerful Friend’, which had been written in 1983 and shelved, were specially revived for the occasion. Both numbers were particularly energetic with the latter even featuring very loud rock guitars!
1977 is often seen as Year Zero for synthpop, thanks to hit singles by DONNA SUMMER, SPACE and JEAN-MICHEL JARRE.
But it was not until 1979 with TUBEWAY ARMY reaching No1 with ‘Are Friends Electric?’ that the sound of synth truly hit the mainstream.
Although ‘No1 Song In Heaven’ by SPARKS had actually been a hit a few months earlier, ‘Are Friends Electric?’ was the beginning of the synth being accepted as a worthy mode of expression, rather than as a novelty. But as synths became more affordable, they became the perfect tool of youthful expression.
The set starts appropriately with OMD and ‘Messages’, one of the first tunes showcasing the warmer side of electronics following the colder wave led by Messrs Numan and Foxx. But as if to counter this next generation of youngsters, ‘Messages’ is immediately followed by the collection’s vocoder laden title song ‘Musik Music Musique’ from Zeus B Held and the superb proto-industrial ode to loveless sex ‘Coitus Interruptus’ by the much missed FAD GADGET.
Zeus B Held was later to make his impression on popular culture remixing ALPHAVILLE and SIMPLE MINDS as well producing the likes of FASHION, DEAD OR ALIVE, SPEAR OF DESTINY and TRANSVISION VAMP, but his wider breakthrough came as part of GINA X PERFORMANCE in 1979 with The Blitz Club favourite ‘No GDM’; on this compendium, the lesser-known but just as worthy ‘Vendor’s Box’ from their second album ‘X-Traordinaire’ is deservedly provided a platform.
The best producers often earn their spurs as artists and realising their limitations, use their accumulated studio nous to subvert the mainstream via pop. ‘Astroboy’ by BUGGLES sees Trevor Horn develop his sonic architecture to prove that he had another song that wasn’t ‘Video Killed The Radio Star’. Meanwhile the welcome inclusion of NEW MUSIK’s other hit ‘This World Of Water’ allows Tony Mansfield to showcase the crafted sparkle that would later go on to adorn records by CAPTAIN SENSIBLE, VICIOUS PINK, A-HA and NAKED EYES.
It may seem strange to see SPANDAU BALLET as part of this package but when they first appeared, they were considered a synthesizer band; ‘Glow’ was a UK double A side single with ‘Musclebound’ in 1981 and while it was the last synth-led track they did, their funk soul aspirations were there for all to hear. In fact, songwriter Gary Kemp had conceived ‘Glow’ with a brass section in mind, so it is now something of a curio that could be seen as a precursor to ‘Chant No1’.
SPANDAU BALLET were produced by Richard James Burgess who co-designed the Simmons SDSV; his electro-jazz combo LANDSCAPE figure with the Colin Thurston helmed ‘European Man’ which was actually designated “electronic dance music” on its single artwork some three decades before it was appropriated and abbreviated to become EDM…
Many of the usual suspects from the period like VISAGE, JAPAN, JOHN FOXX, THE HUMAN LEAGUE and OUR DAUGHTER’S WEDDING are all present and correct with familiar recordings, but interestingly (although not for the better), it’s the original version of PHIL LYNOTT’s ‘Yellow Pearl’ without the Rusty Egan drums or the Midge Ure remix that gets the nod!
One of the main beauties of these thoughtfully curated collections is to be able sway away from the obvious and feature a known-name with a lesser-known work; in the case of ULTRAVOX, it’s the occasionally Eno-inspired and Conny Plank produced ‘Waiting’ which was the B-side to their first Midge Ure fronted single ‘Sleepwalk’. Meanwhile, SUICIDE are represented by the excellent Ric Ocasek produced ‘Diamonds, Fur Coat, Champagne’ and YELLO with ‘Bimbo’, the oddball opener of the Swiss trailblazers’ debut long player ‘Solid Pleasure’.
SILICON TEENS get to feature with something other than ‘Memphis Tennessee’ and it’s the Daniel Miller‘s self-penned instrumental ‘Chip N Roll’ that has the honour, while the Mute Records founder gets another track in with ‘Brushing Your Hair’, a gloriously vibrant instrumental production and co-write for Alex Fergusson of ALTERNATIVE TV.
There’s additionally tracks by lesser known international acts or those bands that faded from view after effectively being one hit wonders. The entire career of M may have been overshadowed by the ubiquitous ‘Pop Muzik’ but Robin Scott did go on to release three albums and work with Ryuichi Sakamoto; the sombre ‘Official Secrets’ may not really have much of a hook but it contains some percolating bleepy sections that pre-date KRAFTWERK’s ‘Home Computer’ by one year.
‘A Circuit Like Me’ from Australian combo, THE METRONOMES actually sounds very 21st century with its detached female vocal and charming monosynths, while the gallop of ‘Drawn & Quartered’ by THE KORGIS is a worthy find. Now while ROCKETS found fame with a catchy robotic flavoured cover of ‘On The Road Again’ with the help of Zeus B Held, the silver faced Italians found that the vocoder suited their performance art poise and reapplied it for the self-penned space rocker ‘Galactica’.
Also possessing a bit of a gallop is LORI & THE CHAMELEONS’ wispy Morricone-influenced single ‘The Lonely Spy’ although with its acoustic strum, it is quite different from the understated electronic disco of their best known track ‘Touch’. Cut from a similar melodic post-punk cloth, the Martin Hannett produced ‘Sympathy’ from PAULINE MURRAY & THE INVISIBLE GIRLS is a reminder of how women were coming to the fore after punk in synth-assisted new wave, a fact borne out on ‘Musik Music Musique’ by the inclusion of more obscure works from TOYAH, KIM WILDE and HAZEL O’CONNOR.
‘Musik Music Musique’ is also an opportunity to become reacquainted with lost tunes of yore and ‘The Eyes Have It’ by KAREL FIALKA will be remembered by those who owned the 1980 Virgin Records compilation ‘Machines’, as will the octave driven ‘Destiny’ by DALEK I LOVE YOU. Some enjoyably avant pop adventures come courtesy of XYNN’s ‘Computed Man’ and SCIENCE’s ‘Tokyo’, while one of the more bizarre but successful experiments included is ‘I’m A Computer’ by THE GOO-Q.
One of the lesser known acts featuring with the eccentric ‘Money’ is MOEBIUS, not the member of German duo CLUSTER but an American art rock band with a penchant for DEVO. ‘Doctor …?’ by BLOOD DONOR is another wonderful discovery while of the more experimental art pieces included, NINI RAVIOLETTE’s ‘Suis-Je Normale’ delightfully comes over like a collaboration between Jane Birkin and Laurie Anderson.
Düsseldorf is often seen as the spiritual home of electronic music and there is worthy representation from DER PLAN and ‘Da Vorne Steht Ne Ampel’ illustrating how there were other dimensions to German electronic music other than that engineered by KRAFTWERK. But closing the set is the band named after the Electri_City itself, LA DÜSSELDORF with the light-hearted ‘Dampfriemen’; a quirky slice of synth “Oompah” with comedic chants and a kazoo section, it sums up the manic oddball nature of the former NEU! drummer Klaus Dinger.
There are many other tracks that have merit, but textures which reoccur on ‘Musik Music Musique’ to date stamp the period are the icy chill of the affordable ARP Quartet string machine and squawky sax, although not in an overblown jazz funk way.
Despite ‘Musik Music Musique’ comprising of a carefully researched tracklisting, a few errors do slip through; as well as the SPANDAU BALLET track being released in 1981 as already mentioned (although it was available on a very scarce Japanese-only promo sampler in late 1980), the version of ‘Kebabträume’ by DAF is the 1982 Conny Plank version from the Virgin album ‘Für Immer’ and not the Bob Giddens produced Mute Records five piece band recording which actually came out in 1980.
Then in the booklet, the Foxx fronted 1977 line-up of ULTRAVOX! gets illustrated as opposed to the New Romantic suited Midge Ure one, while LA DÜSSELDORF’s Hans Lampe is referred to as a “Keyboard Whizz” when he is actually a drummer and now performs with Michael Rother who was Klaus Dinger’s partner in NEU!; in fact Dinger handled keyboards himself under the pseudonym of Nikolaus Van Rhein.
Those are minor quibbles though, because this set is very good value and acts as a great music history lesson as well as offering the chance to hear some new vintage synth. While many may have heard of BERLIN BLONDES, THE PASSAGE, THE FALLOUT CLUB and EYELESS IN GAZA, only a few will have heard their music.
‘Musik Music Musique’ offers something of a low risk opportunity to make some new friends while becoming reacquainted with a few old and lost ones. Here’s to the 1981 follow-up set…
The soundtrack of The Blitz Club was provided by its resident DJ Rusty Egan and its story is more than well documented.
This vibrant post-punk scene had a flamboyant clientele who were dubbed ‘Blitz Kids’, ‘The Cult With No Name’ and ‘New Romantics’.
It became the catalyst for several bands including VISAGE, SPANDAU BALLET and CULTURE CLUB, as well as assorted fashion designers, visual artists and writers.
Rusty Egan told ELECTRICITYCLUB.CO.UK: “I just played as much as I could fit in, it was not all disco. It was a bar and opened after work. I’d arrive 8.30–9.00pm and played all my faves till it was packed, then I got them dancing and at the end, I slowed down”.
The dancing style at The Blitz Club often involved the swaying of arms at a distance from the face like slow motion maraca shaking so as not to spoil any carefully hairsprayed styles. Meanwhile, feet movements were often impossible as the small dancefloor was often overcrowded!
With Steve Strange as doorman and fashion gatekeeper, the concept for what was initially a “Bowie Night” came together at Billy’s nightclub in Soho in Autumn 1978 in an effort to find something new and colourful to escape the oncoming drabness in the Winter Of Discontent. After a disagreement with the owners of Billy’s, the pair moved their venture to The Blitz Club.
Although Rusty Egan had been a soul boy and an active participant in punk through a stint rehearsing with THE CLASH and then as a member of THE RICH KIDS with Midge Ure, the two friends became fascinated with electronic dance music though the Giorgio Moroder produced ‘I Feel Love’ by Donna Summer and KRAFTWERK’s ‘Trans Europe Express’ album which had been a surprise favourite in New York discos and whose title track referenced David Bowie.
“There was a couple of years of punk which Midge Ure and myself weren’t too impressed with in terms of the clubs and the environment in Thatcherite Britain, it was horrible in Manchester, Birmingham and Liverpool!” recalled Egan, “So we were just trying basically to grasp the good in life, trying to be positive in a very negative time.”
Photo by Gabor Scott
Although Egan curated an eclectic playlist of available synth works supplemented with soundtracks and relatable art rock tunes, tracks were comparatively scarce in this new innovative electronic form.
So with studio time available following the split of THE RICH KIDS, Ure and Egan hit upon the idea of making their own electronic dance music for The Blitz Club, fronted by Steve Strange. Ure came up with the name VISAGE for the project and presented the demo to his then employers at EMI Records, but it was rejected!
Undeterred, the pair recruited Billy Currie from a then-in hiatus ULTRAVOX plus MAGAZINE’s Dave Formula, John McGeoch and Barry Adamson to record the first VISAGE album at the-then newly constructed Genetic Studios of Martin Rushent.
When Billy Currie toured with Gary Numan in 1979, he and fellow keyboardist Chris Payne composed what was to become ‘Fade To Grey’; it was included on the eventual ‘Visage’ album released by Polydor Records in 1980 and the rest is history, reaching No1 in West Germany!
VISAGE was the beauty of the synthesizer played with symphonic classical overtones fused to the electronic dance beat of Neu Europa and visually styled like a cross between the Edwardian dandies and Weimar Cabaret. Midge Ure remembered “it was a major part of my life and Steve was a major part of that period”.
The meeting of Ure and Currie in VISAGE led to the diminutive Glaswegian joining a relaunched ULTRAVOX who released the iconic ‘Vienna’ album in 1980. Co-produced by Conny Plank, the German always thought in terms of sound and on the title song, he imagined an old man at a piano in a desolate theatre who had been playing the same tune for forty years.
And when Billy Currie came to record his ivory parts, that was exactly the feel which Plank had engineered. It was to become a ‘Bohemian Rhapsody’ for the New Romantic movement when it was released as a single, stalling at No2 despite being one of the best selling singles of 1981, gracing the UK charts at the same time as ‘Fade To Grey’.
Having started as a “Bowie Night”, the man himself became fascinated by this emergent cult with no name that he had inspired. In 1980, Jacqueline Bucknell, an assistant from his label RCA who was also a Blitz Kid, had taken Bowie down to The Blitz Club to cast extras to appear in a video for his new single ‘Ashes To Ashes’; among the chosen ones was Steve Strange.
Utilising Roland guitar synths and an ARP string machine with a final burst of ARP Odyssey, David Bowie saw ‘Ashes To Ashes’ as an epitaph for his artistic past as he lyrically revisited the Major Tom character from ‘Space Oddity’ over a decade on.
With this, The Blitz Club had now become a mainstream phenomenon as the BBC’s ‘Nationwide’ programme sent an investigative team in, signalling a changing of the guard in popular culture with parallel scenes going on at The Rum Runner in Birmingham, The Warehouse in Leeds and Crocs in Rayleigh from which DURAN DURAN, SOFT CELL and DEPECHE MODE were to respectively gain their fledgling followings.
The perceived elitist exclusivity of The Blitz Club had partly become legend as a result of Steve Strange refusing entry to Mick Jagger for his sporting of blue jeans. Playing on this and adopting its electronic aesthetic to attract attention, five lads from Islington formed SPANDAU BALLET and initially only performed at special events which were by invitation only. Essentially becoming The Blitz Club’s house band, the quintet later scored worldwide success with a less radical sanitised pop soul sound.
Singer Tony Hadley said to ELECTRICITYCLUB.CO.UK: “Our first album The ‘Journeys To Glory’ will always be one of my favourite Spandau albums, we were just young excited lads trying to make our mark on the world. There’s a rawness and energy on that album that is impossible to recreate. I love synthpop and still one of my favourite songs is SPANDAU BALLET’s first release ‘ To Cut A Long Story Short’.”
Not all enjoyed their visits to The Blitz Club; Billy MacKenzie notably highlighted the vapid nature of the scene in ASSOCIATES’ second hit single ‘Club Country’. But buoyed by its success, Steve Strange and Rusty Egan eventually vacated The Blitz Club and took over The Music Machine in 1982 and relaunched it as The Camden Palace, making it one of the UK’s first modern superclubs.
But the spirit of The Blitz Club still lives on and recently, there came the surprise announcement that Zaine Griff was to join Rusty Egan and ‘Fade To Grey’ co-writer Chris Payne to perform the songs of VISAGE in an audio-visual presentation at a number of events across Europe including W-Festival in Belgium.
Using Dave Rimmer’s 2003 book ‘New Romantics: The Look’ as an initial reference point and calling on the memories of Rusty Egan himself to verify whether he had actually played these songs in his DJ sets, here are 25 Songs Of The Blitz Club selected by ELECTRICITYCLUB.CO.UK to celebrate the flamboyant legacy of that Blitz Spirit.
ROXY MUSIC Both Ends Burning (1975)
Following-up the hit single ‘Love In The Drug’, ‘Both Ends Burning’ was ROXY MUSIC’s second ‘Siren’ call. With Bryan Ferry’s stylised but anguished vocals, it was a track which laid down the sophisticated art pop trail that JAPAN and DURAN DURAN would later be pursuing. Featuring a prominent coating of ARP Solina string machine sweetened by hypnotic bass and squawky sax, ‘Both Ends Burning’ is probably the most under rated single in the Roxy canon.
Available on the ROXY MUSIC album ‘The Best Of’ via Virgin Records
With a title that was an anagram of TALKING HEADS, the New York art school combo were the inspiration for the frantic metallic romp of ‘Kings Lead Hat’ which became a favourite at The Blitz Club. Brian Eno aped David Byrne in his vocal delivery, while he was later to produce three of the band’s albums as he moved further away from art rock as a solo artist. The song was later covered by ULTRAVOX in their live sets during the early phase their Midge Ure-fronted incarnation.
KRAFTWERK reacted as they generally did to negative criticism by writing a song. A response to a review that said their motionless persona at live performances was like ‘Showroom Dummies’, the sparse eerie atmosphere was punctuated by a tight and rigid electronic drum sound that was completely new and alien, something Rusty Egan was looking to emulate. Incidentally, the count-in of “eins zwei drei vier” was a deadpan Germanic parody of THE RAMONES!
An Iggy Pop collaboration with David Bowie, the Vampiric glam of ‘Nightclubbing’ was the former James Osterberg’s commentary on what it was like hanging out with him every night. Utilising a simple piano melody and a cold Schaffel rhythm via the mechanical precision of a Roland drum machine, legend has it that Iggy insisted on keeping it, saying “it kicks ass, it’s better than a drummer”. Alongside ‘Lust For Life’, ‘Nightclubbing’ also featured in the soundtrack of ‘Trainspotting’.
Available on the IGGY POP album ‘The Idiot’ via Virgin Records
Utilising Warren Cann’s modified Roland TR77 rhythm machine, this was John Foxx moving ULTRAVOX! into the moody ambience pioneered by CLUSTER, away from the art rock of the self-titled first album and the punky interim single ‘Young Savage’. ‘Hiroshima Mon Amour’ had initially been premiered as a far spikier uptempo number for the B-side of ‘ROckWrok’. Incidentally, the ‘CC’ credited on saxophone is not Chris Cross, but a member of the art collective GLORIA MUNDI.
Available on the ULTRAVOX! album ‘Ha! Ha! Ha!’ via Island Records
LA DÜSSELDORF’s second long player ‘Viva’ was their most successful album and the title track was a regular staple at The Blitz Club. An oddball slice of cosmic space rock sung in French and German by Klaus Dinger, proceedings were aided by the dual motorik thud of Hans Lampe and Thomas Dinger. Performed with the same group of musicians, ‘E-Musik’ by Dinger’s previous band NEU! had also been a favourite at The Blitz Club, influencing the intro of the ULTRAVOX B-side ‘Face To Face’.
Commissioned by Alan Parker for the graphic prison drama ‘Midnight Express’, the noted director wanted some electronic accompaniment to the crucial chase scene of the film in the style of ‘I Feel Love’. The bassline from Giorgio Moroder’s own 1976 cover of ‘Knights In White Satin’ was reappropriated. The fruit of their labours was this Oscar winning Hi-NRG romp bursting with VANGELIS-like keyboard melodies, driven by an intense slamming and syncopated by popping pulses.
Already a fan of German music and ‘Autobahn’ by KRAFTWERK in particular, Daniel Miller’s sense of experimentation and an adoption of punk’s DIY ethic led him to buying a Korg 700s synthesizer. Wanting to make a punk single with electronics, he wrote and recorded the stark JG Ballard influenced ‘Warm Leatherette’ as an independent single release on his own Mute Records. Meanwhile, The Blitz Kids came up with their own bizarre twisting and turning dance entering a human arch to accompany it…
The late Wolfgang Riechmann is the forgotten man in the Düsseldorf axis having been in SPIRITS OF SOUND with Michael Rother and Wolfgang Flür; had his life not been tragically cut short, he certainly had the potential to become a revered and respected cult musical figure. The opening title track of his only album chimed like a Cold War spy drama before the beautifully almost oriental melodic piece imagined PINK FLOYD meeting CLUSTER over a delicate Schaffel beat.
ZAGER & EVANS’ pessimistic ditty was perfect fodder for the first VISAGE demo. Steered by Midge Ure using his freshly acquired Yamaha synths and punctuated by Rusty Egan’s incessant Roland drum machine and synthetic percussion, ‘In The Year 2525’ was perfectly resigned aural dystopia from its vocodered intro onwards. Steve Strange’s deadpan fronted the sombre tone perfectly but Ure’s vocal backing and counterpoints added that extra slice of musicality.
Available on the VISAGE album ‘The Face’ via Universal Records
One of first Japanese bands to have a Top 20 hit single in the UK was YELLOW MAGIC ORCHESTRA in 1980. ‘Firecracker’ was a cover of a 1959 composition by Martin Denny but actually released as ‘Computer Game (Theme From The Invader)’. Recorded in 1978, the parent self-titled album was noted for its use of the then brand new Roland MC8 Micro-Composer to control the synthesizers. The result was a clean, exotic pop sound that was unusual, even in the synthpop heartland of Europe.
Produced by Zeus B Held, ‘No GDM’ was written by androgynous art history student Gina Kikoine in honour of the “great dark man” Quentin Crisp and featured an array of ARP and Moog synths to signal the birth of a new European Underground. Unsurprisingly, the song gained heavy rotation at The Blitz Club. The nonchalant, detached vocal influence of GINA X PERFORMANCE went on to be heard in the music of LADYTRON, CLIENT and MISS KITTIN.
Working with Giorgio Moroder, David Sylvian submitted ‘European Son’ for the session in Los Angeles but it was rejected by the producer. Instead, the Italian offered several of his demos, of which, Sylvian picked the one he considered to be the worst so that he could stamp more of his own vision for the developing synthesized sound of JAPAN. Considered to be too avant-garde at its inception but ahead of its time, unbeknown to Moroder and Sylvian, they had just conceived DURAN DURAN!
Available on the JAPAN album ‘Assemblage’ via Sony BMG Records
THOMAS LEER & ROBERT RENTAL Day Breaks Night Heals (1979)
Originally released on THROBBING GRISTLE’s Industrial Records, ‘The Bridge’ album saw Scottish duo Thomas Leer and Robert Rental trading vocal and instrumental duties. With an air of FAD GADGET, ‘Day Breaks Night Heals’ showcased some of Leer’s pop sensibility that was later apparent in his Arista solo period and in ACT with Claudia Brücken, while Rental maintained a dark experimental presence in this slice of artful electronic blues. Robert Rental sadly passed away in 2000.
Available on the album ‘The Bridge’ via The Grey Area
Manipulating their influences like SPARKS and MAGAZINE with a very European austere, Glasgow’s SIMPLE MINDS were “underground, pulsating through” thanks to the rhythmic interplay of Derek Forbes’ bass with Mick McNeil’s synths. Charlie Burchill was now thinking beyond the sound of a conventional electric guitar while the precision of under rated drummer Brian McGee locked the glue. That just left Jim Kerr to throw his bizarre shapes and pontificate over this dark avant disco.
Having graced the UK Top 20 again with the tremendous ‘No1 Song In Heaven’, SPARKS continued their Giorgio Moroder produced rejuvenation and had an even bigger hit with ‘Beat The Clock’. Percussively augmented by Keith Forsey who was later to produce Billy Idol, Russell Mael’s flamboyant falsetto more than suited the electronic disco sound while the programmed backing meant that Ron Mael could stoically maintain his image of doing nothing.
Belgian trio TELEX comprised of Marc Moulin, Dan Lacksman and Michel Moers, with the intention of “making something really European, different from rock, without guitar”. Opening their debut album ‘Looking for Saint Tropez’ which also contained their funeral robotic cover of ‘Rock Around The Clock’, ‘Moscow Diskow’ took the Trans-Siberian Express to Moscow, adding a funkier groove compared with KRAFTWERK’s ‘Trans Europe Express’ excursion for what was to become a cult international club favourite.
From their third album ’20 Jazz Funk Greats’, the uncompromising THROBBING GRISTLE led by the late Genesis P-Orridge were neither jazzy or funky! Gloriously sequenced by Chris Carter via a Roland System-100M modular, ‘Hot On The Heels Of Love’ was mutant dystopian disco lento with a hypnotic rhythm punctuated by a synthetic whip-crack for that S&M twist as Cosey Fanni Tutti’s whispered vocals competed with pentatonic melodies and electronic drill noises!
Zaine Griff had a Bowie-esque poise was tailor made for The Blitz Club and Tony Visconti saw enough in him to produce his debut solo album ‘Ashes & Diamonds’. Featuring Hans Zimmer on synths, the title song was sitting just outside the Top 40 and earned a performance on ‘Top Of The Pops’ but the episode was pulled thanks to a Musicians Union strike. Demonstrating the song’s longevity despite it not being a major hit, it was recently covered live by American alternative rockers MGMT.
‘Being Boiled’ was the first song Philip Oakey wrote with Martyn Ware and Ian Craig Marsh for THE HUMAN LEAGUE, his bizarre lyrics being the result of a confusion between Buddhism and Hinduism while highlighting the plight of silk worms. Intended to reimagine FUNKADELIC’s funky overtones as synthetic horns, this brassier re-recorded version with fatter electronic beats was included on the ‘Holiday 80’ EP and the ‘Travelogue’ album, becoming a dance staple of The Blitz Club.
Available as a bonus track on THE HUMAN LEAGUE album ‘Travelogue’ via Virgin Records
Didier Marouani wrote the worldwide hit ‘Magic Fly’ but having left the band, Roland Romanelli and Jannick Top continued as SPACE. The rousing thrust of ‘Tender Force’ was, like ‘Magic Fly’, produced by Jean-Philippe Iliesco who later invited Rusty Egan to contribute a timbale heavy remix of this synth disco tune; he was later to begin an ill-fated business relationship with Iliesco who was named by Midge Ure in his ‘If I Was’ autobiography as responsible for putting a wedge between him and Egan in VISAGE…
Although now known as a duo, eccentric Swiss pioneers YELLO actually began as a trio of Dieter Meier, Boris Blank and Carlos Peron. Later remixed and extended, the military drum tattoo at the start of ‘Bostich’ was deceiving as an electronic throb quickly set in. This was perfect avant garde disco for The Blitz Club with a quirky range of vocal pitches from Meier while the track also included a style of speedy European rap later that was repeated on their only major UK hit ‘The Race’ in 1988.
Available on the YELLO album ‘Essential’ via Mercury Records
Electronic pop music was often seen as pretentious, LANDSCAPE had their tongues firmly in their cheeks as evidenced by ‘Einstein A Go-Go’. “The song is a cautionary tale about the apocalyptic possibilities of nuclear weapons falling into the hands of theocratic dictators and religious extremists.” said the band’s Richard Burgess, “We talked about the track conceptually before we wrote it and our objective was to make a very simple, cartoon-like track with a strong hook that would belie the meaning of the lyrics!”
Written as a B-side instrumental for The Blitz Club’s resident dance troupe SHOCK to work a routine to, ‘R.E.R.B.’ was constructed by Rusty Egan and Richard Burgess, hence the title. Burgess had been doing the linking interludes with a Fairlight on the first VISAGE album and brought in a Roland System 700 modular driven by the Micro-composer while Egan triggered the brain of the synthesized drum system that Burgess had been working on with Dave Simmons for its punchy drum fills.
Available on the SHOCK single ‘R.E.R.B.’ via Blitz Club Records
Produced by Daniel Miller, one of the first SOFT CELL recordings on signing to Phonogram was the seminal ‘Memorabilia’. While not a hit, it was critically acclaimed and become a favourite at The Blitz Club. Dave Ball’s deep Roland Synthe-Bass and klanky Korg Rhythm KR55 provided a distinctive danceable backbone to accompany Marc Almond’s souvenir collecting metaphors about sexual promiscuity. After this, SOFT CELL were signed by Rusty Egan to Metropolis Music for publishing.