On paper it shouldn’t have worked; a funereal paced reworking of the song that heralded the birth of rock ‘n’ roll smothered in vocoder. But TELEX always had an eccentric sense of irony about them.
Their cover of ‘Rock Around The Clock’ caused much head scratching when it entered the UK Top 40 singles chart in the summer of 1979, although one person listening was undoubtedly Daniel Miller who borrowed the concept for SILICON TEENS and their only album ‘Music For Parties’. So it is no big surprise that the Belgian trio are to have their back catalogue reissued by Mute Records, beginning with a compilation ‘This Is TELEX’ which bizarrely omits their biggest UK hit!
TELEX began their account in 1978 with another rock ‘n’ roll cover in ‘Twist a Saint Tropez’ made famous by LES CHATS SAUVAGES fronted by French singer Dick Rivers; their manifesto stated their intent of “making something really European, different from rock, without guitar”. With their embracement of synths and a tongue-in-cheek championing of pop and disco, TELEX enjoyed baiting the ideologically-rigid rock press, especially with their cover versions.
This continued on their debut album ‘Looking For Saint Tropez’ released on Vogue Records. It included a KRAFTWERK styled reinterpretation of ‘Ça Plane Pour Moi’ by Belgian faux punk Plastic Bertrand who Lacksman had provided all the synth instrumentation for on his electro-disco favourite ‘Tout Petit La Planète’. Other highlights on ‘Looking for Saint Tropez’ included the hypnotic ‘Pakmowäst’ with its treated robotic vocals and ‘Something To Say’ which didn’t sound unlike one of YELLOW MAGIC ORCHESTRA’s vocal tracks.
Like YELLOW MAGIC ORCHESTRA, TELEX were already experienced hands by the time of their formation; Marc Moulin was a jazz musician with two albums to his name and the boss of the Belgian FM radio station Radio Cité, while vocalist Michel Moers had been a member of prog folkies NUIT CALINE A LA VILLA MON REVE.
The most electronic inclined of the trio, Dan Lacksman was a noted studio engineer who had recorded three solo long players using his Moog IIIP modular system and provided the Roland System 100 sequence programming to the huge worldwide disco hit ‘Born To Be Alive’ by Patrick Hernandez, with whom a young Madonna was once a backing vocalist for.
But TELEX’s wider breakthrough came via The Blitz Club and its resident DJ Rusty Egan who played the self-penned ‘Looking For Saint Tropez’ opener ‘Moscow Diskow’ alongside KRAFTWERK, YELLOW MAGIC ORCHESTRA and SPARKS to signal a new phase in electronic dance music that had been seeded by the Giorgio Moroder produced ‘I Feel Love’ in 1977.
Taking the Trans-Siberian Express to Moscow and adding a funkier groove compared with KRAFTWERK’s ‘Trans Europe Express’ excursion, the track became a cult international club favourite and proved that TELEX were more than just a novelty covers act.
The second TELEX album ‘Neurovision’ in 1980 continued with the deadpan electronic covers and a gloriously metronomic take on ‘Dance To The Music’ showcased the trio’s irreverent humour and penchant for mischievous subversion. But this mischief came to its head with their lampooning number ‘Euro-Vision’, which they actually entered for 1980 Eurovision Song Contest!
A bouncy electropop tune, ‘Euro-Vision’ had deliberately banal lyrics about the whole charade itself. With Lacksman’s Moog modular behind them, the trio had even choreographed swaying and clap movements while Moulin cheekily mimed his MicroMoog polyphonically. The Situationist performance concluded with Moers stoically taking a photo of the bemused audience in The Hague.
With the sole intention of coming last, TELEX were sitting in that very position with just four juries to vote. But Portugal awarded “dix points” and TELEX ended up 17th out of 19 entries ahead of Morocco and Finland!
Featuring a song called ‘Tour De France’ three years before KRAFTWERK and a pulsing jazz tinged Schaffel in ‘En Route Vers De Nouvelles Aventures’, ‘Neurovision’ saw TELEX’s profile raised although they declined to perform live. However, their sophisticated electronic sound would have been very difficult to replicate at the time, a situation which also saw SPARKS unable to perform their Giorgio Moroder produced albums ‘No1 In Heaven’ and ‘Terminal Jive’ in a concert setting.
With many things in common, for TELEX’s third album ‘Sex’ released on Ariola in 1981, the Mael brothers were invited to contribute lyrics to all of its nine tracks and begin a fruitful friendship.
Experiments in swing on ‘Sigmund Freud’s Party’ displayed a sophisticated vintage musicality and the brilliant ‘Haven’t We Met Somewhere Before?’ was the hit single that never was.
Meanwhile, like KRAFTWERK meeting YELLOW MAGIC ORCHESTRA, ‘Brainwash’ was quite obviously the blueprint for LCD SOUNDSYSTEM’s ‘Get Innocuous!’ and ‘Drama, Drama’ reinterpreted the latent funk of Bowie’s ‘Fame’ in synthesizer form.
However, the tracklisting was considerably revamped for the UK release in 1982 as ‘Birds & Bees’ with new material; one of these numbers ‘L’ Amour Toujours’ was a wonderful exploration of latter day ROXY MUSIC if Bryan Ferry had opted to venture into electronic pop. However, ‘Holiday Holiday’ amusingly sounded like a synthy Chris De Burgh on holiday in the French Riviera!
But ‘Birds & Bees’ confused the TELEX story and a remixed ‘L’ Amour Toujours’ ended up also opening the fourth TELEX album ‘Wonderful World’ which only came out in Germany and France despite a new deal with Warners.
Despite its vibrant title song, the album sank without trace but TELEX were still in demand and signed by Atlantic Records for the 1988 album ‘Looney Tunes’. From it, ‘Beautiful Li(f)e’ was an oddball sampling experiment akin to YELLO that showed Moulin, Moers and Lacksman were still willing to explore the possibilities of new digital technology, despite electronic pop being out of vogue and the public seemingly preferring house and techno.
With TELEX going into hiatus, Michel Moers released a solo album ‘Fishing Le Kiss’ in 1990 before becoming a video director and photographer. However, Marc Moulin and Dan Lacksman had maintained parallel production careers during TELEX. Working together in the studio, the pair had scored several domestic hits including ‘Amoureux Solitaires’ and ‘Le Banana Split’ with the sexy Belgian starlet Lio.
SPARKS continued their association with TELEX and wrote English lyrics for the Canadian edition of Lio’s ‘Suite Sixtine’ album and in return, Moulin and Lacksman did a 12 inch remix of ‘Music That You Can Dance To’.
Meanwhile, Lacksman engineered SPARKS’ ‘In Outer Space’ LP which spawned the Jane Wiedlin duet ‘Cool Places’ that became the Mael brothers’ biggest US hit and Thomas Dolby’s second album ‘The Flat Earth’.
Although Moulin produced several tracks on the self-titled debut of Anna Domino released on the Belgian boutique label Les Disques Du Crépuscule, it was Lacksman who was to have the most lucrative post-TELEX career as a producer, notably working with CAMOUFLAGE on their ‘Methods Of Silence’ and ‘Bodega Bohemia’ albums, as well as producing French ethnic electronica project DEEP FOREST who had a worldwide smash hit with ‘Sweet Lullaby’.
TELEX reunited in 2006 for the ‘How Do You Dance?’ album on Virgin Records; it featured five cover versions including a downtempo take on the Mexican folk standard ‘La Bamba’, a vocodered ‘On The Road Again’ which appeared to replicate ROCKETS’ 1978 version and in tribute to their old mates SPARKS, a superb deadpan interpretation of ‘No1 Song In Heaven’. Welcomed back by the artists who had they had helped lay the electronic foundations for, TELEX did remixes for DEPECHE MODE and PET SHOP BOYS.
Sadly Marc Moulin passed away in 2008 and TELEX was retired. Since then, Michel Moers returned to music in 2013 to provide his Gallic nonchalance on ‘Will I Get to Your Heart?’ for Danish musician NATTEFROST and has been recording solo material. In 2015, Dan Lacksman collaborated with the late Florian Schneider on ‘Stop Plastic Pollution’ to highlight the issue of ocean environment conservation as part of the campaign Parley For The Oceans and continues his studio career.
TELEX have certainly left an impressive legacy linking them with some of the biggest names in electronic music. Their time to be discovered by a new generation and established music fans who may have missed them first time round comes via this new partnership with Mute.
While ‘This Is TELEX’ does not include ‘Rock Around The Clock’ or ‘Haven’t We Met Somewhere Before?’, it does feature a good selection of their career highlights. Long-standing TELEX enthusiasts will be tempted by the new mixes from Lacksman and Moers, although as the former explained “We simplify, we take away, to create something more efficient, more TELEX.” while Moers added “We’re so glad to have signed with Mute. We couldn’t have done better.”
“Beaux messieurs, belles dames: musique au programme…”
In memory of Marc Moulin 1942- 2008
‘This Is TELEX’ is released by Mute Artists on 30th April 2021 in CD, double shrimp pink or fern green coloured vinyl LP, cassette and digital formats
Was 1981 the most important year in synth as far becoming ubiquitous in the mainstream and hitting the top of the charts internationally?
Yes, ‘Autobahn’ and ‘Oxygène’ came before, while the Giorgio Moroder produced ‘I Feel Love’ by Donna Summer is acknowledged as being the track that changed pop music forever and still sounds like the future even in the 21st Century. French electronic disco like ‘Magic Fly’ and ‘Supernature’ also made its impact.
Meanwhile closer to home, a post-punk revolution was already permeating in the UK with the advent of affordable synthesizers from Japan being adopted by the likes of THE NORMAL, THROBBING GRISTLE, CABARET VOLTAIRE and THE HUMAN LEAGUE. But it was Gary Numan who took the sound of British synth to No1 with ‘Are Friends Electric?’ and ‘Cars’ in 1979. It signalled a change in the musical landscape as the synth was considered a worthy mode of youthful expression rather than as a novelty, using one finger instead of three chords.
Despite first albums from John Foxx and OMD, 1980 was a transitional time when the synth was still the exception rather than the rule. But things were changing and there had also been the release of the first Midge Ure-fronted ULTRAVOX album ‘Vienna’ and the eponymous debut long player by VISAGE just as The Blitz Club and the New Romantic movement were making headlines. With the acclaim for the ‘Some Bizarre Album’ in early 1981 which launched the careers of DEPECHE MODE, SOFT CELL, BLANCMANGE, THE THE and B-MOVIE, a wider electronic breakthrough was now almost inevitable.
VISAGE’s ‘Fade To Grey’ went on to be a West German No1 in Spring 1981 and this exciting period culminated in THE HUMAN LEAGUE taking ‘Don’t You Want Me?’ to the top spot in the US six months year after becoming the 1981 UK Christmas No1. It would be fair to say that after this, the purer sound of synth was never quite the same again.
For many listeners, 1981 was a formative year and had so many significant new releases that it was difficult to stretch the limited pocket money to fund album purchases. ELECTRICITYCLUB.CO.UK even took to selling bootleg C90 cassettes on the school playground, promising a value-for-money “two albums for one” deal to support this disgusting habit!
Looking back to four decades ago when there were also albums from DEVO, EURYTHMICS, FAD GADGET, LOGIC SYSTEM, SPANDAU BALLET, SPARKS and TANGERINE DREAM, here are twenty albums which ELECTRICITYCLUB.CO.UK sees as contributing to the electronic legacy of 1981. Listed in alphabetical order with the restriction of one album per artist moniker, this is the way it was in the past, a long long time ago…
DAF Alles Ist Gut
Under a haze of “sex, drugs and sequencer”, the late Gabi Delgado and Robert Görl released an acclaimed album trilogy produced by Conny Plank. The first ‘Alles Ist Gut’ featured their fierce breakthrough track ‘Der Mussolini’ which flirted with right wing imagery in its sardonic reflections on ideology. Causing controversy and confusing observers, DAF attracted a following which Delgado hated. Despite his parents escaping from the Franco regime in Spain, he was always unapologetic about the provocation within his lyrics.
Having conceived the idea of a teenage synthpop group called SILICON TEENS, this dream of Daniel Miller became flesh and blood when he came across a young quartet from Basildon called DEPECHE MODE. Signing on a handshake 50/50 deal to his Mute Records, the group became a chart success. Despite other great songs like ‘Puppets’ and ‘Tora! Tora! Tora!’, the group fragmented on the release of their 1981 debut album ‘Speak & Spell’. The remaining trio of Andy Fletcher, Dave Gahan and Martin Gore recruited Alan Wilder, while Vince Clarke formed YAZOO with Alison Moyet.
Following the ‘retirement’ of Gary Numan with his spectacular farewell shows at Wembley Arena in April 1981, four of his erstwhile backing band became DRAMATIS. RRussell Bell, Denis Haines, Chris Payne and Ced Sharpley had been instrumental in the success of Numan’s powerful live presentation and their only album showcased the band’s virtuoso abilities. While the use of four different lead vocalists (including Numan himself on the superb ‘Love Needs No Disguise’) confused the continuity of the album, musically, there was much to enjoy.
Originally released by Rocket Records, currently unavailable
It would be fair to say that the classic line-up of Simon Le Bon, Nick Rhodes, John Taylor, Roger Taylor and Andy Taylor took the arty poise of JAPAN and toned down their androgynous outré to make it more accessible But the enduring appeal of DURAN DURAN is great timeless pop songs and that was apparent on the self-titled debut album which at times sounded like an electronic band with a heavy metal guitarist bolted on, especially on ‘Careless Memories’ and ‘Friends Of Mine’. But most will just remember the two hits ‘Planet Earth’ and ‘Girls on Film’.
Thawing considerably following the release of the acclaimed ‘Metamatic’, John Foxx admitted he had been “reading too much JG Ballard”. Exploring beautiful Italian gardens and taking on a more foppish appearance, his new mood was reflected in his music. ‘The Garden’ album featured acoustic guitar and piano as showcased in the Linn Drum driven single ‘Europe After The Rain’. With choral experiments like ‘Pater Noster’, a return to art rock on ‘Walk Away’ and the more pastoral climes of the lengthy title track, Foxx had now achieved his system of romance.
Fronted by the cool persona of vocalist Glenn Gregory, HEAVEN 17’s debut ‘Penthouse & Pavement’ was a landmark achievement, combining electronics with pop hooks and disco sounds while adding witty social and political commentary, taking in yuppie aspiration and mutually assured destruction. The first ‘Pavement’ side was a showcase of hybrid funk driven embellished by the guitar and bass of John Wilson. The second ‘Penthouse’ side was like an extension of THE HUMAN LEAGUE’s ‘Travelogue’, Martyn Ware and Ian Craig Marsh’s swansong with the band.
After Martyn Ware and Ian Craig Marsh left to form HEAVEN 17, vocalist Philip Oakey and Adrian Wright recruited Susanne Sulley, Joanne Catherall, Jo Callis and Ian Burden to record ‘Dare’ under the production helm of Martin Rushent. Like KRAFTWERK meeting ABBA, the dreamboat collection of worldwide hits like ‘Love Action’ and ‘Don’t You Want Me?’ had a marvellous supporting cast in ‘The Things That Dreams Are Made Of’, ‘I Am The Law’, ‘Seconds’ and ‘Darkness’. Only the Linn Drum rework of ‘The Sound Of The Crowd’ blotted the album’s near perfection.
JAPAN took the influences of the Far East even further with the Chinese flavoured ‘Tin Drum’. A much more minimal album than its predecessor ‘Gentlemen Take Polaroids’, there was hardly any guitar while the synths used were restricted to an Oberheim OBX, Prophet 5 and occasionally the Roland System 700. David Sylvian’s lyrical themes of ‘Tin Drum’ flirted with Chinese Communism as Brian Eno had done on ‘Taking Tiger Mountain (By Strategy), a point highlighted by the pentatonic polyrhythmic single ‘Visions Of China’ and its less frantic sister song ‘Cantonese Boy’.
With his synthesized symphonies, Jean-Michel Jarre helped popularise the sound of electronic music. ‘Magnetic Fields’ was his first long player to utilise the Fairlight CMI which allowed him to absorb some musique concrete ideas such as water splashing and hydraulic train doors into his compositions. Featuring the klanky Korg Rhythm KR55, it was a much more percussive album than ‘Oxygène’ and ‘Equinoxe’ had been, complementing the metallic textures that featured. However, ‘The Last Rumba’ confused some who considered the home organ closer incongruous.
Having scored an unexpected UK hit with the sonic beauty of ‘I Hear You Now’, Jon Anderson and Evangelos Odysseas Papathanassiou presented a second album in ‘The Friends Of Mr Cairo’. Featuring ‘State Of Independence’ which was to become a hit for Donna Summer, the album was laced with spiritual overtones over symphonic synths, cinematic piano and dialogue samples from films. However, the album is now best known for the single ‘I’ll Find My Way Home’ which had not been included on the original tracklisting.
‘Computer World’ could be considered one of the most prophetic albums of its time. KRAFTWERK forsaw the cultural impact of internet dating on ‘Computer Love’, but the title track highlighted the more sinister implications of surveillance by “Interpol and Deutsche Bank, FBI and Scotland Yard” with the consequences of its prophecy still very relevant discussion points today. But the dynamic rhythmic template of ‘Numbers’ was to have a major impact on Urban America as it was mutated into hip-hop, rap and techno.
LANDSCAPE From The Tea Rooms Of Mars To The Hell-holes Of Uranus
Jazz fusion combo LANDSCAPE were led by producer Richard James Burgess who co-designed the Simmons SDSV with Dave Simmons as the first standalone electronic drum kit, with circuitry based on the ARP 2600. Using a Lyricon, the first wind-controlled synth played by John Waters as its lead hook, ‘Einstein A-Go-Go’ was a fabulously cartoon-like tune about nuclear weapons falling into the hands of theocratic dictators and religious extremists! Meanwhile, ‘European Man’ predated EDM by having the phrase “electronic dance music” emblazoned on its single sleeve.
Rising from the ashes of JOY DIVISION and reconvening in late 1980, Peter Hook, Bernard Sumner and Stephen Morris chose the name NEW ORDER as a symbol of their fresh start and after deciding against recruiting a new vocalist, Morris’ girlfriend and later wife, Gillian Gilbert was recruited. Despite Martin Hannett still producing, recording sessions were fraught although synths were taking greater prominence while Morris used a Doctor Rhythm DR55 drum machine on ‘Truth’ and ‘Doubts Even Here’. ‘Movement’ may not have been a great debut album, but it was an important one.
Following his much-publicised retirement from live performance, the last thing Numanoids expected from their hero was an understated Brian Eno homage. At nearly an hour’s playing time, ‘Dance’ outstayed its welcome and despite the title, these were mostly downtempo pieces with ‘Slowcar To China’ and ‘Cry The Clock Said’ stretching to 10 minutes. Much was made of JAPAN’s Mick Karn playing fretless bass although he was only on five of the eleven tracks. It was the wrong album at the wrong time but in ‘A Subway Called You’ and ‘Crash’, there were some great moments.
‘Dance’ is still available via Beggars Banquet Records
”I think ‘Architecture & Morality’ was a complete album, it was just so whole” said Paul Humphreys in 2010. The big booming ambience of the album next to big blocks of Mellotron choir gave OMD their masterpiece, tinged more with the spectre of LA DÜSSELDORF rather than KRAFTWERK. Featuring two spirited songs about ‘Joan Of Arc’, these were to become another pair of UK Top 5 hits with the ‘Maid of Orleans’ variant also becoming 1982’s biggest selling single in West Germany.
SIMPLE MINDS Sons & Fascination / Sister Feelings Call
A generally overlooked ‘double’ opus, ‘Sons & Fascination / Sister Feelings Call’ exploited the KRAFTWERK, NEU! and LA DÜSSELDORF influences of SIMPLE MINDS to the full, under the production auspices of Steve Hillage. From the singles ‘The American’ and ‘Love Song’ to the mighty instrumental ‘Theme For Great Cities’ and the unsettling dentist drill menace of ‘70 Cities As Love Brings The Fall’, with basslines articulating alongside synths and guitars layered in effects that when harmonised together were almost as one, this was SIMPLE MINDS at close to their very best.
In their cover of Northern Soul favourite ‘Tainted Love’, SOFT CELL provided the first true Synth Britannia crossover record. Possibly one of the best albums of 1981, ‘Non-Stop Erotic Cabaret’ captured the edginess of minimal synth arrangements while married to an actual tune. At the time, art school boys Marc Almond and Dave Ball were rated higher than DEPECHE MODE. But with the follow-up success of the Top5 singles ‘Bedsitter’ and ‘Say Hello Wave Goodbye’, the pair became reluctant popstars, chased around by both teenagers and paparazzi.
‘Sex’ was Belgian trio TELEX’s third album and a collaboration with SPARKS that saw the Mael brothers contribute lyrics to all nine tracks. Experiments in swing on ‘Sigmund Freud’s Party’ displayed a sophisticated vintage musicality and ‘Haven’t We Met Somewhere Before?’ was the hit single that never was. Meanwhile, like KRAFTWERK meeting YELLOW MAGIC ORCHESTRA, ‘Brainwash’ was quite obviously the blueprint for LCD SOUNDSYSTEM’s ‘Get Innocuous!’. However, the tracklisting was considerably revamped for the UK release in 1982 as ‘Birds & Bees’.
‘Sex’ was released by Ariola, currently unavailable
‘Rage in Eden’ began with the optimistic spark of ‘The Voice’ but it was something of a paranoia ridden affair having been created from the bottom up at Conny Plank’s remote countryside studio near Cologne. There was synthetic bass power on tracks like ‘The Thin Wall’, ‘We Stand Alone’ and ‘I Remember (Death In The Afternoon)’, but there was also the tape experimentation of the title track which used the chorus of ‘I Remember’ played backwards to give an eerie Arabic toned “noonretfa eht ni htaed… rebmemer i ho” vocal effect.
‘BGM’, the third full length album from YELLOW MAGIC ORCHESTRA was the first recording to feature the now iconic Roland TR-808 Rhythm Composer and was also made using a digital 3M 32-track machine. Following the technopop of the self-titled debut and ‘Solid State Survivor’ albums, ‘BGM’ included reworked pieces such as ‘Loom’ and ‘1000 Knives’. The best song ‘Camouflage’ was a curious beat laden blend of Eastern pentatonics and Western metallics from which the German synth band CAMOUFLAGE took their name.
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, whose flamboyant clientele were dubbed ‘Blitz Kids’, ‘The Cult With No Name’ and ‘New Romantics’, 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.”
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 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.
Europe is the spiritual home of electronic music, inspiring it not just artistically but forming an important bond with the continent’s classical tradition through the romance of its historical imagery.
Continental Europe is defined as being bordered by the Arctic Ocean, the Atlantic Ocean and the Mediterranean Sea.
Often considered to be separated from Asia by the watershed divides of the Ural and Caucasus Mountains, the Ural River, the Caspian and Black Seas and the waterways of the Turkish Straits, it includes the part of Russia where Moscow and St Petersburg are located.
Mark Reeder was one of the first British music personalities to fully adopt Europe, making West Berlin his home in 1978 and subsequently releasing a number of themed compilation albums such as ‘European’ in 1995 and ‘Assorted (E For Europe)’ in 1999 on his MFS label. His fellow Mancunian and friend Bernard Sumner of NEW ORDER said to The European in 2016: “I feel European, I regard myself as a European… as a musician I’ve always been massively influenced by Europe and its people”.
From Paris to Vienna back to Düsseldorf City, Europe fascinated British musicians who having been open-minded enough to use synthesizers, now embraced many different mindsets, languages, cultures and cuisines, all within a comparatively accessible geographical land mass. Meanwhile, European instrument manufacturers such as PPG, Elka, Crumar, RSF, Jen and Siel found their products in the thick of the action too.
ELECTRICITYCLUB.CO.UK stands proud of its Eurocentric focus. Esteemed names like Hütter, Schneider, Flür, Bartos, Moroder, Jarre, Vangelis, Plank, Rother, Dinger and Froese have more than highlighted the important debt that is owed by electronic music to Europe.
While the UK may have scored an equalizer with Synth Britannia, it was the Europeans who took that crucial half time lead. So to disengage with the European tradition would be betraying everything that ELECTRICITYCLUB.CO.UK is all about.
Presented in yearly and then alphabetical order with a restriction of one track per artist moniker, here are our favourite twenty electronic tunes that were inspired, either directly or obliquely, by the legacy of Europe…
DAVID BOWIE Warszawa (1977)
‘Warszawa’ was named after the Polish capital city but accurately captured the Cold War tensions in Europe without the need for lyricism. At Hansa Studios where the sessions were being mixed, the watch towers in East Berlin could look into the windows of the building! Tony Visconti’s production only enhanced the collaborative drama between David Bowie’s enigmatic wailing over Brian Eno’s Minimoog and Chamberlain keys. This formed part of an all instrumental suite on the ‘Low’ album’s second side.
Available on the DAVID BOWIE album ‘Low’ via EMI Records
With KRAFTWERK utilising a customized 32-step Synthanorma Sequenzer and a Vako Orchestron with pre-recorded symphonic string and choir sounds sourced from optical discs, if there was such a thing as a musical European travelogue, then the romantically optimistic beauty of ‘Europe Endless’ was it. This lengthy work influenced the likes of NEW ORDER, OMD and BLANCMANGE who all borrowed different aspects of its aesthetics for ‘Your Silent Face’, ‘Metroland’ and ‘Feel Me’ respectively.
‘For Belgian Friends’ was written in honour of Factory Benelux founders Michel Duval and the late Annik Honoré. Although not strictly electronic in the purest sense, Martin Hannett’s technologically processed production techniques made Vini Reilly’s dominant piano sound like textured synthetic strings, complimenting his sparing melodic guitar and the crisp percussion of Donald Johnson. This beautiful instrumental was one of Reilly’s best recordings, originally on the compilation ‘A Factory Quartet’.
Available on THE DURUTTI COLUMN album ‘LC’ via Factory Benelux Records
Nottingham combo FATAL CHARM supported ULTRAVOX and OMD in 1980. Their excellent first single ‘Paris’ was produced by Midge Ure and could be seen reflecting the electronically flavoured new wave template of the period. Singer Sarah Simmonds’ feisty passion gave a freshly charged sexual ambiguity to the European love story written in the days before the Channel Tunnel. Instrumentalist Paul Arnall said: “we were able to use Midge’s Yamaha synth which gave it his sound”.
Available on the FATAL CHARM album ‘Plastic’ via Fatal Charm
Did you hear the one about the Japanese band impersonating a German band and doing it rather well? Influenced by the motorik backbeat of NEU! and also heavily borrowing form its guitarist Michael Rother’s solo track ‘Karussell’, IPPU DO’s leader Masami Tsuchiya was something of a multi-cultural sponge, later joining JAPAN for their final ‘Sons Of Pioneers’ tour in 1982. Meanwhile IPPU DO are still best known in the UK for their startlingly original cover version of THE ZOMBIES ‘Time Of The Season’.
Electronic pioneer Richard James Burgess said: “I think we all embraced this new direction because of our raw excitement over the new technology… We discussed it in the band and everyone was on board so I started working on the lyrics that became ‘European Man’”. Colin Thurston was the producer assisting in realising this new direction and interestingly, the rear artwork of the first issue of the single featured a very early use of the term “electronic dance music”.
“Europe has a language problem” sang Jim Kerr on ‘I Travel’, adding “in central Europe men are marching”. Aware of the domestic terrorist threats that were apparent in every city they were visiting on tour, SIMPLE MINDS captured a claustrophobic tension within its futuristic frenzy like a doomy disco take on Moroder. It was a favourite of DJ Rusty Egan at The Blitz Club where its shadier spectre was highly welcomed by its clientele, reflecting their own discontent closer to home.
TELEX’s manifesto was “Making something really European, different from rock, without guitar.” Having previously visited a ‘Moscow Disko’ and with tongues firmly in cheeks, they entered the 1980 Eurovision Song Contest with a bouncy electropop song that had deliberately banal lyrics about the whole charade itself. Performing to a bemused audience in The Hague with the sole intention of coming last, unfortunately Finland decided otherwise! Who said the Belgians didn’t have a sense of humour?!
If there was a song that truly represents ELECTRICITYCLUB.CO.UK’s ethos, then the synth rock fusion of ULTRAVOX’s ‘New Europeans’ is it! Noting that “his modern world revolves around the synthesizer’s song” in lyrics largely written by drummer Warren Cann, it all pointed to an optimistic way forward “full of future thoughts and thrills” that would later be opened up by direct train travel across the channel with freedom of movement to and from the continent for “a European legacy and “a culture for today”.
Available on the ULTRAVOX album ‘Vienna’ via EMI Records
While in his dual role as DJ at The Blitz Club and VISAGE’s drummer, Rusty Egan had become inspired by the melodic interplay of Japanese trio YELLOW MAGIC ORCHESTRA which had been European influenced: “I liked the album and played it along with TELEX and SPARKS. The sound was an influence on VISAGE. By the time we recorded ‘Moon Over Moscow’, that was to include Russia, Japan, Germany and France in our sound… the drummer was also using the same drum pads as me!”
Available on the VISAGE album ‘Visage’ via Alliance Import
ASSOCIATES first musical signs of a fascination towards European influenced electronic music came with the funereal pulse of ‘White Car In Germany’. The swirling electronics, cold atmosphere and treated percussion were intended to sound as un-American as possible. Billy MacKenzie’s observational lyric “Aberdeen’s an old place – Düsseldorf’s a cold place – Cold as spies can be” accurately captured post-war tensions under the spectre of the bomb.
Foxx admitted he had been “reading too much JG Ballard” and had thawed considerably following ‘Metamatic’. Now spending his spare time exploring beautiful Italian gardens and taking on a more foppish appearance, his new mood was reflected in his music. Moving to a disused factory site in Shoreditch, Foxx set up a recording complex which he named ‘The Garden’ and the first song to emerge was the Linn Drum driven ‘Europe After The Rain’. Foxx had now achieved his system of romance.
Recorded as a JAPAN demo for the 1979 Giorgio Moroder sessions that produced ‘Life In Tokyo’, this sequencer heavy number was rejected by the Italian disco maestro. Left dormant in the vaults of Ariola Hansa, the song was finished off under the supervision of John Punter and later given a single remix by Steve Nye with redone parts by Mick Karn. ‘European Son’ showed David Sylvian’s vocals in transition from the catty aggression of earlier albums to the Ferry-ish croon most now associated with the band.
THE MOBILES’ were from the sleepy shores of Eastbourne; while ‘Drowning In Berlin’ may have come across as a ‘Not The Nine O’Clock News’ New Romantic parody on first listen, its decaying Mittel Europa grandeur was infectious like Hazel O’Connor reinterpreting ‘Vienna’ with The Master of Ceremonies at the Kit Kat Klub. And like ‘Vienna’, ‘Drowning In Berlin’ was inspired by a holiday romance, in this case one that singer Anna Maria had while visiting the divided city.
Inspired by acts like ULTRAVOX and KRAFTWERK, Californian band BERLIN with their approach to synthesizers were a far cry from the way they were being used Stateside within rock. And in ‘The Metro’ with its frantic motorik drum machine and Teutonic pulses, songwriter John Crawford aimed to capture the tense filmic romance of Paris despite never having visited the city, a vibrant but detached feeling ably projected by partner and singer Terri Nunn in a similar fashion to FATAL CHARM.
Available on the BERLIN album ‘Best Of’ via Geffen Records
Radio Luxembourg broadcasted pop music to the UK using the most powerful privately owned transmitter in the world. But when DEPECHE MODE played the country in early 1982, they were booked to perform in a small town called Oberkorn. With a glorious ambient instrumental on the B-side of the then soon-to-be-released single ‘The Meaning Of Love’ requiring a title, Martin Gore needed no further inspiration, unconsciously capturing the air of the Grand Duchy’s countryside and oceanic climate.
Available on the DEPECHE MODE boxed set ‘DMBX1’ via Columbia Records
Before the days of the Channel Tunnel, young York based New Romantic trio THE MOOD noted the how long it took by boat and train to get to the French capital. ‘Paris Is One Day Away’ was the hit that got away; reaching No. 42, it secured a slot on ‘Top Of The Pops’. However, it was the 1982 World Cup and a match heading into extra time meant that a hasty edit was made. And it was THE MOOD’s performance as the new and unknown act that ended up on the cutting room floor!
After ‘Dancing On The Berlin Wall’, RATIONAL YOUTH mainman Tracy Howe turned his attention towards Poland. “What was it like to be young person behind the Iron Curtain? What did they do on a Saturday night anyway?” he told ELECTRICITYCLUB.CO.UK, “Did they have clubs to go to? Probably underground ones. They’d probably break down the door. Apart from the fact that there are no ‘navy docks’ in Silesia, this record makes a jolly racket and may well be the first recorded instance of a Roland TR-808.”
Fascinated by the likes of Thomas Dolby and Gary Numan, JETHRO TULL frontman Ian Anderson went synth in 1983. Assisted by Peter John Vitesse, ‘Different Germany’ embraced both the electronic and progressive sides of Anderson’s career perfectly with a marvellous middle section featuring a bristling keyboard solo. The end result sounded not unsurprisingly like Tull fronting ULTRAVOX; of course, the circle was completed when Midge Ure covered ‘Living In The Past’ in 1985.
Born to French parents in Notting Hill, THE STRANGLERS’ bassist Jean-Jacques Burnel was a loyal European, even releasing a 1979 solo album entitled ‘Euroman Cometh’ where “a Europe strong, united and independent is a child of the future”. Taking lead vocals for the beautiful ‘European Female’, it possessed an understated quality with subtle Spanish guitar from Hugh Cornwell alongside Dave Greenfield’s sparkling synths and Jet Black’s electronic percussion to celebrate the allure of continental mystery.
“The medium of reinterpretation” as HEAVEN 17 and BEF’s Martyn Ware once put it, is an important creative opportunity that can widen a musical audience and expand the aural palette.
This was most evident in 1981 when SOFT CELL’s cover of ‘Tainted Love’ became ubiquitous as Synth Britannia’s first true crossover record, reaching No1 in UK, Germany, Australia and Canada while also breaking the US Top 10 a year later.
A disgruntled rival musician had told Marc Almond only a few months before that “You couldn’t make a decent dance record if you tried”, but make one he did! Written by Ed Cobb, ‘Tainted Love’ was recorded by Gloria Jones (partner of the late Marc Bolan) and became a Wigan Casino favourite on the Northern Soul scene.
As a fan of that scene, David Ball knew the song and took it into haunting electronic torch territory. Segued with a Motown cover ‘Where Did Our Love Go?’ on an extended version, it became one of Sire Records biggest selling 12 inch singles in America.
It was to be a double edged sword though as the coupling of two covers made SOFT CELL minimal money despite the record selling millions. Thus successful cover versions generally only make the original songwriter any dough. Although often perceived as a sign of creative desperation, a fair number of cover versions are genuinely recorded as a labour of love.
So what of the other great synth reworkings? The covers in this listing are predominantly conventional songs reworked in a synthpop manner. And in several cases, the reworks have been so distinct and definitive that it is often forgotten they are actually covers! Restricted to one song per artist moniker, they are presented in chronological order.
VISAGE In Year 2525 (1978 – released 1983)
ZAGER & EVANS’ pessimistic ditty was perfect fodder for the first VISAGE demo steered by Midge Ure in 1978. ‘In The Year 2525’ was perfectly resigned aural dystopia. Steve Strange’s deadpan fronted the sombre tone perfectly but Ure’s vocal backing and counterpoints added some musicality. But when Ure presented the demo to his then employers at EMI Records, it was rejected! Remixed later by John Hudson, it was finally unleashed for public consumption in 1983.
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.
Written by Jerry Leiber, Mike Stoller, Barry Mann, and Cynthia Weil, a quartet who between them have written some of the greatest songs in pop history, the original by THE DRIFTERS was a favourite in the Webb household. So Gary Numan did a live machine music rendition on 1979’s ‘The Touring Principle’. However, the star on this magnificent reinterpretation of ‘On Broadway’ is not Numan himself, but guest keyboardist Billy Currie of ULTRAVOX with his screaming ARP Odyssey solo.
On paper it shouldn’t have worked; a funereal take of the song that heralded the birth of Rock ‘N’ Roll smothered in robotic vocoder. And it caused much head scratching when it became a UK Top 40 hit, although one person listening was Daniel Miller who borrowed the concept for SILICON TEENS. Belgian trio TELEX always had a sense of subversive irony about them. This mischief came to its head with their lampooning number ‘Eurovision’, which they actually entered for 1980 Eurovision Song Contest!
An all synth rework of Head Spider Mick Ronson’s guitar dominated cult favourite, the metronomic tension was enhanced on THE HUMAN LEAGUE version by the metallic sequence of a Roland System 100 while monophonic synth lines complimented the futuristic atmosphere. Oakey impressively bellowed away while Martyn Ware provided some sprightly vocal support. ‘Only After Dark’ had been due to be released as a single but was cancelled in favour of a reissue of ‘Empire State Human’.
Available on THE HUMAN LEAGUE album ‘Travelogue’ via Virgin Records
Said to be Andy Warhol’s favourite Lou Reed composition, this interpretation of THE VELVET UNDERGROUND’s Nico-led cult classic was turned from a Teutonic funeral march into a looser, synth assisted beat ballad in the vein of ROXY MUSIC. Demo-ed under the supervision of manager Simon Napier-Bell in 1979 but remixed later by John Punter, ‘All Tomorrow’s Parties’ was to herald the sophisticated muzak direction that JAPAN were to become ultimately associated with.
This cover of ‘The More I See You’ had actually began musically as a new OMD composition until Andy McCluskey started improvising and using the words of this vintage tune written in 1945 by Harry Warren and Mack Gordon. It was subsequently a hit for Chris Montez in 1966, although OMD’s version was a far darker proposition, with the spectre of JOY DIVISION vocalist Ian Curtis looming over the bright synthesizer melodies and deep bass drones.
Before they became Birmingham’s most famous boat crew, DURAN DURAN recorded this speeded up version of David Bowie’s art funk co-write with John Lennon and Carlos Alomar for the 12 inch B-side of their flop single ‘Careless Memories’. As well as having a more frantic pace and layers of Nick Rhodes’ Crumar Performer string machine, Andy Taylor even aped Robert Fripp to add a screaming guitar solo that had not featured in the original.
A speeded-up, manic darkwave rendition of an early Marc Bolan composition, this was the one of the best tracks on the ‘Some Bizzare Album’ after DEPECHE MODE, SOFT CELL, BLANCMANGE, THE THE, B-MOVIE and ILLUSTRATION. The screeching synths and aggressive, unorthodox vocals are all over in a matter of a couple of minutes. THE FAST SET disappeared after just one proper single ‘Junction One’ which also featured another Bolan song ‘Children Of The Revolution’ on the flip.
DAVE STEWART & BARBARA GASKIN It’s My Party (1981)
Keyboardist Dave Stewart, once of prog rockers HATFIELD & THE NORTH recruited friend and backing vocalist Barbara Gaskin to sing on the second of his electronic pop covers, the first being ‘What Becomes Of The Broken Hearted’ with Colin Blunstone. Their inventively oddball synth version of ‘It’s My Party’ (made famous by Lesley Gore) was a triumph and a worldwide hit which reached No1 in the UK and Germany. Stewart and Gaskin have continued to worked together and have a new album pencilled in 2018.
Available on the DAVE STEWART & BARBARA GASKIN album ‘The Singles’ via Broken Records
TECHNO TWINS were wife and husband duo Bev Sage and Steve Fairnie; they indulged in their own brand of ‘Technostalgia’ with silent partner Dave Hewson who later reappeared in POEME ELECTRONIQUE and more recently TWINS NATALIA. This abstract theatrical cover of the 1930 German song composed by Friedrich Hollaender as ‘Ich Bin Von Kopf Bis Fuß Auf Liebe Eingestellt’ and made famous by Marlene Dietrich actually managed to reach No70 in the UK singles chart!
Originally released as a single by PRT Records, currently unavailable
‘Wichita Lineman’ was one of Jimmy Webb’s great narrative songs like ‘By The Time I Get To Phoenix’, ‘Galveston’ and ‘Where’s The Playground Susie?’ which were made famous by Glen Campbell. Although included for the ambitious ‘Music Of Quality & Distinction Vol1’ project, BEF’s recording is a HEAVEN 17 track in all but name and was originally recorded by the other Glenn as his audition piece. The chilling electronic arrangement takes on an even darker turn as a magnificent cacophony of sound invades the climax.
Available on the BEF album ‘1981-2011’ via Virgin Records
NEW ORDER Turn The Heater On (1982 – released 1986)
Reggae artist Keith Hudson’s ‘Turn The Heater On’ was a favourite of Ian Curtis and recorded by NEW ORDER for their second John Peel session as a tribute to the late vocalist of JOY DIVISION. Bernard Sumner’s melodica gave a claustrophobic dub laden vibe alongside the white noise rimshot of Stephen Morris, while Hooky actually played bass as opposed to his trademark higher register six string and Gillian Gillian’s ARP string machine added some appropriately frozen textures to match to the title.
A cover of a cover, ‘No Regrets’ was written by Tom Rush and a comeback hit for THE WALKER BROTHERS in 1976. During a break from ULTRAVOX, Midge Ure created this synth heavy rework. But that wasn’t all that was heavy… out of nowhere came a blistering guitar solo that would have made Eric Clapton proud and a doubled Linn / Simmons pounding for the overdriven climax. Possessing high and lows in a way that previous versions never had, the diminutive Glaswegian made ‘No Regrets’ his own.
FRANKIE GOES TO HOLLYWOOD Ferry Cross The Mersey (1983)
FRANKIE GOES TO HOLLYWOOD were very good at covers as Born To Run’ and ‘War’ proved. With a superbly honest vocal from Holly Johnson, the Trevor Horn produced reworking of this paean to Liverpool’s famous river crossing, written by Gerry Marsden for the 1965 film of the same name, climaxed with some joyous cascading synth lines and a frantic Linn Drum programme in a manner that couldn’t have been originally imagined by its composer.
Available on the FRANKIE GOES TO HOLLYWOOD album ‘Frankie Said’ via Union Square / Salvo
NAKED EYES Always Something There To Remind Me (1983)
NAKED EYES, who comprised of Pete Byrne and Rob Fisher, had actually been in a band called NEON with Roland Orzabal and Curt Smith. They had a huge US hit with a synthpop cover of this Bacharach and David classic which had been put together in the studio from memory. Rob Fisher later met Simon Climie and formed CLIMIE FISHER who had a number of UK hits, but he sadly passed away in 1999 aged just 42; Pete Byrne still continues to tour as NAKED EYES.
There once was a time when it was not cool to like ABBA and covering their songs was certainly not on many artists’ agenda. But BLANCMANGE changed all that with their version of what many regard as the last ABBA song. Combining that noted Swedish melancholy and melodicism with the artful quirkiness of Synth Britannia, ‘The Day Before You Came’ fitted well with Neil Arthur’s deep melodramatics. Add in the mystique of the Indian sub-continent and it was pure heaven.
Available on the BLANCMANGE album ‘Mange Tout’ via Edsel Records
They did the ‘Abba-esque’ EP and the mid-career crisis ‘Other People’s Songs’ album but ERASURE’s best cover was right at the beginning with this Hi-NRG romp in the big shadow of DIVINE. Turning ‘Gimme! Gimme! Gimme!’ into the ultimate anthem, the progressively faster ending made for an appropriately thrilling climax. Following not long after BLANCMANGE’s cover of ‘The Day Before You Came’, the seeds of an ABBA revival were now well and truly planted.
Remix version available on the ERASURE deluxe album ‘Wonderland’ via Mute Records
Written by Paul Haig and Malcolm Ross, ‘Sorry For Laughing’ was the key song on from the only JOSEF K album ‘The Only Fun In Town’. It had been a favourite of ZTT arch strategist Paul Morley and as per the label’s early policy, he persuaded his then-new signings PROPAGANDA to the rework the frenetic guitar track into a more moodily percussive electronic one. However, Ralf Dörper later said: “I very much would have preferred to have a THROBBING GRISTLE cover version…”
Having written and sung lead vocals on ‘In A Manner Of Speaking’ with TUXEDOMOON which was later covered by a certain Martin L Gore, Winston Tong embarked on a solo electronic pop adventure with Alan Rankine of ASSOCIATES fame at the production helm. The subsequent album entitled ‘Theoretically Chinese’ dealt with the theme of cultural identity and an excellent uptempo cover of Marianne Faithfull’s ‘Broken English’ slotted into the overall concept perfectly.
Written by Bobby Troup and covered by artists such as diverse as Nat King Cole and The Rolling Stones, this signalled the start of DEPECHE MODE’s fixation with a more blues based sound. While largely guitar driven, the rhythmical structure was driven by drum machine and sequences while the instrumental break of’Behind The Wheel’ made a guest appearance during the middle eight. It was performed as an encore during the ‘World Violation’ tour in 1990, but with Dave Gahan on lead vocals instead of Martin Gore.
Often having his biggest hits with covers, you could be forgiven for thinking Jimmy Sommerville was some kind of falsetto karaoke machine. But for the most part, his reinterpretations were good. One of his lesser known covers was ’From This Moment On’, a throbbing contribution to the charity album ‘Red Hot & Blue’ of Cole Porter standards. With a snatch of ‘I Feel Love’ thrown in for good measure, this was one of the best recordings from the collection which also featured U2 and ERASURE.
Performed at The Hacienda in 1991, ‘Go West’ had been due to be released in Christmas 1992, but PET SHOP BOYS bottled it when it was pointed out a VILLAGE PEOPLE cover would look like the duo were aping ERASURE’s ‘Abba-esque’. ‘Go West’ was based on Pachebel’s ‘Canon’ and its elegiac quality was particularly poignant with AIDS still very much in the news at the time. Meanwhile the ‘Oklahoma’ male choir styled key change gave the song a lift that was never apparent in the original.
Available on the PET SHOP BOYS album ‘Pop Art’ via EMI Records
Written by Moon Martin, an American rock artist who also wrote ‘Bad Case Of Loving You (Doctor, Doctor)’ which was covered by Robert Palmer, ‘Bad News’ with its metronomic core had been popular in German new wave clubs, which was how CAMOUFLAGE came to hear it. Given a pacey Eurodance treatment that was very much of its time, it also mixed in twangy ‘Pulp Fiction’ surf guitar elements alongside the trancey electronics for an unusual but successful hybrid of styles.
Available on the CAMOUFLAGE album ‘The Singles’ via Polydor Records
Originally a little known song by Wakefield indie band BRICK SUPPLY, DUBSTAR made ‘Not So Manic Now’ their own with the Northern lass earthiness of Sarah Blackwood providing the chilling commentary of an attack on a helpless pensioner. Stephen Hague’s wonderful production fused programmed electronics with guitars and cello in fine fashion, while the incessant programmed rhythms drove the song along without being obtrusive to the horrifying story.