Tag: Yazoo (Page 1 of 6)

25 BBC RADIO1 SESSION TRACKS

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.

Not officially released

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


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.

Available on the GARY NUMAN ‎// TUBEWAY ARMY album ‘Replicas – The First Recordings’ via Beggars Banquet

http://garynuman.com/


OMD Pretending To See The Future (John Peel 1980)

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.

Available on the OMD album ‘Peel Sessions 1979-1983’ via Virgin Records

https://www.omd.uk.com/


B-MOVIE Polar Opposites (John Peel 1981)

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!

Available on the B-MOVIE ‎album ‘BBC Radio Sessions 1981-1984’ via Cherry Red Records

http://www.b-movie.co.uk/


DEPECHE MODE Boys Say Go (Richard Skinner 1981)

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.

Available on the compilation ‎album ‘1 & Only – 25 Years of BBC Radio 1’ (V/A) via BBC Enterprises / Band Of Joy

http://www.depechemode.com/


DURAN DURAN Like An Angel (Peter Powell 1981)

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

http://www.duranduran.com


SOFT CELL Seedy Films (Richard Skinner 1981)

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.

Available on the SOFT CELL boxed set ‘Keychains & Snowstorms’ via Universal Music

https://www.softcell.co.uk/


SPANDAU BALLET Mandolin (Studio B15 1981)

‘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.

Available on the SPANDAU BALLET deluxe album ‘Journeys to Glory’ via EMI Records

http://www.spandauballet.com/


BLANCMANGE Running Thin (John Peel 1982)

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.

Available on the BLANCMANGE album ‘The Very Best Of’ via Demon Music

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


CHINA CRISIS This Occupation (John Peel 1982)

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.

Available on the CHINA CRISIS deluxe album ‘Difficult Shapes & Passive Rhythms’ via Caroline Records

https://www.facebook.com/chinacrisisofficial


EURYTHMICS I’ve Got An Angel (Kid Jensen 1982)

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 officially released

https://www.eurythmics.com/


NEW ORDER Too Late (John Peel 1982)

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.

Available on the NEW ORDER boxed set ‘Power, Corruption & Lies’ via Rhino

http://www.neworder.com/


TEARS FOR FEARS Memories Fade (Kid Jensen 1982)

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

https://tearsforfears.com/


YAZOO In My Room (Kid Jensen 1982)

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’.

Available on the YAZOO boxed set ‘Three Pieces’ via Mute Records

http://yazooinfo.com/


DEAD OR ALIVE Give It To Me (Kid Jensen 1983)

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

https://dead-or-alive-band.fandom.com/wiki/Dead_or_Alive


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

http://www.metamatic.com/


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

http://www.howardjones.com/


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!

Available on the SIMPLE MINDS boxed set ‘Sparkle In The Rain’ via Universal Music

https://www.simpleminds.com/


TALK TALK Why Is It So Hard? (Kid Jensen 1983)

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.

Not officially released

https://www.facebook.com/Talk-Talk-Mark-Hollis-12307963901/


VISAGE Questions (Kid Jensen 1983)

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!

Not officially released

http://www.therealvisage.com/


HARD CORPS Metal + Flesh (John Peel 1984)

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.

Available on the HARD CORPS album ‘Radio Sessions’ directly via https://hardcorps.bandcamp.com/album/radio-sessions

https://www.facebook.com/hard-CORPS-217860235015406


BRONSKI BEAT The Potato Fields (John Peel 1984)

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.

Not officially available

http://www.bronskibeat.co.uk/


FIAT LUX Breaking The Boundary (Kid Jensen 1984)

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.

Not officially available

http://www.fiat-lux.co.uk/


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

https://www.erasureinfo.com/


PET SHOP BOYS A Powerful Friend (John Peel 2002)

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!

Available on the PET SHOP BOYS deluxe album ‘Release: Further Listening 2001 – 2004’ via EMI Records

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


Text by Chi Ming Lai
2nd January 2021

Lost Albums: ALISON Duality

It’s 2008 and YAZOO have reunited for a concert tour of the UK, Europe and North America.

While the duo of Alison Moyet and Vince Clarke only released two albums before disbanding in 1983, their style of electro-blues had become a blueprint for many in the art of soulful synthpop.

Around this time, acts as diverse as DJ producer REX THE DOG and girl groups like THE SATURDAYS and RED BLOODED WOMEN were mining the YAZOO back catalogue for samples. Meanwhile the resurgence in synthpop had seen the independent market saturated with girl/boy pairings clearly influenced by Moyet and Clarke.

One of the better but lesser known of these acts was the appropriately named ALISON from Gothenburg in Sweden. The union of Karin Bolin Derne and Magnus Johansson had been intended to be for only one show in the summer of 2005. Derne had somehow talked her way into getting a support slot with SISTA MANNEN PÅ JORDEN, the solo project of Svensk synth mästare Eddie Bengsston from PAGE, by cheekily making up a story that she fronted a YAZOO covers act!

Now needing her own Vince Clarke, she contacted Johansson who was a veteran of bands such as ANTON WEBER, UZIEL 33 and TOPGUN but significantly a member of 101, a DEPECHE MODE tribute band with members of S.P.O.C.K whose concept was to imagine what would have happened had Vince Clarke not left Messrs Gahan, Gore and Fletcher to their own devices.

After playing a successful show comprising of YAZOO songs including ‘Too Pieces’ and original material, ALISON became an entity as Derne and Johansson found the collaboration just too interesting to let go. The end result was an album ‘Duality’ released in early 2010.

Opening with what was ALISON’s second single in 2008, ‘No No No’ was a defiant Europop number celebrating empowerment with Derne happy with no longer having to play second best. Johansson provided a suitably synth brass laden backdrop.

Adding syndrums and pizzicato violins, the anthemic ‘There Was A Time’ lyrically referenced ‘Just Can’t Get Enough’ while Derne gave a particularly spirited vocal performance.

A duet between Derne and Johansson, ‘Disco Dolly’ was a delightful homage to ‘Sweet Thing’ and ‘Nodisco’ in the first truly YAZOO aping moment of ‘Duality’. But cutely “la-la-la”, the raw deeper toned but heartily positive ‘Okey’ actually came over more like OMD, although it should be remembered that Vince Clarke’s entry point into synths was Andy McCluskey and Paul Humphreys’ ‘Almost’.

The slightly distorted ‘Dance Floor Killers’ sounded like it was about to burst into ‘Bring Your Love Down (Didn’t I)’, but these YAZOO stylisations could only have been produced by a fan like Johansson who studied and understood Clarke’s sound design philosophy.

Again taking a leaf from OMD, ‘Give It Up For The Broken Hearted (Mr McCarthy)’ was wonderfully motorik electronic pop driven by a hypnotic synthetic engine room and while Berne wasn’t Alison Moyet, she delivered her own strong style of Nordic soul!

Actually sampling the rhythm track of ‘Ode To Boy’, ‘Where This Road Goes Down Tonight’ was more moody, borrowing the swishing, plucking and pulsing of EURYTHMICS ‘Here Comes The Rain Again’ but slowing the pace down.

Closing ‘Duality’ was ‘Love Fool’, their feisty first single from 2007 which was basically a kind of percolating ‘Upstairs At Eric’s’ medley; Johansson’s programming in the sequence and rhythm department was superbly authentic while Derne gave it plenty of determined passion and grit.

The blatant YAZOO references polarised listeners by either charming or infuriating them, but over a decade on, what stands out about ‘Duality’ are its songs. And that, despite all the electro-blues accolades that were bestowed upon Alison Moyet and Vince Clarke, was what YAZOO were ultimately about.

There is still talk of a second ALISON long player but with Johansson having launched HILTIPOP and Derne working on solo material, that might be a while yet… but whatever happens, they left an enjoyable and fun album that captured the ‘Duality’ of YAZOO in the absence of the much-missed real thing.


‘Duality’ is still available via Electric Fantastic Sound as a download album

https://www.facebook.com/alisonsweden

https://soundcloud.com/alisonsweden/sets/duality


Text by Chi Ming Lai
29th July 2020

25 CLASSIC SYNTH B-SIDES

It really is the other side of love. B-sides have been a wondrous platform of adventure for the music fan, a hidden treasure trove of experimentation that was often a secret society that positioned the listener into being part of a mysterious taste elite.

So here are ELECTRICITYCLUB.CO.UK’s favourite 25 Classic Synth B-sides… but how was this list defined?

These artefacts are flipsides of vinyl or bonus tracks on CD singles; basically songs that were not featured on the original issue of a full length album, or subsequently included on a new one. However, bonus tracks on later reissues are permitted. With 25 Synth Instrumentals Of The Classic Era being covered in a separate listing, wordless wonders are also omitted. The listing runs up until the start of the 21st Century.

However, there is a limitation of one song per artist moniker in this chronological retrospective, so rare indulgers of the B-side such as HEAVEN 17, JAPAN and SIMPLE MINDS get equal billing with prolific exponents like PET SHOP BOYS, DEPECHE MODE, OMD and ULTRAVOX. That may seem unfair but then life can be unfair…


THE NORMAL TVOD (1978)

Was ‘TVOD’ actually the A-side of this seminal and only release by THE NORMAL which launched Mute Records? But as ‘Warm Leatherette’ is listed at the top of the back sleeve and has moved into legend having been covered by GRACE JONES, LAIBACH and CHICKS ON SPEED, ‘TVOD’ qualifies for this list. With its hypnotic bassline and warbling synth hook, JG Ballard makes his influence heard as Daniel Miller monotones about a dystopian future where television is the new narcotic…

Available on the single ‘Warm Leatherette’ via Mute Records

www.mute.co.uk


TUBEWAY ARMY We Are So Fragile (1979)

In the days when the B-side mattered as much as the A-side, more intuitive purchasers found another gem on the flip of ‘Are Friends Electric?’ with this pounding system of romance. Being the antithesis of the discordant diabolis in musica of the main act, ‘We Are So Fragile’ fused Minimoogs with guitars and a four-to-the-floor beat as the vulnerability of Gary Numan connected with the chilling Cold War dystopia of the times in a musical winter of discontent.

Originally the B-side of ‘Are Friends Electric?’; now available on the album ‘Replicas’ via Beggars Banquet Records

www.numan.co.uk


JOHN FOXX 20th Century (1980)

Commissioned as the theme to Janet Street-Porter’s early youth vehicle ‘20th Century Box’ which gave platforms to two then unknown bands SPANDAU BALLET and DEPECHE MODE, the combination of Foxx’s starkly dominant Compurhythm and ARP Odyssey dystopia were harsh but strangely danceable. However, ’20th Century’ signalled the wind down of the mechanical phase of John Foxx before thawing out and turning more conventional to less distinctive effect on ‘The Garden’.

Originally the B-side of ‘Burning Car’; now available on the deluxe album ‘Metamatic’ via Esdel Records

www.metamatic.com/


SIMPLE MINDS New Warm Skin (1980)

Like a number of bands of the period, SIMPLE MINDS went off doing B-sides as they progressed, often lazily filling the flips with live tracks or instrumental versions of existing tracks. ‘New Warm Skin’ was the original B-side of ‘I Travel’ and saw the Glaswegians ape SPARKS for this claptrap filled electronic cacophony of sound. Not claustrophobic enough for ‘Empires & Dance’, this is a delightfully creepy synth laden rarity in the SIMPLE MIDS back catalogue.

Originally the B-side of ‘I Travel’; now available as a bonus track on the boxed set ‘X5’ via Virgin Records

www.simpleminds.com


DEPECHE MODE Ice Machine (1981)

With so many great B-sides in the long career of DEPECHE MODE, it might seem strange that their best B-side was actually their first. ‘Ice Machine’ is possibly Vince Clarke’s darkest five minutes, but it has also proved to be highly influential. ROYKSOPP and S.P.O.C.K have covered it while the song’s core arpeggio has been borrowed by LADYTRON and FEATHERS. It is not only one of DM’s best B-sides, it is among one of the best songs of the Synth Britannia era.

Available on the DEPECHE MODE boxed set ‘DMBX1’ via Mute Records

www.depechemode.com


HEAVEN 17 Are Everything (1981)

HEAVEN 17 were an act who rarely did B-sides and even this cover of a lesser known BUZZCOCKS single started life as a track for the BEF ‘Music Of Quality & Distinct Volume 1’ opus but was quickly shelved. Unusual in many respects as ‘Are Everything’ features the early HUMAN LEAGUE synth sound emblazoned with acoustic guitar from Dave Lockwood, Glenn Gregory snarls in post-punk fashion away from the new funk hybrid which was later appear on ‘Penthouse & Pavement’.

Originally the B-side of ‘I’m Your Money’; 12 inch version now available on the HEAVEN 17 album ‘Penthouse & Pavement’ via Virgin Records

www.heaven17.com


JAPAN European Son (1981)

Originally recorded as a 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, after JAPAN left the label, ‘European Son’ was subsequently finished off by John Punter and tagged onto a 1981 reissue of ‘Life In Tokyo’. Retrospectively, it shows David Sylvian’s vocals in transition from the catty aggression of earlier albums. In 1982, it became an A-side remixed by Steve Nye.

Originally the B-side of 1981 reissue of ‘Life In Tokyo’; now available on the JAPAN album ‘The Very Best Of’ via Virgin Records

www.nightporter.co.uk/


ULTRAVOX Paths & Angles (1981)

A unique curio in the classic ULTRAVOX cannon as it does not feature Midge Ure. Chris Cross handled guitar duties and backing vocals while Warren Cann took the spoken lead. The powerful Linn driven track was provided the punch with the Minimoog bass while Billy Currie tastefully layered with his piano and violin interplay. ‘Paths & Angles’ was undoubtedly strong enough to have been an album track, but highly unlikely to have remained in this form if Ure had been involved.

Originally the B-side of ‘The Voice’; now available on the ULTRAVOX album ‘Rage In Eden’ via EMI Records

www.ultravox.org.uk


BLANCMANGE Running Thin (1982)

Originally recorded for a John Peel session but rescued for the B-side of ‘Living On The Ceiling’, ‘Running Thin’ featured a much starker, claustrophobic template than the subsequent ‘Happy Families’ album. Driven by a Roland drum machine, haunting blips and “elastic stretched too far” guitar, Neil Arthur’s resigned baritone matched the music backdrop. The track has since been revisited by BLANCMANGE for the upcoming 2CD ‘Happy Families Too’ 2CD set.

Originally the B-side of ‘Living On The Ceiling’; now available on the BLANCMANGE album ‘The Very Best Of’ via Music Club

www.blancmange.co.uk


THOMAS DOLBY One Of Our Submarines (1982)

Borrowing the main melody of ‘The Six Million Dollar Man’ theme and coupled with a sharp Tim Friese-Greene production, ‘One Of Our Submarines’ was actually based on the poignant story of TMDR’s uncle Stephen. He served in a submarine during World War Two but died while on manoeuvres as opposed to battle. His death became Dolby’s metaphor for the fall of the British Empire and his rebellion against the post-war Boys Own adventure illusion that his generation grew up in.

Originally the B-side of ‘She Blinded Me with Science’; now available on the THOMAS DOLBY album ‘The Golden Age Of Wireless’ via EMI Records

www.thomasdolby.com


THE HUMAN LEAGUE You Remind Me Of Gold (1982)

Outstripping the electro Tamla of the A-side, ‘You Remind Me Of Gold’ had the balance of weirdness, accessibility and the spectre of Jo Callis’ guitar synthesizer. Coupled with the precise but edgy production of Martin Rushent, this gave high hopes that the follow-up to the million selling ‘Dare’ would be a goody. Unfortunately, the band fell out with Rushent and the lukewarm ‘Hysteria’ was the result and it would take years for THE HUMAN LEAGUE to recover.

Originally the B-side of ‘Mirror Man’; now available on the HUMAN LEAGUE deluxe album ‘Dare / Fascination!’ via Virgin Records

www.thehumanleague.co.uk/


OMD Navigation (1982)

OMD often were at their best when indulging in their vertical take-off experiments. Covered in hiss and layered with a shrilling, almost out-of-tune Mellotron, ‘Navigation’ was an abstract collage with the punching snare drum crescendo leading to a weird droning beacon of strange noises taken from their pre-OMD tapes that conjured the image of foggy uncharted oceans. It is without doubt, one of Paul Humphreys and Andy McCluskey’s stand-out recordings.

Originally the B-side of ‘Maid Of Orleans’; now available on the OMD album ‘Navigation’ via Virgin Records

www.omd.uk.com


SOFT CELL It’s A Mug’s Game (1982)

Boy George once described SOFT CELL as music for teenagers who hate their parents. With ‘It’s A Mugs Game’, that ethos came to its head with this comical tirade of angry, adolescent angst! Marc Almond goes from crisis to crisis as he tries to annoy his dad by playing loud, all the records “he especially hates… ’Deep Purple In Rock, ‘Led Zeppelin II’”. But as Almond retorts: “even you hate those”! The closing rant of “I can’t wait until I’m twenty one and I can tell them all to sod off!” is classic!

Originally the B-side of ‘Where The Heart Is’; now available on the SOFT CELL album ‘The Very Best Of’ via Phonogram Records

https://www.softcell.co.uk/


TALK TALK ? (1982)

Perhaps unsurprisingly with Colin Thurston at the production helm, the cryptically titled ‘?’ did sound like a DURAN DURAN flipside with thundering Simmons drums, disco bass and a fabulous synth solo from original keyboardist Simon Brenner. Utilising a weird chorus effect which sounded like the song was recorded on using dirty tape heads, while not a particularly prolific B-side band, TALK TALK certainly delivered more extras than perhaps JAPAN ever did.

Originally the B-side of ‘Talk Talk’. Available on the TALK TALK album ‘Asides Besides’ via EMI Music

https://spiritoftalktalk.com/


VISAGE I’m Still Searching (1982)

One of the few vocal tracks to be a VISAGE B-side, ‘I’m Still Searching’ in hindsight sounds ahead of its time with its proto-PET SHOP BOYS vibe. Featuring just Steve Strange and Rusty Egan as the ULTRAVOX and MAGAZINE boys were all back in their day jobs, it hinted at a New York electronic disco direction which was expanded on with ‘Pleasure Boys’. But by the time of the third VISAGE album ‘Beat Boy’, rock was the name of the game with Strange’s voice left exposed and totally unsuited to its histrionics.

Originally the B-side of ‘Night Train’; now available on the VISAGE album ‘The Anvil’ via Rubellan Remasters

www.visage.cc/


YAZOO Situation (1982)

A B-side that was later issued as an A-side in various markets, ‘Situation’ was one of only three writing collaborations between Alison Moyet and Vince Clarke. At barely 2 minutes in its original form, it made its point with its rousing blues based sequenced dance pop; it became a US club favourite remixed by Francois Kevorkian who was later to work with KRAFTWERK and DEPECHE MODE. Another version mixed by ERASURE producer Mark Saunders took the song into the UK Top20 in 1990.

Originally the B-side of ‘Only You’; now available on the album ‘The Collection’ via Music Club

www.yazooinfo.com/


CARE Sad Day For England (1983)

When Liverpool band THE WILD SWANS split, two thirds formed the basis of THE LOTUS EATERS while their singer Paul Simpson teamed up with ECHO & THE BUNNYMEN producer Kingbird aka Ian Broudie. Combining acoustic guitars and stark drum machine with strong synthesizer melodies and melancholic vocals, ‘Sad Day for England’ was a mournful recollection of young manhood. The duo split before their debut album was completed. Broudie eventually formed THE LIGHTNING SEEDS.

Originally the 12 inch B-side of ‘My Boyish Days’; now available on the CARE album ‘Diamonds & Emeralds’ via Camden Records/BMG Records

http://music-isms.blogspot.com/2007/12/care-singles-1983-1984.html


DURAN DURAN Secret Oktober (1983)

This atmospheric ballad from the ‘Seven & The Ragged Tiger’ sessions turned out to be one of the the most synth led recordings under the DURAN DURAN name. Featuring just Nick Rhodes and Simon Le Bon, it showcased the more esoteric influences of JAPAN who the pair were particularly fond of. A precursor to their painfully pretentious ARCADIA project, none of those songs ever reached the heights of ‘Secret Oktober’. It was dusted off for the 1998 Greatest Hits tour.

Originally the B-side of ‘Union Of the Snake’; now available on the DURAN DURAN boxed set ‘The Singles 81-85’ via EMI Records

www.duranduran.com


HOWARD JONES It Just Doesn’t Matter (1983)

B-sides are for quirky experimentation and Howard Jones certainly veered from the norm with this oddball slice of electro-ska. With the declaration that “If I haven’t got any friends, it just doesn’t matter” and “If I’ve been misunderstood, it just doesn’t matter”, the song was possibly written as a positive motivator to face the music whatever following the success of his debut single ‘New Song’. The critics may not have loved him but his fans did, with the ‘Human’s Lib’ album entering the UK chats at No1.

Originally the B-side of ‘What is Love?’; now available on the HOWARD JONES album ‘The Very Best Of’ via WEA

http://www.howardjones.com/


ALPHAVILLE The Nelson Highrise (1984)

Subtitled ‘Sector One: The Elevator’, ‘The Nelson Highrise’ was the B-side to ‘Sounds Like A Melody’ which wasn’t released as a single in the UK. After a dynamic instrumental build of over a minute and a half, the opening line “Time is fleeting, you can’t stop time” was deeply ominous while the backing was almost industrial with very sharp edges. The dystopian air might have been a surprise to some, but then ‘Big In Japan’ was inspired by the plight of heroin addicts in Berlin…

Originally the B-side of ‘Sounds Like A Melody’; now available on the ALPHAVILLE deluxe album ‘Forever Young’ via Warner Music

https://www.alphaville.info/


CHINA CRISIS It’s Never Too Late (1985)

Recorded during the ‘Working With Fire & Steel’ sessions produced by Mike Howlett, ‘It’s Never Too Late’ was a lost gem probably droppedby CHINA CRISIS from the album on account of it sounding like a more steadfast ‘Wishful Thinking’, featuring its familiar Emulator strings sound in the melody. Unreleased until 1985, even then it was tucked away on the limited edition 12 inch of ‘Black Man Ray’, making it one of the rarest of high quality B-sides from the era.

Originally the 12 inch limited edition B-side of ‘Black Man Ray’; now available on the CHINA CRISIS deluxe album ‘Flaunt The Imperfection’ via Caroline International

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


PET SHOP BOYS That’s My Impression (1986)

Possibly the song which indicated that PET SHOP BOYS were going to be around for a while and not just a flash in the pan, ‘That’s My Impression’ was menacing as opposed to melancholic, combining SOFT CELL with DIVINE. Neil Tennant’s final angry refrain of “I went looking for someone I couldn’t find – staring at faces by the Serpentine…” is pure Marc Almond, tense and embittered in a manner that turned out to be quite rare in PET SHOP BOYS later work.

Originally the B-side of ‘Love Comes Quickly’; now available on the PET SHOP BOYS album ‘Alternative’ via EMI Records

www.petshopboys.co.uk


NEW ORDER 1963 (1987)

Is this song about JFK? Is it a homo-erotic love story that ends in murder? Who knows? But ‘1963’ was an outstanding result of the sessions NEW ORDER had with PET SHOP BOYS producer Stephen Hague that also spawned ‘True Faith’. However, much to Hooky’s annoyance, his contributions on ‘1963’ were virtually written out. Bloody mindedness ensured ‘1963’ was tucked away as a B-side for 8 years before it was released as an A-side in a more Hooky audible rework by Arthur Baker.

Originally the B-side of ‘True Faith’; now availableon the NEW ORDER album ‘Substance’ via Warner Music

http://www.neworder.com/


CAMOUFLAGE Kling Klang (1989)

Bietigheim-Bissingen’s CAMOUFLAGE took over the mantle of delivering the heavier synthpop blueprint which DEPECHE MODE started during ‘Construction Time Again’ and ‘Some Great Reward’, but left behind with ‘Black Celebration’. ‘Kling Klang’ actually was a B-side to their single ‘One Fine Day’. This was not only a tribute to KRAFTWERK but in a rarity for the trio, it was also sung in German. But it was so rigidly authentic that at times, it inadvertently sounded like a Bill Bailey musical comedy skit.

Originally the B-side of ‘One Fine Day’, now available on the CAMOUFLAGE deluxe album ‘Methods Of Silence’ via Bureau B

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


ERASURE Over The Rainbow (1991)

This bouncy tune with its lyrical celebration by Andy Bell of ABBA borrowed heavily from OMD. Vince Clarke went on record to say the record that influenced him most to start working with synthesizers was ‘Electricity’. So on ‘Over The Rainbow’, he borrowed its lead melody wholesale and added a few of the speaking clock samples that had adorned OMD’s ‘Dazzle Ships’. Listen carefully and listeners will also notice ULTRAVOX are affectionately pillaged too!

Originally the B-side of ‘Chorus’; now available in the boxed set ‘EBX4’ via Mute Records

www.erasureinfo.com


‘Everything B-Sides’, a playlist comprising of a number of flips from several eras can be listened to at https://open.spotify.com/playlist/44O9vvXs2sAJv24kdPQ9tC


Text by Chi Ming Lai
11th June 2020

A Beginner’s Guide To DANIEL MILLER

This history of Mute Records and its esteemed founder Daniel Miller is more than well documented.

The lavish book ‘Mute: A Visual Document From 1978 – Tomorrow’ published in 2017 captured the iconic label’s visual aesthetic. Already a fan of German kosmische scene, Daniel Miller began taking an interest in synthesizers for making pop music after hearing KRAFTWERK’s ‘Autobahn’.

The advent of affordable synthesizers from Japan manufactured by the likes of Korg and Roland made it possible for him to adopt punk’s DIY ethic by buying a Korg 700s for the price of a guitar. That enabled him to make music using just one finger, instead of having to learn three chords.

Conceiving a punk single with electronics, he wrote and recorded ‘Warm Leatherette’ b/w ‘TVOD’ for a one-off independent single release in 1978. Miller’s sense of experimentation within a structured albeit avant pop context led to kindred spirits sending him tapes, thanks to him including his mother’s address “16 Decoy Avenue London NW 11 England” on the back of the MUTE 001 sleeve.

Mute Records’ first signing was a former art student Frank Tovey who released the macabre ‘Back To Nature’ as FAD GADGET in 1979 as MUTE 002 with Miller co-producing. It began establishing a good reputation for experimental electronic pop music. As well as running the label and working in the studio with his own roster of acts, Miller also produced and remixed other artists, although this became less frequent as Mute Records achieved more and more success.

If Daniel Miller had a characteristic sound during the pioneering years of Synth Britannia, then it was his use of the ARP 2600 driven by an ARP 1601 analogue sequencer, particularly for unique rhythmic templates obtained from the percussive capabilities of this versatile American synth.

Always keen to keep up-to-date with the latest technology, Miller’s later acquisitions included a Synclavier, PPG Wave 2, Emulator, Roland System 100M and Roland MC4 Micro-Composer. Many years later, Miller even bought the customised vocoder used on ‘Autobahn’ from the late Florian Schneider even though it was not in fully working order.

While Miller’s production work with DEPECHE MODE over five albums naturally led American new wave acts like BOOK OF LOVE to seek his knowhow, indie band THE HOUSE OF LOVE were surprisingly curious enough to secure his services on their track ‘Safe’. Meanwhile, post-punk art rock combo WIRE saw him as a kindred spirit keen to explore new interesting ways of recording and worked with Miller in various guises.

While Daniel Miller stepped back from producing DEPECHE MODE in 1987 to concentrate on Mute Records, it was his mix with Phil Legg of the Flood produced ‘Enjoy The Silence’ that became the international hit single; Miller had felt the version that François Kevorkian had presented was too electronic. 

While work had been going well with the French-born DJ’s mixes for the ‘Violator’ album, Miller’s instincts told him ‘Enjoy The Silence’ needed to be brought back slightly with a more organic vision. The song had already been transformed in the studio from a funereal ballad to an electronic disco number with house influences!

Although Mute Records was bought by EMI in 2002, Miller reached an agreement in 2010 to establish a second independently run record label under the name Mute Artists while the Mute Records name and rights to the label’s archive recordings remained under the control of EMI’s present owners Universal. More recently, Daniel Miller has been happily DJ-ing around the world playing largely techno sets for Berghain in Berlin, Sónar in Barcelona and IMS in Ibiza among others.

Meanwhile he has also occasionally given talks at events such as MoogFest. Red Bull Music Academy, LEAF and the Electri_City_Conference.

With a vast and varied portfolio to investigate, ELECTRICITYCLUB.CO.UK looks back at the creative career of Daniel Miller in music via eighteen of his productions and remixes, with a restriction of one track per artist moniker, presented in yearly, then alphabetical order.


THE NORMAL Warm Leatherette (1978)

Daniel Miller’s sense of experimentation and vision of the synth being the ultimate punk instrument requiring the use of just one finger led to him making his first record. Lyrically inspired by JG Ballard’s ‘Crash’ with its story around car collision symphorophilia, the dystopian ‘Warm Leatherette’ was based around two noisy notes and a twitchy rhythmic backbone that was menacing yet enthralling at the same time. It turned out to be something of a game changer.

Available on THE NORMAL single ‘ Warm Leatherette’ / ‘TVOD’ via Mute Records

http://mute.com/category/the-normal


FAD GADGET Coitus Interruptus (1980)

Following the success of singles ‘Back To Nature’ and ‘Ricky’s Hand’, a FAD GADGET album was eagerly anticipated and it came with ‘Fireside Favourites’ which brought in a Korg Rhythm 55 drum machine, conventional instruments and various found objects alongside the synths. A four way production effort between Frank Tovey, Daniel Miller, Eric Radcliffe and John Fryer, the superb ‘Coitus Interruptus’ was a deeply cynical commentary on casual relationships.

Available on the album ‘Fireside Favourites’ via Mute Records

https://fadgadget.co.uk/


ALEX FERGUSSON Stay With Me Tonight (1980)

Larry Least was a production pseudonym inspired by the producer, Rak Records mogul and ‘New Faces’ judge Mickey Most. This infectious solo single by Alex Fergusson featured Daniel Miller’s distinctive electronic footprint and his involvement helped the ALTERNATIVE TV guitarist transform from post-punk to more synthesized song experiments. With Fergusson forming PSYCHIC TV with Genesis P-Orridge, it wasn’t until 1992 that a white label only self-titled solo album was released.

Available on the boxed set ‘Electrical Language: Independent British Synth Pop 78-84’ (V/A) via Cherry Red Records

https://www.scaruffi.com/vol4/atv.html


SILICON TEENS Memphis Tennessee (1980)

Following THE NORMAL, Daniel Miller decided to undertake a new project where rock ’n’ roll standards like ‘Just Like Eddie’ and ‘Memphis Tennessee’ were reinterpreted in a synthpop style, using a fictitious group called SILICON TEENS as a front. While Miller sang like he had a clothes peg attached to his nose and produced the recordings as Larry Least, several actors hired to appear in videos and do press interviews, although lead vocalist ‘Darryl’ was played by Frank Tovey.

Available on the SILICON TEENS album ‘Music For Parties’ via Mute Records

http://mute.com/release/music-for-parties


ALAN BURNHAM Science Fiction (1981)

For a one-off single on Cherry Red Records, the dystopian minimal synth of ‘Music To Save The World By’ from the little known and somewaht reclusive Alan Burnham was produced by Daniel Miller at Blackwing Studios. He also worked on its B-side ‘Science Fiction’ which was just as haunting as the main act. Perhaps more organic thanks to the use of live drums by Cam Findlay, it took a leaf out of the quirky cult Wirral duo DALEK I LOVE YOU and their song ‘The World’ in particular.

Available on the boxed set ‘Electrical Language: Independent British Synth Pop 78-84’ (V/A) via Cherry Red Records

http://mute.com/mute/daniel-miller


SOFT CELL Metro MRX (1981)

The original ‘Metro MRX’ came from the SOFT CELL debut EP ‘Mutant Moments’ released in October 1980, but the sub-two minute Daniel Miller take of ‘Metro MRX’ for ‘Flexipop’ magazine borrowed the same synthetic rhythm track as DEPECHE MODE’s ‘New Life’ to accompany Almond’s snarls of “he’s a mutant!”. Miller also produced ‘A Man Can Get Lost’, ‘Persuasion’ and perhaps most significantly, the proto-house of ‘Memorabilia’ at those same Stage One recording sessions.

Available on the SOFT CELL boxed set ‘Keychains & Snowstorms’ via Universal Music

https://www.softcell.co.uk/


DEPECHE MODE Nothing To Fear (1982)

While Eric Radcliffe was holed up working with Vince Clarke and Alison Moyet on the first YAZOO album at Blackwing Studios on the night shift, during the day Daniel Miller was working with DEPECHE MODE on their second. With punchy Simmons Drum modules and a catchy melodic theme, ‘Nothing To Fear’ was a glorious instrumental statement from an important long player that made the most of Miller’s programming expertise to ensure an optimistic future for Messrs Gahan, Gore and Fletcher.

Available on the DEPECHE MODE album ‘A Broken Frame’ via Mute Records

http://www.depechemode.com/


THOMAS DOLBY Radio Silence (1982)

When recording ‘Radio Silence’ for singular consumption, Thomas Morgan Dolby Robertson sought the assistance of Daniel Miller thanks to his track record with DEPECHE MODE. Bringing in his PPG Wave 2 and helping with the final mix, it was released as a single in early 1982 with an alternative rockier guitar driven version on the B-side which was favoured in the US. Both takes also featured the voice of Akiko Yano, who was married to Ryuichi Sakamoto at the time.

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

https://www.thomasdolby.com/


DUET EMMO Or So It Seems (1982)

WIRE refugees, Bruce Gilbert and Graham Lewis had been working under the name DOME, so when a collaborative adventure with Miller was suggested, an anagram of that moniker and Mute resulted in DUET EMMO. Recorded at Blackwing Studios, ‘Or So It Seems’ was their debut offering, a slice of experimental pop shaped with grumbling synthesized bass, captivating electronics and textural harmonic guitar while Lewis’ haunting vocals provided the emotional centre, spooked by sombre bursts of brass.

Available on the DUET EMMO album ‘Or So It Seems’ via Mute Records

https://mutesong.com/writers/duet-emmo/


YAZOO Situation (1982)

Originally the B-side to ‘Only You’, ‘Situation’ was one of only three writing collaborations between Alison Moyet and Vince Clarke, as well as only being one of five YAZOO tracks that Daniel Miller co-produced with Eric Radcliffe. Clocking in at barely two minutes in its original form, it made its impact with some rousing blues based sequenced dance pop; it became a US club favourite when it was remixed by Francois Kevorkian who later worked with KRAFTWERK and DEPECHE MODE.

Available on the YAZOO boxed set ‘The Collection’ via Mute Records

https://twitter.com/yazooinfo


ROBERT GÖRL Mit Dir (1983)

Following DAF’s Virgin album trilogy produced by Conny Plank, the duo borke up in a haze of sex, drugs and sequencer. Drummer and synthesist Robert Görl signed to Mute as a solo artist and began his account with the standalone single ‘Mit Dir’. Dark, brooding and magnificent, the song was co-produced by Daniel Miller and went on to become a favourite among the cognoscenti, reinterpreted for Prada commercials and covered by DJ HELL with STEREO MCs.

Available on the ROBERT GÖRL album ‘Night Full Of Tension’ via Mute Records

http://www.robert-goerl.de/


HARD CORPS To Breathe (1985)

Polydor A&R man Malcolm Dunbar managed to gain Daniel Miller’s interest to help out on a HARD CORPS track that Martin Rushent had started. “It was an offer we could not refuse and ‘Respirer’ duly ended up being completed with Daniel producing” said the band’s Clive Pierce, “So now we had two of the best ‘electronic’ music producers in the UK both helping on our track”. Exquisitely Gallic, Polydor however released ‘Respirer’ in English as ‘To Breathe’ but it was not the hit that they were seeking.

Available as ‘Respirer’ on the HARD CORPS album ‘Metal & Flesh’ via Sub Culture Records

http://www.hardcorps.co.uk/


NITZER EBB Join In The Chant – Gold! (1987)

Chelmsford’s NITZER EBB were founded by school friends Douglas McCarthy, Bon Harris and Bon Harris. Originally produced by Pete Waterman associate Phil Harding, the ambiguous chants of “muscle and late, lies, lies, gold, gold” in ‘Join In The Chant’ encouraged exactly as the title suggested in the manner of a DAF body sculpture. Daniel Miller and Flood’s Gold! restructure took out the Balearic beats and pushed forward a more Teutonic industrial thrust complete with metallic tools to boot.

Available on the NITZER EBB album ‘Body Of Work’ via Mute Records

http://www.nitzer-ebb.com/


ERASURE Supernature – Daniel Miller & Phil Legg Remix (1990)

ERASURE were not shy about doing cover versions with ‘Gimme! Gimme! Gimme!’ and ‘River Deep Mountain High’ having already been reinterpreted by this point. Andy Bell and Vince Clarke’s take on Marc Cerrone’s electronic disco landmark saw Daniel Miller and Phil Legg present this tight electro-dance remix extended to over seven minutes. Miller and Legg got together again for DEPECHE MODE’s ‘Enjoy The Silence’ and it was their mix that became the ‘Violator’ album version and single release.

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

https://www.erasureinfo.com/


CHRIS & COSEY Synaesthesia – Daniel Miller Mix (1991)

After leaving industrial pioneers THROBBING GRISTLE, Chris Carter and Cosey Fanni Tutti became a popular cult duo with their experimental pop utilising electronics, sampling, rhythms and even cornet alongside Cosey’s distinctive nonchalant vocals. Superbly sinister but beautiful metallic synthpop, ‘Synaesthesia’ exuded hints of PET SHOP BOYS ‘Euroboy’ but a good year before it. Meanwhile Daniel Miller’s brilliant rework took on a different groove to the harder bleepy house laden original.

Available on the CHRIS & COSEY single ‘Synaesthesia’ via Conspiracy International

http://www.chrisandcosey.com/


SUNROOF! Hero (1998)

SUNROOF! was Daniel Miller’s occasional project with Gareth Jones who he first worked with on DEPECHE MODE’s ‘Construction Time Again’ album. Exploring their love of Kosmische, it was perhaps no surprise that they covered the symbolic NEU! track ‘Hero’. Given more of a pulsing electronic treatment, the alluringly detached vocals came from Alison Conway who has part of the Mute family having been part of AC MARIAS, a project which also featured Bruce Gilbert of WIRE and Barry Adamson of MAGAZINE.

Available on the album ‘A Homage to NEU!’ (V/A) via Cleopatra

http://www.garethjones.com/


POPPY & THE JEZEBELS Sign In, Dream On, Drop Out! – Richard X Meets Larry Least Mix (2012)

POPPY & THE JEZEBELS were a school band based in Birmingham signed to Mute Song. ‘Sign In, Dream On, Drop Out!’ was superbly playful girly synthpop with the ‘Isolation’ bassline borrowed from JOY DIVISION bouncing around in electronic form while sinister Maggie Thatcher voice samples echoed. Originally produced by Richard X, Larry Least came out of retirement when the girls persuaded Miller to remix the track using his trusty Korg 700s synth.

Available on the POPPY & THE JEZEBELS single ‘Sign In, Dream On, Drop Out!’ via Gunball Machine

https://mutesong.com/writers/poppy-and-the-jezebels/


WRANGLER Theme From Wrangler – Daniel Miller rework (2016)

The brief from WRANGLER to remixers of tracks from their album ‘LA Spark’ was simple: “We provide some basic stems from a track selected by you from our debut album ‘LA Spark’ and you add whatever sounds you like – the only rule being that you use just one analogue modular synthesiser system of your choice.” Sweetened by flanged string machine, Daniel Miller provided a gliding rumbling bassline over a metronomic kick on his rework of ‘Theme from Wrangler’.

Available on the WRANGLER album ‘Sparked: Modular Remix Project’ via MemeTune Records

https://www.facebook.com/mallinderbengewinter/


Text by Chi Ming Lai with thanks to Simon Helm and Volker Maass
Photos by Simon Helm
4th June 2020, updated 14th February 2021

Lost Albums: CHINESE DETECTIVES Are Kisses Out Of Fashion?

Norwegian electronic covers combo CHINESE DETECTIVES released their only album ‘Are Kisses Out Of Fashion?’ in 1999.

The brainchild of Per Aksel Lundgreen who had cut his teeth in APOPTYGMA BERZERK, the concept was to be a “SILICON TEENS of the 90s” with frantic dance beats acting as the backbone to accompany the hooks of classic synthpop.

CHINESE DETECTIVES scored a number of Scandinavian hits with songs originally made famous by YAZOO, MEN WITHOUT HATS and DIVINE.

‘Are Kisses Out Of Fashion?’ additionally featured reinterpretations of SPARKS, BRONSKI BEAT, PET SHOP BOYS and several lesser known acts while the album itself was to become something of a cult favourite, partly thanks to featuring the only officially released version of a Vince Clarke instrumental from which CHINESE DETECTIVES got their moniker.

The classic trio line-up of Per Aksel Lundgreen, Preben Bjønnes and Desirée Grandahl kindly reminisced about the making of ‘Are Kisses Out Of Fashion?’.

So what came first, your cover of ‘Chinese Detectives’ or the band concept? How did it come about?

Preben: Per Aksel suggested ‘Chinese Detectives’ as a track and name for the band.

Per Aksel: Being an avid YAZOO and Vince Clarke collector, I had obtained a live tape that I bought at a stand in Camden Market in London of the 1982 gig at The Dominion, and on that tape, the instrumental track ‘Chinese Detectives’ was included. I always loved the track, and also the name, and I really wanted to use it as a band name, so we did. Then the idea was launched to do a cover of ‘Situation’ as the “A-Side” of the single, and a cover of ‘Chinese Detectives’ as the “B-Side”. I know that the track has also been referred to as ‘China’ on early live-recordings etc, but more on that later, ha ha!

Desirée: I´m the lucky one because I didn´t have to give any of that any thought! Got it all served on a silver platter.

The track is often mistaken as being the theme for the BBC TV drama ‘The Chinese Detective’ but is actually a Vince Clarke original. How did you go about interpreting and recording it? Did Mr Clarke give his approval?

Per Aksel: The sound quality on the live tape I had wasn’t really top notch, so we had to do our best to make out all the sounds and figures being played.

There’s also a part on there where it sounds like Vince is talking on top of the track, but we never ever figured out if that was just an accident, or if it was supposed to include some spoken words. I knew at the time that all Vince Clarke material was published via Sony Music Publishing, so I wrote them a letter, inquiring about the track, and asked for permission to do a cover version of it.

I actually received a reply via fax, yes it was that long ago, and in the fax it said something like: “Sony Music Publishing and Vince Clarke hereby grant you the rights to do a cover of the before mentioned track, ‘Chinese Detectives’.”

I was gobsmacked and very very happy of course. I saved that fax for many years, and when I one day went into some boxes to find it, the print had disappeared and the fax paper was all white, ha ha! I wish I’d taken a copy of it, but hindsight is 2020, right!

Preben: Hopefully we did the track justice 🙂

Desirèe: The credit for that goes to the lads. Hopefully Mr Clarke approved and loved it.

Why did you choose ‘Situation’ as a single to debut CHINESE DETECTIVES with?

Preben: We all loved the song and especially Vince Clarke’s song writing.

Desirée: I mean, even if I didn´t do the vocals on the first single, who wouldn´t choose that iconic song with that iconic group?

Per Aksel: We’re all huge YAZOO fans, and it was one of those tracks that we felt we could do something with. It was actually in the Norwegian Dance Charts and it was on a couple of “Eurodance” type compilations here in Norway, and the single sold close to 10.000 copies at the time, so we were very very happy of course. This made us want to do more, and the record company too cheered us on.

Strangely, in Norway we were considered “Eurodance”, but in Sweden and the rest of Europe and the US, they called us a synthpop act, and I for one wanted it to sound “synthpop”, but maybe we leaned towards the “Eurodance” since that was in the charts at the time. I don’t know, but we were treated very differently in Norway and in Sweden.

In Norway, we played “dance party” festivals for 5000 people together with 2 BROTHERS ON THE 4TH FLOOR, SOLID BASE, TWENTY 4 SEVEN, 2 UNLIMITED and stuff like that, but in Sweden we played on Swedish Alternative Music Awards for 500 people together with S.P.O.C.K, IN THE NURSERY and COVENANT, so it was a strange situation, but we just went with the flow and played everywhere we were wanted really.

We also had two other guys involved at the early stage of Chinese DETECTIVES, Trond Haugerud and Lars Kristian Aasbrenn, but they both dropped off. Lars Kristian after the first single, and Trond after the second one. No particular reasons for this, they just left basically, but they did also put in a good deal of work and input before they left, so I feel it’s important to put that out there.

After your second single, a cover of MEN WITHOUT HATS ‘Where Do The Boys Go’, your first singer Kristine Ulfeng departed, what effect did that have on whether to continue with CHINESE DETECTIVES?

Preben: No effect. We already knew we wanted to make a whole album with a different voice.

Per Aksel: When we started recording the third single, ‘You Think You’re A Man’, it became evident very early that Kristine’s voice wouldn’t cut it for that track. We took the harsh decision of telling her to leave and then asked Desirée to join the band. Not our proudest moment, and it wasn’t really fair to Kristine as she was fully devoted on the two first singles, but Preben and I were young and ambitious and had huge egos, so I’ll have to blame it on that.

Desirée: It had the wonderful effect of giving me the role of the mysterious and handsome girl at the mic.

Desirée had a deeper resonance to her voice and her first single with CHINESE DETECTIVES was a cover of DIVINE’s ‘You Think You’re A Man’ in 1996; did you know that song was written by Geoffrey Deane who was the original lead singer of MODERN ROMANCE?!!? 😆

Preben: News to me 🙂

Desirée: Ooops, you got me there! Shame on me for not knowing that…

Per Aksel: All I know is that when I wrote the credits in the booklet, it said “G Deane”, but I had no idea it was the original lead singer of MODERN ROMANCE! :O

We all love a bit of HI-NRG, and especially DIVINE and Bobby O productions in general, and I really think we nailed that one! Very happy with that single to be honest! The two first ones were good too, but the sound on ‘You Think You’re A Man’ is still holding up in my opinion.

The album ‘Are Kisses Out Of Fashion?’ finally came out in 1999, had it been a challenging project to finish?

Preben: It was a labour of love, I loved every bit of it. Working in a pro-studio with Erik Wøllo was a high point for me as I have mostly worked in my own studio. We had a very nice atmosphere in the studio where we loved every song we worked on. It became a very eclectic album I think. 🙂

Desirée: On the subject of who was gonna be our label and who was gonna release it – it was a challenge. The process of making the album wasn´t all that bad. We took some time picking and agreeing on the songs, then finding the right producer and of course getting it right in the studio. I will say that there was more laughter than fights.

Per Aksel: The truth is that the album was already finished late 1996 or early 1997, I can’t remember exactly now, and at the time, the label had a bit of a dry spell and didn’t have the money to finance the printing of the album, and the third single didn’t do as well as the first one, so maybe they lost a bit of faith in us, I’m not sure.

Anyway, in 1999 I kinda pushed them to release it, as 80s sounding synthpop was returning more and more.

The first pressing of 5000 copies sold pretty quickly, so I know the label never regretted it in the end. It was the label that also paid the £3500 for the studio and recording of the album, so I was surprised that they didn’t want to try and recoup their money.

The process in Wintergarden Studio with Erik Wøllo as our co-producer really helped and lifted this record into what it became. We never could have achieved that result without Erik. His studio was in his basement, so we jokingly said we we’re recording “Downstairs At Erik’s”, ha ha! He also had a lot of cool equipment in his studio that we could use to fatten up our sound and to make the songs more diverse than they were in their original demo-form.

Stephan Groth of APOPTYGMA BERZERK had also bought a Novation Bass Station at the time, and we borrowed that for some tracks too, and it’s especially evident on ‘Hit That Perfect Beat’. I also had a Roland JX3P that we used heavily and a Yamaha TX7 that was in Erik’s studio that we used for the FM-bass lines and such.

Most of the ‘Are Kisses Out Of Fashion?’ album sounds a bit like Alison Moyet fronting a frantic Eurodance covers project, there was a distinct HI-NRG bent with tunes like ‘Hit That Perfect Beat’, ‘All You Ever Think About Is Sex’, ‘You Think You’re A Man’ and a very pacey version of ‘Johnny & Mary’? Was the club market where you were aiming CHINESE DETECTIVES?

Desirée: Oh, I love me a bit of frantic Moyet!! Seriously, I think the club market was THE market at the time, but I also think we were a little bit a head of our time. If the album had hit the club market a bit into the 2000s, I personally think we would have had an even greater success with it. The trend of picking up great tunes from the 80s didn´t really kick in until 2004-2005. Maybe we can say that we started the trend? Let´s keep that illusion.

Preben: We all love HI-NRG and especially songs produced by Bobby O. Having said that, we wanted to do our own versions of our favourite songs.

Per Aksel: Alison Moyet is probably THE BEST female voice in the world of music in my opinion, and Desirée is blessed with a serious set of pipes and a voice that is very close to Alison’s, so we felt we’d struck gold when she wanted to join us to be honest.

I’m not quite sure we went for the club market OR “Eurodance” to be honest, it was all “synthpop” to us, but looking back, I can see how the music in the charts and the new synths coming out etc flavoured our sound and the outcome of the finished result. Having had chart success in Norway with the two first singles, we were actually on Norwegian television at the Norwegian Top 20 being interviewed about the ‘Where Do The Boys Go?’ track and video, so that probably also told us that we had a shot at “this chart stuff”, but we failed to chart after that, and became more of a thing for the synthpop fans instead. That’s a good thing, because that’s where we belong anyway, ha ha!

When the album slows down a bit in the middle, the album gets very interesting with your covers of ‘Love Is Just A Word’ by SILENT CIRCLE and ‘Run For Love’ by WINDER, two acts which would have been largely unknown outside of mainland Europe, what is the story behind these?

Preben: We loved the songs. WINDER’s is an all-time favourite of mine from Denmark. I think they only did three singles and an album.

Desirée: Those two songs were kind of pushed by the lads. I thought at first that ‘Love Is Just A Word’ was too “German lighter ballad-ish”, but it grew on me really. And after doing it live, it kind of gave you that arena-effect, with people singing along and of course waving their lighters.

When the song ‘Run For Love’ came up, I wasn´t sure what to do. I felt that it was so girly and non-edgy. The fun part is though, that so many reacted to this song and really liked our version. Let´s just say that this was my “swallow the camel” moment.

Per Aksel: The WINDER track was an old “guilty pleasure” of mine, and I thought that we could do a really good job with it.

I know Desirée really didn’t like it much, but she played along, and the version we ended up with is ok I guess, but far from my favourite on the album. A lot of people seem to love this version though, which is great, but I don’t know, it’s still a bit Eurovision sounding and a bit cheesy!

‘Love Is Just A Word’ was picked as the idea of having a ballad on the album, but now that I think of it, we should have done ‘Touch In The Night’ instead. CHINESE DETECTIVES were never meant to do ballads, ha ha! I remember seeing SILENT CIRCLE performing ‘Touch In The Night’ on Peters Pop Show from Germany via Swedish Television back in the 80s, and that’s how I got turned onto the band. Their first album, ‘No 1’, is still a good album I think, a hidden gem for many, but a good synthpop album.

The album title song features something of an orchestra stab frenzy and was originally by SUDETEN CRÈCHE, a very obscure British duo. How did you hear about this song?

Preben: Per Aksel introduced us to the song and we knew immediately that we could make our mark on it.

Desirée: Why wouldn´t a bunch of nerdy electronic music people have heard about that one?

Per Aksel: Going back to me being an avid YAZOO and Vince Clarke collector, I’d heard from some other collectors that the compilation album ‘Europe In The Year Zero’ included a different version of ‘Goodbye 70s’ than the one on ‘Upstairs At Eric’s’, so I ended up getting hold of a copy of that LP.

It had a different version of ’Goodbye 70s’ indeed with some extra echoes and delays to the vocal, and it was a bit shorter with a strange fade, but still a different version. Anyway, on that same album was the band SUDETEN CRÈCHE with their track ‘Are Kisses Out Of Fashion?’.

My girlfriend at the time loved this track and had it on several mixtapes, so I knew it well, and when it came time to pick track for the album, Preben, Desirée and I wrote down our suggestions of what tracks to do covers of, and we immediately agreed that we could do something with this minimal wave classic. We also decided to use the title of the track as the title of the album, as it was very 80s sounding and cool.

In 2006 or so, I got contacted by Mark Warner from SUDETEN CRECHE who asked us about this cover, because we tried to get hold of them back in 1996, but it was impossible to find any information. So we started emailing them back and forth, and they said they really liked the version we had done. Later I was invited to be live keyboarder for SUDETEN CRECHE on a European tour they did together with OPPENHEIMER ANALYSIS and a couple of other bands, but I couldn’t accept that offer since I had other commitments at the time, but the offer itself meant a lot to me and I was really flattered by it.

Later on, after a lot of emails and a growing friendship, Mark Warner invited me to come stay with him at his house outside Bedford where he’s got a studio in his back yard, to work on some music together.

This is how I ended up doing three EPs with ROSSETTI’S COMPASS together with Mark. He wrote all the material, and I was more in on the production side of things, but we had great fun in the studio, and I got to know his lovely wife and two daughters who now just call me Uncle Per.

I visited Mark as late as January this year, and a lovely and lasting friendship has come out of doing that cover version. Who would have thought ha? Life can serve you up some wonderful things sometimes, especially when you meet great people like Mark Warner. A true friend.

You covered INDUSTRY with ‘State Of The Nation’ so the range of genres you sourced on ‘Are Kisses Out Of Fashion?’ was very varied in hindsight?

Preben: We wanted music from all over the spectrum; obscure to the big hits.

Desirée: There is and there was so much good music to choose from, in many genres. The list of songs we would have loved to put on the album was long, but I think we´re all quite happy with the once we chose. I also think that it shows that we´re influenced by many genres.

Per Aksel: ‘State Of The Nation’ to me was a “synthpop” song, and I really really liked it, and I also think we did a great version of it. There was a vocal part there at the end of the track, after the music ended that we should’ve kept though. Desirée wanted to keep it, but Preben and I voted against it, ha ha. Looking back, Desirée was right, we should’ve kept it. Wonder if I’ve still got that other version on DAT-tape somewhere. Hmmm…

What are your own personal favourites on ‘Are Kisses Out Of Fashion?’ and why?

Desirée: Oh, that´s a hard one. I should of course say ‘Situation’ but I´m not gonna say that. I just love ‘State Of The Nation’; loved the song originally and loved to sing it. ‘Are Kisses Out Of Fashion?’ and ‘All You Ever Think About Is Sex’ come in at second place. Just because ‘Are Kisses…’ became almost a completely new song when we did it and ‘All You Ever Think About Is Sex’ is a fun and theatrical song which I love.

Preben: ‘Hit That Perfect Beat’ by BRONSKI BEAT. I loved the vocals on it. And the mix still holds up. Very happy with the bassline 🙂

Per Aksel: I still think that our version of ‘I Want A Lover’ by PET SHOP BOYS is the best one, but nobody seems to agree with me! LOL! I also have a huge fondness for ‘You Think You’re A Man’, ‘Hit That Perfect Beat’ and ‘All You Ever Think About Is Sex’, great versions that differ from the original and still add something extra. I also love the energy that we managed to put into those tracks. They’re explosive in a way, and I’m very proud of what we managed to do together on those tracks! Would’ve been even better if we’d written the tracks ourselves of course, but hey, we borrowed someone else’s songwriting talent and built on that, that will have to do.

Was CHINESE DETECTIVES, like SILICON TEENS, destined to just do the one album?

Desirée: No, not really. We had plans and visions. Preben and I did our own project with POSH. We had so many ideas for our own music and CHINESE DETECTIVES was a cover project. But the intention was to make more music with CHINESE DETECTIVES as well.

Again the situation with getting a label, getting us distributed and of course the sign of the times in the music industry put a stop to more albums at the time. We do however, have some new covers done. We did some new tunes for a couple of gigs some years ago and that was great fun. So you never know, maybe we´ll be back.

Preben: I don’t think we had any plans beyond an album. Might have played it by ear.

Per Aksel: Funny you should say that! My own catch phrase / slogan was that we aimed to be a “SILICON TEENS of the 90s”! We are huge fans of the ‘Music For Parties’ album, and doing 80s tracks in the 90s before that became fashionable kinda put us in the same category at least as SILICON TEENS.

I never had plans beyond that one album back then at least. While waiting for the CHINESE DETECTIVES album to be released, Preben and Desirée continued on the side with their own project, POSH, that released a great album called ‘In Vanity We Trust’ on CD in 1999 too. That is also a great but sadly forgotten album by many. Sounds like YAZOO with a more modern sound.

CHINESE DETECTIVES reformed for Electronic Summer 2016 in Gothenburg, how was that for you?

Preben: I unfortunately had to pull out of it due to illness. But I hear it went down well 🙂

Per Aksel: That was amazing! We had a great great time, and back then it was exactly 20 years since we last played in Gothenburg, so it was a celebration and a huge kick being on stage with CHINESE DETECTIVES again in front of 600 people at The Brewhouse.

People loved it and we got so many people coming up to us after the show saying “finally I got to see you live” and stuff like that, including Hannes Malecki, the singer from WELLE: ERDBALL, who was also playing at the same festival. He confessed to being a huge fan of CHINESE DETECTIVES when I met him there, which was a very nice compliment, coming from a guy whose work I admire very very much. I have a complete collection of all the WELLE: ERDBALL CDs, so…

Desirée: Oh my Lord that was fun. I had no expectations for that gig. I thought we were forgotten and obsolete. We started the evening with our set and I thought that there would be close to no one in the audience. When the music started and I went on stage, I got a pleasant shock. The place was packed and people sang along and had a jolly good time. So did we! People were so positive and loving. That was just a blast!

Over twenty years on, how do you view the way an electronic pop cover should be done? With so much history, is going outside of the genre more preferable to achieve something different, rather than just cover say DEPECHE MODE, NEW ORDER, SOFT CELL and ERASURE, who interestingly CHINESE DETECTIVES didn’t cover?

Preben: We tried to stay away from the obvious songs. But there are millions of great songs we could have done. We have tried to do some new ones few years back. ‘The Metro’ by BERLIN was one of them. We have played it at some concerts. We also demoed ‘You Spin Me Round’ by DEAD OR ALIVE and even made an instrumental of ‘Heartbeat City’ by THE CARS. And a few others. Hopefully we will make another album in the future 🙂

Desirée: The term electronic pop is no longer obscure and for the few and nerdy. So to make an electronic pop cover today, the bar is lifted. We did go outside the electronic genre when we did our album and I think that by doing that, the songs got a new life. This, I think, is still the case. A good song is a good song in any genre. Even if it would be great fun to cover, let´s say a EURYTHMICS tune, the approach I think would be different now than it was twenty years ago. And no wonder, we´ve learned a lot in twenty years!!!

Per Aksel: We definitively tried to AVOID the “usual suspects” when picking tracks for the album. I know Desirée wanted to do both a cover of a EURYTHMICS track, and a CULTURE CLUB track, and that didn’t happen, probably because they were too big and famous or whatever. We had some strict but strange rules back then, ha ha!

The truth is that I’m usually not a big fan of cover versions myself, and it’s only a few that I really like, and I try to avoid them when other bands do covers. Strange to think of when I was in a band that did a whole album of them, right?

We had ‘Send Me An Angel’ by REAL LIFE half-finished in demo form back then, but it never came to fruition, and that’s about it I think from back then. Preben did demo some other tracks that I don’t remember right now, but we ended up with those that are on the album, and I think the selection is pretty much good. When it comes to DEPECHE MODE, we’ve had enough covers there already, haven’t we? I mean, we’ve had enough of the band itself even, so never mind covers ha ha!

Some cover versions that I do like though, are: FAIRLIGHT CHILDREN – ‘Bedsitter’, LEMONHEADS – ‘Mrs. Robinson’, APOPTYGMA BERZERK – ‘Major Tom’, WOLFSHEIM – ‘Ruby, Don’t Bring Your Love To Town”, MALARIA – ‘Lay, Lady Lay’, and BIGOD 20 – ‘Like A Prayer’.

The “perfect” cover version in my opinion though, is the one that RÖYKSOPP feat. Susanne Sundfør did of ‘Ice Machine’. Absolutely love that one!

What songs would you cover today if you were to do a new album?

Preben: BLANCMANGE – ‘Blind Vision’ or ‘Don’t Tell Me’, THE CARS – ‘Heartbeat City’, ABC – ‘Be Near Me’, JAPAN – ‘Life In Tokyo’, CRETU – ‘Samurai’, THE HUMAN LEAGUE – ‘Boys & Girls’, OMD – ‘Telegraph’, BERLIN – ‘Metro’, SECRET SERVICE – ‘Flash In The Night’, DEAD OR ALIVE – ‘Big Daddy Of The Rhythm’, CLOCKWORK ORANGE – ‘Sensation Boys’, THOMPSON TWINS – ‘In The Name Of Love’ or HEAVEN 17 – ‘Come Live With Me’. All of those would have worked I suppose!

Desirée: I’ve always wanted to do a cover of ‘Sexuality’ with Erasure, but never got around to it. Maybe the time is now?

Per Aksel: Hmmmm… THOMPSON TWINS – ‘We Are Detective’ would fit us perfectly I think, and I also agree with Preben on ‘Big Daddy Of The Rhythm’, such power and energy! Maybe we should accommodate Desirée too, and do ‘Here Comes The Rain Again’ or ‘Paint A Rumour’ by EURYTHMICS? I also would’ve picked another minimal wave track or two, like ‘Night In June’ with LINEAR MOVEMENT, or ‘All Rights Reserved’ by FRED. Great tracks, real gems that one could bring out to the masses!

That’s the best thing I think, when you can get people to discover a track they’ve never heard before through your cover version! All in all though, I’m a little fed up with covers at the moment as I told you, but I’m not going to be a killjoy.

Preben, Desirée and I live nearby each other, and if we find the time and inspiration, I don’t see why we couldn’t / shouldn’t do some more stuff together. All that without giving any promises though, ha ha!


ELECTRICITYCLUB.CO.UK gives its sincerest thanks to CHINESE DETECTIVES

‘Are Kisses Out Of Fashion?’ is available via Sub Culture Records as a download album direct from
https://chinesedetectives.bandcamp.com/album/are-kisses-out-of-fashion

https://www.facebook.com/ChineseDetectives/

https://open.spotify.com/album/3rhx1YmkwXeeFF0ZTdR6eN

http://www.subculture.no/


Text and Interview by Chi Ming Lai
Photos by Jon Sverre Høiden, Kjetil Berg and Khyber Westlund
9th April 2020

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