In the wider context of the development of electronic music, the place of Keith Emerson is an interesting one.
His influence on keyboard players the world over is undeniable, but it could also be argued that by being too accomplished a musician, he helped spark the catalyst that eventually spawned punk, which in itself gave birth to the first wave of commercial synthesizer-based artists.
In the ‘Synth Britannia’ documentary, Phil Oakey is interviewed about the role of the keyboard player, saying “Until punk came along, you had to be Keith Emerson. If you wanted to be in a band you had to have learned your instrument for at least 8 or 9 years before you would dare come out and play it”.
One of the outcomes of the punk era was that it coincided with the availability of affordable, commercial sounding monosynths – these were soon used (often) in a primitive one-finger manner that eventually brought electronic music to the masses.
The ultimate impact of this musical and technological revolution was that bands such as ELP and GENESIS very quickly began to sound dated and were forced to either adapt or die…
Following the tragic death of Emerson earlier this year, BMG have released the first set of four albums which help to re-establish the legacy of the band and provide an excellent way to re-assess the importance of ELP in the grand scheme of keyboard and synthesizer-based music.
Progressive Rock was the complex lovechild of classical music, psychedelia and jazz improvisation; in many ways throwing out the rulebook of rock and pop music which came before it. Instead of concise three minute songs, concept albums were born where whole sides were taken up by pieces which often had a linking theme and allowed the musicians to show off their musical dexterity.
Although at this point, rock bands with keyboard players were commonplace (eg GENESIS and DEEP PURPLE), the guitar still very much dominated proceedings and what made ELP (and latterly YES) eventually stand out was the use of keyboards as a prominent instrument rather than a texture to underlay the guitar player(s) in the band. The approach of Emerson as the live showman also brought the keyboard player out of the limelight and his live antics (which included stabbing his Hammond organ with knives and riding it across the stage) have since gone down as the stuff of rock and roll legend.
The eponymous EMERSON, LAKE & PALMER debut album released in 1971 is very much dominated by the sound of the Hammond organ and showcases the sound of a band hitting the ground running. Tracks like ‘The Barbarian’ ably demonstrate the musicianship of all involved, Emerson seamlessly switching between organ and piano throughout.
The pivotal work featured here is undoubtedly ‘Lucky Man’, for the first three minutes or so the song is a well-written folk-oriented ode to a privileged individual who lives a charmed life before eventually losing his life in a war. The layered harmonized chorus vocals continually build the track, but it is the outro of the song which makes it so important in the context of keyboard-based music with one of the first appearances of a synthesizer solo on a commercial single.
Emerson apparently improvised the part in one take and one can only imagine the impact that this gliding, panning and swooping Moog sound would have had on a public (and other keyboard players) which up until this point, had been used to guitar solos taking prominence.
There has been a lot of speculation that a Minimoog was used in the recording, but because of the release date of the album and the fact that the Minimoog itself only appeared a year later, Emerson would have used a Moog Modular to perform the part. The sound itself being a layer of three detuned oscillators each with a square wave and copious amounts of portamento to get the gliding effect. The reissue itself comes as a 2 CD set with CD1 comprising the original 2012 remastered version and CD2 featuring a stereo mix by Steven Wilson with some added bonus tracks.
Follow-up ‘Tarkus’ saw a progression in the ELP sound and the presence of more electronic textures. Giving the band a No1 album in the UK, the packaging and discs follow a similar format to the other albums in this set.
The title track is a Prog Rocker’s dream, spilt into several movements; the opening section ‘Eruption’ sounding now like a frantic film soundtrack to an imaginary cop movie. But again it is the use of synths that underpin the piece that give it most interest and with slower sections like ‘Stones of Years’ alongside works by PINK FLOYD, it is clear how these pieces would ultimately go onto influences acts such as AIR and JOHN GRANT. The gliding synth that first made its appearance on the debut had now become Emerson’s trademark and the signature sound of the band.
‘Pictures At An Exhibition’ saw the release of a live performance of the band’s interpretation of Mussorgsky’s classical work. The album was recorded at Newcastle City Hall with the opening track being played on a Harrison & Harrison pipe organ which was installed in the venue.
The drum roll which connects the opening track ‘Promenade’ to the next just gave Emerson enough time to dash down to his normal keyboard rig. At the time, the band’s label were reluctant to release it, fearing that a live classical album would be too much of a risk. But with the success of Tarkus, a budget price release meant that ‘Pictures At An Exhibition’ gave the band its third consecutive Top 10 UK album.
To support these reissues, a more cautious introduction to ELP comes with the 3CD release of ‘The Anthology’ – featuring a career spanning selection of 39 songs including the band’s best known single ‘Fanfare For The Common Man’. The compilation also takes in some solo works by Emerson and Greg Lake, including the latter’s festive classic ‘I Believe in Father Christmas’.
Whilst the material in these four albums will never be as significant as (say) the works of KRAFTWERK or TANGERINE DREAM in the grand scheme of electronic music, Keith Emerson will ultimately go down in musical history as THE musician who helped popularise the use of synthesizers in a band context.
That fact alone guarantees his and the band’s place on the timeline of synthesized music and these lovingly repackaged albums help to maintain the legacy of Keith Emerson, Greg Lake and Carl Palmer.
Dedicated to the memory of Keith Emerson 1944-2016 and Greg Lake 1947-2016
With thanks to Stuart Kirkham at Hall Or Nothing PR
‘Emerson, Lake & Palmer’, ‘Tarkus’, ‘Pictures At An Exhibition’ and ‘The Anthology’ are available from 29th July 2016 via BMG
The timely release of ‘The Very Best of ASSOCIATES’ featuring their hits ‘Party Fears Two’, ‘Club Country’ and ’18 Carat Love Affair’ creates an opportunity for the work of Billy MacKenzie and Alan Rankine to be re-evaluated and re-discovered.
With a partnership covering a period of just three albums, this anthology is only a part of the story. It’s an artistic legacy that has influenced the likes of Claudia Brücken and Björk, along with HEAVEN 17, A-HA, and SIN COS TAN.
Thus, the new 2CD slipcased deluxe editions of the MacKenzie / Rankine era ASSOCIATES albums ‘The Affectionate Punch’, ‘Fourth Drawer Down’ and ‘Sulk’, supervised by bassist and silent partner Michael Dempsey, delve even further with a treasure trove of previously unreleased tracks, accompanied by 28 page booklets featuring extensive sleeve notes, unseen photos and rare memorabilia.
With Billy MacKenzie’s otherworldly four-and-a-half octave range on top of Alan Rankine’s intricate instrumentation, ASSOCIATES were a majestic and outlandish new pop take on Weimar cabaret in a newly emerging electronic world. But MacKenzie’s eccentricity could make him difficult to work with and led to the pair eventually parting ways in late 1982. MacKenzie continued sporadically with the ASSOCIATES name and as a solo artist, but always a troubled soul, he sadly took his own life in 1997 a year after the death of his mother.
Very much Bowie fans, ASSOCIATES opened their account with a not particularly good cover of ‘Boys Keep Swinging’ in 1979, released not long after the original. MacKenzie was very much into reinterpretation and despite this lacklustre debut, history has shown he could be highly adept at it.
On the second CD of extras, an unreleased take on Barry Ryan’s ‘Eloise’ explores heavier rock templates and points as to where ASSOCIATES could have headed instead of the kaleidoscopic sound they became known for. Poignantly, ‘The Very Best of ASSOCIATES’ includes a live cover of ‘Gloomy Sunday’, a suicide song composed by Hungarian pianist Rezső Seress in 1933 and said to have cursed every artist who has ever performed it.
ASSOCIATES’ first long player was the guitar dominated ‘The Affectionate Punch’ with its great ‘Low’ pitched title song opener on Fiction Records. But the duo were quickly dissatisfied with it, so they requested to end their deal and reworked a number of tracks for its subsequent 1982 re-release; this reissue campaign reinstates the original 1980 album.
Aspiring to expand their sound with a wider palette, the first musical signs of a fascination with European electronic music came with the funereal pulse of ‘White Car In Germany’. The swirling electronics were intended to sound as un-American as possible and accurately captured post-war tensions under the spectre of the atomic bomb. It was part of a singles deal with the Beggars Banquet subsidiary Situation2 which eventually formed ASSOCIATES’ second album ‘Fourth Drawer Down’ in 1981.
Also featuring the almost out-of-tune ‘The Associate’, the quirky instrumental showcased their sense of fun with MacKenzie’s distorted screaming making its presence felt. Meanwhile ‘Q Quarters’ and ‘Tell Me Easter’s On Friday’ were produced by a young Flood, later to work with DEPECHE MODE on ‘Violator’ and ‘Songs Of Faith & Devotion’. The resultant press exposure led to a deal with Beggars Banquet’s distributor WEA.
Throughout this period, Rankine and MacKenzine were almost holding themselves back, fighting against the poppier instincts that had come from their love of early ROXY MUSIC, SPARKS and Philadelphia soul. In the interim, they produced yet another cover ‘Kites’ for RSO Records, under the pseudonym of 39 LYON STREET with Christine Beverage on lead vocals. Originally recorded by SIMON DUPREE & THE BIG SOUND, it featured a more post-punk disco template and prepared for ASSOCIATES’ brief entry into the big league alongside fellow Scots SIMPLE MINDS in Spring 1982.
With its iconic jangle piano line, ‘Party Fears Two’ was the first time that many had heard the neo-operatics of Billy MacKenzie. Dealing with the perils of schizophrenia, it also kick started the brief imperial phase when ASSOCIATES subverted the UK charts with an outlandish approach that fitted in with the concurrent New Romantic movement. They felt a slight affinity with The Blitz Club crowd, but noting the scene’s vacuous nature, MacKenzie and Rankine opted to attack it in the magnificent ‘Club Country’.
Produced by Mike Hedges, the parent ‘Sulk’ album, featuring different versions of ‘Party Fears Two’ and ‘Club Country’, was a triumph. From the frantic instrumental ‘Arrogance Gave Him Up’ to the chromatic overtures of ‘Skipping’ to the evocative drama of ‘No’, the music had the basis for being more accessible, but was still challenging and inventive. Although MacKenzie’s more bonkers instincts couldn’t be masked on tracks like ‘Nude Spoons’ and ‘Bap De La Bap’, the brilliant ‘It’s Better This Way’ was art and pop in perfect unison.
Photo by Sheila Rock
ASSOCIATES’ imperial phase closed in the summer of 1982 with ’18 Carat Love Affair’; it was their most commercial offering and described by MacKenzie as their “quasi-Neil Sedaka” song. While the narrative was subversive in the extreme, being about a gay affair that MacKenzie was trying to hide, Rankine was uncomfortable with its overt poppiness.
So unhappy was Rankine, that the song was instrumentalised to become the ‘Sulk’ album closer ‘nothinginsomethingparticular’. Whatever, ’18 Carat Love Affair’ possessed one of the greatest synthesizer riffs ever. Released as single, after it charted, it was eventually flipped for the B-side, a joyous art funk cover of disco-era Motown standard ‘Love Hangover’ which Rankine was more satisfied with.
Sales of ‘Sulk’ meant a demand for touring and a nine-piece live band featuring notable musicians such as Martha Ladly and Stephen Emmer was assembled by Rankine for a world tour. But in the cocaine frenzy that was now seriously affecting the partnership, MacKenzie pulled out of the tour, disillusioned by the expectations of success.
The duo reconvened in 1993, demoing six songs including ‘Stephen, You’re Really Something’, MacKenzie’s response to THE SMITHS ‘William, It Was Really Nothing’. But any label interest came with the pre-requisite of live shows; for MacKenzie, that was unacceptable and sadly that was that.
ASSOCIATES’ strength and weakness was their refusal to play the record industry game, but it led to both triumph and tragedy. In that respect, the most tearful moment in this series of deluxe reissues is the previously unissued instrumental of ‘Party Fears Two’ found on CD2 of ‘Sulk’… while the marvellous subtle layers of Rankine’s arrangement are now more revealed, what ultimately is missing is the voice of Billy MacKenzie😢
Dedicated to the memory of Billy MacKenzie 1957-1997
With thanks to Stuart Kirkham at Hall Or Nothing Independent Publicity
Without doubt, Mute Records is one of the most important record labels in the history of electronic music.
While the early electronic legacy of Virgin Records helped the genre gain its first foothold in the mainstream, the discerning ethos of Mute has maintained its presence in both pop and more experimental fields.
Like many, Mute supremo Daniel Miller began taking an interest in synthesizers as tools for making pop music after hearing KRAFTWERK’s ‘Autobahn’. The son of Austrian Jewish refugees, he was DJing on the continent after completing his film studies course when he became enthralled by the Kling Klang sound.
He was inspired to make electronic music himself but at the time, the equipment was prohibitively expensive. That all changed with the advent of affordable synthesizers from Japan manufactured by the likes of Korg and Roland.
Already a fan of German kosmische scene, his sense of experimentation and an adoption of punk’s DIY ethic led him to buying a Korg 700s. Wanting to make a punk single with electronics, he wrote and recorded ‘Warm Leatherette’ b/w ‘TVOD’ for a one-off independent single release in 1978. He needed a label name and chose ‘Mute’ after the button that came on the equipment that he had used as a film studies student.
Distributed by Rough Trade, MUTE 001 was a surprise success and thanks to him including his mother’s North London home address on the back of the striking monochromatic crash test dummy sleeve, Miller started receiving cassettes from kindred spirits who were keen to explore the brave new electronic world; he realised that a new scene was developing.
Through his connections at Rough Trade, he became aware of former art student Frank Tovey. As FAD GADGET, Tovey recorded ‘Back To Nature’ which was issued as MUTE 002 in October 1979. A seminal work that was also critically acclaimed, it helped establish Mute’s credentials as a champion of electronic music.
The first album released on Mute was ‘Die Kleinen Und Die Bösen’ by German band DEUTSCH AMERIKANISCHE FREUNDSCHAFT (DAF) in March 1980. Miller had signed them because “they weren’t relying on past rock”. The majority of STUMM 1 was recorded with the legendary Conny Plank at the controls of the studio recordings, while the remainder came from tape of a live gig at London’s Electric Ballroom.
DAF set the ball rolling in furthering Mute’s aspirations, while the Germanic influence continued through into the label’s cataloguing system as the album prefix Stumm was the German word for Mute.
Meanwhile, Miller was fascinated about the idea of synthesizers as the future of popular music and conceived a teenage pop group who would use only synths; he called them SILICON TEENS although in reality, this was actually his solo electronic covers project. Something of a novelty, his cover of ‘Red River Rock’ ended up on the closing credits of the Steve Martin / John Candy comedy ‘Planes, Trains & Automobiles’ in 1987!
But Miller’s dream became flesh and blood when he came across a young quartet from Basildon called DEPECHE MODE. Signed on a handshake 50/50 deal, while the group was a chart success, they fragmented after their 1981 debut album ‘Speak & Spell’. However the remaining trio of Andy Fletcher, Dave Gahan and Martin Gore recruited Alan Wilder, soldiered on and the rest is history. Meanwhile, the departed Vince Clarke went on to further success with YAZOO, THE ASSEMBLY and ERASURE.
With the label’s commercial success, Mute were able to back more experimental releases from Germany including the quirky single ‘Fred Vom Jupiter’ by ANDREAS DORAU & DIE MARINAS, and ‘Los Ninos Del Parque’ by LIAISONS DANGEREUSES. Mute’s business ethos, where money made from record sales allowed acts to develop within a sympathetic creative environment free from interference, proved to be key to its artistic and financial prosperity.
As the label expanded over the years, further signings included EINSTÜRZENDE NEUBAUTEN, LAIBACH, WIRE, BOMB THE BASS (through the Blast First subsidiary), INSPIRAL CARPETS, GOLDFRAPP while Moby and Nick Cave proved to be amongst the big successes . Meanwhile Miller took the ultimate step in his love of German music, acquiring the rights to the music of CAN and becoming the winning bidder for the vocoder used on ‘Autobahn’ when it came up for auction!
In May 2002, Mute Records was bought by EMI for £23m, although Miller remained as a figurehead and in charge of the company’s global activities. The label became the brand for the multi-national’s electronic music activities and when KRAFTWERK’s back catalogue was finally remastered by EMI, it was released under the Mute banner.
However, with rapid changes occurring within the industry as a result of the new digital marketplace, EMI and Miller reached an agreement in September 2010 to establish a second independently run record label under the name Mute Artists for new acts, while the Mute Records name and rights to the label’s archive recordings remained under the control of EMI via its new owners Universal. As owners of their own catalogue, DEPECHE MODE formally ended their association with the label that launched them and signed a lucrative licencing agreement with Sony BMG.
But the Mute story continues with acts such as MAPS and Polly Scattergood, while Miller’s latest addition to the roster has been NEW ORDER whose new album ‘Music Complete’ will be out on 28th September 2015.
So what twenty albums or EPs best represent Mute’s electronic legacy? With a restriction of one release per artist moniker, here are ELECTRICITYCLUB.CO.UK’s choices…
FAD GADGET Fireside Favourites (1980)
Following the success of singles ‘Back To Nature’ and ‘Ricky’s Hand’ with a small but loyal fanbase now established, a FAD GADGET album was eagerly anticipated. It came in September 1980 with ‘Fireside Favourites’ co-produced with Eric Radcliffe and John Fryer. it developed on the minimal industrialism of the singles. The superb ‘Coitus Interruptus’ was a cynical commentary on casual relationships while the Cold War tensions were documented on ‘Fireside Favourite’.
Following the acclaim that was accorded to THE NORMAL, Daniel Miller decided to undertake a new project where rock ’n’ roll standards such as ‘Memphis Tennessee’, ‘Just Like Eddie’ and ‘Let’s Dance’ were reinterpreted in a synthpop style, with Miller singing like he had a clothes peg attached to his nose. With his inherent shyness, the vehicle he used was SILICON TEENS, a fictitious synth group where several young actors were hired to appear in videos and do press interviews.
Disillusioned by the pop circus following the singles success of ‘New Life and ‘Just Can’t Get Enough’, Vince Clarke departed DEPECHE MODE in late 1981 and formed YAZOO with Alison Moyet. Although they only released two albums, YAZOO’s impact was long lasting. The debut ‘Upstairs at Eric’s’ was a perfect union of passionate bluesy vocals and pristinely programmed synthpop. Songs such as ‘Only You, ‘Don’t Go’, ‘Midnight’ and ‘Winter Kills’ set a high standard but the duo parted ways.
In a departure from DAF’s pioneering electronic body music, drummer Robert Görl lightened up considerably with a solo synthpop record that even had him posing bare chested by a swimming pool on the cover. ‘Night Full Of Tension’ even featured vocal contributions from EURYTHMICS’ Annie Lennox on ‘Charlie Cat’ and ‘Darling Don’t Leave Me’. Although not featuring on the original LP, the brooding but accessible single ‘Mit Dir’ was an electronic cult classic and included on the CD reissue.
Although success for ERASURE was not instant with debut album ‘Wonderland’ and its lost single ‘Oh L’Amour’, the chemistry between Clarke and Bell possessed a special spark. ERASURE toured the college circuit and built up a loyal fanbase, eventually hitting chart paydirt with ‘Sometimes’. ERASURE added political commentary ‘It Doesn’t Have To Be’ and ‘The Circus’ title track, while songs such as ‘Spiralling’ and ‘Hideaway’ confirmed they were more than just a great singles act.
Controversial Slovenians LAIBACH played with Teutonic rhythms and Third Reich imagery, while their unique covers of QUEEN’s ‘One Vision’ and OPUS’ ‘Life Is Life’ indicated they were either ironic art terrorists or preachers of a dangerous political message. Mute were accused of tolerating artists with far right sympathies but with Daniel Miller’s Jewish heritage, this was unlikely. Their industrial torture made an impact with ‘Opus Dei’, particularly on RAMMSTEIN.
‘Counterfeit’ allowed Gore to indulge in six covers with varying origins. The emotive traditional standard ‘Motherless Child’ revealed his love of the Blues while a great version of SPARKS’ ‘Never Turn Your Back On Mother Earth’ was a fitting look back at the eccentric pop that would have fed the young Mr Gore. Reinterpretations of cult artists such as TUXEDOMOON, THE DURUTTI COLUMN and THE COMSAT ANGELS revealed there was a lot more to Gore’s record collection.
Why is ‘Violator’ so important and highly celebrated? It is still DEPECHE MODE’s most complete and accomplished body of work. It was the classic Fletcher/Gahan/Gore/Wilder line-up firing on all cylinders and at their most happiest as a unit. The end result was four hit singles but also songs such as ‘Halo’, ‘Waiting For The Night’ and ‘Clean’ which were easily their equal. And on ‘Blue Dress’, Gore’s lyrics possessed an honesty that while dark and deviant, still retained a naïve innocence.
‘As Is’ saw Essex industrialists NITZER EBB at the height of their imperial powers. Although produced by the band, each song was mixed by a different artist or producer. These included Jaz Coleman from KILLING JOKE, producer Flood and MAGAZINE’s Barry Adamson. But the best number was ‘Come Alive’ mixed by Alan Wilder which had the legacy of ‘Violator’ stamped all over it. The subsequent album ‘Ebbhead’ which was produced by Wilder and Flood.
While there had been two EPs ‘1 + 2’ and ‘Hydrology’ by RECOIL, Alan Wilder’s solo sideline to DEPECHE MODE, it wasn’t until 1992 that there was a full length album. ‘Bloodline’ featured vocals from NITZER EBB’s Douglas McCarthy, Toni Halliday of CURVE and Moby. Wilder’s brooding electronic soundscapes and meticulous production made their presence felt and it was McCarthy’s contributions to a cover of Alex Harvey’s ‘Faith Healer’ that stole the show.
When Moby was signed by Daniel Miller, he was considered to be a one hit wonder with ‘Go’ in 1991. His first proper album ‘Everything Is Wrong’ arrived in 1995. The superb instrumental ‘First Cool Hive’, the happy hardcore of ‘Feeling So Real’, the gospel punk of ‘All That I Need Is To Be Loved’ and the neo-classical ‘Hymn’ showcased his eclectic tastes. Miller’s tremendous foresight turned out to be a wise decision when the unexpected success of ‘Play’ in 1999 provided a boost for Mute.
London duo Simon Leonard and David Baker began as I START COUNTING and then morphed into FORTRAN 5. But as KOMPUTER, they created some heavily KRAFTWERK influenced numbers to make up for the lack of new material. From their first ‘EP’, ‘We Are Komputer’ was their own ‘The Robots’, while there was also the tribute to the first female Cosmonaut ‘Valentina Tereshkova’ which mined ‘The Model’.
The concept of PEACH was ‘ABBA meets THE KLF’. Released in September 1997, ‘Audiopeach’ is one of those albums that has been lost in the midst of ‘Cool Britannia’. The album’s reputation was based on the participation of its two instrumentalists Pascal Gabriel and Paul Statham. Completing PEACH’s line-up was singer Lisa Lamb. The album’s launch single ‘On My Own’ was classic pop for the modern era with Lamb’s vocal delivery akin to Belinda Carlisle going electro.
While LADYTRON were using their Korg MS20s making sinewaves in a more pop oriented setting, ADD N To (X) took their MS series synths into more obscure, experimental territory. ‘Add Insult To Injury’ had one half written / performed by Ann Shenton and Steve Claydon, while the other was written / performed by Barry 7. The wonderful robotic sexual tension of ‘Plug Me In’ and the creepy noise fest of ‘Hit For Cheese’ were highlights.
‘Felt Mountain’ was a superb introduction to the then electro Weimar Cabaret cinematics of Alison Goldfrapp and Will Gregory. Beginning with the superb ‘Lovely Head’ with its spine tingling whistle and MS20 assisted banshee wails, the album thrilled with Morricone style widescreen inflections to accompany an ascent to the Matterhorn rather than a trek through a Spaghetti Western. ‘Felt Mountain’ was a slow burner that was nominated for the Mercury Music Prize.
VINCENT CLARKE & MARTYN WARE Spectrum Pursuit Vehicle (2001)
‘Spectrum Pursuit Vehicle’ was composed as part of an installation where the colours referred to in the titles of the six lengthy pieces were ‘programmed to cross fade imperceptibly to create an infinite variation of hue’ in a white clothed room. Tracks like ‘White – You Are In Heaven’, ‘Yellow – You Are On A Beach’, ‘Blue – You Are Underwater’ and’ Green – You Are In A Forest’ were all utilised to full effect with a binaural 3D mixing technique best heard using headphones.
In 2002, DUBSTAR’s Sarah Blackwood was recruited to front synthpop duo TECHNIQUE by Kate Holmes. In Leipzig supporting DEPECHE MODE, they became CLIENT and were mysteriously referred to as Client A and Client B in a ‘1984’ inspired Orwellian twist. Signed to Mute via Andy Fletcher’s Toast Hawaii imprint, they announced “Client… satisfaction guaranteed… innovate never imitate… we aim to please… at your service” before a “F*** OFF! DON’T TOUCH ME THERE!”
His solo debut ‘Paper Monsters’ was a disappointment, but Dave Gahan was still finding his feet as a songwriter, becoming more realised on ‘Playing The Angel’. ‘Hourglass’ was better and ‘Kingdom’ could have made a great DM recording. But in the same way that Mick Jagger’s 1984 Nile Rodgers produced solo debut LP having very few takers meant that the ROLLING STONES would continue ad infinitum, would DEPECHE MODE still be going if Mr Gahan’s solo career had taken off?
While Mute continues to diversify, the more esoteric pop aspirations of Mute’s synthetic roster continues. MAPS is the vehicle of James Chapman; with a more expansive electronic template, his third album ‘Vicissitude’ was a selection of very personal songs with a strong melodic backbone. Unafraid to let the instrumental synth elements take a role in the overall aesthetic, tracks like ‘AMA’ and ‘You Will Find a Way’ put MAPS into the same league as M83 and EAST INDIA YOUTH.
Polly Scattergood signalled the more electronic journey of her second album ‘Arrows’ with the marvellous electro-COCTEAU TWINS twist of ‘Wanderlust’. While there were still signs of her folkier roots, synthetic textures and technological trickery were very much part of the action. The sad but driving pop of ‘Falling’ and ‘Subsequently Lost’ attracted empathy with Polly World, while the highly emotive ‘Miss You’ and the dreamy ‘Cocoon’ displayed her vulnerability.
Although the label is now owned by the Universal Music Group, its colourful history is forever associated with the championing of new and unconventional music forms during its fledgling years. Virgin founder Richard Branson started his empire in 1970 with nothing more than a mail order outlet, selling discounted records.
The name Virgin came from the fact that Branson and his team of directors were all new to business. There then came a small record shop in London’s Oxford Street a year later. Not not long after, a residential recording complex in an Oxfordshire mansion which became the now-famous Manor Studios was established. Further shops opened so with the success of the retail arm and studio, a record label was launched in 1973.
Recognising he had no real working knowledge of music, Branson appointed his second cousin Simon Draper (who had been Virgin’s buyer) as Managing Director to seek out new talent for the new A&R led company. Beginning with Mike Oldfield’s ‘Tubular Bells’ and the catalogue number V2001, progressive acts such as GONG along with cosmic Germans FAUST and TANGERINE DREAM soon followed, all with varying degrees of success.
But with the advent of punk and keen to shake off its hippy image, Virgin gained notoriety by signing THE SEX PISTOLS in 1977 and releasing ‘God Save The Queen’ in the process. The label courted further controversy when they issued the album ‘Never Mind The Bollocks, Here’s The Sex Pistols’ to great fanfare. Virgin ended up in the dock under the 1899 Indecent Advertising Act over a poster in their Nottingham record shop.
But Branson and defending QC John Mortimer had an ace up their sleeve; Reverend James Kingsley, a professor of English Studies at Nottingham University was called as a witness. Under questioning, Kingsley was asked for the derivation of the word “bollocks”. Apparently, it was used in the 19th century as a nickname for clergymen who were known to talk rubbish and the word later developed into meaning “of nonsense”.
Wearing his clerical collar in court, Kingsley confirmed: “They became known for talking a great deal of bollocks, just as old balls or baloney also come to mean testicles, so it has twin uses in the dictionary”. The case was thrown out by the judge… after that, the label reinvented itself as a centre of post-punk and new wave creativity, signing bands such as THE RUTS, XTC, PUBLIC IMAGE LIMITED, MAGAZINE, THE SKIDS, DEVO and PENETRATION.
When David Bowie declared THE HUMAN LEAGUE as “the future of pop music” after seeing them at the Nashville in 1978, Virgin Records were quick to snap them up. Meanwhile, OMD were initially signed to Virgin’s Factory styled subsidiary Dindisc Records under the directorship of Carol Wilson; but their success had been an embarrassment to Richard Branson, particularly in 1980 when following the international success of ‘Enola Gay’, OMD had outsold every act in the parent group!
Despite massive sales of ‘Architecture & Morality’ in 1981, Dindisc ran into difficulties and was closed by Branson with OMD gleefully absorbed into the Virgin fold. The label threw in its lot with the synthesizer revolution and gave homes to SPARKS, JAPAN, SIMPLE MINDS, HEAVEN 17 and CHINA CRISIS as well as more conventional acts of the period such as Phil Collins and Bryan Ferry.
In 1982, on the back of ‘Don’t You Want Me?’ having been a No 1 in the UK and USA, Virgin had made a profit of £2 million but by 1983, this had leaped to £11 million, largely attributed by the worldwide success of CULTURE CLUB. Virgin Records was sold by Branson to Thorn EMI in 1992 reportedly for around £560 million to fund Virgin Atlantic Airways.
Under new management, the label became less visionary and more corporate with SPICE GIRLS and THE ROLLING STONES, along with Lenny Kravitz, Meat Loaf and Janet Jackson being examples of the brand’s continued global success, while many of the innovative acts who had helped build the label were surplus to requirements. Despite this, Virgin Records still maintains a tremendous back catalogue.
Over the years, Virgin Records have been in the fortunate position of having a critically acclaimed act on its roster at each key stage of electronic music’s development and its electronic legacy continues today with the recent signing of Glaswegian synth trio CHVRCHES.
So here are twenty albums from the iconic label which ELECTRICITYCLUB.CO.UK considers significant in the development of electronic music. Restricted to one album per artist moniker and featuring only UK releases initially issued on or licensed to the Virgin label, they are presented in chronological order…
TANGERINE DREAM Rubycon (1975)
‘Phaedra’ may have been the breakthrough but ‘Rubycon’ consolidated TANGERINE DREAM’s position as leaders in the field of meditative electronic music. Featuring the classic line-up of Edgar Froese, Peter Baumann and Chris Franke, the hypnotic noodles of VCS3 and Moogs dominated proceedings while Mellotrons and organic lines added to the trancey impressionism with the trio sounding like they were trapped inside a transistor radio.
Guitarist Manuel Göttsching had been a member of ASH RA TEMPEL but looking to explore more progressive voxless territory on ‘New Age Of Earth’, he armed himself with an Eko Rhythm Computer, ARP Odyssey and his signature Farfisa Synthorchestra. An exponent of a more transient soloing style, he used the guitar for texture as much as for melody in this beautiful treasure trove of an album, as on the wonderful 20 minute ‘Nightdust’
Already an established member of the Virgin family as a member of GONG, solo artist and in-house producer, Hillage had a love of German experimental music and ventured into ambient with long standing partner Miquette Giraudy. Recorded for the Rainbow Dome at the ‘Festival for Mind-Body-Spirit’ at Olympia, these two lengthy Moog and ARP assisted tracks each had a beautifully spacey vibe to induce total relaxation.
Following the success of ‘I Feel Love’, its producer Giorgio Moroder teamed with SPARKS. The resultant album saw Russell Mael’s flamboyant falsetto fitting well with the electronic disco template. ‘The No1 Song In Heaven’ hit the UK charts before TUBEWAY ARMY’s ‘Are Friends Electric?’ while ‘Beat The Clock’ actually got into the Top 10 but the album itself was overshadowed by the success of Gary Numan.
“I want to be a machine” snarled John Foxx on the eponymous ULTRAVOX! debut and after he left the band in 1979, he virtually went the full electronic hog with the JG Ballard inspired ‘Metamatic’. ‘Underpass’ and ‘No-One Driving’ were surprising hit singles that underlined the dystopian nature of Foxx’s mindset while the fabulous ‘A New Kind Of Man’, the deviant ‘He’s A Liquid’ and stark opener ‘Plaza’ were pure unadulterated Sci-Fi.
Dropped by Ariola Hansa despite their third album ‘Quiet Life’ being palatable with the emerging New Romantic scene, JAPAN found a refuge at Virgin. ‘Swing’ succeeded in out Roxy-ing ROXY MUSIC while the haunting ‘Nightporter’ was the ultimate Erik Satie tribute. An interest in Japanese technopop saw Sylvian collaborate with YMO’s Ryuichi Sakamoto on the splendid closer ‘Taking Islands In Africa’.
BRITISH ELECTRIC FOUNDATION Music For Stowaways (1981)
When they left THE HUMAN LEAGUE in Autumn 1980, Martyn Ware and Ian Craig Marsh formed BEF, releasing ‘Music For Stowaways’, an instrumental album only available on cassette to accessorise Sony’s brand new Stowaway portable tape player. However, the name of the new device was changed to Walkman! With economic recession decimating the industrial heartland of Sheffield and the spectre of imminent nuclear holocaust, the chilling ambience on ‘The Decline Of The West’, the futurist horror of ’Music To Kill Your Parents By’ and the doomy fallout of ‘Uptown Apocalypse’ certainly connected with the album’s concept of a walking soundtrack.
After ‘Reproduction’ and ‘Travelogue’ failed to set the world alight, manager Bob Last played a game of divide and rule on the original line-up. Vocalist Philip Oakey and Director of Visuals Adrian Wright would recruit Ian Burden, Jo Callis, Susanne Sulley and Joanne Catherall to record the now classic ‘Dare’ album under the auspices of producer Martin Rushent sounding ike KRAFTWERK meeting ABBA, especially on ‘Darkness’ and ‘Don’t You Want Me’.
HEAVEN 17’s debut ‘Penthouse & Pavement’ combined electronic pop and disco while adding witty sociopolitical commentary about yuppie aspiration and mutually assured destruction. The ‘Pavement’ side was a showcase of hybrid funk driven by the Linn Drum and embellished by the guitar and bass of John Wilson while the ‘Penthouse’ side was more like an extension of THE HUMAN LEAGUE’s ‘Travelogue’.
“You want to be with Virgin so bad that you’ll sign anyway” said Richard Branson to SIMPLE MINDS; signing after the promise of US tour support, the band lost their intensity and recorded a great album filled with pretty synthesized melodies, textural guitar and driving lead bass runs. Big titles like ‘Someone Somewhere In Summertime’, ‘Colours Fly & Catherine Wheel’ and ‘Hunter & The Hunted’ made investigation essential.
By 1982, DEVO had become much more of a synth based act with programmed percussion to boot. Their sound moved away from the guitar dominated art rock of their Eno produced debut ‘Q: Are We Not Men? A: We Are Devo!’ As quirky as ever, the album’s concept was a response to criticism from the press about their imagery… thus they asked temselves “what would an album by fascist clowns sound like?”
OMD’s first album for Virgin after the demise of Dindisc, ‘Dazzle Ships’ was a brave sonic exploration of Cold War tensions and economic corruption. Although it featured some of the band’s best work like ‘The Romance Of The Telescope’, ‘International’ and ‘Radio Waves’, ‘Dazzle Ships’ sold poorly on its inital release. The band were never the same again, but this fractured nautical journey has since been vindicated as an experimental landmark.
RYUICHI SAKAMOTO Merry Christmas Mr Lawrence (1983)
Being the best looking member of YELLOW MAGIC ORCHESTRA, it was almost inevitable that Sakamoto San would turn to acting. His first role was alongside David Bowie in ‘Merry Christmas Mr Lawrence’ and with it came his soundtrack. The main title theme resonated with emotion and traditional melody while the drama of ‘The Seed & the Sower’ was also a highlight. A chilling synthesized rendition of the hymn ‘23rd Psalm’ sung by the cast brought a tear to the eye!
CHINA CRISIS Working With Fire & Steel – Possible Pop Songs Volume 2 (1983)
Produced by Mike Howlett, ‘Working With Fire & Steel’ allowed CHINA CRISIS to deliver a more cohesive album following the four producers who steered their debut. Best known for the brilliant Emulator laced hit single ‘Wishful Thinking’, the album is much more than that with melancholic synth melodies and woodwind counterpoints over a combination of real and programmed rhythm sections.
By 1984, Sylvian had a lucrative solo deal that gave him total artistic control. Side one of his debut solo offering opened with echoes of JAPAN in the funky ‘Pulling Punches’ but then adopted more of a laid back jazz feel. Meanwhile the second side had synthetic Fourth World overtones with avant garde trumpetist Jon Hassell and sound painter Holger Czukay as willing conspirators, and the emotive ‘Weathered Wall’.
With new music technology come new compositional concepts so when CD was launched, Brian Eno asked: “what can be done now that could not be done before?”. ‘Thursday Afternoon’ was a 61 minute ambient journey and the lack of surface noise meant it could be very quiet. Using a Yamaha DX7 and minimal sustained piano, it soundtracked video paintings of the model Christine Alicino in vertical portrait format, so the TV had to be turned on its side to view it!
PHILIP OAKEY & GIORGIO MORODER Philip Oakey & Giorgio Moroder (1985)
‘Together in Electric Dreams’ did better than any singles from THE HUMAN LEAGUE’s lukewarm ‘Hysteria’ album. So Virgin swiftly dispatched Oakey to record an album with Moroder. The segued first side was a total delight from the off, featuring the rousing ‘Why Must The Show Go On?’ while the Donna Summer aping ‘Brand New Love (Take A Chance)’ was another highlight, as was the stupendous ‘Now’ on side two.
Whenever THE BLUE NILE are mentioned, it’s their 1983 album ‘A Walk Across The Rooftops’ that is always discussed in breathless awe. But the follow-up ‘Hats’ is the trio’s crowning glory. Both licensed to Virgin through a deal with Linn, the high quality Hi-Fi manufacturer. With hopeless romanticism and rainy drama, the glorious centrepieces were ‘Headlights On The Parade’ and ‘The Downtown Lights’.
THE FUTURE SOUND OF LONDON became flag bearers of avant garde electronic music and seen as successors to TANGERINE DREAM and Eno. Signing to Virgin in 1992, the duo invested in some Akai S9000 samplers and given free rein to experiment in their sonic playground, resulting in the complex sweeps and downtempo collages of ‘Lifeforms’ with the influence of the BBC Radiophonic Workshop looming heavy in the sonic playground.
Despite relations being at an all-time low, MASSIVE ATTACK produced some of their finest work on ‘Mezzanine’. With dark undercurrents and eerie atmospherics, the sample heavy album’s highpoints featured the vocals of Elizabeth Fraser on the hit single ‘Teardrop’ and the spy drama magnificence of ‘Black Milk’, although the band were sued for the unauthorised use of MANFRED MANN’S EARTH BAND’s ‘Tribute’ on the latter
Frank Tovey – otherwise and more famously known as FAD GADGET – was one of the nearly acts in the rise of synthesiser music.
Whilst his releases garnered much in the way of media attention, the magic translation to commercial success which happened for a number of his electronic peers, eluded him.
And yet, at the same time, FAD GADGET was one of the most influential acts from the post-punk scene. Despite his lack of chart success, FAD GADGET was a precursor and inspiration to the synthpop, EBM, industrial, and techno scenes that followed later in the decade, and most notably a significant influence on DEPECHE MODE.
April 2012 marks the 10th anniversary of the death of Frank Tovey, and also the forthcoming release of a retrospective collection of his best work, so what better time to take a look back at the life of one on Britain’s less feted synth pioneers? Certainly we can think of none more deserving of greater attention.
Francis John Tovey, the man behind the FAD GADGET persona, was born in East London on 8th September 1956.
His father had a shellfish shop in Bow where the young Frank would work on Saturdays to earn his pocket money. He saved up to buy his first musical instruments, a flute, a violin, and an electric piano, but his early forays into music were none too successful, he himself saying in an interview with The Face in 1980 that “As soon as I’d learnt three notes, I’d get bored and give them up”. Frank’s early exposure to the likes of T-REX, DAVID BOWIE, LOU REED and IGGY POP led him – and countless others – to join a few bands, but he soon became frustrated with what he saw as his lack of musical ability and failure to master any musical instrument.
He went to St Martin’s College of Art in 1974 and, subsequently, enrolled at Leeds Polytechnic. He developed an interest in performance art, apparently the only student in his year to specialise in performance, becoming heavily interested in mime in a way only a post punk artist could without laughing!
One fellow student was Marc Almond, soon to be of SOFT CELL: “I remember Frank fondly from our days at Leeds Poly in the late 70’s, as being both a friend and an inspiration. I always felt we were kindred spirits. We were inspired by similar things, came from much the same world and were in many ways, even then, outsiders. Frank brought all he had learnt from the legendary Lindsey Kemp into the classes and I was eager to learn from him”.
After graduating in 1978 Frank returned to London where he took up a series of dead-end jobs to support himself as he developed his interests in performance art.
Initially he wanted to make music to accompany his mime, so bought a humble set up: a tape recorder, a small Korg drum machine, and an electronic piano, and set them up in a cupboard in the house he was sharing with his girlfriend and some others.
This cupboard was the site of his first demos, including early versions FAD GADGET’s first single and B-side, ‘Back To Nature’ and ‘The Box’, the latter inspired by the claustrophobic atmosphere of recording in the airless dark space of the cupboard.
Frank’s housemate Edwin Pouncey was friends with Daniel Miller, who had just recorded and released as THE NORMAL, the single ‘TVOD’ / ‘Warm Leatherette’ on his own label, Mute Records. Although apparently Miller had no plans to become a proper label or release any other records, he was persuaded by Pouncey to listen to Frank’s demo tape and to meet with him.
Frank recalls how he was initially due to meet with Miller at a gig of THE MONOCHROME SET, but due to an unfortunate set of circumstances involving too much beer and THE MONOCHROME SET drum kit, the meeting didn’t take place until later at Rough Trade’s offices. Miller was apparently blown away by Frank’s demo tape and immediately offered to release a single. Frank chose to release it under the name FAD GADGET, later saying in an interview in 1982 with Paul Morley that it was intended to sound throwaway, disposable.
And so in September 1979, the ‘Back to Nature’ single was released, and became an underground classic, being played in the same kind of clubs as contemporaries such as THE HUMAN LEAGUE, THROBBING GRISTLE, CABARET VOLTAIRE, JOHN FOXX and GARY NUMAN (the latter having already had chart success with TUBEWAY ARMY and the single ‘Are Friends Electric?’ – it was around this time that FAD GADGET began performing live. Early gigs were apparently not entirely successful, Frank himself saying in an interview that he remembered one early gig at a holiday camp in Bognor supporting THE MONOCHROME SET (yes them again) where he performed to an audience of three.
However, the FAD GADGET stage persona was honed at these early gigs; later gigs would feature Frank stripping himself naked and covering himself in shaving cream to accompany his song ‘Ladyshave’, or showering the front rows of the audience with his own torn-out pubic hair. He also began to use implements like electric drills in his performance, to the great pleasure of his father, who allegedly would tell his friends that his drill was featured in Frank’s music!.
Notably, one early audience member was Dave Gahan of DEPECHE MODE, who of course would go on to become label mates and notably support FAD GADGET in one of their own early gigs at the Bridgehouse in Canning Town. Furthermore, of course, some of FAD GADGET’s last gigs before Frank’s death were supporting DEPECHE MODE on their ‘Exciter’ tour.
Frank went on to record and release the second FAD GADGET single, ‘Ricky’s Hand’ in March 1980, a cautionary tale about a drunk driver who crashes and maims himself, (featuring the strains of Frank’s father’s electric drill), followed by a third single ‘Fireside Favourite’ and the first album ‘Fireside Favourites’ in September 1980. This proved to be an independent chart hit and Tovey toured Europe and the United States before returning to record a follow up album, ‘Incontinent’, the title and the lyrical content referring to his experiences in, and observations of, the USA.
The cover features a particularly memorable photograph of Frank dressed as the children’s puppet show anti-hero Mr Punch, a figure that had apparently entranced him as a child and that he felt fitted the brutal nature of the times and of his observations of American culture. Also for this album, Frank began to incorporate real musical instruments and rely less heavily on found sound and synthesis. To promote the album, FAD GADGET went on tour across the UK supporting the then-massive TOYAH, and released a series of singles, again garnering favourable press coverage, but again also failing to trouble the mainstream top 40.
Despite, or perhaps because of this, Frank went on to record a third FAD GADGET album, ‘Under the Flag’, at Blackwing Studios in London, featuring YAZOO’s Alison Moyet guesting on the single ‘For Whom the Bells Toll’. The FAD GADGET stage persona began to unravel around this time, Frank injuring himself in some way at practically every gig, culminating in a stage dive in Amsterdam in which he snapped tendons in both ankles.
The lyrics for the ‘Under The Flag’ album were written around the time of the Falklands conflict and were influenced by the reporting of the time, and also, by the recession and social fragmentation evident in Thatcher’s Britain. Frank returned to a more electronic sound on this album, heavily using the then new Roland MC4 Microcomposer sequencer.
Positive reviews of the album and accompanying first single ‘Life On The Line’ led to an appearance on the newly-launched Channel Four and a slot supporting DEPECHE MODE at their Christmas show on 23rd December 1982. Frank and his band then embarked on a quite extensive tour.
1983 was a relatively quiet year for Frank, with just the single ‘I Discover Love’ being released, once again Frank showing a change of sound back to the more acoustic, electronics being eschewed in favour of piano. However, at the end of the year he, like many British artists before him, made a creative and psychologically significant move to Berlin to record his next album at Hansa Tonstudio, then recent home to DEPECHE MODE who had successfully mixed the ‘Construction Time Again’ album and recorded ‘Some Great Reward’ there.
The first single ‘Collapsing New People’ had a title referencing, and featured percussion from, German Industrial pioneers EINSTURZENDE NEUBAUTEN who were recording at Hansa at the same time. February 1984 saw the release of the last FAD GADGET album, ‘Gag’, the cover featuring an Anton Corbijn photograph of a tarred and feathered Tovey.
Once again the sound was a mesh between the synthetic and the more organic, once again the reviews were, on the whole, positive, and once again, commercial success failed to materialise for FAD GADGET.
Following a couple of single releases, Frank decided to retire the name and continue to record under his own name. The ensuing period of ‘Frank Tovey’ releases is either seen by his fans as his best, or an irrelevance. Certainly, it is a world away from the icy groove of his earlier releases, embracing even acoustic folk. For the purposes of the FAD GADGET story, we skip forward to the Millenium’s beginning – the year 2000. Frank, who had at that time been producing a band called TEMPLE X, was persuaded to perform a one-off gig as FAD GADGET with TEMPLE X being his backing band.
The gig at London’s Elektrowerkz was attended by some of the members of DEPECHE MODE, who talked him into supporting them on the European leg of their Exciter tour, playing in front of and being well received by arena crowds for the first time ever, one gig of which we were lucky enough to have attended.
The success of the support slot for the Mode led Frank to rekindle his interest. A ‘Best Of’ collection was released and Frank was back writing and beginning to record what would have been new FAD GADGET material. However, the story has an unhappy end as, on 3rd April 2002, Frank died suddenly of a heart attack at the young age of 45, having suffered from chronic heart problems since childhood.
Mortality had never been far from the mind of Tovey, and in fact his on-stage entropic character tapped and communicated that frailty, those anxieties. Tovey’s creativity was far from exhausted or fully realised, and he was certainly taken from the world criminally early.
Remembering and respecting the subversive genius of FAD GADGET.
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In the wider context of the development of electronic music, the place of Keith Emerson is an interesting one.
One of the outcomes of the punk era was that it coincided with the availability of affordable, commercial sounding monosynths – these were soon used (often) in a primitive one-finger manner that eventually brought electronic music to the masses.
Although at this point, rock bands with keyboard players were commonplace (eg GENESIS and DEEP PURPLE), the guitar still very much dominated proceedings and what made ELP (and latterly YES) eventually stand out was the use of keyboards as a prominent instrument rather than a texture to underlay the guitar player(s) in the band. The approach of Emerson as the live showman also brought the keyboard player out of the limelight and his live antics (which included stabbing his Hammond organ with knives and riding it across the stage) have since gone down as the stuff of rock and roll legend.
The title track is a Prog Rocker’s dream, spilt into several movements; the opening section ‘Eruption’ sounding now like a frantic film soundtrack to an imaginary cop movie. But again it is the use of synths that underpin the piece that give it most interest and with slower sections like ‘Stones of Years’ alongside works by PINK FLOYD, it is clear how these pieces would ultimately go onto influences acts such as AIR and JOHN GRANT. The gliding synth that first made its appearance on the debut had now become Emerson’s trademark and the signature sound of the band.
To support these reissues, a more cautious introduction to ELP comes with the 3CD release of ‘The Anthology’
with its great ‘Low’ pitched title song opener on Fiction Records. But the duo were quickly dissatisfied with it, so they requested to end their deal and reworked a number of tracks for its subsequent 1982 re-release; this reissue campaign reinstates the original 1980 album.
in 1981.
album, featuring different versions of ‘Party Fears Two’ and ‘Club Country’, was a triumph. 
is released by Union Square / BMG as a 2CD digipak set and download
for a one-off independent single release in 1978. He needed a label name and chose ‘Mute’ after the button that came on the equipment that he had used as a film studies student.
which was issued as MUTE 002 in October 1979. A seminal work that was also critically acclaimed, it helped establish Mute’s credentials as a champion of electronic music.
by German band DEUTSCH AMERIKANISCHE FREUNDSCHAFT (DAF) in March 1980. Miller had signed them because “they weren’t relying on past rock”. The majority of STUMM 1 was recorded with the legendary 
. However the remaining trio of Andy Fletcher, Dave Gahan and Martin Gore recruited Alan Wilder, soldiered on and the rest is history. Meanwhile, the departed Vince Clarke went on to further success with YAZOO, THE ASSEMBLY and ERASURE.
will be out on 28th September 2015.
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in the process. The label courted further controversy when they issued the album ‘Never Mind The Bollocks, Here’s The Sex Pistols’ to great fanfare. Virgin ended up in the dock under the 1899 Indecent Advertising Act over a poster in their Nottingham record shop.
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being palatable with the emerging New Romantic scene, 
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is released by Mute Records
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