Category: Lists & Beginner’s Guides (Page 17 of 23)

25 FAVOURITE CLASSIC 12 INCH VERSIONS

5 October 2015 / electricityclub

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

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

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

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

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

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

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

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

SPARKS Beat The Clock – Long Version (1979)

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

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

http://allsparks.com/

DURAN DURAN Girls On Film – Night Version (1981)

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

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

http://www.duranduran.com/

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

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

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

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

SIMPLE MINDS The American – 12 inch Version (1981)

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

Available on the boxed set ‘X5’ via Virgin Records

http://www.simpleminds.com/

SOFT CELL Bedsitter – Early Morning Dance Side (1981)

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

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

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

SPANDAU BALLET The Freeze – Special Mix (1981)

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

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

http://www.spandauballet.com/

B-MOVIE Nowhere Girl – Version (1982)

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

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

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

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

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

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

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

NEW ORDER Temptation – 12 Inch Version (1982)

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

Available on the boxed set ‘Retro’ via Warner Music

http://www.neworder.com/

GARY NUMAN Music for Chameleons – Extended Version (1982)

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

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

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

VISAGE Night Train – Dance Mix (1982)

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

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

http://www.visage.cc/

BLANCMANGE Blind Vision – 12 Inch Version (1983)

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

Available on the album ‘Mange Tout’ via Edsel Records

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

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

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

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

http://www.deadoralive.net/

JOHN FOXX Endlessly – 12 Inch Version (1983)

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

Available on the boxed set ‘Metadelic’ via Edsel Records

http://www.metamatic.com/

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

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

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

http://www.heaven17.com/

FRANKIE GOES TO HOLLYWOOD Two Tribes – Annihilation (1984)

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

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

http://www.frankiesay.com/

KRAFTWERK Tour De France – Remix (1984)

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

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

http://www.kraftwerk.com/

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

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

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

http://www.giorgiomoroder.com/

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

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

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

http://spiritoftalktalk.com/

ULTRAVOX One Small Day – Special Remix Extra (1984)

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

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

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

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

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

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

http://a-ha.com/

PROPAGANDA Duel – Bitter Sweet (1985)

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

Available on the album ‘Outside World’ via Repertoire Records

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

OMD Forever Live & Die – Extended Mix (1986)

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

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

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

PET SHOP BOYS Suburbia – The Full Horror (1986)

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

Available on the album ‘Disco’ via EMI Records

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

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

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

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

http://www.depechemode.com/

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

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

21 September 2015 / electricityclub

With an identifiable post-modern aesthetic and idealistic ethos, Factory Records was one of the most iconic record labels that emerged post-punk.

Founded in 1978 by Granada TV presenter Tony Wilson and actor Alan Erasmus, noted record producer Martin Hannett and graphic designer Peter Saville were also part of the original directorship, along with JOY DIVISION manager Rob Gretton.

A respected television journalist, Wilson became more widely known for his TV series ‘So It Goes’ which featured acts such as BLONDIE, THE SEX PISTOLS and BUZZCOCKS, so was seen as a champion of new music.

The Factory name was first used for a club venture which showcased bands like THE DURUTTI COLUMN, CABARET VOLTAIRE and JOY DIVISION. All three featured on the label’s debut double EP release ‘A Factory Sample’. The combined run-out groove messages read: “EVERYTHING – IS REPAIRABLE – EVERYTHING – IS BROKEN”. The release was given the catalogue number FAC2, as FAC1 had been allocated to a poster designed by Peter Saville for the club.

FAC1 was famously not printed in time for the opening event but despite his reputation for not meeting deadlines, Saville’s style was to become a highly coveted and he was head-hunted in early 1980 to work for boutique Virgin subsidiary Dindisc Records who had signed OMD following their debut on Factory.

Factory Records was initially based in Alan Erasmus’ flat at 86 Palatine Road in Didsbury, Manchester. It was very much a home-based operation, with members of JOY DIVISION once being roped in to glue together the striking sandpaper sleeves for ‘The Return of THE DURUTTI COLUMN’… inspired by Situationist Guy Debord’s book ‘Mémoires’, the album was intended to destroy the records next to it but as Factory used wallpaper paste rather than glue, the sleeves later themselves fell apart!

Factory were known for their extravagant packaging, off-the-wall promotional gimmicks and in-jokes like the Menstrual Abacus (FAC8), Martin Hannett’s legal settlement (FAC61) and Rob Gretton’s dental work (FAC99). Pop magazine Smash Hits even joked that they would be doing a NEW ORDER poster magazine, but it would be baked inside a cake and made available only in the Channel Islands.

Factory’s first LP ‘Unknown Pleasures’ by JOY DIVISION was released in June 1979 to wide acclaim. But the success was later clouded by tragedy when their charismatic singer Ian Curtis took his own life in May 1980 prior to the release of the single ‘Love Will Tear Us Apart’ and second album ‘Closer’. With the future uncertain for Factory, hopes rested on A CERTAIN RATIO. Together with Alan Erasmus, Tony Wilson managed the doomy post-punk funk merchants, but the band polarised audiences.

JOY DIVISION’s remaining members Bernard Sumner, Peter Hook and Stephen Morris recruited Gillian Gilbert to become NEW ORDER. Although their sombre 1981 debut album ‘Movement’ was generally panned, the quartet reinvigorated themselves by taking an interest in the New York club scene. This led to Factory and NEW ORDER’s decision to open a nightclub in Manchester. Legend has it that Rob Gretton (himself a former DJ) wanted to have a place where he could “ogle women”.

The move infuriated Martin Hannett, who had wanted to purchase a recording studio with a Fairlight CMI, and threatened to wind-up the company. With the Factory catalogue number of FAC51, The Haçienda opened in May 1982 and was a loss making enterprise for the next five years.

Even when the advent of acid house in 1987 filled the club every weekend thereafter, the crowds’ preference for illegal Ecstasy and therefore water, rather than the licensed and more profitable alcohol meant that Factory’s cashflow was tenuous to say the least. Problems with the Inland Revenue, Police and local gangsters meant the writing was on the wall.

However, Factory still went ahead with a move out of Palatine Road into the rather expensive FAC251 building on Charles Street in September 1990. But a major UK property slump occurred soon after and was set to cripple the label even further. By the beginning of 1992, both HAPPY MONDAYS and NEW ORDER were over budget and late in delivering their respective new albums ‘Yes Please’ and ‘Republic’.

London Records entered negotiations to take over Factory, but the deal fell through when it was discovered the label did not actually own many of its master recordings. So Factory was left to collapse in November 1992, while NEW ORDER signed a separate deal with London. When asked by Q Magazine what he was getting with London that was different from Factory, Sumner sheepishly replied “PAID!” But Factory had never been a conventional A&R led company.

It had let OMD and JAMES leave for major deals, and passed on THE SMITHS, THE STONE ROSES and BLACK BOX. It was not very business minded either, with the elaborate die-cut packaging for NEW ORDER’s ‘Blue Monday’ initially costing more than the per unit net profit.

The label’s idealistic ethos meant commercially unviable acts like MINNY POPS and STOCKHOLM MONSTERS had a platform to release records, but it also meant there was seldom enough capital coming in, other than monies from sales of JOY DIVISION and NEW ORDER. However, much of that was being syphoned off to keep The Haçienda afloat which had its own troubles relating to drug dealing, police clampdowns and rival factions of gun-toting gangsters.

In ELECTRICITYCLUB.CO.UK’s view, while JOY DIVISION and NEW ORDER undoubtedly had a huge influence on music, Factory perhaps did not have a wider back catalogue that was as strong as Virgin or Mute. Smash Hits’ independent scene columnist Red Starr once said Factory’s artwork was often better than the records they contained.

But Factory’s visual presentation has made its presence felt in popular culture from Next to Givenchy, while other observers relished Tony Wilson’s cool credentials (to quote HAPPY MONDAYS’ Bez in the Factory Records edition of BBC2’s ‘Rock Famility Trees’) as “a Red on the quiet” and his undoubted ability to give a good quote. Sadly today, many of Factory’s major players like Wilson, Rob Gretton and Martin Hannett are no longer with us.

So via its great and not so good, using a restriction of one song per artist moniker, presented here is ELECTRICITYCLUB.CO.UK’s take on Factory Records’ arty, but chaotic adventure…

OMD Electricity (1979)

FAC6 was the first single released on Factory. Tony Wilson has often been credited with discovering OMD, but it is also said that he was largely oblivious to their charms. The instigation to release ‘Electricity’ on Factory came from his then-wife Lindsay Reade. According to her memoir ‘Mr Manchester and the Factory Girl’, the former Mrs Wilson reckoned that the decision to allow OMD to sign to Dindisc was a tit-for-tat response to spite her in their fractious marriage.

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

http://www.omd.uk.com

JOY DIVISION Decades (1980)

‘Atmosphere’ was JOY DIVISION’s greatest song, but was originally released on Sordide Sentimental rather than Factory as part of the ‘Licht Und Blindheit’ package. ‘Decades’ was the sonic cathedral that Martin Hannett had been striving for in the studio. With layers of ARP Omni processed through a Marshall Time Modulator and percussion enhanced through an AMS Digital Delay, it provided a solemn but beautiful Gothic backdrop for Ian Curtis’ elaborate musical suicide note.

Available on the JOY DIVISION album ‘Closer’ via London Records

http://joydivisionofficial.com/

A CERTAIN RATIO Shack Up (1980)

Originally issued on Factory’s Benelux arm which acted as an outlet for spare recordings by Factory bands, ‘Shack Up’ was a cover of a cult club favourite by BANBARRA and showcased A CERTAIN RATIO’s new funkier direction. Other subsequent exclusive releases via Factory Benelux included NEW ORDER’s superior 12 inch remix of ‘Everything’s Gone Green’ and the instrumental ‘Murder’. ‘Shack Up’ was given a more accessible ELECTRONIC makeover in 1994.

Available on the A CERTAIN RATIO album ‘Early: A Definitive Anthology Of ACR Recordings From 1978-85’ via Soul Jazz Records

https://www.acrmcr.com/

THE NAMES Night Shift (1981)

Led by Michel Sordinia, Belgian band THE NAMES were archetypical of the post-punk miserablism that Factory was signing in the wake of JOY DIVISION. Better than most of their contemporaries with the icy synth embellishing the cacophonic Martin Hannett produced soundtrack, ‘Nightshift’ was a promising release, although unlikely to crossover beyond alternative circles. Their debut album ‘Swimming’ came out on Les Disques du Crepuscule in 1982.

Available on THE NAMES album ‘Swimming’ via Factory Benelux

http://www.thenames.be/

NEW ORDER Your Silent Face (1983)

‘Your Silent Face’ was dubbed the “KRAFTWERK one”, the ultimate homage to their romantic ‘Trans-Europe Express’ era. With the replication of the Synthanorma sequence and Vako Orchestron strings from ‘Franz Schubert’ using a SCI Polysequencer and Emulator, this was the stand-out from NEW ORDER’s second album. The original artwork package featuring a cryptic colour alphabet code saw Peter Saville spell the title incorrectly as ‘Power, Corrruption & Lies’!

Available on the NEW ORDER album ‘Power, Corruption & Lies’ via London Records

http://www.neworder.com

CABARET VOLTAIRE Yashar (1983)

Returning to the Factory fold for a one-off interim release before moving on to their much lauded Some Bizzare / Virgin phase, ‘Yashar’ launched the more club friendly direction of CABARET VOLTAIRE. The single went down particularly well on the New York club scene. A track originally from their 1982 album ‘2X45’, it was extended and remixed to nearly eight minutes by John Robie who had worked with Arthur Baker on AFfrika Bamaataa’s ‘Planet Rock’.

Available on the compilation album ‘Of Factory New York’ (V/A) via Factory Benelux

https://www.facebook.com/CabaretVoltaireOfficial

SECTION 25 Looking From A Hilltop (1984)

In a change of direction where founder member Larry Cassidy stated “you can’t be a punk all your life”, Factory Records stalwarts SECTION 25 recruited vocalist Jenny Ross and keyboardist Angela Cassidy to go electro. Produced by Bernard Sumner and Donald Johnson, the clattering drum machine, accompanied by ominous synth lines and hypnotic sequenced modulations, dominated the mix of FAC108 to provide what was to become a much revered cult club classic.

Available on the album ‘From The Hip’ via Factory Benelux

http://www.section25.com

AD INFINITUM Telstar (1984)

This cover of ‘Telstar’ for FAC93 was rumoured to be NEW ORDER. This curio certainly had a number of distinct elements like the Hooky bass and the drum programming which recalled ‘Bizarre Love Triangle’. Peter Hook was indeed involved, as was Andy Connell who went on to form SWING OUT SISTER. Fronted by Lindsay Reade, her intended new lyrics for ‘Telstar’ were vetoed by The Joe Meek Estate, so a version with more abstract vocals was released instead.

Available on the compilation album ‘Fac Dance 02’ (V/A) via Strut Records

http://www.strut-records.com/Fac-Dance-2/

THE WAKE Talk About The Past (1984)

THE WAKE were what NEW ORDER would have continued to sound like had they not discovered the joys of the dancefloor. A dour Scottish four-piece who also had a female keyboard player Carolyn Allen, their music could be claustrophobic. ‘Talk About the Past’ however showed a brighter side with scratchy rhythm guitar, shiny synths, melodica flourishes and barely audible vocals. Featuring Vini Reilly of THE DURUTTI COLUMN on piano, FAC88 was their career highlight.

Available on THE WAKE album ‘Here Comes Everybody’ via Factory Benelux

http://factorybenelux.com/the_wake.html

MARCEL KING Reach For Love – New York Remix (1985)

Another Bernard Sumner’s production with Donald Johnson, ‘Reach For Love’ featured the late Marcel King, a member of vocal group SWEET SENSATION who won ‘New Faces’ and had a No1 with ‘Sad Sweet Dreamer’. A vibrant electro disco tune, HAPPY MONDAYS’ Shaun Ryder remarked that if this had been released on a label other than Factory, it would have been a hit! The beefier New York Remix was issued on a second 12 inch.

Available on the compilation album ‘Of Factory New York’ (V/A) via Factory Benelux

http://factorybenelux.com/of_factory_new_york_fbn55.html

SHARK VEGAS You Hurt Me (1986)

Mark Reeder was Factory Records’ German representative from 1978 to 1982. Reeder often sent records to Bernard Sumner from the emerging electronic club scenes around the world. His own Deutsche musical journey started with DIE UNBEKANNTEN, who mutated into SHARK VEGAS and delivered this Factory release. ‘You Hurt Me’ was produced by Sumner and characterised by the New York disco sequence programming that made NEW ORDER famous.

Available on the MARK REEDER album ‘Collaborator’ via Factory Benelux

http://www.5point1.org/

THE RAILWAY CHILDREN Brighter (1987)

Led by Gary Newby, THE RAILWAY CHILDREN showed promise by taking the more guitar driven aspects of NEW ORDER to the next level. Produced by ’Low-life’ engineer Michael Johnson, their second single ‘Brighter’ took a marimba sample and sequenced it as the backbone to a marvellous melodic number that could compete with THE SMITHS. However, despite releasing a full-length album on Factory, THE RAILWAY CHILDREN departed to Virgin Records.

Available on THE RAILWAY CHILDREN album ‘Reunion Wilderness’ via Ether

http://www.railwaychildren.co.uk/

THE DURUTTI COLUMN Otis (1988)

Having shown his atmospheric credentials with the beautiful ‘For Belgian Friends’ in 1980, the latest technology was perfect foil for the most Factory of the label’s artists Vini Reilly aka THE DURUTTI COLUMN. Finally convinced to stop singing, the instrumental ‘Vini Reilly’ album opened the musician’s texture palette with the dreamy ‘Otis’ being the pivotal track. Over a hypnotic sequence, samples of the late soul singer were flown in as Reilly improvised along on his six-string.

Available on THE DURUTTI COLUMN album ‘Vini Reilly’ via Kookydisc

http://www.thedurutticolumn.com

HAPPY MONDAYS WFL – Vince Clarke remix (1988)

With a name inspired by NEW ORDER’s ‘Blue Monday’, HAPPY MONDAYS would emerge as Factory’s other best-selling act although they began as something much more ordinary. But when they merged acid house with indie guitar rock, Shaun Ryder, Bez and Co would become flagbearers for the Ecstasy fuelled mini-movement known as ‘Baggy’ along with THE STONE ROSES. The Vince Clarke electronic remix of ‘Wrote For Luck’ from ‘Bummed’ aided the crossover process.

Available on the HAPPY MONDAYS album ‘Bummed’ via Rhino UK

http://www.happymondaysonline.com

ELECTRONIC Getting Away With It (1989)

Frustrated with the conflicts within NEW ORDER, Bernard Sumner planned a solo album. But on bumping into Johnny Marr who had just departed THE SMITHS, it became a collaborative project with the occasional guests. ELECTRONIC not just in name but also in nature, the first offering was the very PET SHOP BOYS-like ‘Getting Away With It’ featuring additional vocals and lyrics by Neil Tennant and a beautiful string arrangement by Anne Dudley.

Available on the ELECTRONIC album ‘Electronic’ via EMI Records

http://www.electronicband.com/

REVENGE Slave (1990)

The appropriately named REVENGE was Hooky’s response to ELECTRONIC but it was not well-received by the music press. A slightly messy track in its original album incarnation, the superior New York disco oriented single remix by Daddy-O also featured a surprise rap. It enhanced the song’s lyrical slant which with the well-documented joyless division between himself and Sumner, appears now to be a veiled attack on his bandmate. Hook’s project later morphed into MONACO.

Available on the REVENGE album ‘One True Passion V2.0’ via LTM Records

http://www.peterhook.co.uk

THE OTHER TWO Tasty Fish (1991)

Not to be left out of the NEW ORDER side project game, Gillian Gilbert and Stephen Morris formed the ironically named THE OTHER TWO. Amusingly titled after a Fish and Chip shop near Stockport, ‘Tasty Fish’ was a catchy electropop single with a confident vocal from Gilbert that should have been a hit. However, Factory was beginning to enter a state of turmoil by this point.

Available on THE OTHER TWO album ‘And You’ via LTM Records

http://theothertwo.co.uk/

CATH CARROLL Moves Like You (1991)

Previously a member of MIAOW, Cath Carroll was treated like a future star by Factory. Mixed by Martyn Phillips who had also worked with THE BELOVED, ‘Moves Like You’ was a fine example of the blissful house influenced pop of the period and could have been a major hit. With expensive studio and photo sessions lavished on her, she is often held up as a symbol of why Factory eventually collapsed.

Available on the CATH CARROLL album ‘England Made Me’ via LTM Records

http://www.ltmrecordings.com/cath_carroll.html

Dedicated to the memories of Larry Cassidy, Ian Curtis, Rob Gretton, Martin Hannett, Marcel King, Jenny Ross and Tony Wilson

Special thanks to James Nice at Factory Benelux

A varied selection of the Factory catalogue can be found on the 4CD box set ‘Factory Records: Communications 1978-92’ via Rhino Records

The DVD ‘Shadowplayers: Factory Records 1978-81’ directed by James Nice is released by LTM

http://factorybenelux.com/

http://www.factoryrecords.net/

http://factoryrecords.org/factory-records.php

http://cerysmaticfactory.info/index.php

Text by Chi Ming Lai
21st September 2015, updated 9th May 2020

A Beginner’s Guide To MARC ALMOND

26 August 2015 / electricityclub

Photo by Chi Ming Lai

Although electronic pop only forms a part of Marc Almond’s repertoire, he is forever associated with SOFT CELL’s recording of ‘Tainted Love’, possibly the first true crossover record from the Synth Britannia era.

A fan of Marc Bolan and David Bowie, Southport-born Almond started attending Leeds Polytechnic in 1979 to study Fine Art. One fellow student also on the course in the year above was Frank Tovey, soon to become FAD GADGET. Specialising in performance art, Almond met Dave Ball, a seasoned clubber who explored his artistic musings through the new medium of affordable synthesizers from Japan. Together, they formed SOFT CELL. Their first product was the self-released ‘Mutant Moments’ EP in 1980.

It came to the attention of DJ Stevo Pearce, who had been compiling futurist charts for the music papers Record Mirror and Sounds, which covered the new wave of home grown electronic music that had emerged after the success of Gary Numan. Stevo gathered a number of these acts for the independently produced ‘Some Bizzare Album’ compilation in 1981. SOFT CELL appeared alongside young hopefuls such as DEPECHE MODE, BLANCMANGE, B-MOVIE and THE THE. With DEPECHE MODE opting for Mute and BLANCMANGE eventually heading for London, Stevo signed B-MOVIE, THE THE and SOFT CELL to his Some Bizzare label and began courting the major record companies for a licencing arrangement.

Phonogram had been particularly desperate to sign B-MOVIE in order to compete and SPANDAU BALLET and DURAN DURAN. Legend has it that Stevo sent his demands to their A&R chief Roger Ames on a cassette carried by a teddy bear dressed as Robin Hood; it stipulated that SOFT CELL had to be part of the deal!

Photo by Poalo Di Paolo

Produced by Daniel Miller, SOFT CELL’s first recording for Phonogram was ‘Memorabilia’. While not a hit, it was critically acclaimed and become a cult club favourite. However, the encore of their live set was the one to capture the public’s imagination. A cover of ‘Tainted Love’, it reached No1 in the UK, Germany, Australia and Canada while also eventually entering the US Top 10.

Written by Ed Cobb, ‘Tainted Love’ was originally recorded by Gloria Jones and became a Wigan Casino favourite on the Northern Soul scene. As a fan of that scene, David Ball knew the song and took it into haunting electronic torch territory. Segued with a Motown cover ‘Where Did Our Love Go?’ on the extended version, it was to become one of Sire Records’ biggest selling 12 inch singles in America. But it was to be a double edged sword as the coupling of two covers made SOFT CELL minimal money, despite the record selling millions.

The follow-up ‘Bedsitter’ proved SOFT CELL could have a hit single with their own material. Amusingly after the release of the ‘Some Bizarre Album’, a disgruntled rival musician had poked fun at Almond and told him: “You couldn’t make a decent dance record if you tried”.

However, the disgruntled rival musician faded into obscurity and gig no-shows with his deluded combo, while ‘Bedsitter’ made it three decent dance records in a row for SOFT CELL following the club popularity of both ‘Memorabilia’ and ‘Tainted Love’. Thus began a run of hit singles that ensured Almond and Ball would be Top 40 chart fixtures for the next three years.

Almond though was looking at a life outside of SOFT CELL, so he formed MARC & THE MAMBAS. It set the tone for the artist that he would eventually become. Almond was certainly channelling his venom with aplomb, especially on delightful ditties like ‘Catch A Fallen Star’. However, it was an indication that Almond’s drug fuelled paranoia was getting to him… he later threatened a Record Mirror journalist Jim Reid while brandishing a whip, for the scribe’s slating of his Mambas opus and temporarily retired!

The pressure and criticism that came from the success of SOFT CELL was proving too much for Almond, as he went into a well-documented public meltdown. The duo turned into SUICIDE and strove to drive away what was left of their pop oriented audience. Those that remained would become The Gutter Hearts, Almond’s fan club who Boy George had generally described as “people who wear black and hate their parents”. The duo disbanded in Spring 1984 just as the third album ‘This Last Night in Sodom’ hit the shelves.

Almond’s first solo album ‘Vermin in Ermine’ released in late 1984 and embraced a classic European cabaret style with almost exclusively traditional instrumentation, often with dynamic orchestral arrangements. There was a one-off collaboration with BRONSKI BEAT in 1985 but continuing in the orchestrated vein, Almond unexpectedly hit No1 again in 1989 with ‘Something’s Gotten Hold Of My Heart’, a spirited cover with the late Gene Pitney. But despite the recognition as an artist in his own right, the spectre of SOFT CELL continued to haunt Almond.

“Synthesizers and the bands or artists that used them weren’t taken seriously at first especially by so-called serious music critics. They were ridiculed…” he remembered in a recent interview with Advocate. But with the success of Acid House and the rave scene, electronic music was now being re-evaluated.

So in 1991, Almond re-voiced a number of SOFT CELL’s best loved numbers for the ‘Memorabilia – The Singles’ collection. He also began collaborating again with Dave Ball, who was now having success with his new musical partner Richard Norris in the dance oriented combo THE GRID. The results ended up on 1991’s ‘Tenement Symphony’, possibly the most mainstream recording of Almond’s career.

The follow-up ‘Fantastic Star’ should have been the record to consolidate Almond’s position as a pop artiste. But instead, it got lost in record company politics; while Almond remains dissatisfied with the overall album, it did lead to him working with guitarist Neal X of SIGUE SIGUE SPUTNIK fame, who today continues to be his right hand man.

Looking back, SOFT CELL were probably ahead of their time. Between 1981 and 1982, they were actually a much stronger proposition than the fledgling DEPECHE MODE. Ultimately, the duo set the blueprint as the proto-PET SHOP BOYS. And although far grittier both musically and lyrically, they also smoothed the path for acts like ERASURE. Almond once said that for an artist to be “truly subversive”, they had to have “access to the mainstream” and subvert he did. So when Almond and Ball came back in 2001 for a full SOFT CELL reunion, there was a welcome acknowledgement of their ground breaking legacy.

In 1993, Almond toured Russia at the invitation of the British Consul and began of his love affair with the nation’s folk songs which continues to this day. But in October 2004, Almond was seriously injured in a motorbike accident near St Paul’s Cathedral, London.

He began a slow recovery but remained determined to get back on stage and into the studio. 2007 saw Almond return with ‘Stardom Road’, a covers album including songs made famous by Dusty, Sinatra and Bowie. The concept had largely been prompted by him being unable to write new material since his accident.

But in 2010, Almond released ‘Varieté’ his first studio album of self-written material since 2001. It was a move towards more vintage theatrics and paved the way for his future projects like ‘Pop’pea’ and ‘Ten Plagues – A Song Cycle’. Immersing himself in a variety of work since then, Almond recently re-entered the pop sphere with ‘The Velvet Trail’.

Meanwhile his current crowd-funded venture is an interpretation of Joris-Karl Huysman’s ‘À Rebours’, scored by Othon with lyrics by poet Jeremy Reed and set for release later this year.

So with such a vast and diverse career, what would a Beginner’s Guide to Marc Almond look like? Primarily focussing on his electronic, or at least, technologically assisted work and with a restriction of one song per album or project, here are ELECTRICITYCLUB.CO.UK’s 20 choices…

SOFT CELL The Girl With The Patent Leather Face (1981)

With Almond credited with “vocals/ effects / energetics”, ‘The Girl With The Patent Leather Face’ was one of the stand-outs from the ‘Some Bizzare Album’ showcase. Creepy and unsettling, Almond told the JG Ballard inspired story of a ”two-faced baby” who “tampers with machinery so other beauties crash their cars”. Ball’s gloriously out of tune Korg synths were a fine example of how electronics were maintaining Punk’s ethics of do-it-yourself minimalism.

Available on the compilation ‘Some Bizzare Album’ (V/A) via Some Bizzare Records

SOFT CELL Say Hello, Wave Goodbye (1981)

SOFT CELL’s fine debut album was recorded and mixed in the more liberal setting of New York. It captured the edginess of minimal synth arrangements while married to an actual tune. With a magnificent arrangement by Ball that allowed Almond to indulge in his Scott Walker aspirations, ‘Say Hello, Wave Goodbye’ is possibly SOFT CELL’s crowning achievement. Certainly, the line “We’re strangers meeting for the first time, OK?” has become one of the most memorable of the era…

Available on the SOFT CELL album ‘Non-Stop Erotic Cabaret’ via Phonogram Records

SOFT CELL Torch – 12 Inch Version (1982)

Punctuated by John Gatchell’s flugelhorn, ‘Torch’ came in the middle of SOFT CELL’s imperial pop phase and the eight minute version was a piece de resistance. By now, Almond and Ball had got heavily into MDMA while partying on the New York club scene. They were introduced to the drug by the singing dealer Cindy Ecstasy, who soon featured on several SOFT CELL recordings! In an amusing spoken middle section, her nonchalant off-key vocal counterpointed Almond’s fabulously forlorn romanticism.

Available on the SOFT CELL album ‘The Twelve Inch Singles’ via Phonogram Records

MARC & THE MAMBAS Untitled (1982)

The MARC & THE MAMBAS project had begun with a limited edition mail order only 12 inch release featuring ‘Sleaze’ and ‘Fun City’. With a revolving door cast of collaborators away from a traditional band format, it was rare that all the members of the collective would perform on the same recording. ‘Untitled’ was a co-write with THE THE’s Matt Johnson that had distinct European overtones. With its Roland TR808 backbone and melodic chorus, ‘Untitled’ could have easily been mistaken for a SOFT CELL song.

Available on the MARC & THE MAMBAS album ‘Untitled’ via Phonogram Records

SOFT CELL Forever The Same (1983)

John Gatchell returned, this time with his trumpet on ‘Forever The Same’ from the appropriately titled difficult second album ‘The Art Of Falling Apart’. However, Phonogram’s proposal for it to be a single release was vetoed for the less immediate ‘Numbers’. Not becoming the hit the label was hoping for, in a bid to hype it up the charts, the 12 inch was twinned with a free copy of ‘Tainted Love’. Dismayed, this incident set off an already edgy Almond and Stevo to trash the record company’s offices in a destructive rage!

Available on the SOFT CELL album ‘The Art Of Falling Apart’ via Phonogram Records

MARC & THE MAMBAS Torment (1983)

Co-written with SIOUXSIE & THE BANSHEES’ Steve Severin, the precise digital drum machine and eerie organ stabs of ‘Torment’ were offset by the gorgeous Bohemian string arrangements and the chromatic allure of Almond’s dramatic refrains. Co-produced by a young Flood, ‘Torment & Toreros’ had been an adventurous double album indulgence, but the tracklisting could have easily been streamlined into a more cohesive single long player.

Available on the MARC & THE MAMBAS album ‘Torment & Toreros’ via Phonogram Records

SOFT CELL Down In The Subway (1984)

If ‘The Art Of Falling Apart’ was SOFT CELL’s difficult second long player, ‘This Last Night In Sodom’ was an even more challenging proposition; the duo’s final hit in their first phase was this thundering percussive cover of ‘Down In The Subway’, an obscure Northern Soul song by Jack Hammer was, undoubtedly a metaphor for Almond’s mental breakdown.

Available on the SOFT CELL album ‘This Last Night In Sodom’ via Phonogram Records

MARC ALMOND Tenderness Is A Weakness (1984)

Adopting a back-to-basics approach as a reaction to SOFT CELL, Almond produced many fine songs in his trilogy of albums with THE WILLING SINGERS comprising of musicians who had been involved in ‘Torment & Toreros’. Free of the mechanical limitations of SOFT CELL, he was more melodramatic than ever before. Produced by Mike Hedges who worked with ASSOCIATES and SIOUXSIE & THE BANSHEES, ‘Tenderness Is A Weakness’ was a remarkably passionate song, regardless of genre.

Available on the MARC ALMOND album ‘Vermine In Ermine’ via Phonogram Records

MARC ALMOND These My Dreams Are Yours (1988)

While Almond was continuing on his path of orchestrated European cabaret torch songs, an electronic element was starting to creep back in, particularly in the club remixes of ‘Tears Run Rings’ and ‘Bittersweet’. A pulsating electronic bassline formed the backbone of the emotive ‘These My Dreams Are Yours’, a song which owed its existence to ‘No Regrets’, made famous by Scott Walker in 1976. Featuring the vocals of Victoria Wilson-James, this string laden drama showed Almond was opening up to technology again.

Available on the MARC ALMOND album ‘The Stars We Are’ via EMI Records

MARC ALMOND Madame La Luna (1990)

Produced by Bob Kraushaar who had worked with PROPAGANDA, ACT and PET SHOP BOYS, the success of the ‘The Stars We Are’ meant its follow-up ‘Enchanted’ was allowed a bigger recording budget by EMI. The ethos behind pop production in this CD age was “bigger is better” and the epic album opener ‘Madame De La Luna’ was a fine example of the marvellous fusion between the Fairlight CMI programmed by co-producer Gary Maughan and the cinematic orchestrations of Billy McGee.

Available on the MARC ALMOND album ‘Enchanted’ via EMI Records

MARC ALMOND Meet Me In My Dream (1991)

While ‘Tenement Symphony’ is best remembered for the mighty Trevor Horn produced covers ‘Jacky’ and ‘The Days Of Pearly Spencer’, it also hosted a writing reunion with Dave Ball. The magnificent ‘My Hand Over My Heart’ was given an epic reworking by Mr Horn and closed the collection. But starting the album was the more minimal, but no less emotive ‘Meet Me In My Dream’. A classic SOFT CELL song in all but name, it was a reminder of the undeniable magic that Ball and Almond together possessed.

Available on the MARC ALMOND album ‘Tenement Symphony’ via WEA Records

MARC ALMOND Brilliant Creatures (1996)

The original ‘Fantastic Star’ album sessions had seen Almond reunited with Mike Thorne who had produced SOFT CELL’s first two albums. But at Mercury Records behest, numerous other studio personnel were brought in. It also led to managerial strife which eventually ended his relationship with Stevo. Produced by Martyn Ware, who was fresh from steering ERASURE’s ‘I Say I Say I Say’ album, ‘Brilliant Creatures’ reflected the uptempo club friendly electronic pop of the times.

Available on the MARC ALMOND album ‘Fantastic Star’ via Mercury Records

MARC ALMOND & SIOUXSIE SIOUX Threat Of Love (1999)

Under new manager Vicki Wickham who had looked after Dusty Springfield, Almond signed to Echo Records in 1998, but almost straight away, record company politics intervened. The eventual album ‘Open All Night’ was issued on Almond’s own Blue Star label and a more downbeat electronic based excursion than he had previously attempted. A feisty trip-hop electro fusion with the Queen of Goth, ‘Threat Of Love’ was orchestrated with an amorous, but sinister Middle Eastern tone.

Available on the MARC ALMOND album ‘Open All Night’ via Blue Star

SYSTEM F featuring MARC ALMOND Soul On Soul (2001)

Ferry Corsten had a huge international hit in 1999 with ‘Out Of The Blue’ under his SYSTEM F moniker. It highlighted the spiritual connection between synthpop and trance. So substantiating the link further, the Rotterdam based producer recruited Almond to guest on the blinding ‘Soul On Soul’. It was a spirited, club friendly workout, with Almond giving an exuberant performance over the frantic dance beats and swirling arpeggios.

Available on the SYSTEM F album ‘Out Of The Blue’ via Tsunami Records

MARC ALMOND Glorious (2001)

Despite the parallel SOFT CELL reunion, Almond recorded another solo album ‘Stranger Things’. ‘Glorious’ was an appropriately titled electronic torch ballad that combined his unique vocal histrionics with a big sound production that had not been heard since his work with Trevor Horn for ‘Tenement Symphony’. Icelandic producer Jóhann Jóhannsson did a fine job with the song’s widescreen dynamics, adding some vintage ARP Odyssey textures along the way as well.

Available on the album ‘Stranger Things’ via Strike Force Entertainment / Cherry Red Records

SOFT CELL Desperate (2002)

Almond and Ball’s comeback album ‘Cruelty Without Beauty’ saw a return to the kitchen sink dramas that the pair were famous for. The launch single ‘Monoculture’ was an attack on modern society’s acceptance of the bland. And with ‘Desperate’, reality talent shows were where Almond chose to vent his spleen. Narrating the thoughts of a young hopeful seeking fame and fortune at whatever cost, with its Bond Theme styled brass inflections, ‘Desperate’ was a great example of the satirical social commentary.

Available on the SOFT CELL album ‘Cruelty Without Beauty’ via Cooking Vinyl

T-TOTAL featuring MARC ALMOND Baby’s On Fire (2005)

A danced up cover of Brian Eno’s cult favourite from ‘Here Come The Warm Jets’, Almond always saw himself as a fan of the ROXY MUSIC synth dandy, rather than the more suave singer Bryan Ferry. He relished the opportunity to cover one of his favourite songs and saw the collaborative adventure as a good way to ease himself back into the recording process after his accident in 2004. This reworking still retains much of the mad swirling spirit of the original, while updating the song for a new audience.

Available on the T-TOTAL featuring MARC ALMOND single ‘Baby’s On Fire’ via Pure Mint

STARCLUSTER featuring MARC ALMOND Smoke & Mirrors (2008)

Following his ‘Stardom Road’ covers project, Almond continued with his one-off collaborations. Maintaining his varied portfolio and willingness to try different styles, ‘Smoke & Mirrors’ was a Hi-NRG octave shifting dance anthem in the vein of Giorgio Moroder. Produced under the auspices of Anglo-German duo Roland Faber and Kai Ludeling, there was even a sweeping VANGELIS rooted synth solo thrown in for good measure towards the conclusion.

Available on the STARCLUSTER album ‘Silver City Ride’ via Private Records

MARC ALMOND Worship Me Now (2014)

With a buzzing cacophony of synths, ‘Worship Me Now’ was Almond’s most overtly electronic work in quite a while. Written by PULP’s Jarvis Cocker, it saw Almond having fun with interpreting the lyrics and sending himself up with the passion of his own classic torch songs. Apart from suggesting the female backing vocals, he had very little to do with the track other that sing, preferring to leave himself in the competent hands of producers Jason Buckle and Tris Penna.

Available on the MARC ALMOND album ‘The Dancing Marquis’ via Strike Force Entertainment / Cherry Red Records

MARC ALMOND Bad To Me (2015)

With the aftermath of his accident and acknowledged as a fine interpreter of other people’s songs, it was understandable that Almond was content with just being able to perform and record. But when producer Chris Braid heard Almond had say “the songwriting muse had all but left me”, he spun into action and sent Almond a number of songs that successfully re-inspired the tainted soul. ‘Bad To Me’ was a wonderfully glitzy, Schaffel stomper that announced Almond’s welcome return to the mainstream.

Available on the MARC ALMOND album ‘The Velvet Trail’ via Strike Force Entertainment / Cherry Red Records

For further information on Marc Almond, please visit: http://www.marcalmond.co.uk/

The limited edition cloth bound photo book ‘Marc Almond’ published by First Third is available from http://www.firstthirdbooks.com/books/marc-almond-2/

https://www.facebook.com/MarcAlmondOfficial

https://twitter.com/MarcAlmond

https://www.youtube.com/user/MarcAlmondOfficial/videos

Text by Chi Ming Lai
26th August 2015

A Beginner’s Guide To TANGERINE DREAM

15 August 2015 / electricityclub

If any artist is deserving of a Beginner’s Guide, then it’s Berlin’s finest TANGERINE DREAM.

With a back catalogue spanning over a hundred albums (and that’s not including compilations), without some guidance it would be a pretty daunting task knowing where to start.

Picking a wrong entry point could quite easily put one off from delving further and in TD’s case… this would be a shame as their electronic musical journey (which looked like it had sadly ended in January this year with the passing of founder member Edgar Froese) has so many classic tracks which have gone on to influence future artists.

Founded by Froese in 1967, the band metamorphosised, both musically and personnel-wise, throughout their career. The band’s early genesis featured lengthy kosmische and experimental musical workouts which were characterised by droning organ and Mellotron textures. Championed in the UK by John Peel, this period of the band is often referred to as ‘The Pink Years’ because of the pink ear featured on the Ohr label the albums were released on.

The adoption of the Moog sequencer in the early 70s by the band and subsequent championing of it by member Christopher Franke, plus the purchase of state of the art modular synthesizers helped transform the band’s sound from its early experimental and uncommercial nature.

The newer evolving material, although hardly radio-friendly, was more melodic, electronic and musical enough to catch the ear of Richard Branson, who would go on to sign the band to his fledgling Virgin label and start off ‘The Virgin Years’. Featuring Froese, Franke and Peter Baumann, the first of the ‘classic’ TD line-ups produced albums like ‘Phaedra’ and ‘Rubycon’ which defined the ‘Berlin School’ sound of hypnotic, sequencer-driven electronic music.

Baumann was later replaced by Johannes Schmoelling in December 1979 and was partly responsible for the band’s shift to an even more melodic phase which also saw them diversifying further into film soundtrack production.

It started a run of live and studio albums which have been cited as some of the strongest of their career. ‘The Blue Years’ phase eventually saw the departure of Schmoelling in 1985 with Paul Haslinger replacing him.

With the advances in synthesizer technology, the ‘Blue Years’ heralded a more digital and latterly New-Age-style sound for the band, eventually getting them signed to Jive Electro which released the live ‘Poland’ album, a double LP recorded behind the ‘Iron Curtain’ in sub-zero temperatures.

Even more line-up changes followed after Schmoelling left in Decmber 1985; at one point Edgar’s son Jerome joined the band, but with the integration of live saxophone, flute and percussion, TANGERINE DREAM drifted away from its more pure electronic roots and lost much of its fanbase along the way. The addition of respected synthesist Ulrich Schnauss at the end of 2014 promised a long awaited electronic renaissance.

But the unexpected passing of Froese meant that this line-up was tantalisingly short-lived. With only a handful of Australian dates last November showcasing an updated version of the band’s ‘Sorcerer’ soundtrack with this stripped down line-up, it provided a fleeting glimpse of what was slated to be the ‘Quantum Years’. In a surprise announcement on 6th April 2015, Edgar’s widow Bianca Acquaye announced that TANGERINE DREAM would continue with Schnauss, Thorsten Quaeschning and Hoshiko Yamane.

This Beginner’s Guide showcases both TANGERINE DREAM tracks and ones which feature ex-members. A couple of the tracks featured in the guide are live ones, although anything in the TD back catalogue which is categorised as such should be approached with caution as their live albums were often not really live at all.

Often comprising of concert parts interspliced with studio recordings or overdubs, the most infamous being the ‘Albuquerque, Mexico’ segment of the ‘LiveMiles’ album which was promoted as being a live recording; but a subsequent comparison with a fan’s bootleg revealed that the 30 minute track actually featured nothing that was actually played at the show!

The article aims to focus on the more commercial and melodic phases of the band’s career and strives to give an entry point into one of the electronic genre’s most prolific and important artists. Those that wish to delve further could either research forward or backwards in time with an act that, alongside artists such as JEAN-MICHEL JARRE and VANGELIS, has gone onto provide some of the most influential instrumental electronic music of all time.

TANGERINE DREAM Ricochet Part Two (1975)

Picking a track from TD’s mid 70s ‘purple patch’ is pretty difficult as there are plenty of seminal pieces to choose from, but the B-side of the Virgin live album release ‘Ricochet’ is certainly a landmark piece of electronica. ‘Ricochet Part Two’ (which was mainly sourced from a recording at Croydon’s Fairfield Halls), starts off with a beautiful and pastoral descending Edgar Froese piano figure before being joined by layers of Mellotron flute.

Then a teasing / repeating end section dies away to a hypnotic echoed sequencer part which still sounds incredible today, mainly down to the contrast with the opening of the piece. The intro is reprised later in the piece and the sound of the album signposted how purely electronic and more rhythmic the band would later become.

Available on the TANGERINE DREAM album ‘Ricochet’ via Virgin Records

TANGERINE DREAM Bent Cold Sidewalk (1978)

Of all the albums in TD’s back catalogue, ‘Cyclone’ alongside the latter ‘Tyger’ is generally considered the most Marmite by the band’s followers. This is down to the presence of vocals on both albums. The former work featured vocalist / flautist Steve Jolliffe alongside drummer Klaus Krieger who were drafted in following the departure of Peter Baumann. ‘Bent Cold Sidewalk’ contains many typical TANGERINE DREAM elements.

But the vocals, although effective in places, have the overall effect of dating the track to a time when Progressive Rock loomed large. The opening and closing sections of the song are pretty striking, lots of synthetic brass, rolling drum fills and Jolliffe’s surreal lyrical meanderings which although at times come a little too close to Blackadder’s Baldrick singing “See the little goblin…”. The middle section of the track which follows a more typical sequencer workout recalls Italian horror soundtrack specialists GOBLIN and could have easily been featured on the George Romero zombie classic ‘Dawn of the Dead’.

Available on the TANGERINE DREAM album ‘Cyclone’ via Virgin Records

TANGERINE DREAM Cloudburst Flight (1979)

Quite possibly the track which launched several TV holiday theme tunes, ‘Cloudburst Flight’ from ‘Force Majeure’ starts with a blissed out 12 string guitar part which instantly transports you to a sun-drenched beach somewhere (obviously not too many of those in Berlin!) – a simple pulsing 8 beat bass sequencer and cross-panned electronic percussion ramps up the energy level before a descending bassline and chordal synth provide the main theme to the piece.

A squealing Minimoog solo comes in next before the track winds down to a more sedate conclusion. It’s seven minutes length is certainly a lot more concise than many TD tracks from this era and there are also hints of PINK FLOYD too, elements of the track were re-worked for the track ‘Guido The Pimp’ from the ‘Risky Business’ soundtrack.

Available on the TANGERINE DREAM album ‘Force Majeure’ via Virgin Records

EDGAR FROESE Stuntman (1979)

Outside of TANGERINE DREAM, Froese was prolific as a solo artist too, releasing 8 albums including ‘Stuntman’ whose title track was released as a single on the Virgin label. His solo work is insightful in assessing his contributions to his ‘normal day job’ and gives a feel for the musical and compositional elements that Froese brought to TD. ‘Stuntman’ was an ultra-concise and direct track in comparison to much of his band’s work and the nearest to a Jarre style ‘anthemic’ synth piece.

Totally drum-less, but relying on an LFO filtered bassline to carry the piece, ‘Stuntman’ is wonderfully melodic with its Minimoog lead lines and underpinning Solina string textures making this a perfect entry point into Froese’s solo excursions.

Available on the EDGAR FROESE album ‘Stuntman’ via Virgin Records

TANGERINE DREAM Tangram Set One (1980)

Those familiar with much of TD’s earlier work wouldn’t be surprised with an album which featured only two tracks, but what makes ‘Tangram Set One’ interesting is that rather than being a lengthy and repetitive piece, it comes across as 7 shorter compositions linked almost in a minimix format. Side one of the album really showcases Johannes Schmoelling’s arrival with the band, the track moving through different phases, slow-building sequences at the start.

It truly lifts off at 3’27’ where several melodic driving sequencers converge in a quite stunning moment. The track quickly moves on through a quirky military-style break, a 6/8 part (complete with trademark Froese guitar solo) and then into a melodic Yamaha CP80 piano-based section before a percussive white noise-driven breakdown section, which surely went on to influence DEPECHE MODE’s ‘Oberkorn (It’s a Small Town)’, leads the album into an uplifting polysynth-led conclusion.

Available on the TANGERINE DREAM album ‘Tangram’ via Virgin Records

PETER BAUMANN Strangers in the Night (1983)

Peter Baumann left the band a couple of times, but in 1977 the split was to become permanent. An initial TD sounding / KRAFTWERK influenced solo album ‘Romance ’76’ was released while he still featured in the line-up and this was followed by ‘Trans-harmonic Nights’. This sonically / synthetically helped set the musical template for the first DEPECHE MODE and YAZOO albums with shorter more minimal synth tracks, but ultimately lacking the vocals which would eventually give both of those bands stellar success.

The next stage was an unexpected curveball, with Baumann trying to re-invent himself into a synthpop artist taking cues from Bowie, Numan and Foxx, although critically lacking the vocal talents to match his undeniably skilled synthesizer work. Baumann’s cover of ‘Strangers in the Night’ is a complete re-invention of the Frank Sinatra song to the point that the lyrics remain the only thing in common with the original. The synth work, production and accompanying promo video really timestamp the track, but musically, this version has aged pretty well, with all the sounds forming a template for much of today’s electronic pop.

Available on the PETER BAUMANN album ‘Strangers In The Night’ via Arista Records

TANGERINE DREAM Hyperborea (1983)

‘Hyperborea’ is an unusual album in the TANGERINE DREAM canon, as despite featuring the classic Froese / Franke / Schmoelling line-up, it doesn’t really sound like anything the act had produced previously. It was almost as if the band decided to throw out the rule book and this resulted in an album which had diverse, almost world-music influences in places. Even though the trademark driving sequencers were still present and correct, the patterns were somehow different…

The title track is the undeniable centrepiece of the album, a glorious two movement, pulse-slowing piece which mainly revolves around a simple descending rich resonant bass and a syncopated gated chordal synth part. A sparse kick and snare pattern ticks away in the background whilst musically the piece perfectly matches the album artwork of a giant glacier. According to Greek mythology, Hyperboreans were mythical people who lived in the far north where the sun shined for 24 hours a day, possibly suggesting an area in the Arctic Circle.

Available on the TANGERINE DREAM album ‘Hyperborea’ via Virgin Records

TANGERINE DREAM Love On A Real Train (1983)

The track which helped sealed TD’s Hollywood film soundtrack credentials is undeniably ‘Love On A Real Train’. Soundtracking Tom Cruise and Rebecca De Mornay’s passionate (and let’s face it, softcore porn-ish) encounter in ‘Risky Business’, it is hard to imagine dance acts like CHICANE and BT sounding the same without the influence that this piece surely had on them. The track itself is beautifully textured, with subtle layers of electric piano, breathy pads and an iconic descending sequencer part.

Subtle shakers and percussion help generate the travelling momentum of the piece while a cyclical bass mixes with the Steve Reich ‘Music for 18 Musicians’ – influenced sequencer elements. In what turned out to be the band’s final album for Virgin, the soundtrack itself actually only featured 15 minutes worth of TD music, the rest comprising of MOR acts such as JOURNEY, PHIL COLLINS and BOB SEGER.

Available on the ‘Risky Business’ OST (V/A) via Virgin Records

TANGERINE DREAM Warsaw In The Sun (1984)

If any criticism could be laid at a lot of mid-period TD work, it would be that much of the percussive / drum elements were often neglected in favour of the intricacy of the musical elements. The majority of the drum programming was pretty basic but functional, and this is not an accusation that can be aimed at this piece. ‘Warsaw In The Sun’ was one of the standout sections from the ‘Barbakane’ side of the ‘Poland’ live album and is hands down one of the most heavy hitting and melodic TD tracks.

Released as a single in two sections, the track has an ultra-memorable hook, with the single version having an alternative version and added Fairlight Orchestra 5 stabs for dramatic effect. The aforementioned kick and snare are almost like DEPECHE MODE in their power and fans of this track are highly recommended to invest in the ‘Poland’ album, which is consistently strong over its four 20+ minute pieces.

Available on the TANGERINE DREAM album ‘Poland’ via Jive Records

TANGERINE DREAM Charly The Kid (1984)

Where much of the era’s soundtrack work was lacking in subtlety, ‘Charly The Kid’ from the film adaptation of Stephen King’s ‘Firestarter’, shows a softer side to the band. Although the movie itself (like a lot of King films) was a bit of a howler, the soundtrack (the band’s fifth) is worth searching out. Although many of the music cues are short and don’t really work outside of the context of the film, ‘Charly The Kid’ with its electric piano and gentle pulsing sequencers works well as a standalone piece of music.

In typical film soundtrack mode, the theme from this track also crops up on three other pieces featured on the album: ‘Crystal Voice’, ‘Shop Territory’. Other TD soundtracks worthy of investigation are ‘Sorcerer’, ‘Thief’, ‘Flashpoint’ and the excellent Kathryn Bigelow vampire pic ‘Near Dark’.

Available on the TANGERINE DREAM album ‘Firestarter’ OST via Jive Records

KLAUS SCHULZE Freeze (1984)

Former TD drummer Klaus Schulze managed to carve out a successful solo career after leaving the band in 1970 and is still making music now, including some successful collaborative work with DEAD CAN DANCE vocalist Lisa Gerrard. Most of his early albums featured lengthy 20-30 minute pieces which were less melodic and more improvisational than the direction his former employers went on to follow.

‘Freeze’, a far shorter and more direct track was used alongside cuts from SHRIEKBACK and IRON BUTTERFLY to great effect in Michael Mann’s ‘Manhunter’. The film, which introduced the cinematic world to Hannibal Lecter (spelt ‘Lecktor’ in this version) was certainly enhanced by its cutting edge (at the time) soundtrack, and the icy Fairlight textures used here by Schulze worked perfectly in the story of the now iconic serial killer.

Available on the KLAUS SCHULZE album ‘Angst’ via Inteam

TANGERINE DREAM Song Of The Whale – Part One: From Dawn (1986)

The ‘Underwater Sunlight’ album is seen by many as one of the band’s last quality albums. Although skirting perilously close to New Age music in places, the opening track on the album (which comes in two parts) is undeniably lush and beautifully engineered – starting with percussive sequencers and breathy digital synths before synthetic guitars join the main theme.

Featuring Paul Haslinger on keyboards, the track also showcases Edgar Froese’s solo guitar work at 3’31’ alongside some big pre-delayed reverb-drenched drums. The piece dynamically moves through different phases before some heavier guitars lead the track back to another twin guitar solo and the main theme at the conclusion. ‘Underwater Sunlight’ the album, is definitely recommended if you are after a long player to chill out to. ‘Part Two: …To Dusk’ is more piano-based, but still beautifully melodic and the remaining pieces although generally more up-tempo make this a pretty cohesive album.

Available on the TANGERINE DREAM album ‘Underwater Sunlight’ via Jive Records

TANGERINE DREAM Running Out Of Time (1989)

Up until 1988, the band were incredibly prolific, but this year saw a slowing down and the release of just two albums, ‘Optical Race’ and the soundtrack to the Steve de Jarnatt movie ‘Miracle Mile’. The film itself is an underappreciated little gem of a movie starring Anthony Edwards and Mare Winningham as a couple who tragically fall for each other just as the world goes into a nuclear meltdown.

‘Running Out Of Time’ which (as its title suggests) is featured in the climactic portions of the film where the couple’s doomed romance ends up prematurely with their helicopter freefalling into a primordial swamp. The track is similar in vibe to ‘Love On A Real Train’ and showcases TD’s knack of creating effective soundtrack music which stands up on its own merits outside of the context of the film. During the making of the album, the band were reduced to the two piece of just Froese and Haslinger. Although the film has not dated particularly well, the soundtrack judged on its own merits still holds up.

Available on the TANGERINE DREAM album ‘Miracle Mile’ OST via Jive Records

CHRISTOPHER FRANKE Purple Waves (1992)

After exiting the band amicably in 1988, Christopher Franke released a few sporadic solo albums before finding his niche in writing TV and film soundtrack music, most notably for the long-running sci-fi series ‘Babylon 5’ and then setting up his own sound library company Sonic Images. Eventually relocating to Los Angeles from Berlin meant that Franke was at the very heart of the Hollywood film industry and his film work includes music for ‘Universal Soldier’, ‘The Tommyknockers’ and ‘Tales of the Crypt’.

‘Purple Waves’ is very TD-like, ‘The London Concert’ version starting with Prophet 5 pads before bell-like digital synths provide the main melodic parts. ‘White Eagle’-style sequencers pick up the rhythm around 1’40’ before becoming more prominent in the mix around 3 minutes. The middle section of the piece is a typical long and trippy Berlin School sequencer section, with layers of monosynths being joined by a Mellotron part which harks back the early Virgin era of TANGERINE DREAM. The track eventually comes full circle with the re-introduction of the main theme in the closing part of the piece.

Available on the CHRISTOPHER FRANKE album ‘The London Concert’ via Sonic Images

TANGERINE DREAM Silver Scale (1994)

TANGERINE DREAM were certainly not adverse to a bit of cheeky musical recycling in some of their pieces. ‘Silver Scale’ is a prime example, its central sequencer riff cropping up in ‘Diamond Diary’ from the superb ‘Thief’ soundtrack, ‘Church Theme’ from the film ‘Wavelength’ and ‘Horns of Doom’. This, at the time, previously unreleased version is a remixed and extended version for the ‘Tangents’ five disc retrospective collection and successfully pulls together elements from all of the aforementioned tracks.

Wonderful echoed sequencer work and ethereal shifting chords make this an essential inclusion on any TD compilation.

Available on the TANGERINE DREAM box set ‘Tangents 1973 -1983’ via Virgin Records

LOOM Cloudwalk (2013)

The LOOM project is inextricably linked with TANGERINE DREAM in that it includes both ex-members Johannes Schmoelling and Jerome Froese alongside Robert Waters. As well as their own original material, the LOOM live show usually features TD tracks from both the Jerome Froese and Schmoelling eras. ‘Cloudwalk’ is a graceful, floating and rhythmically intriguing electronic piece, beautifully melodic, starting out in waltz time before shifting to 4/4.

The drums throughout are skittering and bitcrushed and suit the quirky sound of the track. If you listen carefully, you can hear musical nods and references to the vocal melody of ‘Bent Cold Sidewalk’.

Available on the LOOM album ‘The Tree Hates The Forest’ via Viktoriapark

JEAN-MICHEL JARRE & TANGERINE DREAM Zero Gravity (2015)

Possibly one of the last pieces that Froese worked on before his passing, ‘Zero Gravity’ is a dream (sorry!) combination of TANGERINE DREAM and French synth maestro JEAN-MICHEL JARRE. A collaboration that was a no-brainer, considering the two acts’ career trajectories, has resulted in a track that sounds more like TD than Jarre with its hypnotic sequencer patterns and melodic shifts.

The ABOVE & BEYOND remix takes the main theme and chord progression to turn it into one of their trademark melodic trance tracks. ABOVE & BEYOND were the ideal choice to remix the collaboration, having been influenced by the formative Jarre / TD works which have helped set the musical template for the whole melodic trance and dance genre.

Available on the JEAN-MICHEL JARRE & TANGERINE DREAM single ‘Zero Gravity’ via The Vinyl Factory

Dedicated to the memory of EDGAR FROESE 1944-2015

http://www.tangerinedream.org/

https://www.facebook.com/TANGERINEDREAM.OFFICIAL

Text by Paul Boddy
15th August 2015

A Beginner’s Guide To JOHN FRYER

8 August 2015 / electricityclub

Having started his career at London’s Blackwing Studios in 1980 as an assistant engineer, John Fryer had a very basic knowledge of recording technology.

Employed by Eric Radcliffe, he promptly progressed from engineering into production and became the very reason for the first two COCTEAU TWINS albums sounding as sui generis as they did.

FAD GADGET and DEPECHE MODE; freshly discovered by Daniel Miller, were two of the first acts Fryer co-engineered on a rather limited studio equipment with the pressures of time. Technology started to progress fast and Daniel Miller would often bring the newly released toys into the studio.

The second DM album, ‘A Broken Frame’, written by the newly appointed chief songwriter Martin Gore, used the likes of PPG Wave 2 and Roland TR808 amongst others. The freshly formed YAZOO, with Alison Moyet and ex-Depeche member Vince Clarke, decided to record simultaneously.

To avoid any friction between the acts, John continued at Blackwing, while Eric looked after YAZOO from his home. Fryer did work on ‘Only You’ for them however. Soon enough Fryer’s growing sound manipulation would lend itself to his side project THIS MORTAL COIL with 4AD kingpin Ivo Watts-Russell, named after Monty Python’s ‘Dead Parrot Sketch’. The idea behind the venture was to create music as collaborations with artists signed to or associated with 4AD.

Fryer continued his career in Blackwing, producing MODERN ENGLISH, DEAD CAN DANCE, THE WOLFGANG PRESS, CLAN OF XYMOX and notably HE SAID, whose track ‘Pump’ Fryer still reminisces with fondness.

He has described his time as “a blur”, having worked on multiple projects simultaneously and producing one artist after another. In ten years, he only had five days off sick and worked incredibly long hours, an example being a 36 hour session with Alison Moyet, followed by “the next band”. Outsiders thought Fryer was indeed the owner of the studio, having spent all his time there!

Nine years after the start of his love affair with Blackwing, Fryer decided to go freelance. Truth being, if an artist wanted to work with him, they would approach him anyway. And that was certainly the case with NINE INCH NAILS, Trent Reznor having admired what Fryer had done for HE SAID. Fryer proudly recalls the feeling after finishing the album’s production, upon re-playing it to NIN’s record company boss, who had thought the record was ruined.

For Fryer, the desired effect had been achieved. The production work rolled in and notable clients included HIS NAME IS ALIVE, PARADISE LOST, LUSH and THE GO-BETWEENS.

Having not been in a band as such before, in 2011 Fryer decided to head his own project DARKDRIVECLINIC. 2014 brought the hungry listener SILVER GHOST SHIMMER while in the recent months, Fryer has indulged in the softer, ethereal offerings of two MURICIDAE EPs accompanied by the LA based Louise Fraser.

With such wealth of experience, Fryer surely deserves a break. Living in Oslo, the master does not rest on his laurels however; hungry to produce, in his stripped down studio, he will no doubt work with some amazing acts again.

In the meantime, let’s imagine what a John Fryer retrospective would look like, made up from a choice of his best work as an engineer, co-producer and producer. The list is not comprehensive and the tracks are not necessarily the best songs on their respective albums, but they certainly showcase Fryer’s production and engineering skills, which evolved over the years, giving him a signature sound of his own.

With a restriction of one track per album project, here are eighteen songs choices in a Beginner’s Guide to the studio legend that is John Fryer, with additional choice commentary from the man himself.

FAD GADGET The Box (1980)

‘The Box’ was the B-side to ‘Back To Nature’, the second ever single on Daniel Miller’s Mute Records. Later appearing in re-recorded form on the magnificent ‘Fireside Favourites’ album released in 1980, interestingly enough, the vocals were recorded with Frank Tovey being uncomfortably locked up in a flight case. This was to signify the “boxed” feel of the vocals. John fondly remembers the collaboration: “Yes, Frank wanted to get a claustrophobic close sound and we just happened to have a big flight case sitting there in the live room, big enough to fit him inside. So we decided to record the vocals in the flight case to get the authentic box sound”

Available on the FAD GADGET album ‘Fireside Favourites’ via Mute Records

http://www.fadgadget.co.uk

DEPECHE MODE Tora! Tora! Tora! (1981)

Not having the digital luxuries of the world we know today, ‘Speak And Spell’ was solely recorded on a 8 track tape machine, but Fryer made do with anything which came to hand, as long as it could make some sort of noise. ‘Tora! Tora! Tora!’ was one of two songs written by Martin Gore on the Vince Clarke dominated ‘Speak And Spell’. A clever love song about a decaying relationship, crying out for help, hidden within highly political lyrical content, it was fabulously intertwined in a steady beat to which Dave Gahan has performed some of his best early dances live.

Available on the DEPECHE MODE album ‘Speak & Spell’ via Mute Records

http://www.depechemode.com/

DEPECHE MODE Leave In Silence (1982)

‘Leave In Silence’ was DEPECHE MODE’s sixth single. Taken from ‘A Broken Frame’, it was written by Martin Gore, who suddenly got elevated into being the band’s chief songwriter, upon Vince Clarke’s departure. After the previous pop slanted singles ‘See You’ and ‘The Meaning Of Love’, it introduced the darker, more melancholic tones of what was to be in store for DEPECHE MODE – John: “Martin took to writing like a duck to water, he always had in it him, it just had to be coaxed out of him. Once Vince had left, the new DM was born”

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

https://www.facebook.com/depechemode

COCTEAU TWINS From The Flagstones (1983)

From COCTEAU TWINS’ third EP ‘Sunburst & Snowblind’, the Fryer produced ‘From The Flagstones’ was recorded by Elizabeth Fraser and Robin Guthrie as a duo, after Will Heggie left the band. There was a feeling of improvisation, including Fraser’s distinctive, yet “wordless” vocals and Guthrie’s effected guitar riffs. Those two elements intertwined and went on to become the band’s signature sound on the eventual ‘Head Over Heels’ album – John: “We recorded up in Scotland where the band felt more at home. The album wasn’t improvised, it was written and we just played around with sounds and over dubs. Why do people think Liz never sang words? She sat for hours with a dictionary writing lyrics for the album, she just has a unique way of singing and phrasing, that’s all”

Available on the COCTEAU TWINS album ‘Lullabies To Violaine – Volume 1’ via 4AD Records

http://www.cocteautwins.com/

THIS MORTAL COIL Song To The Siren (1983)

Originally released by Tim Buckley on his 1970 album ‘Starsailor’, the song has become his most famous, mainly due to the numerous cover versions, THIS MORTAL COIL’s take being one of the most prominent. The single featuring Elizabeth Fraser and Robin Guthrie was released in 1983, peaking at No66 on the UK singles charts. Due to its cult popularity, it also spent 101 weeks on the UK Indie Charts. ‘Song To The Siren’ was included on the 1984 debut album ‘It’ll End In Tears’. None other than David Lynch appreciated the version to such an extent, he featured it on his 1997 ‘Lost Highway’ film and the first two Julee Cruise albums are said to be inspired by the production – John: “‘Song To The Siren’ was originally recorded as a B-side to the tracks ’16 Day’ and ‘Gathering Dust’; that was the start of the epic journey THIS MORTAL COIL went on”

Available on the THIS MORTAL COIL album ‘It’ll End In Tears’ via 4AD Records

http://www.4ad.com/artists/thismortalcoil

M/A/R/R/S Pump Up The Volume (1987)

M/A/R/R/S could be considered the ‘dance’ version of THIS MORTAL COIL, with Watts-Russell suggesting a union of COLOURBOX and AR KANE, two 4AD acts who had each suggested to him independently about making records inspired by the emerging American House scene. Engineering the sessions, Fryer found himself an unwilling referee between the conflicting factions. So the two parties worked separately with the COLOURBOX led ‘Pump Up The Volume’ coming out on top in white label club trials. With Fryer utilising an Akai MPC / S900 combination for the programming plus scratch effects by DJs CJ Macintosh and Dave Dorrell, the rest became history…

Available on the compilation album ‘Pump Up The Volume’ (V/A) via Universal Music

http://www.4ad.com/artists/marrs

THIS MORTAL COIL Acid, Bitter & Sad (1987)

With THIS MORTAL COIL, the likes of Elizabeth Fraser, Gordon Sharp, Tanya Donelly, Heidi Berry and Lisa Gerrard were recruited amongst others, to perform either cover versions or original material. However, much of the latter comprised of enigmatic instrumentals steered by Fryer and Watts-Russell. A good example was ‘Acid, Bitter & Sad’ which featured the abstract vocals of Alison Limerick and turned up on the ‘Lonely Is An Eyesore’ compendium. The three studio albums that surfaced from the project ‘It’ll End In Tears’, ‘Filigree & Shadow’ and ‘Blood’ were all highly acclaimed. The idea continued as THE HOPE BLISTER with Louise Rutkowski on vocals for two albums before Watts-Russell retired from the music industry in 1999.

Available on the compilation album ‘Lonely Is An Eyesore’ (V/A) via 4AD Records

https://www.facebook.com/John.Fryer.Official

NINE INCH NAILS Sin (1989)

‘Sin’ was the third single from the critically acclaimed NINE INCH NAILS’ debut LP ‘Pretty Hate Machine’ which achieved triple platinum certification in 2003, having sold three million copies in the US alone. Still a live favourite, ‘Sin’ peaked at number 35 in the UK Singles Chart in 1990. The song’s sexual connotations are clearly portrayed in its video, which features the “Short” remix of the track. Fryer engineered, mixed and produced the song and fondly remembers working on the album, which went to become a huge commercial success – John: “‘PHM’ was a slow burner, it took a while for it to catch on but once it did, there was no stopping it or the band…”

Available on the NINE INCH NAILS album ‘Pretty Hate Machine’ via Island Records

http://www.nin.com/

JESUS JONES Right Here, Right Now (1990)

Led by Mike Edwards, JESUS JONES’ ‘Right Here, Right Now’ was released in September 1990 and peaked at No31 in the UK Charts at the height of the indie dance ‘baggy’ craze. However in the US, it went to No2 in the Billboard Hot 100. Inspired by the Russian Perestroika changes, as well as other events in Eastern Europe, the tune is still used in adverts and video games alike – John: “Mike had a unique approach to writing pop music, it was great to work with him on that album. Great poptastic record”

Available on the JESUS JONES album ‘Doubt’ via Food Records

http://jesusjones.com/

CHAPTERHOUSE Falling Down (1991)

Remixed by Stephen Hague, ‘Falling Down’ appeared on the band’s EP ‘Freefall’ and Fryer-produced LP ‘Whirlpool’. The band was placed into Shoegazing genre, a name invented by NME and Melody Maker describing the performance style based on being not engaged with the audience and simply “staring downwards at their shoes”. Of course, this could have been the outcome of constantly looking downwards while using the effects pedals! John: “The NME has been great at making up labels for types of music. CHAPTERHOUSE was, and still is a live awesome band. The first thing the band did on starting the recordings, was take off their shoes…”

Available on the CHAPTERHOUSE album ‘Whirlpool’ via Cherry Red Records

https://www.facebook.com/pages/Chapterhouse/125153479348

SWALLOW Peekaboo (1992)

From their album ‘Blow’, it was the only record SWALLOW put out on 4AD. Sometimes described as part of the Shoegazing genre, the Camberwell based band came together in 1990. ‘Blow’ was later remixed by the band itself, breaking down the Fryer production and releasing it under the name of ‘Blowback’. Louise Trehy and Mike Mason joined forces with Rough Trade Records afterwards to release ‘Hush’ EP before disbanding – John: “I don’t really know why they were called shoegaze, they should be called more art-gaze, more of an arty CURVE”

Available on the SWALLOW album ‘Blow’ via 4AD Records

http://www.4ad.com/artists/swallow

HIM Join Me In Death (1999)

‘Join Me In Death’ was from the band’s second album out in 1999 ‘Razorblade Romance’. It was also released as ‘Join Me’ in the US, as they were not able to use the word “death” in the title. Although the song’s title provoked widespread controversy, it has become the fifteenth best-selling song in Finland and was used in the European version of the soundtrack for ‘The Thirteenth Floor’. There are four versions of the song’s video and a vague ‘Romeo & Juliet’ theme was also associated to the song – John: “Yes, they had a lot of trouble in the US with the lyrical content for this album. The Americans thought it was a lawsuit waiting to happen with all the teenage suicides and shootings at school, but it was just a romantic love album”

Available on the HIM album ‘Razorblade Romance’ via BMG Finland

http://www.heartagram.com/

DOPE STARS INC 10,000 Watts (2005)

‘10,000 Watts’ was positively received by critics and audiences alike, mainly thanks to aggressive vocals by Victor Love. The parent ‘Neuromance’ album was backed up with numerous festival appearances and sold out in no time. Victor Love has always praised John Fryer’s style of production, admitting his technical knowledge had improved drastically upon working with the magic maker – John: “Pop music comes in various forms and this was another one of them. Victor knows how to write a great pop song and give it a provocative edge”

Available on the DOPE STARS INC album ‘Neuromance’ via Trisol Music Group

https://dopestarsinc.bandcamp.com/album/neuromance

RABIA SORDA Methods Of Chaos (2006)

‘Methods Of Chaos’ was from the 2006 album of the same title in Spanish ‘Metodos Del Caos’. RABIA SORDA has been described as a gentler version of Erk Aicrag’s other project, Mexican Hardfloor legends HOCICO. The word “gentler” needs to be used with care, however, as to a standard listener, it is aggressive, loud and violent. RABIA SORDA’s style is characterised by a very industrial goth sound that has been hugely popular in his native Mexico and Europe – John: “I liked working with Erk and it’s a shame we aren’t working together any longer. He makes interesting kinda industrial pop music and is a very nice guy , I would love to work with him again”

Available on the RABIA SORDA album ‘Metodos Del Caos’ via Out Of Line Records

http://www.rabiasorda.com/

ASHBURY HEIGHTS Derrick Is A Strange Machine (2007)

From the critically acclaimed ‘Three Cheers For The Newlydeads’ in 2007, the Swedish duo has come through many changes, including disbanding and returning; this record remains one of their best however. ASHBURY HEIGHTS were hailed around 2006 as the hottest newcomers onto the electronic music scene, having played the big German and Swedish festivals. They have remixed endless amounts of artists including RABIA SORDA, AESTHETIC PERFECTION, GOD MODULE, and SPACEBUOY as well as many others – John: “ASHBURY HEIGHTS should have gone on to be one of the biggest electronic bands around with their super slick pop sound. It was a joy to work with them”

Available on the ASHBURY HEIGHTS album ‘Three Cheers For The Newlydeads’ via Out Of Line Records

http://ashburyheightsofficial.tumblr.com/

DARKDRIVECLINIC Silhouettes (2011)

‘Silhouettes’ was released a year after Fryer started collaborating with STRIPMALL ARCHITECTURE vocalist Rebecca Coseboom. Ethereal and textured, yet a catchy pop tune, it stands out on the ‘Noise In My Head’ album production. On this record, Fryer decided to be personally involved in a band member’s capacity, giving it celestial and sublime endorsement, and that certainly comes across – John: “‘Noise In My Head’ is the culmination of 25 years of work. It had been worked on over that time in-between producing other people’s records, but it was something I really wanted and needed to do for myself”

Available on the DARKDRIVECLINIC album ‘Noise In My Head’ via Metropolis Music

http://www.metropolis-records.com/artist/darkdriveclinic

SILVER GHOST SHIMMER Soft Landing (2014)

‘Soft Landing’ was released on 30th October 2014 to launch his “over the pond” collaboration with über talented LA based vocalist Pinky Turzo. This twinkling gem, which opens the album of the same title, is hints at the 1962 hit by JAY & THE AMERICANS ‘She Cried’. The songs on ‘Soft Landing’ can be easily described as a marriage of Dave Gahan’s solo projects and Alison Goldfrapp’s vocals, with the song itself being a masterpiece and a proud moment for Fryer. September 2015 will see gigs from Fryer and Turzo showcasing ‘Soft Landing’ to the hungry audiences – John: “The ‘Soft Landing’ album is more of a homage to the girl groups of the sixties. We wanted to marry that vocal sound of the girl groups to my electronic noise pop and I think we succeeded, in my opinion anyway”

Available on the SILVER GHOST SHIMMER download album ‘Soft Landing’ via Silver Ghost Shimmer

https://www.facebook.com/silverghostshimmer.official

MURICIDAE Strange (2015)

‘Strange’ comes from Fryer’s latest EP with Louise Fraser, an LA based vocalist. An exquisite continuation from the first EP entitled ‘Tales From A Silent Ocean’, the production on ‘Strange’ cunningly resembles Alan Wilder’s (did he learn from the best?) on his RECOIL gems, yet it’s even softer and powerful, which proves why John Fryer is THE PRODUCER of now. The droplets of synth perfection are skilfully intertwined with airy vocals of Fraser, sounding almost JULEE CRUISE-like – John: “MURICIDAE is a project that I’m proud of. It compares to my roots of a 4AD sound, capturing the ambient, ethereal soundscapes and bringing them up to date with my own twists and noise”

Available on the MURICIDAE download EP ‘Tears Are Stronger Than Waves’ via Muricidae Music

https://www.facebook.com/muricidaemusic/

Text by Monika Izabela Goss with grateful thanks to John Fryer
8th August 2015

Category: Lists & Beginner’s Guides (Page 17 of 23)

25 FAVOURITE CLASSIC 12 INCH VERSIONS

A Beginner’s Guide To MARC ALMOND

A Beginner’s Guide To TANGERINE DREAM

A Beginner’s Guide To JOHN FRYER

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