Category: Lists & Beginner’s Guides (Page 21 of 23)

25 FAVOURITE VINTAGE SYNTHS

9 August 2014 /

Synthesizers are ELECTRICITYCLUB.CO.UK’s first love and their impact on modern popular music cannot be underestimated.

However, this was only made possible once the synthesizer became affordable and inspired an artistic revolution. From the moment these futuristic contraptions were spotted on ‘Top Of The Pops’ or ‘Old Grey Whistle Test’, regardless of whether they were used on the actual song. They sparked fascination and passion from interested observers in the same way that Stingray, Thunderbird 2, Shado 2,  the Spectrum Pursuit Vehicle or Eagle Transporter from the Gerry Anderson TV shows did.

Inspired by Martyn Ware’s talk ‘A Journey In 20 Synths’, here are the 25 synthesizers that ELECTRICITYCLUB.CO.UK has the most affection for. They are not necessarily the most technically accomplished, or even the most interesting sounding of machines, but each have their place in electronic music history. This list is purely for fun and not a product endorsement, presented chronologically by year of production origin and then alphabetically.

Note that the majority of these machines were developed between 1969-79… this alone should dispel the public and press notion, once and for all, that if a song features a synthesizer, then it must be “80s”… now here’s the proof!

MINIMOOG (1970)

Costing over £1000 when first made available in the UK, this classic monosynth had three voltage controlled oscillators for that famous fat sound. Its distinctive solid bass pulse was made possible by the rapid attack times that its contour generators were capable of, plus the comfortable feel of its controls and keyboard. Used by KRAFTWERK, Brian Eno, Klaus Schulze, Vangelis, ULTRAVOX and Gary Numan, it is probably the one synth that most people actually know the name of!

Iconic example of use: KRAFTWERK ‘Autobahn’

ARP 2600 (1971)

This semi-modular synth had hard wired and patch-cord routing capabilities while it could also be triggered using the ARP 1613 Sequencer. With three oscillators and a variety of waveforms, it was favoured by Daniel Miller and Martin Hannett to make synthetic percussive sounds. Its circuitry later formed the basis of the Simmons SDSV. But the ARP 2600 could do gentle as well, as on DEPECHE MODE’s ‘Waiting For The Night’.

Iconic example of use: DEPECHE MODE ‘Waiting For The Night’

ARP ODYSSEY (1972)

This two oscillator duophonic synth was effectively a scaled down version of the ARP 2600. All its parameters were editable via sliders and buttons on the front panel instead of knobs which made it very player friendly. It also had a sample-and-hold function and in a later version, three pressure sensitive pads to bend pitch or induce vibrato. This was the distinctive sound of ULTRAVOX’s synth solos as played by Billy Currie.

Iconic example of use: ULTRAVOX ‘Hymn’

EMS Synthi AKS (1972)

The Synthi AKS was essentially the electronic guts of the earlier VCS3 and suitcased with a touch sensitive keyboard and a 256 step on-board monophonic digital sequencer. Costing £450 on launch, it had three oscillators and a matrix-based patch system which made it very good for generating sci-fi type sounds. It featured heavily on ‘Dark Side Of The Moon’ by PINK FLOYD and was also used by Klaus Schulze, Brian Eno, Jean-Michel Jarre and ULTRAVOX.

Iconic example of use: PINK FLOYD ‘On The Run’

KORG 700s (1974)

Also known as the mini-Korg, this was purchased by Martyn Ware in 1977 to cheer himself up to splitting up with his then-girlfriend; it was subsequently used in his recordings as a founder member of THE HUMAN LEAGUE. It was an affordable £200 at that time when compared with the £1000 for the Minimoog. The 700s differed from the earlier 700 model in that it had two oscillators. It was also Daniel Miller’s first synth.

Iconic example of use: THE NORMAL ‘Warm Leatherette’

POLYMOOG (1975)

Released in 1975, this was Moog’s first polyphonic instrument and unlike the Minimoog which was all made up of transistors, the Polymoog used silicon chips under each key. Gary Numan used the Vox Humana preset to such great success on ‘Cars’ that it effectively killed off this machine because no-one else wanted to buy it! JAPAN and BUGGLES also used it, but it was ultimately overshadowed by the release of the Yamaha CS80.

Iconic example of use: GARY NUMAN ‘M.E.’

ROLAND SYSTEM 100 (1975)

Not to be confused with the very different System 100M, this was a semi-modular monophonic standalone synth that could be expanded. Having all the component parts made it into a two-oscillator monosynth with sequencing, monitoring and effects capabilities. It had the most amazing bass sound and could get quite an interesting choral sound. Notable for its industrial sounding percussive capabilities, it was used extensively by in THE HUMAN LEAGUE and HEAVEN 17.

Iconic example of use: THE HUMAN LEAGUE ‘Being Boiled (Fast Version)’

ARP OMNI (1976)

A more complex, but compact development of the classic but cumbersome ARP Solina string machine, this brilliant string synthesizer had polyphonic Violin and Viola waveforms as well as monophonic Bass and Cello waveforms. There were also Strings, Synthesizer, and Bass synth sections which were all simultaneously available. When passed through Martin Hannett’s Marshall Time Modular, it produced the really claustrophobic Mellotron type sounds on JOY DIVISION’s ‘Closer’ LP.

Iconic example of use: JOY DIVISION ‘Heart & Soul’

KORG 770 (1976)

A monophonic with dual oscillators and unique features such as two ring modulator modes, pitched noise and a chorus waveform, this synth was also known as the MaxiKorg. This was the first synth of both SIMPLE MINDS’ Mick McNeil and THE HUMAN LEAGUE’s Phil Oakey. Subsequently, it was used on ‘Dare’ for its distinctive solid basslines as on ‘The Sound Of The Crowd’ and ‘Love Action’. It also had a place in more guitar oriented bands such as THE ICICLE WORKS.

Iconic example of use: THE HUMAN LEAGUE ‘The Sound Of The Crowd’

ROLAND SYSTEM 700 (1976)

A beast of a modular synth, a complete system had 47 modules, options including sequencer, keyboard controller and additional soundbanks which could be controlled by the Roland’s MC8 Micro-composer. The system was used to great effect by Giorgio Moroder, YELLOW MAGIC ORCHESTRA, THE HUMAN LEAGUE and Hans Zimmer. Later superceded by the System 100M, Flood used it to for the bassline for DEPECHE MODE’s ‘Enjoy The Silence’.

Iconic example of use: DEPECHE MODE ‘Enjoy The Silence’

YAMAHA CS80 (1976)

This almighty polysynth with symphonic prog rock associations had features such as a piano weighted keyboard and touch sensitivity. One popular function it had was a ribbon controller that allowed for polyphonic pitch-bends and glissandos. It had an incredible, complex richness to its sound that meant it was a favourite of many musicians such as Emerson Lake & Palmer, Peter Gabriel, Kate Bush, Vangelis, Klaus Schulze, Brian Eno and ULTRAVOX.

Iconic example of use: VANGELIS ‘To The Unknown Man’

KORG M500 MICRO-PRESET (1977)

Although having only 30 different sounds and limited variant control, the Micro-Preset was the main synth on OMD’s early work. The small pockets of both Andy McCluskey and Paul Humphreys meant the instrument had to be explored and pushed out of necessity… and without it, the repeating octave shifting blips on ‘Messages’ or the pulsing bass on ‘Stanlow’ couldn’t have happened ! These experiments became distinctive components of inventive pop songs.

Iconic example of use: OMD ‘Messages’

YAMAHA CS10 (1977)

The CS10 sat between the single oscillator / envelope CS5 which was Martin Gore of DEPECHE MODE’s first synth, and the two VCO CS15 favoured by THE HUMAN LEAGUE. This relatively inexpensive monophonic used by SPANDAU BALLET and CHINA CRISIS had one oscillator and VCF / VCO envelopes, as well as a one octave portamento and CV / Gate. Unlike Roland and Korg, Yamaha’s synths were designed with players in mind rather than programmers.

Iconic example of use: SPANDAU BALLET ‘To Cut A Long Story Short’

YAMAHA SS30 (1977)

This wood encased, multiphonic string synthesizer employed a divide-down, electric organ type of architecture on its two master oscillators for tone generation. These could be detuned to create chorus and phasing effects. The SS30’s distinctive sounds can be heard on ULTRAVOX’s ‘The Voice’ and ‘Vienna’ as well as SIMPLE MINDS’ Life In A Day’. It was also a keyboard of choice for Dave Formula from MAGAZINE and VISAGE.

Iconic example of use: ULTRAVOX’s ‘The Voice’

EDP WASP (1978)

Cheap at just under £200 when launched, this had a 25 note electrostatic touch sensitive yellow / black keyboard, two digital oscillators supported by analogue filters and its own speaker. It was DURAN DURAN’s Nick Rhodes first synth while OMD’s Paul Humphreys owned one but didn’t like it. Its companion Spider sequencer used EDP’s pre-MIDI connection system and exploited by DEPECHE MODE for the bass sequence on the Aggro Mix of ‘Never Let Me Down Again’.

Iconic example of use: DEPECHE MODE ‘Never Let Me Down Again (Aggro Mix)’

KORG MS20 (1978)

An analogue two oscillator monophonic with hard wired and patchable connections, the circuitry came from one of the original modules on the chunky PS3300; the hard-wiring could be overridden using patch-cords. The MS20 could be triggered by external inputs such as percussion or vocals for strange effects; one of its best uses was on GOLDFRAPP’s ‘Felt Mountain’ album where it processed assorted screaming voice sounds.

Iconic example of use: GOLDFRAPP ‘Lovely Head’

ROLAND JUPITER 4 (1978)

One of the first affordable polyphonic synths, its four individual polyphonic voices could be synced together for one monophonic lead. It also featured a useful arpeggiator as heard on ‘Dreams Of Leaving’ by THE HUMAN LEAGUE. However, this 49 key instrument lacked a CV / Gate and was prone to tuning difficulties. But it became a workhorse polysynth for Gary Numan, DURAN DURAN, SIMPLE MINDS and HEAVEN 17.

Iconic example of use: SIMPLE MINDS ‘Theme For Great Cities’

CRUMAR PERFORMER (1979)

This versatile Italian string and brass machine was best known for its distinctive swimmy sound as used extensively by Nick Rhodes on the first two DURAN DURAN albums. A simple three band equalizer with high, mid and low sliders was used to give the strings shimmering sparkle or moody dark timbres. A fully polyphonic 49 note keyboard, its brass capability was apparently much less impressive.

Iconic example of use: DURAN DURAN ‘Girls On Film (Night Version)’

OBERHEIM OBX (1979)

For years, QUEEN declared “No Synthesizers” on their albums before relenting in 1980 by using an OBX on their album ‘The Game’. Also used by JAPAN’s Richard Barbieri and ULTRAVOX’s Billy Currie, this polyphonic was the first to use individual voice cards. Available in four or eight voice configurations, this started a series that would later include the OBXa and OB8. This family of instruments eventually became known for a fat, raunchy brass sound that was ubiquitous in the era.

Iconic example of use: ULTRAVOX ‘We Stand Alone’

SEQUENTIAL CIRCUITS PROPHET 5 (1979)

With five voice polyphony, two oscillators per voice and a white noise generator, this synth became very popular with acts such as OMD, SOFT CELL, NEW ORDER, DURAN DURAN and Gary Numan. But it suffered from notorious unreliability, due to frequent overheating issues. However, it was David Sylvian’s favourite synth as heard on JAPAN’s ‘Tin Drum’  album while his brother Steve Jansen also used it for keyboard percussion sounds on songs like ‘Visions Of China’.

Iconic example of use: JAPAN ‘Ghosts’

CASIO VL-TONE (1981)

Who could forget this? The VL-Tone had 29 little calculator-type button keys, five presets, a built-in rhythm machine (with waltz, swing, rock, samba, etc) and a 100-note sequencer. There was an LFO with vibrato and tremolo effects plus an ADSR envelope. Used on ‘Bandwagon Tango’ by TESTCARD F and unforgettably ‘Da Da Da!’ by TRIO, Phil Oakey even dragged one out to perform ‘Get Carter’ during THE HUMAN LEAGUE’s retrospective ‘Dare’ tour in 2007.

Iconic example of use: THE HUMAN LEAGUE ‘Open Your Heart’

ROLAND JUPITER 8 (1981)

Released in Autumn 1981 at a price of £3395, this was an eight voice, sixteen oscillator programmable polysynth capable of deep bass, vibrant brass and sparkling string sounds. It was Roland’s first truly high end professional instrument. Its versatile arpegiator was used by Nick Rhodes of DURAN DURAN throughout the ‘Rio’ album while it was also a favourite synth of HEAVEN 17, DEPECHE MODE, THE HUMAN LEAGUE, OMD, CHINA CRISIS, BLANCMANGE and Howard Jones.

Iconic example of use: DURAN DURAN ‘Save A Prayer’

SEQUENTIAL CIRCUITS PRO-ONE (1981)

The Pro-One was basically a monophonic version of the Prophet 5. There was also a simple onboard sequencer for up to 40 notes and an arpeggiator, both of which were very handy for one man bands such as Howard Jones. Good value at £499, as well as appearing on a number of YAZOO recordings, particularly for the bassline of ‘Don’t Go’, it also formed part of NEW ORDER’s synth armoury. It was later used by modern acts such as LADYTRON.

Iconic example of use: YAZOO ‘Don’t Go’

ROLAND JUNO 60 (1982)

An analogue polyphonic with digital enhancements for clocking oscillators and 56 patches of memory storage, its success lay in being able to make grand Jupiter-like sounds for just under £1000. A-HA made good use of it on their debut long player ‘Hunting High & Low’. And as with Roland’s other noted polysynths, it featured a great arpeggiator. Built to last, it has been a very popular live keyboard with modern acts such as MIRRORS and AU REVOIR SIMONE.

Iconic example of use: A-HA ‘Take On Me’

ROLAND SH101 (1982)

This ubiquitous single oscillator monosynth with its own digital sequencer was marketed as an entry level synth at £250. It was portable and its pitch bender could be played with via an optional handle in a keytar stylee. However, it tended to be seen as a prop in promo videos rather than actually used for real! Part of A FLOCK OF SEAGULLS’ live keyboard set-up, the SH101’s robust construction has enabled it to be carried into the modern era by XENO & OAKLANDER and VILE ELECTRODES.

Iconic example of use: OMD ‘Locomotion’

Text by Chi Ming Lai
15th August 2014

A Beginner’s Guide To BRIAN ENO

24 July 2014 /

The vast career of electronic innovator and ambient godfather Brian Eno has crossed genres, styles and instrumentation.

Ranging from his solo work with his use of simplistic keyboards and snake guitar to major rock productions and motivational techniques such as his famous ‘Oblique Strategies’ cards, Eno’s theories and thought processes have shaped the pop, rock and avant garde worlds.b“Anything that’s strong enough will stand up to any amount of analysis” Eno said profoundly.

While starting out in art rock with ROXY MUSIC as an EMS VCS3 wielding non-musician, a car accident in early 1975 left him temporarily immobile in a hospital bed. Ever the thinker, it allowed him to explore the possibilities of environmental music. Inadvertently, he had discovered the sub-genre of ambient.

One of his best known early compositions of this type was the short instrumental title track of his 1975 opus ‘Another Green World’ which combined voxless and vocalled tracks in equal measures; the track later became the opening title theme to the BBC2 arts programme ‘Arena’. He focussed on this wordless aesthetic, producing acknowledged ambient classics such as ‘Music for Airports’, ‘Thursday Afternoon’ and ‘Neroli’. His recent album ‘Lux’ on Warp Records continued this quality tradition.

Following his acclaimed solo album ‘Before & After Science’ in 1977, he largely steered clear of conventional vocal led material until 2005’s excellent ‘Another Day On Earth’. However, he maintained a presence within the pop and rock sphere as a producer with ULTRAVOX! and later acts such as DEVO, TALKING HEADS, U2 and JAMES.

“Being a record producer is the best form of cowardice. Producers often get praised but they have to do a really bad job for anyone to criticise them” he said of his occasionally hands-off approach, “The way I work is to try to find out what isn’t being done that ought to be done. Sometimes that means somebody ought to make the tea. Sometimes it means somebody ought to re-write the whole bloody song”. Such is Eno’s magic, he even managed to steer COLDPLAY into making their most bearable track ‘Viva La Vida’! Eno’s influence in the studio has been significant, even when not actually behind the desk.

While often miscredited as the producer of David Bowie’s Berlin trilogy ‘Low’, ‘Heroes’ and ‘Lodger’, he was paramount in directing Bowie’s train of thought towards a new school of pretension beyond conventional rock ’n’ roll. The result was half instrumental tracks such as ‘Sound & Vision’ and doomy neo-classical electronic pieces such as ‘Sense Of Doubt’, while both the ‘Low’ and ‘Heroes’ albums were conceptualised into vocal and instrumental sides.

Other Eno collaborators have included HARMONIA, LARAAJI, ICEHOUSE and  SUEDE as well as John Cale, Jah Wobble,  Leo Abrahams, Jon Hopkins and Karl Hyde among many. Scouse pranksters HALF MAN HALF BISCUIT even sent up this artistic rite of passage in a song called ‘Eno Collaboration’. Eno’s catalogue is far too extensive to summarise in a short synopsis.

So what material would serve as an introduction to his varied career as a recording artist, producer, remixer and collaborative muse? Here are eighteen affectionately chosen examples. As with all previous Beginner’s Guides by ELECTRICITYCLUB.CO.UK, the list is not definitive, presented in chronological order and limited to one track per moniker, project or artist. The intention is to act as an oblique strategy to inspire further investigation…

ROXY MUSIC Ladytron (1972)

roxy_music-ladytron-1972‘Ladytron’ was a gloriously arty adventure; the inclusion of otherworldly sonic manipulations on Andy MacKay’s oboe and sax alongside Eno’s striking VCS3 sourced electronics signalled a futuristic vision that was later to reveal itself in the New Romantic scene. But Eno’s tenure in ROXY MUSIC wasn’t to last; tensions had been running high at Roxy gigs. Following Roxy’s second album ‘For Your Pleasure’, Eno was gone!

Available on the ROXY MUSIC album ‘The Early Years’ via Virgin Records

http://www.roxymusic.co.uk

ENO Back In Judy’s Jungle (1974)

Eno’s solo debut ‘Here Come The Warm Jets’ followed a trashy energetic guitar style inspired by THE VELVET UNDERGROUND, but his sophomore offering took in more esoteric approaches and an interest in Chinese Communism. The skippy waltz of ‘Back In Judy’s Jungle’ with percussion by Phil Collins headed towards the 38th Parallel as an infectious guitar melody (borrowed from a Korean folk tune) took hold alongside whistles and electronic effects.

Available on the ENO album ‘Taking Tiger Mountain (By Strategy)’ via Virgin Records

http://eno-web.co.uk/

FRIPP & ENO Evening Star (1975)

evening starProg rockers KING CRIMSON shared management with Roxy and Eno; their guitarist Robert Fripp made his first collaboration with Eno in 1973 on ‘(No Pussyfooting)’. Comprising of two long spiky improvisations, it used a live tape loop technique christened Frippertronics which allowed Mr Toyah Wilcox to layer guitar sounds. This was put to good use on ‘Evening Star’ which had more melodic components in comparision and gentle harmonics.

Available on the FRIPP & ENO album ‘Evening Star’ via Opal Records

http://www.robertfripp.com

DAVID BOWIE Warszawa (1977)

david-bowie-low‘Warszawa’ was named after the Polish capital city but captured the post-war tensions in West Berlin without the need for lyricism. At Hansa Studios where ‘Low’ was being mixed, the soldiers in the East Berlin watch towers could look into the windows of the building! Tony Visconti’s production enhanced the drama between Bowie’s enigmatic wailing over Eno’s Minimoog and Chamberlain keys. This formed part of an all instrumental suite on the album’s second side.

Available on the DAVID BOWIE album ‘Low’ via EMI Records

http://www.davidbowie.com

ULTRAVOX! My Sex (1977)

Using Eno’s Minimoog with a knob marked with a sheep sticker to indicate it made woolly sounds, Billy Currie’s classical sensibilities combined with John Foxx’s detached dissatisfaction on ‘My Sex’. Despite being accorded joint billing with Steve Lillywhite and the band in the ‘Ultravox!’ album’s production credits, drummer Warren Cann later revealed that Eno had only worked on four tracks and was not quite the accomplished studio technician the band hoped he would be!

Available on the ULTRAVOX! album ‘Ultravox!’ via Universal Music

http://www.metamatic.com

http://www.ultravox.org.uk

ENO MOEBIUS ROEDELIUS The Belldog (1978)

While the 1976 sessions with cult German band HARMONIA featuring Michael Rother of NEU! remained unreleased until 1997, collaborations with two of the collective Dieter Moebius and Hans-Joachim Roedelius aka CLUSTER proved to be more successful. With a wonderful ambient collection ‘Cluster & Eno’to their name, their second album  ‘After The Heat’added Eno’s contemplative voice to the experimentation, the best of which was the gentle sequencer led beauty of ‘The Belldog’.

Available on the ENO MOEBIUS ROEDELIUS album ‘After The Heat’ via Bureau B

http://www.dietermoebius.de
‎
http://www.roedelius.com

BRIAN ENO 1/1 (1978)

musicforairportsWith ‘Music for Airports’, No1 in his Ambient series, the concept had been to create soothing pieces for inducing calm in those who had a fear of flying. Unlike ‘Music For Films’ which consisted of short musical fragments, ‘Music For Airports’ comprised of four extended sketches utilising piano, synths and vocal tape loops. ‘1/1’ was a magnificent 17 minute calling card that was “ignorable as it is interesting”.

Available on the BRIAN ENO album ‘Music for Airports’ via Virgin Records

http://brian-eno.net

JON HASSELL & BRIAN ENO Delta Rain Dream (1979)

fourth world poss musicsStrangely enigmatic, Hassell’s muted avant garde trumpet playing and use of Prophet 5 processing in partnership with Eno on ‘Delta Rain Dream’ from ‘Fourth World Vol 1 Possible Musics’ provided a backdrop for a type of percussive primitive futurism where it was envisaged what indigenous tribes would have done if a solar powered synthesizer had been dropped in at the beginning of time and become their instrument of choice.

Available on the JON HASSELL & BRIAN ENO album ‘Fourth World Vol 1 Possible Musics’ via Virgin Records

http://www.jonhassell.com

HAROLD BUDD & BRIAN ENO First Light (1980)

The_Plateaux_of_MirrorEno had produced and issued Budd’s ‘Pavilion Of Dreams’ on Obscure, but didn’t directly collaborate on a full album project with the American self-taught pianist until ‘The Plateaux Of Mirror’; ‘First Light’ was typical of an Eno collaboration where the musician of the partnership was allowed to breathe and build tension before Eno’s magical layers of synthesizer appeared in the final quarter. The approach could be compared to Eno choosing a tie for Budd’s shirt and suit…

Available on the HAROLD BUDD & BRIAN ENO album ‘The Plateaux Of Mirror’ via Virgin Records

http://haroldbudd.com

TALKING HEADS Crossed Eyed & Painless (1980)

talking heads-remain in light‘Once In A Lifetime’ may have been the hit but ‘Crosseyed & Painless’ was the key track from ‘Remain In Light’, TALKING HEADS’ third album with Eno. Incorporating funk rhythms alongside assorted instrumentation modulating around a very basic repetitive chord structure, there was tension within the dance as David Byrne preached like an inebriate evangelist. The credit “All songs written by David Byrne, Brian Eno and Talking Heads” infuriated the other band members.

Available on the TALKING HEADS album ‘Remain In Light’ via WEA Records

http://www.talking-heads.nl/

BRIAN ENO & DAVID BYRNE Regiment (1981)

My_Life_in_the_Bush_of_GhostsRecorded during ‘Remain In Light’, ‘My Life In The Bush Of Ghosts’ was the playroom that nearly drove TALKING HEADS apart. This influential album used taped speeches by personalities of assorted faiths effectively as lead vocals. Featuring the found voice of Lebanese mountain singer Dunya Yusin, ‘Regiment’ was mildly funky and its assortment of rhythmical clarity, synthetic atmospheres and sustained guitar textures proved to be a forerunner of JAPAN’s ‘Tin Drum’.

Available on the BRIAN ENO & DAVID BYRNE album ‘My Life In The Bush Of Ghosts’ via Nonesuch Records

http://davidbyrne.com/

BRIAN ENO, DANIEL LANOIS & ROGER ENO Deep Blue Day (1983)

eno-Apollo-The ‘Apollo’ album was a soundtrack to a documentary film about the mission to the moon. Its intention was to react against the newsy manner of space travel presented by most TV programmes of the day with its fast cuts and speeded up images. Feelings of weightlessness were captured among the collection’s aural clusters and atmospheres. ‘Deep Blue Day’ with its accessible countrified twang from Lanois was used in the infamous ‘toilet’ scene of the film ‘Trainspotting’.

Available on the BRIAN ENO album ‘Apollo’ via Virgin Records

http://daniellanois.com/

U2 The Unforgettable Fire (1984)

U2theunforgettablefireIt seemed a most ludicrous union at the time… the flag waving over earnest rock group teaming up with the thoughtful, ambient egghead! With Bono and Co doing their best ‘New Gold Dream’ period SIMPLE MINDS impression, ‘The Unforgettable Fire’ captured the harrowing trauma of Hiroshima in layers of Yamaha DX7 and Fairlight as Eno pushed the Irish quartet into a more esoteric mind process to counter their bombastic tendencies.

Available on the U2 album ‘The Unforgettable Fire’ via Island Records

 

http://www.u2.com

MICHAEL BROOK Hybrid (1985)

Michael Brook HybridBrook was a studio engineer who could see the possibilities of stretching out the timbres and textures of the electric guitar. His experiments led to his development of the Infinite Guitar. Co-produced by Eno, ‘Hybrid’ was the first album to fully exploit this instrument and the title track very much followed the percussive possible musics of Eno’s ‘Fourth World Vol 1 Possible Musics’ collaboration with Jon Hassell. This wasn’t entirely surprising as Brook had played live with the duo in 1981.

Available on the MICHAEL BROOK album ‘Hybrid’ via Virgin Records

http://www.michaelbrookmusic.com

JAMES Sometimes (1993)

James sometimesAfter their ‘Seven’ album, JAMES were accused of heading down the U2 route so in a replicant move, Booth and Co secured the services of Eno for ‘Laid’, which was released in Autumn 1993. While driven by frantic acoustic guitar, the lead single ‘Sometimes’ benefitted from Eno’s input by steadily building and adding glistening ambient synths. A most gloriously harmonic vocal section towards the conclusion appeared for yet another lift when it was least expected… pure Eno!

Available on the JAMES album ‘Laid’ via Mercury Records

http://www.wearejames.com

DEPECHE MODE In Your Room – Apex Mix (1994)

depeche-mode-in-your-room-apexUsing the percolating bass sequence and chilling stabs from the original album version plus slices of Martin Gore’s backing vocal, Eno’s Apex Mix of ‘In Your Room’ was almost Zen-like in its meditative qualities. Legend has it that while Martin Gore was playing this version in his car, he had to turn it off as it was sending him to sleep! In true Eno style, the backing built slowly and made the most of the song’s inherent tension.

Available on the DEPECHE MODE CD single ‘In Your Room’ via Mute Records

http://www.depechemode.com/

BRYAN FERRY Wildcat Days (1994)

Bryan-Ferry-MamounaThe first co-write between the two former sparring partners with perhaps some nostalgic lyrical reference to the fledgling days of ROXY MUSIC, ‘Wildcat Days’ was the best track from Ferry’s arduous ‘Mamouna’ project, the original sessions of which had started as far back as 1989! Lots of weird noises, detuned swoops and a seasoned supporting cast including Andy MacKay, Chester Kamen and Steve Ferrone combined for this marvellous slice of electronic art funk.

Available on the BRYAN FERRY album ‘Mamouna’ via Virgin Records

http://www.bryanferry.com

BRIAN ENO & J PETER SCHWALM From This Moment (2001)

eno_drawnFor his project with German DJ and percussionist Schwalm, Eno took a more rhythmically colourful approach to his ambient philosophies that coincided with the emergence of chill-out rooms within the club scene. Certainly, ‘Drawn From Life’ possessed more accessible entry points for those who maybe found works such as ‘Music For Airports’ too sedate. The album’s opener ‘From This Moment’ was great soundtrack music, bolstered by live percussion and strings.

Available on the BRIAN ENO & J PETER SCHWALM album ‘Drawn from Life’ via Virgin Records

http://jpeterschwalm.webnode.com/

Text by Chi Ming Lai
24th July 2014

A Beginner’s Guide To STEPHEN HAGUE

24 April 2014 /

Portland born Stephen Hague first came to musical prominence in 1984 with his production of Malcolm McLaren’s ‘Madam Butterfly’, an incongruous blend of opera, soul, hip-hop and electropop.

Although an experienced hand having already notched up a hit with the breakdancing novelty record ‘(Hey You) The Rock Steady Crew’ in 1983, the cinematic arthouse resonance of ‘Madam Butterfly’ allowed Hague to be taken more seriously musically. As one of the first advocates of digital recording, he was seen as someone who could helm a modern polished sound to maximise the dynamics of the then new compact disc medium.

Two acts who were listening closely were OMD and PET SHOP BOYS. Hague’s first full album production was OMD’s ‘Crush’ in 1985 but it was with his re-recorded version of ‘West End Girls’ that PET SHOP BOYS hit No1 in both the UK and US in 1986. Interestingly, the character of its distinctive bass synth was achieved by Hague coercing a reluctant Chris Lowe into hand playing the riff while the track fulfilled Neil Tennant’s concept of the duo sounding “like an English rap group”. Hague’s work on ‘West End Girls’ made him a producer-in-demand and started an imperial phase which mirrored that of PET SHOP BOYS themselves.

Although Hague was not involved in OMD’s massive American hit ‘If You Leave’ from the John Hughes teen flick ‘Pretty In Pink’, he was the music supervisor of Hughes’ next film ‘Some Kind of Wonderful’ which included PROPAGANDA and FURNITURE in the soundtrack. He then went through a particularly prolific period with a variety of synth flavoured acts such as NEW ORDER, ERASURE and COMMUNARDS, while also working with artists as diverse as PUBLIC IMAGE LIMITED, ONE DOVE, BROTHER BEYOND and THE MODERN.

One of the main criticisms of Stephen Hague’s sound was that his wash of digital synths and smoothed over percussion lacked edge. But as Hague would argue, pop music “carries certain traditions of structure and expectation”. Thus his work made considerations to the placement of instruments and voices, while giving any new technology an organic touch that still sounded positively futuristic.

Hague later got his foot in the door occasionally during the Britpop era with productions for DUBSTAR, BLUR, JAMES and even MANIC STREET PREACHERS. But it is electronic pop that Hague is best known for and his best work has certainly pointed to an affinity with synthetic textures. So quite why REM asked him to produce a demo, only for them to then complain that the results were too synth heavy, remains a mystery.

When ELECTRICITYCLUB.CO.UK first acquired a car, a mix tape conceived around Hague’s various productions was the first cassette created for its incumbent entertainment system. In effect, this was a various artists compilation but with a wonderfully cohesive sonic core.

So what 18 songs would go on an imaginary compilation today as an introduction to the work of this under rated, but very gifted producer? Listed in chronological order with a restriction of one song per artist moniker, here are our choices…

MALCOLM McLAREN Madam Butterfly (1984)

Based on Puccini’s iconic work, ‘Madam Butterfly’ became Stephen Hague’s production showcase with DX slap bass and a reverberating drum machine sitting next to haunting synth motifs and a highly emotive aria. With the late McLaren in the role of Colonel Pinkerton, the beautifully soulful vocal of Deborah Cole as Cho-Cho San and operatic stylings from Betty-Ann White provided a refreshing sound that was one of the most beautiful records from the early digital era.

Available on the album ‘Fans’ via Charisma Records

http://www.discogs.com/artist/24495-Malcolm-McLaren

OMD (Forever) Live & Die (1986)

Inspired by the steadfast groove of Grace Jones’ ‘Slave To The Rhythm’, ‘(Forever) Live & Die’ had been written alone by Paul Humphreys about missing his then wife Maureen who was away working on a ballet. While the song pointed more towards the Trans-Atlantic aspirations of OMD following the success of ‘If You Leave’ in America, it still possessed elements of their Kling Klang inspired roots with KRAFTWERK-influenced derived choirs looming in the mix.

Available on the album ‘The Pacific Age’ via Virgin Records

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

PET SHOP BOYS & DUSTY SPRINGFIELD What Have I Done To Deserve This? (1987)

‘What Have I Done To Deserve This?’ sounded like three songs morphed into one, but that was because it actually was. Chris Lowe and Neil Tennant did their respective pop art sections while Allie Willis who co-wrote ‘Boogie Wonderland’ came up with the rather blissful chorus. The song went into another sphere once Dusty Springfield was brought out of semi-retirement to add her voice and ad-libs. The smoothness of Hague’s production provided the perfect backing.

Available on the album ‘Actually’ via EMI Records

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

NEW ORDER True Faith (1987)

‘True Faith’ was a superb indicator of how Hague could transform a band without necessarily hindering their ethos. Hague insisted that Bernard Sumner laid down his lead vocal early on in the recording so that the instrumentation could be built around his voice. The result was that there was a more subtle dynamic space in the finished track with the occasionally messy wall of sound effect that had been a characteristic of NEW ORDER’s self-produced recordings reduced.

Available on the album ‘Singles’ via WEA Records

http://newordernow.net/

CLIMIE FISHER Love Changes (1988)

If a young Rod Stewart had joined PET SHOP BOYS, what would the end result have sounded like? It might probably have been like CLIMIE FISHER. The late Rob Fisher had Stateside success in NAKED EYES while Simon Climie had proved his worth with his No1 song ‘I Knew You Were Waiting’ for Aretha Franklin and George Michael. ‘Love Changes (Everything)’ continued that latter tradition, but with slightly more synthesized backing.

Available on the album ‘Everything’ via Edsel Records

http://www.discogs.com/artist/112925-Climie-Fisher

ERASURE A Little Respect (1988)

Probably Hague’s best known production worldwide, ‘A Little Respect’ was perfection from the off with its combination of Vince Clarke’s pulsing programming and strummed acoustic guitar. As the busy rhythmical engine kicked in, Andy Bell went from a tenor to a piercing falsetto to provide the dynamic highs and lows that are always omnipresent in all the great pop songs like ‘Dancing Queen’, ‘The Sun Ain’t Gonna Shine Anymore’ and ‘Careless Whisper’.

Available on the album ‘The Innocents’ via Mute Records

http://www.erasureinfo.com/

HOLLY JOHNSON Heaven’s Here (1989)

The former front man of FRANKIE GOES TO HOLLYWOOD’s first hit ‘Love Train’ had been mixed by Hague but the producer was fully involved in the recording of ‘Heaven’s Here’, a stand out track from the ‘Blast’ album which also later came out as a single. A lush love ballad, ‘Heaven’s Here’ took a leaf out of ERASURE’s vocal sensitivity to allow Johnson to present a less in-yer-face vocal style that perhaps he had not really visited since ‘The Power Of Love’.

Available on the album ‘Blast’ via Cherry Red Records

http://http://www.hollyjohnson.com/

JIMMY SOMERVILLE Heaven Here On Earth (1989)

Having worked on THE COMMUNARDS’ ‘Red’ opus which spawned a rather fabulous cover of ‘Never Can Say Goodbye’, Stephen Hague was often a willing conspirator in aiding Somerville’s reputation as a falsetto Karaoke machine. However, ‘Heaven Here On Earth’ was a beautifully sumptuous layered self-composition from Somerville that was one of the best tracks on his debut solo offering ‘Read My Lips’. The staccato voice samples towards the song’s conclusion provided an enticing lift.

Available on the album ‘Read My Lips’ via Polygram Records

http://www.jimmysommerville.co.uk/

MARC ALMOND A Lover Spurned (1990)

With an epic orchestration and the ghost of Brel deep within its arrangement, ‘A Lover Spurned’ could only have been a single by Marc Almond. A forerunner to the Trevor Horn assisted second side concept of ‘Tenement Symphony’ that was to come a year later, ‘A Lover Spurned’ was Almond at his narrative best with ‘The Life & Loves Of A She-Devil’ actress Julie T Wallace giving a stern spoken cameo as the title character that added a ‘Fatal Attraction’ menace to proceedings.

Available on the album ‘Hits & Pieces’ via Universal Music

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

BANDERAS This Is Your Life (1991)

BANDERAS were vocalist Caroline Buckley and instrumentalist Sally Herbert and ‘This Is Your Life’ with its sample from Grace Jones ‘Crack Attack’ had a distinct Pet Shop Girls behavioural vibe to it. There was also the added bonus of Johnny Marr on rhythm guitar plus a terrific middle eight section featuring Bernard Sumner on backing vocals before an emotive synth solo. “There is no rehearsal, no second chance” sang Buckley and Sumner rather prophetically…

Available on the album ‘Ripe’ via London Records

http://www.discogs.com/artist/31185-Banderas

SIOUXIE & THE BANSHEES Kiss Them For Me (1991)

It seemed a strange pairing but what Stephen Hague brought to The Banshees was an exotic Middle Eastern sheen driven by synthesizers that was complimented by some sparkling rhythm guitar. Long standing fans were outraged but ‘Kiss Them For Me’ possessed an accessibility that prised away some of the perceived threatening spectres of their previous work. Siouxsie Sioux may have been unhappy with the ‘Superstition’ album overall, but it yielded a huge US hit.

Available on the album ‘Superstition’ via Universal Music

http://www.siouxsieandthebanshees.co.uk/

ELECTRONIC Disappointed (1992)

The join between NEW ORDER and PET SHOP BOYS became totally blurred with this Europop number inspired by ‘Désenchantée’ by Mylène Farmer. Bernard Sumner and Johnny Marr were joined by occasional member Neil Tennant on lead vocals. The effect of Stephen Hague’s input can be heard markedly with  ELECTRONIC’s original mix effectively a high quality demo while Hague’s pop sensibilities transformed ‘Disappointed’ into a fully functioning hit single.

Available on the album ‘Get The Message’ via EMI Records

http://www.feeleverybeat.co.uk/

THE OTHER TWO Selfish (1993)

Gillian Gilbert and Stephen Morris were THE OTHER TWO; ‘Selfish’ was another exquisite Stephen Hague production with its rich synthetic strings and lively but unobtrusive machine driven rhythms. Gilbert’s resigned vocal about “someone I hate” added to the inherent melancholy. Meanwhile the simulated acoustic guitar solo could easily have been represented by some Hooky bass had this number been a NEW ORDER recording, such was its melodic but understated quality.

Available on the album ‘And You’ via LTM Records

http://theothertwo.co.uk/

BLUR To The End (1994)

Imagine Marc Almond impersonating Anthony Newley with a Gallic twist? Like some obscure monochromatic Nouvelle Vague movie theme, ‘To The End’ needed a lusher orchestrated treatment than for BLUR’s usual mockney Britpop, so Hague was brought in to produce it. Given added authenticity by Laetitia Sadier from STEREOLAB’s sanguine “Jusqu’a la fin – En plein soleil” and Hague’s accordion playing, ‘To The End’ was popular with casual listeners.

Available on the album ‘The Best Of’ via Food Records

http://www.blur.co.uk/

DUBSTAR Stars (1995)

Glorious string synths, rich bass and contemporary beats accompanied Sarah Blackwood’s girl-next-door vocal on DUBSTAR’s biggest UK hit single. The lyrical kitchen sink dramatics fitted well with the lush backing of ‘Stars’ as the trio stood on the bridge between synthpop and Cool Britannia. Hague produced a second album ‘Goodbye’ for DUBSTAR while he continued his association with Blackwood when she formed CLIENT.

Available on the album ‘Disgraceful’ via Food Records

http://dubstarofficial.co/

TECHNIQUE You & Me (1999)

The brainchild of multi-instrumentalist Kate Holmes, TECHNIQUE were a female interpretation of PET SHOP BOYS crossed with NEW ORDER’s post-punk edge. The usual Hague poptastic trademarks were present on ‘You & Me’ and while not a hit in the UK, it was in the Far East via a cover version by Coco Lee. TECHNIQUE were booked to support DEPECHE MODE but when singer Xan Tyler went left, DUBSTAR’s Sarah Blackwood was recruited… that duo morphed into CLIENT…

Available on the mini-album ‘Pop Philosophy’ via PopTones

http://www.discogs.com/artist/Technique

A-HA You Wanted More (2002)

A-HA were undergoing a renaissance following ‘Minor Earth:Major Sky’. Stephen Hague produced four tracks on the follow-up ‘Lifelines’, the best of which was ‘You Wanted More’. Morten Harket had worked with Hague previously on a cover of ‘Can’t Take My Eyes Off Of You’ for the ‘Coneheads’ soundtrack. So with A-HA’s lush melancholic pop drama, the artistic union with Hague was particularly apt. Harket hit his marvellous falsetto in the chorus while a gospel sample added a strange twist.

Available on the album ‘Lifelines’ via WEA Records

http://a-ha.com/

CLAUDIA BRÜCKEN Thank You (2011)

One of two tracks Hague co-wrote and recorded for Ms Brücken’s ‘ComBined’ retrospective collection, ‘Thank You’ was like a Bond Theme reimagined by MASSIVE ATTACK, held together by a sumptuous percussive mood. The fruitful partnership led to a full album of reinterpretations entitled ‘The Lost Are Found’ which came out in 2012. Interestingly, it saw Hague revisit two of his original productions ‘Kings Cross’ and ‘The Day I See You Again’.

Available on the album ‘ComBined’ via Salvo / Union Square Music

http://www.claudiabrucken.co.uk

A Spotify playlist compiled by ELECTRICITYCLUB.CO.UK of Stephen Hague’s productions and mixes can be heard at https://open.spotify.com/playlist/45Z8UqB0dOVcxXJbIdaAXh

Text by Chi Ming Lai
24th April 2014

A Beginner’s Guide To BILLY MACKENZIE

24 March 2014 /

Photo by Richard Haughton

When ASSOCIATES appeared on ‘Top Of The Pops’ in March 1982 with ‘Party Fears Two’, it was the first time that many had experienced the kaleidoscopic vocal of Billy Mackenzie.

With the passion of an otherworldly Orbison crossed with David Bowie and Russell Mael, Mackenzie’s outlandish operatics with a four-and-a-half octave range made him a stand out character during the post-punk era, especially with his love of whippets.

With influences like early ROXY MUSIC, SPARKS, Philadelphia soul and jazz, he sounded like Mario Lanza on amphetamines with a modern majestic take on Weimar cabaret. But as his ASSOCIATES founding partner Alan Rankine experienced, Mackenzie’s personality quirks could make it difficult for him to channel his obvious talent.

With his notorious eccentricity and mercurial temperament, this inevitably led to the pair parting ways in late 1982 after just three albums. It could be argued that if Mackenzie had been prepared to play the pop game, could ASSOCIATES have been as big as A-HA?

Martyn Ware, who worked with Mackenzie on both BEF and post-Rankine ASSOCIATES recordings, said in 2011: “Everybody knows he was bonkers and had a particular take on things but musically, we fitted together very well. He lacked a little in terms of understanding the production process and how sound fitted together but what he lacked in that respect, he made up for in his arrangement ideas”.

Photo by Sheila Rock

Always a troubled soul, Mackenzie sadly took his own life in 1997 less than a year after the death of his mother. But his legacy has lived on as a key musical influence on Nordic acts such as BJÖRK and SIN COS TAN while songs such as ‘Club Country’ and ‘Party Fears Two’ have remained in the public consciousness, courtesy of covers by ONETWO and HEAVEN 17 respectively. Also, an upcoming single ‘Untouchable’ by Glenn Gregory and Stephen Emmer has been conceived as a tribute to him.

Scattered across more than ten full length albums, various collaborations and one-off recordings, what songs deserve to be on an imaginary compilation as an introduction to Mackenzie’s work?

Here are 18 songs which ELECTRICITYCLUB.CO.UK have chosen to gather the sporadic genius of Billy Mackenzie. They are in the majority his most accessible recordings and also include a significant number of covers; but there are no apologies for that. The aim is to prompt further investigation into his vast catalogue by being simultaneously populist and elitist 😉

ASSOCIATES White Car In Germany (1981)

ASSOCIATES debuted with a fairly guitar dominated album ‘The Affectionate Punch’ but signs of a fascination towards the Neu! musik aus Deutschland came with the funereal pulse of ‘White Car In Germany’. The swirling electronics, cold atmosphere and treated percussion were intended to sound as un-American as possible. The lyric “Aberdeen’s an old place – Düsseldorf’s a cold place – Cold as spies can be” accurately captured post-war tensions under the spectre of the bomb.

Available on the ASSOCIATES album ‘Fourth Drawer Down’ via BMG

ASSOCIATES Party Fears Two (1982)

With its iconic honky tonk piano line and sophisticated arrangement, ‘Party Fears Two’ was a magnificent song about dealing with the perils of schizophrenia, made all the more resonant by Mackenzie’s operatic prowess . It also kickstarted a brief period when ASSOCIATES subverted the UK charts with an avant pop approach that fitted in with the Synth Britannia template of the times. Emotive to the Nth degree, the original single version is still the best and total perfection.

Available on the ASSOCIATES album ‘Singles’ via WEA Records

BEF The Secret Life Of Arabia (1982)

Mackenzie’s version of ‘The Secret Life Of Arabia’ with BEF was even more eccentric and histrionic than Bowie’s original from ‘Heroes’. Featuring Britfunk exponents Jo Dworniak of I LEVEL and Neville ‘Breeze’ McKreith of LIGHT OF THE WORLD syncopating to Martyn Ware’s thunderous Linn Drum program and Roland VP-330 textures, it was one of two Mackenzie voiced tracks that formed ‘Music Of Quality & Distinction Vol1’ opus.

Available on the BEF album ‘1981-2011’ via Virgin Records

BEF It’s Over (1982)

This eccentric cover of the Roy Orbision evergreen ‘It’s Over’ closed ‘Music Of Quality & Distinction Vol1’ and featured among its guitarists Hank Marvin and John Foxx whose studio The Garden was the venue for the recording. Operatic extremes with a pop heart, Mackenzie was on top form as Martyn Ware’s beloved Linn Drum led an orchestral arrangement by John Barker that gave him plenty of room to indulge in his big theatrics without overplaying the emotion and despair.

Available on the BEF album ‘1981-2011’ via Virgin Records

ASSOCIATES Club Country (1982)

ASSOCIATES felt an affinity with the New Romantic movement but following a night out in The Blitz Club, Mackenzie and Rankine noted their perceptions of the scene’s vacuous nature via a musical outlet. ‘Club Country’ threw in vicious synthesizer lines, manic rhythm guitar and crashing treated drums. Mike Hedges’ layered production was key to the song’s impact. Kind of reflecting CHIC’s experiences at Studio 54, ‘Club Country’ was Synth Britannia’s very own ‘Le Freak’.

Available on the ASSOCIATES album ‘Singles’ via WEA

ASSOCIATES Gloomy Sunday (1982)

From ASSOCIATES’ debut single ‘Boys Keep Swinging’ onwards, Mackenzie was very much into reinterpretation. Poignantly, ‘Gloomy Sunday’ was a suicide song composed by Hungarian pianist Rezső Seress in 1933. With English lyrics by Sam M. Lewis, it was made famous by Billie Holiday in 1941. Updated with synthesized seasoning and a hypnotic bass backbone from Michael Dempsey, its genius lay in retaining the original’s impending doom.

Available on the ASSOCIATES album ‘Sulk’ via BMG

ASSOCIATES 18 Carat Love Affair (1982)

Described as a “quasi-Neil Sedaka song”, ’18 Carat Love Affair’ was a fine example of ASSOCIATES’ supreme avant pop. Martha Ladly’s girlie shrill went hand-in-hand with the incessant synth riff in this tale about a gay affair that Mackenzie was trying to hide. But Rankine was uncomfortable with its overt poppiness, so it was instrumentalised as ‘nothinginsomethingparticular’ to end the ‘Sulk’ album. It ended up on the US version of ‘Sulk’ with a revised tracklisting.

Please note, the rare 1988 CD of ‘Sulk’ based on the US Edition is the only way that the original single version can be obtained digitally as the version on the ‘Popera’ collection, the remastered V2 edition of ‘Sulk’ and the later ‘Singles’ compilation is an inferior mix with half the synths and backing vocals missing!

Available on the ASSOCIATES album ‘Sulk (US Edition)’ via WEA Records

ASSOCIATES Those First Impressions (1984)

Continuing where BEF had left off but with more obvious use of synths, Martyn Ware produced this single for Mackenzie’s solo return as ASSOCIATES. It had the classic ASSOCIATES sound despite the absence of Alan Rankine who had left in late 1982 following Mackenzie’s refusal to tour the ‘Sulk’ album. But although it was a good song, some of the magic was missing. It could have been why ‘Those First Impressions’ narrowly failed to crack the UK Top40.

Available on the ASSOCIATES double album ‘Perhaps / The Glamour Chase’ via WEA

ASSOCIATES Kites (1984 – released 2003)

Originally a surreal psychedelic number by SIMON DUPREE & THE BIG SOUND, this was first recorded by ASSOCIATES in 1981 under the pseudonym of 39 LYON STREET with Christine Beverage on lead vocals. Mackenzie recorded a new version with himself on lead vocals in a more frantic arrangement for a BBC Radio 1 session in 1984 as part of a getting back on the horse process for ‘Perhaps’. These recordings  captured an interesting interregnum in Mackenzie’s career.

Available on the ASSOCIATES album ‘The Radio One Sessions Vol. 2 1984 – 1985’ via Strange Fruit Records; 39 LYON STREET version available on the ASSOCIATES album ‘Singles’ via WEA

ASSOCIATES Waiting For The Love Boat (1984)

Mackenzie loved THE HUMAN LEAGUE so as well as working with Martyn Ware, he roped in ‘Dare’ producer Martin Rushent for several tracks on ‘Perhaps’. ‘Waiting For The Loveboat’ was the last song Mackenzie and Rankine actually wrote in their first phase together but it was solely credited to Mackenzie as part of their eventual divorce deal when they split in late 1982. ‘Waiting For The Love Boat’, though more glossy in sound, could have easily come off ‘Sulk’.

Available on the ASSOCIATES album ‘Singles’ via WEA

ASSOCIATES Breakfast (1985)

‘Perhaps’ was a comparative disappointment as an ASSOCIATES album after the wondrousness of ‘Sulk’, with many of the tracks suffering from being too long and too smooth. But one song which stood out was the epic string laden drama of ‘Breakfast’ produced by Martin Rushent. It is possibly Mackenzie’s greatest single moment, the melancholic piano motif setting the scene for an entire film noir in five minutes with its widescreen dramatics and mournful tension.

Available on the ASSOCIATES double album ‘Perhaps / The Glamour Chase’ via WEA

YELLO featuring BILLY MACKENZIE The Rhythm Divine – Version Two (1987)

Written in collaboration with YELLO, this immense brooding ballad became a European hit for the Swiss duo featuring the vocals of Dame Shirley Bassey. ‘The Rhythm Divine’ had been written as part of an ambitious project about Marilyn Monroe under the working title of ‘Norma Jean’. Mackenzie’s own vocalled version was released as a 12” single in its own right, while it was also due to be included on ‘The Glamour Chase’ album which WEA then refused to release for being uncommercial.

Available on the ASSOCIATES double album ‘Perhaps / The Glamour Chase’ via WEA

ASSOCIATES Fire To Ice (1990)

If there was a computer programme to produce a composite ASSOCIATES hit single, then it probably would have come with up ‘Fire To Ice’. With Mackenzie now free from all the hassles at WEA and finding a new home in Circa Records, ‘Fire To Ice’ acquitted itself well as a potential hit single following ‘The Glamour Chase’ debacle. But despite the fresh approach to a classic sound, ‘Fire To Ice’ failed to capture mass sales recognition needed to re-establish Mackenzie to a wider audience.

Available on the ASSOCIATES album ‘Wild & Lonely’ via Circa Records

YELLO Capri Calling (1991)

A smooth, sunset romance in collaboration with old friends YELLO, the title said it all. ‘Capri Calling’ was a most beautiful set piece that captured a gentle Mediterranean spirit. From YELLO’s ‘Baby’ album, a fair number of Mackenzie best songs post-Rankine were with Boris Blank and Dieter Meier. So it was a shame he never did a full album with the duo. The soaring ‘Baby’ title track which Mackenzie also did with YELLO later featured on his first solo long player ‘Outernational’.

Available on the YELLO album ‘Baby’ via Mercury Records

APOLLO 440 Pain In Any Language (1997)

Widely known to be the last song Mackenzie recorded, ‘Pain In Any Language’ was a sombre collaboration with APOLLO 440 which sounded fittingly like a lost ASSOCIATES track. This was an air of ethereal Cold War chic with synthetic cimbalom and windy sweeps for that epic Eastern European feel that Marc Almond often liked to strive for. Fittingly, APOLLO 440 played at the 2007 tribute gig at London’s Shepherds Bush Empire alongside BEF and ONETWO.

Available on the APOLLO 440 album Electro Glide In Blue via Epic Records and the BILLY MACKENZIE album ‘Auchtermatic’ via One Little Indian

HAIG / MACKENZIE Transobsession (1999)

Posthumously released, this midtempo dance number was from a joint album Mackenzie had been working on with Paul Haig, another underrated Scottish talent. Lyrics such as “calling all nations, station to station” harked back to Mackenzie’s love of Bowie while his voice still had relevance in a modern club orientated world. Also from these sessions was a recording of EURYTHMICS’ ‘Here Comes The Rain Again’ which surfaced on the 2004 electro collection ‘Auchtermatic’.

Available on the HAIG / MACKENZIE album ‘Memory Palace’ via Rhythm Of Life

BILLY MACKENZIE Never Turn Your Back On Mother Earth (2001)

Part of the ‘Wild Is The Wind’ covers EP issued by Rhythm Of Life, this heartfelt version of ‘Never Turn Your Back On Mother Earth’ was close to equalling the fabulous SPARKS original. Stripped down to piano and strings with Mackenzie’s haunted falsetto at the centre, this was a fine reinterpretation. The posthumous ‘Transmission Impossible’ selection issued in 2004 ensured that more people could hear it.

Available on the BILLY MACKENZIE album ‘Transmission Impossible’ via One Little Indian

BILLY MACKENZIE Boltimoore – Original JiiHoo Bootmix (2011)

The vocal from Mackenzie’s stark cover of Randy Newman’s ‘Baltimore’ from the ‘Wild Is The Wind’ EP was flown into a hypnotic bootleg dance track by ace Finnish producer Jori Hulkkonen. With deliberate incorrect spelling of our hero’s name to mask its illegal nature, this was a haunting ghostly return from the heavens to the dancefloor. Mackenzie would have loved it and had he been alive today, he would have almost certainly been working with Hulkkonen.

Available on the 12 inch vinyl release ‘Boltimoore’ b/w ’Ghouls’ via Kojak Giant Sounds

In memory of BILLY MACKENZIE 1957 – 1997

http://www.billymackenzie.com/

https://www.facebook.com/theassociatesofficial/

http://whippetatthewheel.blogspot.co.uk/

Text by Chi Ming Lai
24th March 2014, updated 16th June 2019

25 SONGS THAT SHOULD HAVE BEEN SINGLES

19 February 2014 /

The concept of the single in the past has been to present an artist’s most immediate work for mass consumption and appreciation, often as a trailer for an album or compilation.
Like it or not, many acts’ best songs have been released as singles. They often reach an audience who would not normally be interested in the tribulations of a much longer journey.

Looking back throughout pop history, many pinnacles of a group’s career have been exclusively single releases; THE WALKER BROTHERS ‘The Sun Ain’t Gonna Shine Anymore’, THE BEATLES ‘Strawberry Fields Forever’, IAN DURY & THE BLOCKHEADS ‘Hit Me With Your Rhythm Stick’ and THE JAM ‘Going Underground’ are a number of examples.

Today’s culture of individual track downloading now makes virtually every song in existence a single. However, a fair number of recordings which have become standards within live sets and have become a key part of a band’s history have never been accorded a single release. Such were some bands’ standings in their heyday that many were potential hits.

So here are 25 synth friendly songs which ELECTRICITYCLUB.CO.UK felt should have been given singular status. Listing tracks not released as 45s or CD singles in the UK with a limit of one song per artist moniker, they are arranged in chronological and then alphabetical order.

GARY NUMAN Metal (1979)

With Minimoog riffage in abundance, ‘Metal’ would have made a perfect follow-up to ‘Cars’ and in hindsight, been less of a public anti-climax than the brave, but misguided release of ‘Complex’, as great a song as it is. Full of dystopian resignation with references to “liquid engineers” and chilling vox humana courtesy of the Polymoog, ‘Metal’ was Sci-Fi musicality at its best. Even NINE INCH NAILS covered it and nearly 35 years later, it is still part of the Gary Numan live set.

Available on the GARY NUMAN album ‘The Pleasure Principle’ via Beggars Banquet Records

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

JOHN FOXX A New Kind Of Man (1980)

“I want to be a machine” cried JOHN FOXX as far back as 1977 on the first ‘Ultravox!’ album. Starting off side two of ‘Metamatic’, the former Dennis Leigh realised his mechanised JG Ballard inspired electro theories and went up to the next level with ‘A New Kind of Man’. Is it about genetically modified humans or homo superiors? Who knows? But the chilling Elka string machine and frightening detuned synthetics made it a distinctly new kind of song in a brave new world.

Available on the JOHN FOXX album ‘Metamatic’ via Edsel Records

http://www.metamatic.com/

JAPAN Swing (1980)

JAPAN found a refuge at Virgin Records who released their fourth album ‘Gentlemen Take Polaroids’. One of its best numbers was ‘Swing’ which combined David Sylvian’s muzak travelogue with Richard Barbieri’s Oriental synth textures. It was probably one of the last times JAPAN were fully as one. Guitarist Rob Dean made a full contribution before being forced out while the rhythm section of the late Mick Karn and Steve Jansen were amazingly fluid over the drum machine bossa nova.

Available on the JAPAN album ‘Gentlemen Take Polaroids’ via Virgin Records

http://www.nightporter.co.uk/

JOY DIVISION Isolation (1980)

OK, so JOY DIVISION never took singles from their albums but what if they had? This would have been a contender. Featuring an ARP Omni and an early version of the Simmons drum synthesizer, ‘Isolation’ was the most electronic track JOY DIVISION ever recorded although Hooky’s bass ensured there was a gritty punk rock edge. When NEW ORDER reformed for the first time in 1998, a drum ‘n’ bass flavoured rework of ‘Isolation’ was part of the live set.

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

http://joydivisionofficial.com/

THE HUMAN LEAGUE The Things That Dreams Are Made Of (1981)

Optimistic and aspirational, ‘The Things That Dreams Are Made Of’ is the key song from ‘Dare’ and was a metaphor for THE HUMAN LEAGUE’s then pop ambitions. Gloriously spacious and delightfully catchy, each synthesizer voicing has its place while Phil Oakey gives full justice to Adrian Wright’s shopping list of life’s pleasures to a perfect Linn Drum clap track. It certainly deserves to be played live more often… “New York – ice cream – TV – travel – good times”

Available on THE HUMAN LEAGUE album ‘Dare’ via Virgin Records

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

KRAFTWERK Computer World (1981)

Hooky, catchy and futuristic, ‘Computer World’ with its Speak & Spell voices and infectious four note theme was an ideal KRAFTWERK single if ever there was one. However, the perky and novelty laden ‘Pocket Calculator’ was chosen to trail the parent album. It is unlikely ‘Computer World’ could have hit the top of the charts like ‘The Model’ did, but such was the song’s popularity, the native variant got released as a limited run remixed maxi-single in Germany.

Available on the KRAFTWERK album ‘Computer World’ via Mute Records

http://www.kraftwerk.com/

OMD She’s Leaving (1981)

It was a tricky call between ‘She’s Leaving’ and ‘Radio Waves’, but the North-by-North West melancholy of the former won over the upfront Germany Calling salvo of the latter. A wonderful synthetic cross between JOY DIVISION and Paul McCartney, ‘She’s Leaving’ was pencilled in as the fourth single from OMD’s huge selling ‘Architecture & Morality’ but was vetoed by the band.  However, when ‘She’s Leaving’ did come out as a single in the Benelux region, it flopped.

Available on the OMD album ‘Architecture & Morality’ via Virgin Records

http://www.omd-messages.co.uk/

SOFT CELL Secret Life (1981)

As proven by their covers of ‘Tainted Love’, ‘What?’ and later on during their 21st Century comeback ‘The Night’, SOFT CELL always had a love of the UK’s Northern Soul scene. Its influence would seep into their own compositions like ‘Secret Life’. Marc Almond’s narrative on a philanderer’s hypocrisy was an apt reflection of suburban life while Dave Ball’s solid use of keyboards provided a suitably accessible but gritty sub-Tamla soundtrack.

Available on the SOFT CELL album ‘Non-Stop Erotic Cabaret’ via Universal Music

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

DURAN DURAN New Religion (1982)

The perfect balance between art and pop, ‘New Religion’ was a key highlight from DURAN DURAN’s ‘Rio’ album. “A dialogue between the ego and the alter-ego”, Simon Le Bon’s conflicting schizophrenic voices added tension in the bridges before a classic Duran chorus. With an ambient intro that JAPAN would be proud of, it then moved at breakneck speed through the quintet’s other influences like Bowie, Roxy, Moroder and Chic with speed being the operative word.

Available on the DURAN DURAN album ‘Rio’ via EMI Records

http://www.duranduran.com/

SIMPLE MINDS New Gold Dream (1982)

A huge song with two drummers drumming as well as lashings of Jupiter 8 and a marvellous bass engine, ‘New Gold Dream’ and its parent album highlighted an ambitious streak in SIMPLE MINDS akin to their Virgin label mates THE HUMAN LEAGUE when they released ‘Dare’ the year before. Already six minutes in length, an extended mix was released as a 12 inch single in Italy while as a sample on URSURA’s ‘Open Your Mind’, ‘New Gold Dream’ became a club hit in 1993.

Available on the SIMPLE MINDS album ‘New Gold Dream’ via Virgin Records

http://www.simpleminds.com/

VISAGE The Anvil (1982)

With its heavy metronomic beat sans hi-hats, ‘The Anvil’ was Steve Strange’s tale of a night out in New York’s notorious club of the same name. But that wasn’t all, Billy Currie’s screaming ARP Odyssey and Dave Formula’s brassy synth riff completed the excursion. Rusty Egan said: “For me, ‘The Anvil’ was the lead track, ‘The Anvil’ in German (‘Der Amboss’), the 12-inch remixes, all that which I did with John Luongo was for me, the single. But the record company didn’t support that!”

Available on the VISAGE album ‘The Anvil’ via Cherry Pop

http://www.visage.cc/

YAZOO Midnight (1982)

Showcasong one of the best Alison Moyet vocals, Vince Clarke’s minimal programmed backing gave her plenty of space to let rip with raw emotion on ‘Midnight’ . Back in those days, Mute Records usually only took two singles from an album so with ‘Only You’ and ‘Don’t Go’ already accorded singular status from ‘Upstairs at Eric’s’, a 45 was never likely. But it sort of belatedly became a single when it was sampled and manipulated by REX THE DOG for ‘Bubblicious’ in 2008.

Available on the YAZOO album ‘Upstairs At Eric’s’ via Mute Records

http://www.yazooinfo.com/

BLANCMANGE Game Above My Head (1983)

Originally the B-side to ‘Waves’, ‘Game Above My Head’ signalled the more disco based direction Neil Arthur and Stephen Luscombe later trod on ‘Blind Vision’ and ‘That’s Love, That It Is’ with American producer John Luongo. Merging the busy Linn Drum patterns that characterised BLANCMANGE’s debut ‘Happy Families’ with a funkier outlook, ‘Game Above My Head’ was included on their second LP ‘Mange Tout’. Today, the song remains a constant in the live set.

Available on the BLANCMANGE album ‘Mange Tout’ via Edsel Records

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

HEAVEN 17 Five Minutes To Midnight (1984)

HEAVEN 17’s most underrated track and referencing The Doomsday Clock, ‘Five Minutes To Midnight’ followed on from ‘Let’s All Make A Bomb’ to highlight the absurdity of Mutually Assured Destruction. Using and abusing the Fairlight CMI, the ‘Protect and Survive’ styled civil defence announcements, deathly whoops and a doomy orchestral crescendo bring a frightening finality as the song suddenly stops… “Hot as a furnace – wing to wing contact! AARGH!”

Available on the HEAVEN 17 album ‘How Men Are’ via Virgin Records

http://www.heaven17.com/

HOWARD JONES Equality (1984)

‘Equality’ exploited new MIDI technology like the Prophet T8 and Yamaha DX7, combining it with a Jupiter 8 and Pro-One; “it was one of those ones that really suited my live rig” said Howard Jones With its poignant human rights message, whether ‘Equality’ would have made a better single than ‘Pearl in the Shell’ is a moot point, but the song was released as a single in South Africa as a commentary about Apartheid.

Available on the HOWARD JONES album ‘Human’s Lib’ via Cherry Red Records

http://www.howardjones.com/

ULTRAVOX White China (1984)

Despite their use of synthesizers, it was rare that ULTRAVOX went the whole sequencer route. They did so with this song about the impending 1997 handover of the British Colony of Hong Kong to Red China. The lyrics captured a sense of pessimism over a bouncy electro disco soundtrack influenced by ‘Blue Monday’. Slated for release as a single in the UK, ‘White China’ had a special extended mix prepared but Chrysalis Records preferred the more obvious ‘Dancing With Tears In My Eyes’.

Available on the ULTRAVOX album ‘Lament’ via EMI Records

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

A-HA Scoundrel Days (1986)

A-HA were perceived as a teenybop group in their heyday, but their Nordic melancholic depth was apparent even on their only UK No1 ‘The Sun Always Shines On TV’. “Cut my wrist on a bad thought” is a superb piece of second language expression that no native speaker could have come up with. Morten Harket veers from a semi-spoken growl to a full voice salvo for the terrific chorus while Pål Waaktaar’s twanginess adds some edge to Magne Furuholmen’s glacial synthetic atmospheres.

Available on the A-HA album ‘Scoundrel Days’ via WEA Records

http://a-ha.com/

PET SHOP BOYS Tonight Is Forever (1986)

Mistakenly announced as a new single on ‘The Tube’, ‘Tonight Is Forever’ is one of Neil Tennant and Chris Lowe’s best early compositions. From its blipping intro with an odd starting snare drum to the magnificently euphoric chorus, it captured the excitement of a fleeting romance on a night out in clubland. With its sombre synth brass riff and a wonderful middle eight, it was later covered by Liza Minelli in an orchestral arrangement for her PET SHOP BOYS produced album ‘Results’.

Available on the PET SHOP BOYS album ‘Please’ via EMI Records

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

NEW ORDER Mr Disco (1989)

‘Your Silent Face’ may be one of NEW ORDER’s best songs, but it was unlikely to have got radio play as a single with its “why don’t you p*ss off?” quip! Meanwhile, ‘Mr Disco’ was the club friendly Mancunians in their Italo prime, complete with holiday romance lyrics and tongue-in-cheek syndrums. Some fans were dismayed by its resemblance to PET SHOP BOYS, but Bernard Sumner went and founded ELECTRONIC, aided and abetted by Messrs Tennant and Lowe!

Available on the NEW ORDER album ‘Technique’ via WEA Records

http://www.neworder.com/

DEPECHE MODE Halo (1990)

One of DEPECHE MODE’s greatest moments, Alan Wilder said: “From memory, the drums were sampled from LED ZEPPELIN’s ‘When the Levee Breaks’ (but secondhand from a rap record)… For the end choruses, there are some string samples which I think were derived from Elgar. One of my techniques is to find sections of classical strings and transpose / stretch these, then add my own samples, in order to formulate new and unusual arrangements”.

Available on the DEPECHE MODE album ‘Violator’ via Mute Records

http://www.depechemode.com/

ELEKTRIC MUSIC Kissing The Machine (1993)

Undoubtedly, ‘Kissing The Machine’ is Andy McCluskey’s finest song without Paul Humphreys as an OMD band mate. It also featured one of Karl Bartos’ greatest melodies. Recorded for his first project after leaving KRAFTWERK, Karl Bartos said “He suggested we do something together and I was up for it… We picked some cassettes and finally I found the opening notes of ‘Kissing The Machine’. A month later he sent me a demo…He wrote the whole song and the lyric and the robo voice” 

Available on the ELEKTRIC MUSIC album ‘Esperanto’ via SPV Records

http://www.karlbartos.com/

ERASURE Because You’re So Sweet (1994)

The closing track on the ‘I Say I Say I Say’ album produced by HEAVEN 17 and BEF’s Martyn Ware, ‘Because You’re So Sweet’ was a pretty ballad representative of the maturer approach taken by Andy Bell and Vince Clarke for their seventh long player. Featuring ERASURE’s trademark sequences, there was also the self-imposed restriction of no drum machines being used, so that all the album’s percussive templates were created using synths and driven by sequencers.

Available on the ERASURE album ‘I Say I Say I Say’ via Mute Records

http://www.erasureinfo.com/

MOBY First Cool Hive (1997)

There were eight singles from 1999’s ‘Play’ but for 1995’s ‘Everything Is Wrong’, Mute Records were more restrained with just five! Surprisingly, this vivid instrumental missed out on singular distribution. One of the highlights from the genre hopping MOBY long player, the looping bass sample of ‘First Cool Hive’ was like an update of ‘Empires & Dance’ era SIMPLE MINDS while female voice samples and beautiful synth strings gave it a mysterious ENIGMA-tic touch.

Available on the MOBY album ‘Everything Is Wrong’ via Mute Records

http://www.moby.com/

LADYTRON Discotraxx (2001)

‘Mu-tron’ may have opened the LADYTRON  debut album ‘604’ but the pulsating salvo at the start of ‘Discotraxx’ signalled the album’s intent… the return of the synthesizer as an instrument of value and integrity, not as a novelty to mock the past. From the moment Mira Aroyo deadpans in Bulgarian and Helen Marnie’s sweet but resigned voice kicks in about “the boy I know”, a new dawn is heralding for electronic pop.

Available on the LADYTRON album ‘604’ via Nettwerk Records

http://www.ladytron.com/

GOLDFRAPP Lovely 2 C U (2005)

The surreal concept was Kate Bush does THE HUMAN LEAGUE on this buzzy percussive extravaganza, one of the more under rated songs in Alison Goldfrapp and Will Gregory’s canon. The sub-TOM TOM CLUB meets PRINCE electrofunk is aided by Charlie Jones’ treated bass runs over the zooming synth hooks and chunky riffs. Interestingly despite its immediacy or maybe because of it, ‘Lovely 2 C U’ has rarely made it into the GOLDFRAPP live set.

Available on the GOLDFRAPP album ‘Supernature’ via Mute Records

http://goldfrapp.com/

Text by Chi Ming Lai
28th February 2014

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