Tag: Blancmange (Page 13 of 16)

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

BLANCMANGE Nil By Mouth

20 September 2015 / electricityclub

Hot on the heels of two instrumental albums by Synth Britannia veterans Martin Gore and John Foxx under the guises of MG and GHOST HARMONIC respectively, comes an addition to the tradition by BLANCMANGE.

‘Nil By Mouth’ was recorded by Neil Arthur from 2005 to the end of 2014. Now, while ‘Sad Day’ has been key part of the BLANCMANGE story, instrumentals have not had as prominent a role as in other bands such as ULTRAVOX, SIMPLE MINDS or DEPECHE MODE.

But when BLANCMANGE went into hiatus between 1985’s ‘Believe You Me’ and 2011’s ‘Blanc Burn’, Neil Arthur and Stephen Luscombe worked within the TV and film industry, scoring soundtracks and incidental music for a variety of projects. Although best known for his voice, instrumentals have been a continual art form for Arthur. So the release of a full length album, while not entirely a surprise, is perhaps unexpected.

To start the collection, ‘Eleanor’ is a musical dedication to his daughter who sang on ‘Paddington’ from ‘Semi Detached’; a rich combination of synth, rhythm box, minimal guitar and pretty bells like prime OMD, it is a perfect introduction to the wordless wonder that is ‘Nil By Mouth’.

‘Fall’ however, is not a vox free version of ‘The Fall’ from ‘Semi Detached’, but a completely new ambient composition utilising echoey piano and those low end flute approximations that THE HUMAN LEAGUE used to do when Martyn Ware was a member. It drifts into a beautiful neo-orchestral climax and a wonderfully cinematic fading piano section before rounding back.

The pulsing ‘R and P’ though is more eerie yet still very melodic. And this is the key to a good instrumental opus… it either has to be very melodic to make up for the lack of vocals, or very ambient so that while the music is interesting enough to be listened to, it is unobtrusive enough to be ignored.

Continuing on, the brilliant ‘Cistern’ comes over like an imaginary Bond Theme done in Sci-Fi synth stylee while ‘Gone’ is a pure Foxxy dystopian drama. ‘Crystals Of Zircon’ is the closest the album gets to having a dance track, the percussive backbone providing the soundtrack to what would be a chase scene in a futuristic crime thriller. Meanwhile, ‘The Son’ has a creepier outlook with snatches of vocoder making its presence felt over the yesterday’s tomorrow atmosphere.

The two minute ‘Matters Of Life’ is a steadfast trip-hop interlude with hints of Fender (as opposed to David) Rhodes that comes over like PORTISHEAD on Prozac before a 2005 reworking of ‘Holiday Camp’, a track which originally formed part of BLANCMANGE’s debut EP release ‘Irene & Mavis’. While still retaining the essence of Brian Eno with its grainy synth shimmers, the well produced six string interplay and vibrant bass sequence cut through to provide an aural sculpture to savour.

The lovely ‘Landsea’ merges acoustic guitar with drum machine and light synth vibrato in a piece that recalls the B-sides of CHINA CRISIS, another act well known for their great instrumentals. Coming towards the home straight, ‘So Long Ago’ harks back again to BRIAN ENO, but ‘Close Encounters’ is far more exuberant and almost goes funky with wah-wah guitar in a manner not dissimilar to AIR’s ‘Californie’ from ‘Premiers Symptomes’, before some muted trumpet samples politely interject.

Exceeding expectations and outstripping other instrumental albums which have perhaps come over more like Eurorack modular tutorials, ‘Nil By Mouth’ is a truly excellent album in its own right. It will be appreciated by the synth cognoscenti, but it deserves a wider audience.

‘Nil By Mouth’ is released by Blanc Check on CD and available via the usual retail outlets, download available from https://blancmangemusic.bandcamp.com/album/nil-by-mouth

https://www.blancmange.co.uk

https://www.facebook.com/BlancmangeMusic

https://twitter.com/_blancmange_

Text by Chi Ming Lai
Photo by Hana Knizova
27th May 2015

BLANCMANGE + BERNHOLZ Live at London Red Gallery

20 May 2015 / electricityclub

In some ways, ‘Semi Detached’ is BLANCMANGE’s technolstalgic album. It could be seen Neil Arthur’s personal recollections as an art student, set to a midlife narrative.

With tremendous wordplay, it acts as both a commentary on English suburban aspirations and the fact that this new long player is Arthur’s first of completely new material recorded without his long time partner-in-crime Stephen Luscombe.

A pair of weekend live shows at Shoreditch’s Red Gallery was chosen as the venue to launch this latest opus from BLANCMANGE, perhaps surprisingly only the fifth of their career. In the band were Ogoo Maia, album producer Adam Fuest and regular collaborator David Rhodes.

Opening the evening was BERNHOLZ, a member of the Brighton based artist collective Anti-Ghost Moon Ray which has also spawned GAZELLE TWIN and GREAT PAGANS.

Appearing on stage alone, he performed a brave, honest set of resonant art pop in an Eno-esquse tradition that also recalled that other synth duo from The Wirral, DALEK I LOVE YOU. Beginning with the starkly minimal new number ‘28’, the set then launched into two songs from his promising debut album ‘How Things Are Made’; ‘Austerity Boy’ and ‘Horses Part 2’ both merged to form a progressive adventure involving frantic sequencers and obscure rhythms. Other previously unheard numbers like ‘Animals’ and ‘Door’ continued on an experimental framework, but the set finished with a great new song ‘Alive’ which crossed PRINCE styled funk with TALKING HEADS.

Arriving to the wonderful instrumental ‘MKS Lover’, BLANCMANGE opened with ‘The Fall’, an eight minute number that actually referenced Mark E Smith’s cult combo as well as the London Underground. These Red Gallery shows were radically different to BLANCMANGE’s last two tours in support of ‘Happy Families Too’ and HEAVEN 17, as Neil Arthur promised some rarely played cult favourites as well as songs from ‘Semi Detached’.

The first of the those rare numbers was ‘I Would’, a song recorded for a John Peel session that ended up on the 12 inch B-side of ‘Living On The Ceiling’. Rearranged with a less frantic but more precise machine rhythm, despite being of 1981 vintage, it sounded totally within the aesthetic of ‘Semi Detached’ in a strangely slower but faster pace.

Neil Arthur was on fine comedic form, taking mock selfies during ‘Like I Do’ as a performance art satire on society’s obsession with mobile phones. And when introducing the most recent single ‘Paddington’, he told the audience it could have been named after Marylebone, Kings Cross or Liverpool Street railway stations but that ‘Paddington’ fitted best into the song! Featuring some of the Middle Eastern aesthetics that BLANCMANGE became known for in the mainstream, it took its place as a possible live favourite for the future.

Alternating between past and present, ‘Running Thin’, the other B-side from ‘Living On The Ceiling’ was also dusted off while the bouncy ‘Acid’ provided one of several dancing opportunities, demonstrating BLANCMANGE’s link with both art school and disco. While there was no ‘Useless’(possibly the most immediate song on ‘Semi Detached’), there was however an outing for the tremendous ‘Starf*cker’ from 2011’s ‘Blanc Burn’, a vicious BLACK GRAPE styled attack on the vapid celeb obsessed culture of today.

There was a further surprise in the shape of ‘Holiday Camp’ from BLANCMANGE’s debut EP ‘Irene & Mavis’. With Neil Arthur taking to a melodica on this instrumental, it was a fine homage to ‘The Big Ship’ from Eno’s ‘Another Green World’ long player.

With David Rhodes’ guitar taking centre stage on the moody ‘Bloody Hell Fire’, Neil Arthur gave it his all, as he did with the charismatic Ian Curtis meets David Byrne intensity on fine, dance friendly versions of ‘I Can’t Explain’, ‘Feel Me’ and ‘Blind Vision’

Returning for a joyous cover of CAN’s ‘I Want More’ and a rapturous ‘Living On The Ceiling’ to end the evening, Neil Arthur certainly delivered on his promise of a fan friendly set and looked like he thoroughly enjoyed performing the new and less well known material to an enthusiastic, receptive crowd. With a mature, artful approach on ‘Semi Detached’ and the new instrumental album ‘Nil By Mouth’, this can only be good for BLANCMANGE’s longevity as both a recording and live act in the 21st Century.

With thanks to Steve Malins at Random PR

BLANCMANGE’s ‘Semi Detached’ and ‘Nil By Mouth’ are both available on CD via the official online store at http://blancmange.tmstor.es/

https://www.blancmange.co.uk

https://www.facebook.com/BlancmangeMusic

BERNHOLZ’s ‘How Things Are Made’ is available in CD and download formats from http://bernholz.bandcamp.com/

https://www.facebook.com/bernholzmusic

Text by Chi Ming Lai
Photos by Richard Price
20th May 2015

BLANCMANGE Semi Detached Interview

11 March 2015 / electricityclub

Following ‘Blanc Burn’ in 2011 and a 21st Century rework of their debut ‘Happy Families Too’ in 2013, BLANCMANGE are back with their fifth album ‘Semi Detached’.

A brilliant title, Neil Arthur’s tremendous wordplay does it again with a phrase that acts as both a commentary on English suburban aspirations and the fact that this new long player is Arthur’s first of new material recorded without his long time partner-in-crime Stephen Luscombe. Sadly Luscombe has been unable to work due to illness since BLANCMANGE went back on the road in 2011, but with Arthur’s notable dry Northern humour, he manages to put joy into despair with just those two words.

Filling in the void though is producer Adam Fuest along with guitarist and long-time collaborator David Rhodes whose other credits have included Peter Gabriel, JAPAN and NEW ORDER. His whirring E-Bow is a particular highlight on the ‘Heroes’-esque ‘Useless’, but Neil Arthur’s own six-string textures make their presence felt on the sombre closer ‘Bloody Hell Fire’, concluding the bitter sweet journey that is ‘Semi Detached’.

In some ways, this is BLANCMANGE’s technostalgic album and beginning with eight minute opener ‘The Fall’ which actually references Mark E Smith’s cult combo, ‘Semi Detached’ is Neil Arthur’s personal recollections as an art student set to a midlife narrative. The first single ‘Paddington’ features some of the Middle Eastern aesthetics that BLANCMANGE became known in the mainstream for with hits like ‘Living On The Ceiling’ and ‘Don’t Tell Me, but the raw backing and Neil Arthur’s endearing drawl keep things very English and minimally contemporary.

As the first act in the history of ELECTRICITYCLUB.CO.UK to be interviewed for a fourth occasion, Neil Arthur kindly chatted about BLANCMANGE’s latest opus…

‘Semi Detached’ is your first album of new BLANCMANGE material without Stephen Luscombe and the title appears to be a reference to this?

It could be… but there’s an ambiguity in there like in much of the lyrics so they can be taken in more than one way and that goes for the title. It can mean many things and of course, that definitely crossed my mind. Since we finished ‘Blanc Burn’ in 2010, Stephen hasn’t worked with BLANCMANGE and you haven’t seen him live, but the project goes on with his blessing. Sadly, he’s not well enough to work. So musically, I’ve driven it forward the last 4+ years and ‘Semi Detached’ is me writing and recording it.

Looking back, was reworking ‘Happy Families Too’ a busman’s holiday to prepare you for ‘Semi Detached’?

It took a bit of rearranging but I didn’t have to do any writing *laughs*

‘Happy Families Too’ and ‘Semi Detached’ were very different animals. Interpretation is a very different thing so what I did do was go into the minutiae. That was a strange journey going back to ‘Happy Families’ in such depth and understand what it came from beyond the embryonic memories of what happened 30 years ago. It was actually analyzing data. When I was programming the very early stages of the new versions, it unlocked a few memories that I completely forgot about.

When you come to writing a new album, you don’t have that. But you take on board the experience and one of the things was the technicalities… I always try and learn something from doing any project whether it’s film or doing a new album so that I can learn and say “I won’t make that mistake again”. I’m not a trained musician so you’re kind of cobbling it together… and you think you’re gonna get found out! *laughs*

On the subject of looking back, I remember you saying to me in 2012 that you weren’t interested in doing nostalgia events like Rewind, but you relented and played it in 2013. Why was that?

There’s two answers here; one is, and I’ll basically be honest, I was offered a fee… like everybody else, I have to earn a living and there’s certain things you will do and things you won’t. An offer came in and I knew I was in the process of putting together ‘Happy Families Too’. And in that process, I also did a load of other stuff as well, like things with ‘Blind Vision’ that may not actually ever come out. It made sense to take it a little bit further to understand some of the things we’d done in the past. One of the great things about that is I was creating a lot of sounds for us to be able to manipulate live. When we were offered Rewind, it fitted in perfectly. We’ve been offered things like that since, and I’ve decided not to do them because I want to concentrate on ‘Semi Detached’ and the future of that.

How was the various collaborative processes this time compared with ‘Happy Families Too’ and previous albums?

With ‘The Fall’, that started off as an instrumental groove that Graham Henderson, who’s played live keyboards with BLANCMANGE, had. Then I had another song from a project called AWP1 which Pandit Dinesh played in sometimes. I was listening to this other track called ‘Sequence’ and I had these lyrics and it took me on a journey… I don’t sit around with notebooks waiting for something to come, it tends to mull around in my head and then it just ends up being there. 70-80% will just come out! I wrote these things down and then with these two songs, which are very different songs, I decided to play one on top of the other to see what happened and it just sounded nice. So that’s a kind of collaborative thing!

‘Useless’ is brilliant, it’s quite ENO circa ‘Here Come The Warm Jets’ meets LCD SOUNDSYSTEM. Is it about anyone in particular?

Well, yes and no! It’s about anyone who thinks they might be Useless… I take it as a compliment about ‘Here Come The Warm Jets’, it’s one of my favourite albums and I really do like LCD SOUNDSYSTEM. This song is about that whole idea that we’re all flawed and you’re “useless as you are”… there are just times when you think “f*cking hell, I couldn’t organise a p*ss up in a brewery” or that whole thing about confidence. Whatever they think is their failing, irrespective of that and with it, “useless as you are, everybody loves you”… I thought that line just deserved to be in a song. Once I got those lyrics together, I had this trip down memory lane in terms of melodies and cheap synth sounds, and put them all together, cliché upon cliché really. And then I thought, how can I make it slightly odd without anyone noticing, so I took a bar out of the song… if you listening to it, instead of being four or eight, quite often it’s three and seven, just to be awkward! *laughs*

How did ‘Paddington’ come about?

I don’t live in London anymore, much as I love it. I spent 34 years of my life in the city, it’s a part of me. No disrespect to Paddington, but it’s not the prettiest place to disembark into… I love the station but do you know what I mean? But what I absolutely loved when I came in that way was how people bumped into you, everybody is going about their business and you’re anonymous. I’m not joking about this, but I have kissed the ground at Paddington because I love London so much. So many memories and there’s so much future there and I enjoy aspects of it.

It conjured up this idea of this journey of tiny snippets, like looking at a cutting room floor for bits of memories… I just patched all those bits together, turned it round and played with words. For example, “tank top, bus stop”, it was just good fun and fitting them into an electronic groove. Quite a bit of it is ad-libbed but then weirdly, I’ve just had to write it all down which is interesting. That made me look at things like ‘Feel Me’, ‘Blind Vision’ and ‘I Can’t Explain’, they’re all ad-libbed… then you’ve got to try and remember the words! Quite often, the fans know the words better than me! But it’s my prerogative, I wrote them so I’m entitled to ad-lib it again! *laughs*

I decided to use a different sequencer, I’d been using Logic for years and I wanted to use a different digital audio workstation. I used Ableton for ‘Paddington’, then transferred it across to Logic and it ended up in Nuendo! A lot of the songs, I took to Adam who has a studio up in Wales to mix it. We’ve worked together since my solo album ‘Suitcase’ and he comes out on tour with us controlling the sequencers on stage.

You have David Rhodes again working with you on ‘Semi Detached’?

Yes, but on ‘Bloody Hell Fire’, Adam and David voted for my guitar to stay from the demo… they rib me about my guitar playing and say “we wouldn’t have it sounding like that”; but that’s why it works because I’ve gone for the tinnier sound. It wasn’t intentional, it only fitted there. It’s a crappy sounding guitar but they feel it works. Why bother with six if two will do!? I think what influenced my playing initially was punk, YOUNG MARBLE GIANTS and T-REX, they used to have fantastic sounds but quite minimal at times. But I talk a lot more than I play! *laughs*

What’s are the main differences between ‘Semi Detached’ and ‘Blanc Burn’?

I’m collaborating with myself mainly, battling my way through programming synths up and taking it to Adam’s and doing the lead vocals. One big contrast with ‘Blanc Burn’ is I decided I would have a number of backing vocals on.

On ‘Happy Families Too’, I had post-it notes around and one of the things was “minimal – stripped back” to remind me it didn’t have to be over produced. I kept that in mind when I was doing ‘Semi Detached’. One of the things about having more space was to have fun with some backing vocals. There are lots of backing vocals, my family did backing vocals, my daughter sang on it, one of my son’s mates came and sang on it. And then I got the neighbours in and some other friends on ‘I Want More’! I think everyone and the dog’s on that one!

What inspired you to cover CAN’s ‘I Want More’?

The work was done for me but I’ve always enjoyed CAN. I first did a demo of that with David McClymont and Malcolm Ross from ORANGE JUICE back in 1987-88 when we were working on a project post-BLANCMANGE with Dennis Bovell. We went to a studio down the Old Kent Road and that was one of the tracks we did. Funnily enough, we approached CAN to produce our second album, so it could have been even more of a story but we ended up working with John Luongo and Peter Collins.

You’re back doing instrumentals again with ‘MKS Lover’, what is that referring to and why did that not end up with a lyric?

It would never have had a lyric, it’s like ‘Sad Day’… but it isn’t like ‘Sad Day’ in sound. ‘MKS Lover’ was the working title and it was as simple as this; it was all done apart from the 808 rhythm unit on a Roland MKS80 which is a Super Jupiter, and not to be confused with a Jupiter 8.

Overall, you’ve kept the sound of ‘Semi Detached’ quite stripped back and raw with vintage drum machines. Was that deliberate?

Well, it’s all I’ve got! *roars of laughter*

I’ve still got my original 808 and that gets used… with a struggle on some of it, I ended up using the MKS80 with the MPG80 programmer to replicate some of the percussive noises, plus there are some VSTs in there. I’m quite awkward, I put VSTs through amplifiers and god knows what to get I want. The thing for me is I tend to work with a limited palette, because if you’re confident enough to let the line breathe on its own, it doesn’t really matter what it is. I will use anything, I really would… there’s no kazoo on this one, but there was definitely kazoo on the album before! *laughs*

CHIC’s ‘I Want Your Love’ has also been covered and is on the deluxe 2CD edition. What’s that like?

I first did a version with AWP1, the band is basically two acoustic guitars with noises and percussion. We tried to play as little as possible to support the song. Our manifesto was “less is best”… I once fell asleep during one of our songs in rehearsal, I’m not joking! I thought ‘I Want Your Love’ would lend itself to an electronic version and it is absolutely not a dance track, it is a ballad, stripped down… it’s a bit dirty and seedy actually, very sad and menacingly desperate. So it’s a tad darker than the CHIC version which I do love! *laughs*

What else makes up the bonus CD on the deluxe version of ‘Semi Detached’?

I had a pool of about 20 songs and it ended up with 16 being recorded. I didn’t want 2 covers on the final album so we split them. ‘I Want More’ ended up on the album and ‘I Want Your Love’ didn’t… very similar titles actually! There’s a couple of other songs ‘Silk Sea’ and ‘That Worm’ which we thought would be good to go on the deluxe 2CD, but a track called ‘Cactus’ that might come out in the future, I didn’t put on at all. And then we added alternative mixes including a very long version of ‘I Want More’ plus extended versions of ‘Paddington’, ‘Like I Do’ and ‘Useless’.

With the upcoming shows at Red Gallery, are you likely to extend it as a tour and have you decided what to play? Are you going to do all of ‘Semi Detached’?

I did a working setlist the other day and it starts with ‘Irene & Mavis’! So that’s because I did it in chronological order. The shows are obviously to launch ‘Semi Detached’ so there will be a number of songs from it… so you might get to hear ‘Useless’ and join in on the chorus! My dream is for that to become a football terrace anthem: “EVERYBODY LOVES YOU! USELESS AS YOU ARE!” *laughs*

I think people will be disappointed if we they didn’t get something from what we did in the 80s, and maybe we’ll have some things that haven’t had an airing for a while. I think I’ve put ‘Murder’ and ‘See The Train’ on the list… maybe we’ll do ‘Blind Vision’ and ‘Feel Me’ if someone twists my arm! My manager Steve says “if you don’t do ‘Living On The Ceiling’, you might have a problem!” so we’ll probably have to do that!

‘Living On The Ceiling’ has almost turned into a terrace chant live now…

…it’s a singalong, I can almost just leave it up to the audience. And ‘Starf*cker’ might get an outing. I wasn’t originally thinking about taking ‘Semi Detached’ out on tour, but it may well happen because it’s being discussed. I wanted to do something very different which is why the Red Gallery shows happened. I wanted to do something special and not just do the conventional tour. But we may be able to find the right venues for people to be able to come and see it further afield, we’ll wait and see. For now it’s just those two shows I’m concentrating on.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Neil Arthur

Additional thanks to Steve Malins at Random PR

‘Semi Detached’ is released by Cherry Red Records on 23rd March 2015 in CD, limited edition deluxe 2CD, vinyl LP and digital download formats. Pre-order at http://blancmange.tmstor.es/

BLANCMANGE will be appearing at The Red Gallery, 1-3 Rivington Street, Shoreditch, London EC2A 3DT on Friday 15th and Saturday 16th May 2015. Support on both nights will be provided by BERNHOLZ

https://www.blancmange.co.uk

https://www.facebook.com/BlancmangeMusic

Text by Chi Ming Lai
Photos by Hana Knizova
11th March 2015

25 SYNTH SINGLES THAT SHOULD HAVE BEEN HITS

3 January 2015 / electricityclub

Statistics can often not be a good indicator of quality and so it is that sometimes, a great single never actually attained the sales recognition it deserved. This could have been due to timing, lack of interest from a fickle music buying public or even a saturated market.

While some of these lost singles do get forgotten, many become live standards and firm fan favourites. So here are 25 singles from predominantly established acts or collectives featuring figures who are now well known in the music scene, that did not reach the UK Top 40 singles chart. Due to the sheer numbers of songs that are eligible, a cut-off point has been made for when CD singles started to become the norm around 1990.

After much deliberation, it was decided to leave out the work of ASSOCIATES as a number of their songs that would have been contenders for this list were featured in ELECTRICITYCLUB.CO.UK’s own Beginner’s Guide To Billy MacKenzie. There are of course, several other notable omissions, but this list could go on forever…

So with a restriction of one single per artist moniker, the list is presented in chronological order by year, and then alphabetically…

THE HUMAN LEAGUE Empire State Human (1979)

It seems strange now that this extremely catchy single failed to be a hit in an era when synthesizers were being accepted by the wider record buying public. After all, both SPARKS and TUBEWAY ARMY had entered the Top 20 with their Moog assisted ditties. In hindsight though, Colin Thurston’s production did sound comparatively thin next to ‘The Number One Song in Heaven’ and ‘Are Friends Electric?’. Despite a timely re-release in 1980, ‘Empire State Human’ only reached a high of No62.

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

http://www.thehumanleague.co.uk

LORI & THE CHAMELEONS Touch (1979)

THE CHAMELEONS (not to be confused with the cult Manchester band) were actually Zoo Records supremos Bill Drummond of THE KLF fame and country house resident Dave Balfe who played keyboards with THE TEARDROP EXPLODES. On the beautifully sequenced ‘Touch’, art school student Lori Lartey innocently told of her holiday romance in Tokyo. It spent one week at No70 when re-issued on Sire Records. There was to be just one more single entitled ‘The Lonely Spy’.

Available on the compilation album ‘North By North West’ (V/A) via Korova Records / Warner Music

http://www.penkilnburn.com/

JAPAN Gentlemen Take Polaroids (1980)

After three albums with Ariola Hansa, JAPAN decamped to Virgin Records and reached No60 with ‘Gentlemen Take Polaroids’, their first single release on the label. But much more was expected as the band were already playing huge venues such as The Bukodan in Tokyo. It would not be until Autumn 1981 following a cash-in release of ‘Quiet Life’ by their former label that David Sylvian and Co. were to become regular singles chart fixtures.

Full length version available on the JAPAN album ‘Gentlemen Take Polaroids’ via Virgin Records

http://www.nightporter.co.uk

ROBERT PALMER Johnny & Mary (1980)

Robert Palmer took an interest in synths having become a fan of Gary Numan and JAPAN. ‘Johnny & Mary’ was a beautifully world weary number that hit a high of No44. He later had massive success with a more rock flavoured sound while his bank balance was enhanced when the song was covered for the ‘Papa et Nicole’ Renault adverts. Bryan Ferry’s reinterpretation with Todd Terje exposed a twilight years scrutiny on the lyrics which sadly, Palmer himself was never able to do…

Available on the ROBERT PALMER album ‘Clues’ via Island Records / Universal Music

http://www.robertpalmer.com/

SIMPLE MINDS I Travel (1980)

SIMPLE MINDS were signed to Arista Records between 1979-1980 and like JAPAN, they were met with indifference by their label. ‘I Travel’ was their penultimate single at Arista who threw in a free blue flexidisc featuring ‘Kaleidoscope’ and ‘Film Theme Dub’ as a sweetener to early purchasers. But despite airplay at The Blitz Club where its futuristic frenzy was highly welcomed, ‘I Travel’ did not make any chart impact.

Available on the SIMPLE MINDS album ‘Celebrate: The Greatest Hits’ via Virgin Records

http://www.simpleminds.com

ULTRAVOX Passing Strangers (1980)

Things were heading in the right direction for the Mk2 line-up of ULTRAVOX following ‘Sleepwalk’ getting to No29 in the UK chart. Built around a more synth rock structure, ‘Passing Strangers’ had a great chorus and a sympathetic environment in which THE HUMAN LEAGUE and DEPECHE MODE were also managing to break through. But the single stiffed at No57 and it would take the massive surprise success of ‘Vienna’ in early 1981 to truly establish ULTRAVOX as a chart force.

Available on the ULTRAVOX album ‘The Collection’ via EMI Records

http://www.ultravox.org.uk

OUR DAUGHTER’S WEDDING Lawnchairs (1981)

New York’s OUR DAUGHTER’S WEDDING were one of the new synthpop acts to emerge from across the Atlantic and their best known song ‘Lawnchairs’ was a frantic mechanised combination of OMD and Gary Numan. Despite gaining regular radio play in the UK, its chart summit was No49. The trio later re-recorded ‘Lawnchairs’ with a more conventional live drum sound, but this template totally took the charm out!

Available on the OUR DAUGHTER’S WEDDING album ‘Nightlife – The Collection’ via EP Music

http://www.synthpunk.org/odw/

SOFT CELL Memorabilia (1981)

Produced by Daniel Miller, ‘Memorabilia’ borrowed heavily from Cerrone’s ‘Supernature’. Released as a 12 inch single but relegated to B-side on the edited 7 inch with ‘A Man Could Get Lost’ as the A-side, Almond recalled a list of trashy souvenirs that were also metaphors for stalking. Dark yet danceable, despite not being a hit, ‘Memorabilia’ would later becitied as an influential proto-house classic.

Available on the SOFT CELL album ‘The Very Best Of’ via Phonogram / Universal Music

http://www.marcalmond.co.uk

BLANCMANGE Feel Me (1982)

If Ian Curtis had joined TALKING HEADS, then it might have sounded like this. “I always thought it was more David Byrne than Ian Curtis but, there was never any intention” recalled Neil Arthur in 2013, “We hired a Roland Jupiter 8, an ARP sequencer and a Korg MS20 plus a Linn LM-1 which Stephen Luscombe and I programmed up”. Reaching No46, ‘Feel Me’ always had untapped hit potential as FAITHLESS’ reworking using Arthur’s vocals proved.

Available on the BLANCMANGE album ‘Happy Families’ via Edsel Records

http://www.blancmange.co.uk

THOMAS DOLBY Europa & The Pirate Twins (1982)

With its thundering Simmons drums and glistening synth riff, ‘Europa & The Pirate Twins’ was based on a real life romance of Dolby’s: “I had a girlfriend and we used to fantasise that after the apocalypse, wherever we were, we would meet up on this beach in East Anglia where I grew up… I always thought she’d end up being this big movie star or something”. The song was not a Top40 hit, but entered the wider consciousness when it was used as the theme to BBC Radio1’s ‘Saturday Live’.

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

http://www.thomasdolby.com

HEAVEN 17 Let Me Go (1982)

Glenn Gregory and Martyn Ware often cite ‘Let Me Go’ as their favourite HEAVEN 17 song. Propelled by a funky Roland TB303 Bassline before it was hijacked by Acid House, ‘Let Me Go’ had hit written all over it, but stalled at No41. But in a competitive Autumn ‘82 for new releases, later international hits like Thomas Dolby’s ‘She Blinded Me With Science’ and EURYTHMICS’ ‘Love Is A Stranger’ (on its initial release) were having difficulties getting into the UK Top40.

Available on the HEAVEN 17 album ‘The Luxury Gap’ via Virgin Records

http://www.heaven17.com

THE TEARDROP EXPLODES Tiny Children (1982)

THE TEARDROP EXPLODES may not have been a synthesizer driven group, but this marvellously haunting ballad was layered in Prophet5 courtesy of Dave Balfe while Julian Cope sounded like a distressed little boy, lost in his sunshine playroom. Mercury Records probably thought ‘Tiny Children’ would be a hit following the success of JAPAN’s ‘Ghosts’ but released in June 1982, the sonic chill was not what people were wanted as they prepared for their summer holidays!

Available on THE TEARDROP EXPLODES album ‘The Greatest Hit’ via Mercury / Universal Music

https://www.headheritage.co.uk/

TEARS FOR FEARS Suffer The Children (1982)

When TEARS FOR FEARS first appeared, they were trying to emulate OMD. ‘Suffer The Children’ took inspiration from Curt Smith and Roland Orzabal de la Quintana’s interest in Primal Scream therapy while musically, it recalled McCluskey and Humphreys’ ‘Pretending To See The Future’ but with more guitar. The child-like refrain by Ozabal’s wife within the bridge and coda would have actually sounded like an OMD hookline had it been played on synth.

Available on the TEARS FOR FEARS deluxe album ‘The Hurting’ via Mercury / Universal Music

http://tearsforfears.com/

VISAGE Pleasure Boys (1982)

In Autumn 1982, VISAGE were in a state of limbo following the departure of Midge Ure. But with John Luongo who had remixed ‘Night Train’ on board, the remaining quartet of Steve Strange, Rusty Egan, Billy Currie and Dave Formula plus new bassist Steve Barnacle explored New York electro. ‘Pleasure Boys’ was hard and aggressive with lyrics full of hedonism. But the New Romantic audience had moved on and sales were only enough for it to get to No44.

Full length dance mix version available on the VISAGE album ‘The Face – The Best Of’ via Universal Music

http://www.visage.cc/

DEAD OR ALIVE Misty Circles (1983)

Have courted the major labels, DEAD OR ALIVE finally settled on Epic Records and unleashed this vicious slice of electro gothic disco in ‘Misty Circles’ as their first single release for them. Featuring guitars from a soon-to-be-sacked Wayne Hussey, who went on to join THE SISTERS OF MERCY and then form THE MISSION, ‘Misty Circles’ had a highly unusual sound produced by Zeus B Held that was darker than the romping Hi-NRG that DEAD OR ALIVE were later to have hits with.

Full length version available on the DEAD OR ALIVE album ‘Evolution’ via Epic Records / Sony Music

http://www.deadoralive.net/

JOHN FOXX Endlessly (1983)

By 1983, JOHN FOXX had moved away from pure electronic music and was now listening to both SIMPLE MINDS and U2. His third solo album ‘The Golden Section’ took on a more pop oriented slant under the auspices of producer Zeus B Held ‘Endlessly’ was initially released in 1982 as a moody Linn drum heavy psychedelic romp and failed to chart. But for the new version, thundering sequencers, Simmons drums and a danced up euphoria were added… however, it still failed to be a hit.

Available on the JOHN FOXX album ‘The Golden Section’ via Esdel Records

http://www.metamatic.com

OMD Telegraph (1983)

‘Electricity’ would have been a hit had its sales not been spread over three separate releases with different recorded versions between 1979-80. ‘Telegraph’ was an angry metaphoric attack on religious fundamentalism in the USA, but considered to be the most commercial track on OMD’s brave but critically panned nautical adventure ‘Dazzle Ships’. With an infectious synth melody, what was there not to like? But OMD’s audience had diminished by this time and it only got to No42.

Available on the OMD album ‘Dazzle Ships’ via Virgin Records

http://www.omd.uk.com

TALK TALK My Foolish Friend (1983)

Produced by Rhett Davies who was best known for his slick touches on ROXY MUSIC’s ‘Avalon’, ‘My Foolish Friend’ was the last TALK TALK song to feature contributions from their original keyboardist Simon Brenner. Released between ‘The Party’s Over’ and ‘It’s My Life’ albums as a single, Mark Hollis was in wonderfully miserable mode over a dramatic synthesized backdrop. The single became lost when it only reached No57 and was not included on the ‘It’s My Life’ long player.

Available on the TALK TALK album ‘Asides Besides’ via EMI Music

http://www.spiritoftalktalk.com

THE BLUE NILE Tinseltown In The Rain (1984)

A classic song that sounded like THE PSYCHEDELIC FURS fronting OMD, ‘Tinseltown In The Rain’ is regarded as THE BLUE NILE’s signature tune. Released as part of a deal with hi-fi manufacturer Linn Products to showcase their flagship Sondek LP12 turntable, the gorgeous melancholy of ‘Tinseltown In the Rain’ had an understated quality that ensured the trio’s sporadic releases over the next 20 years were eagerly anticipated by the musical cognoscenti.

Full length version available on THE BLUE NILE album ‘A Walk Across The Rooftops’ via Virgin Records

http://www.thebluenile.net

CHINA CRISIS Arizona Sky (1986)

CHINA CRISIS are probably the most underrated band of their generation. Lyrically inspired by an artificially assisted gondola ride in Venice, ‘Arizona Sky’ was one of their many singles which deserved greater recognition. The nucleus of Gary Daly and Eddie Lundon usually managed at least one hit per album but with ‘Arizona Sky’, it was not to be. It settled at No47 despite the song’s brilliant singalong chorus, infectious synthesized textures and catchy “bop-bop-be-doo-dah” refrain.

Full length version available on the CHINA CRISIS album ‘Wishful Thinking: The Very Best Of’ via Universal Music

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

ERASURE Oh L’Amour (1986)

“Why are they doing a DOLLAR song?” someone was overheard at their first visit to an ERASURE concert. And this ultimately sums up why ‘Oh L’Amour’ should have been a massive hit. Its now highly collectable ‘Thomas The Tank Engine’ cover had to be withdrawn due to copyright infringement and wouldn’t have helped availability. However, it should be noted that the original artwork actually features two incidental characters from the Reverend W Audrey’s famous books…

Available on the ERASURE album ‘Always – The Very Best Of’ via Mute Records

http://www.erasureinfo.com

NEW ORDER Bizarre Love Triangle (1986)

One of NEW ORDER’s best loved tunes, ‘Bizarre Love Triangle’ only reached No56 in the UK singles chart. However, the version released was an irritating, dance enhanced remix by Shep Pettibone which took all the subtlety out of the song with its collage of overdriven percussive samples. Far better and much more commercial was an at-the-time unreleased remix by Stephen Hague which later formed the basis of the ’94 version on ‘(the best of)’ compilation.

Available on the NEW ORDER album ‘Singles’ via Rhino Records

http://www.neworder.com

ACT Snobbery & Decay (1987)

It was the height of Thatcherism and the Synclavier driven theatrics of ‘Snobbery & Decay’ were a sharp observation by Claudia Brücken and Thomas Leer on the state of the nation. However, the UK were not yet ready for an Anglophile German to tell them about its political decline… “No sadly they didn’t” remembered Claudia Brücken in Summer of 2010, “perhaps it was just not the right moment for this song… Thomas does think that perhaps we were ahead of our time”.

Available on the CLAUDIA BRÜCKEN album ‘ComBined – The Best Of’ via Salvo / Union Square Records

http://www.claudiabrucken.co.uk

KRAFTWERK The Telephone Call (1987)

The last single featuring the classic RFWK line-up, ‘The Telephone Call’ was the most immediate track on the disappointing ‘Electric Cafe’ album. Featuring lead vocals from Karl Bartos, despite the abundance of digital synthesis and sampling, ‘The Telephone Call’ still had all the usual Kling Klang hallmarks such as pretty melodies, syncopated rhythms and slightly off-key singing to make this to ‘Electric Cafe’ what ‘Computer Love’ was to 1981’s ‘Computer World’ opus.

Available on the KRAFTWERK album ‘Techno Pop’ via Mute Records

http://www.kraftwerk.com

CAMOUFLAGE The Great Commandment (1988)

Today, DEPECHE MODE influenced acts are common place but in 1988, this was highly unusual. Taking ‘Some Great Reward’ as their template, CAMOUFLAGE developed on the industrial flavoured synthpop of ‘Master & Servant’ and ‘People Are People’ which DM had all but abandoned from ‘Black Celebration’ onwards. ‘The Great Commandment’ was probably the best single DM never recorded but while it was a hit in Europe and the US, it made no impression in the UK.

Available on the CAMOUFLAGE album ‘The Singles’ via Polydor Records / Universal Music

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

Text by Chi Ming Lai
3rd January 2015

Tag: Blancmange (Page 13 of 16)

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