Tag: Marc Almond (Page 1 of 6)

1984: THE YEAR POP WENT QUEER Interview

10 December 2024 / electricityclub

‘1984’ was the dystopian novel by George Orwell but ‘1984: The Year Pop Went Queer’ is a book by journalist, pop fanatic and DJ Ian Wade that looks back at the year in which mainstream pop took gay subculture overground.

The glitterball shone bright as pop came out of the closet; but as Simon Napier-Bell, manager of JOHN’S CHILDREN featuring a young Marc Bolan, JAPAN and WHAM! once theorised: “British pop music has always been homosexual to the core…”

With witty and unpretentious accounts of the year’s main players, ‘1984: The Year Pop Went Queer’ studies the impact these groundbreaking musicians had before, during and after on the gay community and popular culture. It documents how they were able to break down barriers, raise consciousness and set in motion the first nascent ripples in a pond that are still being felt today.

From George Michael of WHAM! to JUDAS PRIEST’s Rob Halford with CULTURE CLUB, FRANKIE GOES TO HOLLYWOOD, BRONSKI BEAT, DEAD OR ALIVE and PET SHOP BOYS in between, 1984 was a year of subversion through the pop charts as some of the brightest ‘out’ artists, biggest global acts and closeted pop stars took queer pop and culture to the very top of the charts in front of an unsuspecting public whose expressed equal parts glee, bafflement and disgust.

But while some mothers were bigger than others and buying ‘Relax’ without batting an eyelid, the period had the dark backdrop of right-wing bigotry and homophobia as well as an emerging AIDS crisis which both shaped and defined pop culture at the time, as well as casting a long shadow for the years that followed.

ELECTRICITYCLUB.CO.UK had a delightful chat with Ian Wade about the genesis of ‘1984: The Year Pop Went Queer’ to make it one of the most essential music books of 2024.

What made you want to write this book, was there a personal mission about it?

It originally started almost as a love letter to FRANKIE GOES TO HOLLYWOOD in a way. A few years ago, it was Stonewall’s 50^th Anniversary and I felt like doing a book like one of those “1000 Albums You Should Hear Before You Die” type things but from a gay perspective, the LGBT+ record collection in a way, that would cover things like Lou Reed, Bowie and kd lang, that sort of thing.

But as I was going through the years and which albums I should feature, 1984 just kept growing and growing. Not only have you got the tent poles of FRANKIE GOES TO HOLLYWOOD and BRONSKI BEAT, watching things like ‘Top Of The Pops’ in 1984 where you saw a lot of gay records coming through like Eartha Kitt ‘Where Is My Man?’, ‘I Am What I Am’ by Gloria Gaynor and ‘It’s Raining Men’, I was interested as to why that was happening, because those records had been hanging around for so long in the clubs, why were they coming through at that point. That led me down the HI-NRG route which was where the electronic music interest was.

One George got replaced by another George at the top of the pop tree…

Yes, Boy George began 1984 as one of the biggest stars and then it all fell apart with ‘The War Song’ shall we say! *laughs*

People like Elton John and David Bowie were around, Elton married a lady and David Bowie was surrounded by his children, all those people who cited him as an inspiration like Holly Johnson and Boy George, but he came back with his worst album ‘Tonight’, which had a couple of good tracks, but it was his first really really bad album, and he almost seemed to want to distance himself from all them. So all these threads began to come together.

PET SHOP BOYS released the first version of ‘West End Girls’ that year and part of this book became how these people formed or came through, what they did in 1984 and what they did next. So there were some who didn’t have the greatest year but what happened next was quite interesting.

Then there were people like Cyndi Lauper and Madonna, who both entered the UK Top 75 in the same week which is kind of fascinating and Cyndi was seen at the time as the bigger star, but then Madonna had by the end of the year decided to become an icon with ‘Like A Virgin’! So I look at what they did next with AIDS awareness and all that kind of stuff.

Also, Stock Aitken & Waterman, they began at the beginning of 1984 and their subsequent breakthrough of Divine being their first Top20 hit, Hazell Dean being their first Top5 hit and DEAD OR ALIVE going to No1 as the first of a good dozen or so, that defined the sound of pop for the rest of the decade.

So it all started coming together in these 12 months, this hovering of gay culture. Up until then, you had Boy George and Marc Almond being very coy, this whole “I haven’t met the right girl yet” type vibes when interviewed in ‘Smash Hits’, but then with people like Bronski and Frankie, especially Bronski who were out and proud. In the background culturally, there was stuff like AIDS coming through and rife homophobia, you had Thatcher and real unpleasant things going on; you had Reagan not acknowledging AIDS until his second term the next year, so it was an interesting backdrop to what was going on.

I think for a lot of people, pop music is their 3 minute access to a different world, and the easiest form of culture to digest, and 1984 was full of it.

So in the context of 1984, you’ve got this story but the way you have told it is quite interesting, because you’ve not gone for the chronological path, you’ve opted to tell the stories of the key players in each chapter, so how this this concept come about?

I think that was the best way of putting it across because I originally had 9000 words on Frankie. This was 5 years ago during lockdown when there was nothing to do, so I wanted to see if I could write about Bronski and that’s how it carried on. One of my favourite books of all time is ‘The Best Of Smash Hits’ which came out 40 years ago but it had all the classic interviews from THE SEX PISTOLS to BAND AID… that book is one where you can just open up and read about a particular act or whatever. So I wanted that sort of vibe… yes, please read all the book but if you fancy a bit of a laugh. It helped in a way by doing that because included are Frankie, Bronski, Divine, Sylvester… JUDAS PRIEST! So it helped isolate those people and you knew where to go if you just wanted to read about that particular person.

So that was the idea, that you could dip in and out. One of my favourite books at the moment is Miranda Sawyer’s book ‘Uncommon People: Britpop and Beyond in 20 Songs’, that goes through a song and an act per chapter. There’s a couple of bands that I’m not particularly interested in like SLEEPER but I can go to BLUR, SUEDE and ELASTICA, do you know what I mean? That’s what I want people to get from my book and hopefully they do.

In this age of Wikipedia and that kind of thing, it’s very frustrating to just go there and see that as the bible as everything. It’s more important than ever to celebrate facts and not lazily just assume Wikipedia knows everything.

So you start the book with FRANKIE GOES TO HOLLYWOOD and they were the seed of this book, so were they the most important act of 1984 in your opinion?

Yeah! In a way they were… originally the book was meant to be a bit more chronological because they were on the first ‘Top Of The Pops’ of the year and it was going to end with DEAD OR ALIVE about to take over 1985. In the end, I moved things around slightly.

For me, Frankie, aside from all the controversy and all that nonsense, remix culture came through with them. Yes, there had been some amazing 12 inches and that sort of thing, but at that point, taking a song, pulling it apart again, thinking of different audiences and dancefloors and all that stuff, they, or rather Trevor Horn, pushed that forward. He did the ‘New York Remix’ of ‘Relax’ after going to a, well, New York night club and thinking “this will work like this”, it was a combination of marketing and remix culture, I think Frankie brought that in.

To me, 1984 felt like the end of the New Pop era because, you can ask a lot of people about the 80s, and they will ask back “what half of the 80s?”; some people’s 80s goes up to 1984 like me, I came into 1980 as a huge SPECIALS and MADNESS fan, then THE HUMAN LEAGUE and synthpop took over my life and then Frankie seemed like the end of all that. After that, things became professional and branded and a little bit boring, there wasn’t was this spirit that “we’ve kind of made it all up”.

If you look at the classic records in the first half of the 80s, it was all the freaks and weirdos like THE HUMAN LEAGUE and YAZOO on ‘Top Of The Pops’ but afterwards, it was all focus groups and “Will this song work? Will that do?”, people were overthinking things a bit too much! The first half of the 80s felt a bit more like The Wild West and Frankie were the bridge between the branding professionalism but also Holly Johnson coming through punk and new wave, it was people like him who had become themselves.

You look at the stats in the Guinness Book Of British Hit Singles book, they were the first band to have 3 No1 with their first 3 singles since GERRY & THE PACEMAKERS, so it all felt quite revolutionary, that this kind of band with the first ‘Relax’ video would become the biggest band of the year! REALLY?

Do you think FRANKIE GOES TO HOLLYWOOD would have been as big, without the Mike Read-led BBC ban? It’s interesting now what Mike Read did, because history has now shown him to be a bigot, a UKIP member and a right-wing tw*t as we have found with other personalities from that era…

It was interesting because the ban happened once ‘Relax’ was in the Top 10; remember, they first appeared on ‘Top Of The Pops’ when it was at No 36 and then shot up to No 6 having been outside the Top 40 for like 3 months! It wasn’t necessarily the ban although the video wasn’t being shown… I think it would have done the business irrespective of the ban. I think Mike Read positioned himself as a moral arbiter but it had got to No 2 when the ban came in…

‘Relax’ wasn’t shown on ‘Top Of The Pops’ for 6 weeks but were people buying it because it wasn’t shown? I don’t think that was the case really because there were a lot of big guns coming back like QUEEN with ‘Radio Ga Ga’ which was almost precision-made to rescue them after their apparent failure of ‘Hot Space’, which is their masterpiece incidentally! QUEEN needed to become QUEEN again, for all the sniffiness of Roger Taylor and Brian May that ‘Hot Space’ was “a bit gay”, they were kept off No 1 by the gayest record ever made.

Frankie would have succeeded in general but it’s amazing to think ‘Relax’ hung around all year and went back up to No2 without being heard! But I have to stress that it was just a BBC thing that it wasn’t being broadcast, I believe various other commercial stations were doing the same. After a certain point in the evening, the BBC would play it. But Mike Read aided it into it being a thing when it was already a great song.

It has now become a party record in a way even though it’s not particularly danceable! Whenever I’ve DJ-ed, well, the single version of ‘Welcome To The Pleasure Dome’ is the far groovier record as ‘Relax’ has sort of become like ‘Hi Ho Silver Lining’ or ‘YMCA’ *laughs*

So, what did you think of the ‘Welcome To The Pleasure Dome’ album? It was a big event because it was a double, had controversial packaging and all that, I personally found it a disappointment…

I think I was more in awe of it because it wasn’t something I bought on its release, it was a Christmas present. So yes, I’d bought all the two singles but when I got to listen to it, I was scratching my head a little with the second disc… I think for a generation of people, that was the definitive version of ‘Born To Run’ but a lot of it wasn’t as exciting as disc one which had the singles but even the title track, you were just scratching your head because it was essentially a prog track! You wanted sirens, you wanted “DOOF!”, you wanted someone nattering about nuclear bunkers, all that sort of stuff so it felt like after the singles fronted by Holly and Paul, they wanted to showcase ‘The Lads’ a little bit more. The ‘Welcome To The Pleasure Dome’ album was not necessarily something I would sit all the way through, but have grown to love over the years.

It wasn’t a good album listening experience compared with BRONSKI BEAT ‘The Age Of Consent’ which blew it out of the water…

With BRONSKI BEAT, why they were important was because being gay or other was seen as being being “drag” like Boy George or Danny La Rue, this sort of “nudge nudge, wink wink, mind your backs” sort of stuff. But BRONSKI BEAT were the guys who looked like your neighbours or people at work or school, so they were incredibly important for gay people, where they could see themselves and relate to that, but also to everybody else, it was “we’re just like you”.

Did you see BRONSKI BEAT’s first ever TV appearance on ‘Oxford Road Show’ in 1984 because I thought that was nothing short of startling!

NO! It sounds really weird now, but with my mum and dad, we didn’t have a video recorder, and there was only one TV in the house, so I couldn’t go up to my room to watch these things. So things like ‘Oxford Road Show’, I watched retrospectively.

So, linking BRONSKI BEAT back to SOFT CELL, why do you think synthesizers and drum machines proved to be the perfect setting for self-expression from gay artists?

There’s the “instantness” of it, it was the technology to make the music quickly… it’s interesting because I’ve been writing about ‘Last Christmas’ by WHAM! Although it’s not a synthpop record at all, the equipment – a LinnDrum and a Roland Juno 60 is literally peak synthpop. I think it was a way of being more straightforward, more simplistic, also there was strength in being a duo so there were fewer people to rub ideas off.

So with SOFT CELL, there was Dave Ball who was seen as plonking away on an ironing board while Marc Almond was emoting, and that’s why I think synthpop has always been fantastic, an amazing-looking figure at the front, like with Phil Oakey of THE HUMAN LEAGUE with his amazing hair, it had an accessibility and pin-up-ness.

Now if BRONSKI BEAT had tried to make a dance record without synths, they would have had to be more Britfunk like LINX or early FREEEZ, that kind of thing, so the synthesizer helped access the clubs a lot quicker. Prior to that, you had Bobby Orlando and Arthur Baker in America, these synth-based records coming through like Shannon, D-Train, this sort of stuff that worked on the dancefloor but were also amazing songs. These helped get the message across quicker than having to deal with four other guys with real instruments being authentic.

I spoke to Gloria Jones a few weeks ago and discussed with her that the anguished lyric to ‘Tainted Love’ gets more resonance when backed by the chill of Dave Ball’s synths. I would perhaps argue that the lyrics of ‘Smalltown Boy’ gains greater resonance because of the stark coldness of the synth backing…

I’m with you on that definitely… I think it adds to the emotion and if you look at say, YAZOO ‘Only You’ or EURYTHMICS’ ‘Sweet Dreams’ they are both quite minimal in their instrumental melodies and lines, but how much emotion is in both of those? They made the singers shine more and fill up without having to let a guitarist or drummer have a moment. It also threw back to the DIY aspect as well, that people could literally press a couple of buttons on accessible instruments and get an emotion far quicker than going to rehearsal rooms for about 6 months.

PET SHOP BOYS just had the one single in 1984, but it was an important one in the first Bobby Orlando produced version of ‘West End Girls’. So do you think PET SHOP BOYS effectively took over the mantle after SOFT CELL imploded because the concept had so much potential mileage?

There’s a lot of things in the SOFT CELL handbook, it was like “how to be a band and be successful, AND how not to be…” when I think of their trajectory, like “oh this single isn’t happening, let’s do a cover” and then 18 months later, you have 2 albums, a remix album and a load of hit singles, they’re touring, they’re discovering drugs, it’s literally non-stop! In 2024, we are more aware of mental health and SOFT CELL, if they had taken their time a little bit, I don’t think they’d have split up when they first did. There’s a lot of bands of that era – ALTERED IMAGES, HAIRCUT 100 for example – like that.

I think Neil Tennant is like a scholar of pop, he could see what was going on and how not to overdo it at the time. By deciding not to tour with their first few albums, they were able to excel. PET SHOP BOYS were allowed to build a whole world and the video age helped. You can also see that later with bands like SUEDE and BLUR, yes they were touring but there was also time to develop their craft on B-sides and things like that.

Whereas if PET SHOP BOYS had been shoved into touring almost immediately after they reached No1 in the UK and USA and had to trudge that live circuit… well, you look at their discography from the second version of ‘West End Girls’ to their end of the 80s where there’s 4 albums and endless brilliant B-sides. Neil Tennant was very canny in taking lots of notes from various things, and he worked out how to and how not to do it. Without the first half of the 80s, I don’t think PET SHOP BOYS would have, to quote Neil Tennant, had their “imperial phase” *laughs*

What are your 5 songs from 1984 that mean the most to you in the context of your book?

One thing I discovered is that a lot of the stuff I discovered in 1984 had already been out in 1983, so like ‘Relax’, ‘Let The Music Play’, ‘Searchin’ and ‘Just Be Good To Me’, all these sorts of things had been around for a while.

So a far as stuff actually released in 1984 goes, ‘Two Tribes’ by Frankie is essential. ‘Smalltown Boy’, I think Jimmy Somerville owes me dinner for the number of times I’ve mentioned that song in interviews now, but it epitomises everything that is said in the book and its context.

I would add ‘High Energy’ by Evelyn Thomas, that’s the peak of a whole world of dance music for that vibe. Oh gosh, I would also say ‘West End Girls’ and ‘You Spin Me Round’ by DEAD OR ALIVE because Stock Aitken and Waterman took HI-NRG and a very visible “gender bending” pop star who had threatened to be famous since forever to No1.

‘You Spin Me Round’ IS the thumping dance song that maybe ‘Relax’ sort of isn’t as you mentioned earlier?

Yes, it changed their fortunes… when I went to the British Library to research old NMEs and Melody Makers, Pete Burns seems to be in those every week! Him and Boy George were bitching at each other in the press.

As I mention in the book, ‘You Spin Me Round’ is part of a chain of events, had Pete Burns not heard Hazell Dean, he would not have approached Stock Aitken & Waterman, had ‘You Spin Me Round’ not happened, you wouldn’t have got ‘Venus’ by BANANARAMA, there’s a before and an after that too because you could argue with ‘Blue Monday’, there would be no ‘Love Reaction’ by Divine…

I think ‘You Think You’re A Man’ is a key moment in the story of 1984, it was kind of like “BOOM”when Divine got on ‘Top Of The Pops’?

I saw it back in the day, I was about 14, it just felt really strange and adversarial, without knowing the full Divine story at the time with stuff like eating sh*t and everything in ‘Pink Flamingos’! *laughs*

This was somebody who John Waters described as “Elizabeth Taylor meets Godzilla”, this confrontational thing. But I don’t know if it felt gay or not really, it just felt like this incredible pop song and Divine wasn’t about beauty, it was almost a throwback to glam… I used to be terrified of the filters they used on SWEET and SLADE when I was 4 or 5…

Oh, it wasn’t just me then! *laughs*

…you were a bit like “UGH!”

HI-NRG was being written about but I didn’t fully connect it as a thing in ‘Smash Hits’, but once you’d cracked the ceiling of HI-NRG, a complete world of Ian Levine, Bobby O and these floor fillers opened up. Neil Tennant had mentioned Divine and was the one in ‘Smash Hits’ who was bring in these kinds of records like Bobby O when he revived the singles, so for me it was like a retrospective thing and “OH MY GOD!”

But if you were a little older on the gay scene, Divine was like seeing someone from your scene on camera. He was a huge “F*CK YOU” and also very important. I think Pete Waterman was very canny, it was about whether it was a good pop song or not, the Divine stuff with Bobby O was very clubby, a lot of repetition and innuendo while ‘You Think You’re A Man’ could be sung by anybody really.

Do you think as a result of 1984 and we mustn’t forget there is a dark side to the story as well with AIDS, that we in a better place for LGBT+ people today? After a wonderful period of acceptance and I include the treatment of immigrants in that too, I think sadly we are back in a precarious position again…

It’s an awkward period, especially with things like Trump, the rhetoric that they were spewing out on the campaign trail, he’s not even properly in yet, but with transgender people and the bathrooms, it’s become such a culture war. It feels a bit terrifying… I don’t know if it’s been amplified through social media, but you look at certain threads that pop up and someone has shared, whether its bots or whatever, human beings are coming up with this sort of cr*p and I think it is all too precarious.

I am going to be updating bits and pieces for the paperback because even with the Outroduction where I am talking about how things are today, it’s kind have gone “oh sh*t!”. I think the popularity of the right wing where it creeps into various government agendas around the world, even if they just win slightly, it puts those governments into a stalemate because no-one has got any real power. So it’s more a thing now of who can say the worst thing to get the votes, that’s what it feels like because there’s been a few elections around Europe where the far right have crept in a little bit more. It does terrify me, there are people who would quite happily wipe out same sex marriage and everything we fought for.

We really should have been alert when the Roe versus Wade U.S. Supreme Court thing was overturned… if that can happen, then the gloves are off with someone like Trump who is going to overturn everything and exonerate people who have been rightly jailed for their crimes. It’s just going to be horrendous and I am terrified.

I was going through my Facebook memories and there was something about a night club shooting and someone had written “You wanted us to keep it behind closed doors, but then you still came into our spaces…” – there’s this entitlement where the right wing want to control us, whoever we are, and they have to have the last word. That’s a terrifying state to have to think about.

Touch wood, I feel like I’ve kind of had it easy but a lot of gay friends in America are genuinely scared.

Was 1984 the best year in pop?

1984 was a fantastic year for pop. Top Three definitely in the 80s alongside 1981 and 1982. You look at half the records, and not just the stuff discussed in the book, and it was full of million sellers, two of the biggest Christmas records of all time and tracks like ‘Thriller’ and ‘Ghostbusters’ that are huge around Halloween too. Everyone has their favourite years, but for me personally, 1984 is hard to beat.

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Ian Wade

‘1984: The Year Pop Went Queer’ by Ian Wade is published by Nine Eight Books and available from the usual retailers

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Text and Interview by Chi Ming Lai
10 December 2024

SOFT CELL *Happiness now completed

25 July 2023 / electricityclub

2022’s ‘*Happiness not included’ was SOFT CELL’s first album of new material since ‘Cruelty Without Beauty’ which hit the shops 20 years before.

Seeded by a reunion following their original 1984 disbandment, after a difficult album campaign for ‘Cruelty Without Beauty’ which front man Marc Almond later described as “a terrible mistake”, he and instrumental partner Dave Ball became estranged for many years . That was until a 2018 reunion show at London’s O2 Arena; although this was intended to be a formal retirement party for the Northern electronic soul duo, their “synthesis of sunshine and shadow” could not be denied or resisted.

“Dave and I were transformed by each other” said Almond and like a chemical reaction, there was a second joyous recorded reunion. Although it stated clearly on the tin ‘*Happiness not included’, such was the rejuvenation that although 12 songs ended up on the album, there was enough unused songs, cover versions, bonuses, B-sides and extended mixes to compile two new collections for a ‘Happiness…’ trilogy.

Produced as with the parent album by Philip Larsen, ‘*Happiness now extended’ presents the original ‘*Happiness not included’ album as traditional 12” versions to encapsulate the early clubbing spirit and imperial phase of SOFT CELL. With many of the tracks conceived as longer works, the title song, ‘Nighthawks’ and ‘Tranquiliser’ particularly benefit from this treatment.

But ‘*Happiness now completed’ is effectively a new album, featuring a significant number of previously unreleased tracks as well as reworkings of several other recordings that did not feature in the main act. Among the best tracks are two cover versions , ‘First Hand Experience In Second Hand Love’ which was originally on Giorgio Moroder’s pioneering 1977 album ‘From Here To Eternity’ which spawned a Top 20 hit single of the same name and X RAY SPEX ‘The Day The World Turned Day-Glo’, a No23 UK hit in 1978.

With ‘Tainted Love’, ‘Where Did Our Love Go?’, ‘What’, ‘You Only Live Twice’, ‘Down In The Subway’ and ‘The Night’ in their portfolio already, SOFT CELL have a good track record with covers and ‘First Hand Experience In Second Hand Love’ locks into a fine spacious electronic groove, complete with vocoder to make a fine SOFT CELL dance track in its own right.

Meanwhile in a brilliant metronomic electro tribute to Poly Styrene, ‘The Day The World Turned Day-Glo’ takes a musical leaf out of ‘Sex Dwarf’ with Ball making his syndrums and synths sound so menacing yet accessible, while Almond delivers a vocal recalling the anguish of ‘Martin’ with sleazy sax passages from Gary Barnacle resonating with the dystopian lyrics.

‘Back To Nature’ is an improved version with a new vocal of the FAD GADGET cover that originally came from the ‘Magick Mutants’ bonus EP in the 2019 book, ‘To Show You I’ve Been There’. While it is a nice tribute “For Frank” Tovey who was a fellow art student at Leeds Polytechnic, it perhaps does not shine as brightly as ‘The Day The World Turned Day-Glo’ or ‘First Hand Experience In Second Hand Love’

Of the self-compositions, one of the highlights is ‘Murder Your Darlings’ where the minimal template of vintage chattering Roland drum machine and pulsating electronics allows the spirit of SOFT CELL to come across best. But in an unexpected twist, the windswept tones of ULTRAVOX add another icy dimension. ‘Jukebox Head’ also follows this sparser template although in a more frantic fashion as it buzzes and blips before amusingly threatening to drift into ‘Sometimes When We Touch’, the 1977 ballad hit by Dan Hill…

The ‘Bruises On All My Illusions’ B-side ‘Vapourise’ is a superb inclusion and really should have made it onto the parent album along with several other songs; ‘Quiet Rebellion’ comes over as an obvious outtake from the original ‘*Happiness not included’ album while the previously issued ‘Strange Kinda Dance’ does as it suggests in its dark electro-disco and heavier beats. More steadfast and filmic, ‘Defiant’ provides the drama.

Originally part of the 8 GB USB stick sold at the London O2 show in 2018, the nocturnal motorik YOLO thrill that is ‘Night & The City’ is updated for 2023 while in a similar energetic vein, ‘Gemini Lounge’ sees Dave Ball take a leaf out of the Vince Clarke book of sequencing as the rhythmic tension builds.

Born of desire, ‘You Kill Me’ offers a bouncy Gene Pitney flavour and a great line in “cyanide on a rollercoaster ride” as well as “sha-dup” backing vocals. Then in a re-recording of the song from ‘Cruelty Without Beauty’ reworked with brass for that classic downtown pop feel, ‘Last Chance’ presents the follow-up to ‘Say Hello Wave Goodbye’ like Tony Hatch meeting SOFT CELL.

Various radio edits of songs such as ‘Nostalgia Machine’ and ‘Bruises On All My Illusions’ plus a take on ‘*Happiness not lncluded’ featuring Gary Barnacle on sax are also among the extras but Cellmates will be fascinated by the original SOFT CELL only version of ‘Purple Zone’ which is a far more restrained production than the more familiar PET SHOP BOYS kitchen sink rework.

Happiness gets completed with the “dirty disco” Chris & Cosey remix of ‘Nighthawks’ which Dave Ball recently declared his favourite third party remix of the current era of SOFT CELL; “it doesn’t bear much resemblance to the original” he said, “but it still sounds fantastic.”

‘*Happiness Now Completed’ is a worthy supplement that contains some excellent tracks to provide an appendix to this phase of SOFT CELL, but what next? “I’ve always said that I’m up for new Soft Cell music if Dave has the tunes” says Marc Almond. Meanwhile Dave Ball said to ELECTRICITYCLUB.CO.UK: “I’ve been getting some new rough ideas for backing tracks for SOFT CELL, should there be another album. Marc seems to want to do another one and I do. I hope there may be another SOFT CELL album but you’re going to have to wait a while…”

It looks like they might well say hello again 😉

‘*Happiness now completed’ released on 28 July 2023 via BMG as a CD + download, available from https://www.softcell.co.uk/product/happiness-now-completed-cd

The companion limited edition black double vinyl album ‘*Happiness now extended’ with download key is also out on the same day, available from https://www.softcell.co.uk/product/happiness-now-extended-double-black-vinyl

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Text by Chi Ming Lai
Photos by Andrew Whitton
25 July 2023

25 FAVOURITE MUSIC BOOKS

17 June 2023 / electricityclub

Factory Records impresario and Granada TV presenter Tony Wilson once said: “When forced to pick between truth and legend, print the legend.”

Books about the trials and tribulations of the music industry come in all shapes, sizes and angles. The approach can be tricky… should they be personal accounts, encyclopaedic histories, stories based on real life but with some spin, or just snapshots of an era?

In recent years, autobiographies and memoirs have become very popular as money for old rope in the absence of physical music sales. These can range from being informative and hilarious to extremely bitter, with others coming over very dull in an attempt not to upset anybody. Meanwhile others feature so many falsehoods that they may as well be placed in the ‘Fiction’ section.

One less appealing format that has been gaining increasing prevalence is the fan memory compendium; this could be seen as a lazy and cheaper way of producing a publication as followers compete to be seen as the biggest fan. Meanwhile others, notably members of lower league bands, try to make out they were massive fans in the first place with recollections that are actually veiled attempts to promote their own music.

When writing a music book, it helps to actually read and research a few beforehand. In addition, when deciding whether a point is worthy of inclusion, the viewpoint of the reader must always be taken into consideration as they hypothetically ponder “so what?”.

The 21st Century ubiquity of social media has proved that not everyone can string a coherent sentence together. But where that may seem a barrier, a ghost writer can be the subject’s best friend and a number of the books listed here have taken that route.

Not a best of list, here are 25 music books that have become the personal favourites of ELECTRICITYCLUB.CO.UK listed in yearly and then alphabetical order by title.

DEPECHE MODE: BLACK CELEBRATION Steve Malins (1999)

Steve Malins’ biography features interviews with Alan Wilder, Daniel Miller and Flood. Offering assessment on the unusual band dynamic, one story that highlights things were going south is the debauched cricket match between DEPECHE MODE and OMD during the 1988 US tour. The continually underappreciated Wilder declares how he proudly bowled out Andy McCluskey whom he intensely disliked. Meanwhile Dave Gahan hovered up a line of coke before going into bat and was inevitably out for a golden duck!

‘Black Celebration’ was originally published by Andre Deutsch Ltd with 2001, 2005 + 2013 updated editions

https://www.depechemode.com/

TAINTED LIFE Marc Almond (1999)

This is a frank but humorous autobiography by the SOFT CELL frontman about living life with art school aspirations but suddenly thrust into becoming a pop star and having false tabloid stories written about him in a homophobic world. Attempting to rebuild a career having signed to Warners in 1991, in a reality check, he is told by MD Rob Dickens that the world does not need another Marc Almond album and suggests recording a Trevor Horn produced cover of Jacques Brel’s ‘Jacky’ as made famous by Scott Walker…

‘Tainted Life’ was originally published by Pan Books

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

I WAS A ROBOT Wolfgang Flür (2000)

‘I Was A Robot’ was the controversial autobiographical exposé of the KRAFTWERK machine combined with Wolfgang Flür’s partying exploits. However, as his account of OMD coming backstage to meet the band after the Liverpool Empire gig in 1975 has since proved to be false while his musical contribution to KRAFTWERK recordings has been shown to have been minimal, although entertaining, parts of this book should be taken with a pinch of salt.

‘I Was A Robot’ was originally published by Omnibus Press with 2003 + 2017 revised editions

https://www.facebook.com/WolfgangFlur1

THE ENCYCLOPAEDIA OF CLASSIC 80s POP Jonathan Blythe (2002)

Written in the irreverent vein of classic Neil Tennant-era Smash Hits, the best quote in this amusing book is about DURAN DURAN: “You will have surely have wondered why the girl you fancied seemed far more interested in a slightly porky bloke with bleached-blond hair and a foppish name. The compilation ‘Decade’ contains the 80s hits, but if you want a more comprehensive overview, go for the other one ‘Greatest’. You can usually find them both in the ‘CDs for £5.99’ section, to be honest”

‘The Encyclopaedia Of Classic 80s Pop’ was originally published by Allison & Busby

https://www.goodreads.com/en/book/show/1172733.The_Encyclopaedia_Of_Classic_80s_Pop

24 HOUR PARTY PEOPLE Tony Wilson (2002)

Given the Factory Records catalogue number FAC 424 and subtitled “What The Sleeve Notes Never Tell You”, this account of the Manchester independent label is centred around Wilson’s noted ego where the narrative reads as enjoyable spin rather than factual stories about the label, its bands and The Haçienda. His alleged legendary quote that ”The musicians own everything. The company owns nothing. All our bands have the freedom to f**k off” was to prove to be his downfall…

’24 Hour Party People’ was originally published by Macmillan

https://factoryrecords.org/

NEW ROMANTICS: THE LOOK Dave Rimmer (2003)

Smash Hits writer and author of ‘Like Punk Never Happened…’ Dave Rimmer takes a look at the flamboyant New Romantics via The Blitz Club playlists and profiles of SPANDAU BALLET, VISAGE, DURAN DURAN, SOFT CELL, DEPECHE MODE, KRAFTWERK and DAF. The Myth of Berlin and Futurism are also discussed and there are plenty of glossy photos that encapsulate its spirit.

‘The Look’ was originally published by Omnibus Press

https://www.rocksbackpages.com/Library/Writer/dave-rimmer/

IF I WAS Midge Ure (2004)

With dry humour, this is a sincere and honest account by Midge Ure of his career which included being a teen pop idol with SLIK who had their own Look-In magazine comic strip. As well as accounts of his success with ULTRAVOX and VISAGE and as a solo artist, there is also his darker descent into alcoholism in the wake of low sales. Our hero is candid about the occasionally tense dynamics with his colleagues, while an insight into VISAGE’s original contract with Polydor makes very interesting reading.

‘If I Was’ was originally published by Virgin Books with 2011 revised edition

http://www.midgeure.co.uk/

PET SHOP BOYS, CATALOGUE Philip Hoare & Chris Heath (2006)

This is a superbly presented visual retrospective of PET SHOP BOYS up to ‘Battleship Potemkin’ featuring artwork, video stills, stage sets and other artefacts accompanied by insightful commentary. There is also a chronology included as well as an interview with Neil Tennant and Chris Lowe who again steals the show with the quip “We still are grumpy, actually”!

‘Catalogue’ was originally published by Thames and Hudson Ltd

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

BRIAN ENO: ON SOME FARAWAY BEACH David Sheppard (2008)

Credited with taking David Bowie into “a whole new school of pretension” with The Berlin Trilogy, this authorised biography on Brian Eno traces his career beginning as a self-confessed non-musician with ROXY MUSIC twisting knobs on a VCS3 to producing U2. In between, he makes synthesizers go bong, popularises ambient music, develops Oblique Strategies with artist Peter Schmidt and gets his head around programming the Yamaha DX7. But the biggest revelation in the book? “Eno was shagging more women than Ferry”!

‘On Some Faraway Beach’ was originally published by Orion

http://www.enoweb.co.uk/

SPARKS: No1 SONG IN HEAVEN Dave Thompson (2009)

An enjoyable unauthorised biography of SPARKS, Ron and Russell Mael’s endearingly witty contributions to this book come from the author’s interviews with the brothers conducted between 1985-2009. There are also press cuttings, an expansive discography and a collector’s guide alongside quotes from former backing band members. But while the stories of the various albums are detailed, those wanting gossip on personal lives will be disappointed.

‘No1 Song In Heaven’ was originally published by Cherry Red Books

http://allsparks.com/

GARY NUMAN: BACK STAGE Stephen Roper (2012)

‘A Book Of Reflections’, long time Numanoid Stephen Roper gives a comprehensive account of the imperial years of Gary Numan from 1979 to 1981 via a series of interviews and memories from band members Chris Payne, RRussell Bell and the late Cedric Sharpley as well as the man himself. OMD’s Andy McCluskey, SIMPLE MINDS’ Jim Kerr and Nash The Slash give the viewpoint of the support acts while there are also additional observations from John Foxx, Richard Jobson and Jerry Casale.

‘Back Stage’ was originally published independently with revised 2017 eBook edition available from https://back-stage.dpdcart.com/cart/view#/

https://www.youtube.com/channel/UC-rRuX6k___Y4ZkTHwQg–Q

IN THE PLEASURE GROOVE: LOVE, DEATH & DURAN DURAN John Taylor (2012)

This autobiography traces the story of how a nervous bespectacled Brummie lad called Nigel became an international sex symbol as John Taylor, bassist of DURAN DURAN; “Now, I had only to wink in a girl’s direction in a hotel lobby, backstage or at a record company party, and have company until the morning” he recalls. As outrageous and debauched as some of these anecdotes of sex and drugs and rock ‘n’ roll are, it would have been very difficult for anyone thrust into this position aged 21 to have acted any differently.

‘In The Pleasure Groove’ was originally published by Sphere

http://www.duranduran.com/

MAD WORLD Lori Majeski & Jonathan Bernstein (2014)

‘Mad World’ delves into the spirit, the politics and the heartache behind some of the greatest songs in popular culture with an American MTV viewpoint courtesy of enthusiastic Duranie Lori Majewski, balanced by the critique of Glaswegian Jonathan Bernstein. The contrasting dynamic ensures a celebration of the era while simultaneously pulling no punches with Bernstein lobbing hand grenades in the direction of KAJAGOOGOO and THOMPSON TWINS!

‘Mad World’ was originally published by Abrams Image

https://www.facebook.com/madworldthebook

JAPAN: A FOREIGN PLACE Anthony Reynolds (2015)

With the co-operation of Richard Barbieri, Steve Jansen and Rob Dean, this book is the first of its kind about the influential enigma that was JAPAN. With detailed accounts by band members and controversial manager Simon Napier-Bell among others, notably absent is David Sylvian who appears via archive interviews while the late Mick Karn is quoted from his own autobiography ‘Japan & Self Existence’.

‘A Foreign Place’ was originally published by Burning Shed

http://nightporter.co.uk/

ELECTRI_CITY: THE DÜSSELDORF SCHOOL OF ELECTRONIC MUSIC Rudi Esch (2016)

First published in German in 2015, this history gives a fascinating insider’s account of The Düsseldorf School and its cultural significance via interview quotes. Contributors on the home side include Wolfgang Flür, Robert Görl, Gabi Delgado, Hans Lampe, Ralf Dörper and Susanne Freytag, while the Brits they influenced feature Andy McCluskey, Martyn Ware, Dave Ball and Daniel Miller among their number. As Robert Görl says: “Wir wollten lieber mit Maschinen arbeiten… We always preferred working with machines”.

‘Electri_City’ was originally published by Omnibus Press

https://www.facebook.com/Electri.city.Esch

LET’S MAKE LOTS OF MONEY Tom Watkins with Matthew Lindsay (2016)

Subtitled “Secrets of a Rich, Fat, Gay, Lucky Bastard”, this is the autobiography of the late Tom Watkins, the Svengali who managed PET SHOP BOYS, BROS and EAST 17. “A big man with a loud voice” said Neil Tennant, but he had a bolshy ability to extract favourable deals including a rumoured 20% commission on gross income while always asking “What would Edna in Huddersfield think?”. Later becoming disillusioned with the pop industry, he describes ‘The X Factor’ as being like “a Nuremberg Rally on pink drugs”

‘Let’s Make Lots Of Money’ was originally published by Virgin Books

https://www.electricityclub.co.uk/tom-watkins-lets-make-lots-of-money/

SUBSTANCE: INSIDE NEW ORDER Peter Hook (2016)

An informative in-depth look inside NEW ORDER, this huge memoir running to over 750 pages by Peter Hook was informative but not unsurprisingly tinged with bitterness and anger. But if you want to know where the band played on 9 April 1985, it’s here! There are track-by-track rundowns of each NEW ORDER album (apart from ’Republic’) and if you’ve always wanted to find out which sequencer was used on ‘True Faith’ or what Hooky’s Top16 bass cab messages are, then look no further!

‘Substance’ was originally published by Simon & Schuster

https://www.facebook.com/peterhookandthelight/

RECORD PLAY PAUSE + FAST FORWARD: Stephen Morris (2019 + 2020)

Effectively a lengthy book divided into two parts, Volume I of Stephen Morris’ memoir demonstrated his abilities as an engaging storyteller blessed with an entertaining dry wit, able to convey his growing up in an amusing and relatable manner. In the NEW ORDER dominated Volume II, readers cannot help but laugh out loud when our hero discovers that the 10 mile shooting range of his newly acquired ex-British Army Abbot FV433 self-propelled gun will make Bernard Sumner’s house in Alderley Edge an easy target!

‘Record Play Pause Rewind’ + ‘Fast Forward’ were originally published by Constable

https://twitter.com/stephenpdmorris

ELECTRONIC BOY: MY LIFE IN & OUT OF SOFT CELL Dave Ball (2020)

The quiet half of SOFT CELL, Dave Ball attended the same Blackpool school as Chris Lowe from PET SHOP BOYS but they never met. There was obviously something in the sea and the accounts of the Northern Soul scene point towards how that influence, along with the affordability of synthesizers, was to seed a long and successful music career which later included THE GRID. The Electronic Boy is honest about his various demons, but there is also humour and an equipment list appendix plus plenty of technical talk.

‘Electronic Boy’ was originally published by Omnibus Press

https://www.facebook.com/daveballofficial

ADVENTURES IN MODERN RECORDING Trevor Horn (2022)

Chaptered around 23 significant pieces of music in the life of Trevor Horn, the producer provides an insight into the making of his greatest moments. Music industry politics are discussed, notably with his ZTT signings FRANKIE GOES HOLLYWOOD, PROPAGANDA and THE ART OF NOISE. Among the revelations are getting bassist Mark Lickley fired from ABC but in all, this is a fun read with lots of name dropping… so imagine sitting in a van with Grace Jones and Jackie Chan that has no seat belts!

‘Adventures In Modern Recording’ was originally published by Nine Eight

https://www.facebook.com/trevorhornofficial

ELECTRONICALLY YOURS Vol1 Martyn Ware (2022)

An autobiography that covers up to the end of 1992, a quarter of the book is brilliantly devoted to a track-by-track analysis of every released recording that Martyn Ware was involved in by THE HUMAN LEAGUE, HEAVEN 17 and BEF. Politics looms within ‘Electronically Yours Vol1’ but without this socially conscientious drive , there would be no ‘Penthouse & Pavement’ or ‘The Luxury Gap’. With the recent passing of Tina Turner, Ware’s accounts of working with her now have added poignancy.

‘Electronically Yours Vol1’ was originally published by Constable

https://martynwareofficial.co.uk/

LISTENING TO THE MUSIC THE MACHINES MAKE Richard Evans (2022)

Focussing on “inventing electronic pop”, ‘Listening To The Music The Machines Make’ tells the story of the Synth Britannia generation by referencing archive material rather than via new interviews with the protagonists of the period. The end result is a more accurate picture of how synthesized forms were derided by a hostile music press back in the day, contrasting the rose tinted view projected by some cultural observers and fans today. But over 40 years on, this music has won the fight with many of the acts still performing today.

‘Listening To The Music The Machines Make’ was originally published by Omnibus Press

https://inventingelectronicpop.com/

THE SOUND OF THE MACHINE: MY LIFE IN KRAFTWERK & BEYOND Karl Bartos (2022)

A detailed autobiography of Karl Bartos about his time in KRAFTWERK and more, his optimistic disposition is a key aspect of this story. But although rising to the ranks of co-writer for ‘The Man Machine’ album, some members were more equal than others as Ralf Hütter bagged himself 50% of the publishing for the lyrics of ‘Spacelab’ and ‘Metropolis’ despite those tracks containing one word, thus reducing Bartos’ musical share! Bitterness is largely absent from this book, but it is no “sex, synths und schlagzeug” romp either.

‘The Sound Of The Machine’ was originally published by Omnibus Press

http://www.karlbartos.com/

THEMES FOR GREAT CITIES: A NEW HISTORY OF SIMPLE MINDS Graeme Thompson (2022)

Featuring new interviews with original members Jim Kerr, Charlie Burchill, Mick MacNeil and Derek Forbes, this biography focuses on the SIMPLE MINDS era of 1979-1985 when they were at their imperial and imaginative best. So where did it all go wrong? The book reveals what ELECTRICITYCLUB.CO.UK has thought since buying the album in 1984 and that Jim Kerr himself now confirms… the second half of ‘Sparkle In The Rain’ is not particularly good! So who agrees? “LET ME SEE YOUR HANDS!”

‘Themes For Great Cities’ was originally published by Constable

https://www.simpleminds.com/

CONFORM TO DEFORM: THE WEIRD & WONDERFUL WORLD OF SOME BIZZARE Wesley Doyle (2023)

The story of Some Bizzare was always going to be a grand undertaking but Wesley Doyle managed to assemble Marc Almond, Dave Ball, Matt Johnson, Daniel Miller, Steve Hovington, Neil Arthur, JG Thirlwell, Stephen Mallinder, Anni Hogan, Stevo Pearce and his long suffering personal assistant Jane Rolink to document the rise and fall of the label that got into bed with the majors. Opting for a chronological quotes narrative, the book captures the personality of the characters involved and the tensions between them.

‘Conform To Deform’ was originally published by Jawbone Press

https://twitter.com/WesleyDoyleUK

Text by Chi Ming Lai
13 June 2023

Vintage Synth Trumps with DAVE BALL

20 May 2023 / electricityclub

Although he began with a Fender Telecaster, twin stylus Stylophone and second hand Akai reel-to-reel tape recorder to compose primitive ambient experiments, when a young Dave Ball bought a MiniKorg 800DV duophonic synthesizer, he never looked back.

On his first day as a fresher on the Fine Art degree at Leeds Polytechnic, he asked for directions from a second year student wearing a leopard skin printed shirt and gold lame jeans; that student was Marc Almond and the pair were make history as SOFT CELL…

Over four decades on, SOFT CELL have proved to be one of the most influential electronic pop acts ever with BRONSKI BEAT, PET SHOP BOYS, FRANKIE GOES TO HOLLYWOOD, PSYCHE, NINE INCH NAILS and even DEPECHE MODE owing more than a debt of gratitude to Messrs Almond and Ball for the doors they opened. During their imperial Some Bizzare phase between 1981-1982, SOFT CELL scored no less than five Top4 UK hit singles with ‘Tainted Love’, ‘Bedsitter’, ‘Say Hello Wave Goodbye’, ‘Torch’ and ‘What’ in little more than 12 months.

After SOFT CELL first disbanded in 1984, Marc Almond would go onto long and varied solo career while Dave Ball found success as a member of the dance duo THE GRID with Richard Norris. Almond and Ball would reunite to co-write three songs for the former’s ‘Tenement Symphony’ album, but a full SOFT CELL reunion would not take place until 2001. A comeback album ‘Cruelty Without Beauty’ was released in 2002 supported by extensive touring but behind the scenes, tensions were lingering. Following Marc Almond’s near-fatal motorcycle accident in 2003, the pair did not speak for many years.

But in 2018, SOFT CELL surprised the world by announcing what was intended to be a final concert at London’s O2 Arena. Having also recorded an excellent new single ‘Northern Lights’ b/w ‘Guilty Cos I Say You Are’, the special magic between Almond and Ball could not be denied. In 2022, their fifth SOFT CELL studio album ‘*Happiness not included’ was released with a number of its songs having been previewed during the duo’s 2021 live celebration of their debut album, now released as the concert film ‘Non-Stop Erotic Cabaret… And Other Stories: Live’.

However, Dave Ball was to have his own brush with mortality, spending part of 2022 in intensive care in a London hospital after seriously damaging his lower vertebrae. Placed in an induced coma, he had to miss SOFT CELL’s North American concert dates. Steadily regaining his health and fitness, Dave Ball is vowing to be on top form again for SOFT CELL’s series of outdoor live shows in 2023.

And it was a chipper Dave Ball who accepted ELECTRICITYCLUB.CO.UK’s invitation to chat over a round of Vintage Synth Trumps and talk about SOFT CELL’s past, present and future…

So the first Vintage Synth Trumps card is an EMS VCS3…

The first time I saw one of those was Brian Eno using one with ROXY MUSIC and Dave Brock from HAWKWIND had one as well. So there’s a few legendary rock stars that have had them but I’ve never actually owned one. I had a quick play with one once at Guildford University, they have a big music college there so had a Moog System 55 and a VCS3. I was messing around with all the little pins and making weird echoey noises. I’ve always wanted to have one, they look like a lot of fun!

The next card by coincidence is the EMS Synthi AKS which is the compact suitcase version of the VCS3…

These EMS synths are the sort of synths I dream about, I’ve seen them but had no experience recording with them. I always get these two mixed up though, they were based in Putney weren’t they? I think there’s someone still making them but the originals cost a fortune and go for thousands now.

How do you feel about these remake synths, like the Korg ARP Odyssey which you have used live?

I think they’re alright y’know, I’ve got a Behringer 2600, that sounds pretty good… the one that I’m interested in at the moment is a rack mounted Wasp remake which they’ve done. There’s a connection to EMS isn’t there?

Yeah, Chris Huggett who did the original EDP Wasp worked on the Akai S1000 alongside David Cockerell who was at EMS…

…so I’ve bought one, they look like a lot of fun and I really like the sound of them as well. It actually sounded like a wasp, really thin and nasty! *laughs*

You were using the new Korg ARP Odyssey for basslines like on the live version of ‘The Art Of Falling Apart’ that is featured on the ‘Non-Stop Erotic Cabaret…And Other Stories: Live’ film, how you find it compared to the Korg Synthe-Bass SB100 or other synths like the Minimoog?

A lot of the stuff live is programmed to computer and I’m just beefing things up and adding to them. I do like the Korg ARP Odyssey, it’s got a very distinct sound. When I hear one of those, I always think of Billy Currie, especially the early ULTRAVOX stuff, he got that machine sounding fantastic. Also, a lot of early KRAFTWERK videos, you see one as well. That famous ‘Tomorrow’s World’ clip, they had a Minimoog and an Odyssey. I’ve never actually played an original authentic Odyssey so I wouldn’t be able to compare although the keys are smaller… I just take it as what it is. It IS a Korg version.

How do you find those small keys cos you’re a big fella? *laughs*

Yeah, I’ve got big fingers but I’m quite nifty with them. At home when I’m just messing about, I sometimes use one of those Akai MPK things and they have little keys on them. You get used to them and I’m quite nimble with my big fingers! *laughs*

So with the ‘Non-Stop Erotic Cabaret…And Other Stories: Live’ film, what are your memories of those shows and revisiting material like ‘Entertain Me’, ‘Chips On My Shoulder’, ‘Seedy Films’ and ‘Secret Life’ which hadn’t been aired in concert since 1982?

It was great because I’m not in the habit of listening to my old material at all, but as I knew the shows were coming up, I had to check the first album again. It was really refreshing to hear it and listen to how much we’ve changed and stuff. But what was really good about doing the shows was for a lot of people who have great memories of that album, it was the first time they’d ever heard us live, so I think it was great for them to hear the whole album being done live. It was actually the first time we’d done it, we’d never performed the album in its entirety in sequence before.

When we first made it, we used some of the tracks off it but not all of them. It was good to hear it as a whole peace. We are thinking of maybe doing the same thing with ‘The Art Of Falling Apart’, cos that could be quite a good show because a lot of people really love that album as well…

I think that would be a brilliant idea Dave…

We’ve got quite a few possibilities and options after these upcoming outdoor shows and ‘Let it Rock’… is it called ‘Let It Rock’?

It’s called ‘Let’s Rock’ but I do think is the weirdest possible name for a heritage pop festival brand… *laughs*

‘Let’s Rock’, it sounds it could be SHOWADDYWADDY on the bill! *laughs*

Yes! EXACTLY! That’s my point! It’s easy to understand the brand concepts of ‘Rewind’, ‘Here & Now’ and ‘Forever Young’, but ‘Let’s Rock’ when there’s no rock? It is head scratching but they are doing the business…

I’d never heard of them until we were approached… my only problem at the moment with playing gigs is my mobility; I’ll probably have to use a wheelchair to get on stage! It doesn’t really matter because I sit down when I play anyway. So getting on and off stage is my only primary concern at the moment, never mind the 10,000 people that are going to be watching us! Once I’m on stage and I’m locked in, so long as I don’t start wheeling backwards, I’ll be fine! *chuckles*

Here’s another card, and it’s an Oberheim OBXa…

There were two schools, those who went for the OBX and people like me who went for the Prophet 5, it was a very similar sort of synth in terms of the way it worked and the polyphony of it but I was always a Prophet 5 man. But I did buy an Oberheim DMX drum machine which was part of that kit series that included the DSX sequencer and OBX.

Was the DMX more cost effective than the LinnDrum?

When we recorded ‘The Art Of Falling Apart’, we used the Linn 1, the Linn 2 and the DMX so it wasn’t to do with cost, it was just sonics. The Linn was a better machine in terms of it being easier to trigger with a click track, whereas the DMX wasn’t quite as simple, but it was being used on a lot of early hip-hop and electro records so I liked the sound of it more, it was a bit more punchy I thought.

Here’s something I’ve always wanted to ask you Dave, you used the Synclavier on the first two albums but bought a PPG Wave 2.2 for ‘This Last Night In Sodom’, so why did you pick that over the Synclavier or Fairlight?

This was to do with price! I never bought the sequencer for the PPG though because I always used to play everything by hand. I liked the sound of it, it was a big machine and I wanted something that sounded quite modern and metallic. The Fairlight and Synclavier had dated by then and everybody had used them on everything, so it was nice to break away from that really.

So no Fairlight, no Synclavier, that album was PPG and the DMX although my favourite drum machine would probably be the Roland TR808 out of all of them. That’s the one we used on the first album, I think we got one of the first ones off the production line. Mike Thorne also had it when we got to New York, he had a Synclavier and TR808 set-up ready to go so that was great, so we didn’t do it totally fresh *laughs*

The next card I’ve pulled out is a Roland Juno 60 and I know you used this at the O2 show in 2018…

I had one for a short while, a friend had one second-hand so I got it off him. The thing about all Roland synths is they all have a fantastic sound, you can’t really beat them. Gary Barnacle who plays sax for SOFT CELL, he has a Roland Jupiter 8 in mint condition and he said the asking price for them now is £30,000 which is crazy! I wouldn’t pay that even though it’s a wonderful synth, I might give you three and a half grand! *laughs*

How do you feel about the software emulations of these classic synths?

They’re not bad, because it’s electronic sound, it’s easier to emulate that than it is a natural sound. The drum sounds, they’ve got nailed. The thing about the original synths is the oscillators, sometimes they drift a bit and you get that lovely fadey thing, but they’ve probably got that built into some of these reproduction VST plug-ins so that they drift in amongst themselves.

‘Monoculture’ was the launch single off the first comeback album ‘Cruelty Without Beauty’ in 2002, so had your approaches to making music for SOFT CELL changed by then?

‘Monoculture’ was sort of conceived for live and mixing purposes, I made it so that it was the same tempo as ‘Memorabilia’ and it’s in the same key. So when we used to start the show with ‘Memorabilia’, it would segue straight into ‘Monoculture’, it was almost like a DJ mix to get everybody dancing with the same groove on a familiar and new track. It was a looking backwards and facing forwards kind of thing, looking back at what we’d done before and projecting what we were going to do next, recreating our own past in a way, future retro, whatever you want to call it *chuckles*

The show saw the premiere of songs from ‘*Happiness Not Included’, one of them was ‘Purple Zone’ and at Hammersmith Apollo, PET SHOP BOYS were in attendance…

On the second night at Hammersmith, we knew that PET SHOP BOYS were on the guest list so I told Marc, he was like “oh great” and pretended to be nervous as they had front row seats. Funnily enough, they were sitting next to Richard Norris, my other half in THE GRID… he said they were taking loads of photographs which is quite flattering *laughs*

After the show, my manager Chris Smith came to say that Neil Tennant and Chris Lowe were backstage and did I want to say hello? I did of course, but Marc doesn’t stay around at gigs and he’d already gone, so they came into my dressing room and we had a few beers. We chatted for about an hour and they asked about ‘Purple Zone’; Chris Smith then enthusiastically suggested to them about doing a remix and they were like “Yeah! We’d love to do it”.

Neil then asked if he could sing on it and I thought that would be fantastic so we let them do what they do best. They came back with the PET SHOP BOYS version of SOFT CELL. Neil and Marc’s voices work so well together and it was a really good record for both PET SHOP BOYS and SOFT CELL, the profile we got, I think it was the most played record on radio at the time and it No1 in various dance charts and No7 in the Music Sales chart, whatever that means. It did us all a lot of favours and a lot of good.

But then…

The weird thing was that while that was all going on, I was in hospital. Normally if I got this kind of news, I’d be out with my mates celebrating with champagne… but not in hospital I’m afraid! Chris Lowe had been chatting to me after the gig about how it was going to be a weird year in pop in 2022! I thought “what does he mean?”, but it turned out to be a weird year for me! So it was like having a third year of lockdown! But I’m out and on the loose again, not quite on the streets yet but I’m raring to go! I’ve not quite got my dancing shoes on yet! *laughs*

Another card and it’s an OSCar, I don’t know if you’ve ever used one?

No, a friend of mine had one of those, it had a great cutting sound but the designed was quite weird wasn’t it, it looked like a bit of Lego! They’re very sought after those, I don’t know much about them, most of the synths you’ve picked out, I’ve never actually owned! That’s quite remarkable really *laughs*

So there’s an extended version of ‘*Happiness not included’ coming out later this year entitled ‘*Happiness now extended’?

Yes, this was done in my absence, so I can’t take any responsibility for the artistic input for it. In the past, we used to do the longer version first and then edit it down; so this is kind of the other way round. For the early SOFT CELL stuff, we’d put a longer arrangement down for a 12” version.

Marc would do the vocal and ad-lib sections and then we’d get it down until we got the single. That was when we had to use razor blades and tape, we didn’t have digital editing which is so much easier. People who have grown up with digital and can just splice tracks together and move vocals around, they don’t know they’re born! *laughs*

I’m sounding like an old bloke cos I am, but it’s so much easier to do stuff now with computers. Back in the olden days, you had to do it physically. You could sort of fly things in but it was a lot more tricky.

I’m looking forward to hearing the extended version of ‘Nighthawks’ which was a stand-out on ‘*Happiness not included’… but that started as a solo track?

I put that together in my kitchen initially, I used just one Roland synth and a couple of little Korg sequencers to have these two patterns going. I then went to Warner Brothers Studio, I just recorded the MIDI off the two sequencers and tidied it all up on the Mac and re-ran it to the Roland and did various overdubs of that with different filter settings and stuff, decays, delays and what have you. There a bit of real piano reversed and I did the original voice on it.

It was just a bonus instrumental on a CD compilation for the deluxe box of my book ‘Electronic Boy’ but then Marc heard it and loved it. It was quite different to everything else, it was very sequencey. He did a vocal and got this New York drag performance artist Christeene to do this weird mad voice on it that sounds fantastic, it was very scary sounding. We kept the music and the original title ‘Nighthawks’ after the famous Edward Hopper painting that reminds you of loneliness and isolation, it’s what the original track was inspired by.

Was the stylisation of the sequencers on ‘Nighthawks’ influenced by any of your work with CABARET VOLTAIRE on ‘The Crackdown’ in 1983?

I never thought of that until you said it but I suppose it does have that CABARET VOLTAIRE static funky sequence about it, but you’re right, it is!

I don’t if you’ve heard it but there’s a remix of ‘Nighthawks’ by Chris & Cosey, I love that. When they asked for the brief, I just said “dirty disco”, I think it’s one of my favourite SOFT CELL remixes of the last period of work we’ve done, it doesn’t bear much resemblance to the original but it still sounds fantastic.

There is also going to be a ‘*Happiness now completed’ companion album featuring unreleased mixes, remixes and B-sides as well as covers of Giorgio Moroder, X-Ray Spex and Fad Gadget?

‘Back To Nature’ by Fad Gadget we did a while ago but Marc’s done a new vocal. X-Ray Spex ‘The Day The World Turned Day Glo’ was recorded with my friend Dave Chambers who has a Pro-Tools set-up at his home and we took the music over to Marc who did his vocals at Dean Street studios.

And the Giorgio Moroder thing ‘First Hand Experience Of Second Hand Love’ was recorded with Rick Mulhall, we sequenced that up at his place in Richmond; that’s the track that Marc and I always wanted to do because we’d bought the album ‘From Here To Eternity’ when it came out in 1977. We both had vinyl copies of that, with Giorgio and his wonderful bristling moustache, the dark sunglasses and curly perm on the front cover, it was a classic look for a synth wizard at the time. We’d recorded it once before with Ingo Vauk but that recording got lost, it had disappeared into the electronic ether so to speak! It’s probably on a hard drive in a skip! Who knows? *laughs*

Marc suggested we should do it again, it’s such a great song and a perfect one for SOFT CELL. Marc did the lead vocals and Philip Larsen did the vocoder bit as I was not able to attend. I think it sounds great, my manager Chris Smith said they’d sent a copy to Giorgio Moroder’s office in Los Angeles so we’re just waiting to see if we get a thumbs up from Da Maestro. Hopefully, he’ll be pleased that we’ve covered one of his songs.

OK, we’ve got your final Vintage Synth Trumps card and it’s a Powertran Transcendent 2000…

I know that JOY DIVISION had one which Bernard Sumner built from a kit, the synth sounds they had were fantastic, very haunting and I really liked that. My only experience of this was a guy at my art college bought one, but he made it into an art piece! He built it but had taken off the original control panel and drilled out a new one that was made of Perspex. He put all the knobs back on so there was no way you knew what any of them did! Then he had it wall-mounted with two speakers and set up a basic sinewave tone and it was up to the person looking at it to twiddle a knob and see what it did, it was like Dada synth and totally random, it was brilliant!

Was there ever a synth you bought that didn’t meet expectations?

I bought a lot of synths in my time but all of them made at least one good sound. Even if I buy a synth and only use sound, it always pays for itself. Every synth I’ve ever bought has been used on a record. I don’t think I’ve ever really wasted money on a synth. But there was this Akai sequencer which I could never get working properly. I’ve actually had trouble with Akai sequencers before to be honest. I used to love the Akai samplers, I still have an S1100 which was a great machine but I never got on with Akai sequencers, I’ve never really liked those MPC things… I can’t get my head around the architecture, that’s probably the only time I’ve spent money and regretted it. They’re my only “bête noire” I suppose, Akai sequencers! *laughs*

What are your future plans?

I‘m working with Richard Norris on new tracks for THE GRID, we’ve put a new spin on the way we’re doing THE GRID which is sounding fantastic so very pleased about that. We’ve got no guaranteed release yet, but we’re talking to a number of record companies and things are looking positive in all that respect. We’re very excited.

In my home studio, I’ve been getting some new rough ideas for backing tracks for SOFT CELL, should there be another album. Marc seems to want to do another one and I do. I hope there may be another SOFT CELL album but you’re going to have to wait a while, it probably won’t surface until the back end of next year so it will be 2025 when it actually comes out… 2025, its sounds so futuristic that doesn’t it? *laughs*

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Dave Ball

Special thanks to Debbie Ball at Create Spark

‘*Happiness now extended’ is released on 28 July 2023 as a double vinyl LP, for tracklisting and pre-order, please visit https://www.softcell.co.uk/product/happiness-now-extended-double-black-vinyl

The companion CD edition ‘*Happiness now completed’ is also out on the same day, for tracklisting and pre-order, please visit https://www.softcell.co.uk/product/happiness-now-completed-cd

The concert film ‘Non-Stop Erotic Cabaret… And Other Stories: Live’ is available now as a bluray or DVD with separate accompanying live soundtrack as 4LP + 2CD sets from LiveHereNow at https://liveherenow.co.uk/pages/soft-cell

SOFT CELL perform in the UK and Europe throughout Summer 2023, dates include:

Rochester Castle (7 July)**, Let’s Rock Southampton (8 July), Let’s Rock Shrewsbury (15 July), Barcelona Poble Espanyol (23 July), Saffron Walden Audley End (11 August )*, Steyning Wiston House (9 September)***

* with special guests OMD + HEAVEN 17
** with special guests PETER HOOK & THE LIGHT
*** with special guests HEAVEN 17 + ABC

Vintage Synth Trumps is a card game by GForce that features 52 classic synthesizers, available direct from
https://www.juno.co.uk/products/gforce-software-vintage-synth-trumps-2-playing/637937-01/

http://www.softcell.co.uk

https://www.facebook.com/softcellband/

https://twitter.com/softcellhq

https://www.instagram.com/softcellhq/

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Text and Interview by Chi Ming Lai
Live Photos by Roger Kamp
20 May 2023, 6 July 2023

A Beginner’s Guide To MIKE THORNE

20 February 2023 / electricityclub

Photo by JR Host

Born in Sunderland, Mike Thorne began learning to play piano at the age of 11.

The lessons sparked a passion for music that led to him buying a tape recorder so that he could record songs off the radio. He then studied composition at The Guildhall School of Music & Drama. But despite later graduating with a physics degree from Oxford University, the music industry was where he wanted to be. His first jobs included tape op, journalist and then A&R at EMI looking after THE SEX PISTOLS during their short tenure at the label in 1976.

This led to becoming a house record producer at EMI and his first assignment involved recording 120 saxophones playing ‘The White Cliffs Of Dover’. After recording several live albums including ‘Live at The Roxy’, Thorne got his break producing French rock band TÉLÉPHONE whose eponymous debut album went gold.

New Yorkers THE SHIRTS and the Peter Godwin fronted METRO were among those followed, but it was his work on the first three albums by WIRE – a band he spotted and signed to PINK FLOYD’s label Harvest – that drew the most critical acclaim. The records demonstrated Thorne’s willingness to experiment in the studio, stripping down structures while adding electronic elements where appropriate.

Recognising that electronics and computers were the future of pop music and that a reinvention was likely by responding to new possibilities, Thorne had the foresight to purchase the first version of the NED Synclavier in 1979. A polyphonic digital sampling system and music workstation which used FM synthesis, it was to become his production mainstay and arrived in time for Colin Newman of WIRE’s first solo release and Scottish new wave quartet BERLIN BLONDES’ only long player.

Thorne moved to New York to become a freelance producer, working mostly at Media Sound Studio. But it was while in London working on the soundtrack to a Julie Christie film ‘Memoirs Of A Survivor’ that Thorne was commissioned by Phonogram Records to produce their new signing B-MOVIE. The deal had been brokered by Some Bizzare, an umbrella organisation that was more stable than label and part of the 2-for-1 arrangement was for him to work with a Northern synth duo called SOFT CELL. The rest, as they say, is history…

‘Tainted Love’, a cover of a song written by Ed Cobb and recorded by Gloria Jones, went to No1 and was the biggest selling UK single of 1981. It also spent a staggering 43 weeks on the US Billboard Hot 100. During the recording of ‘Tainted Love’, Thorne conceived a new way of producing an extended dance mix… the 12” single would be arranged and recorded first, with the 7” single version edited from sections of the longer track. Phonogram boss Roger Ames felt the track was a little slow so it was varispeeded up slightly for release!

Meanwhile, SOFT CELL were to enter an imperial phase of five successive Top4 UK hit singles with Thorne at the production helm including ‘Bedsitter’, ‘Say Hello Wave Goodbye’, ‘Torch’ and ‘What’. However, with the overwhelming success of their debut long player ‘Non Stop Erotic Cabaret’, tensions brewed during the recording of SOFT CELL’s appropriately titled second album ‘The Art Of Falling Apart’ leading to Thorne parting ways with the duo.

In 1984, Thorne was to produce one of the most important albums of his career when he was teamed up with BRONSKI BEAT for ‘The Age Of Consent’. The trio soon fragmented after its release, but Thorne followed their lead singer Jimmy Somerville to his new project THE COMMUNARDS with Richard Coles to achieve yet another No1 in a HI-NRG cover of ‘Don’t Leave Me This Way’; it was also the best-selling UK single of 1986.

Thorne’s ethos was always “to make music I liked with people I liked”. As well as working with more esoteric clients such as Marianne Faithful, Nina Hagen and Laurie Anderson, he was appreciated for his crossover potential in the mainstream with Daryl Hall & John Oates commissioning him to construct an Extended Club Mix of ‘Maneater’ in 1984 which included a breakdown clearly influenced by the middle section of the ‘Tainted Love’/ Where Did Our Love Go’ 12” segue.

Although Thorne ceased working as a hired hand from 1995, he continued as a producer for artists signed to his label imprint The Stereo Society while he issued his first his solo record ‘The Contessa’s Party’ in 2005 featuring special guests Kit Hain, Lene Lovich and Sarah Jane Morris.

Despite achieving two best-selling UK singles of the year, Mike Thorne has often slipped under the radar in discussions about notable record producers who led the start of the digital era. Documenting a significant and trailblazing career, here are 20 tracks selected by ELECTRICITYCLUB.CO.UK which act a Beginner’s Guide to Mike Thorne, listed in yearly and then alphabetical order by artist moniker with a restriction of one track per album project.

WIRE I Am The Fly (1978)

Although WIRE’s debut ‘Pink Flag’ was minimalist post-punk rock, their sophomore offering, ‘Chairs Missing,’ adopted more song structure, art rock approaches and synthesizer textures brought in by Thorne. One of WIRE’s signature tracks, ‘I Am The Fly’ had menace and provocation, prompting audiences at gigs to start lying down, waving their limbs in the air like dying flies! Musically, its influence can be heard from TUBEWAY ARMY’s ‘My Shadow In Vain’ to ELASTICA’s ‘Lined Up’.

Available on the WIRE album ‘Chairs Missing’ via Pink Flag

http://www.pinkflag.com/

BERLIN BLONDES Framework (1980)

A meeting of synthesizers, art rock and obscure vocals, Glasgow’s BERLIN BLONDES exuded the detached European cool of David Bowie during his Mauerstadt exile and were unusual at the time for using a drum machine. The quartet only made one album produced by Thorne which was recorded at Gary Numan’s Rock City Studios, ‘Framework’ was syncopated futurist disco featuring crashing electronic beats and icy flashes of synth under the influence of SPARKS and MAGAZINE.

Available on the BERLIN BLONDES album ’The Complete Recordings 1980-81’ via Cherry Red Records

https://www.discogs.com/artist/512473-Berlin-Blondes

COLIN NEWMAN Order For Order (1980)

After three albums, WIRE split for the first time. Their lead vocalist Colin Newman released his first solo album, ‘A-Z’ in 1980, featuring songs created for the anticipated fourth WIRE album. It was produced by Thorne and could be considered a sonic companion to BERLIN BLONDES. ‘Order for Order’, explored the possibilities of new wave mainstream numbers and while some compared it to Gary Numan, it had more in common with MAGAZINE.

Available on the COLIN NEWMAN album ‘A–Z’ via Sentient Sonics

http://www.coldwarnightlife.com/features/shine-on-colin-newman/

B-MOVIE Remembrance Day (1981)

Despite being alongside DEPECHE MODE, SOFT CELL, BLANCMANGE and THE THE on the now iconic ‘Some Bizarre Album’, B-MOVIE were unable to secure a hit with the poignant magnificence of the Thorne produced ‘Remembrance Day’. The struggle for success and internal tensions led to the band fragmenting by 1983. But the song gained cult status and in 2004, American band THE FAINT presented a fine interpolation in ‘Southern Belles In London Sing’ .

Available on the compilation album ‘Dawn Of Electronica’ (V/A) via Demon Music Group

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

KIT HAIN Spirits Walking Out (1981)

Kit Hain had an international hit ‘Dancing In The City’ with Julian Marshall in 1978 but after the duo split, Hain issued her debut solo album ‘Spirits Walking Out’ produced by Thorne. While ‘Danny’ was to be a minor single success, one of the album highlights was the synthesized cabaret noir of the dramatic title song. Hain was to have a role in the SOFT CELL story as it was her Roland CR78 Compurhythm which Thorne borrowed and used as the rhythmic backbone to ‘Tainted Love’.

Available on the KIT HAIN album ‘Spirits Walking Out’ via Renaissance Records

https://kittusmusic.com/

SOFT CELL Bedsitter – Early Morning Dance Side (1981)

With direction from Thorne, SOFT CELL often incorporated extra vocal sections into their 12” extended formats as on ‘Torch’, ‘Facility Girls’ and ‘Insecure Me’. So instead of purely instrumental breakdown extensions, ‘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. The literal kitchen sink drama to song concept saw tea leaves pushed down the drain as the night life started all over again.

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

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

NINA HAGEN Tiatschi Tarot (1982)

Record in New York with Thorne, ‘NunSexMonkRock’ was the debut solo adventure by eccentric German singer Nina Hagen, as well as her first record with all her songs performed in English after disbanding her band after two acclaimed albums. While it was primarily a dissonant mix of punk, funk and reggae, ‘Taitschi-Tarot’ was a delightful oddball avant opera piece using piano and synths that covered the topics of Buddhism, reincarnation and yoga.

Available on the NINA HAGEN album ‘Nunsexmonkrock’ via Sony Music

https://ninahagendas.beepworld.de/

SOFT CELL Torch – 12” version (1982)

Thorne and Marc Almond agreed that ‘Torch’ was their finest moment of recording together. Punctuated by John Gatchell’s flugelhorn, ‘Torch’ came in the middle of SOFT CELL’s imperial pop phase and the 12” version was a pièce de résistance, fuelled by Almond and Dave Ball partying on the New York club scene where they met Cindy Ecstasy. In an amusing spoken middle section, her nonchalant off-key vocal counterpointed Almond’s fabulously forlorn romanticism.

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

https://www.facebook.com/softcell

THE THE Uncertain Smile (1982)

Still Matt Johnson’s finest five minutes as THE THE, ‘Uncertain Smile’ on its single release featured a wonderfully rigid TR808 pattern, lovely layers of synths and a variety of woodwinds including flute and sax. Produced by Mike Thorne, this fuller sounding and more emotive take far outstripped the bland and overly-long ‘Soul Mining’ album cut, which had been re-recorded by Thorne associate Paul Hardiman and included the extended boogie-woogie piano of Jools Holland…

Available on the THE THE album ’45 RPM – The Singles’ via Epic Records

https://www.thethe.com/

SEONA DANCING More To Lose (1983)

SEONA DANCING were the synthpop duo comprising of a young Ricky Gervais and his friend Bill McRae formed while they were students at University College London. With Gervais adopting a melodramatic Bowie-like persona as a doomed romantic, their first single ‘More To Lose’ produced by Mike Thorne was of its time. However, its incessant rhythms and tuneful keyboard inflections had appeal and the song became a surprise radio hit in The Philippines.

Available on the SEONA DANCING single ‘More To Lose’ via London Records

http://www.rickygervais.com/

SOFT CELL The Art Of Falling Apart (1983)

Whereas Mike Thorne had been a happy collaborator on their debut album ‘Non Stop Erotic Cabaret’, during the making of the follow-up, he was viewed as a controller and spy for Phonogram. As former art school students, pop stardom did not suit SOFT CELL so there was no option but for Marc Almond and Dave Ball to self-destruct. The imploding disposition of ‘The Art Of Falling Apart’ title song couldn’t have soundtracked a mental breakdown any better.

Available on the album ‘The Art Of Falling Apart’ via Mercury Records

https://www.instagram.com/softcellhq/

BRONSKI BEAT Smalltown Boy (1984)

When BRONSKI BEAT made their first ever TV appearance performing on BBC2’s ‘ORS’, they were nothing short of startling, thanks to their look, their minimal synth sound and Somerville’s lonely earth shattering falsetto. The trio had sought to be more outspoken and political in their position as openly gay performers and the tale of the Mike Thorne produced ‘Smalltown Boy’ about a gay teenager fleeing his hometown made an important statement.

Available on the BRONSKI BEAT album ‘The Age Of Consent’ via London Records

https://www.jimmysomerville.co.uk/

THE COMMUNARDS Disenchanted (1986)

After leaving BRONSKI BEAT, Jimmy Somerville formed THE COMMUNARDS with future TV vicar Richard Coles and took Thorne with him to produce their self-titled debut. While more organic elements such as piano, brass and strings featured, there remained a HI-NRG electronic element. The brilliant ‘Disenchanted’ heavily recalled the sound of his previous band. Somerville never stuck around for long and his relationship with Coles was dissolved in 1987.

Available on THE COMMUNARDS album ‘Communards’ via London Records

https://www.facebook.com/officialjimmysomerville

HOLLYWOOD BEYOND Save Me (1987)

HOLLYWOOD BEYOND was the vehicle of flamboyant singer-songwriter Mark Rogers and he went Top10 with the Stephen Hague produced ‘What’s The Colour Of Money?’ in 1986. Mike Thorne was brought in to produce one track, ‘Save Me’, for the parent album ‘If’. Released as a single, it was an attempt to make a funkier version of BRONSKI BEAT and THE COMMUNARDS but Rogers lacked the vocal richness of Jimmy Somerville to pull it off.

Available on the HOLLYWOOD BEYOND album ‘If’ via Warner Music

https://www.discogs.com/artist/134514-Hollywood-Beyond

LAURIE ANDERSON The Day The Devil (1989)

Laurie Anderson’s fourth studio album ‘Strange Angels’ saw her attempt to move away from performance art into a more musical territory. Taking singing lessons and developing into a soprano, there was less of the spoken word that characterised her surprise No2 UK hit ‘O Superman’ and its parent album ‘Big Science’. Thorne produced four tracks on the album including ‘The Day the Devil’, a gothic art mini-opera with sinister diabolic overtones.

Available on the LAURIE ANDERSON album ‘Strange Angels’ via Warner Music

https://laurieanderson.com/

CHINA CRISIS Red Letter Day (1989)

While CHINA CRISIS had recorded their fifth album ‘Diary Of A Hollow Horse’ with STEELY DAN’s Walter Becker, Virgin Records had felt there were no potential hit singles. So the band were despatched to re-record three songs including ‘Red Letter Day’. Using a sharp piano figure reminiscent of Rupert Holmes’ one hit wonder ‘Escape (The Pina Colada Song)’ with more counterpoints, synths and vocal harmonies, the track was issued as the album’s second single but no hit was forthcoming.

Available on the CHINA CRISIS album ‘Diary Of A Hollow Horse’ via Virgin Records

https://www.facebook.com/chinacrisisofficial

BRONSKI BEAT I’m Gonna Run Away From You (1990)

Mike Thorne reunited with Steve Bronski and Larry Steinbachek when BRONSKI BEAT were rebooted in a new deal with Zomba Records subsidiary Zed Beat featuring a new vocalist Jonathan Hellyer who possessed a falsetto similar to Jimmy Somerville. The first track released was a frantic dance cover of ‘I’m Gonna Run Away From You’, a Northern Soul song made famous by Tami Lynn. Sadly, Larry Steinbachek passed away in 2017 and Steve Bronski in 2022.

Originally released as a single by Zed Beat, currently unavailable.

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

INFORMATION SOCIETY Peace & Love, Inc (1992)

From Minneapolis, INFORMATION SOCIETY had their breakthrough ‘What’s On Your Mind (Pure Energy)’ in 1988. From the album of the same name on which Thorne produced 4 tracks, ‘Peace & Love, Inc’ was spikey and energetic social commentary with heavy rave influences with 808 STATE samples thrown in. Incidentally another album track ‘To Be Free’ was produced by Karl Bartos under his post-KRAFTWERK guise as ELEKTRIC MUSIC.

Available on the INFORMATION SOCIETY album ‘Peace & Love, Inc’ via Tommy Boy Records

https://www.facebook.com/informationsociety

PETER MURPHY Our Secret Garden (1992)

BAUHAUS front man Peter Murphy sought to capture the live feel of a band, having sampled musicians on his two previous works. But recording had not been straightforward and it was the longest time Thorne had worked on an album. the spacious and exotic ‘Our Secret Garden’ saw keyboards played by Murphy himself alongside the producer’s Synclavier. The ‘Holy Smoke’ album also reunited Thorne with B-MOVIE’s Paul Statham who was now acting as Murphy’s wingman.

Available on the PETER MURPHY album ‘Holy Smoke’ via Beggars Banquet Records

https://www.petermurphy.info/

MARC ALMOND We Need Jealousy (1996)

During Thorne’s reunion with Marc Almond in 1993, the singer was dismayed that the producer was still using his Synclavier. A change in record labels led to Thorne’s productions being remixed by THE BEATMASTERS and BIZARRE INC. Mixed by Gregg Jackman, ‘We Need Jealousy’ featured some great bassline programming augmented by ‘Motorbiking’ guitar by Chris Spedding. The experience drained Thorne, who withdrew from working as a hired hand.

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

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

For personal commentary by Mike Thorne, archive articles and information on releases by The Stereo Society, please visit https://stereosociety.com/

Text by Chi Ming Lai with thanks to Simon Helm
20th February 2023

Tag: Marc Almond (Page 1 of 6)

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