Tag: Marc Almond (Page 6 of 6)

25 FAVOURITE ARTIST COLLABORATIONS

Artist collaborations can be seen in several ways.

They are either a chance to take the best elements of great bands to form an even greater supergroup, or as has happened in many cases, there is a watering down of prime concepts which results in a fragmented mess of little interest to anyone.

So here are 25 artist collaborations that actually worked; the list is restricted to one song per main act, defined as being the one who released the parent album.

That means PET SHOP BOYS, who have been among the most ubiquitous and willing of conspirators, get to appear as themselves and as guests of ELECTRONIC and David Bowie while NEW ORDER’s Bernard Sumner appears as part ELECTRONIC as well as also moonlighting for THE CHEMICAL BROTHERS and Philip Oakey of THE HUMAN LEAGUE gets in there twice as a guest.

Over more recent years, there appears to have much more freedom for artists to collaborate, notably with SPARKS recently unveiled collaboration with Glasgow based art rockers FRANZ FERDINAND, named rather straightforwardly FFS. And this is reflected by this list here which has a bias towards new millennium recordings, although ELECTRICITYCLUB.CO.UK is pleased to say, this is a Calvin Harris free zone 😉


SYLVIAN SAKAMOTO Bamboo Houses (1982)

David Sylvian and Ryuichi Sakamoto were making their artistic presence felt outside of JAPAN and YELLOW MAGIC ORCHESTRA, and having collaborated on ‘Taking Islands in Africa’, another project was always on the cards. ‘Bamboo Houses’ expanded on the electro-acoustic textures of ‘Tin Drum’ over a catchy percussive framework courtesy of Steve Jansen. Sylvian delivered his usual mournful vocal but Sakamoto’s monologue and marimba gave the track ethnic authenticity.

Available on the DAVID SYLVIAN compilation ‘A Victim of Stars 1982-2012’ via Virgin Records

http://www.davidsylvian.com/

http://sitesakamoto.com/


MIDGE URE & MICK KARN After A Fashion (1983)

‘After A Fashion’ was a blistering sonic salvo that crossed the best of JAPAN’s rhythmical art muzak with ULTRAVOX’s ‘The Thin Wall’. However, it stalled at No39 in the UK singles charts and sadly, there was to be no album. But Karn later played on Ure’s ‘Remembrance Day’ in 1988 and Ure briefly joined JBK, the band formally known as JAPAN sans David Sylvian for an aborted project in 1992 that resulted in two songs ‘Cry’ and ‘Get A Life’. Sadly Karn passed away in 2011.

Available on the MIDGE URE album ‘No Regrets’ via Music Club Deluxe

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

http://mickkarn.net/


SHARPE & NUMAN Change Your Mind (1985)

Very much seen as the odd couple, the duo’s promotional photos captured the curly haired jazz funk aficionado with The Iceman! Bill Sharpe was pianist with jazz fusion group SHAKATAK. Together with their drummer Roger Odell, they had written a piece of computerised electrofunk that needed a vocal. Engineered by Nick Smith who had also been working with Gary Numan, he suggested that the former Mr Webb would be ideally suited to the futuristic backing.

Available on the SHARPE & NUMAN album ‘Automatic’ via Cherry Pop

http://www.numan.co.uk

http://www.billsharpe.com


LES RITA MITSOUKO & SPARKS Singing In The Shower (1990)

In France, LES RITA MITSOUKO became unlikely pop stars thanks to danceable hit singles such as ‘Marcia Baïla’ and ‘C’est Comme Ça’. Vivacious singer Catherine Ringer and oddball instrumentalist Fred Chichin were influenced by the eccentric overtures of SPARKS and with a moniker in a similar vein to their ‘Kimono My House’, an artistic union was inevitable. With the two duos “feeling dirty and feeling clean”, the catchy ‘Singing In The Shower’ was a hit in Europe.

Available on the LES RITA MITSOUKO album ‘Marc & Robert’ via Virgin France

http://www.catherineringer.com/

http://allsparks.com/


ELECTRONIC featuring PET SHOP BOYS The Patience Of A Saint (1991)

‘The Patience Of A Saint’ from ELECTRONIC’s debut was undoubtedly the highlight of that album. Featuring the involvement of both PET SHOP BOYS, the witty exchange between Bernard Sumner and Neil Tennant was accompanied by a gorgeous backing track of drum machine, swimmy string synth and minimal guitar. The song was premiered in front of 60,000 people when ELECTRONIC supported DEPECHE MODE at Dodger Stadium in August 1990.

Available on the ELECTRONIC album ‘Electronic’ via Warner Music

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

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


808 STATE featuring IAN McCULLOCH Moses (1993)

Following the departure of founder member Martin Price, ‘Gorgeous’ was 808 STATE’s first album as a three piece. Featuring early mash-up experiments based around UB40, THE JAM and JOY DIVISION, one of the wholly original compositions though was ‘Moses’, a rare electronically backed outing by ECHO & THE BUNNYMEN’s Ian McCulloch. Sounding like NEW ORDER with a Scouse snarl, the unusual but enjoyable partnership was the highlight of the album.

Available on the 808 STATE album ‘Gorgeous’ via ZTT Records

http://www.808state.com/

http://www.bunnymen.com/


ELEKTRIC MUSIC featuring ANDY McCLUSKEY Kissing The Machine (1993)

Recorded for his ELEKTRIC MUSIC project after leaving KRAFTWERK, Karl Bartos’ collaboration with OMD’s Andy McCluskey featured one of his best melodies synth melodies. Bartos said “He suggested we do something together and I was up for it… We picked some cassettes and finally I found the opening notes of ‘Kissing The Machine’”. With fabulously surreal lyrics about a love affair with a sexy robot, it became a cult favourite. OMD resurrected the song in 2013.

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

http://www.karlbartos.com/

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


LEFTFIELD LYDON Open Up (1993)

John Lydon had shown himself to be open to collaboration following 1984’s ‘World Destruction’ as TIME ZONE with electro rap pioneer Afrika Bambaataa. But ‘Open Up’ with the then relatively unknown dance duo LEFTFIELD came as something of a surprise. Lydon was suitably angry as he reflected on the tensions of his adopted home with a screaming “Burn Hollywood, burn!” over an intense electronic soundtrack.

Available on the LEFTFIELD album ‘A Final Hit’ via Sony Music

http://www.leftfieldmusic.com/

http://www.johnlydon.com/


DAVID BOWIE featuring PET SHOP BOYS Hallo Spaceboy (1996)

BLUR’s Alex James once remarked that having a PET SHOP BOYS remix was like having your dog being taken for a walk, but then, when it came back, it was a different dog! PET SHOP BOYS certainly re-produced this Bowie/Eno composition from ‘1.Outside’ into a much more commercial proposition, even utilising the cut-up technique to decide which words Neil Tennant would sing. Reaching No12, ‘Hallo Spaceboy’ became Da Dame’s biggest UK hit since ‘Jump They Say’ in 1990!

Available on the DAVID BOWIE album ‘Nothing Has Changed’ via EMI Music

http://www.davidbowie.com/

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


THE CHEMICAL BROTHERS featuring BERNARD SUMNER Out Of Control (1999)

‘Out Of Control’ was THE CHEMICAL BROTHERS’ sonic template actually fulfilling its potential within a song based format with Bernard Sumner as the willing conspirator. ‘Out Of Control’ had everything from a bombastic backbeat and cerebral sequences to bizarre lyrics, especially when Sumner resigned that “maybe my moustache is too much…”. The association with Sumner continued when they produced NEW ORDER’s terrific ‘Here To Stay’.

Available on THE CHEMICAL BROTHERS album ‘Singles 93-03’ via Virgin Records

http://www.thechemicalbrothers.com/

http://www.neworder.com


SYSTEM F featuring MARC ALMOND Soul On Soul (2001)

Ferry Corsten had a huge international hit in 1999 with ‘Out Of The Blue’ under his SYSTEM F moniker. It highlighted the spiritual connection between synthpop and trance so to substantiate the link further, the Rotterdam based producer recruited Marc Almond to guest on the blinding ‘Soul On Soul’ for a spirited, club friendly workout. This all tied in nicely with SOFT CELL’s comeback album ‘Cruelty Without Beauty’ in 2002.

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

http://www.ferrycorsten.com/

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


X-PRESS2 featuring DAVID BYRNE Lazy (2002)

The Dumbarton born TALKING HEADS frontman was back in the mainstream limelight for the first time since the band disbanded in 1991 with this superb online collaboration with British DJ duo X-PRESS2. David Byrne gave his best afflicted ‘Psycho Killer’ meets ‘Once In A Lifetime’ warble for what became a No2 UK chart hit. He later reworked ‘Lazy’ with orchestral embellishments for his 2004 solo long player ‘Grown Backwards’.

Available on the X-PRESS2 album ‘Muzikizum’ via Skint Records

http://www.skintentertainment.com/artists/skint/x-press-2

http://davidbyrne.com/


JUNKIE XL featuring DAVE GAHAN Reload (2003)

‘Reload’ was a welcome relief after DEPECHE MODE’s paradoxically titled ‘Exciter’. The brief sojourn with Dutch producer Tom Holkenborg aka JUNKIE XL proved once and for all how well Dave Gahan’s voice worked on uptempo electronic dance tracks. He may be more interested in  MUMFORD & SONS these days, but frankly, over a lively synth laden backbone is where he sounds best. The ‘Radio JXL: A Broadcast from the Computer Hell Cabin’ album also featured Gary Numan!

Available on the JUNKIE XL album ‘Radio JXL: A Broadcast From the Computer Hell Cabin’ via EMI Music

http://www.junkiexl.com/

http://www.davegahan.com


ERASURE featuring CYNDI LAUPER (2007)

Ms Lauper was heading towards a career renaissance with her excellent ‘Bring Ya To The Brink’ album in 2008 so her collaboration with ERASURE in 2007 was quite timely. A soulful slice of Trans-Atlantic synthpop, ‘Early Bird’ was an enjoyable duet between her and Andy Bell that turned out to be the one of the more memorable tracks that emerged from ERASURE’s rather lukewarm ‘Light At The End Of The World’ sessions.

Available on the ERASURE EP ‘Storm Chaser’ via Mute Records

http://www.erasureinfo.com/

http://www.cyndilauper.com


LITTLE BOOTS featuring PHILIP OAKEY Symmetry (2009)

At the time ‘Symmetry’ was unveiled, THE HUMAN LEAGUE had not released any new material since 2001. With a fabulous chorus, this was the nearest thing to a new HUMAN LEAGUE track with Victoria Hesketh doing her best Susanne Sulley impression. So when it was Phil talking, it was magic. “Tell me your dreams and I’ll tell you all my fears” he announced, as they complimented each other in a way that had not really even been heard on a League record before.

Available on the LITTLE BOOTS album ‘Hands’ via 679 Recordings

http://www.littlebootsmusic.co.uk

http://www.thehumanleague.co.uk


MY ROBOT FRIEND featuring ALISON MOYET Waiting (2009)

MY ROBOT FRIEND aka Howard Rigberg created the song ‘We’re The Pet Shop Boys’ in honour of Messrs Tennant and Lowe, who subsequently covered it by way of a reverse compliment. Rigberg went recruited Alison Moyet for her first purely electronic adventure since the YAZOO days on ‘Waiting’. This welcome union with its off-kilter synth sounds alongside her voice no doubt helped ignite her interest in working within the genre again, the result of which was 2013’s ‘the minutes’.

Available on the MY ROBOT FRIEND album ‘Soft-Core’ via Double Feature/Worried Rainbow

http://www.myrobotfriend.com/

http://www.alisonmoyet.com/


PET SHOP BOYS featuring PHILIP OAKEY This Used To Be The Future (2009)

‘This Used To Be The Future’ was a dream trioet that featured Neil Tennant, Philip Oakey and Chris Lowe. With Lowe singing as opposed to just speaking, this triumphant celebration of yesterday’s tomorrow saw Oakey deadpan disappointedly that things didn’t quite turn out how Raymond Baxter predicted on ‘Tomorrow’s World’! He finally resigns himself and at grunts“AMEN!”.

Available on the PET SHOP BOYS album ‘Yes: Further Listening 2008-2010’ via EMI Music

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

http://www.thehumanleague.co.uk


RÖYKSOPP featuring ROBYN The Girl & The Robot (2009)

The centrepiece of RÖYKSOPP’s third album ‘The Girl & The Robot’ was perhaps the culmination of Robyn’s steady rise as a truly independent female artist. Despite having gained success in 1997 with the R’n’B tinged ‘Show Me Love’, her superiors at BMG reacted negatively to her new electropop aspirations inspired by THE KNIFE. Frustrated, she bought herself out of her contract and set up her own Konichiwa Records, giving her the freedom to work with whoever she wanted.

Available on the RÖYKSOPP album ‘Junior’ via Wall Of Sound / PIAS

http://royksopp.com/

http://robyn.com/


BLANK & JONES featuring CLAUDIA BRÜCKEN Don’t Stop (2010)

The German dance duo had previously worked with Miss Brücken on ‘Unknown Treasure’, a most gorgeous electrobeat ballad from 2003. ‘Don’t Stop’ was a progression on that but with a wider texture pallet and more abstract electronic overtones. Despite being less song based and having been collaborated on seperately from Blank and Jones, vocally it is classic Claudia with its spoken verse and sexy ice maiden delivery in chorus.

Available on the BLANK & JONES album ‘The Logic Of Pleasure’ via Kontor Records

http://www.blankandjones.info

http://www.claudiabrucken.co.uk


CRYSTAL CASTLES featuring ROBERT SMITH Not In Love (2010)

Re-recorded for single release, Alice Beer took a breather to allow guest Robert Smith from THE CURE to take lead vocals on ‘Not In Love’, a dark but accessible number from CRYSTAL CASTLES’ second album. Smith more than fitted in with the Canadian duo’s aggressive and occasionally chaotic electronic template on this frantic uncovering of a song originally recorded by obscure Toronto new wave combo PLATINUM BLONDE.

Available on the CRYSTAL CASTLES featuring ROBERT SMITH single ‘Not In Love’ via Last Gang/Fiction Records

http://www.crystalcastles.com/

http://www.thecure.com


MOTOR featuring MARTIN L GORE Man Made Machine (2012)

MOTOR’s electro stomper ‘Man Made Machine’ featured vocals by DEPECHE MODE’s Martin Gore in a collaboration which came over a bit like a camp IGGY POP. Gore certainly sounded a touch nervous and uneasy, luring over the duo’s brand of harder edged schaffel techno which only enhanced its appeal. Incidentally, the same titled parent album also featured guests such as GARY NUMAN, BILLIE RAY MARTIN and NITZER EBB’s Douglas J McCarthy.

Available on the MOTOR album ‘Man Made Machine’ via CLR

http://www.wearemotor.com

http://www.martingore.com


FOTONOVELA featuring MIRRORS Our Sorrow (2013)

Not content with producing MARSHEAUX and collaborating with OMD on ‘Helen Of Troy’, Greek duo FOTONOVELA released a more song based second album featuring a number of prominent international vocalists entitled ‘A Ton Of Love’. One of the numbers ‘Our Sorrow’ featured James New from the much missed MIRRORS. In the vein of classic OMD, New’s majestic vocal touching the heartstrings, the wonderful melancholy was perfect, soulful electronic pop.

Available on the FOTONOVELA album ‘A Ton of Love’ via Undo Records

http://www.facebook.com/undofotonovela

http://www.facebook.com/theworldofmirrors


JOHN FOXX & JORI HULKKONEN Evangeline (2013)

Foxx and Hulkkonen had worked together previously on various one-off songs like ‘Dislocated’ and ‘Never Been Here Before’ but had never before attempted a body of work with a conceptual theme. When the two found some collaborative time together, the result was ‘European Splendour’, an EP with a grainier downtempo template than before. The lead track ‘Evangeline’ was full of depth, coupled with an anthemic chorus.

Available on the JOHN FOXX & JORI HULKKONEN EP ‘European Splendour’ via Sugarcane Records

http://www.metamatic.com/

http://www.jorihulkkonen.com


SIN COS TAN featuring CASEY SPOONER Avant Garde (2013)

SIN COS TAN’s Jori Hulkkonen first found fame as part of TIGA & ZYNTHERIUS back in 2001 at the height of the Electroclash movement. ‘Avant Garde’ saw Casey Spooner from the scene’s flag bearers FISCHERSPOONER make a guest appearance on the duo’s second long player ‘Afterlife’. The track itself though was more like THE CURE produced by PET SHOP BOYS with Spooner providing a suitably cynical snarl to contrast Juho Paalosmaa’s impassioned lost boy cry.

Available on the SIN COS TAN album ‘Afterlife’ via Solina Records

http://sincostan.net/

http://www.fischerspooner.com


iEUROPEAN featuring WOLFGANG FLÜR Activity Of Sound (2014)

Although Wolfgang Flür’s last full album project was as YAMO with ‘Time Pie’ back in 1997, there was this marvellous electronic number entitled ‘Activity Of Sound’, recorded in collaboration with iEUROPEAN. The project of Dublin based artist Sean Barron, the additional female monologue  was provided by Barron’s wife, Izabella. The track sees Herr Flür quoting an archive interview with the late avant garde composer John Cage to a soundtrack of hypnotic synthetic bliss.

Available on the iEUROPEAN featuring WOLFGANG FLÜR download single ‘Activity Of Sound’ via Subculture Records

https://www.facebook.com/pages/iEuropean/149564838461817

http://www.musiksoldat.de


Text by Chi Ming Lai
25th May 2015

A Beginner’s Guide To STEPHEN HAGUE

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

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

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

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

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

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

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

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


MALCOLM McLAREN Madam Butterfly (1984)

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

Available on the album ‘Fans’ via Charisma Records

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


OMD (Forever) Live & Die (1986)

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

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

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


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

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

Available on the album ‘Actually’ via EMI Records

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


NEW ORDER True Faith (1987)

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

Available on the album ‘Singles’ via WEA Records

http://newordernow.net/


CLIMIE FISHER Love Changes (1988)

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

Available on the album ‘Everything’ via Edsel Records

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


ERASURE A Little Respect (1988)

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

Available on the album ‘The Innocents’ via Mute Records

http://www.erasureinfo.com/


HOLLY JOHNSON Heaven’s Here (1989)

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

Available on the album ‘Blast’ via Cherry Red Records

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


JIMMY SOMERVILLE Heaven Here On Earth (1989)

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

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

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


MARC ALMOND A Lover Spurned (1990)

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

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

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


BANDERAS This Is Your Life (1991)

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

Available on the album ‘Ripe’ via London Records

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


SIOUXIE & THE BANSHEES Kiss Them For Me (1991)

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

Available on the album ‘Superstition’ via Universal Music

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


ELECTRONIC Disappointed (1992)

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

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

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


THE OTHER TWO Selfish (1993)

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

Available on the album ‘And You’ via LTM Records

http://theothertwo.co.uk/


BLUR To The End (1994)

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

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

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


DUBSTAR Stars (1995)

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

Available on the album ‘Disgraceful’ via Food Records

http://dubstarofficial.co/


TECHNIQUE You & Me (1999)

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

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

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


A-HA You Wanted More (2002)

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

Available on the album ‘Lifelines’ via WEA Records

http://a-ha.com/


CLAUDIA BRÜCKEN Thank You (2011)

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

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

http://www.claudiabrucken.co.uk


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


Text by Chi Ming Lai
24th April 2014

LOLA DUTRONIC Musique

Boys Are Just So Silly Sometimes

LOLA DUTRONIC are Lola Dee and Richard Citroen, a charming duo who divide their time between Berlin, Toronto and Paris.

Although the brand has already released several albums, their present guise has only been together since 2008 with the album ‘In Berlin’ which featured DAVID BOWIE’s renowned pianist Mike Garson.

Aided by the use of lush electronics, their sound is a chichi homage to classic French and British artists such as SERGE GAINSBOURG, FRANÇOISE HARDY, PETULA CLARK and JOHN BARRY. This nostalgia-tinged soundtrack inevitably recalls the Nouvelle Vague imagery of ALAIN DELON and BRIGITTE BARDOT in a JEAN-LUC GODARD cinematic classic.

With a new single ‘Whisper’, featuring the talents of SUICIDE’s Martin Rev as co-writer, their seven track ‘Musique’ EP has now been relaunched to the wider public. Originally released in May, it features reworkings of LOLA DUTRONIC’s better known French and English language tracks plus some new songs. In all, it is a marvellous musical showcase with lots of stark beats and warm synths accompanying Lola’s sexy, breathy vocals.

Opening song ‘My Radio (French Disco Mix)’ is the sort of Eurocentric tune that PET SHOP BOYS’ Neil Tennant used to refer to as a Princess Stephanie record, a concept that he and Chris Lowe adopted with EIGHTH WONDER’s ‘I’m Not Sacred’.

Earlier single ‘Brigitte Bardot (Retro Future Mix)’ is revamped into a bleepy midpaced shuffle with a gorgeous accented monologue and “la-la-la-la-la” refrain which turns out to be a bit of a LOLA DUTRONIC trademark. An amusing tale of dealing with the fragile male ego, Lola just shrugs her shoulders at a disco where the DJ plays music that no-one can dance to and exclaims “Some boys have some very silly ideas about music don’t they?”.

Recalling SAINT ETIENNE and INTASTELLA, another brilliant new composition ‘Beautiful World (Slight Return)’ does exactly what it says on the tin. ‘The Stranger (Imaginary Bond Mix)’ hints at MARC ALMOND’s ‘Only The Moment’ but with synthesized backing while ‘Chanson D’ete (Summer Of Love Mix)’ is the type of cute uptempo pop that Sarah Cracknell, Bob Stanley and Peter Wiggs always did so well. Finally, the drum machine of OMD’s ‘Enola Gay’ is mashed up with ERASURE’s ‘Blue Savannah’ for the EP’s wonderful closer ‘Best Years Of Our Lives (Electro Mix)’. Lyrically, it’s a close relative to PULP’s ‘Something Changed’.

‘Musique’ is a superb introduction to the lounge friendly stylings of LOLA DUTRONIC. Those with sophisticated aural tastes will certainly appreciate the neo-Gallic romanticism and elegance alongside la musique electronique.


With thanks to Marty Thau

The ‘Musique’ EP is available now on Red Star Digital Music

www.myspace.com/loladutronic

www.redstardigitalmusic.com


Text by Chi Ming Lai
9th October 2010

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