Tag: Martyn Ware (Page 5 of 8)

The Electronic Legacy of MUTE RECORDS

23 June 2015 / electricityclub

Without doubt, Mute Records is one of the most important record labels in the history of electronic music.

While the early electronic legacy of Virgin Records helped the genre gain its first foothold in the mainstream, the discerning ethos of Mute has maintained its presence in both pop and more experimental fields.

Like many, Mute supremo Daniel Miller began taking an interest in synthesizers as tools for making pop music after hearing KRAFTWERK’s ‘Autobahn’. The son of Austrian Jewish refugees, he was DJing on the continent after completing his film studies course when he became enthralled by the Kling Klang sound.

He was inspired to make electronic music himself but at the time, the equipment was prohibitively expensive. That all changed with the advent of affordable synthesizers from Japan manufactured by the likes of Korg and Roland.

Already a fan of German kosmische scene, his sense of experimentation and an adoption of punk’s DIY ethic led him to buying a Korg 700s. Wanting to make a punk single with electronics, he wrote and recorded ‘Warm Leatherette’ b/w ‘TVOD’ for a one-off independent single release in 1978. He needed a label name and chose ‘Mute’ after the button that came on the equipment that he had used as a film studies student.

Distributed by Rough Trade, MUTE 001 was a surprise success and thanks to him including his mother’s North London home address on the back of the striking monochromatic crash test dummy sleeve, Miller started receiving cassettes from kindred spirits who were keen to explore the brave new electronic world; he realised that a new scene was developing.

Through his connections at Rough Trade, he became aware of former art student Frank Tovey. As FAD GADGET, Tovey recorded ‘Back To Nature’ which was issued as MUTE 002 in October 1979. A seminal work that was also critically acclaimed, it helped establish Mute’s credentials as a champion of electronic music.

The first album released on Mute was ‘Die Kleinen Und Die Bösen’ by German band DEUTSCH AMERIKANISCHE FREUNDSCHAFT (DAF) in March 1980. Miller had signed them because “they weren’t relying on past rock”. The majority of STUMM 1 was recorded with the legendary Conny Plank at the controls of the studio recordings, while the remainder came from tape of a live gig at London’s Electric Ballroom.

DAF set the ball rolling in furthering Mute’s aspirations, while the Germanic influence continued through into the label’s cataloguing system as the album prefix Stumm was the German word for Mute.

Meanwhile, Miller was fascinated about the idea of synthesizers as the future of popular music and conceived a teenage pop group who would use only synths; he called them SILICON TEENS although in reality, this was actually his solo electronic covers project. Something of a novelty, his cover of ‘Red River Rock’ ended up on the closing credits of the Steve Martin / John Candy comedy ‘Planes, Trains & Automobiles’ in 1987!

But Miller’s dream became flesh and blood when he came across a young quartet from Basildon called DEPECHE MODE. Signed on a handshake 50/50 deal, while the group was a chart success, they fragmented after their 1981 debut album ‘Speak & Spell’. However the remaining trio of Andy Fletcher, Dave Gahan and Martin Gore recruited Alan Wilder, soldiered on and the rest is history. Meanwhile, the departed Vince Clarke went on to further success with YAZOO, THE ASSEMBLY and ERASURE.

With the label’s commercial success, Mute were able to back more experimental releases from Germany including the quirky single ‘Fred Vom Jupiter’ by ANDREAS DORAU & DIE MARINAS, and ‘Los Ninos Del Parque’ by LIAISONS DANGEREUSES. Mute’s business ethos, where money made from record sales allowed acts to develop within a sympathetic creative environment free from interference, proved to be key to its artistic and financial prosperity.

As the label expanded over the years, further signings included EINSTÜRZENDE NEUBAUTEN, LAIBACH, WIRE, BOMB THE BASS (through the Blast First subsidiary), INSPIRAL CARPETS, GOLDFRAPP while Moby and Nick Cave proved to be amongst the big successes . Meanwhile Miller took the ultimate step in his love of German music, acquiring the rights to the music of CAN and becoming the winning bidder for the vocoder used on ‘Autobahn’ when it came up for auction!

In May 2002, Mute Records was bought by EMI for £23m, although Miller remained as a figurehead and in charge of the company’s global activities. The label became the brand for the multi-national’s electronic music activities and when KRAFTWERK’s back catalogue was finally remastered by EMI, it was released under the Mute banner.

However, with rapid changes occurring within the industry as a result of the new digital marketplace, EMI and Miller reached an agreement in September 2010 to establish a second independently run record label under the name Mute Artists for new acts, while the Mute Records name and rights to the label’s archive recordings remained under the control of EMI via its new owners Universal. As owners of their own catalogue, DEPECHE MODE formally ended their association with the label that launched them and signed a lucrative licencing agreement with Sony BMG.

But the Mute story continues with acts such as MAPS and Polly Scattergood, while Miller’s latest addition to the roster has been NEW ORDER whose new album ‘Music Complete’ will be out on 28th September 2015.

So what twenty albums or EPs best represent Mute’s electronic legacy? With a restriction of one release per artist moniker, here are ELECTRICITYCLUB.CO.UK’s choices…

FAD GADGET Fireside Favourites (1980)

Following the success of singles ‘Back To Nature’ and ‘Ricky’s Hand’ with a small but loyal fanbase now established, a FAD GADGET album was eagerly anticipated. It came in September 1980 with ‘Fireside Favourites’ co-produced with Eric Radcliffe and John Fryer. it developed on the minimal industrialism of the singles. The superb ‘Coitus Interruptus’ was a cynical commentary on casual relationships while the Cold War tensions were documented on ‘Fireside Favourite’.

‘Fireside Favourites’ was released as STUMM 3

http://www.fadgadget.co.uk

SILICON TEENS Music For Parties (1980)

Following the acclaim that was accorded to THE NORMAL, Daniel Miller decided to undertake a new project where rock ’n’ roll standards such as ‘Memphis Tennessee’, ‘Just Like Eddie’ and ‘Let’s Dance’ were reinterpreted in a synthpop style, with Miller singing like he had a clothes peg attached to his nose. With his inherent shyness, the vehicle he used was SILICON TEENS, a fictitious synth group where several young actors were hired to appear in videos and do press interviews.

‘Music For Parties’ was released as STUMM 2

http://mute.com/

YAZOO Upstairs At Eric’s (1982)

Disillusioned by the pop circus following the singles success of ‘New Life and ‘Just Can’t Get Enough’, Vince Clarke departed DEPECHE MODE in late 1981 and formed YAZOO with Alison Moyet. Although they only released two albums, YAZOO’s impact was long lasting. The debut ‘Upstairs at Eric’s’ was a perfect union of passionate bluesy vocals and pristinely programmed synthpop. Songs such as ‘Only You, ‘Don’t Go’, ‘Midnight’ and ‘Winter Kills’ set a high standard but the duo parted ways.

‘Upstairs at Eric’s’ was released as STUMM 7

http://www.yazooinfo.com/

ROBERT GÖRL Night Full Of Tension (1984)

In a departure from DAF’s pioneering electronic body music, drummer Robert Görl lightened up considerably with a solo synthpop record that even had him posing bare chested by a swimming pool on the cover. ‘Night Full Of Tension’ even featured vocal contributions from EURYTHMICS’ Annie Lennox on ‘Charlie Cat’ and ‘Darling Don’t Leave Me’. Although not featuring on the original LP, the brooding but accessible single ‘Mit Dir’ was an electronic cult classic and included on the CD reissue.

‘Night Full Of Tension’ was released as STUMM 16

http://www.robert-goerl.de

ERASURE The Circus (1986)

Although success for ERASURE was not instant with debut album ‘Wonderland’ and its lost single ‘Oh L’Amour’, the chemistry between Clarke and Bell possessed a special spark. ERASURE toured the college circuit and built up a loyal fanbase, eventually hitting chart paydirt with ‘Sometimes’. ERASURE added political commentary ‘It Doesn’t Have To Be’ and ‘The Circus’ title track, while songs such as ‘Spiralling’ and ‘Hideaway’ confirmed they were more than just a great singles act.

‘The Circus’ was released as STUMM 35

http://www.erasureinfo.com

LAIBACH Opus Dei (1987)

Controversial Slovenians LAIBACH played with Teutonic rhythms and Third Reich imagery, while their unique covers of QUEEN’s ‘One Vision’ and OPUS’ ‘Life Is Life’ indicated they were either ironic art terrorists or preachers of a dangerous political message. Mute were accused of tolerating artists with far right sympathies but with Daniel Miller’s Jewish heritage, this was unlikely. Their industrial torture made an impact with ‘Opus Dei’, particularly on RAMMSTEIN.

‘Opus Dei’ was released as STUMM 44

http://www.laibach.org/

MARTIN GORE Counterfeit (1989)

‘Counterfeit’ allowed Gore to indulge in six covers with varying origins. The emotive traditional standard ‘Motherless Child’ revealed his love of the Blues while a great version of SPARKS’ ‘Never Turn Your Back On Mother Earth’ was a fitting look back at the eccentric pop that would have fed the young Mr Gore. Reinterpretations of cult artists such as TUXEDOMOON, THE DURUTTI COLUMN and THE COMSAT ANGELS revealed there was a lot more to Gore’s record collection.

‘Counterfeit’ released as STUMM 67

http://www.martingore.com

DEPECHE MODE Violator (1990)

Why is ‘Violator’ so important and highly celebrated? It is still DEPECHE MODE’s most complete and accomplished body of work. It was the classic Fletcher/Gahan/Gore/Wilder line-up firing on all cylinders and at their most happiest as a unit. The end result was four hit singles but also songs such as ‘Halo’, ‘Waiting For The Night’ and ‘Clean’ which were easily their equal. And on ‘Blue Dress’, Gore’s lyrics possessed an honesty that while dark and deviant, still retained a naïve innocence.

‘Violator’ was released as STUMM 64

http://www.depechemode.com

NITZER EBB As Is (1991)

‘As Is’ saw Essex industrialists NITZER EBB at the height of their imperial powers. Although produced by the band, each song was mixed by a different artist or producer. These included Jaz Coleman from KILLING JOKE, producer Flood and MAGAZINE’s Barry Adamson. But the best number was ‘Come Alive’ mixed by Alan Wilder which had the legacy of ‘Violator’ stamped all over it. The subsequent album ‘Ebbhead’ which was produced by Wilder and Flood.

‘As Is’ was released as MUTE 122

http://www.nitzer-ebb.com/

RECOIL Bloodline (1992)

While there had been two EPs ‘1 + 2’ and ‘Hydrology’ by RECOIL, Alan Wilder’s solo sideline to DEPECHE MODE, it wasn’t until 1992 that there was a full length album. ‘Bloodline’ featured vocals from NITZER EBB’s Douglas McCarthy, Toni Halliday of CURVE and Moby. Wilder’s brooding electronic soundscapes and meticulous production made their presence felt and it was McCarthy’s contributions to a cover of Alex Harvey’s ‘Faith Healer’ that stole the show.

‘Bloodline’ was released as STUMM 94

http://www.recoil.co.uk/

MOBY Everything Is Wrong (1995)

When Moby was signed by Daniel Miller, he was considered to be a one hit wonder with ‘Go’ in 1991. His first proper album ‘Everything Is Wrong’ arrived in 1995. The superb instrumental ‘First Cool Hive’, the happy hardcore of ‘Feeling So Real’, the gospel punk of ‘All That I Need Is To Be Loved’ and the neo-classical ‘Hymn’ showcased his eclectic tastes. Miller’s tremendous foresight turned out to be a wise decision when the unexpected success of ‘Play’ in 1999 provided a boost for Mute.

‘Everything Is Wrong’ was released as STUMM 130

http://www.moby.com

KOMPUTER EP (1996)

London duo Simon Leonard and David Baker began as I START COUNTING and then morphed into FORTRAN 5. But as KOMPUTER, they created some heavily KRAFTWERK influenced numbers to make up for the lack of new material. From their first ‘EP’, ‘We Are Komputer’ was their own ‘The Robots’, while there was also the tribute to the first female Cosmonaut ‘Valentina Tereshkova’ which mined ‘The Model’.

‘Komputer’ was released as MUTE 175

https://komp46.wixsite.com/komputer

PEACH Audiopeach (1997)

The concept of PEACH was ‘ABBA meets THE KLF’. Released in September 1997, ‘Audiopeach’ is one of those albums that has been lost in the midst of ‘Cool Britannia’. The album’s reputation was based on the participation of its two instrumentalists Pascal Gabriel and Paul Statham. Completing PEACH’s line-up was singer Lisa Lamb. The album’s launch single ‘On My Own’ was classic pop for the modern era with Lamb’s vocal delivery akin to Belinda Carlisle going electro.

‘Audiopeach’ was released as STUMM 153

http://www.inspiracy.com/peach

ADD N TO (X) Add Insult To Injury (2000)

While LADYTRON were using their Korg MS20s making sinewaves in a more pop oriented setting, ADD N To (X) took their MS series synths into more obscure, experimental territory. ‘Add Insult To Injury’ had one half written / performed by Ann Shenton and Steve Claydon, while the other was written / performed by Barry 7. The wonderful robotic sexual tension of ‘Plug Me In’ and the creepy noise fest of ‘Hit For Cheese’ were highlights.

‘Add Insult To Injury’ was released as STUMM 187

http://www.addntox.com/

GOLDFRAPP Felt Mountain (2000)

‘Felt Mountain’ was a superb introduction to the then electro Weimar Cabaret cinematics of Alison Goldfrapp and Will Gregory. Beginning with the superb ‘Lovely Head’ with its spine tingling whistle and MS20 assisted banshee wails, the album thrilled with Morricone style widescreen inflections to accompany an ascent to the Matterhorn rather than a trek through a Spaghetti Western. ‘Felt Mountain’ was a slow burner that was nominated for the Mercury Music Prize.

‘Felt Mountain’ was released as STUMM 188

http://www.goldfrapp.com

VINCENT CLARKE & MARTYN WARE Spectrum Pursuit Vehicle (2001)

‘Spectrum Pursuit Vehicle’ was composed as part of an installation where the colours referred to in the titles of the six lengthy pieces were ‘programmed to cross fade imperceptibly to create an infinite variation of hue’ in a white clothed room. Tracks like ‘White – You Are In Heaven’, ‘Yellow – You Are On A Beach’, ‘Blue – You Are Underwater’ and’ Green – You Are In A Forest’ were all utilised to full effect with a binaural 3D mixing technique best heard using headphones.

‘Spectrum Pursuit Vehicle’ was released as STUMM 194

http://www.illustriouscompany.co.uk

CLIENT Client (2003)

In 2002, DUBSTAR’s Sarah Blackwood was recruited to front synthpop duo TECHNIQUE by Kate Holmes. In Leipzig supporting DEPECHE MODE, they became CLIENT and were mysteriously referred to as Client A and Client B in a ‘1984’ inspired Orwellian twist. Signed to Mute via Andy Fletcher’s Toast Hawaii imprint, they announced “Client… satisfaction guaranteed… innovate never imitate… we aim to please… at your service” before a “F*** OFF! DON’T TOUCH ME THERE!”

‘Client’ was released as TH 003

http://www.clientlondon.com/

DAVE GAHAN Hourglass (2007)

His solo debut ‘Paper Monsters’ was a disappointment, but Dave Gahan was still finding his feet as a songwriter, becoming more realised on ‘Playing The Angel’. ‘Hourglass’ was better and ‘Kingdom’ could have made a great DM recording. But in the same way that Mick Jagger’s 1984 Nile Rodgers produced solo debut LP having very few takers meant that the ROLLING STONES would continue ad infinitum, would DEPECHE MODE still be going if Mr Gahan’s solo career had taken off?

‘Hourglass’ was released as STUMM 288

http://www.davegahan.com

MAPS Vicissitude (2013)

While Mute continues to diversify, the more esoteric pop aspirations of Mute’s synthetic roster continues. MAPS is the vehicle of James Chapman; with a more expansive electronic template, his third album ‘Vicissitude’ was a selection of very personal songs with a strong melodic backbone. Unafraid to let the instrumental synth elements take a role in the overall aesthetic, tracks like ‘AMA’ and ‘You Will Find a Way’ put MAPS into the same league as M83 and EAST INDIA YOUTH.

‘Vicissitude’ was released as STUMM 354

http://www.thisismaps.com

POLLY SCATTERGOOD Arrows (2013)

Polly Scattergood signalled the more electronic journey of her second album ‘Arrows’ with the marvellous electro-COCTEAU TWINS twist of ‘Wanderlust’. While there were still signs of her folkier roots, synthetic textures and technological trickery were very much part of the action. The sad but driving pop of ‘Falling’ and ‘Subsequently Lost’ attracted empathy with Polly World, while the highly emotive ‘Miss You’ and the dreamy ‘Cocoon’ displayed her vulnerability.

‘Arrows’ was released as STUMM 328

http://www.pollyscattergood.com/

Text by Chi Ming Lai with thanks to Simon Helm at Cold War Night Life
23rd June 2015

A Beginner’s Guide To VINCE CLARKE

18 May 2015 / electricityclub

It would be fair to say that Mute Records’ initial commercial success came on the back of Vince Clarke’s songcraft.

First with DEPECHE MODE in 1981 and then YAZOO in 1982, Clarke demonstrated that Mute Records had some marvellous pop sensibilities amongst all the cult acclaim that was accorded to acts like THE NORMAL, DAF and FAD GADGET.

He was to become one of the key players in an exciting period of music that was eventually documented in the BBC4 programme ‘Synth Britannia’. Born Vincent John Martin in Basildon, Clarke cut his teeth performing his own songs with a number of local bands including FRENCH LOOK. But it was when he formed COMPOSITION OF SOUND with Martin Gore and Andy Fletcher that things got more serious. There was a new music revolution around the corner involving affordable synthesizers from Japan.

With Clarke’s love of OMD’s now classic ‘Electricity’ single and its B-side ‘Almost’ coinciding with Martin Gore’s purchase of a Yamaha CS5, he and Fletch soon bought a Kawai 100f and Moog Prodigy respectively to follow this new futuristic direction. However, unhappy with his own voice, Clarke recruited college student Dave Gahan as vocalist to fully realise their new ultrapop sound. They renamed themselves DEPECHE MODE after a French fashion magazine.

Signing to Mute Records, the debut single ‘Dreaming of Me’ made an impressive first chart showing at No57 for DEPECHE MODE in Spring 1981 while they also appeared on the ‘Some Bizzare Album’ compiled by Futurist DJ Stevo Pearce which also showcased SOFT CELL, THE THE, B-MOVIE and BLANCMANGE. But after the hit singles ‘New Life’ and ‘Just Can’t Get Enough’, Clarke soon became disillusioned with touring and the general pop circus despite the success. And there was also that old chestnut of musical differences.

A song submitted by Clarke at rehearsals called ‘Only You’ had apparently been rejected by the other members of DEPECHE MODE. So teaming up with local girl Alison Moyet in a new combo called YAZOO, they released ‘Only You’. It reached No2 in the UK singles chart, higher than any DEPECHE MODE single had reached at the time and Clarke was vindicated. Although denied the top spot, the song reached No1 in an accapella rendition by THE FLYING PICKETS in 1984.

However, Clarke was reprising the personal disillusionment that had seen him leave DEPECHE MODE. He moved on to produce his mate Robert Marlow via his own Reset Records imprint and record as THE ASSEMBLY with THE UNDERTONES’ Fergal Sharkey and YAZOO’s producer Eric Radcliffe.

But it was in 1985 that Clarke finally settled down; he placed a small ad in Melody Maker that said “Versatile voice wanted for established songwriter”. After auditions, Andy Bell was the succesful applicant and ERASURE were formed. Although success was not instant, the chemistry between Clarke and Bell possessed a special spark both musically and personally; the pair have become one of the most consistent UK pop acts ever with hits such as ‘Sometimes’, ‘Victim Of Love’, ‘The Circus’, ‘A Little Respect’, ‘Stop!’, ‘Chorus’ and ‘Breath Of Life’.

Running in parallel over the years, there have been numerous other projects with 3D sound and computer games. Following working together on ERASURE’s ‘I Say I Say I Say’ issued in 1994, Clarke founded the Illustrious company with Martyn Ware to exploit the creative possibilities of 3D sound technology. Their first release was ‘Pretentious’ as THE CLARKE & WARE EXPERIMENT.

Photo by Joe Dilworth

With THE SATURDAYS in particular, this five piece girl group were practically joined at the hip with Clarke; their first single ‘If This Is Love’ sampled YAZOO’s ‘Situation’ while their sixth was a cover of ‘Just Can’t Get Enough’ for Comic Relief!

Indeed, as YAZOO reformed in 2008 for the ‘Reconnected’ live tour, their musical template was a much coveted sound among girl groups in the late noughties, the best example of which was RED BLOODED WOMEN using ‘Don’t Go’ as the basis for their feisty number ‘Colour Me Dirty’. It was recognition of how absorbed into the mainstream Clarke’s music had become.

Remixes in particular have seen Vince Clarke’s portfolio expand. His Midas touch has been commissioned notably for songs by SPARKS, GOLDFRAPP, BLANCMANGE and FUTURE ISLANDS. But his appeal has spread across all genres, as indicated by HAPPY MONDAYS’ 1988 invitation to rework ‘Wrote For Luck’ as well as more comparatively recently, remixes of FRANZ FERDINAND’s ‘No You Girls’, DIDO’s ‘End of Night’ and THE SATURDAYS’ ‘Issues’.

But one of the best covers of his songs came in 2012 when RÖYKSOPP and Susanne Sundfør recorded ‘Ice Machine’. With ERASURE releasing their best album in nearly a decade with ‘The Violet Flame’ and ‘Only You’ being used in a McVities TV ad, Clarke’s stock is as high as ever. Further reinforcement came recently via an episode of the acclaimed Cold War spy drama ‘The Americans’, which featured ‘Upstairs at Eric’s’ as part of the plot.

So what tracks would make up an imaginary 20 track double CD retrospective as an introduction to Vince Clarke’s work? With a restriction of one track per album project, this list is not a best of as such, but a chronological compendium of historic and artistic adventures that capture the career diversity of a man who used synthesizers to present traditional song structures with that something different.

DEPECHE MODE Photographic – Some Bizzare Version (1981)

The recording that started it all off, the first version of ‘Photographic’ was driven by Mute supremo Daniel Miller’s klanky Korg 55 Rhythm box. It was undoubtedly the stand-out on the ‘Some Bizzare Album’, shading SOFT CELL’s ‘The Girl With The Patent Leather Face’. Much darker than the eventual ‘Speak & Spell’ album take, while tuneful, ‘Photographic’ was not indicative of the supreme pop nous that Clarke was later reveal.

Available on the DEPECHE MODE album ‘The Singles 81-85’ via Mute Records

http://www.depechemode.com

DEPECHE MODE Dreaming Of Me (1981)

A fine debut single from DEPECHE MODE, the infectious melody of ‘Dreaming Of Me’ and closing “la-la-la” refrain borrowed from ‘Make Me Smile (Come Up & See Me)’ by COCKNEY REBEL (incidentally later covered by ERASURE) were a dreamboat combination as a naïve but snarly Dave Gahan interpreted Clarke’s rather bizarre lyrics. although not a Top 40 hit, as a great slice of synthpop, it certainly deserved to be…

Available as a bonus track on the DEPECHE MODE album ‘Speak & Spell’ via Mute Records

https://www.facebook.com/pages/Depeche-Mode-Information-Service-1981/342571782527621

YAZOO In My Room – David Jensen BBC Session Version (1982)

‘In My Room’ was a good song from ‘Upstairs at Eric’s’ but was spoiled by the tape loop experiments featuring Clarke’s voice For a David Jensen BBC session, these spoken word passages were omitted and the track was reworked using a Fairlight. While much sparser, this superior version allowed the beautifully dark nature of ‘In My Room’ to shine with Alison Moyet on tremendously passionate vocal form.

Available on the compilation box set ‘Mute Audio Documents’ via Mute Records

http://www.yazooinfo.com/

YAZOO Ode To Boy (1982)

Originally the B-side to ‘The Other Side Of Love’, ‘Ode to Boy’ was one of only three songwriting collaborations Clarke did with Moyet while in YAZOO. The song itself was Moyet’s own personal tribute to Clarke, and despite their difficulties in gelling as people, the chemistry between them in this sparse but hypnotic track showed that musically at least, there was potentially more great work to come, had they been able to stay together.

Available on the YAZOO album ‘‘You & Me Both’ via Mute Records

http://www.alisonmoyet.com

THE ASSEMBLY Never Never (1983)

On what turned out to be THE ASSEMBLY’s only single, ‘Never Never’ saw Fergal Sharkey providing his distinctive warble which was marvellously counterpointed with his very Moyet-esque backing vocals. It was an interesting concept to feature guest vocalists over Clarke’s songs but the only track that did eventually surface from these sessions was ‘One Day’ with Paul Quinn from BOURGIE BOURGIE.

Available on the compilation box set ‘Mute Audio Documents’ via Mute Records

http://mute.com/artists/the-assembly

ROBERT MARLOW The Face Of Dorian Gray (1983)

“In the middle of the YAZOO project, I tapped him on the shoulder and said ‘I’ve got some songs, can you give me a day in the studio?’” recalled Robert Marlow, Clarke’s best friend and a cult figure in the Basildon music scene. ‘The Face Of Dorian Grey’ was the first fruit of labours and was released on Reset Records, a label set up by Clarke and Eric Radcliffe that was licensed initially to RCA. But the single wasn’t a hit and RCA later withdrew funding.

Available on the ROBERT MARLOW album ‘‘Peter Pan Effect’ via Energy Records

http://www.discogs.com/artist/Robert+Marlow

ERASURE Who Needs Love (1985)

Clarke placed a small ad in Melody Maker that said “Versatile voice wanted for established songwriter”; a 21 year old Andy Bell was audition #36 and what set the ex-butcher apart from the others was his ability to hit falsetto during the audition piece ‘Who Needs Love (Like That)’. Impressing not only with his Moyet-esque vocal technique but range too, in neo-X Factor style, the judging panel of Clarke, producer Flood and Daniel Miller declared Bell as the winner… ERASURE were born.

Available on the ERASURE album ‘Wonderland’ via Mute Records

http://www.erasureinfo.com/

TWILIGHT Just Me Alone (1985)

TWILIGHT comprised of ERASURE’s tour manager Andrew Mansi and soon-to-be NITZER EBB tour manager Steev Toth. Vince Clarke would produce what turned out to be their only single. ‘Just Me Alone’ was great synthpop regardless, but that VC touch gave it something special. The B-side ‘Talk To You’ showed TWILIGHT did indeed have songwriting talent, but the duo went back to their day jobs with their point proven.

Originally released as a single via Polydor Records, currently unavailable

http://www.discogs.com/artist/799006-Twilight-16

ERASURE Blue Savannah (1989)

Imagine Roy Orbison doing electropop… that was the concept of ‘Blue Savannah’. Uncluttered and full of soaring optimism, this glorious ditty has crossed over to be one of ERASURE’s most universally loved songs and is without doubt, equal to ‘A Little Respect’. It came in the middle of an imperial phase that began with ‘The Innocents’ and continued to the ‘ABBA-Esque’ EP reaching No1 and the spectacular 1992 theatrical shows.

Available on the ERASURE album ‘Wild!’ via Mute Records

http://mute.com/artists/erasure

ERASURE Fingers & Thumbs (1995)

ERASURE’s seventh self-titled album was Vince Clarke’s attempt at prog synth or as Andy Bell referred to it, the duo’s own ‘Dark Side Of The Moon’ ie ‘Bright Side Of The Sun’. It was an ambitious, if flawed opus with extended intros and the sub-10 minute numbers like ‘Rock Me Gently’. The brilliant ‘Fingers and Thumbs (Cold Summer’s Day)’ was possibly their most underrated single.

Available on the ERASURE album ‘Total Pop! – The First 40 Hits’ via Mute Records

http://www.andybell.com/

CHINESE DETECTIVES Chinese Detectives (1995)

CHINESE DETECTIVES hailed from Norway and only doing cover versions of New Wave classics as a “SILICON TEENS of the 90s”. Among their reworkings was ‘Situation’ but with a taste for the obscure, having named themselves after the plinky instrumental interlude of YAZOO’s 1982 concert tour, they recorded their own version of it. Very much a note-for-note transcription, it remains the only officially released version of the track.

Available on the CHINESE DETECTIVES album ‘Are Kisses Out of Fashion’ via Sub Culture Records

http://chinesedetectives.bandcamp.com/

VINCENT CLARKE & MARTYN WARE Green (2001)

When Vince Clarke and Martyn Ware followed up ‘Pretentious’, ‘Spectrum Pursuit Vehicle’ formed part of an art installation where the colours referred to in the titles of the six lengthy pieces were “programmed to cross fade imperceptibly to create an infinite variation of hue”. Using binaural 3D mixing techniques, tracks such as ‘Green’ took the looming symphonic string template of OMD’s ’66 & Fading’ into a new spacey dimension.

Available on the VINCENT CLARKE & MARTYN WARE album ‘Spectrum Pursuit Vehicle’ via Mute Records

http://www.illustriouscompany.co.uk

SIMPLE MINDS The Floating World (2002)

‘The Floating World’ was an instrumental that closed the SIMPLE MINDS’ rather dull ‘Cry’ album. Basically a thumping rave version of the ‘Dr Who Theme’, closer scrutiny revealed this track to be written by one ‘V. Clarke’. It was more like the band’s early electronic experiments such as ‘Film Theme’ and ‘Theme For Great Cities’; this unlikely collaboration was SIMPLE MINDS’ most interesting work in nearly 15 years.

Available on the SIMPLE MINDS album ‘Cry’ via Eagle Records

http://www.simpleminds.com

ERASURE Here I Am Impossible Again (2005)

Following 2001’s dull “indie” album ‘Loveboat’ and their inconclusive covers compendium ‘Other People’s Songs’, Andy Bell and Vince Clarke made ‘Nightbird’, possibly their best album since ‘The Innocents’. Made entirely using soft synths and more layered than anything before, ‘Here I Go Impossible Again’ was one of the highlights in a brilliant cohesive collection of work. It was proof if that if you’ve got it but have lost it, you can get it again back if you keep trying…

Available on the ERASURE album ‘Nightbird’ via Mute Records

https://www.facebook.com/erasureinfo

POLLY SCATTERGOOD Other Too Endless – Vince Clarke Remix (2009)

Polly Scattergood was managed by former Mute plugger Neil Ferris and her self-titled debut came out on Mute in 2009. An intense organic collection of ethereal songs, Scattergood was a promising talent unafraid to express emotion and vulnerability. From it, ‘Other Too Endless’ was bolstered by a superb VC remix and highlighted the compatibility of her sound within a synthesized pop environment.

Available on the POLLY SCATTERGOOD single ‘Other Too Endless’ via Mute Records

http://www.pollyscattergood.com/

THE GOOD NATURED Ghost Train – Vox Mix (2011)

THE GOOD NATURED were a British pop trio who initially made a splash with a more conventional template on singles like ‘Be My Animal’. But they keen to collaborate and explore more electronic territory. ‘Ghost Train’ originated from a demo that Clarke sent over to the band. Singer Sarah McIntosh’s voice was given a layered, almost robotic aesthetic. Like a futuristic funfair ride, ‘Ghost Train’ swooped in a manner that was very appealing. They later changed their name to LOVESTARRS.

Originally released as a free download via Astralwerks, currently unavailable

http://www.lovestarrs.com/

ELECTRIC YOUTH The Best Thing (2012)

ELECTRIC YOUTH are a synthesizer couple hailing from Edmonton in Canada. Having enjoyed ‘A Real Hero’, Bronwyn Griffin and Austin Garrick’s contribution to the ‘Drive’ soundtrack, Clarke accepted the duo’s invitation to provide his production and mixing skills to the dreamy synthpop of ‘The Best Thing’. Bringing a vintage Yamaha CS80 along to the session, this laid back but melodic ditty was enhanced by the input and came out as ELECTRIC YOUTH’s second single.

Available on the ELECTRIC YOUTH album ‘Innerworld’ via Last Gang Entertainment / Secretly Canadian

http://www.electricyouthmusic.com/

VCMG Lowly (2012)

At 2011’s Short Circuit Presents Mute, Martin Gore discussed with Vince Clarke about collaborating on some minimal techno sketches. After a period of exchanging sound files via the web, the fruits of their endeavours were released as ‘Ssss’ by Mute. Very much Martin Gore’s “kind of disco”, tracks like ‘Spock’ and ‘Single Blip’ were more accessible than purer forms of techno, but the best track was ‘Lowly’ with its sweeping synthetic strings over robotic rhythms.

Available on the VCMG album ‘Ssss’ via Mute Records

http://mute.com/artists/vcmg

VINCE CLARKE & ANA BRUN Fly On The Windscreen (2012)

Novelist Tonya Hurley commissioned her brother-in-law to record a stark cover of his former band’s ‘Fly On The Windscreen’ with vocalist Ane Brun, as part of promotion for her literary trilogy ‘The Blessed’. While the original guitar-like textures were retained, the rest of the widescreen arrangement was quite different with a vulnerable feminine Gothic twist that acted as the ‘Twilight’ Generation’s perfect introduction to DEPECHE MODE.

Available on the VINCE CLARKE download single ‘Fly On The Windscreen’ via Amazon and iTunes

http://www.vinceclarkemusic.com

ERASURE Dead Of Night (2014)

Following the disappointment of 2011’s ‘Tomorrow’s World’, ‘The Violet Flame’, produced by Richard X saw ERASURE return to form and express an infectious zest for the future. Following his VCMG techno project, the songs began with Vince Clarke’s pre-recorded dance grooves. The result was a much more immediate album and ‘Dead Of Night’ was its euphoric opening number.

Available on the ERASURE album ‘The Violet Flame’ via Mute Artists

https://twitter.com/erasureinfo

Text by Chi Ming Lai
18th May 2015

A Beginner’s Guide To MARTYN WARE

28 March 2015 / electricityclub

It was June 1978 when a 7 inch aural artefact dressed in an iconic sleeve was issued by Bob Last’s Edinburgh based Fast Records.

Subtitled ‘Electronically Yours’, it featured the magnificent ‘Being Boiled’ backed with the amazing ‘Circus Of Death’, it heralded a new dawn in pop music. The band behind it was THE HUMAN LEAGUE; comprising of Martyn Ware, Ian Craig Marsh and Philip Oakey, they stated that their records would feature “synthesizers and vocals only”. Bob Last became THE HUMAN LEAGUE’s manager and so began the illustrious career of Martyn Ware.

With economic recession decimating their industrial heartland in Sheffield, aspirational computer operators Martyn Ware and Ian Craig Marsh experimented with newly affordable synthesizers from Korg and Roland as THE FUTURE with vocalist / guitarist Adi Newton to create sounds would eventually form part of a new musical movement. When Newton departed, Ware recruited his school friend Phil Oakey as his replacement and they became THE HUMAN LEAGUE. And to further reinforce that this was no ordinary band, Philip Adrian Wright joined as the non-playing Director of Visuals.

The band gained enough attention to be signed by Virgin Records. But before their first major label release, ‘The Dignity Of Labour’ was unleashed by Fast Records in May 1979. Financed and distributed by Virgin, the four part avant instrumental 12 inch EP confused both audiences and the record label who had been expecting another ‘Being Boiled’.

But then, THE HUMAN LEAGUE had that air of provocation about them. Occasionally, their acts of subversion could push a little too far… they were thrown off a support slot for the 1979 TALKING HEADS tour when it was advertised they were intending to feature “specially taped songs and rhythms with synchronised moving pictures and snapshots instead of The League”.

The original line-up of THE HUMAN LEAGUE who would record two albums ‘Reproduction’ and ‘Travelogue’, but the lack of sales success would be frustrating and creative tensions were driving the band apart. Last eventually took matters into his own hands and played a game of divide and rule.

Photo by Gered Mankowitz

So in Autumn 1980, Martyn Ware left the band with Ian Craig Marsh joining him and together, they formed a production company called BRITISH ELECTRIC FOUNDATION (BEF). The idea was to undertake a variety of projects, one of which was a pop group called HEAVEN 17 fronted by singer Glenn Gregory; their first album ‘Penthouse and Pavement’ album was a landmark achievement.

Combining a natural electronic development of ‘Travelogue’ on the ‘Penthouse’ side while an electro funk hybrid emerged on the ‘Pavement’ side, in Ware’s words, it was “a 100% serious attempt to be incredibly popular”.

And indeed it was… following the success of ‘Penthouse & Pavement’, ‘The Luxury Gap’ was accorded a bigger budget. There came the purchase of more sophisticated equipment and the opportunity to hire some of the best musicians in the business.

With their seventh single ‘Temptation’ becoming a huge international hit, HEAVEN 17 took over more of Ware’s time, although he was still able to maintain a lucrative production career that has included Tina Turner, Jimmy Ruffin, Terence Trent D’Arby and Marc Almond as well as HOT GOSSIP, ASSOCIATES, THE COUNCIL COLLECTIVE and ERASURE.

With the latter, the ‘I Say I Say I Say’ album project brought Martyn Ware and Vince Clarke to work together for the first time. It produced a number of hit singles for ERASURE like ‘Always’ and ‘I Love Saturday’, but it also led to some interesting artistic diversions for both parties. They eventually formed Illustrious to explore and market the possibilities of 3D sound systems.

At this point, HEAVEN 17 was in hiatus, but the friendship led to an invitation to support ERASURE on the 1997 ‘Cowboy’ tour and became the band’s entry as a regulars on the live circuit.

While ‘Temptation’ has been ubiquitous on compilation albums and whenever HEAVEN 17 are able to get on TV, be it on ‘Later With Jools Holland’ or a Plusnet advert, there are many examples of Martyn Ware’s work as an artist and producer that also deserve recognition. Some have been big hits while others have been more obscure but no less valid.

So what tracks would make up an imaginary 20 track double CD retrospective as an introduction to Martyn Ware’s work?

With a restriction of one track per album project, this list is not a best of as such, but a chronological compendium of historic and artistic adventures that capture the career diversity of a man who used technology to realise creative musical ideas as a non-musician, as opposed to using technology for technology’s sake.

Please note, Ware’s work with BIlly MacKenzie has been covered in greater detail within a separate Beginner’s Guide to the larger than life singer, so is not featured in this list…

THE HUMAN LEAGUE Being Boiled – Fast Version (1978)

The first song Oakey wrote with Ware and Marsh, the original version of ‘Being Boiled’ was recorded in mono using Ware’s Korg 700s and Marsh’s Roland System 100 as the rhythmical powerhouse, intended to reimagine FUNKADELIC’s funky overtones. Oakey’s bizarre lyrics were a result of a confusion between Buddhism and Hinduism. Forming part of a demo tape sent to Bob Last at Fast Records, it impressed enough for him to release the track “as seen”.

Available as a bonus track on THE HUMAN LEAGUE album ‘Reproduction’ via Virgin Records

http://www.thehumanleague.co.uk

THE HUMAN LEAGUE Dance Like A Star (1978 – officially released 2002)

THE HUMAN LEAGUE’s early demo tapes were accompanied by a written manifesto and these sentiments occasionally ended up within the music itself. “This is a song for all you bigheads out there who think that disco music is lower than the irrelevant musical gibberish and tired platitudes that you try to impress your parents with” Oakey profoundly announced as part of the preamble to ‘Dance Like A Star’: “We’re THE HUMAN LEAGUE, we’re much cleverer than you!”

Available on THE FUTURE + THE HUMAN LEAGUE album ‘The Golden Hour Of The Future’ via Black Melody

http://www.the-black-hit-of-space.dk/

THE MEN I Don’t Depend On You (1979)

“We never wanted to be KRAFTWERK” said Phil Oakey on ‘Synth Britannia’, “we wanted to be a pop band!”. Despite having signed THE HUMAN LEAGUE in 1978, Virgin Records were still having trouble getting their head round the band’s “synthesizers and vocals only” rule and wanted them to use a real drummer. This eventually led to a disco flavoured experiment ‘I Don’t Depend On You’ under the pseudonym of THE MEN, often been cited as the seed of HEAVEN 17.

Available as a bonus track on THE HUMAN LEAGUE album ‘Travelogue’ via Virgin Records

http://www.discogs.com/artist/27502-Men-The

THE HUMAN LEAGUE Blind Youth (1979)

‘Reproduction’ finally put THE HUMAN LEAGUE into battle against Gary Numan, but sales were disappointing. Ironically, with its cry of “dehumanisation is such a big word”, ‘Blind Youth’ was Ware’s attack on the colder, machine-like style of electronic music that was being spearheaded by Numan. The human aspect was an important thing for Ware and it had been with this philosophy that the name THE HUMAN LEAGUE from the Starforce Sci-Fi board game had originally been chosen.

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

https://www.facebook.com/BlindYouthHumanLeague

THE HUMAN LEAGUE Dreams Of Leaving (1980)

“Some of the best creative work I’ve ever been involved with was writing with Phil, he’s a brilliant lyric and leadline writer” said Martyn Ware of his former bandmate. ‘Dreams Of Leaving’ was an impassioned slice of prog synth in four distinct movements. The tale of an anti-Apartheid activist escaping persecution in South Africa, but meeting with indifference in their new adopted home, is still sadly resonant today while the final quarter’s sweeps and whistles on Ware’s Jupiter 4 are simply grand.

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

http://www.humanleague.dk/

BEF Uptown Apocalypse (1981)

When THE HUMAN LEAGUE split in Autumn 1980, Ware and Marsh formed a production company called the BRITISH ELECTRIC FOUNDATION (BEF) and released ‘Music For Stowaways’, an instrumental album only available on cassette that foresaw the advent of modern day iPod headphone culture. ‘Stowaway’ had been the original name of the Sony Walkman. Illustrating the concept of a rolling film soundtrack to one’s day-to-day life, ‘Uptown Apocalypse’ reunited the pair with former bandmate from THE FUTURE, Adi Newton while from his new project CLOCK DVA, Steven Turner provided the doom laden bass. This metronomic dystopian piece did exactly what it said on the tin.

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

http://www.heaven17.com/bef/

HEAVEN 17 Fascist Groove Thang (1981)

With his hand being forced on leaving THE HUMAN LEAGUE, Ware was fired up. HEAVEN 17’s opening salvo was the now iconic and self-explanatory ‘(We Don’t Need This) Fascist Groove Thang’. Guest artist John Wilson brought in bursts of bass and rhythm guitar to add a new dimension to a synthesizer sound that was still rooted in THE HUMAN LEAGUE. Banned from Radio1 on its release, the song is still sadly poignant as Europe heads toward being “an unhappy land” again…

Available on the HEAVEN 17 album ‘Penthouse & Pavement’ via Virgin Records

http://www.heaven17.com

BEF featuring TINA TURNER Ball Of Confusion (1982)

‘Music Of Quality & Distinction’ was conceived as a high-tech covers project featuring guest vocalists with Ware as musical director. ‘Volume 1’ most notably saw the recorded return of Tina Turner on a blistering reworking of THE TEMPTATIONS’ ‘Ball Of Confusion’, featuring musicians as diverse as guitarist John McGeoch and Paul Jones on harmonica! Although impressively co-ordinated, ‘Volume 1’ did not sell in huge numbers but the working relationship with TINA TURNER gelled.

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

http://www.facebook.com/BritishElectricFoundation/

ALLEZ ALLEZ Flesh & Blood (1983)

Belgian pop funk outfit ALLEZ ALLEZ were led by the vivacious Sarah Osbourne who later married Glenn Gregory. Their debut EP ‘African Queen’ had featured a very loose groove, but to polish up their sound for their major label debut on Virgin, Martyn Ware came into the fold as producer. While featuring no synths, ‘Flesh & Blood’ featured an exquisite vocal from Osbourne alongside a catchy chanty refrain by backing vocalist Roland Bindi, augmented by lush strings.

Available on the ALLEZ ALLEZ album ‘Promises / African Queen’ via Les Disques Du Crepuscule and the compilation album ‘Methods Of Dance’ (V/A) via Virgin Records

http://lesdisquesducrepuscule.com/promises_african_queen_twi086cd.html

HEAVEN 17 Lady Ice & Mr Hex (1983)

With a Roland MC4 Micro-composer and Linn Drum driving HEAVEN 17’s System 100 and System 100M plus the addition of a Roland TB303 Bassline, the idea of programmed parts inspiring musicians who weren’t used to programmed material to syncopate off them was floated by Ware. Featuring noted sessioners Simon Phillips on drums, Nick Plytas on piano and Ray Russell on rhythm guitar, ‘Lady Ice & Mr Hex’ was a successfully surreal marriage of synthesizers with jazz.

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

http://www.discogs.com/artist/12340-Heaven-17

TINA TURNER Let’s Stay Together (1983)

One of the songs Martyn Ware had wanted to do on ‘Music Of Quality & Distinction Volume 1’ was AL GREEN’s ‘Let’s Stay Together’. So when the opportunity came to work with Tina Turner again, Ware suggested it as a way of re-establishing her back into the soul realm. Co-produced by Greg Walsh who had worked on ‘The Luxury Gap’, Linn Drum and Fairlight were used as the programmed backbone while Nick Plytas and Ray Russell were recalled to embellish the soulful electronic hybrid.

Available on the TINA TURNER album ‘All The Best’ via EMI Records

http://www.tinaturnerofficial.com/

HEAVEN 17 And That’s No Lie (1984)

At over 10 minutes, ‘And That’s No Lie’ was an adventure in sound that threw in everything from Ware’s abstract sonic experiments a la early HUMAN LEAGUE, the jazz inflections of ‘The Luxury Gap’, modern Fairlighted electropop and the gospel tinged vocals of ARFRODIZIAK. Far too short as a single but possibly far too long in its album form, ‘And That’s No Lie’ signalled a creative zenith before a wider dampening of spirit within the graduates of ‘Synth Britannia’.

Available on the HEAVEN 17 album ‘5 Classic Albums’ via Virgin Records

http://www.heaven17.de/

TERENCE TRENT D’ARBY Sign Your Name (1987)

HEAVEN 17’s 1986 album ‘Pleasure One’ used a conventional guitar / bass / drums template and had not been a big success. But Ware found himself reinvigorated from working with a flamboyant former GI named Terence Trent D’Arby. From an album that featured four hit singles, ‘Sign Your Name’ was a superb bossa nova ballad that captured some of the more sensitive side of D’Arby’s sometimes brash, but loveable persona that had been apparent on ‘If You Let Me Stay’ and ‘Dance Little Sister’.

Available on the TERENCE TRENT D’ARBY album ‘Introducing The Hardline According To…’ via Sony Music

http://www.sanandamaitreya.com

BEF featuring GREEN GARTSIDE I Don’t Know Why I Love You (1991)

HEAVEN 17’s 1988 album ‘Teddy Bear, Duke & Psycho’ was according to Ware “the nail in the coffin; we’d completely lost our way by then!”. Putting HEAVEN 17 into hiatus, he decided to curate his second ‘Music Of Quality & Distinction’ volume, but this time aiming for the mainstream Trans-Atlantic market with an emphasis on his love of soul music. One of the best numbers was a cover of Stevie Wonder’s ‘I Don’t Know Why I Love You’ voiced by SCRITTI POLITTI’s Green Gartside.

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

http://www.scritti.net/

ERASURE Tragic (1994)

Now imagine if Ennio Morricone and Wendy Carlos had worked with THE HUMAN LEAGUE and a fledgling DEPECHE MODE on a collaborative film soundtrack? Then the wonderful melancholy of ‘Tragic’ would have been the end result. With music by Vince Clarke and production by Martyn Ware, ‘Tragic’ was a fine example of how music did not necessarily need words to convey emotion. Andy Bell did add a vocal for an as live version later but it wasn’t really necessary.

Available on the ERASURE single ‘Always’ via Mute Records

http://www.erasureinfo.com/

HEAVEN 17 Designing Heaven (1996)

Making their full return with ‘Bigger Than America’, ‘Designing Heaven’ was the first fruit of the reformed trio going back to their electronic roots. It was classic HEAVEN 17, with echoes of ‘Sunset Now’ and ‘Crushed By The Wheels Of Industry’ set to a modern European club friendly format. And as if to make that link more pronounced, Claudia Brücken translated the lyrics into German for a bonus track entitled ‘Den Himmel Designen’ while Giorgio Moroder contributed a remix.

Available on the HEAVEN 17 album ‘Bigger Than America’ via Cleopatra Records

http://martynwareblog.blogspot.com/

THE CLARKE & WARE EXPERIMENT The East Is Falling (1999)

Inspired by Brian Eno’s ‘Music For Airports’, ‘The East Is Falling’ allowed Clarke to indulge in his more ambient fantasies last heard on ’91 Steps’ while Ware shaped the soundscape into a mind bending binaural format that was best listened to on headphones. With a striking piano motif bolstered by layers of sweeping, synthetic strings, the haunting atmospheres made for a fine development of the environmental music tradition.

Available on THE CLARKE & WARE EXPERIMENT album ‘Pretentious’ via Mute Records

http://www.illustriouscompany.co.uk

HEAVEN 17 Are You Ready? (2005)

With HEAVEN 17 playing live on a semi-regular basis, one of the additional band members was singer Billie Godfrey. ‘Are You Ready?’ was co-written by her using a backing track by Ware. It was a love song but with some darker undercurrents. “There’s a slavish servant to master / penitent soul to preacher idea behind it with the spurned lover almost begging to be redeemed or converted by the object of their desire” Godfrey said in 2010.

Available on the HEAVEN 17 album ‘Before After’ via BEF Records / Alpha Engineering

https://twitter.com/heaven17bef

BEF Featuring KIM WILDE Every Time I See You I Go Wild (2013)

The third volume of ‘Music Of Quality & Distinction’ featured some of Ware’s most starkly electronic work since he was in THE HUMAN LEAGUE. This striking cover of the Northern Soul favourite was best known in a version by JJ Barnes but was written by Stevie Wonder. Arranged by THE MODIFIED TOY ORCHESTRA’s Paul Duffy, ‘Every Time I See You I Go Wild’ featured just Kim Wilde and a Roland System 100. And what’s there not to like about an electronic Northern Soul cover…

Available on the BEF album ‘Music Of Quality & Distinction Volume 3: Dark’ via Wall Of Sound

http://www.britishelectricfoundation.com

HEAVEN 17 Pray (2014)

‘Pray’ was sonically closer to early HUMAN LEAGUE in its metronomic first three minutes before regular H17 sidemen Julian Crampton and Asa Bennett cut-in brilliantly with their respective slap bass and rhythm guitar runs. Glenn Gregory continued his recent Bowie impersonation trip with HOLY HOLY via ’Young Americans’ as a saxophone completed the connection. It was a tremendous avant synth / soul hybrid that outshined much of the material on ‘Before After’.

Available on the compilation album ‘Fly –Songs Inspired by the film Eddie The Eagle’ (V/A) via Universal Music

https://twitter.com/martynware

Text by Chi Ming Lai with thanks to Martyn Ware
28th March 2015

Missing In Action: JO CALLIS

30 July 2014 / electricityclub

Without doubt, Jo Callis is one of the unsung heroes of the Synth Britannia era. The Rotherham born guitarist first found fame during the post-punk era with THE REZILLOS.

Formed in Edinburgh where Callis was studying at the local college of art, they scored a Top 20 hit ‘Top Of The Pops’ in 1978. THE REZILLOS fragmented after one album so Callis formed SHAKE and then joined BOOTS FOR DANCING before releasing a solo single ‘Woah Yeah!’ in 1981. His manager when he was in THE REZILLOS was Fast Records supremo Bob Last who also looked after THE HUMAN LEAGUE.

Following the well documented split between Phil Oakey and Adrian Wright with Martyn Ware and Ian Craig Marsh in 1980, the former pair continued as THE HUMAN LEAGUE with Ian Burden recruited as an additional musician plus Joanne Catherall and Susanne Sulley as backing vocalists.

Despite this line-up recording the band’s first Top 20 hit in ‘The Sound Of The Crowd’ under the production supervision of Martin Rushent in 1981, THE HUMAN LEAGUE felt they could benefit from the input of an experienced songwriter… enter Jo Callis! He joined just in time to record the Top 5 breakthrough single ‘Love Action (I Believe in Love)’ although he did not feature on the single’s cover photo.

His first public outing as a songwriter for THE HUMAN LEAGUE was with the psychedelic synthpop hit ‘Open Your Heart’. The parent album ‘Dare’ was released shortly after and has since being hailed as an iconic recording of the period.

Jo Callis’ three year tenure with THE HUMAN LEAGUE directly contributed to their imperial phase; classic numbers in The League’s catalogue such as ‘Seconds’, ‘Darkness’, ‘Hard Times’, ‘Mirror Man’, ‘(Keep Feeling) Fascination’, ‘The Lebanon’, ‘Life On Your Own’ and ‘Louise’ were all co-authored by him. But his most famous song with the Sheffield electronic pioneers was ‘Don’t You Want Me?’ which reached No1 in both the UK and US charts. However, after a difficult gestation for ‘Hysteria’, the follow-up album to ‘Dare’, Callis left THE HUMAN LEAGUE in 1984 to concentrate on his own songwriting.

Post-League, Callis co-wrote Feargal Sharkey’s’s ‘Loving You’ before partially returning to THE HUMAN LEAGUE in 1990, penning two songs ‘Heart Like A Wheel’ and ‘Get It Right This Time’ for the ‘Romantic?’ album. Another Callis co-write ‘Never Again’ appeared on 1995’s ‘Octopus.

More recently, Callis has been in the news in his adopted homeland as a result of ‘Don’t You Want Me?’ being adopted as a football crowd anthem by the supporters of Aberdeen FC. The song was given a boost in download sales as a result of The Dons victory in the 2014 Scottish League Cup.

With his profile at its highest since his HUMAN LEAGUE days, Callis is about to return to the live circuit with his new band FINGER HALO, playing alongside ANALOG ANGEL at Glasgow’s Classic Grand on FRIDAY 15TH AUGUST 2014. Now well and truly “back-Back-BACK”, he kindly chatted to ELECTRICITYCLUB.CO.UK about his career.

THE REZILLOS made it into the Top 20 with ‘Top Of The Pops’ in 1978 but briefly, what happened that led you into becoming a free agent in 1981?

THE REZILLOS split up (mid tour) around 1979, probably at my instigation more than anything else. From there, I formed SHAKE along with former REZILLOS rhythm section Ali Paterson and Simon Templar, and remained signed to Sire, THE REZILLOS’ former label. With the addition of Troy Tate (later of TEARDROP EXPLODES fame) on guitar, we released a four track EP followed by a single ‘Invasion Of The Gamma Men’ and gigged quite consistently.

The initial EP was pretty well received and the lead track ‘Culture Shock’ garnered a fair amount of Radio1 airplay. But with little record company support, things eventually just fizzled out. Broke, we eventually parted company with Sire.

From there, I joined local indie leftfield punk / funk outfit BOOTS FOR DANCING, whom I really enjoyed playing with. They could have been contenders, but bottled out of going for gold so to speak, so there was no future there for myself. Around the same time I had also been making in-roads into The League camp, who were in the process of re-inventing themselves after a split up scenario of their own, with a view to help them with new material.

What did you think when you were first offered THE HUMAN LEAGUE job by Bob Last and told you’d have to play a synth?

My memory of events here is that I simply got together with Adrian Wright, whom I was friendly with at the time, in order to do a bit of writing, which led on to my quite significant contributions to THE HUMAN LEAGUE’s canon of tunes. Although, with hindsight, I guess that the ‘svengali’ Bob Last would have certainly been pulling a few strings and making some subliminal suggestions behind the scenes, and certainly encouraging my association with Adrian.

Around that time I was also feeling a little jaded with the guitar, particularly as an instrument for composition, and felt that a change was in order. I wasn’t exactly sure what kind of change, but the opportunity of The League, synths and moving with the times certainly appealed.

Is it true Martyn Ware showed you how to use a synth at Monumental Pictures studio?

Yep, with the then fledgling HEAVEN 17 / BEF still sharing the same studio space as the ‘new’ League, Martyn Ware kindly spent a day running me through all the basics of subtractive synthesis, and also pointing me in the direction of the keyboard playing equivalent to Bert Weedon’s legendary guitar tome ‘Play In A Day’ (in another move encouraged by the venerable Mr. Last no doubt). I had soon purchased a second hand Roland SH09 synth, and began patching away when at home in Edinburgh.

Did you have a favourite synth?

I still have a great love for the old SH09, its big Bro’ the SH2 and its progeny the SH101. But the Roland Juno 106 is still hard to beat. I do still have (hopefully) working examples of ’em all. Although primarily a vintage Roland fan, I do have the odd bit of Korg and Yamaha kit, and of course the wonderfully proletarian Casio VL Tone… required equipment in my League days, we all had one in our make up bags!

Did you ever feel the tension between the two parties as the shifts changed at the studio?

Oh yes, but more in general. We would all hang out together in my early days with The League whilst in Sheffield writing the material that would ultimately comprise ‘Dare’ etc. It all seemed quite light hearted initially, but I was aware of quite deep rooted competition and rivalry between Philip and Martyn. But there was a mutual degree of respect all round.

I had to laugh really, having come out of a fairly similar situation myself recently and being aware that Bob Last had carefully handled THE HUMAN LEAGUE split with the benefit of knowledge gained from the chaotic split up of THE REZILLOS, Bob having managed both bands. So there were no handbags at twenty paces, unlike the biliousness of THE REZILLOS’ break up which was arguably fuelled by the divisive music press of the day – I did feel I was somewhere between a rock and a hard place on occasion though.

What was the creative dynamic between you, Phil Oakey, Adrian Wright and Ian Burden?

With Adrian, I would generally pick out the best of his formative ideas, develop them with him and add parts etc.

Phil and I would often find that we could graft together independent ideas we had, which would compliment each other… or else Phil would add lyrics and melody to one of my backing tracks which would just have a working title – ‘The Lebanon’ for example, came about in this way, even retaining the original title in the finished article.

With Ian, himself being a (very good) bass player and myself a guitarist, we could plug into amps and jam out ideas old school stylee sometimes. And when Jim Russell (originally Martin’s engineer, then later a band member), a seasoned drummer who’d played with the like of CURVED AIR and MATTHEWS SOUTHERN COMFORT was around, we’d have a power trio and just jam all day…

Joanne and Susanne contributed to the quality control, they were very down with what was happening in the clubs and what ver kids were digging at the time, so if they liked what they heard, then it was definitely worth persevering with. They were total Duranies then, and had previously been BAY CITY ROLLERS fans (a fine Edinburgh band – check out their version of ‘Rock & Roll Love Letter’). But their big love was JAPAN. Strangely, we seemed to listen to a lot of Grace Jones and JUDAS PRIEST during the writing of ‘Dare’.

What was the first song you wrote for THE HUMAN LEAGUE?

‘Open Your Heart’, if memory serves – originally started on the guitar and provisionally entitled ‘Women & Men’.

Legend has it that Phil freaked when he saw you brandishing a guitar during the recording of ‘Don’t You Want Me?’?

Ha! Axeophobia I believe it’s called, a rare condition and one most unusual in the case of a JUDAS PRIEST and SAXON fan! I remember Phil once saying: “I’d happily have you play the guitar on tour Jo, so long as the jack lead is only six inches long”. Classic! I feel he probably suffered from the much more common complaint; ‘Callisophobia’.

The main riff of ‘Don’t You Want Me?’ was appropriated from the guitar line of ABBA’s ‘Eagle’? Discuss!

Aha! The passage to which you refer to is definitely ABBA inspired and was originally the bassline to the bridge section of ‘DYWM’ – the “Don’t, Don’t You Want Me, You know I don’t belieeve it! Etc” bit. Martin Rushent picked it up and turned it round and made it into the top line of the intro passage… so it’s all his fault, ‘onest Guv!

How do you look back on the ‘Dare’ album now?

With my head tilted to the right, and squinting with one eye. ‘Dare’ was the result of a unique coming together of an unlikely bunch of switched on, eccentric, bloody minded individuals who, against all odds and with no great ‘industry’ expectation, created a truly wonderful work of electro glam pop – timeless, wonderfully sparse, most influential, and a true combined vision, very much the sum of its parts.

How were those ‘Dare’ tour dates, especially with those temperamental synths and taking the Linn Drum Computer out live?

Tours can be the absolute best and worst times of your life condensed into a relatively short period of time – so, careful what you wish for sometimes. We fortunately had a terrific tech and road crew on the ‘Dare’ tour which eased a lot of the potential pain, no MIDI or computer sync in them days. We had to have the Linn Drum reloaded (by cassette tape) half way through the set as its memory could not contain the entire show, we switched to the Roland TR808 for one song during the reboot! The synths all seemed to perform reliably and well, despite the abuse I would give mine on occasion. Made from Tiger tank and Me262 parts them Roland Jupiter 8s!

Things seemed to be going swimmingly for the follow-up album with the releases of ‘Mirror Man’ and ‘(Keep Feeling) Fascination’, but it all started falling apart around the recording of ‘Hysteria’?

That’s right, it was all taking far too long and frustration was setting in. We had to try and follow the unexpected success of ‘Dare’ and I think a fear of failure began to loom. The pressure maan!

The two versions that were released of ‘I Love You Too Much’ indicated there was some confusion in the band over direction?

That track actually had a synth playing back through a guitar Wah Wah pedal on it – which was my idea. As I recall the first version on the ‘Fascination!’ import EP was produced by Martin Rushent and the ‘Hysteria’ version was by Chris Thomas… or was it Hugh Padgham?

‘The Lebanon’ had a bit of a mixed reaction didn’t it?

I love a bit of contention, it was pretty much guitar driven, which is down to me again, but I think it sat okay in The League repertoire and Phil was actually quite enthusiastic about the style and direction it took. It went down well with the BIG COUNTRY / SIMPLE MINDS / U2 crowd of the time, almost a bit of a crossover track. The music press of the day, particularly the NME were fond of ripping the pish out of the lyrics, but in a very affectionate and ‘onside’ way. I still think it’s possibly the strongest tune on ‘Hysteria’, and one I’m very satisfied with personally.

Martin Rushent left the sessions apparently over something Susanne said… what was the straw that broke the camel’s back in your case?

I tried so hard to keep everyone together at that time, we weren’t too far away from having a follow-up album finished with Martin, I thought I’d managed to patch the ship up so to speak at one point, but things soon fell apart again.

Do you look on the ‘Hysteria’ period with much affection?

Not greatly.

When THE HUMAN LEAGUE said they wouldn’t tour ‘Hysteria’ because they couldn’t perform your songs without you, what that just an excuse on their part?

Never heard that one before… dunno really.

You sort of returned for ‘Romantic?’ in 1990… how did you come to contribute ‘Heart Like A Wheel’? and ‘Get It Right This Time’ ?

I’d always left things open ended, and had said I’d always be happy to contribute to writing at any time. I did initially offer them a song called ‘One For The Angels’ for ‘Crash’, the album after ‘Hysteria’, but they didn’t take it – perhaps not quite enough water had passed under the bridge by then, but I’d had such a good response from publishers etc.

With ‘Heart Like A Wheel’, and having been working a lot myself on various projects with Martin Rushent at Genetic Studios around that time, when The League came to thinking about the follow up to ‘Crash’ (which would become ‘Romantic?’), I thought there might be a good opportunity to try and get ‘the old team’ back together again, which I did manage to achieve for a couple of tunes at least. I was kind of middle man there, having a foot in both camps – helping The League out with a bit of writing now and then, and working on various production / writing projects with Martin.

I also co-wrote ‘Never Again’ with Phil for the ‘Octopus’ album, and will be revisiting ‘One For The Angels’ with my new band FINGER HALO!

With Martin Rushent on board, it looked like there was an attempt to recapture the magic of ‘Dare’. But why did things not really work out with that album as a whole either? Any thoughts?

As an addendum to the previous question; I had hoped to resurrect ‘The Old Brigade’, for the entire album, but I think Phil wanted to experiment with different producers, doing a couple of tracks with each. ‘Heart Like A Wheel’ did well for all concerned I think, so it often pays to not burn bridges… and ‘Never Say Never Again’.

Mention must go to Martin Rushent, now sadly departed. A true maverick, a passionate if headstrong fellow and one of the greatest cutting edge producers of all time. He always followed his gut instincts which invariably led him in the right direction. I learned so much from Martin and he was great fun to work with.

Noddy Holder describes ‘Merry Xmas Everybody’ as his pension, is it like that for you with ‘Don’t You Want Me?’?

As a huge SLADE fan, Noddy is seldom wrong, These days, I tend to view ‘Don’t You Want Me?’ more as a kind of capital investment, to trade with. In basic, cynical economic terms, ‘DYWM’ to me is something akin to what Cornflakes are to The Kellogg company.

You are still active in music, what are your upcoming plans?

FINGER HALO, FINGER HALO, FINGER HALO and er? Oh yes; FINGER HALO!

What would you consider your proudest achievement?

An old acquaintance of mine who served with The Royal Marines during The Falklands campaign told me that he had The League song ‘Seconds’ running through his head all through the conflict, which helped him keep focus and get through serious life or death circumstances.

That instance in particular, and other, albeit rare, occasions when somebody has remarked that your music has had a positive impact on their lives, are moments when I realise that what we do, we happy band of wandering minstrels, really can have great value to humanity, and it’s not just about self indulgently fannying about, having more control over our lives and never having to grow up, as I might have previously thought. I speak for all performers, entertainers, composers, authors and artists. I think we oil the wheels of life in many respects.

And as the Big Man Winston Churchill once said: “If you find a job you love, you’ll never work again” – now there’s an achievement in itself! These are the things that dreams are made of (and nightmares sometimes but…)

And finally, why do you think guitar synths never really caught on?

Quite simply Chi, I think that the technology had moved so rapidly then that you could use a regular guitar, with a few ‘bolt ons’, and pretty much do anything that a dedicated synth guitar could do. Also a lot of guitar players who loved the ‘Synth Guitar’ idea didn’t really think that the instruments themselves were particularly good as guitars. That Roland G-77 looked really cool though, but they never made a left handed version, the c***s!

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Jo Callis

Special thanks to Ian Ferguson

FINGER HALO featuring Jo Callis play the Classic Grand, 18 Jamaica Street, Glasgow G1 4QD on FRIDAY 15TH AUGUST 2014 alongside ANALOG ANGEL

http://jocallis.com/

https://www.facebook.com/pages/Jo-Callis/1387058038237166

https://soundcloud.com/projectfingerhalo

Text and Interview by Chi Ming Lai
30th July 2014

A Beginner’s Guide To BILLY MACKENZIE

24 March 2014 / electricityclub

Photo by Richard Haughton

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

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

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

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

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

Photo by Sheila Rock

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

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

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

ASSOCIATES White Car In Germany (1981)

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

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

ASSOCIATES Party Fears Two (1982)

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

Available on the ASSOCIATES album ‘Singles’ via WEA Records

BEF The Secret Life Of Arabia (1982)

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

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

BEF It’s Over (1982)

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

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

ASSOCIATES Club Country (1982)

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

Available on the ASSOCIATES album ‘Singles’ via WEA

ASSOCIATES Gloomy Sunday (1982)

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

Available on the ASSOCIATES album ‘Sulk’ via BMG

ASSOCIATES 18 Carat Love Affair (1982)

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

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

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

ASSOCIATES Those First Impressions (1984)

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

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

ASSOCIATES Kites (1984 – released 2003)

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

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

ASSOCIATES Waiting For The Love Boat (1984)

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

Available on the ASSOCIATES album ‘Singles’ via WEA

ASSOCIATES Breakfast (1985)

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

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

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

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

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

ASSOCIATES Fire To Ice (1990)

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

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

YELLO Capri Calling (1991)

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

Available on the YELLO album ‘Baby’ via Mercury Records

APOLLO 440 Pain In Any Language (1997)

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

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

HAIG / MACKENZIE Transobsession (1999)

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

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

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

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

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

BILLY MACKENZIE Boltimoore – Original JiiHoo Bootmix (2011)

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

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

In memory of BILLY MACKENZIE 1957 – 1997

http://www.billymackenzie.com/

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

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

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

Tag: Martyn Ware (Page 5 of 8)

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