It was Maurice Ravel who once said: “Whatever sauce you put around the melody is a matter of taste. What is important is the melodic line”.
What Lloyd Cole has always managed within his songs throughout his career, be it ‘Perfect Skin’, ‘Rattlesnakes’, ‘Are You Ready To Be Heartbroken?, ‘Brand New Friend’ or ‘Like Lovers Do’ is strong melodic lines. Coupled with his bittersweet lyricism, he has been one of the UK’s leading exponents of masterful glum rock. But for ‘Guesswork’, he has put synthesizers and drum machines into his textural palette.
Cole actually first experimented with synthesizers and songs on 1993’s ‘Bad Vibes’, but considering it an artistic failure, it led to the songsmith keeping his future electronic interests purely instrumental and his songwriting traditional, and “never the twain shall meet”.
Cole eventually recorded an experimental album ‘Selected Studies Volume 1’ with German legend Hans-Joachim Roedelius of CLUSTER in 2013. Released by Bureau B, custodians of the iconic Sky Records back catalogue, there was also a solo instrumental collection entitled ‘1D Electronics 2012-2014’.
Self-produced in Massachusetts and mixed by German producer Olaf Opal, despite reuniting with two former Commotions bandmates Neil Clark and Blair Cowan for the first time since 1987’s ‘Mainstream’, ‘Guesswork’ focusses on synthesizers and programming. Referencing CHINA CRISIS and PREFAB SPROUT, Cole has also expressed a love of SUICIDE, ULTRAVOX, PET SHOP BOYS and LCD SOUNDSYSYTEM.
Certainly the application of his synthesizer knowhow became fully realised for the album’s wonderful first single ‘Violins’. On first impression, Cole appears to have turned into OMD, but the man himself cites Robert Palmer’s cult electronic pop favourite ‘Johnny & Mary’ as its main inspiration, especially in its incessant synthbass and Motorik backbone. The violin is often seen as a symbol of self-pity and while the move might have surprised his regular fanbase, ‘Violins’ did include a hefty guitar solo at its conclusion to not totally alienate them.
Not in a dissimilar vein to ‘Violins’, the shimmering ‘Moments & Whatnots’ is the most KRAFTWERK-esque of the eight tracks on ‘Guesswork’, with its simplistic electronic percussion and synthetic sparkles recalling ‘Neon Lights’. But as a song and in its afflicted delivery, it couldn’t really be anyone else but Lloyd Cole.
However, the biggest surprise comes with ‘When I Came Down From The Mountain’, a bouncy drumbox driven synthpop number. With jazzier electronic inflections that Thomas Dolby would have been proud of, its chorus even nods towards the era of Dolby-produced PREFAB SPROUT.
Meanwhile with some kosmische modular sequencing, ‘Night Sweats’ utilises a pentatonic aesthetic that wouldn’t have sounded out of place on an early CHINA CRISIS record, although some eagle-eared listeners will point a finger towards THE CLASH’s ‘Straight To Hell’.
But ‘Guesswork’ begins with an almost silent ambient drone; while in ‘Stranger Things’, they fear ‘The Upside Down’, Cole muses hauntingly about the aura of ‘The Over Under’.
Meanwhile on the cinematic ‘Remains’, synths beautifully substitute for orchestrations and brass arrangements in the manner of THE BLUE NILE. These songs cleverly offer the new electronic direction without being too threatening, a subtle change of sauce without ruining anyone’s appetite.
Decorated with some great E-bowed six string, the solemn swinging overtures of ‘The Afterlife’ show that Cole has learnt from John Grant, probably the best known modern day defector from the traditional to the electronic, while ‘The Loudness Wars’ provides a relatable metaphor to the breakdown of a relationship in a fine hybrid synth and guitar closer, swathed in glorious midlife angst.
Yes, his poetic melancholy does remain, but as Lloyd Cole recently said: “Now I’m starting to think that old age could be a lot more fun. Because really what have we got to lose?”
After all, how many veteran singer-songwriter guitarists decide that electronics are the way to go? Whether long-standing enthusiasts or new admirers, many will find a lot of joy within Lloyd Cole’s sophisticated artistic diversion on ‘Guesswork’.
‘Guesswork’ is released by earMUSIC in CD, vinyl LP and digital formats
LLOYD COLE & THE COMMOTIONS were the kings of Glum Rock.
But for a 2015 German tour, Lloyd Cole announced: “I’m calling these shows LIVE ELECTRONICS, and I should be clear here – there will be none of my songs performed, I will not be singing at all, or playing guitar. My instrument will be my modular synthesizer, along with some effects units and maybe a keyboard.”
Despite being a purveyor of jangling poetic indie tunes like ‘Perfect Skin’, ‘Rattlesnakes’, ‘Are You Ready To Be Heartbroken?’ and ‘Brand New Friend’, Cole had actually been experimenting with electronics since 2001’s ‘Plastic Wood’ and recorded an album ‘Selected Studies Vol 1’ with Hans-Joachim Roedelius of CLUSTER in 2013. Released by Bureau B, custodians of the Sky Records back catalogue including works by Michael Rother, Conny Plank and Harald Grosskopf amongst others, there was also a solo instrumental collection entitled ‘1D Electronics 2012-2014’.
But Cole has been putting that modular knowhow into a song based format with a charming new synthy single ‘Violins’ in which he seems to have turned into OMD! However, not totally alienating his main fan base, guitars make their presence felt amongst all the machinery about two thirds of the way through.
‘Violins’ is from Lloyd Cole’s new album ‘Guesswork’ which has been self-produced in Massachusetts and mixed by German producer Olaf Opal. Despite reuniting with two former bandmates Neil Clark and Blair Cowan for the first time since 1987’s ‘Mainstream’ long player, ‘Guesswork’ credits ‘synthesizers’ and ‘programming’ rather a lot while the man himself has recently talked of his guitar as “going, going but not quite gone”.
As well as referencing CHINA CRISIS and PREFAB SPROUT, Cole has also expressed a love of SUICIDE, ULTRAVOX, PET SHOP BOYS and LCD SOUNDSYSYTEM, while stating that ‘Guesswork’ is predominantly an electronic album, fashioned from classic and modern keyboard, modular and drum synthesizers with occasional guitar.
Asked whether the remaining songs on ‘Guesswork’ would be of a similar vein to ‘Violins’, he replied on Twitter: “No. The instrumentation is similar. Hopefully the songs go together nicely.”
While some will not necessarily appreciate Cole’s new direction, he has no qualms about the joy of his artistic diversion: “When I was 27, the concept of the washed up older guy seemed very entertaining. Now I’m starting to think that old age could be a lot more fun. Because really what have we got to lose?”
‘Violins’ is from the new album ‘Guesswork’ released on 26th July 2019 by earMUSIC in CD, vinyl LP and digital formats
From Cherry Red Records, the makers of the ‘Close To The Noise Floor’ trilogy showcasing formative and experimental electronic music from the UK, Europe and North America, comes their most accessible electronic collection yet.
Subtitled ‘Independent British Synth Pop 78-84’, ‘Electrical Language’ is a lavish 4CD 80 track boxed set covering the post-punk period when all that synthesizer experimentation and noise terrorism morphed into pop.
Largely eschewing the guitar and the drum kit, this was a fresh movement which sprung from a generation haunted by the spectre of the Cold War, Mutually Assured Destruction and closer to home, the Winter of Discontent.
As exemplified by known names like THE HUMAN LEAGUE, FAD GADGET, SECTION 25 and BLUE ZOO included in the set to draw in the more cautious consumer, this was pop in a very loose manner with melodies, riffs and danceable rhythms but hardly the stuff of ABBA or THE BEE GEES!
‘Red Frame/White Light’ by OMD was a chirpy ditty about the 632 3003 phone box which the band used as their office, while Thomas Dolby’s ‘Windpower’ was a rallying call for renewable energy sources. Then there was the dystopian ‘Warm Leatherette’ by THE NORMAL based around two noisy notes and lyrically based on JG Ballard’s ‘Crash’ with its story around car collision symphorophilia.
While those acts’ stories have been rightly celebrated for putting the electronic avant pop art form into the mainstream, with any truly great compilation or collection, the joy is in finding the lesser known jewels.
Made primarily by the idealistic outsiders and independent experimenters from the lesser known side of Synth Britannia, ‘Electrical Language’ has plenty of synthetic material to rediscover or hear for the first time. Indeed, the more appealing tracks appear to fall into three categories; forgotten songs that should have been hits, oddball cover versions and largely unknown archive wonders.
Those forgotten gems include the exotic ‘Electrical Language’ title track by BE BOP DELUXE, documenting the moment Bill Nelson went electro. His production on the gloriously emotive ‘Feels Like Winter Again’ by FIAT LUX is another welcome inclusion to the set.
But the two best tracks on ‘Electrical Language’ are coincidentally spoken word; ‘Touch’ by LORI & THE CHAMELEONS about a girl’s Japanese holiday romance is as enchanting and delightful as ever, while there is also THROBBING GRISTLE refugees CHRIS & COSEY’s wispy celebration of Autumnal neu romance ‘October (Love Song)’, later covered in the 21st Century in pure Hellectro style by MARSHEAUX.
Merseyside has always been a centre for creativity and this included synthpop back in the day. ‘I’m Thinking Of You Now’ from BOX OF TOYS was a superb angsty reflection of young manhood that included an oboe inflected twist which was released on the Inevitable label in 1983. From that same stable, FREEZE FRAME are represented by the atmospheric pop of ‘Your Voice’
Jayne Casey was considered the face of Liverpool post-punk fronting BIG IN JAPAN and PINK MILITARY; the lo-fi electronic offshoot PINK INDUSTRY released three albums but the superb ‘Taddy Up’ with its machine backbone to contrast the ethereal combination of voice and synths lay in the vaults until 2008 and is a welcome inclusion. The ‘other’ Wirral synth duo of note were DALEK I LOVE YOU whose ‘The World’ from 1980 remains eccentric and retro-futuristic.
Scotland was in on the action too despite many local musicians preferring THE BYRDS and STEELY DAN; although both ‘Mr Nobody’ from Thomas Leer and ‘Time’ by Paul Haig were detached and electronic, they vocally expressed minor levels of Trans-Atlantic soul lilt compared with the more deadpan styles of the majority gathered on ‘Electrical Language’.
Under rated acts form a core of ‘Electrical Language’ and while THE MOBILES’ ‘Drowning In Berlin’ may have come across like a ‘Not The Nine O’Clock News’ New Romantic parody on first listen, its decaying Mittel Europa grandeur was infectious like Hazel O’Connor reinterpreting ‘Vienna’ with The Master of Ceremonies at the Kit Kat Klub in 3/4 time!
NEW MUSIK’s ‘The Planet Doesn’t Mind’ probably would have gone Top 20 if had been done by Howard Jones, although band leader Tony Mansfield had the last laugh when he later became a producer working with the likes of A-HA and NAKED EYES. The brassy arty synthpop of ‘XOYO’ from Dick Witts’ THE PASSAGE was immensely catchy with riffs galore, while POEME ELECTRONIQUE’s ‘She’s An Image’ offered stark European electro-cabaret.
Cut from a similar cloth, one-time ULTRAVOX support act EDDIE & SUNSHINE inventively (and some would say pretentiously) presented a Living TV art concept but they also possessed a few good songs. The quirkily charming ‘There’s Someone Following Me’ deserved greater recognition back in the day and its later single version was remixed by one Hans Zimmer.
Meanwhile, the 4AD label could always be counted on more esoteric output and COLOURBOX’s ‘Tarantula’ was from that lineage, but then a few years later perhaps unexpectedly, they became the instigators of M/A/R/R/S ‘Pump Up the Volume’.
These days, modern synth artists think it is something an achievement to cover a synthpop classic, although it is rather pointless. But back in the day, as there were not really that many synthpop numbers to cover, the rock ‘n’ roll songbook was mined as a kind of post-modern statement. The synth was seen as the ultimate anti-institution instrument and the cover versions included on ‘Electrical Language’ are out-of-the-box and original, if not entirely successful.
Take TECHNO POP’s reinterpretation of ‘Paint It Black’ which comes over like Sci-Fi Arthur Brown while the brilliant ‘My Coo Ca Choo’ by BEASTS IN CAGES (which features half of HARD CORPS) is like PJ Proby with his characteristic pub singer warble fronting SILICON TEENS with a proto-GOLDFRAPP stomp.
Having contributed a T-REX cover for the ‘Some Bizzare Album’, THE FAST SET recorded another. Whereas ‘King Of The Rumbling Spires’ on the former was frantic electro-punk, ‘Children Of The Revolution’ is far more sombre and almost funereal. Least desirable of the covers though is ‘Happy Xmas (War Is Over)’ by HYBRID KIDS.
Of the obscurities worth checking out, the rousing standout is ‘Lying Next To You’ by Liverpool’s PASSION POLKA. A brilliant track akin to CHINA CRISIS ‘Working With Fire & Steel’ but with more synths and drum machine, it was recorded in 1983 but never actually saw the light of day until 2011 via a belated release on Anna Logue Records.
Delightfully odd, the VL Tone and organ infused ‘Bandwagon Tango’ from TESTCARD F is swathed with metallic rattles and possesses a suitably mechanical detachment. But with piercing pipey sounds and a hypnotic sequence, the metronomic ‘Destitution’ by cult minimal wavers CAMERA OBSCURA with its off key voice is one of the better productions of that type. Cut from a similar cloth, the perky ‘Videomatic’ by FINAL PROGRAM throws in some lovely string synths to close.
Swirlingly driven by Linn and her sisters, ‘Baby Won’t Phone’ by QUADRASCOPE comes from the Vince Clarke school of song with not only a great vocal, but also the surprise of a guitar solo in the vein of ECHO & THE BUNNYMEN!
‘The Secret Affair’ from JUPITER RED is a great ethereal midtempo synthpop song also using a Linn, while ‘Surface Tension’ from ANALYSIS is an appealing club friendly instrumental that was largely the work of the late Martin Lloyd who later was part of OPPENHEIMER ANALYSIS.
Produced by Daniel Miller, ALAN BURNHAM’s ‘Science Fiction’ from 1981 takes a leaf out of DALEK I LOVE YOU, while tightly sequenced and bursting with white noise in the intro, ‘Feel So Young’ by LAUGH CLOWN LAUGH has bubbling potential but is spoiled by some terribly flat vocals.
One of the weirder tracks is ELECTRONIC ENSEMBLE’s filmic ‘It Happened Then’ which recalls Parisian art rockers ROCKETS; backed by a brilliant ensemble of synths, it sees the return of the cosmic voice from Sparky’s Magic Piano and remember in that story, it could play all by itself!
Of course, other tracks are available and may suit more leftfield tastes… packaged as a lavish hardback book, there are extensive sleeve notes including artist commentaries, archive photos and an introductory essay by journalist Dave Henderson who cut his teeth with ‘Noise’, a short-lived ‘Smash Hits’ rival that featured a regular ‘Electrobop’ column covering the latest developments in synth.
While worthy, the ‘Close To The Noise Floor’ trilogy could at times be very challenging, but ‘Electrical Language’ provides some accessible balance, allowing tunes and beats in. It captures an important developmental phase in music, when technology got more sophisticated, cheaper and user friendly, that can be directly connected to ‘Pump Up the Volume’. Yes, this story is the unlikely seed of the later dance revolution, like it or not! And at just less than twenty five quid, this really is an essential purchase.
An interim collection of tracks before TINY MAGNETIC PETS’ third album ‘The Point Of Collapse’ is released, ‘The Politburo Disko’ EP follows on the Dublin trio’s previous Cold War themed offerings ‘The NATO Alphabet’ and ‘Stalingrad’ released in 2016 and 2014 respectively.
A wealth of quality material emerged from those standalone statements of interregnum, notably ‘Everybody Knows’, ‘Klangfarben’, ‘We Shine’ and ‘On An Inter-City Train’. Following on as part of a now extended play trilogy, ‘The Politburo Disco’ EP is no different.
‘Enigma Code Variations 1 & 2’ is an instrumental that provides an eerie artful collage of arpeggios to start before ‘Blitzed’, a surprising tune with an uptempo thrust. Despite the rock edge, it still maintains Paula Gilmer’s alluring sophisticated poise alongside Sean Quinn’s rawer dual vocal, with some punchy metallic energy and subtle pentatonic phrasing.
Perhaps more in line with what might be expected from TINY MAGNETIC PETS, the musically Numan-esque ‘Non-Aligned’ is a marvellous moodier cousin of ‘Control Me’ with polyrhythmic live fills from Eugene Somers during several unexpected time signature variations which verge on prog. Meanwhile a lonely electric piano shapes ‘A Strange Kind Of Loneliness’ around some ambient synth with airs of Brian Eno which allow Gilmer to take centre stage.
With a primitive rhythm box leading into ‘The Politburo Disko’ title track featuring a cacophony of buzzing keys, sonar bleeps and Russian dialogue, quite what Leonid Brezhnev would have made of it is another matter. But anyone who loved the sort of oddball electronic instrumentals that used to make their way onto B-sides during the ‘Synth Britannia’ era will love this.
While tracks from ‘The Politburo Disko’ will not be on ‘The Point Of Collapse’ which is currently being mixed by OMD soundman Chicky Reeves, it nicely fills the gap before fabulous songs like ‘Falling Apart In Slow Motion’ and ‘Sexy Choc’ finally get unleashed to the wider public.
Ever bought an album on the strength of a single, only to find that “this is not the single I am looking for”??
As long as there has been a music business, artists and producers have been forever tinkering with their work. Sometimes it is to improve an album track for single release by remixing or even re-recording it. Or it is vice-versa to create a new vision for a song or make it sound more like the material on a latterly recorded long player.
But in many cases, it’s the version that was made for mass consumption through radio play that remains superior and best loved. This list celebrates the frustration of being stuck with the wrong version and the dilemma of whether to shell out extra cash to go out and buy the proper version.
Restricted to one single per artist and presented in chronological and then alphabetical order, here are 25 Single Versions That Are Better Than The Album Versions…
JOHN FOXX No-One Driving (1980)
While ‘Metamatic’ is an iconic long player and includes ‘Underpass’, its second single opted for a reworking of ‘No-One Driving’, rather than the more obvious ‘A New Kind Of Man’. Much busier and expansive than the comparatively tame album version, it provided John Foxx with another Top40 hit, something which had eluded him in ULTRAVOX who interestingly also produced a better single version with ‘Quiet Man’ from ‘Systems Of Romance’ while he was in the band.
Available on the JOHN FOXX boxed set ‘Metamatic’ via Edsel Records
On OMD’s debut self-titled album, ‘Messages’ just a song with potential as a single. Utilising a pulsing repeat function on a Korg Micro-Preset shaped by hand twisting the octave knob, it was decided to re-record ‘Messages’ for its single release. Produced by Mike Howlett, the new version included the addition of separately recorded drums for a cleaner snap alongside the basic primary chord structures and one fingered melodies to produce a magnificent UK chart hit that reached No13.
Despite being alongside DEPECHE MODE, SOFT CELL, BLANCMANGE and THE THE on the now iconic ‘Some Bizarre Album’, B-MOVIE were unable to secure a Top40 chart entry with the poignant magnificence of the Mike Thorne produced ‘Remembrance Day’. The struggle for success coupled with internal tensions led to the band fragmenting by 1983. Finally releasing an album ‘Forever Running’ in 1985 on Sire Records, it featured an inferior re-recording of ‘Remembrance Day’.
The combination of obscure lyrics from Ian Burden like “Stroke a pocket with a print of a laughing sound” and a screaming chant gave THE HUMAN LEAGUE their breakthrough hit. Produced by the late Martin Rushent, bursts of Roland System 700 white noise were trigged from an MC8 Micro-composer for the rhythm track. But for the subsequent ‘Dare’ album, ‘The Sound Of The Crowd’ was reworked with a Linn Drum and with the chant also pushed back, it lost much of its dystopian tension.
Available on THE HUMAN LEAGUE album ‘Greatest Hits’ via Virgin Records
More muscular and dynamic, ‘The Art Of Parties’ explored a funkier template was a move away from the mannered Roxy muzak that JAPAN had been associated with. Originally produced by John Punter, when it came to the album ‘Tin Drum’, new producer Steve Nye smoothed off some of the track’s tribal weirdness and muted its brassy punch. While the end result was tighter, synthier and had more melody, the band preferred to play the original single version live…
Extended version available on JAPAN album ‘The Very Best Of’ via Virgin Records
The first track on side 2 of Jean-Michel Jarre albums provided the trailer singles for radio and ‘Magnetic Fields’ was no different. But in a new approach, the French Maestro offered up a toughed up remix where the klanky lightweight tones of the Korg Rhythm KR55 were replaced by bangier drum samples while the synth stabs on the bridge were turned up. But as Jarre’s audience preferred albums, this superior remix got lost over the years and missed inclusion on his many compilations.
Everyone knows the wonderful hit single version of this Northern Soul cover with its hypnotic Roland Compurhythm running all the way through it. But for the ‘Non-Stop Erotic Cabaret’ album, ‘Tainted Love’ was shortened by 2 seconds while the second phrase became the first, thus strangely muting the emotive impact of the original single. Annoyingly, this inferior version crept onto the first SOFT CELL compilation ‘The Singles’ and the more recent ‘Keychains & Snowstorms’ collection.
With its iconic piano line, ‘Party Fears Two’ was a magnificent song about dealing with the perils of schizophrenia. It also kick started 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. A Top10 hit and emotive to the nth degree, the original single version is still the best and total perfection, while the longer album remix with its ambient intro and stop ending lost some of the magic.
The original ‘Height Of The Fighting’ from the second side of ‘Penthouse & Pavement’ was sonically an extension of ‘Travelogue’, Martyn Ware’s last album as a member of THE HUMAN LEAGUE. The more commercial single version took the funkier approach of the first side of ‘Penthouse & Pavement’, adding synthetic drums and a meatier bass synth attack. Featuring the BEGGAR & CO brass section who played with SPANDAU BALLET, it was a glorious electronic soul hybrid.
Available on HEAVEN 17 album ‘The Best Of’ via Virgin Records
Led by Iva Davies, the song which got Australian combo ICEHOUSE noticed by a wider audience in the UK during their tenure opening for SIMPLE MINDS was a slight reworking of the chilling synth laden title track of their debut album from when the band were called FLOWERS. Featuring a strange offbeat and the mannerisms of Gary Numan before blitzing out for the song’s flanged guitar climax, ‘Icehouse’ was as good as anything on VISAGE’s eponymous debut.
Outflanked by DURAN DURAN in the New Romantic debut album stakes, SPANDAU BALLET explored Britfunk with ‘Chant No1′, but then took a strange about turn with their next album ‘Diamond’ featuring a number of ethnic art pieces. Fresh from working with ABC, Trevor Horn reworked Richard James Burgess’ understated production of ‘Instinction’. Throwing in extra synths played by Anne Dudley and extra bombastic percussion; it saved their career.
Still Matt Johnson’s finest five minutes as THE THE, ‘Uncertain Smile’ on its single release featured a wonderfully rigid TR808 pattern, lovely layers of synths and a variety of woodwinds including flute and sax. Produced by Mike Thorne, this fuller sounding and more emotive take far outstripped the bland and overlong ‘Soul Mining’ album cut produced by Paul Hardiman which included the extended boogie-woogie piano of Jools Holland tagged onto the end…
Inspired by the burgeoning New York club scene, Rusty Egan brought in John Luongo to remix ‘Night Train’ from ‘The Anvil’ album much to Midge Ure’s dismay; it lead to the diminutive Glaswegian ending his tenure with VISAGE. But Luongo’s rework was sharper and more rigid, pushing forward the female backing vocals to soulful effect in particular and replacing the clumpier snare sounds of the album version with cleaner AMS samples.
Extended version available on the compilation boxed set ’12”/80s – Volume 2′ (V/A) via Family Recordings
The album version of ‘Sister Surprise’ on the ‘Mad Max’ inspired ‘Warriors’ was far too long, plus something was missing. For its single release, this slice of synthetic funk rock was shortened and sharpened, while a new vocal hook was added over Numan’s now ubiquitous “woah-oh-oh” refrains which provided a much better chorus. Despite this improvement and an appearance of ‘Top Of The Pops’, it was at the time, the lowest charting Gary Numan single since the start of his imperial phase.
Available on the GARY NUMAN album ‘Premier Hits’ via Beggars Banquet
The ‘Seven & The Ragged Tiger’ album sessions had not been a happy experience for DURAN DURAN with the prolonged mixing leading to a fall out between bassist John Taylor and producer Alex Sadkin. ‘The Reflex’ had potential but this was not fully realised. Enter Nile Rodgers who gave the track a rhythmic lift and played around with the then-new innovation of sampling, using various vocals to create new hooks and phrases for a monster international hit.
Available on the DURAN DURAN album ‘Greatest’ via EMI Records
Comedian Lenny Henry summed things up best in a sketch where he entered a record shop to buy a single and was then offered a plethora of versions by the assistant:”I JUST WANT THE VERSION THEY GOT RIGHT!” – ZTT’s marketing exploits with 12 inch mixes are well known, but they played around with album versions too and with the version of ‘Two Tribes’ on ‘Welcome To The Pleasure Dome’, they got it wrong and took out the piper call middle eight!
Available on the FRANKIE GOES TO HOLLYWOOD album ‘Frankie Said’ via Union Square
There was a time when it was not cool to like ABBA but BLANCMANGE changed all that with their version of ‘The Day Before You Came’ which many regard as the last ABBA song. Combining that noted Swedish melancholy and melodicism with an artful Nothern England quirkiness, the more compact single version produced by Peter Collins improved on the ‘Mange Tout’ album version helmed by John Luongo and made more of Neil Arthur’s deep melodramatics.
Available on the BLANCMANGE album ‘Second Helpings’ via London Records
Originally produced by Stephen Hague, ‘Suburbia’ was a good if slightly underwhelming album track from ‘Please’ that got transformed into a more fully realised epic in a re-recording produced by Julian Mendelson. Complete with barking dogs, widescreen synths and thundering rhythms, the more aggressive overtones in the single version of PET SHOP BOYS‘ clever social commentary made ‘Suburbia’ a big hit, particularly in West Germany.
The collective strength of A-HA has been to produce great melancholic pop in that classic Nordic tradition. Chosen to record the theme to the James Bond film ‘The Living Daylights’, the collaboration with composer John Barry was fraught with tension and mutual dislike. However, the conflicts and Barry’s characteristic string arrangement captured an essence that was missing from the later re-recorded version with Alan Tarney for the album ‘Stay On These Roads’.
With DEPECHE MODE’s Trans-Atlantic breakthrough album ‘Music For The Masses’, the good but meandering track heading side two never realised its potential. But with PET SHOP BOYS, NEW ORDER, DURAN DURAN and Madonna remixer Shep Pettibone ‘Behind The Wheel’, a funkier bassline and syncopated rhythms were added to the much better single version, giving the song a far more accessible groove that could fill alternative club dancefloors in America.
‘Republic’ produced by Stephen Hague was not the finest hour of NEW ORDER, so it was something of a surprise when the underwhelming ‘Spooky’ aws the fourth single from it. But it was remixed by FLUKE, a house dance trio who had worked with Björk. Rhythmically more spacious, this superior ‘Minimix’ allowed the best elements of the song to shine.
Available on the NEW ORDER single ‘Spooky’ via London Records
The ‘So Tough’ album version of ‘You’re In A Bad Way’ was far too understated. With a brighter punchier recording helmed by A-HA producer Alan Tarney for the single version, the acoustic guitar was pushed back while vintage synths and a lovely ‘Telstar’ motif was added for a vastly superior rendition. Sometimes more can mean more and this slice of HERMAN’S HERMITS inspired pop brilliance gave SAINT ETIENNE a well-deserved No12 hit single.
Orbit’s concept of adapting classical works was because he wanted to make a chill-out album that had some good tunes. But trance enthusiasts who loved Dutch producer Ferry Corsten’s blinding remix of Samuel Barber’s ‘Adagio For Strings’ will have been shocked if they had bought its virtually beatless parent long player. Sounding not unlike Jean-Michel Jarre set to a 4/4 dance beat, this single version actually reached No4 in the UK charts.
In a poor period for Andy and Vince, the ‘Loveboat’ album’s problem wasn’t just the emphasis on guitar driven dynamics, but it also lacked the usual ERASURE charm despite production by Flood. Even the album’s one potentially great song ‘The Moon & The Sky’ was missing an uplifting chorus, something which was only fixed with the Heaven Scent Radio Rework version by Jason Creasey that was later released as an extended play single.
With vocals by KINGS OF CONVENIENCE vocalist Erlend Øye, ‘Remind Me’ was one of the highlights of RÖYKSOPP’s excellent debut album ‘Melody AM’ which fitted in with dance music culture’s penchant for chill-out. But for single release, the track was given a more rhythmic KRAFTWERK styled feel via ‘Someone Else’s Radio Remix’ by Marisa Jade Marks. The track drew in new listeners, although they would have had a major shock to the system on hearing the album original…
Available on the RÖYKSOPP download single ‘Remind Me’ via Wall Of Sound
We use cookies to ensure that we give you the best experience on our website. If you continue to use this site we will assume that you are happy with it.Ok
and recorded an album 
in which he seems to have turned into 
is a lavish 4CD 80 track boxed set covering the post-punk period when all that synthesizer experimentation and noise terrorism morphed into pop.
via Edsel Records
via Virgin Records
(V/A) via Demon Music Group
via Virgin Records
via Virgin Records
via Mercury Records
via BMG
via Virgin Records
via EMI Records
via Epic Records
(V/A) via Family Recordings
via Beggars Banquet
via EMI Records
via Union Square
via London Records
via EMI Records
via WEA
via Mute Records
via London Records
via Heavenly Records
via Rhino
via Mute Records
via Wall Of Sound
Follow Us!