Tag: OMD (Page 16 of 23)

LIKE LUKEWARM WATER… Poor Singles by Great Acts

Artists are not infallible creatures and even on great albums, there’s often a duff song that somehow gets released as a single and becomes a hit. 

Some of these inferior singles though get found out early on and deservedly fail to capture the public’s imagination. However, sometimes the artists themselves will realise the errors of their ways with these less than satisfactory offerings.

They might quickly drop the track from the live set or rewrite history by excluding the said offending item from greatest hits packages. As a singular follow-up to the ‘We Hope You Enjoy Our New Direction’ albums article, here are twenty singles by your favourite acts who really should have known better.

Arranged in chronological and then alphabetical order with a restriction of one release per artist, these singles are, in the words of SPINAL TAP’s Nigel Tufnel, “like lukewarm water…”  – a Spotify playlist is therefore not required 😉


JAPAN Don’t Rain On My Parade (1978)

Was this really the band who were to record ‘Ghosts’ four years later? You certainly wouldn’t have put your money on JAPAN becoming chart regulars by 1982 based on ‘Don’t Rain On My Parade’, a cover of BARBRA STREISAND’s set piece from ‘Funny Girl’ This hilarious two fingers rock thrash, with an unrecognisable David Sylvian snarling away, found an audience in Japan itself, which subsequently allowed them to develop into the artful combo they are better known as.

Available on the album ‘Adolescent Sex’ via Sony BMG Records

http://www.nightporter.co.uk/


TEARS FOR FEARS The Way You Are (1983)

TFF_The_Way_You_AreAfter the success of their debut ‘The Hurting’, TEARS FOR FEARS’ label wanted an interim release. But after several months exploring their artier aspirations, the resultant single was poor. ‘The Way You Are’ was Curt Smith and Roland Orzabal trying to be JAPAN, only they weren’t very good at it! Smith said it was “probably one of the worst recordings I think we’ve done”. The change of direction to produce the rockier, more MTV friendly opus ‘Songs From The Big Chair’ proved to be far more fruitful.

Available on the album ‘Songs From The Big Chair – Deluxe Edition’ via Mercury Records

http://tearsforfears.com/


VISAGE Beat Boy (1984)

VISAGE Beat Boy

The lack of input from departed founder member Midge Ure as producer really exposed itself on VISAGE’s third long player ‘Beat Boy’. Most of the songs went on for far too long while Steve Strange’s flat, tuneless vocals and banal lyrics were allowed to run riot. Running for a painful six minutes on the album, even in edited single form, the title track really needed a ‘Go Faster’ stripe as the attempt to merge rock guitars with Fairlight stabs and industrialised percussion failed miserably.

Album version available on the album ‘Beat Boy’ via Cherry Pop

http://www.visage.cc/


BRONSKI BEAT & MARC ALMOND I Feel Love / Johnny Remember Me (1985)

BRONSKI BEAT & MARC ALMOND‘I Feel Love’ looked like a dream combination for Jimmy Somerville’s swansong with BRONSKI BEAT to be paired with the one-time SOFT CELL front man. With ‘Love To Love You Baby’ and ‘Johnny Remember Me’ segued onto the main act, the well intentioned recording ended up a total cut ‘n’ paste mess with the poor stop / start edit into ‘Johnny Remember Me’ being particularly embarrassing. Meanwhile, the screaming match between Somerville and Almond was painful to the ears.

Available on the album ‘The Singles Collection 1984/1990’ via London Records

http://www.jimmysomerville.co.uk/

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


JOHN FOXX Enter The Angel (1985)

JOHN FOXX Enter The AngelAn attempt at crossing ‘Endlessly’ with ‘Like A Miracle’, the lukewarm ‘Enter The Angel’ from the ‘In Mysterious Ways’ album had none of the electro innovation of ‘Metamatic’ or the neu romance of ‘The Garden’. Featuring Eddi Reader from FAIRGROUND ATTRACTION on backing vocals, Foxx had gone all conventional and no longer stood out from the crowd like he once had. And the result was that the quiet man effectively retired from music until his 1997 re-emergence.

Available on the album ‘Modern Art: The Best Of’ via Music Club

http://www.metamatic.com


HOWARD JONES Look Mama (1985)

HOWARD JONES Look MamaHoward Jones did much to further the cause of electronic music with his one-man synth act. But ‘Look Mama’, the second single from his second album ‘Dream Into Action’ was a tedious narrative about an interfering mother that was one of the weakest songs on the collection. Featuring a plethora of state-of-the-art digital sounds, their prominence was quite obviously to cover a weak tune. Amazingly, this one got into the UK Top 10!

Available on the album ‘Best: 1983 – 2017’ via Cherry Red

http://www.howardjones.com


THE HUMAN LEAGUE I Need Your Loving (1986)

HUMAN LEAGUE Need Your Loving

THE HUMAN LEAGUE’s fifth album ‘Crash’ was largely rotten, save ‘Human’ and ‘Love Is All That Matters’, two Jam and Lewis numbers that were totally unrepresentative of Da League’s own sound. ‘I Need Your Loving’ had a crew of six on the writing credits, none of them members of the band! This had to have been a Janet Jackson cast-off from ‘Control’… Phil Oakey has been many things but Alexander O’Neal he certainly wasn’t while Joanne and Susanne could never sound like Cherelle!

Available on the album ‘Crash’ via Virgin Records

http://www.thehumanleague.co.uk


GARY NUMAN I Can’t Stop (1986)

NUMAN I Can't StopA toss-up between this and ‘This Is Love’, these two singles from the below-par ‘Strange Charm’ both actually got in the UK Top 40… quite shocking when far superior singles from previous album ‘The Fury’ failed to make any chart impact. By 1986, Numan wasn’t sure if he wanted to be THE POWER STATION or Prince so ‘I Can’t Stop’ was frankly, all over the place! Whatever, flying took more of an interest in his life, Gary Numan’s career dip would not be reversed until 1994’s ‘Sacrifice’.

Available on the album ‘Strange Charm’ via Eagle Records

http://www.numan.co.uk


ULTRAVOX Same Old Story (1986)

U-VOX Same Old StoryThe signs had not been good when drummer Warren Cann was fired from the band for preferring to use programmed percussion. With the success of his solo career, Midge Ure was dictating a more conventional back-to-basics approach. But while the soulful backing vocalists, live drums and brass section on ‘Same Old Story’ kept ULTRAVOX sounding with the times, the bland played on. The poor title of the parent album ‘U-Vox’ summed it all up… a band with something missing!

Album version available on the album ‘U-Vox’ via EMI Music

http://www.ultravox.org.uk


A-HA Touchy! (1988)

A-HA TouchySuch is life, the brilliant predecessor ‘The Blood That Moves The Body’ only reached No28 in the UK singles chart. Instead, the public took its rather ordinary and annoying follow-up ‘Touchy!’ to No11! Devoid of the usual emotive but melodic melancholy that had made songs such as ‘The Sun Always Shines On TV’ and ‘Hunting High & Low’ so dramatically appealing, the lead synth brass line, which ubiquitous for the time, was particularly annoying!

Available on the album ‘Stay On These Roads’ via Warner Music

http://a-ha.com/


HEAVEN 17 The Ballad Of Go Go Brown (1988)

H17 Ballad of GoGoWhen Glenn Gregory appeared on the single sleeve wearing a Stetson, the writing was on the wall. ‘The Ballad Of Go Go Brown’ with its slide guitar and harmonica was the antithesis of the funky modernism that HEAVEN 17 had previously stood for. Martyn Ware’s success as a producer for artists such as TINA TURNER and TERENCE D’ARBY around this time proved he hadn’t lost his creative nous… the once innovative trio had run out of steam.

Available on the album ‘Play To Win: The Best Of’ via Music Club Deluxe

http://www.heaven17.com


NEW ORDER Fine Time (1988)

NEW ORDER were acknowledged as a supreme singles act… until this! ‘Fine Time’ spoilt an otherwise brilliant album in ‘Technique’. A sly send-up of the acid house scene, even Bernard Sumner admitted it was “a novelty record”. A pitch shifted vocal was made to sound like an inebriate jackmaster impersonating Barry White, while the messy backing track was complimented by some bleeting sheep. One thing good about the single edit though is that it’s shorter!

Available on the album ‘Singles’ via Rhino Records

http://www.neworder.com/


EURYTHMICS Revival (1989)

eurythmicsrevival1987’s ‘Savage’ album was a laudable attempt by Annie Lennox and David A Stewart’s to get back to their electronic roots after their overt flirtation with America for their previous two long players ‘Be Yourself Tonight’ and ‘Revenge’. But to launch the 1989 album ‘We Two Are One’, EURYTHMICS got all bland again on ‘Revival’. The squelchy synth bass could not disguise a lifeless tune that ironically, despite its rhythm ‘n’ blues influences, was lacking in soul.

Available on the album ‘We Too Are One’ via RCA / Sony BMG Records

http://eurythmics.com/


DURAN DURAN Violence of Summer (1990)

violence_of_summer_duran_duranDURAN DURAN’s cover of ‘White Lines (Don’t Do It)’ is more comical than awful! But ‘Violence Of Summer (Love’s Taking Over)’ was a poor relaunch of their classic five-piece band format with guitarist Warren Cuccurullo and drummer Sterling Campbell joining the fold, following two albums as a trio. What they forgot to add to the line-up though was some tunes… unsurprisingly, ‘The Violence Of Summer’ has never made it onto any DURAN DURAN compilation CDs.

Available on the album ‘Liberty’ via EMI Music

http://www.duranduran.com


SIMPLE MINDS She’s A River (1995)

SIMPLE MINDS She's A River

For SIMPLE MINDS’ worst commitment to the singular format, it was tempting to list ‘Belfast Child’ or their cover of PRINCE’s ‘Sign O’ The Times’, but the ploddy ‘She’s A River’ wins out. With overblown guitar histrionics, big drums and a virtually anonymous verse with no hook. Bizarrely,  pop duo HURTS revived the template of ‘She’s A River’ for the even more appalling ‘Miracle’ in 2013!

Available on the album ‘Good News from the Next World’ via Virgin Records

http://www.simpleminds.com


PET SHOP BOYS New York City Boy (1999)

PET SHOP BOYS New York City BoyPET SHOP BOYS are as perfect singles act as you can get, but even they were not flawless. For their worst offering, it was a close race between the inappropriately titled ‘Winner’ and the camp OASIS of ‘I Get Along’. But ‘New York City Boy’ has to be Neil Tennant and Chris Lowe’s least convincing single. While ‘Go West’ took a VILLAGE PEOPLE song and applied an elegiac PET SHOP BOYS template, ‘New York City Boy’ was misguided attempt to try and actually be New York’s favourite disco queens.

Available on the album ‘Nightlife’ via EMI Music

http://www.petshopboys.co.uk


KRAFTWERK Expo 2000 (2000)

KRAFTWERK Expo 2000In a scandal equivalent to the UK’s Millenium Dome project, KRAFTWERK pocketed 400,000 Deutsch Marks for a five syllable processed voice jingle for Expo 2000! At the time, it was their first new composition for 14 years. Lacking the percussive drive previously provided by the now-absent Karl Bartos and Wolfgang Flür, ‘Expo 2000’ was a meandering, formless ditty which lacked the klassik melodicism that made KRAFTWERK great.

Available on the single ‘Expo 2000’ via EMI Music

http://www.kraftwerk.com


DEPECHE MODE Peace (2009)

‘Sounds Of The Universe’ is such a dire body of work. So surreally imagine as a diversion from its uninspired electro blues rock, John Lennon trying to write a KRAFTWERK song during THE BEATLES sessions that produced ‘Across The Universe’? Sounds interesting doesn’t it? DEPECHE MODE worked on the concept but came up with the ghastly ‘Peace’. No pleasures remained as the strained and nauseating chorus, attached to a lame verse, was more likely to harm diplomatic relations.

Available on the album ‘Sounds Of The Universe’ via Sony Music

http://www.depechemode.com


OMD If You Want It (2010)

OMD_If_You_Want_It_single_coverFor anyone who had loved OMD’s pioneering early catalogue, ‘If You Want It’ was horrid. An attempt at a soaring OASIS styled anthem, ‘If You Want It’ was not what fans were expecting. With an excruciatingly high key and a joint compositional credit to Tracey Carmen, who had worked with Andy McCluskey’s girl group creation ATOMIC KITTEN, its true origins can only be guessed at. But thankfully, OMD managed to snatch victory from the jaws of defeat with 2013’s ‘English Electric’ opus.

Available on the album ‘History Of Modern’ via Blue Noise

http://www.omd.uk.com


ERASURE When I Start To (2011)

ERASURE When I Start

On paper, things were not promising as the severely over rated FRANKMUZIK was recruited to apply his modern dance production aesthetic to Andy Bell and Vince Clarke’s classic synthpop on the ‘Tomorrow’s World’ album. But its first single ‘When I Start To (Break It All Down)’ sounded like a rather anodyne TAKE THAT ballad and Bell’s voice was strained to an auto tuned flatness, lacking power and soul.

Available on the album ‘Tomorrow’s World’ via Mute Artists

http://www.erasureinfo.com


Text by Chi Ming Lai
17th January 2015, updated 22nd January 2018

25 SYNTH SINGLES THAT SHOULD HAVE BEEN HITS

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

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

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

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


THE HUMAN LEAGUE Empire State Human (1979)

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

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

http://www.thehumanleague.co.uk


LORI & THE CHAMELEONS Touch (1979)

Lori--The-Chameleons-Touch---2nd-issue-448240THE CHAMELEONS (not to be confused with the cult Manchester band) were actually Zoo Records supremos Bill Drummond of THE KLF fame and country house resident Dave Balfe who played keyboards with THE TEARDROP EXPLODES. On the beautifully sequenced ‘Touch’, art school student Lori Lartey innocently told of her holiday romance in Tokyo. It spent one week at No70 when re-issued on Sire Records. There was to be just one more single entitled ‘The Lonely Spy’.

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

http://www.penkilnburn.com/


JAPAN Gentlemen Take Polaroids (1980)

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

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

http://www.nightporter.co.uk


ROBERT PALMER Johnny & Mary (1980)

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

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

http://www.robertpalmer.com/


SIMPLE MINDS I Travel (1980)

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

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

http://www.simpleminds.com


ULTRAVOX Passing Strangers (1980)

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

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

http://www.ultravox.org.uk


OUR DAUGHTER’S WEDDING Lawnchairs (1981)

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

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

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


SOFT CELL Memorabilia (1981)

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

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

http://www.marcalmond.co.uk


BLANCMANGE Feel Me (1982)

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

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

http://www.blancmange.co.uk


THOMAS DOLBY Europa & The Pirate Twins (1982)

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

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

http://www.thomasdolby.com


HEAVEN 17 Let Me Go (1982)

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

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

http://www.heaven17.com


THE TEARDROP EXPLODES Tiny Children (1982)

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

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

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


TEARS FOR FEARS Suffer The Children (1982)

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

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

http://tearsforfears.com/


VISAGE Pleasure Boys (1982)

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

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

http://www.visage.cc/


DEAD OR ALIVE Misty Circles (1983)

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

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

http://www.deadoralive.net/


JOHN FOXX Endlessly (1983)

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

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

http://www.metamatic.com


OMD Telegraph (1983)

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

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

http://www.omd.uk.com


TALK TALK My Foolish Friend (1983)

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

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

http://www.spiritoftalktalk.com


THE BLUE NILE Tinseltown In The Rain (1984)

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

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

http://www.thebluenile.net


CHINA CRISIS Arizona Sky (1986)

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

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

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


ERASURE Oh L’Amour (1986)

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

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

http://www.erasureinfo.com


NEW ORDER Bizarre Love Triangle (1986)

NEW ORDER Bizarre fac163One of NEW ORDER’s best loved tunes, ‘Bizarre Love Triangle’ only reached No56 in the UK singles chart. However, the version released was an irritating, dance enhanced remix by Shep Pettibone which took all the subtlety out of the song with its collage of overdriven percussive samples. Far better and much more commercial was an at-the-time unreleased remix by Stephen Hague which later formed the basis of the ’94 version on ‘(the best of)’ compilation.

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

http://www.neworder.com


ACT Snobbery & Decay (1987)

act-snobbery-and-decay-ztt-1It was the height of Thatcherism and the Synclavier driven theatrics of ‘Snobbery & Decay’ were a sharp observation by Claudia Brücken and Thomas Leer on the state of the nation. However, the UK were not yet ready for an Anglophile German to tell them about its political decline… “No sadly they didn’t” remembered Claudia Brücken in Summer of 2010, “perhaps it was just not the right moment for this song… Thomas does think that perhaps we were ahead of our time”.

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

http://www.claudiabrucken.co.uk


KRAFTWERK The Telephone Call (1987)

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

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

http://www.kraftwerk.com


CAMOUFLAGE The Great Commandment (1988)

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

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

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


Text by Chi Ming Lai
3rd January 2015

A Beginner’s Guide To UNDO RECORDS

Undo Records is the Athens based record company founded by Nick Bitzenis and George Geranios.

Continuing the tradition of iconic labels like Factory and Mute with an attention to detail and a tasteful if occasionally eccentric design aesthetic, Undo’s physical products have captured the hearts of music fans worldwide and become highly sought after collector’s items.

Legend has it that the name Undo was actually an abbreviation of “United Donkeys” after the name “Gaga” was rejected!

The label was conceived by the pair as a better way of utilising their business interests in light of a lucrative sponsorship deal for Bitzenis’ band MIKRO that saw little return for the power pop combo after a three album tenure with Warner Music Greece.

Undo’s first release though was actually ‘E-Bay Queen’ by MARSHEAUX in 2004, featuring the catalogue number KUCD001 which reflected Undo’s then partnership with distributor Klik Records. Meanwhile, MIKRO’s fourth album ‘180°’ was the label’s second release as KUCD002.

But it was following the cult success of MARSHEAUX’s breakthrough release ‘Peek ABoo’ in 2007 that the label secured a wider distribution deal with EMI Greece. With fans such as Andy McCluskey, Tom Robinson, Stuart Maconie and Jared Leto, the Athens based synth maidens have since become Undo Records’ most acclaimed and prized asset, with MARSHEAUX’s most recent album ‘Inhale’ becoming their biggest seller to date.

A decade later and the label have nearly fifty releases to its name including some key names from classic and modern electronic music. “We make electro pop records!” Undo say, so quite why a representative from a UK music distributor approached them about licensing the BEADY EYE debut long player still remains a mystery!

So here are eighteen songs affectionately chosen for a fantasy CD compilation that represents the ethos of Undo Records. Restricted to one song per artist moniker or guest vocalist combination and arranged in catalogue number / chronological order, this is A Beginner’s Guide to Undo Records…


FOTONOVELA But Not Tonight (2005)

Greek Tribute to DMNick Bitzenis and George Geranios had initially met through the Greek DEPECHE MODE fan club Hysterika. So a DM covers album featuring the best of Greece’s independent bands was a natural artistic undertaking for the pair. MARSHEAUX contributed ‘New Life’ while MIKRO did ‘World In My Eyes’. But the highlight turned out to be from Bitzenis and Geranios themselves via their own music production platform FOTONOVELA with a lounge cover of Da Mode’s often forgotten but popular B-side ‘But Not Tonight’ featuring Bitzenis on lead vocals.

From the CD compilation ‘Around The World & Back: A Greek Tribute To Depeche Mode’ (V/A) – KUCD003

http://www.facebook.com/undofotonovela


MESH Crash (2006)

MESHwecollide62005’s ‘We Collide’ was MESH’s best album to date at that point, so it was a major coup for Undo to have been able to license it for their fourth catalogue release. With ‘Crash’, MESH continued on their usual regular lyrical gists on the conflict within the human condition, providing the sort of synthesized anthems that the blues obsessed 21st Century DEPECHE MODE no longer delivered. For one of the album’s extras on the Undo variant, MARSHEAUX contributed a brilliant electro disco remix of ‘Crash’.

From the CD album ‘We Collide’ – KUCD004

http://www.mesh.co.uk/


NIKONN Sunday (2006)

Although a cult success in Greece via his power pop outfit MIKRO, Nick Bitzenis wanted an outlet to express some of his more soundtrack based ideas… enter NIKONN. His beautiful solo debut album ‘Poladroid’ opened with ‘Sunday’, a rich chill out tapestry in the vein of MOBY featuring expansive synths, soothing vocoder and the exquisite vocals of Maria Papadopoulou. Incidentally, ‘Poladroid’ sold out its original KUCD005 run and was reissued as an ‘SX70 Edition’ with bonus material in 2013 while NIKONN’s work has appeared on ‘CSI: Miami’ and numerous bar compilations.

From the 2CD album ‘Poladroid – SX70 Edition’ – CDUN05

https://www.facebook.com/undonikonn


ESTE Ready For Love (2007)

Undo LM.End_1While ‘Ready For Love’ was actually a Eurodisco hit from the film ‘Deep End’ featuring the Greek actress and Playboy model Maria Korinthiou on lead vocals, the song appeared on a CD compiled by Undo Records that was given away free with domestic music magazine ‘Pop+Rock’ in Spring 2007. Breathy and highly alluring, the mysterious connection that enabled ‘Ready For Love’ to be included was that ESTE turned out to be Bitzenis and Geranios’ production wing FOTONOVELA in disguise!

From the CD compilation album ‘Undo LM.End_1’ (V/A) – MPH049

https://www.facebook.com/maria.korinthiou.official.Fan.Page


MIKRO Kalinihta (2007)

Originating from Greece’s other big city Thessaloniki, MIKRO were noted for their catchy uptempo party anthems. ‘Kalinihta’ from their fifth album ‘Restart’ perfectly captured the imminent conclusion of a rousing night out with some seductive Greek language vocals by Ria Mazini. ‘Restart’ was the first Undo release that featured a ‘CDUN-’ catalogue prefix, reflecting their new distribution deal with EMI Greece. Meanwhile, MIKRO’s next album was released by Undo in separate Greek and English CD editions as ‘Download’ and ‘Upload’ respectively in 2009.

From the CD album ‘Restart’ – CDUN07

http://www.mikro.gr


CLIENT Zerox Machine (2008)

CLIENT Heartland undoBy 2007, CLIENT had left Mute Records and had secured a new European deal with Out Of Line for their third album ‘Heartland’. In 2008, Undo licensed the album for the Greek and Cypriot markets. ‘Zerox Machine’ was a futuristic pop cover of the cult ADAM & THE ANTS favourite that was simultaneously glamorous, cold, emotional and sexy. In a touring tie-in which also saw MARSHEAUX sign to Out Of Line for the rest of Europe while Undo developed a close friendship with lead singer Client B aka Sarah Blackwood that continues to this day.

From the CD album ‘Heartland’ – CDUN09

http://www.clientlondon.com/


KID MOXIE Selector – Fotonovela remix (2009)

KKidMoxie_undoKID MOXIE is the musical project of stunning LA based actress Elena Charbila whose film career has seen her appear alongside Al Pacino and Malcolm MacDowell. Prior to her current cinematic phase on songs like ‘The Bailor’, her first album ‘Selector’ dabbled in what Charbila termed “Gutter Pop”. For the Greek physical edition of the release, FOTONOVELA took the title track and imagined ‘Are Friends Electric?’ reworked as an electro disco track for one of the bonuses while MARSHEAUX remixed ‘Medium Pleasure’.

From the CD album ‘Selector’ – CDUN11

http://www.facebook.com/kidmoxie


RED BLOODED WOMEN You Made Your Bed (2009)

‘Electronically Yours’ was a compilation that gathered a number of the new synthesizer acts such as HIDDEN PLACE, TECHNOLOGIC and TIGER BABY. A trio of feisty ladies with a vibrancy in their passion for pop with an edgy synthetic sound not heard before in the world of the girl group, RED BLOODED WOMEN were like GIRLS ALOUD produced by Daniel Miller. ‘You Made Your Bed’ was a satirical look at the IKEA generation’s relationships. The electronic bassline wass octave shift heaven carried by a throbbing sequence and beat!

From the 2CD compilation album ‘Electronically Yours’ (V/A) – CDUN14

https://myspace.com/redbloodedwomenmusic


MARSHEAUX Radial Emotion (2009)

With two albums to their name, Marianthi Melitsi and Sophie Sarigiannidou delivered on their promise with their most accomplished work to date in ‘Lumineux Noir’. ‘Radial Emotion’ with its infectious chorus and vibrant syncopated beats almost stole the show on an album which also included some of MARSHEAUX’s best songs like ‘Sorrow’, ‘Breakthrough’, ‘Summer’, ‘So Far’ and ‘Exit’. The innovative packaging for ‘Lumineux Noir’ consisted of a perforated black box that needed breaking to access the CD… thus, many fans bought one to play and one to display!

From the CD album ‘Lumineux Noir’ – CDUN16

https://www.facebook.com/marsheaux


ROCKETS IN A COMA You In Me (2009)

ROCKETS IN A COMA CDROCKETS IN A COMA’s striking front woman Elektra first came to prominence as a guest vocalist on FOTONOVELA’s 2008 debut ‘Mistakes Are Good’. With her feisty vocal style coupled with musical partner Java Kid’s eclectic production style, the duo delivered a mutant strain of dominatrix electro rock disco with hints of MIKRO, THE CURE and GOLDFRAPP. This was wonderfully showcased on their first single ‘Psycholover’ and ‘You In Me’. But despite these sexily provocative overtures, Elektra has since effectively retired from music in order to raise a family.

From the CD album ‘Square Strawberries’ – CDUN17

http://www.undorecords.com/RocketsInAComa.html


TAREQ Mosquito (2010)

IMG_127Greco Jordanian vocalist TAREQ was a member of TECH SOIR who released their only album ‘Dark Room’ on Undo in 2007. So it was not a total surprise when his solo debut appeared on the label in mid-2010. The relaxed but pacey drum ‘n’ pop of ‘Mosquito’ was enhanced by a charming vocal croon that was not that different from INXS’ Michael Hutchence. Indeed, the parent album ‘Cocoon’ featured a cover of ‘Need You Tonight’ to further substantiate the link. TAREQ’s second album on Undo entitled ‘Fish’ came out in 2013.

From the CD album ‘Cocoon’ – CDUN24

http://www.facebook.com/Tareqdisco


OMD Green (2010)

‘Green’ was a demo from the solo phase of OMD that Andy McCluskey wrote with Stuart Kershaw and sounded like a ploddy rock ballad. Taking ‘Almost’ as a reference point with its white noise-like cymbal, Paul Humphreys reworked the track with a classic but contemporary electronic feel that became one of the highlights of ‘History Of Modern’. For its Greek release, Undo put the standard album into a lavish box with a bonus remix EP and ribboned it with a unique OMD wax seal.

From the 2CD+DVD boxset ‘History Of Modern’ – CDUN25

http://www.omd-messages.co.uk


ROLLA SCAPE featuring MARSHEAUX Heaven Is Real (2011)

Rolla_Scape_st__CoverMARSHEAUX found themselves in funky disco mode on this guest appearance with ROLLA SCAPE, a pseudonym of K.BHTA, an Athens based Australian electronic musician. While the wispy vocal tones of Marianthi Melitsi are unmistakeable, the repetitive and sparse dance flavour of ‘Heaven Is Real’ augmented by rhythm guitar is quite unlike anything else in the MARSHEAUX catalogue and an enjoyable diversion away from their more obvious synthpop sound.

From the CD album ‘Rolla Scape’ CDUN28

https://www.facebook.com/pages/Rollascape/148634268497058


MIRRORS Somewhere Strange (2011)

A unity of art and technology, MIRRORS were the perfectly modern take on the Synth Britannia era. The outstanding ‘Somewhere Strange’ was possibly the most euphoric and roaring train ride since NEW ORDER’s ‘Temptation’ with a hypnotic assault of propulsive blips and cacophonies of percussive noise. Undo’s special 2CD release of ‘Lights & Offerings’ chronicled the album and the brilliant B-sides. The Undo arrangement led to singer James New contributing the brilliant ‘Our Sorrow’ and ‘Romeo & Juliet’ on FOTONOVELA’s ‘A Ton Of Love’ in 2013.

From the 2CD album ‘Lights & Offerings’ – CDUN31

http://mirrorsofficial.bandcamp.com/


LIEBE Flamingo Nights (2012)

With the spectre of Moroder and the slight, unorthodox vocal vibe of PULP’s Jarvis Cocker looming, the Thessaloniki based electro duo LIEBE borrowed an Italo style reminiscent of PET SHOP BOYS but added an extra sense of tongue-in-cheek. Also fusing elements of THE HUMAN LEAGUE to their highly immediate sparkling disco sound, the first single from the ‘Somewhere In Time’ album, ‘Strangers’ was a radio success in their home country while ‘Flamingo Nights’ took their uplifting retro euphoria even further.

From the CD album ‘Somewhere In Time’ – CDUN34

http://www.liebe.gr


VIENNA Rendez-Vous Sur La Mer Noire (2013)

VIENNA were a cult French synth act who were led by Odile Arias, best known for being Martin Gore’s girlfriend at the time when the iconic DEPECHE MODE ‘101’ documentary was filmed. Lively and sublime with an almost Middle eastern derived melody, ‘Rendez-Vous Sur La Mer Noire’ was originally released in 1984 as the B-side to their debut single ‘Say You Love Me (Tu As Juré)’. VIENNA captured a promising Gallic electro sound that never got fully realised back in the day. But in Undo’s first retrospective product, they were rescued from obscurity in this lavish boxset.

From the 4CD boxset ‘History 1984-1991’ – BXCDUN39

http://www.undorecords.com/ViennaComilationBox.html


FOTONOVELA feat SARAH BLACKWOOD Justice (2013)

The concept of FOTONOVELA’s sophomore offering ‘A Ton of Love’ was to produce a supreme electronic record featuring vocalists from all stages of classic synthpop as a homage to the genre. Andy McCluskey was the first to come on board but the resultant song ‘Helen Of Troy’ turned out so well that it ended up on OMD’s ‘English Electric’! Undeterred, the duo recruited MARSHEAUX, KID MOXIE, MIRRORS and Sarah Blackwood who took FOTONOVELA onto a cloudier but enjoyable hitchhike through the North West of England with her feisty contribution to ‘Justice’.

From the CD album ‘A Ton Of Love’ – CDUN46

http://www.eblackwood.com/


SAD DISCO Beat (2014)

Sad_Disco_Lp_Cover“If Dimitris Biniaris and Theod Kopoul hadn’t formed SAD DISCO, they would probably hate each other” said their enlightening press release. Creative tension can be a positive thing in music, so with interests as disparate as heavy metal, post-punk and err… sad disco, the duo set about making music that was like “the sound echoing in your head while you are walking away from a club”. With hints of THE PRESETS and CUT / COPY, the grooving disco lento on ‘Beat’ provides an appropriate backing for the introvert melancholy of Binaris’ high register vocals.

From the vinyl LP ‘Sad Disco’ – LPUN47

https://www.facebook.com/saddisco.official


For further information on Undo Records and their online shop, please visit http://www.undorecords.com

https://www.facebook.com/undorecords/

https://twitter.com/undorecords

https://www.instagram.com/undorecords/


Text by Chi Ming Lai
8th September 2014

MAD WORLD BOOK

The book ‘Mad World: An Oral History of New Wave Artists and Songs That Defined the 1980s’ is to be formally made available in the UK.

In the book’s foreword by DURAN DURAN’s Nick Rhodes, the flamboyant synth player says: “It was a culture where the predilection was standing out from the crowd rather than fitting in. Artists were musically adventurous, less driven by commerce… While those in their teens and early 20s have a limited musical vocabulary, they remain the key source for change in music”. Concluding in the afterword, Moby states: “New Wave was its own world. With its own influences, its own codes, its own bailiwick(s), its own aesthetics, its own sonic landscape…”

Launched in North America to great acclaim last April, it discusses many of the artists who formed the British Invasion of the US with the advent of MTV; the Americans referred to these types of acts as New Wave.

While not definitive, ‘Mad World: An Oral History of New Wave Artists and Songs That Defined the 1980s’ delves into the spirit, the politics and the heartache behind some of the best songs ever recorded, regardless of genre. The book does bias towards a Stateside viewpoint courtesy of self-confessed Anglophile and Duranie Lori Majewski, but the content is balanced by the critical input of LA based Glaswegian Jonathan Bernstein.

The two met at Spin Magazine during the height of Grunge and found themselves to be kindred spirits as they quietly bonded over Synth Britannia and New Romantics, much to the chagrin of their scruffy, plaid shirted colleagues.

Photo by Paul Natkin

The dynamic between the “sour by nature” and “staunch supporter of the sheer oddball” Scotsman and the “obsessed past the point of sanity” American ensures that ‘Mad World’ celebrates the triumph and innovation of the era while simultaneously pulling no punches. For example, while accepting their places in the book, Bernstein lobs a few hand grenades in the direction of KAJAGOOGOO and THOMPSON TWINS! The pair’s differing viewpoints on the two phases of OMD are another enjoyable discussion point.

‘Mad World’ is ELECTRICITYCLUB.CO.UK’s kind of book… it is affectionate and respectful, but also objective and discerning; this more than makes up for previously feeble attempts by other writers to capture the era by combining acts as disparate as SIMPLE MINDS and JASON DONOVAN into a single volume!

While the Adam ‘n’ Moz laden front cover might indicate otherwise, many of the artists who impacted on the Post-Punk synthesizer boom figure prominently in ‘Mad World’. As well as OMD, DEPECHE MODE, SOFT CELL, ULTRAVOX, NEW ORDER, JOY DIVISION, YAZOO, HEAVEN 17, TEARS FOR FEARS, DURAN DURAN, A-HA, A FLOCK OF SEAGULLS, SIMPLE MINDS, there’s Gary Numan, Thomas Dolby and Howard Jones, there’s also THE NORMAL and the early HUMAN LEAGUE to represent the trailblazers from 1978 who helped define the era.

Daniel Miller describes electronic music like ‘Warm Leatherette’ as “pure punk music” as opposed to “punk rock”, due to it adopting that true punk ideal of do-it-yourself. Meanwhile, Martyn Ware waxes lyrical about the realisation of ‘Being Boiled’… the chapter was to have been about ‘Don’t You Want Me?’ but with Phil Oakey’s continued refusal to give interviews about the past has ensured its omission. At the end of the day, Oakey misses an opportunity to reflect and give his story of the era.

However, Oakey’s contemporaries don’t disappoint; as usual, Andy McCluskey gives great copy and his interview nicely sums up the rise and fall and rise and fall and rise of OMD to highlight the pressures of achieving and maintaining success. And while ‘If You Leave’ from the film ‘Pretty In Pink’ may not be the greatest song he and Paul Humphreys have ever written, it is certainly not their worst and its success in America is a handy pension pot for the duo.

The joy of this book is that even if an act is of no interest musically, the back stories are fascinating and a number have not been widely known. Like did you know that the true origin of the name SPANDAU BALLET is even more unpleasant than JOY DIVISION? Or that ‘True’ was inspired by Gary Kemp’s unrequited relationship with ALTERED IMAGES’ Clare Grogan? Or that DEXY’S MIDNIGHT RUNNERS’ Kevin Rowland is a right miserable sod, but he always has been and always will be!

Meanwhile, the entertaining KAJAGOOGOO chapter proves that like in much of today’s music scene, ego can often exceed inherent talent and actual artistic success. The diva-ish spats between Limahl and Nick Beggs in ‘Mad World’ are almost worth the purchase price alone.

While ‘Mad World’ is full of tales of excess and hedonism, one very interesting chapter is about the clean living and philosophical Howard Jones. While quietly making his fortune in the US, the happily married vegetarian readily admitted to having a wandering eye that inspired his biggest American hit ‘No-One Is To Blame’: “It’s about being attracted to other people and admitting that. You are attracted to maybe half the people you meet, and that isn’t a bad thing. You shouldn’t blame yourself for that… but if you want to consummate that attraction to other people, then you have to be prepared to take what comes with it”.

‘Mad World: An Oral History of New Wave Artists and Songs That Defined the 1980s’ is a terrific read, but there are the odd date errors and what some might consider irritating translations of distinctly British terms for the primarily American audience.

And while the book covers most bases, one important song that is missing is VISAGE’s ‘Fade To Grey’. A complex story in itself, that probably would have made up a book on its own! But overall, these minor aberrations do not spoil what ‘Mad World’ is… the best book so far capturing that MTV era which many like to refer to as ‘The 8*s’ 😉

Following her highly informative interview earlier in the year, co-author Lori Majewski reflected on the Americanisation of New Wave and why certain UK acts came to become more highly regarded in the US than back home…

Why did it seem the only US acts that seemed to ride on that UK synth wave were BERLIN and ANIMOTION?

LA had a very big New Wave scene with MISSING PERSONS, THE GO GOS, THE MOTELS, BERLIN and ANIMOTION but what you have to remember is that it kinda got watered down by the time it got to America. As we say in the book, you had Brits trying to be Germans wanting to be robots, and then Americans who wanted to be British!

So the Americans were already two steps removed from the conception of New Wave. You look at something like BERLIN, so they’re named after the city that inspired New Wave and 6,000 miles away singing about ‘The Metro’ in Paris where they had never even been!

But I think what LA New Wave brought was glamour. First of all, there weren’t a lot of women in New Wave full stop although in the UK, you had Annie Lennox, Alison Moyet and BANANARAMA. So in LA, we had BERLIN’s Terri Nunn who was a model and tried out to be Princess Leia in ‘Star Wars’, there was THE MOTELS’ Martha Davis who was very old school Hollywood glam and THE GO GOS; plus you had MISSING PERSONS’ Dale Bozzio, who was the first woman I ever saw and thought “oh, that’s what a breast implant is” *laughs*

I think in general, Americans put their own spin on New Wave but as Jonathan likes to point out in the book several times, it wasn’t something we exported back to Britain; it was something that we kept here that Brits didn’t really go for.

What did you think about bands like TEARS FOR FEARS, SIMPLE MINDS and THE PSYCHEDLIC FURS tailoring their sound for the American market when their initial charm was sounding British in the first place?

It’s something we talk about in the TEARS FOR FEARS chapter. We forget that TEARS FOR FEARS had the biggest album of the era in ‘Songs From The Big Chair’. Curt Smith talks in the book about how they did consciously move to appeal to a wider audience but also to make a different record to ‘The Hurting’.

They were listening to more American things like Frank Zappa. So they didn’t make a conscious decision to be American, they made a conscious decision NOT to make the first record again… and as you point out, that record was very British. I don’t know if ‘Songs From The Big Chair’ is American sounding, it just not as New Wave sounding.

The Americans really loved THOMPSON TWINS and Howard Jones? What was it about them that appealed Stateside?

Howard Jones did well here but I think he would have made it no matter what decade it was because he wrote classic songs… but he happened to use synthesizers and he had the haircut! When you look at a song like ‘No-One Is To Blame’, it’s a good pop song, period!

As for THOMPSON TWINS, Jonathan knew of their previous incarnation while I did not, so he was suspicious of how they were this art conglomerate that suddenly wanted to be pop stars and on the cover of Smash Hits! I have to say, they were visually arresting and those songs are built to last. You hear ‘Hold Me Now’ today and what an incredible song!

And I always remember that was the first time I thought about couples fighting because the idea that a man will placate a woman and say “you ask if I love you, well what can I say? You know that I do and if this is just one of those games that we play”, and I thought “Oh my God, that’s right… that’s what women do!” *laughs*

So I felt Tom Bailey was a pop star with a romantic side that really appealed to me, especially with the song ‘If You Were Here’ at the end of the John Hughes film ‘Sixteen Candles’, that’s one of my favourite songs from the entire era.

Why do you think acts like A FLOCK OF SEAGULLS, THOMAS DOLBY, WANG CHUNG and NAKED EYES were perhaps more popular in America than Britain?

I think this IS the advent of MTV, you guys in the UK didn’t have it and we did. ‘I Ran’ by A FLOCK OF SEAGULLS was a huge MTV hit, but it only started going up the US charts and being played on radio after people were requesting it because they saw the video on MTV. So they rode a wave that was not available in their own country.

It was the same with NAKED EYES and I love their version of ‘Always Something There To Remind Me’. MTV helped a lot of bands that were using the medium of video to get to an audience.


ELECTRICITYCLUB.CO.UK gives its warmest thanks to Lori Majewski

‘Mad World: An Oral History of New Wave Artists and Songs That Defined the 1980s’ is available in the UK from all good bookshops and online retailers

Meanwhile in Brooklyn at Rough Trade NYC on Saturday 14th September 2014, ‘A Mad World Conversation with Midge Ure’ takes place at 5.00pm – details can be found at the Mad World website

http://madworldbook.com

https://www.facebook.com/madworldthebook


Text and Interview by Chi Ming Lai
2nd September 2014

A Beginner’s Guide To STEPHEN HAGUE

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

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

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

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

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

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

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

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


MALCOLM McLAREN Madam Butterfly (1984)

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

Available on the album ‘Fans’ via Charisma Records

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


OMD (Forever) Live & Die (1986)

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

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

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


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

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

Available on the album ‘Actually’ via EMI Records

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


NEW ORDER True Faith (1987)

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

Available on the album ‘Singles’ via WEA Records

http://newordernow.net/


CLIMIE FISHER Love Changes (1988)

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

Available on the album ‘Everything’ via Edsel Records

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


ERASURE A Little Respect (1988)

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

Available on the album ‘The Innocents’ via Mute Records

http://www.erasureinfo.com/


HOLLY JOHNSON Heaven’s Here (1989)

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

Available on the album ‘Blast’ via Cherry Red Records

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


JIMMY SOMERVILLE Heaven Here On Earth (1989)

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

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

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


MARC ALMOND A Lover Spurned (1990)

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

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

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


BANDERAS This Is Your Life (1991)

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

Available on the album ‘Ripe’ via London Records

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


SIOUXIE & THE BANSHEES Kiss Them For Me (1991)

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

Available on the album ‘Superstition’ via Universal Music

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


ELECTRONIC Disappointed (1992)

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

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

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


THE OTHER TWO Selfish (1993)

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

Available on the album ‘And You’ via LTM Records

http://theothertwo.co.uk/


BLUR To The End (1994)

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

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

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


DUBSTAR Stars (1995)

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

Available on the album ‘Disgraceful’ via Food Records

http://dubstarofficial.co/


TECHNIQUE You & Me (1999)

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

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

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


A-HA You Wanted More (2002)

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

Available on the album ‘Lifelines’ via WEA Records

http://a-ha.com/


CLAUDIA BRÜCKEN Thank You (2011)

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

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

http://www.claudiabrucken.co.uk


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


Text by Chi Ming Lai
24th April 2014

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