Tag: Pet Shop Boys (Page 6 of 17)

30 TRACKS THAT SHAPED ELECTRICITYCLUB.CO.UK

13 March 2020 / electricityclub

So how did ELECTRICITYCLUB.CO.UK arrive at its discerning musical ethos?

It probably all began with a very liberal and Bohemian junior school teacher named Miss Nielsen who played KRAFTWERK’s ‘Autobahn’, PINK FLOYD’s ‘Echoes’ and the soundtrack of ‘A Clockwork Orange’ to the class, with the unusual sound of all three providing an otherworldly, yet captivating listen.

Later on, various parts of the 22 minute ‘Autobahn’ track appeared on the end credits of BBC children’s drama ‘Out Of Bounds’ and opened ‘Newsround Extra’, but 1977 was to become the true Year Zero in electronic pop. With ‘Oxygène’, ‘Sound & Vision’, ‘Magic Fly’ and ‘I Feel Love’ all hitting the UK Top 3 within months of each other, this was effectively the beginning of synths designing the future.

To celebrate the 10th birthday of the site, here is a very personal list of 30 tracks that shaped it. These are primarily songs that solidified and expanded the interest in synth or later provided hope in the face of real music snobbery and the return of the guitar in the wake of Britpop.

There will be grumbles that the likes of YELLOW MAGIC ORCHESTRA, HEAVEN 17, YAZOO, DURAN DURAN, TALK TALK, PROPAGANDA, CLIENT, RÖYKSOPP and others are not featured, and certainly if this list was a 40, they would all be included. But this list is an impulsive snapshot of ELECTRICITYCLUB.CO.UK’s own journey in music, as opposed to being a history of electronic pop or a best of.

What? No industrial, acid house, techno or dubstep you ask? Well, that’s because ELECTRICITYCLUB.CO.UK disliked the majority of it. While this is not always the case, the site has generally about synthpop ie pop music using synthesizers, as can be seen from this rather esteemed electronic roll of honour 😉

This is the history that the too cool for school media, who think everything jumped from KRAFTWERK to Detroit Techno in one fell swoop, don’t like to mention…

With a restriction of one track per artist moniker and presented in yearly and then alphabetical order featuring music from before the site came into being, here is why is it how it is…

JEAN-MICHEL JARRE Oxygène (1976)

For many including Jean-Michel Jarre, ‘Popcorn’ was their first experience of a synthpop hit and he released his own version under the moniker of THE POPCORN ORCHESTRA in 1972. But while working on his first proper full length electronic album in 1976, Jarre adapted a melodic phrase from the late Gershon Kingsley’s composition as the main theme of what was to become the project’s lead single. That composition was ‘Oxygène IV’ and the rest is history.

Available on the album ‘Oxygène’ via Sony Music

https://jeanmicheljarre.com/

DAVID BOWIE Sound & Vision (1977)

Exploring a “whole new school of pretension” with his new creative muse Brian Eno, ‘Sound & Vision’ saw David Bowie capture a tense European aesthetic. Utilising an uplifting rhythm guitar hook and an ARP Solina string machine, the most distinctive feature was the pitch shifted percussion, produced by Tony Visconti feeding the snare drum though an Eventide H910 Harmonizer. The half instrumental track was a taster of the approach that was to come with the half instrumental parent album ‘Low’.

Available on the album ‘Low’ via EMI Music

https://www.davidbowie.com/

SPACE Magic Fly (1977)

SPACE was the brainchild of Didier Marouani who went under the pseudonym of Ecama and formed the collective in 1977 with Roland Romanelli and Jannick Top. Together with compatriot Jean-Michel Jarre and a certain Giorgio Moroder also in the charts, the space disco of the iconic ‘Magic Fly’ heralded the start of a new European electronic sound within the mainstream. With its catchy melody and lush accessible futurism, ‘Magic Fly’ sold millions all over the world.

Available on the album ‘Magic Fly’ via Virgin France

https://marouani.space/

DONNA SUMMER I Feel Love (1977)

Working with Donna Summer on an album called ‘I Remember Yesterday’, producer Giorgio Moroder wanted a track that represented “the sound of the future”. Employing the Moog Modular system with an 8-step analogue sequencer plus a triplet delay to create the pulsing synthesizer lines, ‘I Feel Love’ changed the course of music. Summer’s hypnotic Middle Eastern falsetto was an accident, coming as a result of the track being laid down outside of her usual vocal range.

Available on the album ‘I Feel Love: The Collection’ via Spectrum

http://donnasummer.com/

KRAFTWERK The Model (1978)

Using a Micromoog for its iconic hook, ‘The Model’ was inspired by KRAFTWERK visiting night clubs in the more vibrant city of Cologne 30km down the road from Düsseldorf where their iconic Kling Klang studio was based. There, they would observe beautiful models drinking champagne and seek their company. It was quite the antithesis of the robot image that the quartet were portraying. Sonically ahead of its time, in 1982 it became a UK No1 four years after its initial release.

Available on the album ‘The Man Machine’ via EMI Music

http://www.kraftwerk.com/

SPARKS No1 Song In Heaven (1979)

In a creative rut following their UK success in the glam-era, the Mael Brothers had found ‘I Feel Love’ inspiring. A journalist put SPARKS into contact with Giorgio Moroder who had aspirations to work with a band and set to work with them immediately. The first result was the tremendous ‘No1 Song In Heaven’ where Russell Mael’s flamboyant falsetto fitted well with the electro-disco sound, while the programmed backing meant Ron Mael could maintain his image of doing nothing.

Available on the SPARKS album ‘No1 In Heaven’ via Repertoire Records

http://allsparks.com/

TUBEWAY ARMY Are Friends Electric? (1979)

Still using the group name of TUBEWAY ARMY at the behest of Beggars Banquet, the astoundingly long ‘Are Friends Electric?’ with its diabolus in musica structure became the entry point for many into electronic music. It was Synth Britannia’s ‘Starman’ moment when it was featured on ‘Top Of The Pops’ and Old Grey Whistle Test’ during the same week. When it reached No1 in the UK, life was never the same for Gary Numan, the pale-faced front man of what turned out to be a phantom band.

Available on the album ‘Replicas’ via Beggars Banquet

http://garynuman.com/

JOHN FOXX Underpass (1980)

Departing ULTRAVOX after the ‘Systems Of Romance’ album and now making music along with an ARP Odyssey, Elka Rhapsody and a Roland CR78 Compurhythm, John Foxx realised his own starker vision of electronic music. Engineered by Gareth Jones who was to later notably work with DEPECHE MODE, ‘Underpass’ channelled the dystopian writings of JG Ballard in his lyrical imagery, with Foxx adding that the English novelist was “addressing what I’d come to call ‘the unrecognised present’.”

Available on the album ‘Metamatic’ via Metamatic Records

http://metamatic.com/

THE HUMAN LEAGUE The Black Hit Of Space (1980)

A track that “weighed more than Saturn”, ‘The Black Hit Of Space’ sounded extraordinary when it opened the second album by THE HUMAN LEAGUE. The Sci-Fi lyrics about an infinite pop hit were strangely out there while harsh screeching frequencies from overdriving the mixing desk; “We were also experimenting with guitar pedals” Martyn Ware said, “All that was a reaction to the cleanness of the previous album so we overcompensated.”

Available on the album ‘Travelogue’ via Virgin Records

http://www.thehumanleague.co.uk/

JAPAN Quiet Life (1980)

The resonant heart of ‘Quiet Life’ was a Roland System 700 driven by Richard Barbieri’s snappy eight step Oberheim Mini-sequencer. Complimented by Mick Karn’s distinctively fluid fretless bass, Rob Dean’s clean guitar lines and David Sylvian’s lyrical conclusion that the band were outsiders in the environment they were born into, it was a sure-fire hit… but not yet as Ariola Hansa release it as a single in the UK until 1981. But meanwhile, JAPAN had invented DURAN DURAN!

Available on the album ‘Quiet Life’ via Sony Music

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

OMD Messages (1980)

Within the environment of colder electronic pioneers such as Gary Numan and John Foxx, OMD were perhaps the first of the warmer synthesizer bands. ‘Messages’ utilised a pulsing ‘Repeat’ function on a Korg Micro-Preset shaped by hand twisting the octave knob. Re-recorded from the original album version under the helm of producer Mike Howlett, he harnessed a template of basic primary chord structures and one fingered melodies, netting a No13 UK chart hit.

Available on the album ‘Souvenir: The Singles Collection 1979 – 2019’ via Virgin Records

http://www.omd.uk.com

ULTRAVOX Astradyne (1980)

Of ‘Astradyne’, Billy Currie told ELECTRICITYCLUB.CO.UK: “Midge started with that strong melody, Chris’ bass was also a very strong feature. I played a piano counter melody behind. The track was so strong that we felt at ease to lengthen it with a long textural piano bit that is sort of bell-like with the metronomic bass drum beats and the violin tremolo solo… Midge came up with that final section lift taking it out of the long ARP solo. I double it! It is very celebratory at the end…”

Available on the album ‘Vienna’ via Chrysalis/EMI Records

http://www.ultravox.org.uk/

VISAGE Fade To Grey (1980)

Conceived during soundchecks under the working title of ‘Toot City’ while they were playing on Gary Numan’s first concert tour, Chris Payne, Billy Currie and Ced Sharpley had recorded the track at Genetic Studios as a souvenir keepsake. Midge Ure later came up lyrics and a melody when the track was added to the debut VISAGE album and the rest was history. Capturing the cinematic pomp of the New Romantic movement in all its glory, ‘Fade To Grey’ became a No1 hit in West Germany.

Available on the album ‘Visage’ via Polydor Records

http://www.therealvisage.com/

DEPECHE MODE New Life (1981)

Written by Vince Clarke and produced by Daniel Miller, DEPECHE MODE fulfilled the Mute label founder’s vision of a teenage pop group with synthesizers that he had imagined and conceived for SILICON TEENS. Despite its danceable bubblegum appeal and catchy synthesizer hooks, ‘New Life’ also featured some intricate folk vocal harmonies which made it quite distinct from the chanty nature of THE HUMAN LEAGUE’s ‘The Sound Of The Crowd’ which was also out at the same time.

Available on the album ‘Speak & Spell’ via Mute Records

http://www.depechemode.com/

SIMPLE MINDS Theme For Great Cities (1981)

The expansive instrumental ‘Theme for Great Cities’ was initially a freebie having initially been part of ‘Sister Feelings Call’, a seven track EP given as a gift to early purchasers of SIMPLE MINDS’ breakthrough fourth album ‘Sons & Fascination’. Starting with some haunting vox humana before a combination of CAN and TANGERINE DREAM took hold, the rhythm section covered in dub echo drove what was possibly one of the greatest synth signatures ever!

Available on the album ‘Sons & Fascination / Sister Feelings Call’ via Virgin/EMI Records

http://www.simpleminds.com

SOFT CELL Tainted Love (1981)

SOFT CELL’s cover of ‘Tainted Love’ became ubiquitous as Synth Britannia’s first true crossover record, reaching No1 in UK, Germany, Australia and Canada while also breaking the US Top 10 a year later. Written by Ed Cobb, ‘Tainted Love’ was recorded by Gloria Jones and became a Wigan Casino favourite on the Northern Soul scene. As a fan of that scene, David Ball knew the song and took it into haunting electronic torch territory, while Marc Almond added an honestly spirited vocal.

Available on the album ‘Non-Stop Erotic Cabaret’ via Mercury Records

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

ASSOCIATES Party Fears Two (1982)

With its iconic honky tonk piano line and sophisticated arrangement, ‘Party Fears Two’ was a magnificent song about dealing with the perils of schizophrenia, made all the more resonant by Billy Mackenzie’s operatic prowess. 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 total perfection.

Available on the album ‘The Very Best Of’ via Union Square

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

BLANCMANGE I’ve Seen The Word (1982)

Harrow College of Art students Neil Arthur and Stephen Luscombe were unlikely pop stars, but an appearance on the ‘Some Bizzare Album’ led to a deal with London Records as well as support slots with DEPECHE MODE and JAPAN. Using a Korg MS20 synched to a Linn Drum Computer as its rhythmic backbone, the haunting melancholy of ‘I’ve Seen The Word’ fused the sombre lyricism of JOY DIVISION with the melodies and textures of OMD via a Roland Jupiter 8.

Available on the album ‘Happy Families’ via Edsel Records

http://www.blancmange.co.uk/

CHINA CRISIS Christian (1982)

Merseyside duo CHINA CRISIS are probably the most under rated band of their generation. The haunting ‘Christian’ was a song about the fate of soldiers in the trenches during World War One. Slow and melancholic, ‘Christian’ was as unlikely a hit single as ‘Ghosts’ by JAPAN was, but in a far more open-minded and diverse period in pop music than today, acts with a less obvious rock ‘n’ roll outlook were generally in with a chance; it reached No12 in the UK singles charts.

Available on the album ‘Difficult Shapes & Passive Rhythms, Some People Think It’s Fun To Entertain’ via Caroline International

https://www.facebook.com/chinacrisisofficial/

NEW ORDER Temptation (1982)

‘Temptation’ was NEW ORDER’s self-produced electronic breakthrough away from the haunting legacy of JOY DIVISION. The recording itself was marvellously flawed, with Stephen Morris’ overdriven Simmons snare panned too far to the right while band members could also be heard calling instructions and tutting. The pulsing hypnotism of the triggered ARP Quadra and the iconic “oooh-oo-ooh” vocal refrain made ‘Temptation’ rather joyous and magical.

Available on the album ‘Singles’ via WEA Records

http://www.neworder.com/

BRONSKI BEAT Smalltown Boy (1984)

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

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

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

PET SHOP BOYS West End Girls (1985)

It was with the re-recorded Stephen Hague 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. Meanwhile, the track fulfilled Neil Tennant’s concept of the duo sounding “like an English rap group” with a dour demeanour that was the antithesis of WHAM! It started an imperial phase for the duo.

Available on the album ‘PopArt’ via EMI Music

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

CAMOUFLAGE The Great Commandment (1988)

In today’s world, 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 the Basildon boys had all but abandoned from ‘Black Celebration’ onwards. Probably the best single DM never recorded. while ‘The Great Commandment’ was a hit in Europe and the US, it made no impression in Britain.

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

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

ERASURE A Little Respect (1988)

Produced by Stephen Hague, ‘A Little Respect’ was perfection from the off with its lively 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’ and ‘Careless Whisper’. A crossover record for ERASURE, ‘A Little Respect’ was covered by WHEATUS in 2000.

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

http://www.erasureinfo.com/

DUBSTAR Not So Manic Now (1995)

DUBSTAR straddled Britpop and Synth Britannia. ‘Not So Manic Now’ was a song by Wakefield indie band BRICK SUPPLY, but the trio made it their own with the Northern lass earthiness of Sarah Blackwood providing the chilling commentary of an attack on a helpless pensioner. Stephen Hague’s wonderful production fused electronics with guitars and cello in fine fashion, while the incessant programmed rhythms drove the song without being obtrusive to the horrifying story.

Available on the album ‘Disgraceful’ via Food Records

http://dubstarofficial.co/

GOLDFRAPP Lovely Head (2000)

GOLDFRAPP were initially labelled as a trip-hop act. Their superb stratospheric debut ‘Felt Mountain’ had Ennio Morricone’s widescreen inflections but to accompany an ascent to the Matterhorn rather than a Sergio Leone Spaghetti Western. The opening song ‘Lovely Head’ was laced with deviant sexual tension. Will Gregory’s mad Korg MS20 treatments on Alison Goldfrapp’s operatic screaming produced some thrilling musical moments.

Available on the album ‘Felt Mountain’ via Mute Records

https://www.goldfrapp.com/

MISS KITTIN & THE HACKER You & Us (2001)

Describing the relationship between artist and fan, this was another throbbing Moroder-inspired cacophony of electronic dance from Michel Amato with a dirty clanking Korg KR55 Rhythm used to great effect. Deliciously hypnotic, the swimmy ARP synths drowned any sorrows as the pulsing euphoria took a hold. Miss Kittin didn’t sing as much as deadpan her thoughts, but her sexy Grenoble charm carried off what was a rather superb Electroclash anthem.

Available on the album ‘The First Album’ via Nobodys Bizzness

http://www.misskittin.com/

LADYTRON Seventeen (2002)

LADYTRON became one of the first bands for many years to primarily use synthesizers as their tools of expression. Their debut ‘604’ showed electro potential in their initial quest to find yesterday’s tomorrow. With octave shifts galore to satirical lyrics about the X-Factor/Next Year’s Top Model generation, ‘Seventeen’ demonstrated the tactile nature of analogue synthesis that was key to a reversal in fortunes for electronic pop in the 21st Century.

Available on the album ‘Light & Magic’ via Nettwerk

http://www.ladytron.com/

THE KNIFE Silent Shout (2006)

Probably the most influential electronic act from Sweden are THE KNIFE. Those long winter nights certainly had their effect on siblings Karin and Olof Dreijer. ‘Silent Shout’ was hypnotic understated rave with the a quota of creepy Nordic eccentricity. The sharp appregiator and ambient percussion melted with Karin Dreijer’s heavily pitch-shifted low register vocals providing a menacing counterpoint to her younger brother’s vibrant electronic lattice.

Available on the album ‘Silent Shout’ via Brille Records

https://theknife.net/

MARSHEAUX Dream Of A Disco (2007)

Is a cover or is it Memorex? This interpolation of ‘Space Age Love Song’ by A FLOCK OF SEAGULLS provided MARSHEAUX with their most immediate number yet. Borrowing the uniformed look of CLIENT but applying a pure synthpop template, Marianthi Melitsi and Sophie Sarigiannidou became notable for their marketing masterstrokes. The parent ‘Peek-A-Boo’ CD included a paper bag ghost mask. Fans wore it, took pictures and sent them to the duo… around 3,500 images were gathered!

Available on the album ‘Peek-A-Boo’ via Undo Records

https://www.marsheaux.com/

Text by Chi Ming Lai
13th March 2020

PET SHOP BOYS Hotspot

24 January 2020 / electricityclub

In 2019, sarcastic remarks about the current political situation found themselves on the ‘Agenda’, with the tongue-in-cheek EP blowing raspberries at Trump, Gove and other assorted political airheads, as well as wittily observed relationships with social media.

PET SHOP BOYS have enjoyed a lifetime spanning career, never shying from things in the spotlight, crudely observed realities and the knowhow of song writing.

Somehow they managed to stay fresh and down to earth with quality music creation, shadowing many of their contemporaries and staying on top.

The mind blowing intellect of Neil Tennant and Chris Lowe has always shined through with well written lyrics, accompanied by assorted shades of pop, placing them in the enviable commercial spots often unachievable to other synth acts.

So 2020 plugs into the ‘Hotspot’ with the opus number fourteen, captured in the renowned Hansa Studios in Berlin, famous for recordings by legends such as DAVID BOWIE, BRIAN ENO, NICK CAVE and DEPECHE MODE. PSB have been using the legendary recording hotspot for some years now, and the latest production is no exception.

The album is culminating the trilogy of long players worked on by Stuart Price, who needs no introduction, having collaborated with a glorious assortment of artists spanning from Madonna, through NEW ORDER, KYLIE MINOGUE, SEAL or GWEN STEFANI, not to mention his own monikers of ZOOT WOMAN, LES RYTHMES DIGITALES or MAN WITH GUITAR.

Since ‘Electric’ and ‘Super’ went down very well, with both the former and the latter granting PSB the top chart positions again, the expectations are high for ‘Hotspot’, which was heralded by the first single as early as September last year.

‘Dreamland’ featuring London’s younger pop specialists YEARS & YEARS, captures the quintessential sound which listeners have grown to love from the duo, elevated to a new age of electronica, packed with quality dance sequences and superb hooks. The new generation of synth lovers is emerging, while the weathered fans of all things electric learn to appreciate the works of younger masters.

The acoustic guitar laced second single, ‘Burning The Heather’ introduces a somewhat slower approach to matters, sitting somewhere between ‘Numb’ and ‘My October Symphony’, with the first guitarist of SUEDE, Bernard Butler lending a hand on the strings.

The track makes an exception from being recorded in Berlin as it was put down on tape at RAK Studios in London.

‘Monkey Business’ is deliciously easy going and funky, lusciously marrying the synth lines of Detroit techno; it’s filled with neon lights, LSD induced comas and gruelling dance sequences. Looking for PET SHOP BOYS’ answer to GEORGE MICHAEL’s ‘Outside’, then look no further.

‘Will-o-the-Wisp’ couldn’t be more of an opener; with its catchy hooks and modern twists, it summarises what the duo have always been about: serious dance tunes, written like no other. Oh and Tennant does his “speaking” bit in it too!

The birds are chirping, the sun is shining and the sky is blue in ‘You Are The One’, which is a quintessential PSB love song, while ‘Happy People’ sounds super vintage with the piano à la ‘Left To My Own Devices’, because whose stuff is better to copy than your own! They do end it with a nice dose of wave table synthesis though.

A further ballad ‘Hoping For A Miracle’ tells a story of a failed individual in the fast-paced world of today, over stunning arpeggios, tear jerking strings and touching melodies, an area where Tennant and Lowe have always excelled.

‘I Don’t Wanna’ is brimming with synth in various tempos, as well as electronically altered vocals but in comparison, ‘Only The Dark’ glides over much simpler musical inclusions, proving one doesn’t need overcomplicated concoctions to get to the peak of greatness.

The closing ‘Wedding In Berlin’ picks up the tempo again, as the boys like to leave their listeners dancing. If you thought one couldn’t incorporate wedding bells into a club dance track, you were wrong. They’re getting married “no matter if you’re straight or gay” in a rising Love Parade beat, slowing down to a further inclusion of wave.

It is fair to say that the conclusion to Price’s trilogy is most likely going to enhance the chart positions for PET SHOP BOYS, but whether one cares for enviable listings or not, ‘Hotspot’ is bang on the money and further strengthens their top status, showing off the never ending prowess of Tennant and Lowe’s capabilities.

This album would easily sit somewhere between ‘Bilingual’ and ‘Nightlife’, proving that the good old PSB will never go out of date.

‘Hotspot’ is available now via x2 Recordings in CD, vinyl, cassette and digital formats

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

https://www.facebook.com/petshopboys/

https://twitter.com/petshopboys

https://www.instagram.com/petshopboys/

https://www.theguardian.com/music/2020/jan/24/pet-shop-boys-the-acoustic-guitar-should-be-banned

Text by Monika Izabela Trigwell
Photos by Alex Lake
24th January 2020

2019 END OF YEAR REVIEW

15 December 2019 / electricityclub

2019 was a year of 40th Anniversaries, celebrating the synth becoming the sound of pop when ‘Are Friends Electric?’ reached No1 in the UK chart in 1979.

While GARY NUMAN opted for ‘(R)evolution’ and two of his former sidemen RRussell Bell and Chris Payne ventured solo for the first time, OMD offered a 7 disc ‘Souvenir’ featuring a whole album of quality unreleased material to accompany a concert tour to celebrate four decades in the business. That was contrary to DEPECHE MODE who merely plonked 14 albums into a boxed set in a move where the ‘Everything Counts’ lyric “the grabbing hands grab all they can” became more and more ironic… MIDGE URE partied like it was 1980 with the music of VISAGE and ULTRAVOX, while SIMPLE MINDS announced an arena tour for 2020 so that their audience could show Jim Kerr their hands again.

HEAVEN 17 announced some special showcases of the early material of THE HUMAN LEAGUE and got a particularly warm reception opening on tour for SQUEEZE as a trailer ahead of their own ‘Greatest Hits’ jaunt next year.

Celebrating 20 years in music, there was the welcome return of LADYTRON with a self-titled comeback album, while Swedish evergreens LUSTANS LAKEJER performed the ‘Åkersberga’ album for its 20th Anniversary and similarly GOLDFRAPP announced a series of shows in honour of their magnificent cinematic debut ‘Felt Mountain’.

Cult favourites FIAT LUX made their intimate live comeback in a church in Bradford and released their debut album ‘Saved Symmetry’ 37 years after their first single ‘Feels Like Winter Again’.

As a result, their fans were also treated to ‘Ark Of Embers’, the long player that Polydor Records shelved in 1985 when the band were on the cusp of a breakthrough but ended with a commercial breakdown.

Modern prog exponents Tim Bowness and Steven Wilson got back together as NO-MAN for their dual suite electronic concept record ‘Love You To Bits’, but an even more ambitious undertaking came from UNDERWORLD with their boxed set ‘Drift Series 1’.

Also making live returns were one-time PET SHOP BOYS protégé CICERO with a charity gig in his hometown of Livingston, WHITE DOOR with JOHAN BAECKSTRÖM at Synth Wave Live 3, ARTHUR & MARTHA and Mute Records veterans KOMPUTER.

After a short hiatus, the mighty KITE sold-out three gigs at Stockholm Slaktkyrkan and ended the year performing at an opera house, while GIORGIO MORODER embarked on his first ever concert tour where his songs were the stars.

Although their long-awaited-as-yet-untitled third album was still to materialise, VILE ELECTRODES went back on the road in Europe with APOPTYGMA BERZERK and THE INVINCIBLE SPIRIT. Meanwhile, Chinese techno-rock sextet STOLEN opened for NEW ORDER on their Autumn European tour and EMIKA performed in a series of Planetariums.

Despite the fall of The Berlin Wall 30 years ago, there were more evident swipes to the right than there had been for a long time, with the concept of Brexit Electro becoming a rather unpleasant reality. So in these more sinister times, the need for classic uplifting electronic pop was higher than ever.

To that end, three superb debut albums fitted the bill. While KNIGHT$ offered quality Britalo on ‘Dollars & Cents’, the suave presence of Ollie Wride took a more MTV friendly direction with ‘Thanks In Advance’. But for those wanting something more home produced, the eccentric Northern electronic pop of the brilliantly named INTERNATIONAL TEACHERS OF POP continued the artistic lineage of THE HUMAN LEAGUE.

QUIETER THAN SPIDERS finally released their wonderful debut album ‘Signs Of Life’ which was naturally more understated and Denmark had some worthy synthpop representation with SOFTWAVE producing an enjoyably catchy debut long player in ‘Game On’.

On the shadier side of electronic pop, BOY HARSHER achieved a wider breakthrough with their impressive ‘Careful’ long player but as a result, the duo acquired a contemporary hipster element to their fanbase who seemed to lack manners and self-awareness as they romped around gigs without a care for anyone around them. But with tongues-in-cheeks, SPRAY continued to amuse with their witty prankelectro on ‘Failure Is Inevitable’.

Photo by Johnny Jewel

Italians Do It Better kept things in house as CHROMATICS unexpectedly unleashed their first album for six years in ‘Closer To Grey’ and embarked on a world tour. Main support was DESIRE and accompanied on keyboards by HEAVEN singer Aja, the pair took things literally during their cover version of ‘Bizarre Love Triangle’ with a girl-on-girl kiss in front of head honcho Johnny Jewel. Other ITIB acts on the tour dependent on territory included DOUBLE MIXTE, IN MIRRORS and KRAKÓW LOVES ADANA. But the best work to appear from the stable came from Jorja Chalmers who became ‘Human Again’.

There were a variety of inventive eclectic works from FAKE TEAK, MAPS, FINLAY SHAKESPEARE, ULTRAMARINE, TYCHO, THE GOLDEN FILTER, FRAGRANCE. and FADER. Meanwhile VON KONOW, SOMEONE WHO ISN’T ME and JAKUZI all explored themes of equality while BOYTRONIC preferred ‘The Robot Treatment’. But expressing themselves on the smoother side of proceedings, SHOOK who looked east towards the legend of YELLOW MAGIC ORCHESTRA.

Dark minimalism reigned in the work of FRAGILE SELF and WE ARE REPLICA while no less dark but not so aggressive, WITCH OF THE VALE cemented their position with a well-received opening slot at Infest. Dubliner CIRCUIT3 got political and discussed ‘The Price Of Nothing & The Value Of Everything’.

2019 was a year of electronic instrumental offerings galore from NEULAND, Ricardo Autobahn, EKKOES, M83, RELIEF, FEMMEPOP and OBLONG, although Eric Random’s dystopian offering ‘Wire Me Up’ added vocoder while Brian Eno celebrated the 50th anniversary of the first moon landing ‘For All Mankind’.

The King of Glum Rock LLloyd Cole surprised all with an electronic pop album called ‘Guesswork’ just as PET SHOP BOYS set an ‘Agenda’. HOWARD JONES released his most synthy work for years in ‘Transform’ and while CHINA CRISIS acted as his well-received support on the UK leg of his 35th Anniversary tour, their front man Gary Daly ventured solo with ‘Gone From Here’.

Among the year’s best new talents were IMI, Karin My, Greta, Geiste and Alice Hubble with their beautifully crafted avant pop.

And with the media traction of artists such as GEORGIA, REIN, JENNIFER TOUCH, SUI ZHEN, THE HEARING, IONNALEE, PLASMIC, ZAMILSKA, IOANNA GIKA, SPELLLING, KANGA, FIFI RONG and I AM SNOW ANGEL, the profile of women in electronic music was stronger than ever in 2019.

Sweden continued to produce quality electronic pop with enjoyable releases from the likes of MACHINISTA, PAGE, COVENANT, OBSESSION OF TIME and LIZETTE LIZETTE. One of the most interesting acts to emerge from the region was US featuring the now Stockholm-domiciled Andrew Montgomery from GENEVA and Leo Josefsson of LOWE, with the catalyst of this unlikely union coming from a shared love of the late country legend Glen Campbell. Meanwhile, veteran trio DAYBEHAVIOR made the best album of their career ‘Based On A True Story’.

However, Canada again gave the Swedes a good run for their money as ELECTRIC YOUTH and FM ATTACK released new material while with more of a post-punk slant, ACTORS impressed audiences who preferred a post-post-punk edge alongside their synths.Dana Jean Phoenix though showed herself to be one of the best solo synth performers on the live circuit, but artistically the best of the lot was MECHA MAIKO who had two major releases ‘Okiya’ and ‘Let’s!’.

Despite making some good music in 2019 with their ‘Destroyer’ two-parter, the “too cool for school” demeanour of TR/ST might have impressed hipsters, but left a lot to be desired. A diva-ish attitude of entitlement was also noticed by ELECTRICITYCLUB.CO.UK to be disappointingly prevalent in several fledgling acts.

Synthwave increased its profile further with the film ‘The Rise Of The Synths’ narrated by none other than John Carpenter. MICHAEL OAKLEY released his debut album ‘Introspect’, BETAMAXX was ‘Lost In A Dreamworld’, COM TRUISE came up with a ‘Persuasion System’ and NEW ARCADES were ‘Returning Home’.

Scene veteran FUTURECOP! collaborated with PARALLELS, COMPUTER MAGIC and NINA prior to a hiatus for the foreseeable future, while there were promising new talents emerging in the shape of POLYCHROME, PRIZM, BUNNY X and RIDER. However, several of the sub-genre’s artists needed to rethink their live presentations which notably underwhelmed with their static motions and lack of engagement.

While promoters such as Outland developed on their solid foundations, others attempted to get too big too soon like the musical equivalent of a penis extension, leaving fans disappointed and artists unpaid. Attempting to turnover more than 10 acts during in a day with a quarter of an hour changeover has always been an odious task at best, but to try 15?!? One hopes the headliners were well paid despite having to go on at midnight when most of their supporters went home so as not to miss the last train…

Now at times, it was as if a major collective midlife crisis had hit independent electronic music in the UK during 2019. It was not unlike how “born again bikers” have become a major road safety risk, thanks to 40somethings who only managed Cycling Proficiency in Junior School suddenly jumping onto 500cc Honda CMX500 Rebel motorcycles, thinking they were Valentino Rossi.

Something similar was occurring in music as a variety of posturing delusional synth owners indulged in a remix frenzy and visions of grandeur, forgetting that ability and talent were paramount. This attitude led to a number of poorly attended events where attendees were able to be counted on one hand, thanks to clueless fans of said combos unwisely panning their video footage around the venue.

Playing at 3:15pm in an empty venue is NOT performing at a ‘major’ electronic festival… “I’ll be more selective with the gigs I agree to in the UK” one of these acts haplessly bemoaned, “I’ve played to too many empty rooms!” – well, could that have been because they are not very good?

Bands who had blown their chance by not showing willingness to open for name acts during holiday periods, while making unwise comments on their national TV debut about their lack of interest in registering for PRS, said they were going to split a year in advance, but not before releasing an EP and playing a farewell show in an attempt to finally get validation for their art. Was this a shining example of Schrodinger’s Band?

Of course, the worst culprits were those who had an internet radio show or put on gigs themselves so that they could actually perform, because otherwise external promotors were only interested in them opening at 6.15pm after a ticket deal buy on for a five band bill. Humility wouldn’t have gone amiss in all these cases.

It’s a funny old world, but as ELECTRICITYCLUB.CO.UK comes up to concluding its tenth year as an influential platform that has written extensively about not one or two or three or four BUT five acts prior to them being selected to open on tour for OMD, luckily the gulf between good and bad music is more distinct than ever. It will be interesting to see if the high standard of electronic pop will be maintained or whether the influx of poor quality artists will contaminate the bloodline.

So ELECTRICITYCLUB.CO.UK ends the decade with a complimentary comment by a punter after attending two of its live events: “You don’t put on sh*t do you…”

May the supreme talent rise and shine… you know who you are 😉

ELECTRICITYCLUB.CO.UK Contributor Listings of 2019

PAUL BODDY

Best Album: UNDERWORLD Drift Series 1
Best Song: MOLINA Venus
Best Gig: RAMMSTEIN at Milton Keynes MK Bowl
Best Video: SCALPING Chamber
Most Promising New Act: SCALPING

IAN FERGUSON

Best Album: NO-MAN Love You To Bits
Best Song: NO-MAN Love You To Shreds
Best Gig: RAMMSTEIN at Stadion Slaski Chorzow
Best Video: RAMMSTEIN Deutschland
Most Promising New Act: IMI

SIMON HELM

Best Album: PAGE Fakta För Alla
Best Song: PAGE Fakta För Alla
Best Gig: LAU NAU at London Cafe OTO
Best Video: LAU NAU Amphipoda on Buchla 200 at EMS Stockholm
Most Promising New Act: THE HIDDEN MAN

CHI MING LAI

Best Album: KNIGHT$ Dollar & Cents
Best Song: OMD Don’t Go
Best Gig: KITE at Stockholm Slaktkyrkan
Best Video: NIGHT CLUB Your Addiction
Most Promising New Act: IMI

RICHARD PRICE

Best Album: KNIGHT$ Dollar & Cents
Best Song: OMD Don’t Go
Best Gig: MIDGE URE at The London Palladium
Best Video: IMI Margins
Most Promising New Act: PLASMIC

MONIKA IZABELA TRIGWELL

Best Album: MECHA MAIKO Let’s
Best Song: KANGA Burn
Best Gig: DANA JEAN PHOENIX, KALAX + LEBROCK at London Zigfrid von Underbelly
Best Video: IONNALEE Open Sea
Most Promising New Act: PRIZM

Text by Chi Ming Lai with thanks to Ian Ferguson
16th December 2019, updated 29th Janaury 2021

A Beginner’s Guide To ARTHUR BAKER

14 September 2019 / electricityclub

Boston-born Arthur Baker began as a DJ, but aspired to be a producer following taking an engineering course at Intermedia Studios. He wanted to make music, rather than play records.

After some early experiences, Baker became wise to the swindling ways of the music industry. He eventually released his first single ‘Kind of Life (Kind of Love)’ under the name NORTH END in 1979.

But his breakthrough as a producer came after he moved to New York in 1981. Working for urban label Tommy Boy Records, where he met engineer and keyboard player John Robie, they came up with ‘Planet Rock’.

Utilising the-then new Roland TR808 Rhythm Composer, in particular its distinctive analogue cowbell, rimshot and snare sounds, its lasting effect on the future of music came about more by chance. Baker wanted to employ a more mechanised electronic aesthetic in the vein of KRAFTWERK and YELLOW MAGIC ORCHESTRA to the output of Tommy Boy.

He saw an advert in The Village Voice: “Man with drum machine, $20 a session”… the rest is history. But the programmer of the track’s iconic 808 beat pattern remained unknown, thanks insisting on cash for his services, having declined a cheque.

‘
Planet Rock’ featured sampling without a sampler, its ‘Trans Europe Express’ synth parts manually recreated by Robie. Although Baker did use a Fairlight CMI for the orchestra hits, he considered it “a $100,000 waste of space”.

Released in 1982, ‘Planet Rock’ put electro, as it came to be known, on the map. Never one to waste a good thing, Baker produced ‘Play at Your Own Risk’ for PLANET PATROL, taking unused recorded parts from ‘Planet Rock’. His midas touch continued with the similar sounding ‘IOU’ for FREEEZ, once again maximising the rigid character of the 808.

Always in touch with what was going on at street level, Baker often tried out his rough mixes at clubs like Paradise Garage, The Danceteria and The Fun House. Although missing out on THE BEASTIE BOYS, Baker achieved major worldwide success when he signed NEW EDITION to his Streetwise Records. The label also released Eartha Kitt’s Boystown favourite ’Where Is My Man?’ , while other artists on the roster included Colonel Abrams, Cuba Gooding and Loleatta Holloway.

In 1989 with THE BACKBEAT DISCIPLES, Baker gathered a diverse all-star cast of Al Green, Andy McCuskey, Martin Fry, Jimmy Somerville and Etienne Daho to sing on the ‘Merge’ album, a pop hybrid record tracing his love of soul, synthpop, disco, HI-NRG and Europop.

Reflecting his trailblazing reputation in dance music with an ear for a good tune, Baker was commissioned to provide remixes for a wide range of mainstream artists including Cyndi Lauper, Bruce Springsteen, Neneh Cherry and Tina Turner, as well as more middle of the road acts like FLEETWOOD MAC, HALL & OATES and WET WET WET.

Baker’s varispeeded treatment of ‘Spaceman’ by BABYLON ZOO was used in the 1995 Levi’s TV commercial ‘Planet’, but many were disappointed to be met with the dirge rock original when the track was released as a single.

Now based between London, Miami and Ibiza, Baker continues to DJ while he notably co-produced and appeared in the 2015 documentary film ‘808’ directed by Alexander Dunn about the machine which he helped turn into a cultural icon.

Featuring reminisces by Phil Collins, Jori Hulkkonen, Felix Da Housecat, Richie Hawtin, Rick Rubin and Norman Cook among many, Baker himself interviewed the late Roland founder Ikutaro Kakehashi who had deliberately purchased faulty transistors to create the machine’s distinctive sizzling sound. Continuing his interest in documentaries, Baker is currently making one about NEW ORDER.

With such a varied career, ELECTRICITYCLUB.CO.UK presents a Beginner’s Guide to Arthur Baker featuring 18 tracks that cover the breadth of his influential music portfolio.

AFRIKA BAMBAATAA & THE SOUL SONIC FORCE Planet Rock (1982)

Recorded by Baker at Intergalactic Studios, the ‘Planet Rock’ synth leadline interpolated KRAFTWERK’s ‘Trans Europe Express’ while the Roland TR-808 drum machine mimicked ‘Numbers’; the track even included a chant of its Japanese count. But where there’s a hit, there’s a writ so when Baker later had to pay up for using elements of KRAFTWERK, he just put up the price of the record to fund the settlement. ‘Planet Rock’ eventually sold one million copies and paid for its debt.

Available on the AFRIKA BAMBAATAA & THE SOUL SONIC FORCE album ‘Looking For The Perfect Beat 1980 -1985’ via Tommy Boy Records

https://www.facebook.com/ArthurBakerDJ/

PLANET PATROL Play At Your Own Risk (1982)

More in the vein of classic soul groups like THE TEMPTATIONS, PLANET PATROL offered an electro twist on that five way vocal template and even featured a member named Melvin Franklin! ‘Play At Your Own Risk’ was made from recorded parts that did not make the final version of ‘Planet Rock’, with Baker even saying that both came from the same multitrack. Listening back, it was also the blueprint for Baker’s ‘IOU’ which became a huge hit for FREEEZ.

Available on the PLANET PATROL album ‘Planet Patrol’ via Tommy Boy Records

http://www.roland.co.uk/blog/arthur-baker/

ROCKERS REVENGE featuring DONNIE CALVIN Walking On Sunshine (1982)

Mechanising Eddie Grant’s funky favourite in the sparkly pulsing vein of D-TRAIN, Baker’s cover of ‘Walking On Sunshine’ was specifically made for the Paradise Garage. Baker assembled ROCKERS REVENGE as a studio project with vocalists Donnie Calvin, Dwight Hawkes and Baker’s wife Tina B. While there an electronic feel, its looseness pioneered a more freestyle form that would later emerge in its own right. Continuing the covers theme, a version of Jimmy Cliff’s ‘The Harder They Come’ came out in 1983.

Available on the ROCKERS REVENGE album ‘Walking On Sunshine’ via Acrobat

https://www.facebook.com/RockersRevengeOfficial/

AFRIKA BAMBAATAA & THE SOUL SONIC FORCE Looking For The Perfect Beat (1983)

With a funky urban twist over colder European electronics, ‘Looking For The Perfect Beat’ with its freestyling and mighty breakbeats took hip-hop up to the next level. With its self-prophesising title, it was far more complex and varied than ‘Planet Rock’, with nearly a year taken in the making. It showed ‘Planet Rock’ was no fluke, but Baker later remarked that the track was motivated as a taunt at Tommy Boy’s rivals and pioneers of rap, Sugar Hill Records. “Beat Dis”!

Available on the AFRIKA BAMBAATAA & THE SOUL SONIC FORCE album ‘Looking For The Perfect Beat 1980 -1985’ via Tommy Boy Records

https://www.facebook.com/808themovie

FREEEZ IOU (1983)

Originally a jazz funk combo, FREEEZ had fragmented to the duo of John Rocca and Peter Maas when they became fascinated by ‘Planet Rock’. Meeting Baker in New York, he suggested recording his self-penned ‘IOU’. While there was a appearance from the ubiquitous Roland TR808, an Emulator was used for the staccato voice passages but key to the song’s appeal was Rocca’s falsetto. It was co-mixed by John Jellybean Benitez, the DJ at The Funhouse who later worked with Madonna and had a solo career.

Available on the FREEEZ album ‘Gonna Get You’ via Cherry Red

https://www.discogs.com/artist/8670-Freeez

NEW EDITION Candy Girl (1983)

Signing what was effectively the modern electro incarnation of JACKSON 5 to his Streetwise label, Baker hit paydirt with NEW EDITION and their sweet worldwide No1 ‘Candy Girl’. With the tune’s writers Maurice Starr and Michael Jonzun working in the studio with the young quintet, Baker was executive producer and did the final mix with Starr. Unusually for a boy band, Ralph Tresvant, Bobby Brown, Ricky Bell, Michael Bivins and Ronnie DeVoe all went on to have successful careers after the group.

Available on the NEW EDITION album ‘Candy Girl’ via Streetwise Records

https://www.facebook.com/newedition4life/

NEW ORDER Confusion (1983)

With NEW ORDER’s interest in dance music, having opened the Haçienda with New York clubs in mind, a collaborative union with Baker was inevitable. But Baker wanted to make ‘Blue Monday’ while and the Mancunians wanted to make ‘Planet Rock’, so the result was quite literally ‘Confusion’! Drummer Stephen Morris in particular had admitted frustration during the recording sessions as Baker would not let him alter his Roland TR808’s already-programmed patterns, fearing he would lose his trademark sound.

Edited version available on the NEW ORDER album ‘Singles’ via WEA

http://www.neworder.com/

ARTHUR BAKER Breaker’s Revenge (1984)

For the film ‘Beat Street’, Baker helped produce its soundtrack and contributed the frantic beat and sample laden instrumental ‘Breakers’ Revenge’ to the score. The movie itself was a based around New York’s hip hop and breakdancing scene, with part of the plot based on the graffiti documentary ‘Style Wars’. Noted figures such as GRANDMASTER MELLE MEL & THE FURIOUS FIVE, THE SYSTEM, DOUG E. FRESH and THE SOULSONIC FORCE all appeared.

Available on the ARTHUR BAKER mix album ‘Breakin’ via Mushroom Records

https://twitter.com/arthurhbaker

ARTISTS UNITED AGAINST APARTHEID ‎ Sun City (1985)

ARTISTS UNITED AGAINST APARTHEID was formed by Steven Van Zandt and Baker to protest against apartheid in South Africa, while drawing parallels with the plight of Native Americans. “A song about change not charity, freedom not famine”, ‘Sun City’ highlighted the hypocrisy of the South African government allowing entertainment there that was banned in the country, with a call to reinforce the international boycott. It featured Bruce Springsteen, Bob Dylan, Lou Reed, Miles Davis, U2 and RUN DMC.

Originally from the ARTISTS UNITED AGAINST APARTHEID ‎album ‘Sun City’ via Manhattan Records, currently unavailable

https://en.wikipedia.org/wiki/Artists_United_Against_Apartheid

FINE YOUNG CANNIBALS Ever Fallen In Love – Club Senseless remix (1986)

‘Ever Fallen in Love’ was a noted song of punk and disaffection written by the late Pete Shelley and performed by his band BUZZCOCKS. But FINE YOUNG CANNIBALS caused a stir with a dance friendly version co-produced by TALKING HEADS’ Jerry Harrison for the film ‘Something Wild’. With his Club Senseless remix, Baker exploited the track’s funkier possibilities, his theory being “if you had a really groovy bassline, the drums don’t have to be a straight kick, because people dance to the bassline.”

Available on the FINE YOUNG CANNIBALS album ‘The Raw & the Cooked’ via Edsel Records

https://www.facebook.com/RolandGift.Tour/

PET SHOP BOYS In The Night – Arthur Baker remix (1986)

‘In The Night’ was the B-side for the first single version of ‘Opportunities’ and saw PET SHOP BOYS reusing the same chord progression as its A-side. The lyrics referred to Les Zazous, an apolitical group in France during the Second World War who were disliked by the Nazis and the Resistance. Although Phil Harding produced, Baker did a more percussive 12 inch remix which opened the ‘Disco’ collection. This was later edited and used as the theme music for the BBC’s ‘The Clothes Show’ between 1986 and 1994.

Available on the PET SHOP BOYS album ‘Disco’ via EMI Records

https://petshopboys.co.uk/

NEW ORDER Touched By The Hand Of God (1987)

Arthur Baker developed an enduring relationship with NEW ORDER, both in the studio and as friends, having co-written ‘Confusion’ and ‘Thieves Like Us’ like he was a member of the band. Working as the music supervisor for the movie soundtrack of Beth B’s parody of televangelism ‘Salvation’, NEW ORDER contributed six tracks. The best known was ‘Touched By The Hand Of God’, its title inspired by the controversial Argentine footballer Diego Maradona and mixed by Baker for singular consumption.

Available on the NEW ORDER album ‘(The Best Of)’ via London Records

https://newordertracks.wordpress.com/

WILL DOWNING A Love Supreme (1988)

Will Downing had sung with Baker’s project WALLY JUMP JR & THE CRIMINAL ELEMENT on the single ‘Turn Me Loose’ in 1986. So when the New Yorker signed as a solo artist with 4th & Broadway, the US-based subsidiary of Island Records, Baker was a natural choice as producer. A cover of the John Coltrane jazz piece with additional lyrics by Downing, the arrangement made the most of a soulful deep house vibe that was emanating from the US at the time.

Available on the WILL DOWNING album ‘A Love Supreme – The Collection’ via Spectrum

https://www.willdowning.com/

ARTHUR BAKER & THE BACKBEAT DISCIPLES featuring MARTIN FRY Mythical Girl (1989)

A&M Records offered Baker an album deal, but rather than facing the opportunity alone, he recruited a studio collective comprising of John Warren, Tiny Valentine, Mac Quayle, Bobby Khozouri, Philip Damien and Cevin Fisher, several of whom were to become notable in their own right. ‘Merge’ consisted mostly of dance flavoured pop; ‘Mythical Girl’ was an ABC track in all but name, involving not just Martin Fry but musical partner Mark White too, with Baker and his team producing.

Available on the ARTHUR BAKER & THE BACKBEAT DISCIPLES album ‘Merge’ via A&M Records

https://www.abcmartinfry.com/

NEW ORDER 1963 – 95 (1995)

‘1963’ came from the 1987 sessions NEW ORDER had with PET SHOP BOYS producer Stephen Hague that also spawned ‘True Faith’. However, much to the annoyance of Peter Hook, his contributions on ‘1963’ were virtually written out, only making a brief appearance at the end of the original version. Released as a belated A-side in a 1995 remix, Baker took the opportunity to make the bassist’s presence heard throughout the song in this dreamier cinematic reinterpretation.

Available on the NEW ORDER album ‘Singles’ via WEA

https://www.facebook.com/NewOrderOfficial/

TINA TURNER Whatever You Want – Massive Jungle Remix (1996)

Written by Baker with Taylor Dayne and one-time studio associate Fred Zarr who had worked with Baker on several recordings, ‘Whatever You Want’ for Tina Turner was an archetypical production from Trevor Horn in its single variant. Baker’s Massive Jungle Remix though did exactly what it said on the tin, but crucially kept Turner’s mighty vocal while also retaining the key cinematic essence that had made the song appealing within its mainstream context.

Originally from the TINA TURNER 12″ single ‘Whatever You Want (The Arthur Baker Mixes)’ via Parlophone Records, currently unavailable

http://www.tinaturnerofficial.com/

NEW ORDER Behind Closed Doors (2001)

“I listen to The Coors behind closed doors” suggested Bernard Sumner ominously on this 21st Century NEW ORDER B-side produced by Baker. With its dark cinematics, the introspective tone of ‘Behind Closed Doors’ was very different to the more rocky tension of the ‘Get Ready’ comeback album. Sumner’s observations on domestic violence, lack of parental responsibility and chemical dependency coupled with mournful bass from Hooky made for sinister listening.

Available on the NEW ORDER single ‘Crystal’ via WEA

https://twitter.com/neworder

HURTS Wonderful Life – Arthur Baker remix (2010)

‘Wonderful Life’ had an epic cinematic backdrop with noirish synths and brooding woodwinds that saw singer Theo Hutchcraft telling the story of a suicidal man saved by love at first sight. The sub-six minute Arthur Baker remix took away the big compressed drums and replaced them with the tight electro snap of an 808. Adding a squelchy bassline sequence reminiscent of a 303, Baker kept the song intact and satisfied those who felt HURTS were nothing more than TAKE THAT dressed like ULTRAVOX.

Available on the HURTS single ‘Wonderful Life’ via RCA Records

https://www.informationhurts.com/home/

Text by Chi Ming Lai
14th September 2019

Missing In Action: CICERO

18 July 2019 / electricityclub

From Livingston in West Lothian to the concert arenas of the world, the rise of David John Cicero into the pop charts was swift.

A fan of synthpop and dance music, Cicero began writing songs and making music in his bedroom, aided by advancements in technology such as affordable samplers and sequencing software. Following a PET SHOP BOYS concert in 1989, he managed to get a demo tape to the duo.

Before two could be divided by zero, Cicero was offered a record deal with Neil Tennant and Chris Lowe’s new record label Spaghetti Records imprint which was being set up via Polydor Records.

Although the excellent debut single for both Cicero and Spaghetti Records ‘Heaven Must Have Sent You Back To Me’ failed to chart, it brought the young photogenic Scot to the attention of radio programmers and press. So when his PET SHOP BOYS produced second single ‘Love Is Everywhere’ was released in late 1991, it eventually reached No19 in the UK charts.

The album ‘Future Boy’ and ‘Live For Today’, a wonderfully cinematic contribution to the Oscar nominated film ‘The Crying Game’ followed, but then record company politics intervened and contributed to a stall in momentum.

Although later, there was a UK tour supporting TAKE THAT plus the independently issued singles ‘Summertime’ and a cover of SOFT CELL’s ‘Say Hello, Wave Goodbye’, as the new millennium loomed, Cicero opted to disappear from public view.

But now in 2019, as his former mentor Neil Tennant used to say when he was Assistant Editor of Smash Hits, Cicero is “Back-back-BACK!”.

With the release of his appropriately titled new single ‘Turned Around’, Cicero kindly spoke about his album ‘Future Boy’, working with PET SHOP BOYS, briefly being a pop pin-up and his return to music…

At a time when affordable electronic music technology was making acid house and techno a cultural reality, you opted to do pop songs, so who were your main influences in that respect?

I was going to clubs in my late teens and listening to house music like ‘Jack Your Body’ and ‘House Nation’ the early stuff and thinking “wow I want to do that”. When moving to Livingston when I was 17, the Scottish radio was full of RUNRIG, HIPSWAY, DEACON BLUE etc, mostly rock pop stuff. Nobody really from Scotland at that time was playing electronic music, in the mainstream anyway.

The club I went to called ‘Melvilles’ at the time (now a church lol) was playing all types of music including HI-NRG like “I was a male stripper in a go go bar” (not me, that was the name of the song ?) and tracks like “Boom Boom, let’s go back to my room” and I loved them. It was the energy they gave off on the dancefloor, just like house music which was uplifting, almost trance like. They also played a lot of electronic bands like OMD, PSB and VISAGE.

Can you remember your first synth or keyboard? What was it like to use?

The first keyboard was a small Casio which had built-in speakers and drums etc, not that great at sounds but you could play about with them to make better ones. It did not have any phono outputs, so I had to tape a microphone to its speaker when doing my early gigs.

What was your set-up when you were producing the demos that would eventually become ‘Future Boy’?

By the time I was working on ‘Future Boy’, I had my Korg T3 and an Akai sequencer, an Akai sampler and a rack mount synth which was by Roland.

It was a long process when writing tunes as you could not copy and paste stuff, it was all step-sequenced so you had to build the tracks part by part which was pain staking at the time.

I also had an old Atari monitor when moving on to Cubase later which was so much better.

How did you come to the attention of PET SHOP BOYS?

They were playing at the SECC in Glasgow, I remember playing ‘Please’ constantly and loved every song. I carried my demo tape with me everywhere I went. We were listening in the car going to the gig and whilst waiting in the venue, my friend Ali bumped into Pete who was their PA at the time (later to be my manager) and said “you’ve got to listen to this, it’s similar to the PET SHOP BOYS!”.

At the time, I had only written ‘Love Is Everywhere’, ‘Heaven’ and ‘Cloud 9’. We were invited to meet them after the show and it was awesome. A month later Pete called me and said “you better start working on an album, the boys want you down in London”, the rest is history.

‘Heaven Must Have Sent You Back To Me’ was a fine debut single in anyone’s books, exactly what one would imagine Spaghetti Records to be about?

Yes Neil and Chris loved ‘Heaven’ and wanted it out first. Spaghetti Records was something they both created at the time to go with the Italian connection surname that I had. They later added more artists to the label.

You’re best known for your hit ‘Love Is Everywhere’ which looking back now, is quite a bizarre song sounding like THE PROCLAIMERS meeting PET SHOP BOYS and OMD with bagpipes and The Royal Edinburgh Military Tattoo thrown in for good measure… how did this come together in your head and then in the studio?

Haha, yes there is quite a mixture of styles in that tune. I always wanted it to be a Scottish anthem sounding tune and had a crap bagpipe sample playing the main part, but it all just worked. When doing my early gigs, it was the song that got everyone pumped and went down rather well.

When in the studio with the boys, they wanted real bagpipes so we got some guys in to play it, but the bagpipes needed tuning to the correct key to fit the track. Neil also decided to add his backing vocals to it which lifted the chorus to another level. Thinking back, it was all experiments which the boys had fun being involved in.

Had it been the intention for PET SHOP BOYS to be involved in the production of ‘Love Is Everywhere’?

Yes from the get go, it was probably one of the first we started working on in the studio when putting together ‘Future Boy’.

With it, you became a pop pin-up with a ‘Smash Hits’ front cover, how did you find the adulation and also being on TV?

I loved every minute of it; I remember rushing to the newsagents to buy a copy when I was told I was in a magazine.

You have to love it, it’s all about you and if you don’t like it, why are you doing it? Being on TV was amazing too and at the time I always wanted to be on ‘Top Of The Pops’, I was on it but only a few seconds of the video to ‘Love is Everywhere’ as it was the highest climber that week. I was told I was going on the show the following week, but later that week we were told that Michael Jackson was releasing a bloody 10 minute video which they decided to premiere on the show instead!

‘That Loving Feeling’ was also produced by PET SHOP BOYS, what was it like working with them? Are there any funny stories you can recall?

Yes let me get it straight, these boys are so talented, the ideas at the time were flowing and me, being young and naïve, did not respect that as much as I do now. They were the biggest names in the pop industry and they were producing some of my songs! Don’t get me wrong, I was loving every moment of it and thought it was amazing and looking back now it all seems like a dream.

Chris was the joker, he would just come out with some random stuff which would get us all laughing; Neil too, I loved it when he would go off on one about some of the artists at the time in the charts who he thought were not deserving (I will not mention any names).

It was a shame ‘That Loving Feeling’ didn’t hit the same heights as ‘Love Is Everywhere’, why do you think that might have been?

It was all down to distribution at the time, you’ve got to remember we did not have social media to help push sales. Even though Spaghetti was my label, Polydor were the main backing / distributors and were not getting the records out to all the shops in time. This was really out of Chris and Neil’s control and should have been handled better by Polydor.

My bother and others that were contacting me were saying the stores were not stocking it or were waiting on stock coming in. At the time, you needed to sell a lot of records to even get into the Top 100 and I just missed the Top 40 which was a bummer but it never stopped me carrying on.

‘My Middle Class Life’ had an air of VISAGE about it?

Did it? *laughs*

I do like VISAGE. That was written when I was a waiter back in the days of getting sh*t from customers. I would go into my staff room and write it out on a napkin. A few songs were written there.

There is some great brassy freeform synth playing on the rugged album closer ‘Future Generations’, an art which had sort of disappeared during those dance years?

That was a track written when I was coming down to London and seeing all the homeless / red light areas which I never experienced back home. We wanted the album to have an emotional ending to it, inspired by ‘The Great Gig In The Sky’ by PINK FLOYD, the female vocals are stunning… I wanted that similar vocal effect at the end of my tune.

The excellent electro instrumental ‘Sonic Malfunction’ was a last minute addition to ‘Future Boy’, why had it felt necessary to add further tracks?

I did a lot of instrumental tracks too back in the day, it was one of those songs that Neil and Chris liked and wanted to add it to the album. (Check out my YouTube page for the new mix I did). They wanted to also show I suppose, the other side of Cicero which is not always pop. We did not want to overdo the album with instrumentals… we were keeping them for the B sides ?

On B-sides like ‘Mind The Gap’, ‘Splatt’ and ‘Jungilism’, you were able to let your more clubby instincts run wild?

Yep, again it was all about showing another part of Cicero and it was great having full control to experiment with songs like that.

We had a great laugh making them and loved playing with new technology in the studio.

How do you look back on the ‘Future Boy’ album? Which were your own favourite tracks?

I still think its timeless, I think it’s one of those albums that still sounds like some of the songs that are out there today, hell I may have even influenced them in some way ?

I don’t have any faves, I like them all but ‘Then’ was the one that I loved to listen to on repeat. Yes I sometimes still listen to it for inspiration. Is it bad to be a fan of your own music? If you’re not a fan of your own music why the hell are you doing it then!

‘Live For Today’, your contribution to the PET SHOP BOYS produced soundtrack to ‘The Crying Game’ is considered to be your best song; with that soulful counterpoint from Sylvia Mason-James, was this indicative of the direction you would have gone in for the second album?

Yes probably, we were going in a more orchestrated feel at the time but I was under no impression to change my music drastically compared to ‘Future Boy’

Some perceived you as a PET SHOP BOYS side-project… in hindsight, do you think the association helped or hindered you? Is there anything you’d have done differently?

Hey, I was their prodigy, they found me and I found them, it’s all about fate. I may have made it without the lads, but having them help me and to be part of it was something I would never change.

You also supported TAKE THAT on tour. Looking back, was it the right fit as it didn’t appear to revive your fortunes? How did you find the experience overall for you?

I loved being on tour with the boys, we were good friends and thought it would be a good surprise having me part of the show, we talked about it way back before they became famous. It was never a plan to revive my career but the response I got was overwhelming from the fans.

In 1996 you released a cover of SOFT CELL’s ‘Say Hello, Wave Goodbye’? What is it about that song for you personally which you loved?

It was one of those songs when I first listened to it that made me relate to it a bit, but I always thought it would be a good dance tune.

Publically, it looked like you’d gone under the radar after that, what happened then?

I was and still am making music, I just wanted a break from it all. I went through quite a low time which I will not get into after my pop career. Later my lovely daughter was born who was 11 weeks premature. This was worrying times as she was in the hospital for a long time when she was first born so I stopped doing music until she was older.

I started doing music with a DJ friend of mine Paul Mendez, writing trance tunes under the name JACOB & MENDEZ. I also have a few albums out under the name THE EVENT which tracks have appeared on some independent films. I was always writing, always going on and never giving up.

You’re now back with a new single ‘Turned Around’ and it’s like you’ve never been away. What made you feel this was the right time to make a return to music?

I had released a couple of songs prior to this called ‘Face This World Alone’ and ‘Wish’, but was getting a lot of people asking when I was going to sing again. I wanted to put a song together that meant something to me and what a lot of others could relate to. I just wanted everyone to know I was back, but not really been away.

Is the current environment where an artist has more control over their music with regards self-releasing more suited to your ethos?

It’s a great time for independent artist who can now more easily set up their own label. I love having full control now, most artists if you ask them would love that, you can express your true music that way, it’s not controlled and it’s not all about making money like most big named record companies are only after these days. Just listen to the amount of sh*t that is out there.

How do you feel about the music industry today compared with back then?

Don’t get me started, it sucks, we are controlled into having to listen to what they decide is good. Everyone is expected to follow like sheep and listen to the same type of music as everyone else. Back in the 90s, music was so uplifting, nowadays it’s all so depressing. It’s like they want us all to be depressed. They control the big radio stations now and any small independent band does not have a chance… unless you get signed to them.

Photo by Neil McDade

You recently gave your first live performance for many years in aid of MacMillan. How does it feel to be playing live again?

It was one of the best nights of my life. It was something I planned a few years ago after doing a remake of ‘Cloud 9’. All of my original material was done on floppy drives, so I had to reprogramme everything from scratch for the live show.

The response and feedback has been amazing. It’s given me the buzz again and you never know, I may just have to do another.

So what’s next for you then, your hopes or fears?

I may do some more live gigs. I am now working on an album, it’s not ‘Future Boy 2’ but it’s still going to have that Cicero feel to it with a more up to date cutting edge sound. Back in the 90s, we were limited to technology but we made it sound the best we could back then. The new album may not be out until later next year ‘cause I want to take my time to make sure I am happy with it first and hopefully you are too.

ELECTRICITYCLUB.CO.UK gives its sincerest thanks to David Cicero