Tag: Ultravox (Page 10 of 16)

25 CLASSIC STANDALONE SYNTH SINGLES

2 August 2016 / electricityclub

The single is the lifeblood of pop music, serving the purpose of a trailer to an artist’s new album or as an entity on its own.

The non-album single first came to prominence with THE BEATLES and THE WALKER BROTHERS, but as rock music in particular got more serious, bands like PINK FLOYD and LED ZEPPELIN looked down on the shorter format, refusing to even release singles and focussing only on albums.

With punk and new wave, acts like THE JAM, THE CLASH and SIOUXSIE & THE BANSHEES frequently issued standalone singles, often as a document of developing ideals or even to indulge in the occasional cover version. But others like Ian Dury saw it as statement of not ripping-off their audience by effectively making them buy the same song twice.

All the singles listed here were released in 7 inch format and not included on any of the artist’s original edition albums in the UK. Songs that were singles to promote compilation albums, remix collections or films are permitted, but singles by bands that did not actually get round to releasing a full length album are not included.

So here are ELECTRICITYCLUB’CO.UK’s 25 Classic Standalone Synth Singles presented in chronological, and then alphabetical order.

FAD GADGET Ricky’s Hand (1980)

The unsettling second single by former Leeds Polytechnic art student Frank Tovey was a commentary on the dangers of drink driving as “Ricky contravened the Highway Code”. Featuring an electric drill alongside assorted synths and industrial rhythms, ‘Ricky’s Hand’ was not included on the debut FAD GADGET long player ‘Fireside Favourites’ that came out a few months later, but it helped establish Mute Records’ credentials as an early champion of independent electronic music.

Now available on the album ‘The Best Of’ via Mute Records

http://www.fadgadget.co.uk

JOHN FOXX Miles Away (1980)

John Foxx’s first release after the ‘Metamatic’ period recalled his twilight years with ULTRAVOX and in particular ‘Slow Motion’. Featuring live drums from Edward Case, guitars were replicated by treated layers of ARP Odyssey. While not as accomplished as ‘Slow Motion’, ‘Miles Away’ was a worthy transitional recording although where Foxx headed next was the more romantic and band oriented textures of ‘The Garden’.

Now available on the album ’20th Century: The Noise’ via Metamatic Records

http://www.metamatic.com/

JAPAN I Second That Emotion (1980)

With JAPAN not making any headway in the UK singles charts, their manager Simon Napier-Bell felt the only solution was to doa cover version. David Sylvian visited his parents’ Motown collection and the song he chose was a lively Smokey Robinson number. Slowed down and given a more arty Ferry-ish treatment, ‘I Second That Emotion’ was not a hit on its original release, but the world belatedly caught up when a remixed reissue reached No11 in 1982.

Now available on the album ‘‘The Very Best Of’ via Virgin Records

JOY DIVISION Love Will Tear Us Apart (1980)

With a haunting string line from an ARP Omni, ‘Love Will Tear Us Apart’ was the posthumous hit single that documented the relationship turmoil which JOY DIVISION’s lead singer Ian Curtis was facing prior to his suicide. The initial attempt at recording had been much faster and tighter, but producer Martin Hannett slowed the band down and suggested Curtis take on a more Sinatra based drawl. The looser end result added further poignancy.

Now available on the album ‘Substance’ via Rhino

http://joydivisionofficial.com/

GARY NUMAN I Die: You Die (1980)

A statement on his fractious relationship with the press, incessant riffs, flanged guitar and swooping Polymoog provided melody, grit and tension in equal measures. Meanwhile, real drums and a Roland Compurhythm combined to provide a solid but unusual backbone. It was not included on the original LP version of ‘Telekon’, but did feature on the cassette. Numan felt he was giving value to his fans, but casual followers didn’t buy the album as a result and it affected wider sales momentum.

Now available on the album ‘Premier Hits’ via Beggars Banquet

http://www.garynuman.co.uk/

THE BLUE NILE I Love This Life (1981)

‘I Love This Life’ was the first release from THE BLUE NILE and the esoteric template that later emerged on ‘A Walk Across The Rooftops’ was already omnipresent. Rawer and more aggressive than songs like ‘Stay’ and ‘Tinseltown In The Rain’, this was a fine opening gambit from the enigmatic Glaswegian trio who had met at university. Originally self-released, the single was picked up by RSO who promptly folded after its re-release.

Now available on the deluxe edition album ‘A Walk Across The Rooftops’ via Virgin Records

http://www.thebluenile.net

THE CURE Charlotte Sometimes (1981)

Smothered in ARP Quartet and electronic drums but maintaining the claustrophobic feel of that year’s ‘Faith’ album, the haunting ‘Charlotte Sometimes’ co-produced by Mike Hedges was an interim 45 prior to the doomfest of ‘Pornography’. The band’s potential for success now looked like a real threat as The Raincoat Brigade seeked out a successor to JOY DIVISION. But in late 1982, THE CURE lightened up for the first of their fantasy singles, ‘Let’s Go to Bed’.

Now available on the album ‘Staring At The Sea’ via Fiction Records

http://www.thecure.com/

HEAVEN 17 I’m Your Money (1981)

Following the politically charged electro-funk of ‘(We Don’t Need This) Fascist Groove Thang’, Martyn Ware and Ian Craig Marsh returned to their roots in THE HUMAN LEAGUE with the more exclusively synth driven ‘I’m Your Money’. The multi-lingual phrases highlighted an expanding world market while Glenn Gregory provided commentary on how personal relationships were like business transactions.

12 inch version now available on the album ‘Penthouse & Pavement’ via Virgin Records

http://www.heaven17.com

JON & VANGELIS I’ll Find My Way Home (1981)

Having scored an unexpected UK hit with the beautiful synth laden ‘I Hear You Now’, Jon & Vangelis did it again with ‘I’ll Find My Way Home’, a song that had not been originally included on their second album ‘The Friends Of Mr Cairo’. Jon Anderson’s lyrics were almost spiritual while the widescreen sonic backing from his Greek chum complimented the mood. Vangelis himself was about to enter his most high profile period with ‘Chariots Of Fire’ and ‘Blade Runner’.

Now available on the album ‘The Friends Of Mr Cairo’ via Polydor Records / Universal Music

https://www.facebook.com/VangelisOfficial/

CHINA CRISIS Scream Down At Me (1982)

It’s strange to think now that when CHINA CRISIS first emerged with ‘African & White’, they were quite uptempo and percussive, influenced by TALKING HEADS and MAGAZINE. ‘Scream Down At Me’ was unusual in many respects, being more dynamic than most of the material that featured on their debut album ‘Difficult Shapes & Passive Rhythms…’; the single showcased a degree of frantic art funk tension that was never to be repeated by the band.

Now available on the album ‘Ultimate Crisis’ via Music Club Deluxe

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

THOMAS DOLBY She Blinded Me With Science (1982)

Following the cult success of his debut album ‘The Golden Age Of Wireless’, Thomas Dolby sent up the mad scientist image he had accquired by actually employing a real mad scientist in Doctor Magnus Pyke for his next single. Produced by Tim Friese-Greene, this slice of gloriously eccentric synthpop had been recorded as a non-LP one-off, but its chart success in America led to ‘She Blinded Me With Science’ being appended to the album.

Now available on the album ‘The Golden Age Of Wireless’ via EMI Music

http://www.thomasdolby.com

SOFT CELL What! (1982)

‘What!’ effectively bookended Marc Almond and Dave Ball’s imperial pop period which had started with ‘Tainted Love’. Another song that came via the Northern Soul scene, it was originally recorded by Judy Street and had more than a passing resemblance to ‘Always Something There To Remind Me’. The recording was quickly disowned and was to be SOFT CELL’s last Top10 single before the duo entered much darker musical territory and on the path to ‘Mr Self Destruct’.

Now available on the album ‘Non-Stop Erotic Cabaret’ via Phonogram / Universal Music

http://www.softcell.co.uk

YAZOO The Other Side Of Love (1982)

An occasional trait of standalone singles was how they were often quickly recorded and rush-released, due to an impending tour or greatest hits. In the case of YAZOO, it was the former. One of only three co-writes by Alison Moyet and Vince Clarke, this bright if almost forgettable tune has been described by Moyet as “hateful”. However, ‘The Other Side of Love’ allowed Clarke to put his new Fairlight CMI through its paces, while a gospel flavour came from SYLVIA & THE SAPPHIRES.

Now available on the album ‘The Collection’ via Music Club Deluxe

http://www.yazooinfo.com/

DURAN DURAN Is There Something I Should Know? (1983)

Released in the interim between the ‘Rio’ and ‘Seven & The Ragged Tiger’ albums, ‘Is There Something I Should Know?’ was a cynical attempt to ensure DURAN DURAN got a UK No1. Nick Rhodes made it clear the song was not going to be on the next album while completely different versions featured on the 7 and 12 inch formats. This synth laden single featured that dreadfully unforgettable line “You’re about as easy as a nuclear war”!

Now available on the album ‘Greatest’ via EMI Music

http://www.duranduran.com

THE HUMAN LEAGUE Fascination (1983)

THE HUMAN LEAGUE were in limbo after the departure of producer Martin Rushent from the sessions to record a follow-up to the massive selling ‘Dare’. A song he worked on was prepared for single release to buy the band some extra time. Subsequently remixed by Chris Thomas, ‘Fascination’ featured a charming four way call-and-response vocal while the huge use of portamento on the lead synth line fooled buyers into returning their singles to the shops thinking it was warped!

Now available on the album ‘Greatest Hits’ via Virgin Records

http://www.thehumanleague.com

KRAFTWERK Tour De France (1983)

Borrowed from Paul Hindemith’s ‘Heiter Bewegt – Sonate Für Flöte Und Klavier’ composed in 1936, an Emulator was used to synchronise voices and mechanical sounds to a marvellous electronic percussion pattern. ‘Tour De France’ successfully reinforced KRAFTWERK’s credibility within Urban America. But feeling left behind in comparison to THE ART OF NOISE, Ralf Hütter demanded their upcoming ‘Technopop’ album to be reworked with a Synclavier’…

Alternate 2003 version now available on the album ‘Tour De France Soundtracks’ via EMI Music

http://www.kraftwerk.com

ROBERT GÖRL Mit Dir (1984)

Dark and brooding, the debut single from the DAF drummer became a highly regarded cult classic. The slow stark Teutonic electro of ‘Mit Dir’ was considerably less harsh than his band’s pioneering electronic body music. Although not featured on Görl’s first solo album ‘Night Full Of Tension’, ‘Mit Dir’ did much to help lighten his mood considerably that he was attempting synthpop with EURYTHMICS’ Annie Lennox on songs like ‘Darling Don’t Leave Me’.

12 inch version now available on the album ‘Night Full Of Tension’ via Mute Records

http://www.robert-goerl.de

ULTRAVOX Love’s Great Adventure (1984)

ULTRAVOX had a run of 11 successive Top30 singles in their classic Midge Ure-fronted incarnation so when ‘The Collection’ was being prepared by Chrysalis Records, the band suggested including a new track which was an unusual move for the time. Based on a demo rejected by Levi’s for an ad campaign, the huge symphonic pomp of ‘Loves Great Adventure’ was a brilliantly glorious statement with Billy Currie’s OSCar interventions being its undoubted musical highlight.

Now available on the album ‘The Very Best Of’ via EMI Records

http://www.ultravox.org.uk

DEPECHE MODE Shake The Disease (1985)

An important interim single for DEPECHE MODE, ‘Shake The Disease’ was the bridge between the industrial flavoured synthpop of ‘Some Great Reward’ and the darker aesthetics of ‘Black Celebration’. Much more accomplished than the more throwaway standalones like ‘It’s Called A Heart’ and ‘But Not Tonight’ which followed, ‘Shake The Disease’ continues to be performed live at DM shows in a less interesting stripped down form with Martin Gore on lead vocals.

Now available on the album ‘The Singles 81-85’ via Mute Records

http://www.depechemode.com

SIMPLE MINDS Don’t You (1985)

With ambitions to break the US market, SIMPLE MINDS were offered a song written by Steve Chiff and producer Keith Forsey for a John Hughes movie ‘The Breakfast Club’. The song had already been rejected by Billy Idol and Bryan Ferry, so was reluctantly recorded by the band at a studio in Wembley. With the right balance of synths and FM rock, ‘Don’t You’ became an unexpected American No1 on the back of the movie’s success and took Jim Kerr and Co into the stadiums of the world.

Now available on the album ‘Celebrate: The Greatest Hits’ via Virgin Records

http://www.simpleminds.com

SPARKS Change (1985)

Post-Moroder, SPARKS had returned Stateside to hone a more rock-orientated sound. But they returned to their more eccentric side with ‘Change’, a one-off for London Records. Engineered by Dan Lacksman of TELEX, it featured a sonic passage that would have made Trevor Horn proud. Lines such as “I’ve been thinking we’ll get back together again someday – your hair will be some weird color by then…” reminded European audiences of how quirky SPARKS could be.

Now available on the album ‘New Music For Amnesiacs – The Essential Collection’ via Lil Beethoven Records

http://www.allsparks.com

OMD If You Leave (1986)

Love it or loathe it, OMD’s contribution to the ‘Pretty In Pink’ soundtrack was a massive US hit and the reason why youngsters are still discovering the band. Produced by Tom Lord-Alge, while the Fairlight assisted sound appears at odds with Paul Humphreys and Andy McCluskey’s pioneering synthpop, the intro of ‘If You Leave’ actually follows a chord progression very similar to ‘Enola Gay’. Interestingly, the song failed to enter the Top40 on its release in the UK.

Now available on the album ‘Messages’ via Virgin Records

http://www.metamatic.com

NEW ORDER Touched By The Hand Of God (1987)

When NEW ORDER issued their ‘Substance’ 12 inch singles collection, 9 out of its 12 songs had not featured on their previous albums. The Diego Maradona inspired ‘Touched By The Hand Of God’ is one of the Mancunian’s combo’s more underrated singles. With a synth riff borrowed from Shannon’s ‘Let The Music Play’, it successfully combined some gritty rock energy to a solid Italo disco backbone featuring a great sequenced bassline.

Now available on the album ‘Singles’ via Rhino

http://www.neworder.com

ERASURE Stop! (1988)

Recorded for the ‘Crackers International’ EP between ‘The Innocents’ and ‘Wild!’, ‘Stop!’ was a throbbing Moroder-inspired disco tune that borrowed counter-melodies from Donna Summer’s ‘Love’s Unkind’. Independent labels such as Mute and Factory were more likely to indulge in releases that weren’t specifically tied in to albums, and it proved to be a perfect move to maintain ERASURE’s profile while they were preparing their next plan of action.

Now available on the album ‘Total Pop! The First 40 Hits’ via Mute Records

http://www.erasure.com

PET SHOP BOYS Where The Streets Have No Name (1991)

Chris Lowe felt that the opener on U2’s ‘The Joshua Tree’ would make a good HI-NRG track. A cheeky send-up of how Bono and Co would often drop snippets of covers into live versions, ‘Can’t Take My Eyes Off Of You’ made famous by Andy Williams was segued into ‘Where The Streets Have No Name’. It all seemed so camp and ridiculous in the video when Neil Tennant was singing it wearing a Stetson, but then in 1992, out popped Bono doing something similar on their ‘Zoo TV’ tour!

Now available on the album ‘Pop Art’ via EMI Music

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

Text by Chi Ming Lai
2nd August 2016

A Beginner’s Guide To JOHN FOXX

27 June 2016 / electricityclub

The recent release of the ULTRAVOX! 4 CD box set ‘The Island Years’ was a timely reminder that their one-time leader John Foxx has had a music career that has spanned over four decades.

Born Dennis Leigh, his first recorded work was a ROXY MUSIC styled cover of ‘Ain’t Misbehavin’ for an arthouse adult film of the same name, as a member of TIGER LILY. The quintet comprising of Foxx, Warren Cann, Chris Cross, Billy Currie and Stevie Shears renamed themselves ULTRAVOX! and signed a deal with Island Records.

Reinforcing their art rock aspirations seeded by THE VELVET UNDERGROUND and Bowie, ULTRAVOX! secured the production input of synth pioneer and label mate Brian Eno for their self-titled debut in 1977. Two albums later, they began to make headway with a template inspired by the emergent electronic bands from Germany such as KRAFTWERK, CLUSTER and NEU!

However, Foxx became disillusioned with the restrictions of a band format and departed ULTRAVOX! in 1979 for a solo career; the end result was the ‘Metamatic’ album, released in 1980 on Virgin Records. Recorded at Pathway, an eight-track studio in Islington using an ARP Odyssey, Elka Rhapsody 610 and Roland CR78 Compurhythm, the seminal long player yielded two unexpected hit singles in ‘Underpass’ and ‘No-One Driving’.

Foxx said of that period: “You felt like some Film Noir scientist inventing a new life-form in the basement. I also think it was the beginning of Electro-Art-Punk or something like that. A strange wee animal. Seems to have bred copiously with everything available and still survived – right to this day”. In the years since, John Foxx has continued to innovate within electronic, experimental and ambient spheres. Despite this, he is still very much under rated, especially compared with artists who benefited from his influence.

Gary Numan has always acknowledged his debt to the synth rock overtures of ULTRAVOX! while DEPECHE MODE’s admiration of ‘Metamatic’ led to its incumbent engineer Gareth Jones working with the band on their own Berlin Trilogy of ‘Construction Time Again’, ‘Some Great Reward’ and ‘Black Celebration’.

So with a vast repertoire to his name, what tracks in his various guises would act as a Beginner’s Guide to the man referred to affectionately as Lord Foxx Of Chorley? This is not intended to be a best of chronology, more a reflection of highly divergent career. With a restriction of one recording per album project, ELECTRICITYCLUB.CO.UK lists its #Foxx20.

ULTRAVOX! My Sex (1977)

Using Brian Eno’s Minimoog with a knob marked with a sheep sticker to indicate it made woolly sounds, Billy Currie’s classical sensibilities combined with Foxx’s detached dissatisfaction for ‘My Sex’. Of Eno, Foxx said, “It was good to hear his stories and enact his strategies. He wasn’t greatly experienced in studio craft but he was a good co-conspirator, someone with a useful overview, who understood where we wanted to go. He was just what we wanted, really. A sort of art approach to recording”

Available on the ULTRAVOX! album ‘Ultravox!’ via Island Records

ULTRAVOX! Hiroshima Mon Amour (1977)

Utilising Warren Cann’s modified Roland TR77 rhythm machine, this was Foxx moving into the moody ambience of CLUSTER, away from the aggressive attack of interim 45 ‘Young Savage’. ‘Hiroshima Mon Amour’ had been premiered as a spiky uptempo number for the B-side of ‘ROckWrok’. The ‘CC’ credited on saxophone is not Chris Cross, but a member of GLORIA MUNDI fronted by Eddie & Sunshine who later appeared with Foxx on ‘Top Of The Pops’.

Available on the ULTRAVOX! album ‘Ha! Ha! Ha!’ via Island Records

ULTRAVOX! Quiet Men – 12 inch version (1978)

Relocating to Cologne to work with the legendary Conny Plank on ‘Systems Of Romance’, ULTRAVOX! became more texturally powerful thanks to Billy Currie’s ARP Odyssey, the EMS Synthi AKS of Chris Cross and new guitarist in Robin Simon. ‘Quiet Men’ was a perfect integration of all those elements attached to a rhythm machine backbone. Of the even punchier 12 inch rework, Foxx said “We remixed it so that Warren’s metal beats would shred speakers”

Available on the ULTRAVOX! box set ‘The Island Years’ via Caroline International

JOHN FOXX He’s A Liquid (1980)

“I want to be a machine” once sang Foxx and he went the full hog with the JG Ballard inspired ‘Metamatic’. His mission was to “Make a language for the synth and the drum machine”. The deviant ‘He’s A Liquid’ was pure unadulterated Sci-Fi: “I think it was a bit of punk electronica at the right time – just before everyone else raided the shed. Historically, perhaps it defines an impulse – something that wasn’t possible before – one man and some cheap machines making music independently”.

Available on the JOHN FOXX album ‘Metamatic’ via Edsel Records

JOHN FOXX Europe After The Rain (1981)

Foxx admitted he had been “reading too much JG Ballard” and had thawed considerably following ‘Metamatic’. Now exploring beautiful Italian gardens and taking on a more foppish appearance, his new mood was reflected in his music. Moving to a disused factory site in Shoreditch, Foxx set up ‘The Garden’ recording complex and the first song to emerge was the Linn Drum driven ‘Europe After The Rain’. Featuring acoustic guitar and piano, Foxx had now achieved his system of romance.

Available on the JOHN FOXX album ‘The Garden’ via Edsel Records

ANTENA The Boy From Ipanema (1982)

Before NOUVELLE VAGUE, French-Belgian combo ANTENA hit upon the idea of merging electronic forms with a samba cocktail style. Released on the prestigious Belgian label Les Disques Du Crépuscule who Foxx contributed ’A Jingle’ for the compilation ‘From Brussels With Love’, he produced their cover of ‘The Boy From Ipanema’, adding robotic textures via The Human Host. Much lighter that any of his own work, it was also quite sinister, making this a unqiue curio in the John Foxx portfolio.

Available on the ANTENA album ‘Camino Del Sol’ via Les Disques du Crépuscule

JOHN FOXX Ghosts On Water (1983)

Foxx had envisioned ‘The Golden Section’ as “a roots check: Beatles, Church music, Psychedelia, The Shadows, The Floyd, The Velvets, Roy Orbison, Kraftwerk, and cheap pre-electro Europop”. Working with Zeus B Held, the album had a psychedelic electronic rock flavour, liberally seasoned with vocoder effects and samplers. With folk laden overtones and some frantic percussion work from HAIRCUT 100’s Blair Cunningham, ‘Ghosts On Water’ was one of the album’s highlights.

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

JOHN FOXX Shine On (1985)

By 1985, Foxx had lost his way and got embroiled in attempting a more conventional pop sound. With its sax sample lead line, ‘Shine On’ showed Foxx could deliver a fine pop tune but he wasn’t happy: “I simply didn’t like the mid to late eighties scene – all perfect pop and white soul. I suddenly felt isolated. I remember one day finding myself half-heartedly toying with some sort of sh*tty pop music while longing to be out of the studio and working on something visual. So I thought right that’s it – time for a change”.

Available on the JOHN FOXX album ‘In Mysterious Ways’ via Edsel Records

NATION 12 Remember (1990)

NATION 12 Remember Foxx made an unexpected return to music with an acid house inspired number produced by Tim Simenon of BOMB THE BASS fame: “It was a great experience – a new underground evolving from post-industrial Detroit, using analogue instruments rescued from skips and pawn shops… Tim Simenon turned up wanting me to do some music… so Foxx was out the freezer and into the microwave…” – the other material that was recorded didn’t see the light of day until 2005.

Available on the NATION 12 album ‘Electrofear’ via Tape Modern

JOHN FOXX Sunset Rising (1995)

‘Cathedral Oceans’ saw Foxx developing his interest in ambient forms fused with Gregorian chants, as exemplified by ‘Sunset Rising’. But the project had an extremely long genesis with the first recordings made in 1983. Inspired by his brief period as a choir boy, when asked what this material gave him that songs couldn’t, he answered: “Well, they cover a different emotional and sonic spectrum – more concerned with tranquility and contemplation. Music with beats can’t address this at all”.

Available on the JOHN FOXX album ‘The Complete Cathedral Oceans’ via Demon Records

JOHN FOXX & LOUIS GORDON Dust & Light (1999)

Weaned on ‘Metamatic’, Louis Gordon was a natural collaborator for Foxx’s song based comeback. Over four albums, it confirmed that Foxx still had that inventive spark within electronic music. Noisy and percussive, ‘Dust & Light’ recalled the unsettling Dystopian standpoint with which Foxx had made his pioneering impact. ‘Drive’ and ‘Automobile’ continued the theme, although Foxx sustained his interest in more psychedelic forms via songs like ‘An Ocean We Can Breathe’.

Available on the JOHN FOXX & LOUIS GORDON album ‘Crash & Burn’ via Metamatic Records

HAROLD BUDD & JOHN FOXX Subtext (2003)

With beautiful piano and processed electronics, the sparse ‘Subtext’ was very reminiscent of Harold Budd’s 1984 Eno collaboration ‘The Pearl’. From the ‘Translucence’ album which was twinned with the more discreet, sleepier textures of ‘Drift Music’, it was smothered in echoes and reverberations galore as slow atmospherics and glistening melodies esoterically blended into the ether.

Available on the HAROLD BUDD & JOHN FOXX album ‘Translucence + Drift Music’ via Metamatic Records

JOHN FOXX & ROBIN GUTHRIE My Life As An Echo (2009)

The ‘Mirrorball’ album with COCTEAU TWINS’ Robin Guthrie took textural guitars and echoing piano into a dreamworld that he could now enter. ‘My Life As An Echo’ was a beautiful instrumental which stopped short of being fully ambient thanks to its live drum loop. Other tracks such as ‘Estrellita’ and ‘The Perfect Line’ saw Foxx adding Glossolalia to the soundscape, recalling not only ‘Cathedral Oceans’ but Guthrie’s work with former partner Elizabeth Fraser.

Available on the JOHN FOXX & ROBIN GUTHRIE album ‘Mirrorball’ via Metamatic Records

JOHN FOXX & THE MATHS featuring MIRA AROYO Watching A Building On Fire (2011)

Joining forces with Benge, Foxx found the perfect foil for his earlier analogue ambitions, only this time combined with a warmth that had not been apparent on ‘Metamatic’, or his work with Louis Gordon. The best track on their debut album ‘Interplay’ was a co-written duet with Mira Aroyo of LADYTRON entitled ‘Watching A Building On Fire’. With its chattering drum machine and Trans-European melodies, it was a successor to ‘Burning Car’.

Available on the JOHN FOXX & THE MATHS album ‘Interplay’ via Metamatic Records

GAZELLE TWIN Changelings – JOHN FOXX & THE MATHS remix (2012)

Foxx and Benge became extremely prolific and a number of remixes appeared, the best of which was for GAZELLE TWIN aka Elizabeth Bernholz. She said: “John and Benge’s remix of ‘Changelings’ was really delicate and elegant. It’s one of my favourites of all the remixes because it doesn’t alter the song much at all. I love the addition of John’s vocal in there too. It was perfectly suited. I am so flattered that they chose to put (it) on the new ‘Evidence’ album”.

Available on the JOHN FOXX & THE MATHS album ‘Evidence’ via Metamatic Records

JOHN FOXX & JORI HULKKONEN Evangeline (2013)

Foxx and Jori Hulkkonen had worked together on ‘Dislocated’ and ‘Never Been Here Before’ for the Finnish producer’s albums ‘Dualizm’ and ‘Errare Machinale Est’ respectively, but never before on a body of work. The ‘European Splendour’ EP took on a grainier downtempo template and the lead track ‘Evangeline’ possessed a glorious pastoral elegance and an otherworldly anthemic chorus.

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

JOHN FOXX & STEVE D’AGOSTINO The Forbidden Experiment (2014)

With a Dystopian backdrop, Foxx returned to the more mechanical approach with Steve D’Agostino for the soundtrack of Karborn’s experimental short film. Described as “a unique investigation of the terrors and pleasures of temporal displacement”, it was “a sinister sonic architecture of drum-machine-music and analogue synthesizers”. The rumbling rush of ‘The Forbidden Experiment’ was a favourite of Foxx enthusiasts who preferred his instrumentals to have more rhythmic tension.

Available on the JOHN FOXX & STEVE D’AGOSTINO album ‘Evidence Of Time Travel’ via Metamatic Records

GHOST HARMONIC Codex (2015)

GHOST HARMONIC saw Foxx and Benge alongside Japanese violinist Diana Yukawa. Foxx said: “the underlying intention was we all wanted to see what might happen when a classically trained musician engaged with some of the possibilities a modern recording studio can offer…” – the result was a startling dynamic between Yukawa’s heavily treated violin and the looming electronics. The closing album title track was an opus of soothing bliss.

Available on the GHOST HARMONIC ‘Codex’ via Metamatic Records

JOHN FOXX The Beautiful Ghost (2015)

‘London Overgrown’ was Foxx’s first wholly solo ambient release since the ‘Cathedral Oceans’ trilogy. With the visual narrative of a derelict London where vines and shrubbery are allowed to grow unhindered, ‘The Beautiful Ghost’ was like Beethoven reimagined for the 23rd Century with beautiful string synths in a cavernous reverb. Recalling William Orbit’s ‘Pieces In A Modern Style’, this was an accessible chill-out record that encompassed emotion and subtle melody.

Available on the JOHN FOXX album ‘London Overgrown’ via Metamatic Records

JOHN FOXX & THE MATHS A Man & A Woman (2016)

‘A Man & A Woman’ was a surprise in that it was less rigid than previous JOHN FOXX & THE MATHS recordings. Featuring the enchanting voice of Hannah Peel, it was a departure that even featured some acoustic guitar flourishes. Despite this, vintage synths were still a key element to his mathematical theories: “Analogue is a bit more complex – still mysterious and rebellious. Digital is more controllable. Use where necessary. Avoid anything with a multi-function menu!”

Available on the JOHN FOXX album ’21st Century: A Man, A Woman And A City’ via Metamatic Records

A selection of the John Foxx back catalogue is available from http://johnfoxx.tmstor.es/

http://www.metamatic.com/

https://www.facebook.com/johnfoxxmetamatic/

https://twitter.com/foxxmetamedia

Text by Chi Ming Lai
27th June 2016

BILLY CURRIE Doppel

5 June 2016 / electricityclub

Best known as ULTRAVOX’s classically trained virtuoso instrumentalist, BILLY CURRIE is back with a new solo album ‘Doppel’.

Following the sharp, spikier aesthetics of tracks like ‘Jump Spin’ on ‘Balletic Transcend’ in 2013, ‘Doppel’ is a more pastoral instrumental collection, with Currie’s trademark synths, viola, violin and classical piano all present and correct. Cascading synthetic strings are the metronomic backbone to the sub-seven minute ‘Neoteric Slip’, a lively orchestrated cacophony of sound with a screeching, passionate violin interlude add some tension to proceedings.

A familiar template makes an appearance with swimmy chorused string machine and tinkling ivories alongside prominent synth rock textures and a four-to-the floor rhythm construction for the ULTRAVOX flavoured ‘Tremolo Shudder’.

The beautifully filmic ‘Silver Tongued’ takes a lonely piano and sprinkles its surroundings with the occasional drop of space dust while the progressive ‘Doppel’ title track with its phased percussion and staccato voice samples provides another steadfast canvas for Currie to apply his violin and piano magic.

Taking things down, ‘In Full Cry’ explores other worldly territory not far off the late Japanese trailblazer TOMITA before the optimistically uptempo ‘Gleam’ and the expressive bowed exordiums of ‘Viola Reach’.

The brilliant ‘Glibberig’ enters the colder mechanical territory of former bandmate JOHN FOXX before a sudden increase of tempo two minutes in which allows Currie to ply his distinctive piano.

With ‘Stymie’ providing a suitably stylized close, ‘Doppel’ is an enjoyable body of work that will appeal to those who will appreciate an intriguing electro classical fusion that sets itself apart from synthpop or dance.

‘Doppel’ is available as a download through the usual digital outlets and on CD-R via Amazon On-Demand

http://www.billycurrie.com/

https://www.facebook.com/pages/Billy-Currie/124950034330891

Text by Chi Ming Lai
5th June 2016

STEPHEN J LIPSON Interview

21 October 2015 / electricityclub

Stephen J Lipson, both individually and in collaboration with Trevor Horn, has been responsible for some of the most iconic sounding electronic-based musical productions over the last 30 years.

Alongside Trevor Horn, he was an integral part of the ZTT Records sound which was the Ying to the pop Yang of Stock, Aitken and Waterman – producing a stellar run of songs that were musical, very often cerebral and in many cases, massive chart hits. Whereas some band producers of the era were happy just to record the artists and suggest a few overdubs, Lipson and Horn saw the potential in often scrappy sounding demos and had the vision to use the latest available technology, combined with their own musicianship, to totally transform and take them to another place altogether.

The two acts that remain most musically indebted to the ZTT stable were Liverpool’s FRANKIE GOES TO HOLLYWOOD and Germany’s PROPAGANDA. As well as producing tracks which arguably sounded better than most of the competition, the label’s arch strategist Paul Morley perpetuated a tradition started by Factory Records in aligning the music of their artists with a design aesthetic that although could be seen as being ultra-pretentious, helped give the bands a unique identity.

Stephen J Lipson has also produced for PET SHOP BOYS, SIMPLE MINDS and ULTRAVOX amongst others. He kindly spoke to about elements of his glittering career and also his move into the world of film music production and mixing.

Your early days in the industry seemed to involve a lot of “learning on the job”…

I was self-taught and I built my first studio in the mid 70’s with no knowledge or help. Then I started engineering, making it up as I went along – my only previous experience was operating a Revox tape machine in my bedroom. After the studio had been going for a few months, Dave Robinson (Stiff Records) wanted to record an album there and suggested that he got an engineer in for the first day. That was Phil Brown who, in the space of 12 hours, got the project under way and taught me some invaluable lessons.

The art of band album production is often seen as a bit of a “black art”, what is your take on being successful at it?

You need to have personal taste, be able to get on with people and have good teamwork. Not taking up too much space in the room too by doing what has to be done – tea, driving, jokes, playing, writing, emailing, etc etc. Also giving encouragement to all involved and understanding that it’s not too important, at the end of the day it’s just music!

You’re well known for playing on some of the works you produce, are many producers frustrated artists?

I don’t know many producers and the ones I do know seem to be happy without the need for adulation.

Things really clicked into place when you started working with Trevor Horn and the whole ZTT experience, what are you main memories from that period?

My main memory is WORK! We worked so hard that when FRANKIE GOES TO HOLLYWOOD’s ‘Relax’ went to number one we didn’t celebrate, we just kept at it – it was enjoyable work in a great team though. My other memory is exposure to loads of equipment and having the time to use it.

‘Relax’ took a lot of attempts to perfect, how did the process go from the original (very rough) demo to final product?

Trevor had done a version with The Blockheads before I started working with him. We then spent ages on a “smart” version which took ages. Then he came in one day and said he wanted to scrap it and start again. That was when the single happened, very quickly, Trevor, JJ Jeczalik, Andy Richards and myself all playing live.

With the exception of Holly Johnson and Paul Rutherford, the rest of FRANKIE GOES TO HOLLYWOOD didn’t actually play on the final released version of ‘Relax’, how did the public react to that?

As far as I know, I don’t think anyone knew at the time!

PROPAGANDA’s ‘A Secret Wish’ is still a stunning sounding piece of work, were the demos you received for the album pretty fully formed?

For the most part the demos weren’t finished at all. They were skeletons, which is one of the reasons the album took so long. Michael Mertens, the musician in the band, lived in Düsseldorf. Trevor was working on other projects, so we were very much left to our own devices. Paul Morley was the main person who helped steer the project. My main memory of the album is of working in a black room for months with Andy Richards and loads of gear.

Apparently there were 14 versions of ‘Relax’ and 10 of ‘Dr.Mabuse’ – why go the extra mile and create so many alternative versions?

No-one knew what they were doing at the time and Paul Morley probably kept asking for more and we just kept going!

Do you feel you and Trevor Horn deserve more recognition for pioneering the art of remixing and the alternative version?

No… people who do what we do are, by definition, backroom people. That is a choice and those who want to know can find out…

I believe you were one of the first producers to work using digital recording, how was that experience?

It was a massive relief. There was no hiss, the difference in sound to our ears was wonderful and less EQ was needed. The Sony machines were also really reliable, we tried a Mitsubishi 32 track first but it didn’t work.

Are you a “snob” when it comes to music/studio equipment?

Absolutely not. Just about every piece of equipment is good nowadays, plus you can’t blame the gear any more. Instruments are different of course…

Do you often wish that vocalist-enhancing tools such as Autotune and Melodyne were available back in the day?

Not really. The limitations were good and I miss that, but we can’t turn the clock back, so onwards…

Do you have a favourite post-ZTT artist that you’ve worked with?

It’s hard to say, I enjoy the process of recording so if I were to pick an artist I would base it on personality which isn’t really relevant.

You produced the ULTRAVOX comeback album ‘Brilliant’, were you a fan of the band before joining the project?

Yes! Also I thought that any band that could write and make the records that they had over the years would be great to work with.

How was the process of working with the band on the album, was it a challenging experience?

Sort of, but it was very fulfilling. They’re lovely guys, but I was amazed that the album didn’t do all that well, I thought it was very good.

Do you have any ideas as to why the album wasn’t more successful?

Not a clue. Maybe it was a lack of money to promote it? Maybe a lack of interest in the band? It’s hard to say.

Today it is far easier for artists to self-produce and record, do you still think the big studio has a place in the current market?

Yes and no. In order to collaborate it’s ideal to be in the same space and this requires more than a home studio. I miss the collaborative aspect of record making but pragmatism must prevail, plus there are rarely any big budgets for projects now.

Does having the internet mean that there is a less of a necessity to travel for certain projects now?

To a certain extent, but a common space is better. It’s an interesting way of working though. I did an album with Mike Oldfield recently, where I was in LA and London and he was in the Bahamas where he lives. For the most part it worked but we did have some strange moments!

Much of your work now involves mixing/producing film scores including with Hans Zimmer on ‘The Dark Knight Rises’ and ‘Rush’, how does that compare with making band albums?

It was a massive learning experience moving into the film world, but it happened for me at an ideal point. I was getting bored with the predictable song structure and instrumentation of pop music. And I was starting to feel out of touch with the charts. There isn’t much comparison apart from music being the common denominator. Everything in film world is larger – budgets, quantity of music, sounds, personalities, sophistication. But being able to go between the two is amazing as after a while I miss all the things I found boring in pop.

Is Hans Zimmer’s studio as stunning as it looks in photographs?

More so! The pictures don’t show the technical side which is beyond one’s wildest thoughts.

What projects are you currently working on and are they still biased towards the film world?

The film work is definitely biased towards the film world!

Currently I’m working with Ronan Keating. The 5th album of his I’ve worked on. Also an amazing Japanese artist called Hotei. In a couple of weeks I’m off to New York to do another movie with Hans.

If you could pick a ‘Desert Island Disc’ track that you are most proud of working on, what would it be?

I have no idea. I’m not truly happy with anything so would probably take something else entirely!

ELECTRICITYCLUB.CO.UK gives its warmest thanks to Stephen J Lipson

http://www.stevelipson.com/Steve_Lipson/Home.html

http://www.allmusic.com/artist/steve-lipson-mn0000040392

Text and interview by Paul Boddy
21st October 2015

25 FAVOURITE CLASSIC 12 INCH VERSIONS

5 October 2015 / electricityclub

‘Is That The 12 Inch Mix?’ people used to ask…

“Sometimes you never knew what you were getting when you bought the 12 inch mix” says Rob Grillo, author of the same titled book tracing the history of the extended format, “Sometimes you got the 7 inch version and a bonus track, sometimes it was just the longer album mix, and sometimes you got the normal mix when the sleeve promised a ‘brand new mix’, occasionally there would be a gargantuan explosion of noise that heralded a completely new take on the song that would blow you mind away…”

ELECTRICITY CLUB.CO.UK itself has never been particularly big on remixes or 12 inch versions. They were on occasions, an unnecessary evil. Just because a song can be extended and reworked to submission doesn’t mean it has to be… FRANKIE GOES TO HOLLYWOOD’s bassist Mark O’Toole snorted to International Musician & Recording World in 1986: “A punter walks into the shop, wants to buy a single – and there’s half a dozen mixes of it! It’s a pain in the ar*e!”

Comedian Lenny Henry summed things up best in a sketch where he entered a record shop to buy a single and was then offered a plethora of versions by the assistant… “I JUST WANT THE VERSION THEY GOT RIGHT!” he exclaimed.

In another stand-up routine, he commented that a 12 inch single could last longer than a marriage. But they could be tremendously passionate affairs as Rob Grillo remembers: “In essence, buying the 12 inch was more exciting than buying the 7 inch…”

With the restriction of tape, a razor blade and the mixing desk, the era often conspired to make more interesting, structured reworkings than the meaningless dance work-outs of today. When done well, the 12 inch extended version could totally surpass the original.

Each track on this list of classic variations was released as a 12 inch single with a corresponding original 7 inch release that was shorter (which thus excludes ‘Blue Monday’ by NEW ORDER); full length album versions that subsequently got issued as 12 inch singles are not included.

With a restriction one track per artist moniker going up to the period before remixes got a bit daft with the advent of rave culture, here are ELECTRICITYCLUB.CO.UK’s 25 choices in chronological and then alphabetical order…

SPARKS Beat The Clock – Long Version (1979)

The shorter album take of ‘Beat The Clock’ was more basic and less epic. But in this longer, more powerful and percussive 12 inch version, the star of this ace collaboration with Giorgio Moroder was the ever dependable Keith Forsey with his rumbling drumming syncopating off the precisely sequenced electronic production. Russell Mael was at his best in fully fledged falsetto mode, while Ron stood more motionless, safe in the knowledge than he didn’t even have to play anymore.

Available on the album ‘Real Extended: The 12 inch Mixes (1979 – 1984)’ via Repertoire Records

http://allsparks.com/

DURAN DURAN Girls On Film – Night Version (1981)

At the start of their career, rather than just simply extend a song by joining together sections of tape, DURAN DURAN actually took time to rearrange and re-record their 12 inch singles. This they did on ‘Planet Earth’ and ‘My Own Way’. From its opening Compurhythm beat and first instrumental chorus set to Nick Rhodes’ swimmy Crumar Performer to Simon Le Bon’s closing verse ad-lib, the best of the early ‘Night Version’ trilogy was ‘Girls On Film’.

Available on the boxed set ‘The Singles 81-85’ via EMI Records

http://www.duranduran.com/

THE HUMAN LEAGUE Don’t You Want Me – Ext Dance Mix (1981)

Effectively an instrumental of the closing track on ‘Dare’, the quality of Martin Rushent’s production was fully showcased on this ‘Ext Dance Mix’. Each synth had its own voice and placed inside a precise lattice that formed a fabulous pop tapestry. It was also notable for featuring a guitar, albeit used obliquely by Jo Callis to trigger a Roland System 700. Even without its lead vocals, ‘Don’t You Want Me’ was a fine example of well-crafted, melodic electronic music.

Available on the album ‘Original Remixes & Rarities’ via Virgin Records

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

SIMPLE MINDS The American – 12 inch Version (1981)

With the futuristic ‘Changeling’ and ‘I Travel’, SIMPLE MINDS had been heavily rotated in clubs. ‘The American’ was the Glaswegians’ first single for Virgin and sounded like Moroder merged with NEU! Metallic motorik drumming from Brian McGee sans hi-hats provided an interesting rhythm construction and challenged the band into finding inventive ways of making people dance. With Mick McNeil’s pulsing synths coupled with Derek Forbes’ bass engine, this was prime art disco.

Available on the boxed set ‘X5’ via Virgin Records

http://www.simpleminds.com/

SOFT CELL Bedsitter – Early Morning Dance Side (1981)

SOFT CELL were quite unique in their 12 inch extended formats by often incorporating extra vocal sections like on ‘Torch’, ‘Facility Girls’ and ‘Insecure Me’. So ‘Bedsitter’ added a marvellous rap from Marc Almond where he asked “do you look a mess, do have a hangover?” before taking a little blusher, pushing tea leaves down the drain and starting the night life over again. This literal kitchen sink drama to song concept won SOFT CELL many ardent followers.

Available on the deluxe album ‘Non-Stop Erotic Cabaret’ via UMC

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

SPANDAU BALLET The Freeze – Special Mix (1981)

While the single version of ‘The Freeze’ was a polite slice of guitar driven disco, the 12 inch ‘Special Mix’ of SPANDAU BALLET’s second single utilised their Yamaha CS10 with a pulsing octave barrage that could have been borrowed from VISAGE. A closing cacophony of electronically processed percussion came over like a funkier KRAFTWERK but with the overblown vocal histrionics of Tony ‘Foghorn’ Hadley, this could only have been the Islington quintet.

Available on the album ‘The Twelve Inch Mixes’ via Chrysalis Records

http://www.spandauballet.com/

B-MOVIE Nowhere Girl – Version (1982)

B-MOVIE were the band that Phonogram pursued to take on SPANDAU BALLET and DURAN DURAN. Managed by Some Bizzare’s Stevo Pearce, he stipulated that an unknown duo called SOFT CELL be part of any deal. Possibly the best single featuring the original line-up, the 12 inch version of ‘Nowhere Girl’ featured an extended intro with just a solid beat along with tinkling ivories that came over like ULTRAVOX in full flight before the pulsing bass and harp-like synths kicked in.

Available on the boxed set ’12” 80s Alternative’ (V/A) via UMTV

http://www.b-movie.co.uk/

CLASSIX NOUVEAUX Is It A Dream? – 12 inch Version (1982)

The best classic 12 inch versions often retained the musical structure of the song but cleverly used the technique of breakdown to achieve the dynamic highs and lows. The 12 inch version of ‘Is It A Dream?’ effectively tagged the instrumental version of the song onto the beginning which provided a build towards the main act as the recognisable elements of the tune steadily kicked it. A final coda of thumping Simmonds drums and brassy synth provided the piece de resistance.

Available on the album ‘The Very Best Of’ via EMI Gold

http://www.salsolo.com/Classix_Fans.html

NEW ORDER Temptation – 12 Inch Version (1982)

A different version altogether from the 7 inch, however the 12 inch version was actually recorded in one massive 14 minute jam session with the shorter version preceding it. The recording itself was marvellously flawed, with Stephen Morris’ overdriven Simmons snare panned too far to the right while band members can also be heard calling instructions and tutting. The final closing refrains and the iconic “oooh-oo-ooh” vocal hook to the drum breakdown made ‘Temptation’ magical.

Available on the boxed set ‘Retro’ via Warner Music

http://www.neworder.com/

GARY NUMAN Music for Chameleons – Extended Version (1982)

In 7 inch form, GARY NUMAN’s ‘Music For Chameleons’ sounded incomplete. Lasting almost eight minutes, with the fluid fretless bass runs of Pino Palladino and the stuttering distorted clap of a Linn Drum providing the backbone to some classic vox humana Polymoogs, the 12 inch version’s highlight was the windy synth run in the long middle section. The effect of this was ruined on the ‘I Assassin’ album version which clumsily edited this section out!

Available on the album ‘Exposure: The Best of 1977-2002’ via Artful Records

http://www.numan.co.uk/

VISAGE Night Train – Dance Mix (1982)

Inspired by the burgeoning New York club scene, Rusty Egan brought in John Luongo to remix ‘Night Train’ much to Midge Ure’s dismay, leading him to end his tenure with VISAGE. But Luongo’s rework was sharper, pushing forward the female backing vocals to soulful effect in particular and replacing the clumpier snare sounds of the original album version with cleaner AMS samples. However, on this longer dance mix, Luongo isolated Rusty Egan’s drum break!

Available on the boxed set ’12″/80s/2′ (V/A) via UMTV

http://www.visage.cc/

BLANCMANGE Blind Vision – 12 Inch Version (1983)

Possibly BLANCMANGE’s most overt disco number, under the production supervision of New York club specialist John Luongo who had remixed ‘Feel Me’ to great rhythmical effect, ‘Blind Vision’ was punctuated by brass, extra percussion and slap bass as well as the trademark BLANCMANGE Linn Drum claps also thrown in. A steady build-up, vocal ad-libs from Neil Arthur and a prolonged coda extended the track to a hypnotic nine and a half minutes.

Available on the album ‘Mange Tout’ via Edsel Records

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

DEAD OR ALIVE What I Want – Dance Mix (1983)

With an edgy production from Zeus B Held, ‘What I Want’ was a rewrite of ‘Blue Monday’ or even ‘Shake It Up’ by DIVINE, depending on your outlook. This HI-NRG / Goth hybrid was the last track Wayne Hussey would play on as a member of DEAD OF ALIVE before departing for THE SISTERS OF MERCY. “Listen blue eyes, shut up!” scowled Pete Burns showing that he was a top rather than a bottom in this salaciously pounding affair.

Available on the album ‘Sophisticated Boom Boom’ via Cherry Pop

http://www.deadoralive.net/

JOHN FOXX Endlessly – 12 Inch Version (1983)

After the mechanised dystopia of ‘Metamatic’ and the romantic thawing with ‘The Garden’, John Foxx started experimenting in psychedelic pop. With nods to ‘Sgt Pepper’, the original Linn Drum driven version of ‘Endlessy’ from 1982 had the makings of a good song, but was laboured in its arrangement. Reworked with Simmons drums, metronomic sequencers and grand vocal majestics, the Zeus B Held produced 1983 version was even more glorious in an extended 12 inch format.

Available on the boxed set ‘Metadelic’ via Edsel Records

http://www.metamatic.com/

HEAVEN 17 Crushed By The Wheels Of Industry – Extended Dance Version (1983)

Taking a leaf out of their old sparring partners THE HUMAN LEAGUE, HEAVEN 17 took off most of the vocals and played up the instrumental elements of ‘Crushed By The Wheels Of Industry’ with a restructured rhythmical backbone. With a punchy retuned bass drum attack and Roland Bassline programming pushed out to the front, sequences and guitar synth solos were phased in and out. The chanty chorus remained while John Wilson’s funky freeform bass solo closed.

Available on the boxed set ‘The Luxury Gap’ via Virgin Records

http://www.heaven17.com/

FRANKIE GOES TO HOLLYWOOD Two Tribes – Annihilation (1984)

Sounding like SIMPLE MINDS, ‘Two Tribes’ was influenced by ‘I Travel’, itself inspired by European right wing terrorism. While Holly Johnson’s original lyric referenced the dystopian drama ‘Mad Max’, it sat well within the Cold War tensions of the period. With Fairlight orchestra stabs and masterful PPG programming for the iconic synth bass, the first ‘Annihilation’ 12 inch featured the poignant authoritative voice of Patrick Allen, reprising his real life ‘Protect & Survive’ commentary…

Available on the album ‘Frankie Said’ via Union Square Music Ltd

http://www.frankiesay.com/

KRAFTWERK Tour De France – Remix (1984)

The original ‘Tour De France’ single in 1983 signalled the launch of a new KRAFTWERK album ‘Technopop’. Despite being given an EMI catalogue number, it was never released. However, ‘Tour De France’ took on a life of its own. This masterful remix by New York DJ Francois Kevorkian backed a key scene in the film ‘Breakdance’ which lead to a release of this rework. Much more percussive and less song based than the first version, it reinforced KRAFTWERK’s standing in US Hip-Hop.

Available on the single ‘Tour De France’ via EMI Records

http://www.kraftwerk.com/

GIORGIO MORODER & PHILIP OAKEY Together In Electric Dreams – Extended (1984)

One of the best 12 inch versions ever, it not only retained the essence of the original song but added enough extra elements to make it quite different too. There was more rock guitar from Richie Zito and the false end after the guitar solo leading to a superb percussive breakdown that made the most of Arthur Barrow’s frantic Linn Drum programming. Of course, ‘Together In Electric Dreams’ wouldn’t have been any good without Moroder’s songcraft and Oakey’s deadpan lyricism.

Available on the album ‘Philip Oakey & Giorgio Moroder’ via Virgin Records

http://www.giorgiomoroder.com/

TALK TALK It’s My Life – US Mix (1984)

The UK 12 inch extended version was a rather formless, dub excursion. However, taking a leaf out of DURAN DURAN’s specifically taylored remixes of songs from the ‘Rio’ album for America, EMI / Capitol commissioned Steve Thompson to construct a toughened up version of ‘It’s My Life’ to make it more MTV friendly. The song became an unexpected favourite in US clubs. One impressionable teenager who was no doubt listening was Gwen Stefani who covered the song in 2003.

Available on the boxed set ‘’12″/80s’ (V/A) via UMTV

http://spiritoftalktalk.com/

ULTRAVOX One Small Day – Special Remix Extra (1984)

One of ULTRAVOX’s more guitar driven numbers, there were eventually three different extended versions of ‘One Small Day’, the best of which was the ‘Special Remix Extra’ (also known as the ‘Extended Mix’) that was issued on the second of the 12 inch releases. With chopped up vocal phrases replacing a conventional vocal on this neo-dub mix, it allowed the instrumentation to come to the fore without Midge Ure’s shrill chorus acting as a distraction.

Available as the ‘Extended Mix’ on the album ‘Lament’ via EMI Gold

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

A-HA The Sun Always Shines On TV – Extended Version (1985)

Despite being labelled a teenybop group, from the beginning A-HA were always so much more than just the catchy pop of ‘Take On Me’. ‘The Sun Always Shines On TV’ revealed a lyrical darkness while the combination of synths and edgy guitar put them in the same league as ULTRAVOX and ASSOCIATES. This rarer first ‘Extended Version’ made the most of the powerful instrumentation and added more drama with a slow solemn piano intro. And just listen to that emotive string synth solo…

Available on the deluxe album ‘Hunting High & Low’ via Rhino Entertainment

http://a-ha.com/

PROPAGANDA Duel – Bitter Sweet (1985)

While ‘Dr. Mabuse’ was a Trevor Horn production, PROPAGANDA’s second single ‘Duel’ produced by Steve Lipson was based around the Synclavier, PPG and Roland Super Jupiter. To add some syncopation, Stewart Copeland from THE POLICE rhythmitised alongside the Linn Drum while the ‘Bitter Sweet’ extended mix broke down the instrumentation to reveal a highly intricate arrangement. The programmed piano solo is still one of the maddest bursts of music ever!

Available on the album ‘Outside World’ via Repertoire Records

https://www.facebook.com/Propaganda-Band-135375113199791/

OMD Forever Live & Die – Extended Mix (1986)

Not the better known but less fulfilled ‘Extended Remix’ by Tom Lord-Alge, John Potoker’s reworking did away with its daft skips and enhanced the song’s enjoyable instrumental elements. The wonderful end section with its wild rhythm guitar from Kamil Rastam and Malcolm Holmes’ reverbed drums also revealed that despite the song’s palatable Trans-Atlantic sound, OMD’s classic synthetic choirs reminiscent of KRAFTWERK’s ‘Radio-Activity’ still lingered.

Available on the boxed set ‘Maxi Singles 80 Vol 2’ (V/A) via Wagram Music

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

PET SHOP BOYS Suburbia – The Full Horror (1986)

‘Suburbia’ was a good if slightly underwhelming album track from ‘Please’ that got transformed into a more fully realised sub-nine minute epic. Produced in this new longer version by Sarm West graduate Julian Mendelson, it was effectively a two-parter. Complete with barking dogs, widescreen synths and thundering rhythms, the intro and middle sections saw a pitch shifted Neil Tennant monologuing about the evils of ‘Suburbia’ in a devilish ‘Meninblack’ tone.

Available on the album ‘Disco’ via EMI Records

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

DEPECHE MODE Never Let Me Down Again – Split Mix (1987)

A merging of the album version with the Wasp driven bass heavy ‘Aggro Mix’ (hence the ‘Split Mix’ title), this sub-ten minute take on one of DEPECHE MODE’s classic songs was perfection. Other DM 12 inch versions were tiresome like the ‘Slavery Whip Mix’ of ‘Master & Servant’, but ‘Never Let Me Down Again’ took into account that the best 12 inch mixes usually had the actual song and an instrumental middle section before a reprise of the main chorus hook.

Available on the album ‘Remixes 81-04’ via Mute Records

http://www.depechemode.com/

ELECTRICITYCLUB.CO.UK’s Classic 12 Inch Versions playlist can be heard on Spotify at https://open.spotify.com/playlist/1cKyepTy06g7I91JaV1row

Text by Chi Ming Lai with thanks to Rob Grillo and Rob Harris
5th October 2015

Tag: Ultravox (Page 10 of 16)

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