Frankly, does the world really need another FRANKIE GOES TO HOLLYWOOD compilation?
For a band who released only two albums, they have been documented more than most already with three greatest hits collections and several remix packages. Of those, the first one ‘Bang…’ in 1993 was the probably the best, serving the Frankie phenomenon in mostly bite size single edit portions for the casual but interested observer.
But FRANKIE GOES TO HOLLYWOOD are perhaps remembered for kick starting the multi-format single revolution. ‘Two Tribes’ in particular had a new remix issued every four weeks to maintain interest. Many revelled in the excitement of the endless artistic possibilities offered by the Fairlight, Synclavier, PPG and the like but for some music fans, the 12 inch mix was on occasions, an unnecessary evil.
Just because a song can be extended and reworked to submission doesn’t mean it has to be… FGTH’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. Indeed in Frankie’s case, it did!!
The original 16 minute ‘Sex Mix’ 12 inch of ‘Relax’ drew a large number of complaints because it bore little resemblance to the 7 inch radio mix. For the record, it happened to be self-indulgent rubbish as well! Thankfully, this is missing from ‘Frankie Said’, subtitled ‘The Very Best Of FRANKIE GOES TO HOLLYWOOD’. It has all the singles, some B-sides and a couple of 12 inch versions.
Those first singles and B-side covers ‘Relax’, ‘Ferry Cross The Mersey’, ‘Two Tribes’, ‘War’, ‘The Power Of Love’ and ‘Welcome To The Pleasuredome’ need no introduction and are magnificent in all their Trevor Horn produced glory, although it must be pointed out that on ‘Frankie Said’, ‘Relax’ and ‘Two Tribes’ are represented by alternate single versions. But for those two self-composed songs alone in their familiar hit form, FRANKIE GOES TO HOLLYWOOD’s place has been cemented in musical history, regardless of all the hype, radio bannings, controversies and marketing manoeuvres. But it kind of went wrong after that!
The group were lampooned by pop pranksters HEE BEE GEE BEES with the parody ‘When Two Songs (Sound The Same)’ under the moniker FRANKIE GO TO THE BANK while like many pop bands such as THE MONKEES, BAY CITY ROLLERS, SWEET etc, the Frankie musicians themselves largely didn’t play on the records.
However in 1986, when Stephen J Lipson was commissioned to produce their second and last album ‘Liverpool’ in Trevor Horn’s absence, he made Peter Gill, Mark O’Toole and Brian Nash play on it “for their own good”. So there’s an irony in ‘Frankie Said’ having a live version of ‘Born To Run’! But here’s another one for the record… the studio cut from the ‘Welcome To The Pleasure Dome’ double opus is better than Springsteen’s original!!
‘Liverpool’ was recorded on a tax exile year out in Ireland, Ibiza, Holland and The Channel Islands… it was something the band would not need to do again! The first single from the sessions ‘Rage Hard’ was comparatively disappointing with its lack of a catchy chorus although the follow-up ‘Warriors Of The Wasteland’ had the swagger of ‘Two Tribes’ and the punch to be up there with their early singles. Unfortunately, the version included is a ploddy as live recording which unsurprisingly sounds like it’s being played by a slightly polished up pub rock combo!
The final single off the album ‘Watching The Wildlife’ resembled an IT BITES cast-off and then BANG, that was it! Despite an extensive European arena tour, fist fights and litigation between band members and the ZTT label spelt the end. Singer Holly Johnson eventually recovered from a bitter court case to deliver the hits ‘Love Train’ and the wonderful ‘Americanos’ from the album ‘Blast’ in 1989, but for FRANKIE GOES TO HOLLYWOOD, the adventure was now over. They were on their way home…
But for those who have never bought a FRANKIE GOES TO HOLLYWOOD compilation in their life, ‘Frankie Said’ is a good way to renew your Scouse Honour. For everyone else, the one-time Trevor Horn cohorts ABC put it best on the sleeve of their 12 inch of ‘That Was Then But This Is Now’: “…the choice is yours”. However, the Anne Dudley ‘…Best Listened To By Lovers’ orchestral rendition of ‘The Power Of Love’ which concludes this collection is beauty to be savoured.
‘Frankie Said’ is released by Salvo/Union Square on 5th November 2012
PROPAGANDA release a compilation of their best known material from their time on ZTT, the erstwhile label run by producer Trevor Horn, his wife Jill Sinclair and conceptualist Paul Morley that also gave the world FRANKIE GOES TO HOLLYWOOD and THE ART OF NOISE.
Subtitled ‘A Compact Introduction To PROPAGANDA’, the album contains 76 minutes of bite size highlights and a choice of extended variations featuring ‘Dr. Mabuse’, ‘Duel’, ‘p:Machinery’ and ‘Dream Within A Dream’.
Founded by Ralf Dörper of cult industrial electronic band DIE KRUPPS, Andreas Thein and Susanne Freytag from girl band TOPOLINOS, PROPAGANDA germinated within Düsseldorf’s vibrant art school scene based around Die Ratinger Straße. They recorded a reinterpetation of ‘Discipline’ by THROBBING GRISTLE which was heard by Paul Morley and he signed them to ZTT. The line-up was expanded to include classically trained percussionist Michael Mertens and songstress Claudia Brücken who had been in TOPOLINOS with Susanne Freytag.
Although Andreas Thein left after the Trevor Horn produced debut single ‘Dr Mabuse’ in 1984, the remaining quartet, dubbed “Abba in Hell”, recorded the now legendary album ‘A Secret Wish’ under the helm of Stephen J Lipson. The 1985 album’s notable fans included DEPECHE MODE’s Martin Gore, DURAN DURAN’s John Taylor, SIMPLE MINDS’ Jim Kerr and MICHAEL JACKSON producer Quincy Jones who later borrowed its industrial pop elements on MJ’s 1987 album ‘Bad’.
One unlikely admirer was Pete Waterman who subsequently recorded a cover of ‘Duel’ with Mandy Smith in 1988 as he plotted world domination with his PWL empire…ironically, Stock Aitken & Waterman had been suggested as producers by Jill Sinclair when Trevor Horn’s commitments with FRANKIE GOES TO HOLLYWOOD and GRACE JONES made him unavailable to work on ‘A Secret Wish’!
The classic line-up of Claudia Brücken, Susanne Freytag, Ralf Dörper and Michael Mertens only ever recorded the one album but the quartet did reunite in 2004 for a performance of ‘Dr Mabuse’ during a special concert at Wembley Arena which celebrated the work of Trevor Horn in aid of The Prince’s Trust. More recently, Claudia Brücken, Susanne Freytag and Ralf Dörper have performed together at the ‘This Time It’s Claudia Brücken’ show at London’s Scala which is now immortalised on the ‘This Happened’ DVD.
With the release of ‘Noise & Girls Come Out To Play’, Ralf Dörper kindly spoke about his time with PROPAGANDA…
Photo by Peter Brown
With ‘A Secret Wish’ being readily available and hailed by many as a classic album, who is the ‘Noise & Girls Come Out To Play’ album aimed at do you think?
For a start, we do not own our back-catalogue so that seems to be a question the record company should answer – which, I believe, initially wanted to compile a best-of covering not just the ZTT era but the Virgin period (and possibly even more) as well. But licensing issues prevented that. I have to admit that I was quite concerned regarding this release – as it could be seen as flogging a dead horse and might backfire on us. PROPAGANDA released just one album ‘A Secret Wish’ on ZTT… so how to make a proper introduction without repetition?
But in my opinion, the curator has done an excellent job – again. After having listened (at proper volume) I can fully say that this “introduction” really gives a full picture of the weirdness that was essential to PROPAGANDA. Because behind the polished sheen of the singles – the hits are included – you get frantic string arrangements, industrial noises and weird vocal manipulations – and you get Michael Mertens singing – well worth the admission…
The only flaw in my humble opinion is the packaging. Once more the full frontals of the ‘Duel’ nude photo-sessions were omitted and just the portraits were used…
Do you think potential listeners are still possibly intimidated by the “ABBA in Hell” descriptions of PROPAGANDA and the general Teutonic nature of the music, hence this ‘An Introduction to…’ compilation?
We have been demons to some, angels to others… whoever came up with “ABBA in Hell” – we took it as a compliment, not as an intimidation. Much better than “Fleetwood Mac in Hell” I think. I am not sure about the “general Teutonic nature of the music” you refer to however. We never did marches – or we actually stopped doing them realising that LAIBACH are much better at that.
You and Michael co-wrote ‘Dr. Mabuse’ with original member Andreas Thein. How did that come together and was it intended originally for Susanne to perform lead before Claudia joined?
When ZTT showed interest on the strength of our first (non-released) recording ‘Disziplin’, Andreas and myself had plenty of musical sketches but just a few more structured demos, such as ‘Doppelgänger’ (recorded but not released)… in fact plenty of “D”-songs to start with, because I had the lyrical concept for ‘Duel’ already and the intention to do a song called ‘Dr. Mabuse’, it actually evolved from a sequencer-line (TB-303!).
The song structure was developed with Michael who more or less joined the ranks at the same time as Claudia, so ‘Dr Mabuse’ was never conceived as a song for Susanne but very much already with Claudia and Trevor Horn in mind… and I won’t confirm the rumour that I wrote the line “sell him your soul” after we signed the contract with ZTT.
Trevor Horn and his team – and the unlimited access to sounds – enabled us to explore the potential of ‘Dr. Mabuse’ much further and to enter new sound territories we wouldn’t have dared to image or try before. There had been re-starts, scrapped ideas – but no erased tapes. That’s why the ‘Mabuse’ takes on ‘Noise & Girls…’ are all very interesting. Maybe ZTT should have done it the ‘Slave To The Rhythm’ way and released a ‘Mabuse’ mini-album in 1984… Fritz Lang actually needed three movies to show all facets of the Doctor…
Photo by Peter Brown
In the compositional process, what synths and equipment were you using in PROPAGANDA?
Pre-ZTT, we worked with very basic equipment as synths still were pretty expensive. As these were also pre-MIDI times, we used mostly the basic Roland machines as these synchronized well. In the recording of ‘Disziplin’, we also had temporary access to PPG and the Linn modules which we triggered. Michael brought his marimba (which when played by a proper musician sounds like a sequencer made from wood) and an Oberheim he used.
I met Michael when I answered his classified ad – he wanted to sell a rhythm machine. When I saw that equipment at his home-place, we started talking. It was great, somebody who had no knowledge or interest in actual pop music – but was keen to explore… Michael played with the Düsseldorf Symphonic Orchestra and studied composition and percussion instruments! In London, we were confronted with state-of-art musician’s machines, which for example recorded your mistakes and did not correct them straight-away by quantisizing. This led to some hiccups and not so well spent studio time in the beginning…
Quite a few of the songs were made from scratch in London – sometimes with false starts but great advice from the engineers and producers. Here the unlimited supply of technical possibilities sometimes was a problem as the operators knew their equipment best… how should we have known what sounds JJ of THE ART OF NOISE had hidden in his Fairlight…
But it got much more focused after we had managed to squeeze some money from ZTT – or better from Perfect Songs. To become more independent from the Fairlight etc, Michael and myself invested a publishing advance to buy some equipment, especially the PPG system.
Photo by Peter Brown
How would you describe the dynamic in the way the songs grew from your demos to the eventual Stephen Lipson productions using the Synclavier, Sony 1610 digital recorder etc?
In general terms, you could say that ‘Dr. Mabuse’ (produced by Trevor Horn) was very much based on Fairlight while the album production (by Steve Lipson) was much more Synclavier, PPG and still Roland. The Super Jupiter is featured quite often.
Steve Lipson was great as he understood our ideas even when they were still in an embryonic state. The quality of the demos improved drastically because of Michael, which means that ‘p:Machinery’ (of which an early version is included on ‘Noise & Girls…’), ‘The Chase’ or especially ‘Dream Within A Dream’ were fully structured as demos already. Whereas ‘Dr. Mabuse’ was just very basic and created step-by-step (including false starts) in the studio.
‘Duel’ was tricky as we wanted to have a musical duel taking place within the song itself – let’s say harmony and noise fighting each other. This concept was too heady and not properly working. But we found the solution in the end to have ‘Duel / Jewel’ like Dr. Jekyll and Mr. Hyde – and the conceptual idea was realized by confronting the A-side of the single with the B-side. Hard to understand for someone just knowing about iTunes nowadays…
The possibilities in the studio with the digital technology became almost endless with dozens of remixes for some tracks. Were there many creative tensions with regards a track like ‘Dream Within A Dream’ for example which hasn’t really appeared in multiple versions? It’s almost like you were all happy with that?
‘Dream Within A Dream’ was a track which was nearly fully pre-arranged in Düsseldorf. This was made possible as the PPG – ie our own equipment – made us more independent from the sound sources at Sarm which were only fully grasped by their respective programmers and engineers. You really had to attend educational seminars before you could manage those complex systems as Fairlight or Synclavier. It would take ages to try to understand them just by reading the manuals.
It was also Michael’s idea to use the Flügelhorn on ‘Dream Within A Dream’. He tried that out with a former college of his from the Düsseldorf Symphonic Orchestra. And later we flew him in to do this part in the Studio. It’s a real instrument, no Synclavier!
Photo by Anton Corbijn
Whose idea was it to cover THE VELVET UNDERGROUND’s ‘Femme Fatale’? And why was a vocal version of THROBBING GRISTLE’s ‘Discipline’ never actually released? Did you consider doing any other covers as Claudia has done quite a few in her various guises?
I have a very stern view with regard to cover versions – I think there are too many and I hate tribute albums in particular.
I believe you should only do a cover if you can add something special or move the song into another dimension – maybe that is the reason that nobody dared to cover ‘Dr. Mabuse’ so far. Or you use a cover version as a reference point, to express where you stand or where you are coming from. This might not necessarily apply for solo singers, but in my opinion, a band should avoid covers or make very careful and conscious choices only. Did KRAFTWERK, SUICIDE or ULTRAVOX! (John Foxx version) ever do a cover? – I ask.
But ZTT’s policy in the beginning was to have a cover version on the B-side of the singles… I think the idea was scrapped after the artists realised what amounts of publishing income would go to a lucky stranger…while the Relax B-side ‘Ferry Cross The Mersey’ for me is a good point of reference for FGTH as a hymn to Liverpool, we had some problems with Morley’s initial choice of a CARPENTERS (!) song.
Me and Andreas strongly opposed and it would have contradicted our concept. In the end we came to the compromise of ‘Femme Fatale’ which has quite a European sentiment in the original version sung by NICO, who is German.
‘Disziplin’ was not a full cover version of ‘Discipline’ but more a song inspired by… – I would say nowadays. Not sure if Genesis P. Orridge objected as I did totally new lyrics… however I very much would have preferred to have a THROBBING GRISTLE cover version – if any – on our debut instead of ‘Sorry For Laughing’.
Photo by John Stoddart
What do you think the follow-up to ‘A Secret Wish’ would have sounded like had you, Claudia, Susanne and Michael been able to stay together for a few more years?
Although I like speculation (…go short in euro, long in pound…), I am not really inclined to go for this futile exercise. In 1985 the tensions were growing rapidly, there were plenty of unsolvable issues internally – not to mention the huge problem of unfair remuneration!
But three quarters of PROPAGANDA continued anyway – albeit after a long frozen period. And I think that ‘Ministry of Fear’ and ‘Vicious Circle’ are very much in the tradition of ‘A Secret Wish’…it is also rather futile to argue if the choice of producers was right…how to follow Horn/Lipson?
But one thing is for sure, in case of a continuation it would be much easier for any passing listener of ‘1234’ to identify the band’s origin: it’s Düsseldorf, Germany not Ohio, USA…
You decided not to remain with Michael for what became the ‘1234’ album?
You could also say WE decided… and you should speak to Michael to get the full account of the story as I think PROPAGANDA’s Virgin period was nearly as dramatic as the ZTT time.
We started with a handicap because we were lacking a singer when we were in the wilderness of legal proceedings against ZTT – and our accounts had been frozen. But thanks to the help of friends in Germany and especially Derek Forbes (ex-SIMPLE MINDS) in Scotland, we had access to studios where we could work on some material which got us signed eventually by Virgin records in 1988.
The new singer Betsi Miller was discovered by Susanne (indirectly, by her bother) and we thought it should be mainly her decision after she had been pushed away from the spotlight by ZTT somewhat… however the chemistry between the two did not really develop, so she left first – but she can still be heard on ‘Vicious Circle’, the song on ‘1234’ which has – together with ‘Ministry Of Fear’ – most of the former PROPAGANDA flavour I believe.
I also have to admit that I somewhat had lost interest in pop in the second half of the 80s and was keen again on more extreme sounds. I was living in London at that time (and working in the City) and often listened to pirate stations on the radio which played Chicago Acid and Detroit Techno. And in the clubs you heard hard electronic sounds (again) which reminded me of the early 80s in Düsseldorf – for example NITZER EBB who continued where DAF stopped…
In fact I met with Andreas (Thein) again at that time. He often visited London living off the Mabuse-fame. I convinced him to do an acid track together – using his alias RIFIFI. We recorded it in Germany in two and a half days. It became the first German acid track and went straight into the charts in Germany – it was called ‘Dr. Acid & Mr. House’ and was mainly programmed on the machines we started ‘Dr Mabuse’ on: Roland TB-303 and TR-808…
So the “vicious” circle had closed – that was the time me and PROPAGANDA parted company… however I think Michael, Derek and the others made a record to be proud of. And I am still proud to have written the words to ‘Only One Word’ which was a very big hit in South America…
How was it for you to be on stage with Claudia and Susanne for the 2011 concert at The Scala to perform PROPAGANDA songs? That must have been interesting as you were unable to play live with PROPAGANDA back in the day because of your day job I understand?
This might be the official story – however, it sounds a bit odd given the fact that I played a couple of hundred concerts in Europe and North America with DIE KRUPPS in the 90s – while still having a so called “day job”. In fact I had a quite stubborn view on playing live as PROPAGANDA as I believed it would be not possible to give a proper impression without lifting the studio on stage. And I did not consider it an option to use guest musicians … especially no guitar player.
HEAVEN 17 had a similar stance and will – for the first time – perform ‘The Luxury Gap’ this year because just now it is possible without compromising, due to today’s technology. As I like one-off events, I did the Trevor Horn event at Wembley and Claudia’s show at The Scala. This was especially for the fans – and the latter also to express my respect for the works of Claudia.
But what happened in Düsseldorf?
I did not do Düsseldorf as this event was not open to the public but more of a promotional tool for the local Stadtwerke (energy board). Here the audience consisted mainly of management and chosen employees – and friends and family of the promoter…
I understand you, Claudia and Susanne have been in the studio together more recently, can you tell us more about that?
No, I cannot confirm that rumour. Or do you refer to the abridged session roughly two years ago? Michael Mertens, who creates a lot of music for TV and advertising, had done a snippet for Heidi Klum’s model show, which is big here on German TV. That was a short teaser – great hook – on which Claudia did the vocals.
At that time we considered giving PROPAGANDA another try – and the hook was promising enough to elaborate… I kept the words of the chorus and added the verses…but this proved to be the final PROPAGANDA track as old conflicts / wounds / problems / whatever broke out again…
Photo by John Stoddart
What have been your own proudest moments with regards PROPAGANDA and the band’s legacy?
It’s been 30 years! (PROPAGANDA was conceived in 1982!)
So many crucial moments to recall and too difficult to bring them in a proper order – so I stick to the most recent ones…
So, recent moments of pride:
– The audience going wild at The Scala when the intros of ‘p:Machinery’ and ‘Dr. Mabuse’ were played
– The feat of charting with the reissue of ‘A Secret Wish’ in the UK (I thought this is only possible for ‘Tubular Bells’ or ‘Dark Side of the Moon’)
– Discovering a Mexican ‘Best of the 80s’ compilation which included PROPAGANDA during my holidays
What projects are you working on at the moment?
Actually I stopped recording music more or less at the end of the 90s. However DIE KRUPPS – which also stopped in 1997 – are back on the live circuit since 2005. The reason was the 25-year anniversary of our first record and the rising demand. Funnily enough, the band is seen as some sort of EBM / industrial-godfathers and there is a big scene not just in Germany but all over Europe and the Americas.
Last year we did a joint European tour together with Mute act NITZER EBB which was fun. We like to play concerts because we have a young audience – it has nothing to do with revivalism. We play mainly our greatest hits but include from time to time new songs.
We actually recorded a version of ‘Der Amboss / The Anvil’ by VISAGE which we made only available at concerts. It features Sarah Blackwood aka Client B. We also from time to time play a simplified but hard version of ‘Dr. Mabuse’ live…
And are there any new acts who you like who may be of interest?
I am living in the past…well, that was a joke, but currently I am re-discovering some things which were taking place when we were sucked into the ZTT machinery… for example I discovered what exciting recordings Conny Plank made (mainly with Dieter Moebius) in the middle of the 80s. That material – among others – has been brought back by German label Bureau B which takes good care of Germany´s electronic music heritage.
Interestingly Karl Bartos (who once was in KRAFTWERK) will release new material there. Something to look forward to… I am also waiting for the final THROBBING GRISTLE record – and the first FACTORY FLOOR album.
With regard to new acts, I guess ELECTRICITYCLUB.CO.UK is well aware of what is good and worthwhile. I could only name one act to of interest you might not have heard of yet: it is from Düsseldorf, called STABIL ELITE.
ELECTRICITYCLUB.CO.UK gives its sincerest thanks to Ralf Dörper
“Put simply, Futurism means hate of the past. Our aim is to energetically combat and destroy the cult of the past” FT Marinetti
How music promotion has changed over the decades… the mid-60s saw the advent of the non-album single with THE BEATLES being particular exponents.
By the early 70s, PINK FLOYD and LED ZEPPELIN refused to even release singles, focussing only on albums. With punk and new wave, acts like THE JAM brought singles back so by 1981, THE HUMAN LEAGUE released four singles from ‘Dare’ while between 1982 to 1984, Michael Jackson’s ‘Thriller’ milked it even further by taking six, thereby turning the album effectively into a greatest hits!
Zang Tuum Tumb was a label financed by Island Records and named after FT Marinetti’s sound poem. Its arch strategist Paul Morley talked gleefully of his belief in “the beauty of the pop single”. Together with his ZTT partners-in-crime producer Trevor Horn and manager Jill Sinclair, they became key to a marketing strategy that changed the course of pop music.
Starting with FRANKIE GOES TO HOLLYWOOD in 1983, the original 16 minute ‘Sex Mix’ of ‘Relax’ on the 12 inch drew a large number of complaints because it was so radically different from the 7 inch single. Eventually, a more conventional extended version (also confusingly entitled ‘Sex Mix’) was issued.
Aided by the BBC ban, the public lapped up the song in all its various versions and ‘Relax’ was in the charts for over a year. An idea had been hit on and the next single ‘Two Tribes’ saw a new remix released every four weeks to keep it in the Top 40 for as long as possible. The multiple remix, sometimes in a version that bore little or no relation to the original track played on the radio could at times be a rewarding but also frustrating experience. FGTH’s bassist Mark O’Toole summed things up in a 1986 edition of International Musician and Recording World when he snorted “A punter wants to buy a single and there’s half a dozen mixes of it… it’s a pain in the arse!”
But new sampling keyboard computers such as the Fairlight CMI with its ‘Page R’ sequencer gave producers, programmers and musicians the opportunity to construct multiple arrangements of songs that only a few years previously would have needed hours in the studio with endless cutting of tape and real time overdubbing as exemplified by Martin Rushent’s work on THE LEAGUE UNLIMITED ORCHESTRA’s ‘Love and Dancing’.
In advertently helped by the then low sampling rates of these very expensive machines, sounds could be manipulated and distorted into something that was totally unreal, creating a new and original instrumental palette. And now, the two influential ZTT acts that are forever associated with this pioneering phase of electronic music have new deluxe packages available.
THE ART OF NOISE were named after the futurist essay ‘The Art Of Noises’ by Luigi Russolo.
Consisting of engineer Gary Langan, Fairlight programmer JJ Jeczalik, musician/arranger Anne Dudley, this was the team that worked with Trevor Horn on Malcom McLaren’s ‘Duck Rock’ and ABC’s ‘The Lexicon Of Love’. In addition to Trevor Horn, THE ART OF NOISE also boasted as a member Paul Morley who masterminded the group’s faceless image and post-modern manifesto as well as contributing song titles.
‘Influence’ collects together singles (mostly in bite size 7 inch edits for the beginner) from the ZTT era and post Horn/Morley period on China for the first time, along with some previously unreleased material.
From the off, THE ART OF NOISE were rattling cages. ‘Beat Box’ was the track which scared KRAFTWERK enough for them to delay the release of their ‘Technopop’ album and rework it as the poorly received ‘Electric Cafe’. The crazy staccato sample cacophony of ‘Close (To The Edit)’ which was later borrowed by THE PRODIGY for ‘Firestarter’ sounds as fresh and mad as ever, who can forget Smash Hits actually publishing the lyrics as if to declare they were also in on the joke!
And ‘Moments In Love’ heralded a new age in ambient mood music. Such a beautiful piece was always going to become ubiquitous and it ended up in a variety of TV commercials for products such as Brylcreem. It was even played at Madonna’s wedding to Sean Penn.
Photo by Peter Ashworth
Despite the success, all was not happy among the troops. Jeczalik indicated that he and Morley did not get along and felt his writing was pretentious. Morley said to The Guardian in 2002 “I loved the name THE ART OF NOISE so much that I forced my way into the group. If over the years people asked me what I did in the group, I replied that I named them, and it was such a great name, that was enough to justify my role. I was the Ringo Starr of THE ART OF NOISE. I made the tea!”
Unhappy with their lot, Dudley, Jeczalik and Langan took their talents to China Records in 1985. Continuing their influence but in what some would perceive as a more of a novelty manner, their technologically enhanced covers of ‘Peter Gunn’ and ‘Kiss’ brought special guests Duane Eddy and Tom Jones to a brand new audience. The more soundtrack orientated work like ‘Dragnet’, ‘Ode To Don Jose’, ‘Robinson Crusoe’ (not included on ‘Influence’) and the theme to ‘The Krypton Factor’ were enjoyable, but perhaps not as immediate to some ears. But whatever, THE ART OF NOISE had acquired fans in the jazz and hip-hop fraternities, such was their appeal.
The group disbanded in 1990 but in 1998, Anne Dudley, Trevor Horn and Paul Morley discussed the original intent of THE ART OF NOISE. As a result they reformed, adding 10CC’s Lol Creme to the line up although JJ Jeczalik and Gary Langan were absent. The resulting album ‘The Seduction of Claude Debussy’ was partly inspired by Trevor Horn’s epic PET SHOP BOYS production ‘Left To My Own Devices’ and its unforgettable line “Che Guevara and Debussy to a disco beat” – With a mix of ambient, rap, classical, opera, drum’n’bass and John Hurt, tracks such as ‘Metaforce’ and ‘The Holy Egoism of Genius’ ably delivered the concept.
The second CD of ‘Influence’ contains interesting fragments of THE ART OF NOISE’s history for fans and completists. Various takes and variations of ‘Moments In Love’ appear including an ‘Anne To Tears Mix’ which was rejected by Anne Dudley with the note “I never want to hear this track again!”.
As well as that, there’s ‘Beep Beep’ which is an early version of ‘(Who’s Afraid Of) The Art Of Noise?’ and the lovely ‘The Invention Of Love’ which samples from ‘Moments In Love’ and neatly bookends THE ART OF NOISE story. Meanwhile in the ZTT Building, Düsseldorf’s PROPAGANDA were the proto LADYTRON or ABBA in Hell!
Photo by Anton Corbijn
They boasted within their ranks Ralf Dörper and Michael Mertens along with two mini Marlene Dietrichs in Claudia Brücken and Susanne Freytag. The magnificent Fritz Lang film noir of ‘Dr. Mabuse’ was their opening salvo.
Produced by Trevor Horn, the success of FRANKIE GOES TO HOLLYWOOD however meant a delay to the follow-up and the producer’s helm being handed over to engineer Stephen J Lipson although Horn was later involved in the final mix.
The avant pop of that 1985 follow-up ‘Duel’ is still genius, ice maiden cool yet full of pentatonic warmth and boosted by a funky rhythm section. Its crazy piano solo is just one of those great moments! And the vicious industrial dub variation ‘Jewel’ was its naughty dominatrix sister. Both were included on the eventual album ‘A Secret Wish’.
Of the other tracks, the slap heavy attack of ‘The Murder of Love’, the deadpan drone cover of JOSEF K’s ‘Sorry for Laughing’ and the mechanised beauty of ‘P.Machinery’ all still possess the Teutonic edge and the charm of the then state of the art technical tricks that made it such fascinating listening first time round.
With the lengthy ‘Dream Within A Dream’, the listener is taken on a massive aural adventure. It was this epic journey that prompted SIMPLE MINDS to initially recruit Stephen J Lipson for their ‘Street Fighting Years’ album which Trevor Horn also worked on. To the chagrin of Paul Morley, hippy Lipson brought in YES guitarist Steve Howe for a spot of soloing. But it worked, with Howe coming over a bit like ASHRA’s Manuel Göttsching whose album ‘New Age of Earth’ successfully mixed progressive six string indulgences with Germanic electronica.
Other musical notables were also listening to ‘A Secret Wish’. John Taylor of DURAN DURAN made it his album of the year. DEPECHE MODE’s Martin Gore declared it one of his major influences; ‘Black Celebration’ and ‘Music For The Masses’ are testament to that. And Michael Jackson’s producer Quincy Jones wanted to license ‘A Secret Wish’ for America. As Trevor Horn remarked: “If you listen to Michael Jackson around that time, he started to sound a lot like Propaganda. A lot of industrial sounds… “
The deluxe remaster features a directors cut with restored full length versions including a different mix of ‘Dream Within A Dream’ and a 10 minute ‘Dr. Mabuse’ although the shorter original ‘analogue variation’ is present and correct if that all proves a little too much. On the bonus CD are various rare rarities including the 20 minute cassette megamix ‘Do Well’ which features no less than five takes of ‘Duel’ plus unreleased mixes such as Paul Morley’s 10 minute Unapologetic 12 inch of ‘Sorry for Laughing’ and the Goodnight Mix of ‘The Chase’.
Another added treat is the percussive slaughter of ‘Thought I’, a harsh instrumental cover of THROBBING GRISTLE’s ‘Disziplin’ which in demo form was the track that got PROPAGANDA signed to ZTT.
As with THE ART OF NOISE, Paul Morley was at the heart of the dissent inside PROPAGANDA with accusations of favouritism towards his then-wife Claudia Brücken. The band left ZTT but reappeared in 1990 with just Michael Mertens and featuring new vocalist Betsi Miller plus ex-SIMPLE MINDS members Derek Forbes and Brian McGee for the album ‘1234’ on Virgin.
Claudia Brücken remained with ZTT and formed ACT with Thomas Leer, releasing an excellent album ‘Laughter, Tears and Rage’.
While the 1998 reformation of THE ART OF NOISE yielded an album, the PROPAGANDA reunion during the same period wasn’t so smooth and the tracks that were laid down in those sessions remain unreleased.
Photo by John Stoddart
Both ‘Influence’ and ‘A Secert Wish’ capture the essence of a gloriously adventurous time in electronic music as it moved into the digital age. While their contemporaries were hacking through Yamaha DX7 presets and ending up all sounding the same or sampling whole phrases of other people’s songs, the gang at ZTT were creating a new sound and a new art form that totally encompassed the true challenging spirit of Futurism.
THE ART OF NOISE’s ‘Influence’ and PROPAGANDA’s ‘A Secret Wish’ are available as deluxe 2CD editions via Salvo Records
Claudia Brücken is the undoubted queen of electronic avant-pop.
Her distinctive ice maiden cool vocal delivery with hints of classic Marlene Dietrich and wispy Nico more than suited the glorious European film noir sound of PROPAGANDA, the Düsseldorf quartet with Susanne Freytag, Michael Mertens and Ralf Dörper in which she first came to prominence.
Together, their songs such as ‘Dr. Mabuse’, ‘Duel’ and ‘P.Machinery’ were fine examples of how new digital technology could be utilised to produce accessible neo-industrial pop music with a chilling edge. Their 1985 ZTT album ‘A Secret Wish’ gained a legion of prominent fans including DEPECHE MODE’s Martin Gore and Michael Jackson’s producer QuincyJones who borrowed their influential sound for the ‘Bad’ album.
Despite the acclaim, PROPAGANDA split. Remaining with ZTT, Claudia formed ACT with early electro pioneer Thomas Leer and released an album ‘Laughter, Tears and Rage’ in 1988 which featured an array of lush synthetic dynamics glossed with a touch of starlet glamour. Not one to rest on her laurels, she released her only solo album so far ‘Love: And A Million Other Things’ in 1991 on Island Records before taking a career break to bring up Maddy, her daughter with then husband Paul Morley.
During this period, she only recorded occasionally with guest contributions for acts including SPIRITFEEL, THE BRAIN and OCEANHEAD. In the latter half of the 90s, PROPAGANDA reformed and although material was written and demoed, no album was released. Around this time, a friend at German label Logic Records suggested Claudia should work with Paul Humphreys of OMD. First touring the US together in 2000 before eventually becoming ONETWO, they released an EP ‘Item’ in 2004 and then the excellent album ‘Instead’ in 2007 via their own There (there) label.
Simultaneously, Claudia also worked with BLANK + JONES, APOPTYGMA BERZERK and Andy Bell as well as releasing ‘Another Language’, an album of stripped down cover versions with her former ZTT label mate Andrew Poppy.
With new deluxe 2CD reissues of ‘A Secret Wish’ and ‘Love: And A Million Other Things’ hitting a variety of retail outlets, Claudia Brücken invited ELECTRICITYCLUB.CO.UK down to ONETWO’s London studio to chat about her career and her upcoming musical retrospective which is expected to feature the mouth watering prospect of some unreleased tracks and new remixes.
Who were your original influences?
There were people like THE VELVET UNDERGROUND and PATTI SMITH, I thought she was wonderful. I was completely mesmerised by David Bowie and I also liked Klaus Nomi. And then KRAFTWERK came along. It just questioned everything that came before because with ‘Autobahn’, you were wondering “what kind of sound is that?”. It was just so revolutionary at the time!
Of the electro stuff I was into, there was early HUMAN LEAGUE, CLUSTER, MALARIA! and NEU! I loved LA DUSSELDORF, DAF and also DER PLAN, they were completely arty and had these tiny electronic keyboards and they dressed up in these really weird costumes.
And I was also very much into the very first Nina Hagen album amongst other things. I’ve never been into one specific musical direction only; I was like a sponge soaking everything in from when I was 15. I drew from so many other sources. This would have been the time I was in a band with Susanne. There came a point where it seemed that everyone wanted to be in a band.
The Düsseldorf scene was very small. There is a street in Düsseldorf called Die Ratinger Strasse and there was a club called Ratinger Hof where a lot of bands and students from the University of Art would mingle. All the bands and people from the art school or university would all meet around there. There was this interaction between art and music happening and everyone kind of knew one another.
With ‘A Secret Wish’now receiving the deluxe remaster treatment, what are your immediate memories of that period on ZTT and the recording of that album?
Working with Stephen Lipson really. There were four studios in Sarm West, ZTT was upstairs at that time and there was also a flat where PROPAGANDA were staying at the very top. It was this place of creativity so there were these rooms where PROPANGANDA were programming in, FRANKIE GOES TO HOLLYWOOD were in Studio1 and THE ART OF NOISE in another.
We were in a little studio for recording which we called ‘The Spaceship’, a tiny little room with lots and lots of lights and electronic equipment. And for me, it was one of the most creative times in my life. I don’t really dwell on the bad bits.
Stephen J Lipson’s production on ‘A Secret Wish’ proved to be highly influential on variety of people; DEPECHE MODE, SIMPLE MINDS and QUINCY JONES to name but three. What sort of technology were you using on the album?
We had the PPG in Düsseldorf so we worked with that. I had moved to London but I was flying back and forth so we would be doing lots of writing on the PPG. We also worked with a Linn Drum and our data was recorded onto floppy disks as far as I can remember, which we then would give to Stephen… but I’m not really the one to talk technical here, that would be a question for Michael.
Most of the PROPAGANDA sounds were actually from the PPG. It had a really great identity that PPG, I could identify it immediately like “oh, that’s a PPG sound”… it just had something that was different and distinct about it.
The Fairlight we only used on ‘Dr. Mabuse’ as far as I remember because JJ Jeczalik who operated it was part of Trevor Horn’s team and Trevor produced the song. When it was decided that Stephen would produce the album, it was mostly the Synclavier that was being used. I think at the time there were only three Synclaviers in the world and Trevor had one of them. Stephen did all the Frankie songs using the Synclavier, he was one of the few engineers who knew how to use it! *laughs*
Photo by Peter Brown
How did you find working with Trevor Horn?
Trevor has his own way of working because when we worked with Stephen, Trevor was the executive producer and he’d go “ok, play me what you’ve done” and go “ok, I think that’s not working yet”. So he would check in every night to give us his comments and walk out again. We’d meet the next day again, that’s the way he worked.
And Trevor, he can take a lot of time for one thing only to come back to the very beginning to say this is what he wanted! But he goes through all these alternative ways to realise this was the best idea. Extremely time consuming and costly but that’s what you get when you work with Trevor, that’s his way. Someone told me the other day that Robbie Williams gave Trevor his entire album and said “Trevor, see you in six months, do with it as you wish!” and came back six months later and just absolutely loved what he did.
Was it quite interesting for you to hear the PROPAGANDA sound on say, a Michael Jackson record like Bad? Or did it not register at the time?
It really didn’t… Trevor mentions this on the new sleeve notes and I was very flattered, that’s just brilliant. I remember hearing QUINCY JONES wanting to licence ‘A Secret Wish’ but I didn’t realise that it had captured his imagination so much. So that’s validation isn’t it? It’s wonderful!
PROPAGANDA could be considered a forerunner to the modern female fronted electronic acts like LADYTRON, GOLDFRAPP or CLIENT. Were PROPAGANDA ahead of their time?
Yes, I think what was interesting for us was we fitted into Paul Morley’s avant-garde vision of ZTT. There was the pop act he wanted which was FRANKIE GOES TO HOLLYWOOD but he also wanted something which was edgy and different, and we kind of fitted in with that picture. Susanne, Ralf, Michael, Andreas Thein and I, because we were five at the time, we had that essence. What was magical about it was that we were given this opportunity.
It is interesting what happens when you put five industrial bashing experimentalists like us into this playground where we can work with the best musicians, the most amazing equipment and an absolute stunning producer… what happens if? You couldn’t have predicted what it was and this came out of it. I think you can hear that in the music. People were saying “have a listen to this” and “why not try that?” and it all just came together. And it then created this very special album. But PROPAGANDA wasn’t so easily digestible at the time, we confused the hell out of people who just thought “who are they?”… we didn’t fit in really!
Photo by John Stoddart
How do you look back on being part of that whole remixing, multi-formatting marketing machine of ZTT? As a non-native English speaker, how did you find trying to understand Paul Morley’s sleeve notes?
Well, I did have to get the dictionary out at times! Obviously the Nietzsche quotes I could understand as a German so I had no troubles there.
But some stuff was like “Hmmmm! Where’s this coming from?”. The thing with Paul, and that’s what attracted me to him, was we had a very similar way of thinking and approaching things so we were talking the same language although I did have difficulties with the English language at the time.
Paul would have an idea like “let’s remix this song”… there would be a house engineer available, a downtime studio free so let’s use it rather than have it standing empty, let’s do something and be creative. That was Paul’s energetic spirit, we were all kind of rebellious and driven. We weren’t really questioning things too much, we were just doing. I was 19-20, you don’t question everything you do at that time… you do it when you’re older… sadly. *laughs*
When was the first time you actually dreamed in English?
I don’t know. I cannot answer that question because I can’t remember that moment. Now I think and I find it much easier to write in English. I find it really hard sitting there and construing a sentence in German because the grammar is probably completely the opposite to the English language. So I find it much easier and I think now after 25 years, I feel more Anglified and I feel really kind of English.
Photo by Patrick Lichfield
What caused the eventual PROPAGANDA split and to you forming ACT with Thomas Leer?
Well, it was the deal that we signed. I always say we had a management which wasn’t really management in a sense that it was divisive towards the band! I wouldn’t class them as good managers, a good manger knows how to pull things together and make them happen. In this case, yes, we did have a bad deal. But I remember Jill Sinclair, ZTT’s label manager didn’t want to lose PROPAGANDA, she already had lost Frankie. She loved what we did, she was very proud of this album and what it had achieved at the time. And she did not want to see another band of hers go. So she said “come to me and negotiate” which I later did.
But I was in a tricky position because I wanted to work with Paul, I loved working with Trevor and I loved working with Stephen. Obviously, my loyalties were with my husband also and I knew what he had done for PROPAGANDA. He would have done so much more for us, but it was the others who wanted to leave. I know how the album was made so I knew you couldn’t put that kind of team together on another record company. I very much knew that.
It was a magical team, I do always believe it’s all in the team that you’re working with. When you have that, why give up something that works? It was the decision that the others took. I really didn’t want to leave them but I just didn’t want to go to a different major company either.
What would a second PROPANGANDA album on ZTT have sounded like if the team has stayed together to follow-up ‘A Secret Wish’?
Much like ‘A Secret Wish’, very much so… I think it would have been a very natural progression of what we had written and recorded before.
Do you think you’d have got artier and avant, or do you think you could have gone the way ‘1234’ sounds, dreamy but almost with a mid-Atlantic pop accessibility?
I personally would have liked to have explored a similar direction to ‘A Secret Wish’. For me it was a perfect marriage of pop accessibility and the arty avant side of us. There was a rebellious side to Susanne and me and although we love pop music, there was a dark and a bit disturbing side to us as well and we wanted to combine these two sides. We were a band full of contrast, light and dark, dreamy and nightmarish. The combination of the two was what intrigued me.
Also musically, Stephen picked up on that. The voices would be very soft and the backing would be very hard. And then if I’d go really really hard, the music would sometimes become very soft so it was just this interplay. Yes I think we could have made a great second album on ZTT.
Photo by Patrick Lichfield
Do you think it could have turned out how the ACT album sounded?
No, that was a different vision altogether. For ACT it was all decadence and glamour. And we wanted the drama of it all and we moved kind of politically further. We’re now in ’87 and it was the decline of Thatcher’s Britain and we just had a completely different message altogether. It was a lot more theatrical and spielerisch, which is kind of more playful in a sense. It left aside the dark side, the Teutonic-ness. But also musically, Thomas was such a different kettle of fish altogether.
Do you think the UK didn’t get ‘Snobbery & Decay’ then?
No, sadly they didn’t *laughs*
Unfortunately they didn’t, or perhaps it was just not the right moment for this song… I do think it’s such a great song. Thomas wrote me an email the other day and he does think that perhaps we were ahead of our time. But also what happened was ZTT at the time changed companies to work with so they went from Island to Warners. And when that always happens, and we were just right in the middle of all that, the MD who takes over is often not that interested to take on what he’s been given, he has a complete different vision about what should be. So it’s sad because it happened to me again with my 1991 album ‘Love: And A Million Other Things’. The MD and the team you work with change and the artist is no longer a priority. The artist gets caught in record company politics.
When I was doing ‘Love: And A Million Other Things’ with Pascal Gabriel, we were working in the studio on the last two songs of the album and the MD from Island suddenly left and all the people who worked on my album left as well. A new guy came in and already I could sense what would happen so Pascal and I decided to get really experimental and we did so on the song ‘Surprise’ with THE BOW GAMELAN ORCHESTRA who were using fire and huge pipes to create sound. We realised we’d have trouble selling this album now. It had nothing to do with the artist or the content of the album.
‘Love: And A Million Other Things’ is being reissued by Cherry Red. You must be very pleased that this is fully available again and able to be re-evaluated because it’s very under rated?
Yes, maybe this time people can get the feel of it. At the time, I didn’t get much promotion.
I understand there may be a Claudia Brücken compilation in the offing with some unreleased songs and remixes as well as collecting together material in all your various guises?
Yes, it’s going to be called ‘Combined’. I’m hoping that it will be released on Union Square as well, because it’s a licensing nightmare *laughs*
There’s so many other record companies involved and I don’t necessarily have the knowledge of how to do this. In this particular instance, I went to Union Square and said it would be great if they could get that together for me because they do this all the time. And it will make things easier.
Will this include stuff like the BLANK + JONES, OCEANHEAD, THE BRAIN and APOPTYGMA BERZERK collaborations?
None of those, but there’s going to be all the singles that I’ve made. So it’s going to be three PROPAGANDA tracks, two ACT tracks, two from my Island days. There’s going to be a new electro version of ‘Sequential’ on it, Paul Humphreys has done a really good version of that. ‘Delicious’ with Andy Bell of ERASURE is going to be on it and so is ‘Cloud 9’. All in all there will be 14 songs on ‘Combined’. There’s two tracks that I’ve done with Stephen Hague called ‘Thank You’ and ‘Night School’, they’re completely new and I wanted to find a home for them.
Also I want those two songs to promote the album so I’m hoping to make videos etc. We haven’t decided which one we should put out as a single so we may make two.
Will any of the unreleased PROPAGANDA material from the late 90s reunion be included?
No, we’re not going to put that on. I didn’t want to go there.
Is there any possibility of the four of you working together again?
Actually I’ve been working with Michael, Susanne and Ralf again, we’ve written one song and I like it a lot. I’m really happy with the song. Now we just have to find the best way of releasing it. I think it’s a song that’s very suitable for the Olympics actually! Maybe we’ll get it out by 2012, hopefully before, we just have to see. But it’s written, it’s recorded and almost produced… in my view it sounds really fresh and very much like PROPAGANDA.
But a few years ago when we tried this, Ralf was absent. What was really essentially missing for me was Ralf because he has a way of saying things with words and he also formed PROPAGANDA with Andreas and Susanne. And he had a good vision about the band, what it stood for intellectually and so on. It felt more right when we wrote together again about a year ago; I’m comfortable with that format. That is PROPAGANDA, the four of us.
Photo by Hege Saebjornsen
How did you come to work with Paul Humphreys?
For a few years I was a bit lost, unsure of what to do next musically… I’ve always been reliant on working with other people, I don’t really work that well on my own. I do like to have other people’s input. So Paul and I started working together when he asked me to do this 2000 tour in America *laughs*
That’s when Paul and I discovered that we work well on stage together. Again, with Paul, it’s brilliant because we are very playful, we are not too precious.It doesn’t have to sound like OMD or PROPAGANDA. We can take elements if we wish but we’re not labouring over it.
How are plans coming together for the next ONETWO album?
We are writing and we’ve started. I’m hoping we can put something out by April 2011. That’s what I would like to do, that’s my plan! But you know, sometimes things take a little longer but we’ve made a good start.
‘Instead’ was very well received, but what are your reflections on the album now?
I think we did really well. The other thing that I now think about the album is I wish we’d have gone out with it live before because we’ve got Philip Larsen who adds a lot of electronic blips and also James Watson who’s such a great musician. So because we did all the gigs with ERASURE and THE HUMAN LEAGUE and we added things on, I would have liked to have gone in the studio now and recorded it because it would have got another bite to it and a bit more aggression behind it.
It’s a little bit like making a wine, the sediment has to go down and settle… it’s the same kind of thing with music. We’ve grown into a really good live band now that we know what we’re doing and now we can play around with all the parts as well. So I would have liked to have gone back and now recorded the album and I think it would have sounded more electro and energetic. But that’s something we’re now aware of and we’re thinking with the next songs that we’re writing, with the next ONETWO gigs that we have, to take them out and rehearse them live, then record them later.
Photo by Hege Saebjornsen
Who do you think makes up the ONETWO audience? Are they mostly your fans or OMD fans? Or are they new fans who are not necessarily aware of you and Paul Humphreys’ history?
I think all of those. To be honest, when we did THE HUMAN LEAGUE and ERASURE gigs, I think people had no idea who we were and then they realised when we were playing ‘Messages’ and ‘Duel’… “Oh, it’s them!”
We were something new and how do you get to know a band like ONETWO if you don’t have any radio or TV and only a few people who write about you?
We had to start at the beginning and I’m just really pleased that THE HUMAN LEAGUE and ERASURE gave us a platform for more people to discover us.
Before ONETWO, you were not really known as a live performer but it’s like you tour like mad now. You recently appeared live with HEAVEN 17 too performing ‘These Boots Are Made For Walking’. It was on TV, how do you think it went?
I haven’t seen it because I never watch my own performances. I got the live bug I guess, I just really like singing. In a studio environment, it’s all so controlled… but I’ve just become this live singer! Teaming up with Paul Humphreys, he made me discover that when I was doing a tour with him in 2000 and I thought “this is good fun”. And then I realised singing PROPAGANDA songs, how well people responded when they got a chance to hear them. Now I just want to spread the word because they are great songs, they are part of my past and I’d like people to hear them.
Is a solo concert ever going to be a possibility?
My plan for ‘Combined’ is to make a special evening with special friends, so I’m trying to pull as many people who are on this album to appear with me. I’m trying to get Susanne, Michael and Ralf in, I’ve invited Thomas and I hope he’ll be able to join me.
I’m hoping Andy Bell can do it. I’m sure I couldn’t get Martin Gore… but Glenn Gregory I think I could get; we keep on helping each other out. If he’s around, he probably will do it.
I will ask everyone who’s been involved to join me, it could be great night….let’s see!
You do seem to have worked with quite a few legends from the ‘Synth Britannia’ era.
One special thing about ‘A Secret Wish’ was that it has opened a lot of doors for me. I’ve got so much respect from fellow musicians, people just kind of go “Claudia, I want to work with you, can you do this?”. That’s pretty much how all of my collaborations came about.
Is there a stand-out memory from any of these collaborations?
It was amazing when David Sylvian came in. On ‘P-Machinery’, there is this line he wrote on a little keyboard that he brought in, it’s that theme which is also ‘Thought II’ from the bonus CD.
Photo by Anton Corbijn
Is that David Sylvian I can hear on the middle eight of P-Machinery?
That’s just the girls. The “calm but steady flow, our strength is running low” bit, that’s me! But I tell you who does the backing vocals in ‘Duel’… it’s Trevor!
What did parts did Glenn Gregory do on ‘A Secret Wish’?
Glenn did the shouting on ‘Jewel’. It was me, Paul Morley and Glenn!
‘Don’t Stop’ was your most recent recording in collaboration with German dance duo BLANK + JONES. You also recorded a marvellous song with them called ‘Unknown Treasure’ in 2003. How did those songs come together and how much input were you able to contribute to the final results?
With ‘Unknown Treasure’, that was quite magical really because Piet Blank and Jaspa Jones sent me a basic groove.
And onto this groove, I wrote the melody and all the words. Paul Humphreys was brilliant, he helped me to record the voice and edit it. He’s so patient with editing vocals and putting it all together. It’s a very time consuming process. So we sent them the entire vocal track and two weeks later, they sent me a CD back and to my delight they had turned it into this beautiful song, it was just this lovely journey. And I think they did such a great job, a real collaboration. Don’t Stop was in reverse, they gave me all the music and then I did the words and sent it back to them. And this is how these two songs came together.
Is there any reason why ‘Unknown Treasure’ is not on ‘Combined’?
It’s not on ‘Combined’ because ‘Kiss Like Ether’ is on, and ‘Kiss Like Ether’ is very much in same the vein as ‘Unknown Treasure’. Before, ‘Combined’ was a double CD and pretty much everything I ever did was on it *laughs*
And then it was like, we’re only doing one CD. And then I had to put some songs aside. So with ‘Unknown Treasure’, I really wanted it on but I wanted ‘Kiss Like Ether’ instead. Tempo wise, it’s very similar so it had to go… it was a tough decision!
You’ve done quite a few cover versions in all your guises as well as doing the ‘Another Language’ covers album with Andrew Poppy. Are there any other songs you’d like to do?
There’s so many great songs, I’m a singer and I like good tunes. ‘Duel’ for example is one of my favourite songs because it’s a singer’s song, composed for my voice. I love Motown stuff but at the moment, I’m singing ‘Plastic Palace People’ by Scott Walker. I’m pretty random with my choices that I like to sing. I love electro and I love heavy industrial stuff. I love Chanson and drama. When I grew up, my grandma listened to Lotte Lenya and Bertholt Brecht. I think you can put me in any kind of musical outfit really and I can make it work in my own style.
What did you think of Sophie Ellis-Bextor’s and Mandy Smith’s covers of ‘Duel’?
I like Sophie’s and Mandy’s versions of ‘Duel’ and I’m glad that they’ve picked our song as they make other people aware of PROPAGANDA’s music.
Personally, when I do covers I like to put the songs I chose in a very different light to the original. In that way they become my own interpretations. My approach is more similar to SUSANNA & THE MAGIC ORCHESTRA or the way Martin Gore works on his ‘Counterfeit’ albums.
Photo by Peter Brown
The Mandy Smith one was done by Stock Aitken & Waterman so they obviously are secret PROPAGANDA fans!!
It’s very funny but on the sleeve notes of ‘A Secret Wish’, Paul Morley was saying that when Trevor Horn was not available to be producer anymore because of FRANKIE GOES TO HOLLYWOOD, he wanted David Sylvian.
Meanwhile Jill Sinclair wanted Stock Aitken & Waterman!! That would have been a wrong choice, nothing against them! *laughs*
Have you heard that track by HURTS called ‘Wonderful Life’ which sounds a lot like PROPAGANDA?
I think that track is really beautiful; I can really hear how PROPAGANDA influenced it musically, especially from the middle bit onwards because it goes into that dreamy motion until the end and the choice of instruments used remind me a bit of ‘A Dream Within a Dream’.
Who are you listening to at the moment?
My daughter gives me songs to listen to, so I don’t lose connection. I’ve been listening to BEACH HOUSE, NITE JEWEL, THE RAINCOATS, SUSANNA & THE MAGIC ORCHESTRA and the new ARCADE FIRE album. You have to discover acts yourself now, I preferred the old-fashioned way of listening to the radio.
Another truth installed by the machine…
ELECTRICITYCLUB.CO.UK gives its warmest thanks to Claudia Brücken
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is released by Salvo/Union Square as a CD and download
Of the other tracks, the slap heavy attack of ‘The Murder of Love’, the deadpan drone cover of JOSEF K’s ‘Sorry for Laughing’ and the mechanised beauty of ‘P.Machinery’ all still possess the Teutonic edge and the charm of the then state of the art technical tricks that made it such fascinating listening first time round.
and PROPAGANDA’s 
are available as deluxe 2CD editions via Salvo Records
is reissued as a 2CD package by Cherry Red on 30th August 2010
is available now and released by Salvo/Union Square
will be released in 2011
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