One record at a time: 465. Steve Winwood - Chronicles

"Chronicles" is a compilation album from 1987 that bring together the highlights of Steve Winwood's solo work released on the Island record label. Having just scored a hit with "Back in the High Life" Winwood was hot property in America and the executives at Island records were keen to use their final album under his contract to capitalise. 

To promote the album Tom Lord-Alge was asked to sprinkle some of his auditory fairy dust on the criminally ignored track "Valerie" and another top ten hit was born. Also dunked in the Lord-Alge sheep-dip were "Help Me Angel" and "Talking Back To The Night". Whilst all these remixes sound good, you could argue the originals were perfectly satisfactory. I guess the aim of giving these older songs a more polished sound was to make them more appealing to the new found American market. 

Whilst the track choices for this compilation are fairly evenly split amongst Winwood's solo albums, the only song from his eponymous debut is "Vacant Chair". However, this track is presented as a lean four and a half minute edit rather than the the full fat album mix. Also edited are "Spanish Dancer" and "While You See A Chance" with the former sounding particularly truncated. Interestingly my compact disc and "the streaming services of Lucifer" use the full album mixes rather than the edits, so this vinyl is rather unique.

Personally I'd like to have seen "Big Girls Walk Away" included here and a tasteful edit of "Midland Maniac" might have offered a slightly more holistic view of Windood's solo career. Having said that, this is an engaging compilation and serves as a great introduction to Steve's early solo work. 3/5

One record at a time: 464. Steve Winwood - Back In The High Life

In 1986, Steve Winwood decided to pursue his commercial ambitions and aim for greater success in America. The result was "Back In The High Life," a highly polished album produced by Russ Titelman in New York. Winwood collaborated with a host of session musicians and prominent backing vocalists, while the technically adept Lord-Alge brothers worked behind the scenes to add the finishing touches that would make the record so appealing to the American market. Once released the album sold well and earned Winwood two Grammy awards in the process. All this success prompted his move to the United States—mission accomplished.

Central to this success was the single "Higher Love". Whilst my children know this song thanks to a dance remix of Whitney Houston’s cover version that appeared on the soundtrack to the film "Sing 2", my own first encounter with the song was thirty-five years earlier. Side A of the cassette compilation "Now That's What I Call Music 8" is full of wonderful music and I would always look forward to this track coming along straight after Swing Out Sister's "Breakout". 

One of the standout elements of "Higher Love" is its rhythm track, where drummer John Robinson enhanced the Oberheim DMX drum machine’s sound with dynamic fills and added punch. The remarkable percussive loop that opens the track was actually captured by chance as Robinson practiced in the studio. I've heard esteemed producer and engineer Gary Langan say that a recording engineer’s job is to capture everything musicians produce in the studio—if you’re not recording, you’re not doing your job properly. By this definition, Tom Lord-Alge was certainly doing his job as not only did he manage to record Robinson’s improvisation but he then managed to seamlessly incorporated it into the finished track. 

Famously, Chaka Khan provides backing vocals and the credits also list Nile Rodgers on guitar. The liner notes mention the use of a PPG Waveterm, but I can also hear sounds reminiscent of the Yamaha DX7 (bass) and the Sequential Circuits Prophet 5 (brass). The album version of the song is almost six minutes long, but it never feels tiresome. This is peak eighties pop.

The second track, "Take It As It Comes" moves into more conventional rock territory, featuring Hammond organ, chugging rhythm guitar, and a brass section. However, both the song and its execution are rather unremarkable. The single "Freedom Overspill" brings in more synth touches, including a Yamaha DX7 BASS.1 bassline, but the overly showy guitar work by Joe Walsh of The Eagles feels out of place.

Another highlight is "Wake Me Up On Judgement Day". While the verse and pre-chorus are somewhat bland, the song rewards persistence with an uplifting chorus. As the track gathers momentum, Nile Rodgers steps into the spotlight, and the focus remains on the infectious chorus, leaving behind the earlier diversions.

A personal favourite is "My Love's Leavin'" which was co-written with long-term collaborator Vivian Stanshall. This song blends the sound of the DMX drum machine with the ubiquitous DX7 E.PIANO 1 and Tom Lord-Alge’s mix is rich with reverbs, delays, and equalisation, maintaining a palpable tension throughout. The album credits are so extensive that it is easy to overlook that Arif Mardin arranged the synthesised strings on this track. It is an amazing end to a pleasing album. 3.5/5.

One record at a time: 463. Steve Winwood - Talking Back To The Night

“Talking Back to the Night” was recorded entirely in Steve Winwood’s home studio, making it a genuine solo effort. This time, Winwood not only composed every note, but also played, recorded, and mixed the whole album himself. If he had taken charge of the sleeve design as well, perhaps we would have had a more striking cover, but that is a minor complaint. I purchased this original 1982 UK pressing from eBay eight years ago. The sound quality is decent, though not outstanding.

The album begins with the hit single “Valerie”. On this release, you will find the original mix, which feels raw compared to the polished 1987 remix. For those familiar with the latter, this version may seem less refined, but it remains an irresistibly catchy track. The synth textures are prominent and Winwood has mentioned that the Prophet 5 was responsible for nearly all the electronic sounds on the album.

“Big Girls Walk Away” might raise eyebrows with its title, but if you give it your full attention, it proves to be a highlight. The track blends Linn LM-1 drums, Roland VP-330 vocoder and Prophet 5 synth to create a soulful edge to its synth-pop foundation.

After such an energetic start, “And I Go” slows the pace. This is a soul-infused number, featuring Hammond organ flourishes and other familiar genre tropes. There is also a jarring edit at one minute and twenty-two seconds that always catches my ear. “While There’s a Candle Burning” begins unassumingly but gradually builds with synth riffs and seventies-style guitar. Side one closes with “Still in the Game”, which, while melodically bland, offers some appealing synth work.

Turning to side two, “It Was Happiness” is pleasant but somewhat forgettable. However, “Help Me Angel” is a true highlight and is presented here in its original form before Tom Lord-Alge got his hands on it for the “Chronicles” compilation. This song grooves relentlessly, driven by a tight drum pattern and excellent synths. The title track is another mid-tempo, synth-driven piece that is enjoyable but does not leave a lasting impression. Finally, “There’s a River” delivers the slow blues number you might have been dreading; it is best skipped. 3/5

One record at a time: 462. Steve Winwood - Arc of a Diver

"Arc of a Diver" was released in 1980 and my well worn original pressing is showing its age. Not only is the sound reproduction pretty poor, but there are also some outdated and misogynistic ideas within these grooves. The first time I heard "Second-hand Woman" I thought I was misinterpreting things or being oversensitive, but the more I heard the song the more disconcerting I found it. The music is inoffensive, but the lyrics are just vile.

On a brighter note, the album opens with "While You See a Chance", where the Prophet 5 and Multimoog synths blend beautifully with Winwood’s signature Hammond organ. The lyrics may be a bit scattershot, but the inventive, catchy music more than compensates. "Slowdown Sundown" takes an unexpected acoustic turn, but the track is ultimately saved by a wonderful Moog bass and a standout solo.

Side B begins with "Spanish Dancer," a long-time favourite of mine. The track is rich with synth textures and features a bubbling analogue sequence that underpins lush polysynths and subtle percussion. I especially enjoy how this song ebbs and flows, building tension and release to great effect. "Night Train" is an eight-minute journey that feels more contemporary and you may find yourself tapping your foot - albeit absent mindedly. The album closes with "Dust," a somewhat underwhelming composition, though Winwood’s vocals remain a highlight.

Overall, "Arc of a Diver" is a mixed bag: musically inventive in places, but marred by outdated themes and inconsistent songwriting. Still, there are moments of brilliance that make it worth a listen—if you can look past its flaws. 2/5

One record at a time: 461. Steve Winwood - Steve Winwood

Although I’m not a fan of blues, R&B, or blue-eyed soul—the genres most often associated with Steve Winwood—there’s something about his solo work that genuinely intrigues me. I suspect it’s the undeniable brilliance of his songwriting and musicianship that draws me in. Still, I have to admit, it’s his albums from the 1980s that truly capture my interest.

I picked up my copy of this album on eBay about six years ago. Interestingly, it turned out to be an American pressing, which I hadn’t realised when I bought it. The sleeve has a deletion cut in the bottom right corner—a telltale sign of how it ended up here in the UK.

Since this album dates back to 1977, it isn’t among my favourites. The tracks lean heavily into the style of seventies soul, filled with funky clavinet, electric piano, and wailing guitars. The Minimoog makes a few appearances as the only synth, and, as you’d expect from Winwood, there’s plenty of Hammond organ throughout. There are just six songs on the record, but with each running between five and eight minutes, listeners would have felt they were getting their money’s worth.

While most of the album doesn’t quite resonate with me, I did find myself paying closer attention to “Midland Maniac” and “Vacant Chair.” The opening track, “Hold On,” features a Minimoog patch that I instantly recognised from Winwood’s later work, and its strong energy did win me over to some extent. Still, overall, this album isn’t really my cup of tea. 1/5

One record at a time: 460. Way Out West - Way Out West

Fifteen years ago I wrote on this blog: 

"I have never been able to pin point quite why I love the music of Way Out West. Ever since I first heard ‘Domination’ in 1996, I have been entranced by the band’s output. Album tracks such as ‘Sequoia’, ‘Activity’, ‘Call Me’ and ‘Ultraviolet’ are amongst the best pieces of electronic music ever composed." 

This all might sound like hyperbole, but I genuinely believe that Way Out West make music that transcends the genre of dance. I think my admiration is derived from the fact that, whilst many of the band's contemporaries proved to be ephemeral, much of Way Out West's early work still resonates with me.

Their self-titled debut album, originally released in 1997, is a perfect example. My copy is the 2025 reissue from Music On Vinyl—one of just 750 individually numbered double blue vinyl sets. Although that sounds impressive, the reality is you can still buy a brand new copy for around £30. The relatively cheap price probably accounts for the lack of gatefold sleeve and the plain inners that feel a bit underwhelming. Thankfully the music transcends the packaging. 

Proceedings kick off with the single "Blue" which is based on the music from the cult film "With Nail and I". Some people find it hard to discern the original melody in amongst the growling synths and relentless breakbeats, but it is there. The track delivers a compelling blend of foot moving progressive house and pure listening pleasure—I enjoy it immensely.

Hot on the heels of the opener is the hit single "The Gift" and this track probably accounted for 90% of the sales of the album. Here the Westies wrap manic breakbeats and lush synth chords around a sample of Joanna Law singing a line from the folk song "The First Time Ever I Saw Your Face". I'm really not a fan of folk music and I was perfectly prepared to hate the version of the song the sample is taken from, but Law's cover is actually a rather funky downtempo take titled "Fist Time Ever". As good as it is though, this track is never going to be my favourite.

The last track on the first side is a ambient piece called "Earth" that actually closes the album on most other formats. You get a definite sense that this song was shoehorned in here as there was nowhere else for the cutting engineer to fit it. This is a bit of a shame as placing the track here both breaks the early momentum and robs us of a come down at the end.

On the flip side of the first disc, we’re treated to “Domination”- a track that almost defies description. The best way to capture this song's essence is to call it a rip-roaring breakbeat masterpiece with gorgeous synth loops, lush chords, and vocals by JFK—sort of. Next up there are some faint ragga vibes on the appropriately titled "Dancehall Tornado", but the music remains firmly rooted in trance and breakbeat.

"Sequoia" that opens the second disc is a personal favourite. This is one of few tracks with a prominent four-on-the-floor kick drum and open hats on the third beat and it makes for a nice change. The samples are used more sparingly here and the pulsating synths are allowed to take centre stage. "Questions Never Answered" is a bit more straightforward and really doesn't do enough to warrant a runtime of nearly nine minutes. 

Things pick up again with the single "Ajare" which deserved to do chart higher on both the occasions it was released. As the synths blast like sirens the TR-909 hit hats provide a relentless backdrop to the perfect vocal samples. "Kind of the Funk" successfully explores the big beat territory normally patrolled by the likes of Chemical Brothers or Fatboy Slim. The vinyl finishes off with "Drive By" which seems to be an edit of the "Club Mix" of "Blue" from the CD single.

After this initial flush of artistic perfection Way Out West lost their way a bit and became a little more inconsistent. Whilst their second album is good, their third effort "Don't Look Now" saw them use a female vocalist and adopt a more mellow sound. This move really didn't work for me and I lost interest in the band until "We Love Machine" was released in 2010. Whilst Jody and Nick do still surface together occasionally its eight years since their last album and nothing will ever feel quite like this did in 1997. 4.5/5

One record at a time: 459. Wang Chung - Mosaic

My copy of Wang Chung’s fourth album, “Mosaic,” was originally pressed for the Italian market, yet somehow it found its way to England. Like the rest of my Wang Chung collection I acquired this record from eBay around ten years ago, but I can't say this one has been played as much as the others. 

The album opens with a track that proved to be both a blessing and a curse for the band. “Everybody Have Fun Tonight” became a huge hit in North America and catapulted the band into the spotlight. Despite its commercial success, the song has been parodied and even mocked, largely due to the line: “everybody Wang Chung tonight.”

A seemingly casual use of the band’s name as a verb had unexpected consequences and invited a degree of ridicule. From what I’ve read, however, the band has always maintained that “there’s no such thing as bad publicity,” and they’ve embraced the joke with good humour. Still, having their biggest hit lampooned and dismissed as an object of ridicule won't have helped their credibility.

On this side of the Atlantic, the joke didn’t quite land, and “Fun Tonight” barely made an impression on the UK charts. Perhaps there was no joke to get. It’s not a bad song, but it doesn’t reach the heights of “Dance Hall Days.” In fact, there are stronger tracks scattered throughout the album than their most famous single.

The follow up single "Let's Go!" that opens the flip side of this album also managed to crack the top ten in the USA (but was met the same underwhelming response here in the UK) but the internet seems to have forgotten this and is happy to brand the band a 'one hit wonder'.

Second track in the running order is "Hypnotise Me" which is another strong effort that was featured on the soundtrack to the film "Innerspace". I remember this film being quite a big deal when it was released and I imagine the band were pretty pleased to be associated with it. The song wasn't a big hit, but it has a great hook and energy to spare.

Beyond the singles, the album offers standout moments - “The Flat Horizon” deserves special mention, while the closing track, “The World in Which We Live,” delivers an epic finale. Admittedly, the momentum slows with the somewhat clichéd “A Fool and His Money” and “Betrayed” feels directionless, but the strength of the surrounding tracks ensures the album remains a rewarding listen overall.

This album sounds different to its predecessors as not only does it have a different producer, but because it was created using the Synclavier rather than the Fairlight. Alongside the electronics the band deploy a brass section and a veritable chorus of backing singers to give a somewhat more commercial and - dare I say it - American sound. 3/5