One record at a time: 43. The Chemical Borthers - Surrender

We start the second shelf of vinyl with another album by The Chemical Brothers. As I mentioned before, I bought the CD of "Surrender" on the back of hearing the single "Hey Boy Hey Girl". I'm not sure why this particular single drove me to buy its parent album when others hadn't, but I'm glad it did. 

Here I will be playing the double vinyl which I acquired in 2019. Whilst this edition was released in 2013 as part of Virgin Records' 40th Anniversary celebration, there is no indication of this on the record itself. From what I can gather, you can still buy this vinyl relatively cheaply from a number of retailers, so I'm guessing that it is still being pressed occasionally or that there is a massive warehouse of them somewhere. Either way, it isn't hard to come by. 

I presume that all The Chemical Brothers albums were primarily mastered and sequenced for CD which means the move to vinyl creates some compromises. The inevitable breaks created when flipping or changing a disc makes for a less than seamless experience, but what vinyl does give us is a depth of bass that isn't quite there on other sources. You pays your money, and you takes your choice.

As far as the music goes, this is a good album. Aside from the obvious "Hey Boy Hey Girl", my personal favourites are "Orange Wedge", "The Sunshine Underground" and "Under The Influence".

There are a few collaborations with vocalists and they meet with varying degrees of success. "Out Of Control", which was recorded with Bernard Sumner of New Order is awesome. Noel Gallagher features on the thinly veiled "Tomorrow Never Knows" pastiche "The Sunshine Underground". Whilst this track isn't one of my favourites it is an improvement on their previous collaboration "Setting Sun". 

"Asleep From Day" with Hope Sandoval is a languid diversion that I suspect is included merely to add variety to the running order. Closing track "Dream On" is a collaboration with Mercury Rev's Paul Donahue and it isn't entirely successful. I have to confess, I don't always hang around for this one. So, aside from the occasional vocalist induced misfire, this album comes highly recommended and proves the depth of the talent possessed by Ed Simons and Tom Rowlands. 3/5

One record at a time: 42. The Chemical Brothers - Dig Your Own Hole

So we come to the last record on the first shelf: The Chemical Brothers "Dig Your Own Hole". Despite this album being released in 1997, I have to admit, I didn't buy it until 2007. The version I am listening to here moves us another decade on as it is the 20th anniversary silver vinyl edition. This is a double album in a gatefold sleeve and includes a download card. The sound quality is OK but nothing to write home about.

Even though "Block Rockin' Beats" was everywhere back in the day, I saw it as a flash in the pan. I was content with the CD singles and, as far as I could see, there was nothing to justify buying the parent album. I also think the release of  "Setting Sun" increased my reluctance to buy "Dig Your Own Hole" as it was all a bit noisy and more particularly, the vocals really weren't to my taste. 

So when I did finally buy this album I was fully prepared for it to be an underwhelming experience. Whilst this will never be my favourite album by the Chemicals, it deserves praise. "It Doesn't Matter" and "Don't Stop The Rock" are my favourites here, but nothing quite tops "Block Rockin' Beats". Much like the vinyl version of "Exit Planet Dust" I reviewed previously, the necessity of splitting tracks across sides means that some of the flow of the album is lost when compared to the CD. As we aren't gaining much in terms of audio fidelity or dynamics with this pressing, you may be better sticking with the CD. 3/5

One record at a time: 41: The Chemical Brothers - Exit Panet Dust

Back in 1995 I was acutely aware of the release of "Exit Planet Dust" as it seemed to be blaring from my brothers bedroom almost constantly. At the time I wasn't all that taken with The Chemical Brothers as I preferred straight up four-on-the-floor club music. This 'big beat' stuff was only one shade away from Britpop as far as I was concerned. My prejudice was cemented when Noel Gallagher and Tim Burgess started singing on their records. 

It was only when "Hey Boy Hey Girl" hit the charts and I bought "Surrender" that I began to see the light. Yet, for some reason, I still didn't investigate their previous albums "Exit Planet Dust" or "Dig Your Own Hole". It was as if "Surrender" was year zero and my interest in The Chemical Brothers could extend no further back. 

I eventually bought this album on CD sometime in the early twenty first century and this vinyl edition was a leaving present from my colleagues when I changed employers back in 2019. As you might expect, this is a double vinyl package, but thankfully it isn't in a gatefold sleeve. Discogs tells me it was pressed at Record Industry in the Netherlands and that means the quality of the packaging and discs is very good. The audio crystal clear but the depth of the bass is a little disappointing in places. There's no download card but as I already own the CD that isn't a concern. Unbeknownst to me there was a download card hidden in the package that I found when playing the album for this post. The download worked first time and is for WAV files of the album.

It goes without saying that the quality of music here is superb. "Leave Home" and "In Dust We Trust" should sound familiar to anyone who had anything more than a passing interest in music in the nineties. "Three Little Birdies Down Beats" is one of my all time favourite dance tracks and satisfies any four-on-the-floor cravings that may still remain from my clubbing days. 

The experience of listening to this album on vinyl is quite different for anyone accustomed to hearing it on CD. Not necessarily because of the dynamics but due to the breaks in the programme that occur when you need to turn the disc. The end of "In Dust We Trust" cuts off a little abruptly rather than the seamless segue into "Song to the Siren" CD listeners might be accustomed to. Elsewhere the breaks are more natural and cause less interruption, but it still feels like the flow of the album afforded by digital files or CD is lacking.

The quality of the remaining tracks is consistently high and only "Chico's Groove", "Alive Alone" and "Playground of a Wedgeless Firm" felt a little disappointing. Having said that, I'd much rather listen to this album than the majority of those I've reviewed to up to this point. Almost every track here could have been a single and it deserves to be regarded as a classic of the nineties. 4/5

One record at a time: 40. B12 - Electro Soma II

In 2017 Warp records decided to rinse the B12 back catalogue one last time and create another compilation of previously released material. This album was badged as "Electro Soma II" to capitalise on the re-release of the original.

The version of this album I own is the limited edition, double clear vinyl, which includes a booklet and is housed in a gatefold sleeve. There is also a download code included in the package which I seem to remember offered mp3, FLAC or WAV file types.

Three of the tracks here, "Debris" "Static Emotion" and "Satori" were all omitted from the LP "Electro Soma" but will be well known to anyone who owns the CD. There are also a significant number of tracks on this album that were released as part of the "B12 Records Archives" series of CDs; which means that less than half of the tracks on this album were new to me. Therefore this album largely represents an opportunity to own tracks on vinyl rather than hearing them for the first time.

Those tracks that are new are experimental and more ambient in nature. There is nothing here that makes you think: "They should have put this on the first album." These are clearly those tracks that remained once Warp cherry picked all of the best tunes for "Electro Soma". That's not to say there is nothing here without merit. "Fear of Expression", "Bubbles" and "Kaxaia-80" are all credible techno tracks, but they just lack that crucial edge. So this is a collection for completists or those who have an obsession with vinyl. The average listener can be satisfied with "Electro Soma" and move on. 2/5

One record at a time: 39. B12 - Time Tourist

Having enjoyed B12's first album "Electro Soma" you would have thought that I'd make certain I bought the follow up. Yet, for some inexplicable reason, the release of "Time Tourist" completely passed me by. Time moves much more slowly when you are young, so it's possible that I gave up waiting after 3 years and moved on to something else. 

In fact, I only became aware of the album's existence when I began using the internet in earnest sometime around 2000. I found it hard to buy the CD new at the time as it had been out of print for a few years. All I could find on eBay was a copy of the American pressing with, what I presume to be, a deletion cut through the top of the case. This CD was the only version I owned until Warp re-released it as a double "gold" vinyl LP in 2018. This version featured goodies like a booklet, a sticker sheet and a download with additional mixes. It's a nice package. 

At this juncture I will point out that this LP is not in a gatefold sleeve, and that is a good thing. Personally I don't like them and can't for the life of me understand why so many releases are marketed with a gatefold sleeve as a selling point. I find it difficult to place the records back in them and protective sleeves are much more expensive than a normal one. This record is the perfect package as it has a functional sleeve with a booklet to satisfy any yearning you may have for additional information or images. Record marketing people take note.

Like its predecessor, this album is essentially a compilation of music recorded under various pseudonyms. There is a nice mix of harder dance tracks alongside more experimental electronic music. Personal highlights are "Void", "Cymetry" and "The Silicone Garden". The standout track "Epilion" is a TR-909 infused monster pounding its beat and bassline into your head. The four additional mixes included on the download are interesting alternative versions but are ultimately inferior to those on the master release. If you're in the mood for some 'serious' electronic music with a techno pulse then this album satisfies. 3/5

One record at a time: 38. B12 - Electro Soma

In 1993 a friend played me "Obsessed", "Metropolis" and "Telefone 529" by B12. I hadn't really heard music like it before. Yes, this was techno, but it wasn't the kind of techno I was used to. This was lush and full of melody; I had to hear more. 

I bought the album "Electro Soma" fearing that the remaining tracks wouldn't be as good as those I had already heard. Yet from the mesmerising opening to the closing of the CD I was captivated. At the time I had no idea it was a compilation of material the band had previously released; it sounded like a coherent and consistent album to me.

For this play through we have the remastered, double blue vinyl version from 2017. The track listing here replicates the original vinyl which was different from the CD I bought. There are two tracks fewer and "Debris" is omitted in favour of "Drift" which closes the album.  

The opening "Soundtrack of Space" is one of the most haunting pieces of electronic music I have ever heard. I used to listen to this on the way to college as the perfect antidote to the stress of what I was about to endure. This track perfectly illustrates that B12 aren't just a "techno act" but a band capable of producing amazing electronic music. "Hall of Mirrors" and "Mondrin" further illustrate the sonic diversity on offer with innovative textures and great beats.

The high point of the album is probably "Metropolis" which is a thundering epic of the techno genre that would fill the right dance floor even today. Despite recycling a few Kraftwerk song titles, borrowing on Detroit techno sensibilities and sampling Jean Michel Jarre, you never get the feeling B12 are copying anyone. This music is unique and innovative and it stands up to repeated listening. 

B12 themselves are something of an enigma. Bizarrely their website is still live, but it hasn't been updated since 2007. Steven Rutter seems to be continuing with the band and new releases do appear sporadically. Mike Golding however seems to have quit music, moved to Germany and set up as a web developer. Anyway, I love this album and it never fails to transport my mind back to the time when I was young. It still sits firmly in my "Top 20 Favourite Albums" list. 5/5

One record at a time: 37. Ian Brown - The Greatest

As I mentioned in my previous post for "Golden Greats", I am not sure why I bought the CD of this compilation back in 2005; but I am glad I did. This album is a perfect introduction to Ian's solo work and I have gone on to buy more of his records since. 

When it came to buying the vinyl version of the same album ten years later, I was much more certain in what I was doing as, not only did I know I liked the music, but it was only £11. Considering this is a double album, I think that is a bargain.

Things seem to progress in chronological order so debut single "My Star" starts us off in a blaze of glory. The bass on this record is quite impressive and promises great things are to come when we reach some of the more electronic selections. "Corpses" as it was called when the single was released is next, but it doesn't quite hit the mark for me. "Can't See Me" sees Ian and Mani team up to produce a crazy big beat extravaganza that is remixed and generally tidied up from the album version. This album is cut pretty loud so before we know it, it is time to turn over the first disc. 

The first UNKLE collaboration "Be There" is the sort of downtempo track that was fashionable in the late nineties - but unlike some contemporaries, this one still stands up today. As we move into the "Golden Greats" era we are treated to the single versions of "Love Like A Fountain" and "Dolphins Were Monkeys" which are excellent. The masterpiece that is "Golden Gaze" soon follows to remind us that Ian is capable of some moments of absolute genius.

The second disc kicks off with the exceptional "F.E.A.R." which is clever both lyrically and musically. Whilst "Whispers" and "Forever and a Day" aren't my favourite tracks here they are far from being bad: they're just not to my taste. Similarly "Keep What Ya Got" is just too much like a generic guitar orientated rock song for me. Things pick up with "Time Is My Everything" and its Herb Alpert-esque brass arrangement makes for an entertaining listen. "Longsight M13" raises the bar back to the level of the first disc in quite spectacular fashion. As well as having a great tune, this song features some amazing synth work that restores the faith I lost with some of the rock songs. I can't help but feel like the strings at the beginning of "Reign" have featured on TV advertisements or some sort of promo, but thankfully familiarity doesn't seem to have led to contempt. The brass makes a comeback for the mediocre "Lovebug", but "All Ablaze" is considerably more electronic in approach. The album closes with the slightly awkward "Return of the Fishermen" and its bizarre lyrics. The song is OK, but what puzzles me is that this "Album Version" doesn't appear on any of Ian's albums as far as I can tell. Despite being a bit soggy in the middle, this is a nice collection of tracks that sound surprisingly electronic. 3/5

One record at a time: 36. Ian Brown - Golden Greats

I have no idea why I bought an Ian Brown compilation CD in 2005 as I have never liked The Stone Roses and none of Ian's solo material had ever crossed my path at the time of purchase. 

However, once I did listen to Ian's music I was surprised to find a strong electronic thread running through it. One track, "Golden Gaze" struck me as being particularly good and it became my obsession for a while. I enjoyed the parent album "Golden Greats" too and when Music On Vinyl decided to re-release it in 2016 I was one of the first in the queue.

The album is presented as an LP and a single sided second disc, both pressed on "gold" vinyl (it looks more of a pale brown to me). There were 2000 pressed and each is machine numbered. Like most Music On Vinyl releases the records are pressed by Record Industry in Holland and the quality is pretty good. Whilst not absolute top drawer, it's a million miles away from GZ Media quality.

The first track "Gettin' High" starts inauspiciously with a distorted guitar riff before a funky bass synth and the distinctive Roland CR-78 percussion take over. This fantastic opening soon segues into the single "Love Like A Fountain" which is an amazing marriage of acoustic drum lopps, electric bass and acid synths. Before I heard Ian's solo material I had no idea it had such a groove. "Free My Way" starts with acoustic guitar noodling which thankfully soon abates to allow the strings and drum machine room to breathe. "Set My Baby Free" has a great sub bass floating under Ian's vocal but the organ riff that runs through the song can be annoying and I'd like to hear it further back in the mix. If you can put the organ out of your head this is a great song. "So Many Soldiers" opens with some fake surface noise and crackle which is a weird experience when listening on vinyl. Did anybody find the need to add surface noise to their recordings before CD? Anyway, this is another good track that uses drum loops and Mellotron strings to great effect. Before we know it, side on is finished.

When we flip over we are treated to, for me, what is the main event: "Golden Gaze". This song is the perfect marriage between acoustic drums, guitar arpeggios, heavy synths and percussion loops. Ian's vocal melody weaves through the track like a golden thread turning a great track into an amazing one. I've grown used to the more coherent single version over the years but the album version still satisfies. Another single, "Dolphins Were Monkeys" comes next and whilst the intro is a little discordant, the groove soon gets going going and before you know it you're singing along. Ian shows us he can croon (well a bit) on album filler "Neptune" which sounds like a track Massive Attack would be proud of. The limitations of vinyl are revealed here as some of the high hats induce a small amount of sibilance, but the excellent bass offers sufficient compensation. Another acoustic drum loop introduces "First World" and I'm beginning to yearn for some electronic drum sounds by the time its five minute run time finally comes to an end. Closing track "Babasonicos" is a great title but a dull pastiche of a song. The second record in the package has the "UNKLE" remix of "Dolphins Were Monkeys" which brings out a new melody at the expense of the groove found in the original. The title of the final track "Love Like A Fountain (U.S. Mix)" makes me reminisce about the days when bands released exotic remixes for the American market that made their way onto 12" singles on this side of the pond. To conclude, I'd say this is a good album which is nicely presented and has good audio quality. Definitely one to track down if you can. 3/5

One record at a time: 35. Tim Bowness - Late Night Laments

The latest Tim Bowness album "Late Night Laments" is the next in my collection and I'm pleased to say it is a good one. 

Opening track "Northern Rain" immediately sets a high bar for song writing and is complimented by the production skills of Brian Hulse. Once again Steven Wilson takes on mixing duties and the album carries his unmistakable sonic gleam.

 "I'm Better Now" features twinkling synths and electronic beats that I find mesmerising. As the song finished I wistfully thought, "I really would like another song like that and not an acoustic guitar ballad." My prayers were duly answered with "Darkline" which is an achingly beautiful masterpiece. Just when you think things can't get any better you realise the noisy synth solo is by Richard Barbieri. Fantastic.

We return to the more familiar recipe of 'double bass and guitar' on "We Caught the Light" but "The Hit Man Who Missed" does enough to warrant attention with its weaving sub bass and subtle analogue arpeggios. "Never a Place" is a great song that seems have a lot of pop sensibilities underneath the skin. I could see this track completely reimagined as a chart hit by an ephemeral X-Factor winner. The liberal use of samples on "The Last Getaway" and the electronic beats of "Hidden Life" perfectly illustrate the move away from traditional prog rock guitar noodling featured on previous albums. If you hear nothing else of this album, you should at least listen to the majestic "I'm Better Now" or "Darkline". Great stuff. 3/5

One record at a time: 34. Tim Bowness - Flowers at the Scene

If you've read any of my other posts about Tim Bowness albums, you won't be surprised to hear this is a limited edition, signed, hand numbered, 180g transparent red vinyl. However, for the first time in this process I feel like I'm flagging - the going is a bit tough. That's not to say that I dislike Tim Bowness's albums, but they are like a rich chocolate truffle: best consumed in small quantities. Having gorged on four consecutive Bowness albums I'm feeling a little nauseous at the thought of more. Happily, once the needle dropped on "Flowers at the Scene" my appetite returned. This is a brilliant album

Unlike the crude monochrome sound of antecedent "Lost in the Ghost Light", this album is expertly produced by No-Man and Brian Hulse. Almost all of these songs are beautifully realised with immaculate arrangements and instrumentation. Even if some songs aren't to my taste, I am still able to appreciate how well they are put together. Obviously a credit to No-Man must mean the presence of  Steve Wilson. With Steve playing, producing, programming and mixing alongside Tim writing and singing the songs, this is only one step removed from being a No-Man album. 

Opening track, "I Go Deeper" features thundering drums and a restrained electric guitar to accompany Tim's tale about moving on. There are various synths providing strings and background textures that add a richness sorely missed on Tim's other albums. "The Train That Pulled Away" opens with a chugging string arrangement and proceeds to take us on a journey that leads back to the start. The drums and synth textures on the beautiful "Rainmark" are all redolent of Steve Wilson. "You're Not Married Anymore" is a middle aged lament similar to those found on "Abandoned Dancehall Dreams" and represents the first drop in quality on the album. The title track is unremarkable art-rock that is a little disappointing. Things turn even more 'guitar' with "It's the World" which features prog rock royalty in the form of Peter Hammill from Van Der Graaf Generator. Normal service is resumed with the excellent "Boderline", and "Ghostlike" which sounds like companion piece to "I Go Deeper". The pace slows with the next rack "The War One Me" which promises little at the beginning but the excellent production allows an atmospheric song to emerge. I may be mistaken but I'm sure I heard a four-on-the-floor bass drum on the chorus of "Killing to Survive". Whilst it isn't exactly a high energy romp, this song does have more of a pulse than the majority of Tim's output. The album then peters out with the disappointing "What Lies Here". Despite the lack lustre ending, this is a great album and the expert production sets it apart from the rest of Tim's solo offerings. 3/5

One record at a time: 33. Tim Bowness - Songs From The Ghost Light

Is this a compilation? Is it an EP? Is it an album? Is it a mini-album?  To be honest I have no idea what it is.

"Songs from the Ghost Light" was released soon after Tim's previous effort "Lost In The Ghost Light" and given the title of the record, I would have assumed there is a link between the two; but I have no idea what it is. The record itself is a 180g 'moon blue' disc from a pressing of 500 units.

The album (or whatever it is) starts with a "Chamber Version" of "Stupid Things That Mean The World" which distils the melody of the song and lays it out across a broader canvas. There's a nice live version of "The Warm Up Man Forever" which is followed by a couple of album out-takes. One of these out-takes is my favourite track on the record called "Once a Record". This is a 'Mellotron drenched' ambient piece that sparks memories of Tangerine Dream. The rest of the album consists of live tracks and atmospheric pieces that are mildly entertaining without setting the world on fire. Whilst there is nothing offensive to my ears on this record, neither is there much to draw me back. 2/5

One record at a time: 32. Tim Bowness - Lost In The Ghost Light

"Lost In The Ghost Light" is a concept album centred around a fictional rock musician whose career is in decline. My copy is one of 400 hand numbered gold coloured records which were sent out with a signed postcard.

Tim seems to have restricted himself to conventional 'rock' instruments and recorded them in a traditional band set up for this record. Whilst some of the songs are good, I'll admit that I find this album hard going. The nearest you get to a synthesiser is the occasional Mellotron or B3 organ. Electronic music this is not.

The opening song "Worlds of Yesterday" is wonderfully executed by people who are clearly highly skilled musicians. However, the intricate guitar arpeggios hint at what could have been if there had only been a scattering of synth and someone had pressed (hard just to make sure) the mute button on the awful electric guitar track. The nine minute opus "Moonshot Manchild" is archetypical 'prog rock' that doesn't really have enough ideas to warrant its nine minute run time. We're treated to more horrible wailing guitar on "Killing the Pain that's Killing You" and despite some early promise, "Nowhere Good to Go" ultimately lets side one whimper out. "You'll Be The Silence" is another 9 minute prog rock special that has tinges of ELO, Yes, Queen and The Beatles, but is ultimately a bit boring. "You Wanted to be Seen" and "Distant Summers" are good songs but by this stage I had grown tired of the Mellotron strings and the jazz flute that seem to rotate in and out of every track. In summary, I'd say there are some good songs here but they are let down by their execution. Not my favourite album. 2/5

One record at a time: 31. Tim Bowness - Stupid Things That Mean The World

Inevitably the next record in my collection is another Tim Bowness album. Conventional wisdom dictates that this 'transparent' vinyl might not have the audio fidelity of other carriers, but I can't fault it. The sound reproduction is clear and there is great dynamic range.

"Stupid Things That Mean The World" continues in the vein of its predecessor and inexorably retains many hallmarks of the No-Man sound. Whilst the sound is familiar, the first two tracks prominently feature a new instrument in the Yamaha CP-70 piano which I find a little thin and unsurprising. Still, they are good songs.

The third track "The Way You've Always Been" is magical and has a great melody. There seems to be a pattern emerging with Tim's solo albums where we see two conventional rock songs followed by a third more haunting and melodic piece. The title track is unusually upbeat (upbeat for Tim anyway) and features some excellent drumming alongside strings and Tim's hushed vocal. "Know That You Were Loved" isn't really my kind of thing with its acoustic, electric and pedal steel guitar: it's all a bit too "guitar" for me, despite some nice drum programming.

On the B side, "Press Reset" builds from its foundation into a swirling titan complete with an unlikely distorted vocal . "All These Escapes" has some nice percussion in a similar vein to the No-Man "Only Rain" but it lacks the atmosphere and melody of its esteemed relation. Disappointingly the guitar sound comes to the fore again with "Everything You're Not" but a nice Moog style solo punches through to provide a nice diversion. The next track is a rather weird jazz-flute type instrumental which is mercifully short. "Soft William" sees the return of the Yamaha electric grand piano but at least I don't have to listen to too much acoustic guitar again. The album closes out with "At The End of the Holiday" which features the curious couplet "Her Mother’s sleeping on the bench, A precious friend, a saucy wench." This track has the potential to be hypnotic and inspiring, but instead it left me a bit cold. So, this album is not as good as "Abandoned Dancehall Dreams" but highlights such as "The Way You've Always Been" and "Press Reset" remain amongst Tim's best. 3/5

One record at a time: 30. Tim Bowness - Abandoned Dancehall Dreams

"Abandoned Dancehall Dreams" was released in 2014 and is Tim's second solo album. I own the standard black vinyl and the hand numbered white version (minus the essay and the postcard that were originally included in the package). 

I have no idea what genre this record is classified as, but it is certainly the most 'rock' album we have encountered thus far. Having listened to so much electronic music, the introduction of real drums, bass guitar and violin takes some getting used to. I have to 'get in the mood' for albums like these and they definitely benefit from your undivided attention.

I had adjusted by the third track "Songs of Distant Summers" which features haunting vocals that float above a hypnotic piano refrain. I love these captivating songs that somehow seem to transport you to a little cloud. To me, this is where Tim is at his best. Other highlights include "Smiler at 52"  which tingles with atmosphere and illustrates how poetic Tim's lyrics are. The nine minutes of "I Fought the South" seem to fly by and the wistful "Dancing for you" leaves me wanting to know more about the character in the song .  

There are no dance tracks or upbeat diversions here. This album is pure unadulterated, shoe gazing art rock for the middle aged. When the world seems to be spinning too fast this is a perfect listen. 3/5

One record at a time: 29. Blancmange - Believe You Me

The last Blancmange LP in my collection is my favourite by the band, "Believe You Me". Like its predecessor, "Mange Tout" I own the 2015 double album and the original pressing. For this post we will stick with the original.

This record has one of those annoying picture labels that gives you no indication if it is the A or B side. You have to flip it over and decipher tiny cryptic clues as to which side is which. I hate that. My copy also has a price sticker from WH Smith telling us it cost £6.29 when new - a bargain.

The first track "Lose Your Love" is a catchy pop song that is expertly produced by Stewart Levine. Given Neil's penchant for quirky lyrics, I sometimes find it hard to adjust my brain when I hear him singing more conventionally. I'm not sure if the intention was to produce a more commercial track but it certainly sounds different to others on here. Next is lead single "What's Your Problem?" which deserved a much wider audience than eighties radio afforded it. I'm not surprised it wasn't a hit as it doesn't have the instant pop hook the charts seem to demand, but it is a clever song that rewards repeated listening.

There is a nice change of pace with the quirky "Paradise Is" which features the Roland TR-707 drum machine which was a new bit of kit at the time of recording. The fantastic "Why Don't They Leave Things Alone?" is one of those songs that you can't help but sing along to and is probably the highlight of the album. The later single version titled "I Can See It" tries too hard and ends up sounding a mess. Why didn't they leave it alone? The album version was perfect. "22339" is nothing more than an album filler: a nice track, but album filler nonetheless. 

"Don't You Love It All" has a great tune and is well produced, but somehow sounds a little facile. "Believe" is reminiscent of early Depeche Mode (before they lost their way and went 'rock') but marks the beginning of a decline for the album. "Lorraine's My Nurse" is the seemingly mandatory ballad with string arrangement and we see the TR-707 return on "Other Animals". Thankfully the TR-808 provides the drums on the instrumental "No Wonder They Never Made It Back!" and the dull "John" closes things out. Like all Blancmange albums, this record is inconsistent and has more filler than I remember. But the highs of "What's Your Problem?", "Why Don't They Leave Things Alone?" and "Believe" outweigh the lows. 3/5

One record at a time: 28. Blancmange - Mange Tout

If I ever earnestly employ the phrase "sophomore effort" on this blog you have permission to write a sternly worded letter of complaint. This phrase isn't commonly used in England (my spell check won't even accept it) and I find it annoying when my fellow countrymen use the phrase. "Mange Tout" is simply Blancmange's second album which was released in 1984. Alongside the "Blanc Tapes" double vinyl, I also own the original pressing reviewed here.

As I work my way though my record collection I am struck by how good original 'vintage' vinyl can sound. I have come to the conclusion that where an affordable second hand copy of an album exists, it is preferable to buy these than cough up for a reissue.

So this original vintage pressing of "Mange Tout" gets going with the single "Don't Tell Me". I never understood why their debut album "Happy Families" started with a less commercial track, but a lesson seemed to have been learnt and this record goes straight for the jugular with what is possibly my favourite Blancmange song. "Game Above My Head" is another excellent track with characteristic eighties slap bass and excellent synth work. This record maintains momentum with the top ten hit "Blind Vision" which is a quirky synthpop romp that doesn't seem to stick to a traditional verse/chorus structure. There is a change of pace with ballad "Time Became The Tide" which I find hard to take seriously with Neil's vocals. The first side finishes with yet another single "That's Love, That It Is" which sounds like it was written in response to the record label's request for a hit single. Whilst this track follows the formula for an eighties disco hit, it doesn't quite hit the mark. 

Side B opens with "Murder" which unfortunately isn't a cover version of the New Order song of the same name, but is a noisy mess that doesn't seem to employ any chord changes. Next track "See The Train" must have taken a long time to record with its multiple vocal over dubs and harmonies, but that is the most positive thing I can say about it. The introduction of "All Things Are Nice" wouldn't have sounded out of place on a Front 242 album, but this and the next track, "My Baby" come and go without leaving much impression otherwise. The album ends with the Abba cover "The Day Before You Came". It took me a long time to appreciate this song and whilst I much prefer the single version, the version here makes a pretty good alternative (even if the tabla percussion sounds totally incongruous). Whilst this album is a bit hit and miss, it has at least opened my eyes to the fact that a twenty five year old record can sound better than a modern day pressing which costs ten times as much. 2/5

One record at a time: 27. Blancmange - Happy Families

The last time I posted thoughts about a Blancmange album was for "Blanc Burn" in 2011. On that occasion my comments didn't go down too well with some readers and I began to wonder if I'd made a misjudgement. Ten years on I realise my language may have been a little acerbic, but my assertion that it wasn't a good album was sound. In fact, I don't have a great deal of interest in the unrelenting tsunami of new Blancmange material that has been released over the last ten years. I tried it and didn't like it.

For me, Blancmange were at their best in the first three albums. The version of their debut "Happy Families" I own is taken from the vinyl version of the 2019 compilation "The Blanc Tapes". To be honest I'm not sure if this is considered a box set or a compilation, but I'll stick with the description in Discogs and call it a compilation. The first thing to say about this pressing is that some copies contain a number of known manufacturing defects. It's a bit of a lottery as to which faults your set will contain. My copy suffers from a crease across the top of the slipcase that holds the records, but doesn't seem to have the more worrying issues with "vinyl contamination" or poor sound quality experienced by others.

When it comes to the music, "I Can't Explain" is an odd choice for an opening track as it is a slow burning drone rather than the catchy single you might expect to kick things off. "Feel Me" is a personal favourite that has some great backing vocals alongside the rather funky backing track. "I've Seen The Word" is a skilfully produced track that could sound morose in less capable hands. The next track "Wasted" sounds like a prototype Erasure record; which just goes to prove Neil and Stephen had the synth pop formula a full three years before Vince and Andy honed it. Nowhere is Blancmange's commercial potential more strongly demonstrated than in the next track "Living On The Ceiling" which has smart production, catchy riffs and clever lyrics. 

I've never been too keen on the ballad "Waves" but it is executed competently. As the flip side of the record progresses things become a little formulaic until we encounter the guitar led instrumental "Sad Day", which sounds like Joy Division on uppers. The final track "God's Kitchen" is an example of a song with humours lyrics that don't make your toes curl; something they couldn't repeat on "Blanc Burn". 2/5

The second disc in this version of the album kicks off with "Sad Day (Original Version)" which is so slow I was convinced it was playing at the wrong speed. We have to wade through several demo recordings of questionable quality until we reach the extended versions of "Living on the Ceiling", "God's Kitchen" and "Feel Me" which aren't as rewarding as I remember.

Like most bands from the eighties that continue to release music today, Blancmange rely on a core group of fans to buy it. This compilation is clearly catering to those fans by delivering demos and previously unheard material which document the early life of the band. For me, the original album remains the highilght of this compilation and the second disc is largely redundant.

One record at a time: 26. Björk - Vespertine

"Vespertine" is the last Björk vinyl in my collection and like many of the others this is the coloured vinyl that was released in 2015. Strangely my copy doesn't have the corresponding promo sticker on the sleeve so I'm not sure if it from the original 5000 or it just got missed in the manufacturing process. At the time of the original album's release I bought the limited 'gatefold' CD with a card sleeve. This version was mildly irritating as it was much bigger than a standard CD case and I remember it wouldn't fit into my chosen storage solution - clearly I didn't have much to worry about in 2001.

This is something of a break up album for Björk and I. "Hidden Place" was a great single that raised my hopes that its parent album was going to maintain the high standards of previous efforts: but alas I was to be disappointed. How anyone can hear "Cocoon" and think, "That's a single!" is beyond me. The song is boring, the vocal is rubbish and the production is dull. The next track "It's Not Up To You" is fantastic and would have made a far better single than "Cocoon". "Undo" comes and goes without leaving an impression before the mildly entertaining single "Pagan Poetry" helps round out the first record.

To be honest I don't have the will to write about each song on the second disc individually. There is nothing remarkable here and whilst there is another flash of greatness with the last track "Unison", this is generally pretty boring stuff. I'm not sure why this album is so highly regarded by critics and some fans. I acknowledge that my love of electronic music can sometimes leave me blind to music created by other means and unfortunately, this album doesn't do enough to open my eyes more than halfway. 2/5

One record at a time: 25. Björk - Selmasongs

We're about halfway through the first shelf (Kallax obviously) of LPs and coming to the end of my Björk collection. I stopped buying her new records in 2011 when she began to explore a musical direction that wasn't to my taste. I described one album here as "arty tuneless garbage", which seems a bit petulant now, but was probably just me realising that there was never going to be a "Homogenic 2".

However, "Selmasongs" was released back when Björk could still muster a tune and employed production techniques that stretched further than using whistles, human beatboxes and fart noises.

This album is a collection of songs featured on the 2000 feature film "Dancer In The Dark" in which Björk also starred.  I've seen the film and thought it was very good. I also liked the songs and bought the CD when it was originally released. This is a 180g black vinyl from 2016 that I ordered directly from her UK record label One Little Independent (as they are now called). The sleeve seems to make a lot out of the fact hat it is mastered directly from metal but I've never noticed the sonic advantages of this.

There are only seven songs on the album but the quality is pretty high. The opening "Overture" is a beautiful orchestral piece that introduces a theme we will hear again in the final song "New World". Like a lot of songs on his album, "Cvalda" utilises 'found sounds' alongside the orchestra. The use of these mechanical noises is measured, imaginative and melodic; they really help define the sound of the record. "I've Seen It All" is a duet that has some fantastic lyrics, but Björk's powerful vocal blows poor Thom Yorke out of the water. "Scatterheart" hints at the sound of albums to come, but unlike those albums, it is quite good. 

This album is a bit of a watershed moment for me as it is probably the last Björk album I enjoyed. Everything went a bit downhill from here: "Vespertine" and "Volta" had their highlights but nothing has ever approached this, or more particularly "Homogenic", for consistency and quality. 3/5

One record at a time: 24. Björk - Homogenic

Another Björk record is next, but this is the first in my collection we have come across that I own in triplicate (there will be more I assure you). 

I have the coloured vinyl from 2015 along with the black vinyl from the same year which I will play here. I also own the 180g version from 2000 which strangely, I have no recollection of purchasing (I can see it wasn't from Discogs or eBay which is also weird). If you look closely at the sleeve you can see that the later re-releases on the right of the image crop the top of Björk's hair, where the older version retains the artwork of the original 1997 version. 

I'll be clear from the start that "Homogenic" is one of my favourite albums of all time. The first time I put the CD of this on in my Renault Clio back in 1997 I knew it was destined to be a favourite. The album kicks off with "Hunter" which is as original as it is awe inspiring. The new (at the time) production of Björk and Mark Bell were the perfect alchemy weaving the dance sensibilities of LFO and the twisting lush melodies of Björk. The first two tracks are a perfect example of this counterpoint where the string arrangements are perfectly juxtaposed with unique driving rhythms and a sub bass growl. I find the third track "Unravel" absolutely mesmerising to the extent that even the saxophone sounds don't annoy me. The single "Bachelorette" sees the epic string arrangements return to great effect in a track the proves how good Björk is in the role of producer. "All Neon Like" comes next with its infectious beat and intriguing lyrics. 

On side two the distorted beat of "5 Years" isn't totally to my taste but as the track builds this becomes less of an issue. I remember the first time I heard the next track "Immature" I kept asking myself, "What is this? How can an album track be this good?" I had this song on regular rotation for quite a long time and have never been able to find fault with it. The original sparse vocal/piano version of the song that features on the third CD single of "Jóga" illustrates that good songs can shine regardless of the production. "Alarm Call" has a great bassline and Björk drops an F-bomb. I find "Pluto" a bit annoying as its trying too hard to be different and seems to just end up being a bit repetitive. The album finishes with the suitably sombre "All Is Full Of Love" which I used to think was good until another version was released as a single the following year. The "single" version (which is actually the original version) is produced by Björk and is superior in every conceivable way. I can't help but wish the album finished with this version but then nothing is perfect. 5/5

One record at a time: 23. Björk - Post

The next record in my collection is another coloured vinyl by Björk. I haven't played this LP much as when I first bought it I thought it sounded awful. As I play it today, things are OK for the first track but the sibilance on "Hyperballad" is horrible and "The Modern Things" is spoiled by distracting pops and clicks. Things don't improve much for the rest of the record but as this is the only version of the LP I have, I will have to stick with it.

The poor sound quality is a real shame as "Post" is a great album and I enjoyed it so much in 1996 that I went to see her on the supporting tour. Even though a significant proportion of the album is produced by Nellee Hooper, it sounds miles better than its predecessor, "Debut". I think this must be down to collaborators such as Graham Massey and Tricky who seemed to injected enough grit and imagination to stop another "The Anchor Song" happening.

My favourite track is "Isobel" with its lush arrangement and haunting tune, but there isn't a bad song on here really. Even some of the more 'avant-garde' tracks such as "You've Been Flirting Again" and "Headphones" are entertaining. The only slightly rubbish track is "Cover Me" but happily it is only two minutes long and is buried near the end. The singles "Army of Me" and "Hyperballad" are quirky and highly original and you get the feeling Björk is beginning to find her feet as a solo artist here. "Possibly Maybe" is an OK track but was never a single to my ears. However, this didn't stop me buying no less than three CD singles of it when it was released. More alarmingly all three CDs were full of garbage remixes with only one passable live track in their favour.

There were lots of mixes and singles from "Post" and they culminated in the remix album "Telegram". This collection of mixes tried too hard to be "different" and "arty" and the result was dreadful. Having bought three CD singles of garbage with "Possibly Maybe" I declined "Telegram" at the time. In the last year I picked the CD up from eBay for a few pounds and I don't feel I have missed out in the intervening twenty five years. It won't get listened to again (unless for the purposes of this blog I suspect). 

To summarise, this is a good album but I can't recommend this coloured vinyl version at all. These records seem to be selling between £50 to £100 on Discogs and I find that amazing. My perception has never been that this is a rare pressing and from a sound quality perspective, it certainly isn't desirable. I prefer my limited edition CD in a plastic purse which sounds loads better. 3/5

One record at a time: 22. Björk - Debut

Whilst I bought the original CD of this album back in 1993, I didn't own it on vinyl until 2015. I know this because I posted about acquiring some of Björk's back catalogue on coloured vinyl here. Although I've owned the record for 6 years, I have only played it once to my recollection. I haven't played it much for two reasons. 

Firstly "Debut" isn't my favourite Björk album. Although it starts strongly, it meanders off into weirdness that I can't abide. Everything is going well until we hit "Like Someone In Love" which is a fairly limp interpretation of a dull Jazz standard. Not only is this track inferior, it is also incongruous and ruins the mood that had been building. Things pick up again with a few good tracks before the disjointed mess that is "Aeroplane" sours the atmosphere and "The Anchor Song" vomits everywhere just so we are clear the party is well and truly over. You can tell I hate saxophones.

The second reason I haven't listened this record much is that I had previously played the coloured vinyl of "Post" and "Homogenic" and they had all the sonic fidelity of a hairdryer full of iron filings. Who could have predicted coloured vinyl pressed by GZ media would sound horrible? *sarcasm mode disengaged* But truth be told, this particular record doesn't sound nearly as bad as the others I own and it behaved quite well on this listen through.

Having not heard this album in a long time, I am struck by how 'nineties' it sounds with the guitar samples on "Human Behaviour" and the liberal use of organ being especially dated. My alternate version of this album would jettison "Aeroplane", "The Anchor Song" and "Like Someone In Love" and add in "Play Dead". I would also swap out "Big Time Sensuality" for the Fluke remix that made it a chart hit and substitute "There's More To Life Than This" for its non-toilet version included on the "Venus as a boy" single. It still wouldn't be perfect, but it would be a lot less disappointing than this.

Another disappointment of this re-pressing is the sleeve. I understand that record companies may not have the original artwork for a record lying around twenty years after it was released, but at least make some effort to reproduce it to a reasonable quality. The sleeves on these coloured vinyl versions look like bad scans in places and just aren't very sharp. If you consider the poor sleeve combined with the poor vinyl, it mystifies me why people are asking such high prices for these albums on Discogs and eBay. Acquiring them may have posed me some initial problems but they aren't that rare and they really aren't as desirable as you might think. 2/5

One record at a time: 21. The Beloved - Blissed Out

This is a remix compilation that followed hot on the heels of "Happiness" which was released earlier in the year. My memory of the chronology has faded over time, but I am sure the single "It's Alright Now" was released around the same time and I seem to recall receiving the cassette of this album as a Christmas present in 1990. I asked for the cassette as I had read a review of the album in "Smash Hits" which said the cassette had quite a few extra tracks - value for money was a big concern when you're only source of income was delivering newspapers. I was accustomed to CDs offering extra tracks to lure me to the new format, but cassettes were a dying breed even in 1990, so this decision didn't make sense then or now.

Anyway, the LP of this album starts with the "Happy Sexy Remix" of album track "Up, Up and Away". This is a club orientated mix with a prominent sub bassline and TR909 snares. Whilst the difference to the album version may not be startling at first, Danny Rampling delivers a much sparser mix that retains interest right to the end. The second track is one of my favourite remixes ever: "Hello (Honk Tonk)". The key to the success of this remix is that is it a completely different take on the track. Jon and Helena didn't just tinker with the original but replaced the backing track with a sample laden dance workout that compliments the vocal perfectly. There are many nice flourishes and changes of direction that mean the six minutes fly by. I have always liked "Wake Up Soon (Something To Believe In)" as it features a sample of the Eurythmics song "Greetings From A Dead Man" that I recognised instantly. Aside from giving myself marks for sample spotting, I like this mix as it moves the album version from a very eighties sounding track into something a bit more contemporary without losing its character.  

"Time After Time (Muffin Mix)" shows the pure genius Jon and Helena were capable of when remixing their own material. This version turns the original into the type of ragga dance track that was de rigueur in the early nineties. However, unlike many contemporary ragga mixes, this one hasn't aged at all. Leslie Lyrics proves to be the perfect MC with his tongue in cheek delivery and clever rhymes. Instrumental B-side "Pablo" was always a bit of disappointment to me and the club orientated dub that comes next isn't significantly different from the original. We return to more familiar ground with "The Sun Rising (Norty's Spago Mix)" which is a classic house mix by Tony Humphries. The main change here is to the drums which take on the relentless sound favoured by the early house pioneers such as Tony and Larry Heard. 

"It's Alright Now" was released as a single to promote the album and it featured several fantastic remixes that I play regularly to this day. The pick of the bunch is "Back to Basics" which builds from a sparse, acid tinged dreamscape into a hypnotic colossus. Amazing. However, things go a little awry at the end with "Your Love Takes Me Higher (Calxy of Isis)" which is a 10 minute long instrumental which centres on saucy ad libs and (presumably) fake orgasm noises contributed by a backing singer. Personally I find the mix boring and the vocals very annoying. Thus the vinyl finishes with a bit of a damp squib, but the disappointing ending shouldn't be allowed to detract too much from what has gone before. As remix albums go, you'd be very hard pressed to find a better one. 4/5

One record at a time: 20. The Beloved - Happiness

During my more formative years I played a snazzy yellow and purple TDK cassette of this album in the sixth form common room. I listened to the CD when idling away the hours at university and then whilst travelling to my first job in the early hours of the morning. I've sung along to "I Love You More" in the company of girls who never really loved me back and created a private rave in my bedroom to "Sun Rising". I've listened to this album as mp3s on my phone when walking to my office and I've played it to my children. It would be overly dramatic to say: "this album is the soundtrack to my life," but I'm not sure how else to describe it. It has always been there (well from 1990 anyway) and I have always loved it. Here I am playing an original pressing of the LP but I also have the recent remastered version and their CD equivalents.

The opening track "Hello" is a slice of late eighties pop perfection with its groovy rhythm guitar, DX7 bassline and 808 drums. The lyrics are largely just a list of people Jon is saying hello to, but in a pre-internet era, this was strangely fascinating. At the time I had no idea who the hell Little Neepsie (still no idea) or Sir Bufton Tufton were or why they were worthy of inclusion. Although not on this album, I have to mention the "Honky Tonk" remix of this track which, to my ears at least, is one of the best remixes ever created.

Whilst I clearly remember "Hello" being in the charts, it was hearing the second track "Your Love Takes Me Higher" that pushed me to buy the album. This song is an almost perfect pop/dance crossover that marries the TR909 and TB303 sounds of house music to a melodic and structured song. There are some dated orchestra hits and I've never been a fan of the female orgasm that seems to last through the middle of the song (there are even some remixes which focus solely on the orgasm that are annoying and a bit rubbish), but it remains a favourite of mine. "Time After Time" is a perfect change of pace that shows Jon and Steve aren't a one trick pony. The violins compliment the dub style bassline very well and it should have been a bigger hit. The more placid feel continues with "Don't You Worry" which sounds a bit more eighties with its D-50 "Pizzagogo" strings, but the strong melody wins the day. The first side of the LP finishes with what I consider to be the best song on the album "Scarlet Beautiful". Jon described this song on Twitter as, "The unbridled joy of 1988 compressed into four and a half minutes." This is Detroit house influenced dance pop with the greatest outro ever. It's hard to follow a track as good as this but the strength of this album is undeniable when you consider the next track you are presented with.

"The Sun Rising" wasn't a massive chart hit, but I suspect almost everyone of a certain age will recognise its infectious bassline and THAT sample. A track truly worthy of the tag "Classic". Having displayed their Balearic credentials Jon and Steve serve up a slice of frothy pop with "I Love You More". This really is a joyous song but unfortunately it elicits tinged adolescent memories for me. "Wake Up Soon" is another slower guitar based track that provides great contrast to the joyous acid frenzy that is "Up, Up and Away". The album is rounded off with "Found" which harks back to the sound of the 'old' Beloved and proves to be a fitting ending to a consistent and great album. 5/5

One record at a time: 19. Beck - Hyperspace

In 2020, I hadn't bought an album by Beck since "Odelay" in 1996, so it was going to take something special to get my attention after a gap like that. Happily "Hyperspace" was indeed a special record.

However, I have some strange and contrasting memories of this one. Originally I only downloaded this album and it was quite a long time before I got around to buying a physical copy. In fact, I bought the LP the week before the UK went into lockdown due to the COVID-19 pandemic and as a result, even the sight of the sleeve brings a tinge of melancholy. This is a shame as this is a great album with some of Beck's best songs. I seem to have acquired a cassette of this album too, which I can only assume I bought as it was cheap (much like the LP was).

The introductory track "Hyperlife" provides a gentle introduction to the fabulous "Uneventful Days" which is an absolute diamond of a song. Shimmering electronics and laconic vocals generate an enchanting dreamy pop sound that I can't resist. My only complaint is that this track is only three minutes long. It could be six minutes long and I still wouldn't tire of it. When "Saw Lightning" started for the first time my heart sank. "Oh no," I thought, "he's gone back to indie guitar stuff even if he is working with Pharrell Williams." Happily this song soon emerges from the cocoon of acoustic guitar nonsense into - if not a beautiful butterfly - at least an intriguing moth. "Die Waiting" is another one of those chilled pop songs that I can't get enough of. There's absolutely no way to improve this track (OK if you push me, I'd like synth bass in the verse instead of bass guitar) and as with "Uneventful Days", I will often go back to this track once the album has finished. The overly long "Chemical" is a bit dull in the verses but the chorus just about rescues it - still not my favourite. "See Through" has a fantastic rhythm track that gives the song an infectious R'n'B vibe and unlike the proceeding track, this song doesn't outstay it's welcome. Before we know it, side one is complete.

The title track ushers in the flip side with it's driving beat and lush strings before giving way to more ethereal pop in the form of "Stratosphere". This song sounds a bit like Air, and like all the good songs on this album, it is too short. There's a lot less synth on this song but it somehow retains a majestic, soaring quality. My vinyl seems to reveal some of the limitations of the medium on this song and it suffers from some sibilance and gentle distortion; but it doesn't detract from the song too much. With "Dark Places" the synthesizers make a welcome return (sounds like a Moog and a PPG to me) and whilst this track isn't as good as "Uneventful Days" it carries the same chillwave vibe. The next track, "Star" is a more typical Beck song and provides a great contrast to the more ambient music that surrounds it. "Everlasting Nothing" starts slowly but builds into a weird gospel tinged anthem, replete with analogue drum machine. There is a 'one man band' style reprise of "Saw Lightning" which rounds things out.

As well as this version of the album there is also a deluxe version tied to a collaboration with NASA which has some new tracks and remixes. Whilst interesting, this version of the album isn't essential and my interest is firmly with the original. The Wikipedia entry for "Hyperspace" says some critics found the album superficial and lacking the complexity of previous albums. As I missed 25 years worth of Beck albums, I'm not in a position to make comparisons, but I will say I enjoy this album very much and it sits right on the cusp of joining my top 20 albums. 4/5

One record at a time: 18. Karl Bartos - Off The Record

The next LP on the shelf is the second (and seemingly final) album by Karl Bartos. I ordered both the CD and vinyl of this album when it was released in 2013 not realising the vinyl also had a CD included. So now I have two CDs of this album. Whilst the vinyl pressing was limited to one thousand numbered copies, it doesn't command a high value on the second hand market. The fact that this album isn't highly sought after gives you an indication as to why Karl doesn't seem to release any music any more: nobody buys it.

This album is a collection of tracks that were recorded over many years but never released. Some were written whilst Karl was a member of Kraftwerk, some whilst recording as Elektric Music and some with the group Electronic. Accompanying the discs is a large booklet which provides a wealth of information about each song in Karl's own words.

The single "Atomium" is an ode to the iconic building in Brussels and features the now familiar computer voice effects Karl employs. Next up is the fabulous "Nachtfahrt" which could have been culled from any Kraftwerk album circa 1979-1983. This track is the clearest indication that the sound of Kraftwerk in the early eighties was heavily influenced by Karl. The Mellotron infused "International Velvet" is a tribute to artist Isabelle Dufresne that derives its melody from a Kraftwerk soundcheck in 1981 (I told you the booklet was good). "Without a trace of emotion" sounds like an out-take from the Elektric Music album "Esperanto" - and that's a good thing. The next rack is a short piece called "The Binary Code" which was included on a cover disc of a magazine. One of my personal favourite tracks is "Musica Ex Machina" which is based on the initial idea for the Electronic track "Imitation of Life". Whilst there are some  similarities between the two songs, this is definitely a different composition from the one released by Messrs Sumner and Marr.

"The Tuning of the World" is melancholy, brittle and strangely affecting. The instrumental "Instant Bayreuth" continues with the slower pace of the proceeding track and is recognisable as being recorded on analogue equipment. I'm less enamoured with "Vox Humana" which is a series of drum patterns from an old beatbox with scattered electronic sounds and vocal snippets. The familiar Kraftwerk Polymoog organ is coupled with the rhythm pattern from "Numbers" to create "Rhythmus" - but it doesn't quite hit the mark. "Silence" is actually 6 seconds of very quiet ambient noise which is followed by the the final track "Hausmusik". Don't expect a 'hands in the air' piano tinged dance stomper, this a song about the music people make at home and it wouldn't have sounded out of place on the Depeche Mode album "A Broken Frame". A good album that is highly recommended for Kraftwerk aficionados who will find the music, and the accompanying booklet, both fascinating and entertaining. 4/5

One record at a time: 17. Karl Bartos - Communication

As an admirer of Karftwerk (I'm not a 'fan' in the truest sense of the word), I found it only natural to buy the Karl Bartos album "Communication" when it came out in 2003. I really enjoyed this record as it was one of few truly electronic albums being released at the time. This was also one of the first CDs I remember which contained a link to download additional tracks - which I duly did over my shiny new 1 mbps broadband connection. As a bonus the CD also came in a funky 'drawer' card sleeve (no doubt it has a proper title but I have no idea what it is). I wasn't an avid consumer of vinyl in 2003 (apart from Pet Shop Boys releases) so I had to wait until the album was re-released in 2016 to acquire this remastered LP. 

Things kick off with the single "The Camera" which is a traditional Kraftwerk/Electric Music jaunt with cliched lyrics about taking a picture of the world. "I'm the Message" is a good track that uses the same computer voice that we will hear on the majority of tracks. "15 Minutes of Fame" is another single and is one of the highlights of the album for me (I must track down the CD single some time). "Reality" is a bit more contemporary and provides a nice change of timbre. The first (of many) digs at former bandmates starts with the catchy "Electronic Apeman" which remains a good song below the veneer of cynicism. The second barb is delivered with "Life" where Karl tells us he has to get on with his life; which seems a bit late to say it was recorded more than 10 years after he left Kraftwerk. But there you go.

As we flip over the vinyl I'm beginning to tire a little of Karl's continued use of the same sounds. This album employs the same sonic palette as the first Elektric Music album and, whilst it is strongly derivative of Kraftwerk, it gets a bit wearing. Don't misunderstand, it's not that I dislike the sounds, its the lack of variety that gets a little boring. Which is a bit depressing as all of the remaining songs seem to use the same patches and voice effects. I like this album but a little variety wouldn't have gone amiss. 3/5

One record at a time: 16. The Art of Noise - Noise In The City: Live In Tokyo, 1986

Record fourteen is the last LP in my collection by The Art of Noise. Despite being recorded in 1986, "Noise In The City" was only released in 2021 on CD and this limited edition white vinyl. I have mixed emotions about Music On Vinyl. Whilst they continue to nobly release music on physical formats, they don't always make the best job of it. Take the re-release of "In Visible Silence" which looked beautiful but had the sonic fidelity of a potato. 

However, the trouble here is largely the actual recordings themselves. Whilst the 'limitations of the source tape' are revealed here and there (this is the same on the digital version) my issue is more with the performances. Sometimes a live event can seem wondrous when you're there, seeing and hearing it for the first time, but it doesn't necessarily translate into a good recording. Put it this way, I can see why this album wasn't released when the band where at their commercial zenith back in 1986. The combination of live percussion, Fairlight backing tracks and terrible backing singers doesn't make for the most wondrous soundscape. The chat and introductions between songs are excruciating and raise the alarming prospect that Paul Morley may have actually brought something to the table.

Tracks such as "Eye of the Needle" "Paranoimia" and "Opus III" are frankly a mess. Whilst "Legs" and "Moments In Love" remain credible representations, its not hard to see why other electronic artists just played (or mimed - I'm looking at you M. Jarre) to a tape machine when trying to recreate their music back in the 80's. So whilst his album doesn't succeed as a listening experience, it serves as an honest historical record of the tour it was made on. And at the end of the day, I know I should be pleased that someone has taken the time to create a new release by The Art of Noise - I just wish it was better. 2/5

One record at a time: 15. The Art of Noise - The FON Mixes

Retrospective remix albums like "The FON Mixes" by The Art of Noise were all the rage in the early 90's and this album set a trend that was followed by other artists such as Yello with "Hand on Yello", Yellow Magic Orchestra with "Hi Tech/No Crime" and The Sugarcubes with "It's It".

However, it's inaccurate of me to suggest the artists themselves were behind these releases. Remix albums such as this were clearly commissioned by record companies to rinse the back catalogue of an artist who had either stopped recording or were on a hiatus. Some successful remixes could drive both sales of a parent album and the back catalogue generally. With "Instruments of Darkness" China records must have thought they'd won the lottery. This track hit a sweet spot when The Prodigy weren't too big to turn down a remix but they had the talent and balls to produce amazing music (see also "Take Me (Prodigy Mix)" by Dream Frequency). Even though this mix bears little resemblance to the original track, it stands on its own merits. In fact this track drove me to buy the CD of this album back in 1991. Whilst I have owned the CD for thirty years, I only acquired the vinyl from eBay in the last 6 months. Why I bought the vinyl I can't really tell you. It is in excellent condition and the two 12" singles are well presented but the music isn't improved much by the carrier. 

Once we are over the zenith of the opening Prodigy remix things meander along with uninspiring mixes by Carl Cox (Paraniomia), Mark Gamble (Roller 1) and the first "Interlude" in the form of "Yebo". Other early 90's notables The Sweet Exorcist, Mark Brydon, LFO and Graham Massey make brave attempts at revitalising old tracks but they all sound unconvincing and like their heart wasn't in it. The Youth track "The Art of Slow Love" is just "The Art of Love" single from the year before played at 33rpm and not 45rpm. One of my favourite AoN songs, "Catwalk" is remixed by The Ground whose biography in the sleeve leaves me no clearer to their identity. Discogs only credits them with this remix and there are absolutely no biographical details listed; they are a mystery. 

Unfortunately many albums of the era seemed to think it was compulsory to commission a mix by The Orb and include it no matter what load of old tosh turned up. Fortunately this album avoids this further ignominy, but this is one of few redeeming features. Whilst this album is disappointing, it's not because of any inherent fault with the source material. The afore mentioned Prodigy remix and subsequent singles such as the Ollie J and Arkana remixes of "Yebo!" from 1995 prove that it is possible to make good dance tracks from The Art of Noise back catalogue. Just don't mention the car crash that is "The Drum and Bass Collection". 1/5

One record at a time: 14. The Art of Noise - Below The Waste

Another album by The Art of Noise and this is the first album in my collection we have come across that I bought on Discogs. All of the pre-millennium albums I have listened to at this point were sourced from eBay, but that can be quite a lottery in terms of the quality of vinyl you receive. If you want a much better (but by no means guaranteed) quality I find Discogs much better.

Like "The Best Of" I originally bought this album on CD from Britannia music club back in 1989. Rather than being on a "4 for £1" introductory offer, I seem to remember this album was the chosen album of the month and mailed directly to me. But that was the CD and here we have the original vinyl that is beautifully mastered; whoever cut this really knew what hey were doing. There is no surface noise or sibilance and the bass is nice and deep. I treasure this disc.

The first track is the single "Yebo" which I remember being quite heavily promoted at the time of release to little effect. The music is a bit cheesy and sounded dated even when it came out. I worked with a Zulu lady once who translated the lyrics for me. I forget what the translation was as I was more stuck by her earnest assertion that I had the Zulu spirit within me. I still treasure the honour she bestowed upon me; even if she was possibly a bit potty. 

Next up is my favourite track on the album "Catwalk" which has some great guitar work and some stunning samples married to a great orchestral arrangement. The only thing that puts me off this track is the fact that JJ had obviously got hold of a Yamaha PSS-780 keyboard around this time and was using the drums (hit hats especially) on this album. As the proud owner of the similar 680 model of crappy home keyboard at the time, I felt a little disappointed that these technical pioneers had been reduced to using such equipment. If I wanted to hear rubbish drum sounds I could just listened to the rubbish cassettes I was making myself. "Promenade 1" is a short orchestral track written by Anne that is reminiscent of the pieces on the previous album "In No Sense? Nonsense!". "Dilemma" is more typical AoN fair that gives way to the excellent "Island". This is one of those dreamy soundscapes that The Art Of Noise do so well and you hear regurgitated on TV every now and again.

Mahlathini and The Mahotella Queens feature on the fist track of side two "Dan Dare". I'm not really sure of the significance of the title but I am intrigued by the fact that this track opens the CD but is found in the second half of the programme on the vinyl. I have also noticed that the two film soundtrack cover versions on the CD are missing. The omission of the disappointing James Bond theme is actually a bonus, but I do miss the "Island" sound-a-like interpretation of "Robinson Crusoe".

"Chain Gang" resurrects the Yamaha PSS-780 sounds alongside some of the traditional metallic crashing samples so beloved of bands in the 80's. As you may expect "Promenade 2" is another one of Anne's short orchestral pieces that provides a lush counterpoint to the Fairlight grind of "Back to Back". "Flashback" is a nice diversion despite more Yamaha PSS-780 sounds. "Spit" is a track I have always liked as it features some stunning guitar work that propels the songs along and perfectly complements the vocals of Mahlathini and The Mahotella Queens. The fittingly titled "Finale" brings things to a close with its orchestral lament. I have always enjoyed this album, but even when it came out it left me feeling melancholy and imbued the feeling that something was coming to an end. And so it proved to be. Oh, and lets acknowledge the cover is rubbish. 3/5

One record at a time: 13. The Art of Noise - The Best Of

Another album by The Art of Noise, but a compilation this time. I have mentioned in a previous post that this album was one of the first I owned on CD and it was in heavy use for quite some time. Neither the discs or the players were cheap in the early days and I used to spend hours agonising on which CD would be my next investment. However, there was one way to get cheap CDs and that was the introductory offers from Britannia Music Club and I'm pretty sure I acquired this album through one of those "four albums for £1" promotions. Most people of a certain vintage got suckered into Britannia at some time or another and when you were broke, the introductory offer seemed too good to turn down.

One thing I never quite understood about this album is the fact that the CD largely carried the 12" versions of the tracks and the vinyl had the 7" versions. Maybe it was an attempt to boost CD sales by offering extended play time; who knows? 

My copy of the album is in very good condition and is devoid of the sibilance that ruins the opening track "Opus 4" on vinyl pressings of its parent album I own. As "Beatbox" begins in its Diversion 10 variant (I think) I'm struck by how truncated it is and how accustomed I must be to the CD. The shorter single version of "Moments In Love" feels similarly unfamiliar but loses none of its majesty. The only song that seems to suit a shorter single edit is "Close (To The Edit)" which benefits from trimming a little fat. Side one finishes with the standard single (and album version) of "Peter Gunn".

I've said before I'm not a big fan of "Paranoimia" and the 7" version featuring Max Headroom isn't to my taste. What is to my taste is the next track "Legacy". I love this track and whilst the 7" mix presented here is short, it is perfectly formed. However, things take another dip with the '88 mix of "Dragnet" which is mercifully shorter than the seven minute version on the CD. Next up is the 'non-album' single "Kiss" featuring Tom Jones. My appreciation for this song has grown over the years and whilst I might have skipped the version on the CD during my paper round a few times, there's no need to skip here. I was never sure why "Something Always Happens" was included in what I perceived to be a singles collection, but considered in the context of "The Best Of" it fits very well. There's something about the groove that develops on this song that I can't help tapping my foot to. But the track it is over too soon and a great album draws to a close. Lots of memories and some amazing tunes. 4/5