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