One record at a time: 162. Heaven 17 - Penthouse and Pavement

I have two copies of Heaven 17's debut album. The first is an original pressing from 1981 which I bought from eBay in 2017. Both the disc and sleeve are in pretty good condition when you consider their age

The second copy is the white vinyl from the "Play to Win: The Virgin Years" box set of 2019. The artwork for the new version has obviously been scanned and gives the impression of having been printed much more heavily as a result. 

Whilst both records sound pretty good, I'm choosing to play the original here as the discs are a bit difficult to extract from the box set.

Opening track "(We Don't Need This) Fascist Groove Thing" is a timely and depressing reminder that politics haven't changed much over the last forty years. This record was banned from the BBC when it was released as a single and this is thought to have led to its relative lack of success. Yet, even if it were being played on national radio, I'm not so sure this track had enough hooks or gags to interest the record buying public en masse.

The familiar title track is a blend of slap bass, female backing vocals, grand piano and an incessant Linn LM1 pattern. "Play to Win" continues to lean on John Wilson's guitar skills to underpin the synth horns and Glenn's impressive vocal. The concept of this first "Penthouse" side of the disc is encapsulated by the soul/funk sound of "Soul Warfare". Naive block chords are pounded out on the grand piano as the elaborate slap bass rattles around. Most of the tracks on this side of the record are good, but they rely too heavily on the influences of soul and blues for my taste.

For me, the real action on this record is the "Pavement" side which dispenses with the slap bass and relies on synthesisers. "Geisha Boys and Temple Girls" sounds completely under produced by today's standards, but it does have a great melody. The brilliant "Let's all Make a Bomb" has some subtle harmonic elements, but it really would benefit from a bassline or some other rhythmical elements. I don't know if the sparse production on this album is a style choice or if the band just didn't have enough synthesisers.

The first electronic bassline is encountered on "At the Height of the Fighting" which thankfully omits the brass section that was overdubbed onto the "He-la-hu" single version. There is some album filler called "Song With No Name" to be dealt with before the final track "We're Going to Live for a Very Long Time" is heard. The original record ends in a locked groove that plays the "For a very long time" refrain until you lift the needle. On the 2019 repressing the refrain is looped for about a minute and then fades out - no doubt the master for the repressing was the same digital one used for CD. 3/5

One record at a time: 161. The Grid and Robert Fripp - Leviathan

This album is a collaboration between The Grid and Robert Fripp and consists of improvised soundscapes originally recorded during the sessions for the album "Four Five Six". "Leviathan" is presented as a double album pressed on two 200g super heavyweight vinyl discs: overkill of the highest order.

Having established with my previous post that I don't like improvised music, you may be able to guess where my review of this album is about to go (the picture might be a subtle clue too).

"Empire" belongs to the "droning" class of improvised pieces and is deeply irritating. "Milkwood" has a few synthesised tinkles but is the same type of nonsense. There are a few deep pulsing noises that underpin "Pulse Detected" but it goes nowhere. "Loom" almost has a chord structure and that's the best I can say. 

I could go on, but I know I won't find anything positive to say about this album. I'm getting to the point that I can't tell any of these track apart - it's just one giant smear of droning guitars and deep burbles. I accept that some people may like this album and I am pleased they do; but it isn't for me. The most upsetting thing is that I paid money for this. 0/5

One record at a time: 160. The Grid - One Way Traffic

The Moog Sound Lab was a large mobile studio that also operated as a record label. The lab was equipped with various Moog synthesizers and made available to recording artists by invitation. The Grid were the first to use the new facility in 2015 and "One Way Traffic" is the result of that session.

As these sessions were rather short, they tend to produce improvised pieces rather than be used to record in a more conventional way.  

I'll be upfront and say I'm not a fan of improvised music. Improvisation equates to either extreme repetition or droning nonsense, and this album contains plenty of both. It's not only the quality of the music that annoys me, but it also irks me that the music cannot be replicated.

I have been tinkering with keyboards and synthesisers since I was a child and my dream was always to own an instrument or system that offered total recall. I always longed for the ability to pull up a track in exactly the same form as it was recorded and for it to be fully editable. For whatever reason, the idea of music being unrepeatable is an anathema to me. The fact that improvised music is also dull and often repetitive seals the deal.

The title track that starts the LP is an edited version of the 26 minute behemoth that features on the digital release. Whilst the repeating sequence is pleasing for the first four minutes it gets a bit grating as times go on. There is some progression and manipulation of the synths but nothing to justify the run time. "Test One" is just a minute of noise and "Distrubia" is a faintly intimidating ambient piece that end side one.

"Goldenfilter" is the first track that sounds like consideration was given to structure and variation. There are some really interesting rhythms and sounds on this track that make it the standout. "ECG" and "DPM" are more abstract and experimental and don't hold my interest. 1/5

One record at a time: 159. The Grid - Four Five Six

In the early nineties I would search the myriad of record shops in city centres for new electronic and dance music to buy. 

One day in HMV I came across a 12" called "Figure of 8" by The Grid. I think the record must have been cheap as I can't think why else I would have bought something completely unknown to me.

As it turned out I quite liked the song and some of the Todd Terry mixes were quite good. There was even a second 12" single to fit into the gatefold that completed the set; so I bought that too. The next single "Heartbeat" convinced me to buy the parent album "Four Five Six" when it was released a couple of weeks later.

As with the majority of my collection, I originally bought this album on CD and acquired the vinyl more recently. I bought this record from eBay in 2014 and it is very good condition. As it turns out the sleeve for the CD is just detail from a larger image which is featured on the LP sleeve.

The album gets underway with "Face the Sun" which is a track that clearly illustrates how far the band have moved on since their debut album "Electric Head". The strong TR-909 swing beat pumps away as synth sweeps and wah-wah guitar riffs float along. Sun Ra delivers a typically spaced out monologue as the bassline continues propel us forward. Unfortunately there's some screaming guitars but the backing vocals of P.P. Arnold soon begin to take over from the cacophony.

There is an effortless segue into the next track "Ice Machine" which is nothing to do with the Depeche Mode song of the same name. Here Dieter Meier delivers his usual vocal which is then layered over Kraftwerk inspired rhythms and some funky percussion. There's a more contemporary dance track next in the form of "Crystal Clear" which I always thought was very clever. When this song was released as a single I was keen to hear the inevitable remixes that would be included. However, I was left disappointed by the absolute garbage that was delivered by The Orb and Justin Robertson. The original version remains the only one worth listening to.

"Aquarium" is a bit of a weird song that harks back to the sound of the first album and even uses the same vocalist Sacha Souter. Robert Fripp turns up to deliver a laconic performance on guitar and there is even some real harpsichord thrown in for good measure. There's a short incidental piece called "Instrument" which consists of bubbling noises and whale song to end side one.

Side two opens with the single "Heartbeat" (although a punchier edit was released for the single). This track sounds slow and a little cheesy now, but hearing it takes me straight back to 1992. The afore mentioned "Figure of 8" comes next with its deep bassline and funky beats. Having not heard these tracks for a long time, I am struck by how brilliant Dave and Richard are at constructing basslines. There's also a massive rumbling sub sonic bass on the first single from the album "Boom!". This track passed me by when it was first released and, back in the day, singles seemed to be deleted very quickly and once they were out of the shops they were impossible to find again, so I didn't get hold of a copy until relatively recently. 

"Leave Your Body" is another track that reminds me of the first album and doesn't really do anything much. However, the album is set to finish on an almighty high with the superb "Fire Engine Red". This final track features Robert Fripp, P.P. Arnold and some great drums by Steve Sidelynk. The cherry on the top is provided by the growling vocals of Zodic Mindwarp which somehow work perfectly. 4/5

One record at a time: 158. The Grid - Electric Head

The Grid's debut, "Electric Head" was released at a time when dance music was beginning to infiltrate the mainstream and become the driving force in electronic music.

This move towards dance music was personified by band member Dave Ball who formed The Grid with producer and DJ Richard Norris following the demise of Soft Cell. It's crazy to think now that this album only came out nine years after "Tainted Love" dominated the charts. Nine years seemed an eternity in my youth, now it passes in the blink of an eye.

I first bought this album on CD in 1992. Having heard (and bought) the single "Figure of 8" I decided to buy this album in the hope of finding something similar. Whilst this album isn't as dance orientated as later efforts, it doesn't lack in imagination or groove.

The opening track "One Giant Step" is a ride through sweeping special effects, piano riffs and samples of astronauts that builds to a satisfying crescendo. "Are You Receiving" is a more laid back and hypnotic track that immediately demonstrates this album is not a one trick pony.  Similarly diverse is "Islamatron" which weds Kraftwerk style beats with Islamic chants to great effect. 

"The Driving Instructor" is a bit of a disappointing and sparse song that features a vocal by Richard Norris. Richard's vocals aren't bad, but equally I can see why this trend didn't extend beyond this album. Whilst "A Beat Called Love" is pure catchy pop, the disappointing verses point to why it wasn't a hit single back in 1990. The synth spotters will notice lots of Korg M1 sounds on this record with the choir patches, piano, finger snap, pan flute and voice wave presents the most obvious.

The press release correcting the release date

One of my favourite tracks is "Intergalactica" which is a hard driving dance track with some great Roland SVC350 vocoder vocals by Richard. Unfortunately, Richard's natural vocal on "This Must Be Heaven" isn't quite as good and it's easy to hear this was recorded in the days before auto-tune. "Doctor Celine" is a bizarre song that moves between synth-pop and weird passages of noisy guitars but it remains entertaining. "Strange Electric Sun" is a jaunty number with another fragile but endearing vocal by Richard.

The highlight of the album, and the track that probably brought many listeners to the record in the first place, is the classic "Floatation". This song is somehow downtempo and driving at the same time. The synths soar as a wonderful clarinet solo fills the air before falling away too soon. Whilst the CD and cassette feature a bonus track not on the LP, it is nothing more than a drone type ambient piece that holds little interest.

I bought my copy of the vinyl from eBay in 2017 and it came with a "Promotional Copy Only Not For Sale" sticker on the back and contained a letter stating the release date for the record had been delayed from 1st October 1990 to the 22nd. Wikipedia and Discogs give the seemingly incorrect release date but I can't face changing it and having to argue with the self appointed guardians of truth and justice that seem to moderate such websites. We dear reader will hold the secret. 4/5

One record at a time: 157. Goldfrapp - Silver Eye

I'd love to tell you that this review is based upon years of listening to this album and that I have exercised due diligence in considering all of its virtues and foibles. However, this is not true.

I bought this clear vinyl when the album was released in 2017 and I have listened to it precisely once. I have subsequently revisited a couple of tracks that initially caught my ear as mp3 files, but I think it would be fair to say this record has, up to this point, made very little impression upon me.

As I play the album now I am very impressed by the opening track "Anymore" which is both catchy and pretty funky too - I seem to remember this is the highlight of the album. The title of the album is derived from the lyrics to the second track "Systemagic" which has a great tune and some fabulous vocal harmonies from Alison. Things slow down for the deep blistering tones of "Tigerman" and its superb synth textures. This may not be the best composition ever recorded but the production is perfect. 

With some of Goldfrapp's previous albums I always got the feeling I'd heard the songs before. "Black Cherry" opened the door but some of the subsequent releases were a mere recreation. With songs like "Become the one" things feel a little more innovative and interesting again. 

"Faux Suede Drifter" is dull and sounds like it belongs on the previous album. The observant amongst you will have noticed we have, once again, skipped an album in the Goldfrapp back catalogue. I don't own "Tales of us" on vinyl as I am not keen on these tracks that are vocalised without real words. As an exceptional talent, Liz Fraser can get away with it, but it doesn't work here.

"Zodiac Black" is a song best enjoyed by more ardent fans and is a disappointing start to the second side. However the instrumentation and production of "Beast That Never Was" is truly remarkable and lifts an average composition to a higher plane. "Everything is Never Enough" employs some of the naive sounds of early eighties artists such as Soft Cell, but it drags on a bit too long. By the time we reach "Moon of Your Mouth" it feels like the ideas are running a bit thin and whilst "Ocean" tries to deliver an epic Depeche Mode style finale it doesn't quite succeed. So this album definitely deserves more than the cursory listen I have given it, but it isn't amongst my favourites. 2.5/5

One record at a time: 156. Goldfrapp - Headfirst

Here I will be listening to a 2017 180g repressing of "Head First". In terms of the Goldfrapp back catalogue, we have skipped "Seventh Tree" as I regard it as pretentious swaddle that I wasn't prepared to buy on vinyl.

Happily "Head First" is a good album that dispenses with the artistic statements and concentrates on delivering eighties tinged synth pop.

The first single from this album, "Rocket" seemed to be everywhere back in 2010 and its infectious melody and sing along lyrics were perfect. There is a Richard X remix of this track that is also fantastic. This is a seriously catchy song.

Two more singles follow in the form of "Believer" and "Alive" which remain in the upbeat retro style of the opening - all be it with guitar smeared across the latter. "Dreaming" almost sounds like peak Giorgio Moroder with its seventies tubular bells and pulsing synth lines. The title track is an upbeat affair that has a good dollop of ABBA (don't let that put you off), a sprinkle of ELO and a touch of  Erasure: a more heady mix you could not ask for.

When you're confronted with an album full of shiny pop songs, you need something to offer respite and contrast. This is why I like "Hunt" as it builds an atmosphere without being over complicated (and it uses synth toms, so what's not to like). "Shiny and Warm" falls back into the seventies tinged sound of the "Supernature" album with predictably mediocre results. "I Wanna Life" is essentially a rehash of "Rocket" and "Voicething" is the kind of self indulgent rubbish that proliferated on the previous album. I'd summarise this album as having a very good start before a disappointing ending. 3/5

One record at a time: 155. Goldfrapp - Supernature

This copy of Goldfrapp's third album is pressed on 'translucent' green vinyl and was released in 2020 as part of BMG's ongoing exploitation of the Mute back catalogue.

I bough this album on CD back in 2005 and found it less satisfying that its predecessor. Whereas "Black Cherry" sounded effortless and innovative, "Supernature" sounds contrived and overtly commercial.

Lead single "Ooh La La" sounds like seventies glam rock recorded on a Minimoog, but it somehow became a top 5 hit in the UK. Second track "Lovely 2 C U" fails as it is twee and pretentious. "Ride a White Horse" resurrects the TR-909 beats but Alison's vocal sounds like she stuffed cotton wool in her cheeks like Marlon Brando in The Godfather. 

One of the highlights of the album is "You Never Know" which drops the four on the floor beats and features lush synth washes alongside amazing orchestral swells. "Let It Take You" is a downtempo plod that proves a good counterpoint to the much superior melodies of "Fly Me Away". As good as the next two tracks, "Slide In" and "Koko" are, the constant barrage of sawtooth waves is beginning to grate on me a little. There is some sonic variety on "Satin Chic" which is also the band's favourite on the album. The song is OK but it sounds a bit like a homage to Sparks.

There is another more ambient track in the form of "Time Out From the World" which provides welcome relief from the pounding beats. The single "Number 1" sounds a bit like a rehash of "Ooh La La", but it does improves on things. The album rounds out with the inconsequential "Beautiful" which continues the trend of seventies glam rock style rhythms and rasping sawtooth patches. This isn't a bad album and you couldn't wish for anything more electronic; but it sounds forced and formulaic in places. When it is good, this record is very good. When it is bad.....2.5/5

One record at a time: 154. Goldfrapp - Black Cherry

This copy of Goldfrapp's second album "Black Cherry" is pressed on purple vinyl and sounds very good indeed. When it was released in 2019 I assumed this was a limited pressing and felt lucky to own a copy. The fact that you can still buy this record today for £15 is testament to the skills of the marketing team at BMG. 

I have never felt the same compulsion to buy debut album "Felt Mountain" as it is both relatively expensive and not as suited to my taste. I find Goldfrapp very hard to pin down: they are capable of producing the most sublime and enchanting music yet are equally capable of serving up dross with lyrics like, "Titties that live on and on forever". 

For me the trouble is there's a bit too much pretension going on. I went to see this band live in 2010 and as we entered the venue the doormen were shouting, "The artist has requested that nobody take pictures tonight. No pictures during the performance". 

This whiff of artistic temperament caused a ripple of discontent amongst the crowd who had paid their money and expected their pound of flesh. It seemed that most people ignored the instruction and took pictures anyway (including myself). The punishment for ignoring the artist's instruction was metered out via the PA which was turned up to 11 in an attempt to deafen us. I've been going to gigs for over 30 years but this remains the loudest I have ever heard.

Whilst some of the details of this incident might be completely imagined, the core elements reinforce the notion that Goldfrapp consider themselves as "artists" and not mere musicians. Whilst they have a tendency to take themselves too seriously and go off the rails, that isn't the case with this album.

The record opens with the excellent "Crystalline Green" which pulses with analogue synths and sweeping effects. Alison sings some perfect top lines as Will builds the backing track into a soaring colossus - this is nothing like the previous album "Felt Mountain".

"Train" is a monster of a track that left me a changed man when I heard it live at the afore mentioned concert. One day last summer my eldest daughter was complaining about the incessant sound of Crickets chirping in the fields; but thanks to "Train" I don't hear much above 2,000 Hz and was immune. But make no mistake, this is a great song.

"Black Cherry" is a nice change of pace and features some great orchestration alongside the synths and downtempo beats. The driving synths are reintroduced by "Tiptoe" which bleeps along with the kind of perfection only achieved by people on top of their game. Side one finishes with "Deep Honey" which is more akin to the ambient sound of the first album and reminds me very much of Portishead (a group that band member Will has been associated with in the past).

My favourite track is "Hairy Trees" which has a great hook and an etherial quality that really appeals to me. We get some TR-909 beats alongside the squelchy synths on "Twist" but unfortunately Alison indulges in her occasional penchant for nonsensical and frankly bizarre lyrics.

I originally bought this album on CD in 2003 based upon a TV performance of the next track "Strict Machine". Whilst familiarity means this track has has lost some of its initial impact, it remains a great piece of electronic music. The last two tracks are a little disappointing but they don't detract from the majesty of what has gone before too much. 4/5

One record at a time: 153. Glass Candy - B/E/A/T/B/O/X

Sometime in 2009 I was watching "Bronson", a biographical film about British criminal Charles Bronson. In the film there was a scene that featured some great music and a quick Google search led me to the track "Digital Versicolor" by Glass Candy and its parent album "B/E/A/T/B/O/X". 

I think I must have only acquired the mp3 files of the album at the time as this clear vinyl didn't come into my collection until 2013. I bought this record in the flagship HMV store at 363 Oxford Street in London (now sadly closed). As this historic shop had recently re-opened I was keen to mark my visit with a purchase, but I was struggling to find much of interest until I stumbled across this. Discogs says this is a US import (not sure if that is correct) and was limited to 3,000 copies. 

Ultimately there is nothing else on this album that quite matches the electroclash perfection of "Digital Versicolor" but "Beatific" and "Life After Sundown" come a close second. "Candy Castle" is another dance floor friendly jaunt that proves to be very entertaining. "Etheric Device" and the instrumental "Last Nite I Met A Costume" provide some contrast to the more dance orientated material and "Rolling Down The Hills" is a commendable 70's funk pastiche. 

Only the seven minute cover version of Kraftwerk's "Computer Love" disappoints. Cover versions that tend to succeed offer a radical reinterpretation of a song or remould it in the distinct style of the artist recording it. Think of Pet Shop Boys "Always On My Mind", Michael Andrews and Gary Jules "Mad World", Soft Cell "Tainted Love" or even Johnny Cash "Hurt". Unfortunately Glass Candy's take on "Computer Love" is just a limp retelling of the same story that was perfected on the original. But if we put this weak cover to one side, this is a good album. 3/5

One record at a time: 152. Genesis - Abacab

I find looking for vinyl in charity shops a very depressing experience. Oxfam and the like seem to be dumping grounds for dead people's records and I don't like to think of my collection eventually languishing alongside endless unwanted copies of "The Sound of Bread".

Anyway, sometime this spring I found myself leafing through the usual selection of Perry Como, James last and Dean Martin records and was surprised to find this copy of "Abacab" for about £2. I'm not a massive Genesis fan but the surprise of finding something half decent led to an impulse purchase.

Another reason for buying this record was that I had just read Phil Collins's autobiography and wanted to hear a little of the music he talked about in the book. I was familiar with most of the band's later hits, but this phase where they crossed from prog rock to pop was new to me.

The title track opens with a pulsing synth bassline and is augmented by an organ and stabs from a Prophet 5. This intro suggests this isn't a conventional 'band in a room' recoding and there may actually be something of worth on here. This song is catchy in places and ticks along quite nicely. As I remember, "Abacab" is a nonsensical phrase that was an invention of the band. So essentially I've just spent seven minutes of my life listening to a song about nothing.  

One thing I've learned from listening to various podcasts and reading Phil Collins' autobiography is that he was a bit obsessed by using horn sections in the eighties. "No Reply at All" features horns, guitar and some strangely incongruous TR-808 claps. The song is OK but it seems to stutter along and doesn't ever really get going. "Me and Sarah Jane" uses the CR-78 for percussion for the first minute or so before the acoustic drums come back in. The chords on this track are initially reminiscent of The Beatles before things go off the rails in a confused ball of reggae and prog rock.

For whatever reason I hate the opening riff to "Keep It Dark". I can't put my finger on why I don't like this track but it offends my ears. "Dodo/Lurker" instantly screams 'prog rock' before it too slips into a vague reggae groove that takes too long to end. "Who Dunnit?" is an awful slice of repetitive album filler that is best left ignored. "Man on the Corner" heralds the sound of Phil Collins as a solo artist and "Like it or Not" is palatable without being good. Things close with "Another Record" which is a bit vanilla and passes by without making much impression. At least it only cost me two pounds. 1/5

One record at a time: 151. Gatto Fritto - Gatto Fritto

Sometime in 2011 I walked into a record store in Soho where the most amazing music was playing. After a few minutes perusing the racks of vinyl, I walked up to the counter and asked if I could buy a copy the record that was playing. 

At this point the guy behind the counter rolled his eyes, turned to his colleague and said with a sigh, "Can I have the Gatto Fritto out of the CD player again please?"

The guy plonked the CD on the counter and explained that this record was difficult to source and every time they acquired a copy, someone bought it. This was the first time I'd heard of a shop that was upset at having to sell records, but I have encountered this phenomenon subsiquently. If people are so upset by the idea of selling goods for a profit, I can't help wonder why they don't open museums rather than shops.

Anyway, I took my CD home and enjoyed it. In fact, I liked it so much I bought this double vinyl of the album in 2014 from a seller on Discogs. The vinyl is in near mint condition and is one of about 500 that were pressed. As far as I know, Gatto Fritto's eponymously titled debut is their only album and according to Discogs there have been no further releases attributed to them. I know almost nothing about Ben Williams the guy behind the music and, to be honest, I like it that way. I prefer that Gatto Fritto remain enigmatic and enchanting.

The first track on the album is titled "The Curse" and features an airy falsetto vocal that is accompanied by discordant guitars and superb analogue synth textures. "Hex" is a more laid back and funky affair with its disco inspired bass guitar and plodding groove. Things take a different direction with "Grinding of the Brakes" which is an instrumental that sandwiches ambient textures with Aphex Twin style loops. "Solar Flares Burn for You" moves us even deeper into ambient territory and ends up sounding a bit like Tangerine Dream. The LinnDrum returns for "Lucifer Morning Star" which has a dreamy melody and vocoder processed vocals. 

"Invisible College" is the song that I heard in that record shop in London. As the acoustic guitar riff begins you could be forgiven for thinking this was going to be a naff disco record. Yet it soon becomes clear that the guitar is a loop and as additional layers are drip fed in, the majesty of this record begins to reveal itself. This is a long track and the first breakdown doesn't arrive until we're four minutes in; but it doesn't really matter as there are so many ideas in here that it is impossible to be bored. By the time you reach the ten minute mark you realise you are listening to a completely different piece of music but have no idea how you arrived there.

"My Etheric Body" continues in the retro electro vibe whilst the final track "Beachy Head" provides an ambient ending. The music on this record is hard to describe and is best heard to be understood. I find it a little frustrating that there isn't more music by Gatto Fritto but at the same time I enjoy the fact that this album is a one off. 3.5/5

One record at a time: 150. Front 242 - Front By Front

"Front by Front" was released in 1988 and here I am playing a copy of the original European vinyl I bought from eBay about six months ago.

"Until Death (Us Do Part)" is driven by a Yamaha DX7 bassline and riffs played on the classic 12 String preset that would be used later by The KLF on "3 A.M. Eternal". The mix of samples and FM synthesis continues on the fantastic "Circling Overland" and "In Rhythmus Bleiben" which keep the bar high.

Things fall off a bit with "Felines" and its annoying reverse vocal sample, but the pure EBM of "First In/First Out" soon banishes these doldrums.

"Blend the Strengths" is an instrumental that fills time before the centre piece of the album "Headhunter" kicks in. This song has a catchy chorus and beats clearly designed for the dance floor. Whilst you could never call this a conventional pop song, it does bear some sonic resemblance to bands like Depeche Mode and even had a video directed Anton Cobijn.

"Work 01" is another instrumental augmented with samples culled from films that feels a bit like album filler. Due to its positioning on the album the next track "Terminal State" is a bit overlooked but this is a fun track with an almost funky groove and great lyrics: "We're in the doldrums!"

Things close out with the classic "Welcome to Paradise". The concept of sampling American TV evangelists was first used on "Angst" from the previous album but on this track everything gets turned up to eleven. 4/5

One record at a time: 149. Front 242 - Official Version

"Official Version" is the album in which Front 242 honed their sound and delivered a hit single in the form of "Masterhit".

Here I am playing a copy of the original UK LP which I bought from the same shop in Hull where I acquired "No Comment".

Things kick off with the epic "W.Y.H.I.W.H.G." which has always been one of my favourite 242 tracks. I love the samples on this song and everything seems to gel perfectly. "They're coming down! They're coming down! They're coming down for you!"

"Rerun Time" is another example of a track that seems to flow effortlessly and has plenty of tricks to keep the listener interested. "Television Station" completes the opening trilogy of perfect brooding EDM with its pounding rhythms and dark vocals. I've never been a big fan of "Aggresiva Due" simply because of the distorted electric guitar that features through out, but it is still very interesting. 

The single "Masterhit Parts 1 and 2" will be well known to anyone with even a passing interest in EBM or industrial music. This track is catchy and has a good melody under the burbling synths and deadpan vocals. After about five minutes the track moves into "Part 2" which is a more instrumental section that builds into a swirling cacophony before ending abruptly.

The title of the album is derived from the lyrics to "Slaughter" which features some fantastic Emulator marcato strings alongside the usual driving rhythms. My favourite track on here is "Quite Unusual" which is a new version of the track released on the "Inception" E.P. the year before. "Red Team" is a beat driven instrumental that trundles along quite nicely before the television evangelism of "Angst" sees us out. 4/5

One record at a time: 148. Front 242 - No Comment

Front 242 released their second album "No Comment" in 1984. Whilst this vinyl is a reissued version from 1989, it is still fairly difficult to come by. I bought my copy at a second hand record shop in Hull earlier this year and it is in great condition. I also need to point out that this LP has a different sleeve to the original and features a running order which is different to CD or digital version of the album.

It is worth noting immediately that this album is quite a departure from its predecessor. The analogue synths of "Geography" have been jettisoned and the sounds of a Drumulator, FM synths and a sampler dominate. There has also been a change of personnel with Dirk Bergen departing to be replaced by a second vocalist Richard 23. 

Things open with the nine and a half minute long "Commando (Mix)" which revolves around a distinctive DX7 bassline. Band member Daniel Bressanutti layers atmospheric samples on the top and tweaks the drums with some fills here and there. I've noticed this track gets a lot of love amongst Front 242 fans and some even regard it as their best. Personally I think it is OK, but definitely not their best.

Next up is "S. Fr Nomenklatura (Part I & II)" which I have never liked much as it has a really annoying sample that is repeated throughout. All of these instrumental tracks tend to wander down a bit of a musical cul-de-sac and aren't developed a great deal. The next track "Deceit" does feature some vocals from Jean-Luc and Richard 23 but they sound like overdubs thrown down to add a little texture rather than being the centrepiece.

The flip side kicks off with "Lovely Day" which offers the first flash of the sound the band would come to fine tune on later albums. The highlight of the album for me is "No Shuffle" which is a rambling ode to the North Pole with a groove ready for the right dance floor. Things finish off with "Special Forces" which samples a line from "Apocalypse Now" and turns it into a relentless slice of EMB. To me this album sounds like a band trying to master new technology: sometimes they get it right and sometimes things misfire. This album is interesting, but it only offers us a glimpse of the heights they would go on to achieve. 2.5/5

One record at a time: 147. Front 242 - Geography

Front 242 are true pioneers of electronic music. In fact, they were such visionaries that a new genre had to be invented just to describe their sound. Today, anyone who creates music that even vaguely resembles that of the Belgian masters will labelled as Electronic Body Music (EBM).

I first became aware of Front 242 in 1990 when a friend made me a 'best of' cassette using some CDs he had borrowed. I loved almost every track on that tape and was most intrigued by the material taken from their debut LP "Geography".

Here I am playing a remastered red vinyl from 2016 which came with a free CD and was supposedly limited to 242 copies.

Things kick off with one of the best cuts the band ever produced: "Operating Tracks". The bass on this track pulses from ear to ear as Jean-Luc's growls his largely incomprehensible lyrics. When I first got access to the internet in the late nineties I began looking up the lyrics of many Front 242 songs and realised that the real words bore little resemblance to my interpretation. Sometimes the romance of a misheard lyric is much more valuable that being precise; so I still sing along with my version and accuracy be damned.

The next three tracks are largely instrumental affairs composed of distorted white noise snares and distinctly analogue synth patches that remind me of The Future and early recordings by The Human League. Things kick up again with the excellent "U-Men" which has an irresistible bassline and a great hook. As there are only two repeated verses this track is done and dusted in a little over three minutes 

"Dialogues" is more analogue instrumental fun but "Least Inkling" resurrects the pulsating bass sequences and brooding vocals. The next track "GVDT" feels brighter due to its melodic vocal but the chorus becomes chaotic and transforms the song into something more daring. "Geography I" is a strange track as it has no kick drum and the vocals are mere mumbles. "Black White Blue" is a fast paced and strangely hypnotic instrumental that must have been pushing the boundaries in 1982. 

Strangely the closing track "Kampfbereit" plods along at 97 beats per minute and is sung in German. The TR-808 seems to emerge more prominently for this closing number and, as good as this song is, it feels a bit out of place on here. 

Still, this is an enjoyable album for anyone who has even a passing interest in early eighties electronic music. Despite its relatively experimental nature, this record somehow remains accessible and even in its quirkiest moments it still has the ability to make people dance. 4/5

One record at a time: 146. Fad Gadget - The Best Of

When I originally bought the CD of this compilation in 2001, I hadn't really heard any of Fad Gadget's music. I think my interest must have purely stemmed from their links to Mute records and Daniel Miller.

However when I did listen to the CD, I liked a lot of what I heard and I decided to buy this silver coloured vinyl pressing when it was released in 2019.

This album is something of a strange pot-pourri of post punk noise, new wave innovation and unrefined synth-pop. Tracks flow in a roughly chronological order and Daniel Miller's familiar ARP 2600 drum sounds punch through some of the early cuts. Other influences are exposed by the extended "Handshake" which serves as the "Metal on Metal" to the "Trans Europe Express" of "Ricky's Hand".

As the band's sound began to diversify we find an increasing use of acoustic or traditional rock instruments and its impossible not to notice Alison Moyet singing backing vocals on "For Whom The Bells Toll". There is prominent use of bass guitar on songs like "Make Room" and "King of the Flies" meaning synth purest have to take refuge in b-sides such as the excellent "Ladyshave" and "4M". The inclusion of the outstanding "Luxury" is curious as it was released under Frank Tovey's own name when he elected to leave the Fad Gadget moniker behind.

In terms of electronic music, Frank eventually moved on and by the time he was releasing "Bridge St Shuffle" and "Sam Hall" there was no way back. Frank seemed to stop releasing records in the late eighties and this compilation serves as an excellent summary of his work in the field of electronic music. 3/5

Trevor Horn book

I like the work of Trevor Horn. I don't regard him as a 'production god' or the new messiah, but there are quite a few records in my collection that bear his name. As a result, I took a great interest in his recently published autobiography. 

The book is generally quite good and is full of interesting stories. However, there are some aspects of the book that contradict other people's accounts and whole chunks of Horn's career seem to be omitted.

In the book Trevor repeats the story that the lady who says "Goodbye" in ABC's "Look of Love" is the actual girl Martin is singing about in the song. However, in a podcast first broadcast in April this year, engineer Gary Langan tells us the lady in question was actually the receptionist at SARM studios who happened to be his girlfriend and not Martin's. Who to believe?

Trevor recites a tale of meeting Michael Mertens in the canteen at Townhouse Studios following Propaganda's defection to Virgin Records. In the book Mertens approaches Horn and gets short shrift. In Mertens' version published on Facebook he merely says hello to Horn and receives an angry tirade in return.

I am not a Frankie Goes to Hollywood fan so I don't really know their history; but Horn's account of the band's demise and the subsequent court case seems relatively cursory to me. Maybe this is because Trevor regards this as a less interesting aspect of his career and he doesn't want to dwell on it. Maybe he doesn't go into detail because ZTT lost the court case. Either way, those looking for more information about the whole Frankie saga will be left a little wanting. 

There is no mention of recording "It's Alright" with the Pet Shop Boys and only some vague references to the creation of the album "Fundamental". Disappointingly there is no room for Mike Oldfield's "Tubular Bells II" and the chapter dedicated to Seal only discusses "Crazy".

I acknowledge you can fit everything into one book and at no point does Trevor state this is a definitive version of events; but I still felt a little short changed. Hell, the only production tip I got from the whole book is that tweaking a mix to get a good stereo field can be a waste of time: just pan some things hard left and others hard right. Easy. 

So whilst it is an interesting book, it is not perfect. This is clearly one man's recollection of events and as Winston Churchill wrote, "History is written by the victors."

One record at a time: 145. Eurythmics - Peace

I was pleased when Eurythmics re-formed after an 8 year hiatus, but this elation was tempered by a fear they would 'go rock' again. Once I heard the comeback album "Peace", I was confused. Was this rock, pop or something else? 

Whilst this music is hard to pigeonhole, it clearly is not 'synth pop' or electronic music. Ultimately, I found this disappointing. The tunes are good, the vocals are exceptional and the production skilful; but its just not my kind of music.

Despite the CD being released in 1999, an LP wasn't pressed until this 180g version from 2018.  This is another half speed master from Abbey Road and, unlike my copy of "Savage", it sounds OK. Not good, not bad, just OK. I really don't see the point in going to the expense of creating a new half speed master and then giving it to GZ Media to press up. 

The highlights of this album are the soaring "17 Again" and "I've Tried Everything". The Beatles pastiche "Forever" is best forgotten along with the disappointing heavy rock of "Power to the Meek" and "I Want it all". All in all, there's more to dislike than enjoy here for me. 2/5

This brings our trawl through the Eurythmics back catalogue to an end. Next time we get to move on to something more varied and....electronic.

One records at a time: 144. Eurythmics - Greatest Hits

As I already owned all of the music on this record and the track choices were less than inspiring, I dodged it when it was released in 1991. However, everyone else in the UK seemed to buy it and it sold in its millions. 

For whatever reason I did end up buying the 12" singles of "Love Is A Stranger (Remix)" and "Sweet Dreams '91" which were released as part of the corresponding promotional campaign (the CD singles didn't have remixes and were just EPs full of tracks I already owned). I only acquired the CD of this album in 2014 and bought a copy of the LP in 2019.

I'm not really sure what criteria where applied when selecting the tracks for this compilation but I assume space is reserved for singles that reached the Top 40 in the UK. However, "The King and Queen of America" and "Revival" should have qualified under this rule but aren't included.

The problem with basing a compilation purely on successful singles is that it presents a very myopic view of a band. There's so much more to Eurythmics than these hits. Singles like "Julia" and "Shame" are amongst the bands best songs despite not being commercially successful. There are many inspirational album tracks and sonic experiments that illustrate Dave and Annie's ability that don't get a look in here. But let's face it, this isn't a mixtape. This is a Greatest Hits album and is designed to sell. And sell it did. It's just regrettable that some people's awareness of the band will be restricted to these songs alone. 3/5

One record at a time: 143. Eurythmics - We Too Are One

I received the CD of this album as a Christmas present in 1989 and I listened to it a lot; and I mean A LOT. Therefore I recognise that familiarity and rose tinted spectacles will cloud my judgement here.

Whilst this record represents a move back towards a 'band recording' the end result is much better than the last time Dave and Annie attempted such a thing. Unlike the horror show that is "Revenge", the compositions on this album are strong enough to withstand the antiquated rock production and the album is an unqualified success.

Things kick off with the title track which is a lively rock outing with more than enough keyboard overdubs to keep me interested. However, as a general comment, I would say that Annie doesn't need backing vocalists and they sound completely misplaced here. Next track "King and Queen of America" sounds like a calculated effort to appeal to the all important American market with its rasping brass arrangement and driving beat. Generally I'm not a fan of acoustic drums and they sound especially insipid on songs like this.

"(My My) Baby's Gonna Cry" ensures that the band's penchant for parenthesis continues and Dave even gets to sing. This song was released as a single in the USA and there is a nice remix that is more dance orientated. In my teenage years I was a little bit obsessed by "Don't Ask Me Why" and hearing it now, I understand why. This song and its execution are flawless. I still treasure my limited edition 12" bought all those years ago (for some reason I found CD singles really hard to come by in the late eighties and early nineties and I always ended up with the vinyl).

"Angel" is one of those haunting but strangely inspiring songs which sees Annie deliver an exquisite vocal. "Revival" made for an odd choice as a single as it didn't strike me as being especially catchy and it suffers from backing vocals that are too intrusive. "You Hurt Me (and I hate You)"  is a nice song that delivers a stinging retort most of us have wanted to deliver from time to time. "Sylvia" is a vivid tale that was strong enough to make me wince a little when it played in my headphones on the walk to school all those years ago. Unfortunately "How Long?" is a little like album filler and doesn't quite cut the mustard for me. 

The pinnacle of the album comes with the final song "When the Day Goes Down" which is nothing short of a masterpiece; I can't tell you how many times I have fast forwarded a cassette to get to this song. The atmospheric introduction gradually builds into a soaring anthem that I find strangely affecting. "All the people of this lonely world, have a piece of pain inside." 4/5

One record at a time: 142. Eurythmics - Savage

When I bought Dave Stewart's autobiography a couple of years ago, the section I was most keen to read was about the creation of my favourite Eurythmics album "Savage". After the car crash that was "Revenge", Dave and Annie decided to return to a more experimental electronic sound. Dave's book confirms that this change in direction was a conscious decision following the realisation they had become too much of a Rock 'n Roll band.

I first bought this album on CD in 1989 from Britannia Music Club and here I will be playing a copy of the original vinyl which I bought in 2014 (when I seem to have been buying all of the Eurythmics back catalogue). I also own a remastered 180g vinyl from 2018, but the least said about that pressing the better. Somewhere in the loft I also own a copy of the video album which I watched endlessly in my youth.  

The experimental nature of this album is perfectly illustrated by the opening track "Beethoven (I Love to Listen)" which features a thundering Synclavier backing track and Annie's spoken vocals. The second track "I've Got a Lover (Back In Japan)" sees Annie channel her inner Aretha Franklin (as well as highlighting the bands love of parenthesis). The juxtaposition of the twee delivery and disconcerting subject matter on "Do You Want To Break Up?" make for a great song. "You Have Placed a Chill in my Heart" sounds like a hit record and "I Need a Man" is the kind of radio friendly track record companies would have been desperate for. 

The synth funk of "Put the Blame on Me" provides perfect contrast to some of the darker songs such as the title track and "I Need You". The single "Shame" has always been one of my favourites and it remains drastically underrated in my opinion. "Wide Eyed Girl" is probably my least favourite track but it still remains head and shoulders above anything on "Revenge".

Some might see the largely instrumental track "Heaven" as filler, but to me this is one of the best tracks on the album. Dave wrote most of the music for this album on his own, and it is my guess that when it came time for Annie to make her contribution the track couldn't be moulded into a conventional song structure. As a consequence we end up with a fantastic slice of pre-house dance music. A perfect album deserves a perfect ending and "Brand New Day" does not disappoint. Things begin with Annie singing acapella before layers of vocal harmony give way to Dave's dreamlike Synclavier arrangement. Perfect. 5/5

One record at a time: 141. Eurythmics - Revenge

I'll be upfront and say I've never liked this album. My summary of it would be: a dreadful eighties rock/pop crossover with near constant saxophone solos, endless harmonica riffs and sloppy drumming. This is a traditional rock and roll 'band in room' recording and was clearly designed to be easily replicated on the road (I think Dave even says as much in his autobiography). Electronic music this is not...

"Missionary Man" has some synth elements but they are overwhelmed in the primordial rock soup of the backing track. "Thorn In My Side" is a great song but a bit of Mellotron is the only nod to electronic music. The dreadful "When Tomorrow Comes" merely serves to remind us that we have moved a million miles from "Sweet Dreams (Are Made Of This)". Things improve slightly with the next track "The Last Time" as it features a squelchy synth line and some DX7 tubular bells alongside the primitive acoustic drums and obligatory harmonica. "The Miracle of Love" is a ballad that just makes me want to throw the record out of the window: it's just dull twaddle.

The upbeat "Let's Go!" opens side two but the sonic ingredients remain depressingly familiar and as a consequence, the end result is indistinguishable from the rest of the dross on here. "Take Your Pain Away" is excruciating to listen to and whilst "A Little Of You" is slight more palatable, it remains tedious with only a little orchestra thrown in for variety. I can't bring myself to listen to "In This Town" but I don't remember it offering any improvement on what has gone before. Only the closing track "I Remember You" has any interest as it has an enchanting melody and the harmonica has finally been ditched. Unfortunately, as the last track on the vinyl, this song suffers from terrible distortion on my copy and thus the only decent track is ruined. Quite fitting. 1/5

One recrd at a time: 140. Eurythmics - Be Yourself Tonight

I bought this copy of the standard UK vinyl from a charity shop in Manchester in 2014. The record and sleeve are in very good condition and there is no way I can grumble having only paid a couple of pounds for it.

This is the first album where Eurythmics began to push the synths to one side and move in a different direction. Obviously, I've never been a fan of such  betrayal the move away from electronic music, but lots of groups seem have done it.

Depeche Mode and a-ha decided to move into rock music to enhance their credibility, but ultimately jettisoned what made them good in the first place.  Heaven 17 resorted to a blue eyed soul pastiche in a desperate (but ultimately futile) attempt to salvage their careers and Orchestral Manoeuvres in the Dark flirted with 'Britpop' for one album before deciding to call it a day. 

The cynic in me thinks that Eurythmics move to a more rock orientated sound and roping in established artists such as Stevie Wonder, Elvis Costello and Aretha Franklin was merely a calculated effort to sell more records in America. If this was the aim, then the band succeeded as the album recorded sales of over 1 million in the USA

For an electronic music enthusiast, things don't get off to the most promising start with the guitars, drums and brass of the first track "Would I Lie To You?". I can't warm to "I Love You Like A Ball and Chain" and whilst "Sisters Are Doin' It For Themselves" is undoubtedly a fantastic composition, it's execution is just too conventional for me. Conversely, "It's Alright Baby's Coming Back" is more 'electronic' than I remember, even if it is dragged down by the flaccid rhythm section of drums and bass guitar.

Synths still hold strong and dominate songs such as "There Must Be An Angel (Playing With My Heart)" and an Emulator II gets a good workout on "Conditioned Soul". So, whilst its true to say the sonic pallet has wandered into mainstream rock, the synths haven't been jettisoned completely. This is a hybrid album that served as a precursor for the horrors to come. 3/5

One record at a time: 139. Eurythmics - 1984 (For the love of Big Brother)

Prior to its release, there was a suggestion that this record would not be attributed to Eurythmics as the music had been commissioned for a feature film. As the film was produced by the Virgin Group, the soundtrack was released on Virgin Records outside of Eurythmics' exiting deal with RCA.

However, the resulting score was so despised by the director of the film that he used it begrudgingly and even went as far as creating a 'directors cut' using an orchestral score that excised Dave and Annie's contribution.

So should "1984 (For the love of Big Brother)" be considered oeuvre? Given the finished product carries the Eurythmics moniker and the fact that lead single "1984 (Sex Crime)" is featured on the band's official greatest hits compilation suggests Dave and Annie accept it as canon. To me this is Eurythmics' fourth album.

Whilst a large portion of the music is instrumental, it is imaginative and oozes a suitably malevolent atmosphere. Dave described it as: "The kind of record you put on when you're in a weird mood." Here I will be playing a copy of the original UK vinyl that I acquired from eBay in 2015 - but I'm not feeling any more weird than usual.

"I did it just the same" provides the perfect introduction with its funky bassline, Oberheim DMX drum sounds and Annie's amazing ad libs. "Sex Crime (1984)" is a bit of an anomaly because it is a fully formed pop song that doesn't really conform to the expected soundtrack mould. As a result of this discordance, the title track was cut from the film and was only featured in the trailer. Here I can have some sympathy with the director as I imagine it would be hard to incorporate an uptempo song into scenes dominated by bleak dystopian landscapes and unkempt protagonists.  

When I first heard the CD of this album, "For the love of Big Brother" was definitely my favourite song. Initially I thought the sitar must be a sample but it transpires that Dave took to using an electric sitar in 1984 so I assume he used it here. This track is somehow otherworldly and in a genre of its own making - it is a thing of dark brooding beauty.

"Winston's Diary" is a short ambient piece with some Yamaha DX7 harmonica noodling over the top and is fairly inconsequential. The next rack is the more substantial "Greetings From a Dead Man" which features Annie's much sampled backing vocals. Here Dave allows himself to use his guitar and some percussion to help frame the Sequential Circuits Six-Trak patches. "Julia" is a sparse ballad that sees Annie's vocal doubled on a vocoder with passages of punctuation from a piano. This is a nice song but was a very strange choice for a single and it proved to be unpopular with the record buying public. I may be wrong, but I think this song is the last time Annie played flute on an Eurythmics record.

The rhythmical "Doubleplusgood" makes from some welcome relief but Annie's faux English accent in the verses is a little disconcerting. Personally I find the repetitive samples at the end of the song very irritating - but this sort of nonsense seemed to happen regularly when artists first discovered samplers (see Yazoo "I Before E Except After C", Paul Hardcastle "19" etc.).

The (wholly justified) misery returns with "Ministry of Love" which trundles along with atmospheric bleeps, discordant stabs and some amazing vocals. The horror of "Room 101" is depicted by Dave's wailing guitar and some twinkling synths before a storming DMX beat kicks in and the door is slammed shut. 3/5

One record at a time: 138. Eurythmics - Touch Dance

I mentioned in another post that remix albums were all the rage in the mid eighties as extended versions became increasingly popular on the dance floor and with the record buying public. Eurythmics record company decided to wring some additional profit from the highly successful "Touch" album by releasing "Touch Dance" in 1984. As this was a commercial exercise, Dave and Annie were not too enamoured with it and this remains the only Eurythmics remix album issued. 

As a result of the band's displeasure, "Touch Dance" was hard to find on CD when I started buying Eurythmics releases in the late eighties. In fact, I had to settle for a cassette of "Touch Dance" for many years until I finally purchased a copy from eBay eight years ago.

Much like contemporary remix albums, this record features mixes that aren't a drastic departure from the album versions. In the early eighties the "extended" mix was favoured by DJs and more radical mixes that transformed the aesthetic were not as common as today.

"The First Cut" is remixed by François Kevorkian and adds a good two minutes to the playing time by grafting on a new introduction and a series of breaks. There is another New York style extended mix of "Cool Blue" by John "Jellybean" Benitez which, given the source material isn't my favourite, is mediocre. Benitez also tinkers with the fabulous "Paint a Rumour" by creating various edits, adding occasional effects and playing with the faders. However, as the original of this song is over seven minutes long, this mix couldn't really be described as an 'extended version'. For "Regrets" we revert to Kevorkian who manages to bring out more of the sinister side of the track and make it sound less one dimensional than the album version. 

In terms of source material, that's our lot. The remaining three tracks are instrumental mixes of "First Cut", "Cool Blue" and "Paint a Rumour". When I first saw the tracklisting on my cassette circa 1988 I assumed these last three mixes were merely those on the first side with the lead vocal muted. However, I was wrong. These instrumental versions are completely different and almost as good as the featured vocal mixes. As I have mentioned, I'm not too keen on "Cool Blue" but the other two songs stand up to this treatment and reveal new layers that you might not have heard in the original. 3/5

One record at a time: 137. Eurythmics - Touch

I bought this copy of "Touch" from a shop in Manchester around ten years ago. However, in 1985 this record belonged to Saeed Ashiq who lived in Victoria Park. I know this as not only did Saeed stamp the cover with his name, address and phone number, but he also signed and dated the inner sleeve. I'm not aware of Saeed having found fame and fortune yet, but when he does, my signed copy of "Touch" will be worth a few pounds. Until then I am left with a good condition record with a slightly defaced sleeve.

This album opens in fine style with the classic single "Here Comes The Rain Again". This is a controversial opinion, but I feel this song would be better without the orchestra or at least with it turned right down in the mix. You can tell this song was recoded with same synthesizers and drum computer as "Sweet Dreams" and I would have preferred it if the electronics had a little more room to breathe. But still, this is a great track. "Regrets" delivers some classic eighties slap bass and mute trumpet alongside the electronics, but I always find this song very repetitive and overly long. 

"Right By Your Side" employs some Voyetra-8 derived steel drums to add a calypso flavour and there is some annoying saxophone thrown in too. For me the instrumentation ruins what could have been a good track. "Cool Blue" is a bit lethargic and once again there is a bit too much acoustic brass employed for my taste. Another hit single "Who's That Girl?" closes side one with its perfect blend of pop melody and synth driven backing track.

Where some of the tracks on the first side have a tendency to sound frivolous and insubstantial, the real action is on the flip side. "The First Cut" drives along and possesses a raw edge that makes it sound more credible as 'serious' electronic music. "Aqua" was used as a b-side to "Who's That Girl?" is some territories and it was probably best left there as it is a bit dismal. "No Fear No Hate No Pain (No Broken Hearts)" banishes the doldrums as it builds into a crescendo with pizzicato strings, twinkling synths and Annie's voice all complimenting each other perfectly. Closing number "Paint a Rumour" is a funky and soulful track that finds Annie at her vocal peak. 4/5

Literary disppointments

I'm reading two books at the minute. Both are related to electronic music and both are pretty poor.

I imagined "Computer World" by Steve Tupai Francis to be a detailed discourse on the album of the same name by Kraftwerk. In reality this book is yet another biography of the band that rehashes the same old sources and tells the same tales.

In fairness, I think my opinion of this book suffers because I am reading it immediately after devouring Karl Bartos's memoir "The Sound of the Machine – My Life in Kraftwerk and Beyond" which contains valuable insight and fascinating stories about the creation of the album. I can recommend the Bartos book without hesitation.

It's a similar position with the second book "The Human League and the Sheffield electro scene" which I am reading soon after finishing Martyn Ware's autobiography.

There's nothing new in the book's examination of the songs and things feel rote compared to Ware's analysis. The author repeatedly refers to Sheffield as a "small city" and seems to regard the subject matter with mild disdain. This book feels like a commission rather than a labour of love. When I read about the influence of "Eileen Derbyshire" who worked for the "Doctor Who Sound Workshop" (p41) the credibility of the author evaporated completely.

Whilst it may make sense to the author to include an examination of Heaven 17 material until the release of "How Men Are", his decision to stop at this point feels arbitrary. The assertion that The Human League and Heaven 17 became "too divergent" at this point doesn't make sense. Both bands were set on very different courses from the moment Phil and Virgin Records fired Martyn and made an all out assault on the charts. I also think the approach of this book is quite disrespectful to Heaven 17 who merit a book of their own rather than being rolled up as an adjunct.

Front Line Assembled

About 4 years ago I posted about my quest to acquire all of Front Line Assembly's back catalogue on CD. I continued to buy CDs from Discogs and eBay until only one CD single eluded me. For about 2 years I have searched for a copy of  "No Limit" but as this CD is 33 years old, it can be difficult to come by at a reasonable price. Having finally won an auction last week, my collection is now complete.

The music in this CD mixes samples of speech and effects from films with driving Yamaha DX7 basslines and Bill's indiscernible lyrics. The mixes are far too long and the sample of a man repeatedly screaming for the final 5 minutes of "Lethal Compound" is a very real test of your resolve. However, if you're in the mood for some late eighties industrial music "No Limit" fits the bill.

One aspect of record collecting that I find rewarding is when I get to delete an eBay saved search or remove something from my Discogs wantlist. So I'm quite content tonight. This is both because I finally own the CD but also because I can stick two fingers up to the guy who has been repeatedly listing this CD at inflated prices on eBay for about 3 years. Sometimes you just need to stick it out to stick it to the scalpers.

One record at a time: 136. Eurythmics - Sweet Dreams (Are Made of This)

My first exposure to Eurythmics was in 1983 when the video for "Sweet Dreams (are made of this)" played on Saturday morning children's television. I was entranced by the stunning visuals and thought the music was amazing.

As I grew older and my musical tastes matured, I continued to keep a watching brief on Eurythmics. I seem to think I bought "Savage" on CD as my first foray into their back catalogue and by the time "We Too Are One" came out I was a confirmed fan. So essentially, I always liked Eurythmics, but only began buying their records when they began to disintegrate.

In some ways "Sweet Dreams (are made of this)" is both a beginning for Eurythmics and their zenith. With this album Dave and Annie finally found commercial success, but in terms of electronic music, nothing else in their back catalogue came close to matching this. Yes, "Touch" is impressive and "Savage" partially revived the electronic sound; but no other album is as consistent in its genius as "Sweet Dreams". Here I will be playing a standard, common or garden original pressing of the album that I acquired from eBay in 2014.

The album begins with "Love is a Stranger" which is a great song but a curious choice for a single (don't let the peak chart position of this song fool you, it was initially released before the album and did nothing; it only became a hit after the album was released). Having said that, the first two singles from the album "The Walk" and "This Is The House" are even more bizarre selections. Whilst all three of these songs are masterful in their production, they aren't the immediate, radio friendly ear worms that would have garnered commercial success. At the time Dave and Annie were making music at home using an eight track and a small selection of synthesizers. There was no master plan or co-ordinated effort, they were just releasing material as they created it. Things only took off when Dave threw a bass line into the sequencer and Annie overdubbed a synth riff and began singing the line "Sweet dreams are made of this". 

The second track "I've Got an Angel" features Annie's flute and some gritty synth bass that provides the perfect counterpoint to the polished vocal. I must confess, I didn't realise the next track "Wrap it up" was a cover version until I wrote this article. This track features the inimitable Green Gartside singing a duet with Annie to great effect. For some reason I have always liked the abstract, and vaguely sinister "Jennifer". This song is almost the equivalent of in impressionist painting with lyrics that are vague enough to allow the listener to interpret them and create their own story. 

The album closes with two mid-tempo tracks in the form of "Somebody Told Me" and "This City Never Sleeps". The former song is a tense affair which relies upon the juxtaposition between a laconic Juno-60 bassline and Dave's bluesy slide guitar. The oppressive atmosphere of  "This City Never Sleeps" is somehow disturbing and soporific in equal measure. Both songs seem to wind the album down and make a perfect ending.

A short time after the final track has come to an end, you can just about make out the sound of underground trains and there is even a "secret message". As I only owned the album on CD in the early nineties, I had no way of playing this reversed message and it wasn't until I recorded a WAV file into my PC and reversed it in 1995 that I finally heard Dave saying: "I enjoyed making that record. Very good.". And he's right, it is a very good record. 5/5

One record at a time: 135. Eurythmics - In The Garden

You will be unsurprised to hear that when I was at school, music was a frequent topic of conversation. My school days coincided with the peak of the Eurythmics commercial success and albums such as "Be Yourself Tonight", "Touch" and "Savage" would occasionally feature in our conversations.

However, there was always one Eurythmics album that was regarded with suspicion and doubt. "In The Garden" predated the bands success and nobody dared risk their precious pocket money on such an unknown quantity.

However, as I had a reputation for being a voracious consumer of music, there was an assumption by some that I owned the album. One day I was asked directly if I had heard the album and what I thought of it. The question was posed in a way that suggested reverence to my opinion. Full of adolescent self importance I lied and said, "Yeah, I have it and it's quite good." 

Some weeks later the same kid came back to me and said they had splurged their pocket money on a copy of "In The Garden" and either I had lied or my taste was poor. I remained diplomatically silent on the issue, but did feel guilty enough to purchase the CD in a strange effort to wallow in the same misery. Unfortunately I no longer own that original CD, but I did pick up the vinyl from eBay six or seven years ago and I will be playing that for this review. The dynamics on the vinyl are a little flat but this probably reflects the mastering style of the time rather than incompetence. Happily my copy doesn't seem to have any scratches and is in very good condition through out.

Before we start it is worth noting that this album was recorded before Dave and Annie adopted synthesizers and achieved commercial success. The music on this record is in a more typical rock style and it is no wonder it failed to satisfy teenagers looking for another "Sweet Dreams (are made of this)".  

Whilst the songs here might lack immediate appeal, they do still hold some interest. Things don't get off to an auspicious start as "English Summer" is a little languid and Annie's vocals lack confidence. But if you persist the chorus does deliver some charm before the songs peters out. Things kick up a gear or two with "Belinda" with its chugging guitar riffs and robotic drumming. There's no doubt this is a catchy tune that would have been great if it was recorded using synths rather than by a conventional rock band (even if Robert Görl is playing drums).

"Take Me to Your Heart" benefits from a synth driven backbone that is only slightly undermined by the uninspired bass guitar. Here Annie seems to be finding her voice and sings as if she believes in the material rather than just churning out album filler. The song is a little one dimensional but you can definitely hear the hints of what was to come in later albums. "She's Invisible Now" harks back to the sixties with some nice synth arpeggios thrown in, but Annie's vocal has reverted back to brittle sounding whispers. Side one closes with "Your Time Will Come" which builds into quite a good song, but like many here, it's little raw and under developed.

On the flip side "Caveman Head" does have a nice little synth riff running throughout, but it is essentially the same groove running without variation for four minutes. The highlight of the album for me is "Never Gonna Cry Again" which was also released as a single. I first heard this song on the post-split 'cash in' album "Live 1983-1989" in which Annie lets rip with a fantastic flute solo that is sadly missing on the album version. The next track "All the Young People (of Today)" comes and goes without making much impression but the French vocals and natty melody of "Sing-Sing" are very accomplished. We finish off with the middling "Revenge" which would later be re-recorded more successfully as "Revenge 2" for the album of the same name in 1986. 3/5