One record at a time: 179. The Human League - Fascination!

"The Human League: The Virgin Years" box set includes a copy of the North American release "Fascination!". I'm guessing that this record is included as it provides a convenient way of presenting non-album material from the band's commercial peak. 

This compilation is a product of a time when music wasn't released globally and the output of an artist varied from territory to territory. In order to release material available in other countries, record labels would sometimes make unique compilations. Examples include "In Depth" by Pet Shop Boys which was produced by EMI Japan, "People are People" by Depeche Mode which was made by their American record company Sire or even "Yesterday and Today" by The Beatles.

This particular compilation kicks off with the extended version of "(Keep Feeling) Fascination" which made for a catchy and memorable single. This track represented something of a change of sound for the band with Ian Burden's classic bass guitar adding to the synth and vocals.

"Mirror Man" was the follow up single to the phenomenally successful "Don't You Want Me" and we are presented with the familiar single mix here. I seem to recall Philip revealed the song was written about Adam Ant but my memory may be defective. Regardless of the subject matter this is a great tune that somehow harnesses electronic instruments to give a new take on the Motown sound. I don't like Motown much, but I do like this.

Next up are two b-sides that hadn't previously been released in North America: "Hard Times" and "You Remind Me of Gold". "I  Love You Too Much" was re-recorded for the next album "Hysteria", but this original version produced by Martin Rushent is much more compelling. Things finish off with the "Improvisation" mix of "(Keep |Feeling) Fascination" which was originally released on the 12" single in the UK and Europe. This mix is akin to the dub mixes featured on the "Love and Dancing" remix album and makes a fine ending. 4/5

One record at a time: 178. The Human League - Love and Dancing

Whilst this record is credited to The League Unlimited Orchestra, I consider it to be The Human League's fourth album. Here I am playing an original copy of the album from 1982 which is in very good condition.

As I've mentioned in these posts before, there were lots of remix albums in the eighties, but along with "Non Stop Ecstatic Dancing", this album is a progenitor. Remix albums were such a new phenomenon in 1982 that they even felt they had to add the following text to the sleeve, "This Album contains instrumental versions of previously released songs by The Human League specially remixed and produced by Martin Rushent". 

The album starts with the "Instrumental Remix" of b-side "Hard Times" which was previously included on the 12" single of "Love Action (I Believe In Love)". This mix has a great bassline which drops off just before it becomes annoying and there are various synth squiggles and vocal lines flying in and out to keep things interesting. 

The running order of the "Love Action" single is reversed and the instrumental remix of the title track comes next with its dubby drum delays and edits. "Don't You Want Me" is a bit too long but has some great effects that might be considered standard now, but were difficult to execute in the early eighties.

One of the more extreme remixes on the album is "Things That Dreams Are Made Of" which is stripped back to its Linn LM-1 rhythm and each element of the backing track given a moment in the spotlight. These 'dub mixes' are a bit like peeling back the layers of an onion - they reveal elements of the original song that you may not have heard or fully appreciated before. The version of "Do Or Die" sounds much faster than the album version and is a little bit messy. The tempo does relent a little bit for the remix of "Seconds" but the delay unit is still getting a severe workout. The last three songs are all under three minutes in length so songs like "Open Your Heart" and "Sound of the Crowd" don't quite get the same room to breathe as earlier tracks. Whilst some of the aural gymnastics and edits may not sound as impressive today as they did in 1982, this album is both entertaining and culturally significant. 4/5

One record at a time: 177. The Human League - Dare

Whilst the reasons for the break up of the original band are variously documented, they remain strangely opaque. Whatever skulduggery that brought about in the line up changes, there is no doubt the version of the band that produced "Dare" in 1981 were not the earnest young men writing songs about Philip K Dick novels and clowns on drugs. 

This album is something of a landmark in the history of The Human League but also synth-pop in general.  Suddenly Philip is singing about love and relationships in a way that would never have been allowed in The League Mk 1. Whilst Susan and Joanne were probably the most striking visual change to the line up, the addition of Ian Burden and Jo Callis carried most impact on the songwriting. The final piece in the puzzle was producer Martin Rushent who seemed to be able to wrangle electronic instruments to craft perfect pop.

I own an original UK pressing of this record from 1981 and a blue vinyl which was included in the "Virgin Years" box set from 2022. As you can see in the photo, the forty year old copy is looking a little bit grubby and has a few light scratches here and there. The new record is pristine and sounds pretty good to say it is on coloured vinyl.

Opening track "The Things That Dreams Are Made Of" made a big impression on me when I first bought this album on CD. Whilst this song wasn't released as a single it was somehow familiar to me and I thought the synth used on the chorus was amazing. Even though these songs use the Linn LM1 drum machine, Rushent makes it sound infinitely better than on contemporary releases by bitter rivals Heaven 17.

Listening to this album also reminds me of the night I found myself in a nightclub on a "Student Night" where they seemed to play nothing but dismal indie or grunge. Quite what kept me in the club I can not say, but sometime around 01:00 am the DJ suddenly dropped "Open Your Heart". At this point the indie brigade vacated the dance floor and those of us who had been pulling faces in the shadows emerged into the light. The DJ took note of our validation and continued to play dance and electronic music to a sea of happy smiling faces. If only for one night this song fought the good fight and proved that the world didn't revolve around Nirvana in 1992. For that reason alone I will always love "Open Your Heart".

The song that signalled the commercial breakthrough of The Human League was "The Sound of Crowd". The version presented here is a remix with a new bassline but it remains a perfect brooding pop single that has stood the test of time. The next song "Darkenss" sounds like two different songs that have been welded together but the melodies are memorable and it's great to hear Jo Callis on backing vocals. "Do or Die" is a playful number with my favourite lyric on the album: "I'd like to leave, so would you kindly look the other way".

The second side opens with a bizarre, but mercifully short version of the theme to the film "Get Carter" which along with, "I am the Law" make a nice change of pace. Any song that centres on the assassination of President Kennedy has the potential to be pretty disastrous but "Seconds" is both respectful and entertaining. An insistent Linn drum machine and Roland Jupiter 4 propel "Love Action (I Believe In Love)" to dizzying heights of synth pop perfection. Just as you think this album can't get any better you hear the final track "Don't You Want Me" and realise this album is an embarrassment of riches. 5/5

One record at a time: 176. The Human League - Travelogue

"Travelogue" is the second album by The Human League and here I am playing the 2016 180g repressing. As with "Reproduction", this album was made by a different line up to the one that exists today and sits in a kind of limbo. This album wasn't included in the recent "Virgin Years" box set and the current band don't play these songs live (although Heaven 17 played the album its entirety for its 40th anniversary).

The album starts in the same vein as the first with nonsensical space-age lyrics sung over the clacking analogue synths. There's a very enjoyable version of Mick Ronson's "Only After Dark" which only needs a kick drum to be perfect.

Another highlight for me is the magical instrumental "Toyota City" which draws on the influences of Bowie, Eno and the band Japan to great effect. But nothing else on this album really catches the ear in the same way.  

"Crow and a Baby" sounds like a prototype version of "The Sound of the Crowd" and there's a sub-par re-recording of their first single "Being Boiled". The rest of the album consists of a cover of the theme tune to a TV commercial and various unremarkable attempts at synth pop. I have a CD version of this album which features some contemporary non-album singles and the rather funky "I Don't Depend n You", but none of this is included on the vinyl.

The relative commercial failure of this album caused some anxiety within Virgin Records and a split of the band was engineered to try to garner more sales. As the next post will reveal, the plan succeeded. 2/5

One record at a time: 175. The Human League - Reproduction

This is the debut album by The Human League which was originally released in 1979. I own a copy of the 180g repressing from 2016 which sounds clear and has no surface noise or other issues. Purists may note that this record uses the 'remixed' masters which omit the sound effects heard on the original pressing.

I'm not really sure if Philip, Joanne and Susan regard this album as part of their oeuvre nowadays as it wasn't included in the recent "The Virgin Years" box set. However, they have played tracks like "The Path of Least Resistance" and "Empire State Human" live so it must be considered canon in some way. 

To me this record sounds rather naive and certain sources would have us believe that this is because it was created at a time when electronic music was in its infancy. Yet by 1979 Kraftwerk had already released the highly polished "The Man Machine", Daniel Miller had created the seminal "T.V.O.D." and people like Jarre and Vangelis were nearing their commercial peak. 

I think it is probably more accurate to say that the sound of this album is driven by something more fundamental: money (or lack thereof). Martyn Ware himself has pointed out that some of his contemporaries could afford much better equipment and were able to create better sounding records as a result. There are a lot of good ideas and strong melodies on this album, but the band didn't quite have the resources to polish their creations. Martyn Ware also suggests producer Colin Thurston diluted the sound of the band in what was his first outing as a producer.

"Almost Medieval" dates back to the very earliest days of the group and is a tangled tale about moving back in time. Much like early Heaven 17 material, this song doesn't flow and stutters along whilst Phil sings couplets like, "Jump off the tarmac there's no stagecoach speed limit. Outside the office hangs the man on the gibbet."

"Circus of Death" was originally a b-side but is presented here as a new mix which incorporates a few edits to reduce the running time. Once again Phil spouts some contrived sci-fi themed lyrics as Ian and Martyn tinker away with their synthesisers. The next two tracks "The Path of Least Resistance" and "Blind Youth" continue to deliver stuttering, angular rhythms set against ridiculous lyrics such as, "Dehumanisation, Is such a big word, It's been around since, Richard The Third."

In his autobiography, Martyn says "The World Before Last" sounds weak compared to the version they played live at the time, but I think this track is amongst the best on the album. Another stand out track is the single "Empire State Human" which was a concerted effort to create a hit single that failed. 

One the b-side, "Morale...You've Lost That Loving Feeling" is not a track I enjoy. Whilst I know the band members found inspiration in blue eyed soul and R&B, it isn't a passion I share. I'm not sure where each of the two original compositions included in the medley "Austerity / Girl One" begin and end, but there are some really interesting ideas in here. Things end with the accelerating tempo of "Zero as a Limit" which lacks melody and is a bit of a disappointing end. 2/5

One record at a time: 174. Hot Chip - Freakout/Release

Last year I decided I needed to be more selective about the vinyl I purchased. This decision was partially driven by finances but also by the practical consideration of where to put all of this stuff. Therefore when Hot Chip announced their new album I decided not to pre-order it. 

Therefore, when this copy of the album arrived in the mail (complete with signed art print) soon after release, it came as something of a surprise. Someone really should take my phone off me when I have been drinking.

"Down" is based around a long sample of "More Than Enough" by Universal Togetherness Band. This track features acoustic drums and employs the over saturated vocal sound that Depeche Mode seem to love nowadays. You can tell I'm not a fan. 

"Eleanor" starts very brightly but the acoustic drums sound saggy and drag the whole thing down. "Freakout/Release" is produced by Soulwax and inevitably sounds like it could have been culled from their "Nite Versions" album. 

On the flip side "Broken" is one of the better tracks on the album as it has a lush sound and strong, almost pop, melody. "Not Alone" is a slower and more contemplative effort but it becomes a bit boring. Lyrically  "It's Hard to be Funky" is just stupid but more accomplished from a production perspective.

The second disc kicks off with "Time" which develops into a great dance number that might have befitted from coming at the start of the album. "Miss This Bliss" simply takes too long to get going and when it does gather some momentum neither the groove nor the melody are strong enough to impress. Disappointingly "The Evil That Men Do" sees the return of saturated vocals and seems to borrow the piano riff from Moby's "Honey". 

On the final side of the album "Guilty" has a strong electronic sound and enough eighties touches to be seriously impressive. In fact this is my favourite song on the album. "Out of my Depth" is yet another attempt to produce a flourish at the end of the album. This track reminds me of the sound of early Kraftwerk; all it needs is some flute to complete the sound. A fair effort but not one of their best. 2.5/5 

One record at a time: 173. Hot Chip - A Bathfull of Ecstasy

There are a few Hot Chip albums I only own on CD so we find "A Bathfull of Ecstasy" from 2019 next on the shelf. This is the standard European double album in a gatefold sleeve.

I've not listened to this album much in the last three years as I think the terrible cover and strange title might be deflecting me. The first track "Melody of Love" has a lush production that I don't normally associate with Hot Chip. Closer examination of the credits reveals this album uses external producers which may explain its added sparkle.

The seconds track "Spell" sticks more closely to the band's normal recipe and sounds strong and melodic - even if the Vocoder is a little over used. The title track is a mid-tempo R&B influenced groove that uses auto-tune on the vocals but misses the mark for me. 

When I first heard "Echo" I thought it was about to break into "The Circus" by Erasure, but as the track develops it actually becomes a nice groove with some great drum programming. I own a number of remixes of the next rack "Hungry Child" that develop it into a more immediate dance track, but the original version here is much more satisfying. This track builds the atmosphere beautifully before the beats come in and lift it to another level. Like a lot of the tracks I've heard so far there is a great groove here but I'm not sure the melodies are as strong as on previous albums.

The best song on the album may also be the best song Hot Chip have ever recorded. There's something about "Positive" that appeals to me on every level; the lyrics are the irreverent and yet touching, the drum programming is just perfect and the atmosphere created by the synth textures is sublime. 

Things slow down a little for "Why Does My Mind" and the bossa nova beats of "Clear Blue Skies" but neither are very impressive. The final track "No God" is a clear attempt to generate an epic finish but it is only partially successful. I should listen to Hot Chip more. I think I regard them as being a bit 'hit and miss', but listening to albums like this I realise they are more consistent than I recall. 3/5

One record at a time: 172. Hot Chip - One Life Stand

The release of this record coincided with both my growing appreciation for Hot Chip and a resurgent interest in vinyl. This double 200g pressing is numbered and comes with a 7" single that features a couple of bonus tracks.

This version was exclusive The Vinyl Factory who used to release a steady stream of limited edition pressings that were very finely crafted and clearly designed to appeal to collectors.

Today vinyl is no longer a niche product so most labels seem content to get GZ Media to knock out some cheap copies and count the cash. Heavyweight, numbered items like this have disappeared. They certainly don't appear on The Vinyl Factory store any more anyway. Now all their shop seems to list is sold out items, 12" singles for an eye watering £20 or obscure stuff you've heard of (and unlikely to even want to hear).

As you might expect of an album that was cut at Abbey Road and pressed on the EMI 1400 it sounds good. In fact, the first disc is an almost perfect collection of songs that must rank amongst the band's best. Unfortunately the second disc has a couple of more disappointing tracks in the form of the overly long and rather boring "Slush" and the disjointed "Alley Cats".

However "We Have Love" and the uplifting chorus of "Take It In" are quite brilliant and come close to matching the quality of the material on the first record. Neither Hot Chip nor The Vinyl Factory make records like this any more and that makes me sad. 4/5