One record at a time: 222. Kraftwerk - Autobahn

We've reach another significant milestone as we now need to work our way through the Kraftwerk back catalogue. Take a deep breath and hold on tight; we're going in. 

When I began buying music in the mid eighties, the received wisdom was that "Autobahn" represented the birth of Kraftwerk. To a certain extent the band continue to drive this perception by omitting their first three albums from concerts or when reissuing their back catalogue.

I can see why Ralf hides these albums away as their style doesn't fit the "Godfathers of Electronic Music/Techno" narrative. Yet, to a certain extent, "Autobahn" doesn't fit the story too well either. There is plenty of violin, organ, flute and twangy guitar alongside the sounds of the Minimoog and ARP Odyssey on this record. In fact, when I first bought "Autobahn" on CD I was so unimpressed by the presence of traditional instruments that that I took it back and changed it for something else. 

Some years later I bough the album again and, whilst it will never be my favourite, I began to appreciate it much more. Today, I own an original UK pressing, the 2009 remastered edition and a version included in the box set "3-D (The Catalogue)". The first two of these records contain the original mix but the third is a live "reimagining". I'll play the original first.

A distant thud sounds as someone closes their front door before getting into their VW Beetle and driving away. A synthesised horn sounds and a vocoder announces that we are about to enter the autobahn. As things progress the melody and leitmotifs exchange places with vocals and sound effects intended to give the impression of a car journey. The guitar and flute on this twenty minute opus do stick out a bit, but it remains entertaining throughout its extended length.

On the other side, "Kometenmelodie 1" is a doleful and meandering tune played on a patch created using white noise. There is some piano interspersed with the synth noises but there isn't a lot of variation to warrant the six and a half minute run time. "Kometenmelodie 2" is a more upbeat and tuneful piece but today it sounds like the most dated track on here. "Mitternacht" is a darker and less melody driven piece that hints at things to come on future albums. "Morgenspaziergang" is an electro-acoustic piece featuring a melody played on the flute with accompaniment on piano. This last track is the least electronic on the album and my least favourite as a result.

The reimagined live "3-D" LP is a cleaner and more economical recording that dispenses with some of the more overindulgent elements of the title track and offers much better dynamics on the other cuts. Thankfully there is no trace of any traditional instruments on the new version and its reduced running time makes for a more satisfying listening experience. No doubt there are fans of the original that regard such views as heresy; but I didn't buy this album until it was almost twenty years old and it has always sounded old fashioned to me. 2/5

One record at a time: 221. Kissing the Pink - Naked

To be honest, I hadn't heard of Kissing The Pink until about six years ago when I saw a repeat of Top of the Pops from 1983 where they played "The Last Film". There was something mesmerising about the band's performance and the music really fascinated me. I bough the remastered CD of the album "Naked" but didn't own the vinyl until I stumbled across this copy in a shop a couple of years ago.

"The Last Film" opens the album and features military drumming, electronic percussion and a catchy melody. When you listen closely you can hear multiple layers of vocals and percussion weaving in and out to make an intricate and satisfying experience. "Frightened in France" starts with some great early eighties synth loops and the vocoder work that runs throughout is just brilliant. Things change for "Watching Their Eyes" which has a more stereotypical new wave sound and Jo replaces Jon on vocal duties. Despite its darker tone, this song is really catchy.

"Love Lasts Forever" is reminiscent of David Byrne or Talking Heads and there are enough electronic elements running through it to retrain my interest (even if it is a bit too long). "All For You" sounds remarkably well realised for 1983 and hangs in the air like gossamer. At the end of the first side, "The Last Film" is reprised as the "Hymn Version" which is essentially just a different mix.

The opening to "Big Man Restless" has some distinctly Kraftwerk vibes that morph into a groove that sounds at least ten years ahead of its time. As Jon delivers his deadpan vocal the track builds into a mesmerising and beautiful piece where Jo's saxophone shines like a diamond (and I am not keen on saxophone). I simply love this.

Equally brilliant is the soaring "Desert Song" where Jo takes over on vocals once more. This track is a real highlight and I'm almost ashamed it took me so long to hear this wonderful piece of music. 

"Broken Body" reminds me of Gary Numan - who was faltering commercially but still à la mode in 1983 - but Kissing The Pink aren't quite able to match the great man on this occasion. Unfortunately "Maybe This Day" sounds like a second rate show tune and "In Awe of Industry" is a little lacking in direction. The album ends with "Mr. Blunt" which has an undeniable rhythm that ensures things finish on a high. 

This album is described by various sources on the internet as "synth-pop", but in reality I think it is something much bigger than that. Within this music there are threads of multiple genres and the technical chops of the band shine through. Having just listened to the record I suddenly feel I haven't played it nearly enough. To my shame I have underappreciated magnificent songs like "Big Man Restless", "Desert Song" and "All For You" up to now. I now intend to put that right. 4/5

One record at a time: 220. Howard Jones - Dialogue

When I noticed this album was being released as a limited edition that was individually numbered, I contemplated buying it. However, I decided I would continue to economise and just listen to the album digitally. 

Not long after Christmas I received a little red card from Royal Fail to say I had missed a delivery and I should go and pick it up. When I finally got the package I was very surprised to find this record inside. It seemed that I had pre-ordered this at quite an early stage (I received number 0015) but I then completely forgot about it. I am pleased to own this record, so let's give it a spin.

"Celebrate it together" is another one of those upbeat songs that Howard seems excel in writing nowadays. There are great lyrical nods to the past with the, "things will only get better" refrain that is backed by dance beats. I like "Formed by the stars" as it is a dreamy and reflective piece, but it a features a bit too much vocal processing to be truly great. "My One True Love" is well produced but is a little bit nondescript as a composition. "Be The Hero" uses pretty much the same sounds as previous tracks but has a funky, almost Kraftwerk like syncopation that rescues it.

On the flip side things stray into Giorgio Moroder territory with the driving arpeggios of "What You Really Want To Be" before the mesmerising sounds of "You Are The Peacemaker". By the time "To Feel Love" and last track "I Believe In You" come around I am beginning to tire a little of the same sounds being constantly recycled. There are only eight tracks on this record and that feels about right as I sense the ideas were running a little short by the end. 3/5

One record at a time: 219. Howard Jones - Transform

From 1985's "Dream Into Action" we skip forward 34 years to "Transform" (it seems I have some holes to fill in my HoJo collection). I bought this record when it was released and was pleased to see that three tracks were collaborations with electronic/dance artist Brian Transeau.

"The One To Love You" is a great opening track that successfully combines elements of contemporary dance music with a healthy dose of eighties nostalgia. This is undoubtedly one of the album's highlights.

After such a triumphant start it's inevitable that the second track "Take Us Higher" sounds a little less impressive. Whilst his is a highly competent production by HoJo's long time collaborator Robbie Bronnimann, it lacks some of the fairy dust that BT sprinkles on his tracks. 

On the vinyl "Hero In Your Eyes" comes next and is one of those songs that reminds me of something else, but I can never put my finger on it. The lush sound of the title track instantly singles it out as having been produced by BT and it feels a cut above some of the songs that surround it. Side one ends with the highly electronic "Beating Mr. Neg" which sees Howard fleetingly dead panning in a weird mock cockney accent before exploding into an uplifting chorus. 

"Tin Man Song" ticks along nicely before the reflective "At The Speed of Love" slows the pace to provide some contrast to the electronic beats. Things kick up again with "Eagle Will Fly Again" and the closing track "Stay With Me" sounds like it caught all involved in a party mood. I'm thankful that so many artists I first heard in my youth continue to release music like this; I'd love to hear a whole album of BT and HoJo. 3/5

One record at a time: 218. Howard Jones - Dream Into Action

This copy of HoJo's second album is in great condition and was bought from a second hand record store just over a year ago.

The single "Things Can Only Get Better" opens things up with its catchy call and response chorus and Emulator bassline. Unfortunately second track "Life in One Day" moves away from a synth-pop sound and as it doesn't sound good as a result. I can appreciate that there is a good hook in this song, but the instrumentation really lets it down.

Unfortunately, the title track sounds a bit like tuneless industrial music and isn't very entertaining. Things improve drastically with "Nobody Else Is To Blame" which finds Howard at the peak of his songwriting abilities. My copy of the album contains the original mix but some later pressings carry the single version. If you are more accustomed to the single version produced by Phil Collins and High Padgham, the original album version can sound a bit strange, but it remains a brilliant composition.

I have always felt "Look Mama" was a bit incongruous as it seems to be a coming of age tale that is full of teenage angst being sung by a 30 year old man. Again, it is a good tune, but just doesn't hang together quite right. Side one rounds out with "Assault and Battery" which has some great synth sounds running alongside the piano and is worth listening to.

"Automaton" has a predictably machine like arpeggio sequence running in the background as Howard sings a fairly pointless tale about meeting a robot. There's some nice DX7 sounds on "Is There Any Difference?" and "Elgy" is a torch song that gives you a chance to go to the bar. The last three songs seem to be an amorphous mass typical eighties sounds with only the occasional "rap" or organ solo penetrating the mediocrity. 2.5/5

One record at a time: 217. Howard Jones - The 12" Album

For whatever reason, I have never got round to buying Howard Jones's debut album on vinyl so "The 12'' Album" is the first HoJo record on my shelf. This record was a surprise find at a car boot sale in 2019 and it's in pretty good condition to say it only cost £1.

Things kick off with "Always Asking Questions" which sounds so good my memory says it must have been a single; but the internet tells me it was not. This is not the first time my memory has lied to me.

The "New Version" of "New Song" is a little more sparse than the hit single version but it is really interesting to hear Howard's vocal and his electric piano in a different context. The organ licks are especially spectacular.

Side one rounds out with another top ten single in the form of "What Is Love? [Extended Mix]". As far as I can tell this is the same mix found on the original 12" and it offers a classic eighties approach to remixing. For the first three minutes things sound much like the single but then the DX7 "BASS 1" preset is heard in isolation before the song gradually re-builds back to its grandeur.

Side two opens with the non-album single "Like To Get To Know You Well" which is presented as the "International Mix" from the original 12" single. I'm not a massive fan of this track as it doesn't really flow well and the production sounds a little flat. Things pick up with the excellent "Extended Mix" of "Pearl In The Shell" and an new version of album track "Conditioning" titled "Total Conditioning".  

I love old school 12" mixes and miss albums like this being released. Yes, remix albums were a marketing tool, but this one still offers great entertainment 38 years after it was released. 4/5

One record at a time: 216. Johnny Hates Jazz - Turn Back The Clock

This record might just represent the zenith of eighties pop. This is not to say I think this is the best album of the eighties, but rather that it was a high water mark for British pop before the likes of S'Express, Soul II Soul and 808 State came along and turned the charts upside-down with dance music.

On this record Johnny Hates Jazz seemed to distil everything that had gone before into a mix of catchy tunes, danceable rhythms and considered lyrics. The production is refined and played out on the machines whose sound defined the decade. Yamaha DX7, Roland D-50 and Fairlight sounds mingle with live percussion, orchestra and Clark's vocals. There's even some palatable guitar work.

One reason I might be alone in regarding this album as some sort of apogee is the way the band were portrayed in the music press and a general perception of them as being "yuppies" (was there a worse insult in the eighties?). I also think the emergence of dance music in the early nineties led to a revisionist attitude which regarded groups like Johnny Hates Jazz as anachronistic. Yet, there aren't many albums that get to number one in the charts and spawn six singles in the way this one did.

Right from the start this record lands a series of knock out blows with the hit singles "Shattered Dreams", "Heart of Stone" and "Turn Back the Clock" delivered in an unrelenting barrage of pop. Whilst the next track "Don't Say It's Love" was less successful when it was released, it is still a pleasing slice of pop that will be appreciated by anyone who enjoys the bigger hits. The first side closes with "What Other Reason" which is a bit of a dreary ballad, but it does have a good hook in the chorus.

Side two kicks off with the impressive "I Don't Want To Be A Hero" which has a bright pop tune with quite solemn anti-war lyrics. Whilst "Listen" sounds a little under produced, it has some great hooks and I love the little organ refrain that runs through it. One of my favourite tracks feels like it was an afterthought as it is buried away at the end of the record. "Foolish Heart" was released as a the band's first single a couple of years before the album and it wasn't a hit. I can see why the song didn't strike a chord with the record buying public as it isn't an immediate catchy tune but something more nuanced and strangely seductive. As the song begins you could be forgiven for thinking this is standard fare with a simple octave bassline and a relentless Linn Drum pattern, but as the the piano begins to weave its spell you realise this is something quite grand. The track continues to build and release until it reaches its sinister conclusion, "Hey Johnny. Where you gonna go with that gun in your hand..." 4/5

One record at a time: 215. Jean Michel Jarre - Oxymore

I started reviewing the Jean Michel Jarre records in my collection back in April and today we finally reach the end with "Oxymore".

This album seems to generate quite polarizing opinions amongst fans with some happy to declare it Jarre's best work since "Zoolook" or place it amongst the best 3 albums he has ever made. On the other side of the coin there are those of us who regard this as self-indulgent nonsense that finds Jarre devoid of ideas.

Before this album was released I became wary when I noticed it was to be made available as a binaural recording. To me this was a big warning sign that the music was going to be all style and no substance. To a certain extent this assumption was correct as there is little on this record that stands out and it just amounts to sound design rather than composing. Having said that, it is still better that the preceding album "Amazonia".

One online review describes this record as, "a hard listen" and I think that sums things up quite well. Nothing flows, ideas move in and out at random and parts of it are just plain annoying. I must have very different tastes to the people who love this album as I regard it as amongst Jarre's worst. 1/5

One record at a time: 214. Jean Michel Jarre - Amazonia

The music contained on this album was created as the background score for a 2021 media exhibition about the Brazilian Amazon region.  

As this is a 'score', the album doesn't contain the themes or melodic pieces that you might normally expect to encounter on a Jarre record. What we are presented with is an ambient soundscape created from a combination of electronic instruments and field recordings. If you can imagine Deep Forest with toned down beats and no melodies, you're about there.

Like the majority of Jarre's more recent output, "Amazonia" is also available as a binaural or Dolby Surround recording. The predominance of these spacial mixes indicates to me that this is is intended to be a listening experience rather than a 'pop album'. Which begs the question why release it as an album? Like AIR's "Music for Museum" (sic) this would probably have been better left as an exhibition piece. Anyone who isn't a Jarre fan or collector can give this one a wide berth. 1/5