This isn't the first time I've messed up the order of my reviews and I am sure it won't be the last. For some reason this record was filed incorrectly and I only discovered it at the back of the shelf today. I wonder how many more I might have missed over the last couple of years...
As I pore over the sleeve of this slightly yellowed original LP, I notice it is produced by Tony Mansfield. I immediately associate Tony with two things: a-ha and the Fairlight CMI. Whilst the credits tell us Fairlight was used on here, it isn't that obvious and the final sound is lush and varied.
The more you look at them, the more imposing the credits for this album get. As well as Fairlight it uses a NED Synclavier 2, PPG Wave, an OBXa, Prophet 5 and an Emulator. If these instruments weren't impressive enough, I then notice it was recorded at Abbey Road and mixed at Pete Townsend's Eel Pie Studios. EMI clearly threw a lot of money at this project back in 1982 - I can't imagine how much it cost to put together. Personally, I think the money was well spent and every penny can be heard in the finished product.
The opening track "Voices in my Head" sets the stall out early with its unashamed synth-pop styling that is infused with rhythm and infectious hooks. I love the organ solo in the middle of this song and the various synth textures that rattle around augment Pete's vocals nicely. The opening of "I Could Show You How" features a great synth melody and there are analogue percussive elements running throughout the song that make me think Rob Fisher and Tony Mansfield must have been some sort of synth programming geniuses.
"A Very Hard Act to Follow" has a very sparse introduction using the detuned clap from a Linn LM-1 and a sample that sounds like it is from the Fairlight. This is another great composition that is full of hooks and melodic elements that prove to be very catchy. There's a cover version of the Burt Bacharach standard "Always Something There To Remind Me" which makes liberal use of Simmons SD1 toms and is a pleasing addition. Once again there is some stunning synth work on "Fortune and Fame" and "Could Be" provides a nice change of pace. In fact the later song is so good it can even withstand a mercifully short saxophone solo (it was the eighties after all).
The flip side opens with the title track which sounds good but doesn't feature quite as many flourishes as some of the stronger material on the album. Speaking of strong tracks, "Emotion in Motion" is one of my favourites. The synth work on the introduction of this song is sublime and recedes perfectly to allow Pete's cracking vocals room to breathe. As "Low Life" fires up I thought the bassline could almost be the ubiquitous DX7 preset E.BASS 1 but as there is no DX7 on this record, it is probably from the Synclavier. There's another slower track with "The Time is Now" which is good without setting the world on fire.
"When the Lights Go Out" has a fairly standard verse but the chorus blooms with a great melody and analogue synth rhythms that remind me of "Ice Machine" by Depeche Mode. We go out on a high with the single "Promises Promises" which has fabulous rhythm guitars (courtesy of producer Tony Mansfield) and an infectious melody that makes me want to go back and play the record again. Having played the record again I realise this is only the second time I have done this in listening to over 250 LPs.
In terms of sound reproduction this has to be one of the nicest records I own. Whilst it may not have deep bass and sparkling top end, it is very sympathetic to the material. Despite being forty years old, my copy is in near perfect condition and doesn't make a pop or crackle anywhere. This record seems to have been issued in a polythene lined inner and its sound is testament to a time when vinyl was pressed well.
This record and Naked Eyes are most definitely underrated here in the UK and its a real shame they are not revered more highly. I only became aware of them when "Voices in my Head" was recommended to me on last.fm in May 2011. The band's relative obscurity is probably due to the fact that they didn't tour or play live much; but have no doubt, this album is a synth-pop classic waiting for the world to wake up to its genius. 5/5
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