One record at a time 424: Tears For Fears - Songs For A Nervous Planet

I'm not sure how to classify this album as it contains both new studio material and live tracks. This 2024 release features two LPs pressed on "Cocoa Cream" vinyl (ridiculous colour names seem to be de rigueur in the industry at the minute) pressed by GZ Media. As I ordered my copy through the Universal Records webstore it came with a signed 'art print' (in reality it is a glorified flyer) for the live film that was released simultaneously. 

Unfortunately the new material on this record contains the Beatesesque sound which seems to be obligatory on recent Tears For Fears records. Particularly guilty are opening track "Say Goodbye To Mum and Dad" and "Emily Said" which just sound like flimsy reproductions of lost Beatles b-sides. "Astronaut" even adds the sound of a Mellotron just to ram home the point. 

The sleeve for this record was generated by AI and you could have a stab at recreating the music too:

"Write a song using the ABABCB song structure based on the chord changes and melodies in The Beatles back catalogue post 1966. The lyrics that accompany the melody should be etherial and dreamy in nature and relate to a girl called "Emily". The instrumentation should focus on jangly guitars and acoustic drums with occasional motifs recorded with the flute sound from the Mellotron keyboard instrument."

The live tracks featured on the rest of the record are a mix of their biggest hits and material from their most recent studio album "The Tipping Point". There's some additional trance-like chords on "Change" and "Shout" is embellished with some melodic guitar, but otherwise these songs sound uncannily close to their studio counterparts. The band acknowledge that some elements are played from computer, but post production tinkering was limited to some occasional vocal tuning and some small mistakes that were patched with recordings from another show. 

When it comes to the live material my only complaint is that the ten minutes of wax wasted on the lacklustre "Bad Man's Song" could have been spent on at least two superior compositions ("Rivers Of Mercy" and "My Demons" spring to mind). The running order is different on the vinyl when compared to digital sources and dependent on which CD or file bundle you choose, the LP can have up to seven tracks less. 3/5

One record at a time: 423. Tears For Fears - The Tipping Point

The complex history of Tears For Fears means that there was a seventeen year gap between their sixth album and the release of "The Tipping Point" in 2022. I ordered this limited edition green vinyl with a good deal of trepidation as I hadn't really enjoyed any of the band's albums since the eighties.

The opening track "No Small Thing" was also used as a promotional single and was the first I heard of the new album. Whilst the song doesn't have the most promising of starts it does develop nicely. Still, I didn't feel this was a good start and much more lively efforts such as the title track or "My Demons" might have made for a better opening. Elsewhere "Long, Long, Long Time" and "Break The Man" are great songs. In fact, once you get over the initial hump of "No Small Thing", the whole of the first side is very good indeed. 

The flip side is a bit more hit and miss but it does feature my favourite song from the album, "Rivers Of Mercy". Not long after this record was released I was playing this song whilst my young children were running around playing nearby. After about three minutes I realised the usual noise and pandemonium had stopped and the children were now sitting quietly, listening to the music. It really is a captivating song and I recommend it very highly.

I am a little disappointed by the Beatles pastiche "Master Plan" (why do Tears For Fears albums have to include Beatles-esque track?) and the inclusion of "Stay" is curious given it was released five years earlier on a compilation. There's lots to like on this album, and its rock sound has just enough electronics to make it interesting. 

The sound quality from this vinyl is generally quite good given it is a GZ Media abomination. The tracks are cut quite loud and there are a good few crackles - but the richer bass of the vinyl means it remains superior to digital files. 4/5

One record at a time: 422. Tears For Fears - Rule The World

This compilation is from 2017 and was curated by the band themselves. As is the fashion, this collection of hits also features two new songs in order to drive sales. I bought this double LP at an astonishingly cheap £11 when it was in some sort of online sale. Pressed by MPO in France the sound is adequate without being outstanding. There's very little extraneous noise, but its not the most lively sound reproduction.

Proceedings begin with two of the band's biggest hits "Everybody Wants To Rule The World" and "Shout". The first of the new songs comes next in the form of "I Love You But I'm Lost". Written with Bastille's Dan Smith and producer Mark Crew this song has a pretty good hook and earns its place in the back catalogue.

The tracklist rattles through all of the expected big hits including, "Sowing The Seeds Of Love", "Mad World" and "Head Over Heels". Disappointingly, the version of "I Believe" is the album cut and not the live/re-recording that was released as a single - but this is a small quibble.

There are also a couple of tracks culled from the albums "Elemental" and "Raoul and the Kings of Spain" which are effectively solo recordings by Roland. The highlight here is "Break It Down Again" which benefits from adopting the sound of the band in their heyday.

If this was a "Best Of" compilation I could understand the inclusion of the new track "Stay" as it develops from an inauspicious start into a wonderful song. But it seems odd to chose a song that was not even released as a single for a "Greatest Hits" compilation. Equally "Raoul And The Kings Of Spain" didn't exactly set the charts on fire and was included at the expense of  singles that achieved a higher chart position ("Laid So Low (Tears Roll Down)" and "The Way You Are"). Still, this is a really good record and takes quite a measured view of the band's career. 4/5

One record at a time: 421. Tears For Fears - Sowing The Seeds of Love

As much as I try to be positive about this record, I simply can't sum up enough enthusiasm to say much nice about it. Whilst I know it is revered and was a big hit - I have always found "The Seeds of Love" to be really disappointing. 

To my mind a good chunk of the music presented here is boring, mid-tempo rock intended for genteel middle class Americans. The burning angst and heartfelt sentiment that propelled the duo's first two records is lost along with almost all of the synthesizers and drum machines. I can imagine many of these songs being played by a half sozzled pianist in a cocktail bar to an audience of precisely zero people.

I concede I may have been too harsh in what I just said and in the interests of balance I am happy to state that the title track is brilliant. Whilst "Woman In Chains" was completely and utterly the wrong choice for the opening track, it is a very good song. The single "Advice for the Young at Heart" creeps above the threshold even if it is too long. 

Everything else is skippable. Eight and a half minutes of mid-tempo rock ("Badman's Song")? No thank you. Tuneless piano tinkling and horrific backing vocals ("Standing on the corner of the third world") I can do without. Even the surprisingly schizophrenic final song "Famous Last Words" is boring. Some might say it is too simplistic to say these issues are as a result of replacing Ian Stanley as both keyboard player and songwriter; but it's where my suspicion lies.

After the wonders of "Songs From The Big Chair" I felt completely let down by this album when it was released and that disappointment lingers to this day. Whilst my discontent didn't seem to stop me from buying this modern reissue of the LP back in 2020, it remains sealed. 2/5

One record at a time: 420. Tears For Fears - Songs From The Big Chair

1985's "Songs From The Big Chair" saw Tears For Fears move into the realms of superstardom. Propelled by the singles "Shout" and "Everybody Wants To Rule The World" this record met with commercial success across the globe, most notably in the USA.

I own an original UK pressing of this record along with a completely superfluous repressing from 2022. There's nothing to distinguish the modern version other than the usual poor quality artwork and annoying surface noise. I think I might have bought it as part of a "3 for £50" type deal - but I shouldn’t have done really. Still, if you're going to own duplicates of any Tears For Fears album, it might as well be this one.

"Songs From The Big Chair" can truly claim to be a classic and is a masterclass in both songwriting and production. As the opening track "Shout" uses patches from the Fairlight CMI (probably the greatest ever use of the distinctive ARR1 sample) and Yamaha DX7, it sounds distinctly "eighties". Yet the quality of the production means the song remains set above any of the ephemeral drivel produced by the band's contemporaries. 

The second track "The Working Hour" is not as immediate as "Shout" but it remains an impressive composition. The song is generally good value for its six and a half minutes runtime, but the extended coda is too reliant on the warbling saxophone of Will Gregory for my taste. 

The anthemic "Everybody Wants To The Rule World" must be known to everyone and won't benefit from my evaluation: suffice to say it is a classic. Another single "Mother's Talk" rounds out the first side with its Fairlight samples and superb drum programming. The band have since expressed some disappointment with this track, but it really is much better than their attitude might suggest.

The flip side of this album begins with the piano driven ballad "Believe". Now this song is undoubtedly well crafted and Roland provides a great vocal; but damn that saxophone is irritating. The hit single "Head Over Heels" is sandwiched between two versions of the track "Broken" which is a recycled b-side. This might not sound like the most auspicious description of a track but it really does work in the context of the album. This just leaves the final track "Listen" which I find mesmerising. Ian Stanley's distinctive Roland System 100M patches combine with Fairlight samples and obscure vocals to create an epic aural landscape that lays the listener gently back to terra firma. 4/5

One record at a time: 419. Tears For Fears - The Hurting

I own two copies of "The Hurting". The first is an original UK pressing that I bought eight years ago and the second is a limited edition white vinyl from 2021.

Released in 1983, Tears For Fears debut was a huge success in the UK and spawned four singles. "Pale Shelter", "Mad World", "Suffer The Children" and "Change" are probably known to many as charged expressions of angst set against amazing tunes. These tracks form the backbone of the album with slightly less commercial material strung around them. That's not to say the other tracks aren't good, but they are certainly less immediate. 

The title track that opens the album features the distinctive sound of an Linn LM-1 drum machine and jangling guitars that sound as 'new wave' as it is possible to get. The song contains a great melody, but the stilted rhythms are designed to compliment the lyrics rather than pander to the radio. 

"Ideas as Opiates" is barren save for a Yamaha CP-70 piano and the obligatory eighties sax solo, but it just about manages to hold my attention. Less interesting is "The Prisoner" which sounds like an OMD b-side with drum programming by Depeche Mode. By the time we reach the final song "The Start of the Breakdown" the ideas lack some polish, but everything remains entertaining.

Throughout the album vocal duties are shared between the principal members Curt Smith and Roland Orzabal with all of the songs being written by Roland. To this day I am not sure if Ian Stanley and Manny Elias were 'proper' members of the group or salaried musicians. Whilst their contribution to this record was significant, it is the next entry in the Tears For Fears back catalogue in which Ian Stanley truly emerged as a keyboard genius. 4/5

One record at a time: 418. Sunscreem - O3

I first heard Sunscreem in 1992 when a friend played me the 7" single of "Love U More". I liked the song very much and I decided to buy their current release "Broken English". Whilst the latter single didn't impress me nearly as much, I did elect to buy the album "O3" when it was released the following year.

As with most of my collection, I first bought this album on compact disc and bought these two vinyl versions sometime during the last ten years. Whilst the standard version on the left pretty much mirrors the content of the compact disc, the remix edition on the right is a completely different take on the album. I wasn't too sure if this second version should be considered a separate remix album, but Discogs seems to regard it as a variant of the main title, so I will treat it accordingly. 

Both albums open with a track called "Portal" which is laden with breakbeats, 90s house piano and burbling synths. We then move through various singles which continue the rave vibes with "Pressure", "Perfect Motion" and the afore mentioned "Love U More" being the highlights. The difference between Sunscreem and a lot of dance acts of this era is that their singles were songs with vocals and a traditional verse/chorus structure. Whilst this approach garnered radio play, I always felt their heart lay in heavier dance music and the bugged out remixes they created. This idea was reinforced when I realised a number of tracks on the album are actually uncredited mixes of their singles. "B", "Doved Up" and "Release Me" are deeper cuts that were tweaked for the dance floor and originally put out on 12" singles as remixes.

The "Special DJ Remix Edition" features additional mixes by Farley and Heller, Leftfield, Slam and Dave Valentine. I'm not a fan of most of these tracks, but the Farley and Heller dub of "Perfect Motion" does have a terrific bassline. To accommodate all of these lengthy remixes, the DJ edition ditches "Chasing Dreams" and the slightly disappointing ballad "Idaho" - but it doesn't lose anything in the process. 

In terms of remixes, the most glaring omission is the Farley and Heller "Heavy Club" mix of "Love U More" which is one of the best things either artist ever created. Quite why you would omit this amazing remix from a record designed for DJs is beyond me. Both albums finish with versions of "Psycho" which is an incredibly cheesy 90s house piano track that sounds like The Prodigy doing Country and Western.

I have a lot of memories tied up in this album and it will always remind me of my youth. Yes, it has one or two less interesting tracks and it flip flops between heavier club music and lighter pop tunes, but it is still worthy of attention more than thirty years after it was created. 3/5

One record at a time: 417. Ed Starink - Synthezier Greatest (The Ultimate Collection)

Unless you are an electronic music uber-geek, the name Eduard Starink probably doesn't mean much to you. And who can blame you? Hell, they didn't even bother to put the man’s name on the front of his records, so it is no wonder few people have heard of him.

You see Ed produced a series of 'sound-a-like' compilation albums that were much like the "Synthesizer" records made by Project D. Yet, aside from a performer credit hidden on the inner sleeve, the main producer of the work was never explicitly stated. From what I can tell, Ed was happy with this arrangement and chose to allow the "Synthesizer Greatest" brand take centre stage. 

I first heard about these albums around 1991 when I stumbled across a very cheap cassette of the first compilation in a shop in Wakefield. I knew exactly what I was buying, so it was no surprise to find that these tracks weren't attempts to remix, extrapolate or create variations on the original work; they were just smudged carbon copies. 

As you might expect, Vangelis and Jean Michel Jarre compositions are heavily represented in the tracklisting with the usual suspects like Kraftwerk, Art of Noise and Jan Hammer also getting a look in. My musical taste changed quite a bit during the early nineties so the "Synthesizer Greatest" cassette soon began to gather dust and it eventually fell out of my possession.  

Fast forward thirty years and I saw this new compilation released as a limited edition of 1000 individually numbered copies on translucent blue coloured vinyl. Whilst nostalgia drove me to purchase this record, it hasn't driven me to play it very often.

Rather than replicating the tracklisting of the original album, this record labels itself as the "Ultimate Collection" and seems to randomly pick tracks from the first few entries in the series. This is a shame as some of Starink's best efforts seem to have slipped through the net. The impressive rendition of Vangelis's "Hymn" is missing along with the pulsating "Chase" which was originally recorded by Giorgio Moroder. Personally I don't think the theme from "Twin Peaks" represents 'synthesizer music' and I have no idea why a seemingly new rendition of the traditional piano piece "Gympnopédie" deserves inclusion. Something of a mixed bag that is only worth investigating if a wave of nostalgia compels you. 2/5 

One record at a time: 416. Dusty Springfield - Reputation

I have always felt rather indifferent about this album and I have to admit, I only own it because of its link to the Pet Shop Boys. Even the involvement of my favourite group wasn't enough to stir me into action when it was released and I didn't buy "Reputation" on compact disc until about ten years after it was first made available. I didn't spring for this LP until as recently as 2022.

Unfortunately, the first side of this record is produced by a series of 'guns for hire' that created tracks of varying quality. I recently learnt that the title song is a cover version that, save for Dusty's voice, doesn't sound very different from the original. The third track, "Arrested By You" is also a cover of a Rupert Hind ballad that is as limp as an old sock. "Time Waits for No One" is just generic rubbish that sounds like 'production by numbers' and, whilst "Born This Way" is fair enough as a statement, the music is pretty uninspiring. No, the action here is definitely reserved for the flip side. 

As soon as the rolling bass and Fairlight strings of "In Private" begin to ring out, things feel much more homely for a Pet Shop Boys fan. Aside from the other magnificent single, "Nothing Has Been Proved" there are more adventurous songs (or 'experimental' as Neil Tennant described them) in the form of "Daydreaming" and "Occupy Your Mind". The latter song in particular has always stuck me as sounding amazing with its rave inspired TR-808 beats and pulsing synth basslines. 

The only duff note for PSB comes in the form of yet another cover version. "I Want To Stay Here" which was written by Carole King and Gerry Goffin (who also wrote several songs for Dusty's famous "Dusty In Memphis" album) back in the sixties. The slightly twee melody and poor backing vocal arrangement don't really fit with the more progressive sound featured on the rest of the album and I can't work out why this song was included.  

The album was 'executive produced' by Pet Shop Boys - which essentially means they recommended producers and songwriters to Dusty and tinkered with the finished tracks (such as removing the saxophone solo from "Arrested by you"). Whilst this record boosted Dusty's reputation back in the nineties (see what I did there?) and made yet another stellar entry to the Pet Shop Boys CV, the first side doesn't really stand up to scrutiny today. 2/5

One record at a time: 415. Soulwax - From Deewee

I have lamented the decline of The Vinyl Factory in other posts, so I won't go into it again; but suffice to say back in 2017 they actually produced something worth listening to.

I bought this limited edition of "From DeeWee" based on my love for the Soulwax album "Nite Versions". This version differs from the standard release as it has different artwork, uses clear vinyl and was limited to 500 copies. It's not worth a fortune (you can buy a copy for less than £100) but it does sound very good and is the best way to hear this unique album.

The artwork tells us the music included here was recorded in one take, but we also know that the performance was comprehensively rehearsed, there were multiple takes and the whole thing was subsequently mixed, edited and expanded. All of this attention to detail means that the finished record avoids all of the pitfalls inherent in a live performance, but preserves some of the spontaneity.

Much like "Nite Versions", the brothers Deewee blend vintage synths and drum machines with live drumming and bass guitar to create disco tinged electro that will satisfy even the most demanding electronic music fan. My personal favourites are two of the first tracks "Masterplanned" and "Missing Wires" which are underpinned by rubbery analogue synth bass and gloriously simple beats."Do You Want To Get Into Trouble" is another highlight that even caught the ear of my young children, "Who sings this song? Who? Soulwax? Never heard of them." But they were both dancing.

What I like so much about the music on this album is that it has strong melodies and ideas. There is no abstract or self indulgent noodling to be found on "From Deewee", everything is efficient and calculated. The approach is almost like that of Kraftwerk where ideas flow into each other and are realised precisely. There are also idiosyncrasies such as the curious spoken introduction to each side stating the catalogue number and each side finishing in a locked groove. It might not sound like Kraftwerk, but their DNA is palpable. 4/5

One record at a time: 414. Soulwax - Nite Versions

I discovered “Nite Versions” when I heard the tracks “Another Excuse” and “Compute” on the Xbox 360 game “Test Drive Unlimited”. I played the CD almost relentlessly during 2007 and it remains firmly embedded in my list of favourite albums.

This double coloured vinyl version was released to mark the 15th Anniversary of the original release as part of Record Store Day 2020. Because of the COVID pandemic Record Store Day that year was a much more civilised affair conducted entirely online. There was no queueing from silly-o-clock in the morning with other middle aged men; all I had to do was go online at the prescribed time and place my order. Much better.

"Nite Versions" is actually a remix album that takes songs from the band's "Any Minute Now" and adds a much needed sprinkle of magic. The Dewaele Brothers create some really unique remixes with all kinds of crazy effects, loops and Korg MS20 patches thrown around. The music here is hard to pigeonhole as much of the original alternative rock tracks are retained and then draped in disco clothes with accessories by the eighties electro scene. I think the sound is best described as "dance punk".

My personal favourite is "I Love Techno" with "Another Excuse" and "Compute" being the other two standouts. As "Another Excuse" is mixed by DFA its sound is very reminiscent of LCD Soundsystem at their disco peak and creates a perfect high on which to finish.

Whilst I have just realised this album is almost twenty years old, but it still sounds incredibly fresh and innovative to me. I don't listen to this album as much as I used to but it is still fun to give it a spin and reminisce. 4/5

One record at a time: 413. Soft Cell - *Happiness Not Included

Twenty years after their last long player, Dave and Marc decided to go into the studio with Philip Larsen of Manhattan Clique and record a new Soft Cell album. This is the standard yellow vinyl that was released in 2022 and I can't help but think someone at BMG overestimated demand as I have seen it being sold for as little as £6 recently (I paid £19 for it on the day of release grrrrrr). 

Before you run off to Woolworths with your £6 postal order, remember this record is pressed at GZ Media so you will be taking a gamble. Some copies will be clean and sound OK, but others will be covered in a layer of paper debris and offer poor sound reproduction. Whilst my copy is relatively clean the sibilance on any word containing the letter 's' is very apparent.

One anomaly of the vinyl edition is that it contains the original mix of "Purple Zone" and not the version tweaked by the Pet Shop Boys. I presume this is because the vinyl had to be pressed far in advance of the release date and the late substitution of the remixed version could not be accommodated. 

There's another (vague) link to Pet Shop Boys with the opening track "Happy Happy Happy" which covers the same ground as PSB's "This Used to be the Future". In both songs the narrator reflects on the fact that the predictions for the future they were fed in their youth hadn't come true. It would seem great minds think alike and both groups have created wonderful tracks. 

On "Polaroid" Marc sings of meeting Andy Warhol in 1981 whilst Dave delivers a catchy backing track full of bleeps and booms. One thing that strikes me at this point is that Marc's vocals have changed and his delivery is much more dramatic - almost like he is singing in a West End musical. I'm not saying the vocals are bad; just different.

There are great songs littered across both sides of this record with "Light Sleepers", "Nostalgia Machine" and "New Eden" proving Dave and Marc's really know how to write a tune. On the downside the detached "Heart Like Chernobyl" is a bit of a misfire and the lyrics to "I'm Not a Fan of God" sound uncharacteristically misanthropic. But generally this album is a success and I look forward to hearing more from Soft Cell. 3/5 

One record at a time: 412. Soft Cell - Cruelty Without Beauty

After an eighteen year hiatus, Soft Cell decided to reform and release a new album. Whilst "Cruelty Without Beauty" was devoured by fans, the response from the general public was much more muted.

At the turn of the millennium conventional synth-pop duos were caught in a no-man's land where they were neither recognised as innovators nor esteemed as cultural icons. Erasure's "Loveboat" had unceremoniously run aground the year before this record was released and Pet Shop Boys had fared no better with the dismal "Release". At the time it felt like synth-pop was dead.

Personally I had no interest in Soft Cell in 2002 and I didn't acquire this album until about five years ago. Initially I wasn't too impressed by the music on the CD, but my indifference has subsequently turned into total seduction. By happy coincidence this rather smart double pink vinyl set was released just a few months after my awakening.

The first few numbers on this album draw on Dave Ball's forays into dance music with The Grid and sound like confident statements of intent. A cover of Frankie Valli's "The Night" was initially considered as the band's second single back in 1981 but a 'sliding doors moment' ultimately saw "Tainted Love" chosen instead. Almost twenty years later the idea was revived and we are treated to a rather nice electro track that sounds uncannily like Pet Shop Boys in their pomp.

Come to think of it, if you were to suddenly reveal that this album was secretly produced by Messrs Tennant and Lowe I wouldn't be in the least bit surprised. This is the record I wish Pet Shop Boys had made instead of "Release".

Personal highlights on the main album include "Sensation Nation", the James Bond-esque horns of "Desperate" and the tearjerker "Last Chance". All of these songs shine a light on Marc's superb vocal technique. Gone are the slightly suspect off key notes that plagued Soft Cell's early work and Marc sings in confident and engaging tones. This was probably the best his voice ever sounded.

What I also like about Marc is that his lyrics are often acerbic and cynical yet, as a listener, I never feel this vitriol is aimed at me. Everything is directed at "them" - and they know who they are.

This version of the album expands upon the original twelve tracks with no less than five additional songs. This bonus material more than matches the quality of the main album with "Somebody Somewhere Sometime" being the standout. Another favourite is the superb "God Shaped Hole" which sounds seedy enough to be on their debut "Non-Stop Erotic Cabaret" yet contemporary enough to play in any modern nightclub.

With the benefit of hindsight I can confidently declare this the best album from 2002 and probably the best album you've never heard. The phrase "overlooked masterpiece" was coined for moments like this. 4/5

One record at a time: 411. Soft Cell – This Last Night In Sodom

If the artwork failed to dissuade a casual observer from purchasing this record then the title would undoubtedly have done so. Even those daring enough to overlook the packaging might have found themselves bemused by this rather strange album.

The word I see most commonly associated with "This Last Night In Sodom" is....'dark'.  I suppose it can still be classed as synth-pop - but this is a different version of the band that fist emerged in 1981. In the search for something new and more fulfilling, Dave and Marc decided to produce their final album themselves and the electronic sheen of their debut was consigned to history. 

The subject matter of these songs sticks to the Soft Cell tradition of turning over the rocks that others dare not as Marc sings about drug addition, prostitution and murder. As they cast about creating sounds with the PPG Wave 2.2 and Oberheim DMX, the band seemed to fall on electric bass, Hammond organ and even, god forbid, guitar to underpin their new sound.

Opening number "Mr Self Destruct" picks up where the unfortunate "The Art of Falling Apart" left off with a frantic wall of sound that robs the song of its melody. Happily tracks like "Rough little rhinestones" and "Meet Murder My Angel" prove Dave and Marc could still write a fantastic song. There are some signs this was the band's first production as the double tracked vocals sometimes slip out of sync and the (intentionally) monaural sounding mix leads to a bit of a mush sometimes, but generally the songs win the day.

I find the track "Slave to This" fascinating as it sounds as close to Nine Inch Nails as anything I have ever heard that isn't actually written by Trent Reznor. My favourite track is "Surrender to a Stranger" which is positively bristling with ideas and hooks. The single "Soul Inside" is a bit disappointing but the more raucous "Where Was Your Heart (When You Needed It The Most)" has some neat touches and has added poignancy when you consider it was probably intended to be the last thing we ever heard from the group.

My copy of this vinyl is from 2016 (back when you would get a card with a digital download code) and is pressed by Optimal in Germany. There is some sibilance on "L'Esqualita" but otherwise it offers a faithful reproduction of the music. This record might not be everyone's cup of tea, but it is miles better than "The Art of Failing Apart" and it is definitely better than some might have led you to believe. 3/5

One record at a time: 410. Soft Cell - The Art of Falling Apart

Despite being over forty years old and clearly well used by its previous owner(s), my copy of "The Art of Falling Apart" is in pretty good condition. This first pressing was issued with a free 12" single that contained bonus material and a stamp indicates it went through the hands of a record shop owned by John Sheridan in Hull at some stage in its life (possibly in the late 80's).

As I drop the needle the first thing that strikes me about this album is the sheer density of the arrangements. The electrifying tension that hung between the notes of "Non-Stop Erotic Cabaret" has been banished, only to be replaced by a deafening wall of sound. There's absolutely no dynamics contained in this album and it sounds like every fader on the mixing desk was pushed up to eleven. 

I find the phenomenon most annoying on tracks like "Where The Heart is" when the chorus hits with all the subtlety of a brick. There's a great song somewhere in this morass, but Marc's vocal is unceremoniously pushed right in our faces so we can barely hear anything else. The end of "Heat" sounds like everyone in the studio threw in an idea or embellishment which resulted in a cacophony. On the title track Marc seems to be singing as loud as he possibly can in order to be heard over the various instruments and, like any shouting match, it isn’t fun to listen to.

I'll be honest, I couldn't get to the end of this record and had to terminate it halfway through the second side. I reverted to listening to digital files and decided to compare them to the vinyl. Whilst my mp3 files (and the compact disc they were sourced from) sound much better than the wax, there's no doubt the music lacks subtlety or guile. Producer Mike Thorne probably sums thing up best when he says the record was, "Monochromatic and sprawling (when) compared with the economy and precision of the first." 1.5/5

One record at a time: 409. Soft Cell - Non Stop Erotic Cabaret

I have to admit, I didn't own "Non-Stop Erotic Cabaret" until I bought the CD in 1996. I acquired this copy of the original UK vinyl in 2019 and it sounds in pretty good shape.

I think had been deterred from exploring the Soft Cell's work because of the ubiquitous nature of "Tainted Love." There's no doubt their mega-hit warranted its success, but I heard it so frequently I imagined that if you were to press your ear against the wall of any nightclub, you might still perceive its echoes resonating within the very fabric of the building. Today, I can listen to the song quite happily, but it will never be my favourite and, in some ways, it isn't characteristic of its parent album.

To my mind, this is a concept album about vice. One definition of the word 'vice' is: "Criminal activities involving prostitution, pornography, or drugs" and, with the exception of "Tainted Love", the songs on this album seem to address these subjects. We hear tales of dwarves being paraded up and down the high-street on a leash, people who are watching seedy films in which they may (or may not) be featured and a man being blackmailed over his rather naughty secret life.

Key to the early success of Soft Cell was their unique sound. Made with just two synthesizers (Synclavier and Korg SB-100) and a drum machine* (Roland TR-808), the sound canvas is minimalist in approach, yet the songs still manage to paint the most vivid pictures. Or as the album's producer Mike Thorne described it: "Flash was at a minimum, the message maximum."

Unfortunately, as with most albums from the eighties, there are saxophones. I can't help but wonder what has happened to all the session musicians that used to warble and screech their way through pop records. Maybe there is a giant retirement home full of former professional saxophonists who now have nothing to do but sit around and reminisce about the old days. Let's hope they don't escape. 3/5 

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* This statement is actually only true of the album tracks recorded in New York. "Tainted Love" was recorded before the rest of the album and features a Roland CR-78, Pearl Syncussion drum pads, a Simmons claptrap and an Electro Harmonix Super Space Drum. The distinctive 'bink bink' sound was made using a Star Instruments Synare 2 played through a delay.

One record at a time: 408. Simple Minds - Glittering Prize 81/92

The single "Alive and Kicking" was re-released in 1992 as it was being used to promote the newly formed Premier League. This compilation sought to capitalise on this increased exposure and offers a retrospective of the band's Virgin output. Yet by the time this record was released only two of the original members remained and the band had developed into some sort of stadium rock outfit designed to appeal to American audiences. 

This particular vinyl came into my possession in January 2025 and is considered a misprint because the heart on the sleeve is white rather than the intended golden colour. The record is in very good condition and offers faithful sound reproduction. The CD I bought at the time of release contained sixteen tracks but the limitations of the LP means it loses both "Mandela Day" and "Speed Your Love to me".

Whilst most of the hit singles you might expect have been collected here, I'm not convinced this is the most holistic representation of the band's work. Virgin didn't bother licensing any material from their first three albums on Arista Records so there's no early material and I'm not convinced some of the more recent (recent in 1992) songs warrant inclusion. 

We open with the pulsating bass of "Waterfront" (which I recently realised is actually a loop and not played continually for five minutes) which provides instant gratification. Even more immediate is the non-album single "Don't You (Forget About Me)" which is one of the band's most widely known hits and probably the biggest draw for many casual observers. "Love Song", "The American" and "Promised You a Miracle" have a distinctive, early eighties vibe that sounds so much better than the bland rock the band began to churn out in the middle of their career.

Speaking of bland rock, "Sanctify Yourself" pales in comparison to some of the illustrious company it keeps and I'm not a fan of "Ghostdancing" either. Also disappointing is "See The Lights" which features plastic Korg M1 piano alongside Jim Kerr's best Bono impression. Personally I'd much rather have heard "Up On The Catwalk" or even "This is Your Land" which achieved similar chart positions and were much more interesting compositions. 

In summary I'd say this is a far from perfect compilation and anyone looking for an introduction to the band's wider work would be better served by more comprehensive efforts such as 2019's "40: Best of 1979-2019". 3/5

One record at a time: 407. Simple Minds - Street Fighting Years

"Street Fighting Years" served as my introduction to the work of Simple Minds. Back in 1989 I was familiar with some of the band's hit singles, but this was the first time I bought one of their albums and delved a little deeper. 

I can't really tell you why an electronic music obsessed teenager bought an album made by a traditional rock band, but I do remember the release was promoted as quite an occasion; so maybe I just got caught up in the excitement of it all. I also think the involvement of Trevor Horn must have contributed to my initial enthusiasm.

Whilst I bought the compact disc back in 1989, I picked up this record in 2014 from eBay. The disc is in very good condition and boasts the quality you would expect from the EMI pressing plant in Hayes.

The title track that begins proceedings is a slow burner that either builds atmosphere or opens as a damp squib depending on your mood. Another six minute long track "Soul Crying Out" has a little more melody but I can't help but feel Trevor Horn restricted keyboard player Mick MacNeil to using a Hammond organ and, much to its detriment, this album seems to eschew synthesisers.

You really get a feel for Trevor's influence on the next track "This Is Your Land" when after around four minutes it enters into a grand coda that mimics "You're The Voice" by John Farnham. Don't get me wrong, there is nothing wrong with "You're The Voice", but I don't see the sense in copying it. There are a few Fairlight derived motifs (which Horn refers to as "gags") thrown around here and there, but "Kick It In" seems to have the most with samples that you may recognise from records by Yes or Art of Noise.

By the time I reach the eighth track I have become tired of the incessant Hammond organ through a Lesley cabinet and I am longing to hear something else. Happily the tracks that made up the "Ballad of the Streets" EP ("Mandela Day", "Biko" and "Belfast Child") are superb productions and such poignant songs ensure we come to a stirring finish. 

I have a soft spot for this album as it was amongst the first I ever bought on compact disc; but I have to acknowledge that much of my regard I have for it is based on nostalgia rather than a love of the actual content. 3/5

One record at a time: 406. Simple Minds - Once Upon a Time

With consummate timing, this record arrived from eBay a few days before I was due to post about it. Whilst my collection contains both a CD and the digital files of "Once Upon a Time", this is the first time I have owned it on vinyl. The record only cost me a few pounds and sounds immaculate.

To me, the highly stylised artwork of this record was a sign of a rather cynical cash in. This album was released on the back of a number one hit in the USA ("Don't (You Forget About Me)") and I can just imagine the A&R team at Virgin Records losing their minds at the thought of Simple Minds working with the same people who had produced U2. No matter what, this record had to look appealing to the American public.

Unfortunately this record isn't nearly as good as the two albums that preceded it. Opening track "Once Upon A Time" is standard AOR fare that has nothing to recommend it. Things don't improve with the dismal U2 pastiche "Ghost Dancing" which is so dull I find it hard to listen to. 

Things pick up with the single "Alive and Kicking", but its constant use in promoting the launch of the Premier League back in 1992 mean it soon becomes tiresome to my ears. The only track I do genuinely like is "All the things She Said" which has a great hook and offers flashes of the real Simple Minds who seem to be hiding behind the sonic veil thrown up by the producers.

Things don't improve much on the b-side as the lyrics of "Oh Jungleland" are amongst the worst I have ever heard from a normally impeccable Jim Kerr. The dull rock of "I Wish You Were Here" and "Come a Long Way" drift over me and only the single "Sanctify Yourself" offers something close to originality.

To my mind this whole record contains nothing but insipid rock designed for American radio. I guess something had to be sacrificed in order to appeal to their new American masters, but for me, the band sold its soul. Derek Forbes's bass is sorely missed and the female backing singers are totally at odds with everything else that is going on. This isn't one for me. 2/5

One record at a time: 405. Simple Minds - Sparkle in the Rain

Having propelled themselves up the charts with their previous album, Simple Minds decided to go for the jugular with the follow up "Sparkle in the Rain" in 1984.

Whilst received wisdom tells me this album is more 'rock' than previous efforts, it actually sounds pretty 'pop' to me. Steve Lillywhite's production has a radio friendly sheen and the commercial potential of tracks like "Speed Your Love to me" is pretty obvious.

Things kick off with a flourish of Yamaha CP-70 piano and some thunderous drums which propel the single "Up On The Catwalk" along. I wasn't really aware of this track previously as it doesn't seem to appear on many compilations, but it is a really great song with some neat synth work courtesy of Mike MacNeil.

Another single "Waterfront" is instantly recognisable and the metronomic bass of Michael MacNeil is something wonderful to behold. To be truthful, there's not much to this song (I don't think it has a single chord change), but this really doesn't matter. Songs like "East at Easter" and "The Kick Inside of Me" might fly under the radar of casual observers, but I have no doubt devotees must treasure them as the jewels they are. Unfortunately some songs do stray towards the sound of contemporaries U2, but I can forgive such a misstep as there are more than enough original ideas here.

When it comes to acquiring a decent copy of "Sparkle in the Rain", I'd advise aiming for one with intact gilding on the edges of the sleeve. Experience tells me that if a previous owner has looked after the sleeve, they have probably taken care of the record too. 4/5

One record at a time: 404. Simple Minds - New Gold Dream (81-82-83-84)

When "New Gold Dream" was released in 1982 the LP was housed in a gold coloured inner, but later pressings were issued in a purple bag. I acquired the newer pressing from eBay a few months ago but, when I stumbled upon an original in a shop last week, I couldn't resist buying it too. 

In truth both records have picked up some scars during their forty three years of existence and they don't sound quite as exciting as they could. Not only is the music reproduction a bit flat, but there is background noise throughout; a situation almost analogous to a modern GZ Media pressing - but for a quarter of the price.

I'm no expert on the history of Simple Minds, but from what I understand, it was the commercial success of this album that propelled the band into superstardom. Listening to the music on this record it is easy to see why it was so successful. There are more hooks than you can shake a stick at and the genius of Charlie Burchill is tangible.

The catchy single "Someone, Somewhere in Summertime" (or "Someone Somewhere (In Summertime)" if you prefer) finds the band in perfect harmony both figuratively and literally. I was expecting the quality to drop of markedly at this point, but the second track "Colours Fly and Catherine Wheel" doesn't sound out of place nested between the impressive intro and another single "Promised you a miracle". 

Until I listened to this record I didn't realise that the phrase, "incorporates elements from New Gold Dream (81-82-83-84)" is of the biggest understatements I have ever read on a record sleeve. As a fan of dance music back in the early nineties I enjoyed a tune called "Open Your Mind" by U.S.U.R.A. - what I didn't realise at the time was that the track was a wholesale lift of a Simple Minds song. I don't mean, "they used a couple of samples from the song", I mean they stole the whole thing and simply stuck a kick drum under it. At least when Utah Saints had the same idea a little later they were respectful enough to retain the song title (along with some of Jim Kerr's vocals). I can only hope Simple Minds took all of the publishing for the U.S.U.R.A. record.

There's another good single on the flip side called "Glittering Prize" which shows an increasing reliance on synth sounds to drive the music rather than just augment it. Unfortunately the last couple of songs seem to fizzle out a bit - but there's no doubt this is a good album with plenty to recommend it. 4/5 

One record at a time: 403. Simple Minds - Sister Feelings Call

As a newcomer to the Simple Minds back catalogue I was a little confused by this record. After some digging I found that it is a companion piece to the album "Sons and Fasciation" and was released at a budget price.

It seems that on completing their new album in 1981, the band had a large amount of material left over that they felt was too good to discard. What this doesn't explain, is why the lead single from the project is included on this record and not the principal album. All very confusing when you're coming to the party almost forty five years late.

Given its provenance it not unreasonable to describe the music on this record as something of a mixed bag. The single "The American" is a fantastic display of original ideas and catchy grooves that bursts from the speakers. Whilst being b-side material, "20th Century Promised Land" manages to keep its head up and survive the faint disco influences that infiltrate its rock styling. Also worthy of mention is "Wonderful Young Life" which points to the sound the band would adopt in their commercial peak. As with all early Simple Minds records, the golden thread of Derek Forbes's superb bass and the undeniable genius of Charles Burchill remains constant.

Conversely songs like "League of Nations" sound like unfinished ideas that were given a cursory dusting before being paraded before us. Personally I am not a fan of the instrumental "Sound of 70 Cities" as it has a really annoying synth noise that I can't navigate past. So whilst interesting and no doubt essential for fans, this album isn't quite to my taste and I look forward to moving on to the band's more commercial work. 2/5

One record at a time: 402. Simple Minds - Empires and Dance

I haven't yet acquired a copy of Simple Mind's second album "Real to Real Cacophony" so we are forced to skip to their third effort "Empires and Dance" from 1980. I bought this record from eBay quite recently and it sounds good with very little extraneous noise.

The moment this record begins it is clear the sound of the band has moved on from their debut. The synth rhythms of "I Travel" are redolent of sweaty European night clubs where the PA resonates to the sounds of Giorgio Moroder and Kraftwerk. On this record Jim Kerr's voice has evolved into the baritone we are familiar with and the guitars seems to have taken a step back when compared to earlier efforts. 

Whilst still not matching the band's best, the songs on this record are much 'groovier' and have a distinct studio polish. Much of the groove is provided by bassists Derek Forbes whose superlative work features most prominently on tracks like "Today I Died Again" and "This Fear of Gods". 

Elsewhere there is a good deal of time devoted to experimentation with "Twist/Run/Repulsion" or "Kant Kino" being some of the more prominent examples. For fans of electronic music, the song "Thirty Frames a Second" is probably the most interesting with its Korg 770 bass refrain complimenting Charlie's distinctive guitar sounds. 

The most commercial recordings are the afore mentioned "I Travel" and the only other single taken from the album, "Celebrate". Whilst both are good songs, neither have really chimed outside of the band's fan base and they remain a kind of buried treasure for those of us brave enough to wander into uncharted territory.

Because various styles of music are being thrown into the melting pot, this album doesn't really have a strong identity. Unfortunately I can help but judge "Empires and Dance" alongside more successful entries in the band's back catalogue and unfortunately it suffers from this comparison. Even when I try to look more objectively, I can help but thing this record is just too quirky for anyone other than those with an interest in the history of Simple Minds. 2.5/5

One record at a time: 401. Simple Minds - Life In A Day

I had always been familiar with Simple Minds and their hit singles, yet I considered their music to be somewhat too 'rock and roll' for my liking. Although I acquired an album called "Street Fighting Years" in 1989 and a compilation of their hits a few years later, I never dare delve too deeply into their discography. This changed in 2024 when I watched a documentary titled "Everything Is Possible," which piqued my interest and led me to explore the works of Messrs Kerr and Burchill more thoroughly. In this post, I will be listening to a copy of the band's debut album, "Life In A Day" which was reissued by Virgin Records after they achieved wider commercial success.

The opening chords of "Someone" do not bode well for enthusiasts of electronic music. The combination of acoustic drums and piercing guitar resembles a form of glam rock that could be dismissed as a lesser imitation of Roxy Music. However, after approximately thirty seconds, keyboard sounds begin to surface, hinting that something more intriguing and original may be on the horizon.

In fact, even the instrument that created these sounds is quite intriguing. You can tell the sound has an acoustic element and is clearly polyphonic; so it can't be from a synthesiser of the period. So what is it? Well, after some poking around on the internet it seems group member Derek Forbes played something called a Baldwin Electric Harpsichord on this record. The instrument used was actually owned by Abbey Road studios and had even been used by The Beatles. 

As the record unfolds some typically seventies shrill mono-synth sounds emerge and the guitar work becomes increasingly impressive. Whilst some of the lyrics are a bit cliched and the mix is unbelievably flat and monaural, it doesn't seem to matter. And that's the magic of this album, it is raw and unsophisticated but the hooks are strong enough to carry the day. The most amazing thing to me is that the principal songwriters, Jim Kerr and Charlie Burchill, were only nineteen or twenty when they wrote and recorded these songs. 

Standout tracks are "Pleasantly Disturbed" (which reminds me of ELO), Chelsea Girl (I am told this is a thinly veiled imitation of Velvet Underground but, as I have never knowingly listened to them, I have no idea) and the title track (even if the timing of the various band members does seem to be slightly out of step). Whilst this record has absolutely none of the hallmarks of their later material it serves as a testament to the budding talents of the principal songwriters. 3/5

One record at a time: 400. Simian Mobile Disco - Attack Decay Sustain Release

After coming across a positive review of "Attack Decay Sustain Release" in Q magazine, I felt compelled to purchase the CD. There seemed to be a lack of fresh electronic music at that time and the description of Simian Mobile Disco's debut was very promising. As it turned out, I loved the album from the first moment I heard it and I played it continuously during the summer of 2007.

Fast forward seven years and I decided to purchase the vinyl to compliment my growing collection. Looking at the invoice on amazon.co.uk I can see this LP cost me £16.82 which seems like an extraordinary price and makes me a little depressed when I realise I have become accustomed to paying almost double this for even the most mundane vinyl release today.

Anyway, when it arrived I found this record was actually the version released in the USA by Intersope records. I have a suspicion Amazon were selling lots of imports around this time as I unexpectedly received the American versions of a couple of other albums I ordered from them in 2014.

There are some significant differences between this American disc and its British counterpart. The American version features an extra track titled "Clock" and the song "Hustler" is censored with all uses of "the F word" muted out. The British version came with a patterned bag to hold the record but my copy has a simple poly lined inner. Sonically it's not a fantastic pressing, but it does the job.

The record opens with the wonderfully relentless pounding of "Sleep Deprivation" which sounds like a club night condensed down into five minutes. There are lots of nods to electro influences in "It's the beat" and "Tits and Acid" but the wonderful melodies on tracks like "Wooden" point to a talent that far exceeds one genre.

Whilst I loved everything on this record at one time, I'm not too impressed by some of it today. The vocals of "Hustler" are tedious and seem to paint a picture of a man who blames his father for turning him into a foul mouthed shoplifter. "Love" has some nice disco tinged bass guitar, but the vocals are so repetitive they begin to irritate me a little. "Scott" is a nice improvised interlude but is nothing more than album filler.

The highlight here is the wonderful single "I Believe" which features the vocals of Simon Lord. Whilst much slower in tempo, this song is fiercely electronic and thumps along in a shower of staccato synths and rumbling basslines. Thanks to the bonus track "Clocks" we finish on a melodic high that you may miss on other pressings. 4/5

One record at a time: 399. Sheep On Drugs - Greatest Hits

I used to buy a lot of CD singles back in the nineties. Sometimes I bought them because they were cheap; sometimes I bought them because I had heard of someone credited on the sleeve, and sometimes it was simply because the artwork looked interesting. One such purchase was "15 Minutes of Fame" by Sheep On Drugs.

I ended up liking this single so much that I decided to buy the compact disc of the band's debut album when it was released a couple of weeks later in March 1993. Twenty-five years later I found this LP in a secondhand record store, and whilst it isn't in the best condition, I couldn't resist buying it.

One contemporary review of this record described the title as "cheeky". Today we would have to say that naming the album "Greatest Hits" was actually more prophetic than impudent. Nothing the band released after this really matched it for fun, weirdness and downright mischief.

Sheep On Drugs used to be the duo of Duncan X and Lee Fraser, and their apparent lack of regard for the establishment meant their music was edgy and interesting. This is a record that sounds like it was made by some delinquents that the record company didn't even realise they had signed. Yet this is no boring experiment in ambient sound or industrial noise; there are some catchy tunes and genuinely innovative dance sounds on this record. I have no doubt that the principal reason this record succeeds sonically is because it is produced by Gareth Jones. If anyone knows how to wrangle the talents of unruly young men, then it must be the former Depeche Mode collaborator.

The rave stabs, breakbeats and rumbling sub-bass of the first track, "Uberman", sound like typical nineties dance music until Duncan's vocal drawl emerges to tell us he's "as bad as bad can be". As you hear songs like "Acid Test" and "15 Minutes of Fame", you realise this music isn't easy to pigeonhole. Everything is heavily influenced by dance music, but there's more than enough mad punk sensibility to make this something unique. Duncan's lyrics seem to be key to this mix, as they are both disturbing and memorable. I'm not sure if "Suzy Q" is about tattoos, IV drugs or falling in love: maybe it's all three. A personal favourite is "Chard", in which a dirty guitar is given centre stage whilst Duncan tells us he is variously a liar, a dog, a son of a gun and an island.

My only criticism of this album is that almost all of the songs follow the same recipe. To modern ears the kick drums lack a little bottom end, but then there's a constant sine wave bassline occupying the lower frequencies anyway. Early singles feature versions of "Mary Jane", "Motorbike" and "Acid Test" that were produced by the band, and whilst they are less polished than the album mix, they do offer a little more variety.

The band's second album, "On Drugs", has some highlights, but it wasn't nearly as good as this – so when Island Records finally realised these delinquents were actually signed to their label, they promptly dropped them. The band struggled on for a few years, but the original duo split in 1998, and "Greatest Hits" remains their definitive work. 4/5

One record at a time: 398. Sharpe + Numan - Automatic

Sharpe + Numan is a collaboration between Gary Numan and Bill Sharpe. Whilst Numan is familiar to most music fans, Bill Sharpe is probably best known as keyboardist and founding member of the funk band Shakatak. The first release from the pair had been in 1985, and there was a steady trickle of singles before the album "Automatic" surfaced in 1989.

This record begins with the hit single "Change Your Mind", which has a wonderful legato bassline and a catchy chorus. In a contemporary interview, Bill Sharpe informed us that the vast majority of the sounds on the record are sourced from a Yamaha DX7 along with four patches from a Fairlight CMI and a sprinkling of Bosendorfer piano. The ubiquitous LinnDrum provides the beat, and there is copious use of a harmoniser unit. However, in a more recent interview, Sharpe said the bassline is actually from a Prophet 5, and the Fairlight didn't feature at all. Whatever the production process, the song is undoubtedly a success and deserved a higher chart placing than it achieved.

The trouble with the rest of this album is that not much else matches the opening track. Where "Change Your Mind" is quirky and angular, everything else is a little plain and vanilla. Songs like "Turn of the World" don't really have a hook, and the backing vocals are too dominant in the mix. The singles "No More Lies" and "I'm On Automatic" are marginally more successful, but they too lack the sparkle of "Change Your Mind". The remaining tracks wash over you in a wave of mediocrity until "Love Like a Ghost" provides the rather limp denouement. 2/5

One record at a time: 397. S'Express - Original Soundtrack

In 1987, my familiarity with house music was minimal. However, this all changed when Steve "Silk" Hurley topped the charts with "Jack Your Body." I suddenly became aware that music was changing and that artists like Coldcut, Inner City, and MARRS were transforming the musical landscape. One of most significant impacts on me at this time came from S'Express and their hit, "Theme from S'Express."

S'Express was created by DJ and producer Mark Moore, with their first album, "Original Soundtrack," launching in 1989. At that time, my passion for music was growing, but my budget was limited. Consequently, I only acquired this LP a few years back when it took the place of several cassettes and recordable CDs that had been my means of enjoying the album for more than three decades.

Although I couldn't purchase the album, I did manage to buy the 7" single of "Hey Music Lover" when it was first released, and it has remained a part of my collection ever since. I was not only drawn to the music on this record, but the cover also featured intriguing mentions of "orgasmatron vox" and an "electronic doormat," credited to individuals with remarkable names like Chilo and Linda Love. I can confidently say I had never encountered anything quite like that on the back of my Jean Michel Jarre LPs.

In addition to the previously mentioned hit single "Theme from S'Express," the first side of this record features "Superfly Guy," demonstrating that the group was more than just a one-hit wonder. Other tracks such as "Special and Golden" and "Blow Me Another Lollypop" may seem somewhat outdated now, but they felt quite modern when I first listened to them. The ambient house track "Coma II" includes enough acid bleeps and rhythmic arpeggios to keep listeners engaged, avoiding any meandering or dull moments.

On the downside there's not much to recommend "Pimps, Pushers and Prostitutes" which feels like an overly long jam and "Can You Feel Me" tries too hard. Whilst there is a lot to like here, it is inevitable that the hit singles shine brightest. 3/5

One record a ta time: 369. Scritti Politti - Provision

Although this album achieved commercial success in the UK, it fell short of the remarkable sales figures attained by its predecessor in the American market. From my perspective, this relatively underwhelming performance can be attributed to two key factors.

The most apparent distinction between the two albums is their release dates. What was considered fresh and thrilling in 1985 had become outdated three years later. This does not imply that "Provision" is an inferior album; rather, shifting musical preferences resulted in limited radio exposure for its tracks. Additionally, the well-being of frontman Green Gartside played a significant role. Regrettably, Green faced several challenges during the production of this album, which hindered his ability to promote it as vigorously as he had with "Cupid and Psyche '85."

If this album did not achieve commercial success, can it still be considered artistically successful? The answer is both yes and no. Many aspects from the debut album are revisited here, as David Gamson's unique arrangements provide a rich and fulfilling backdrop for Green's ethereal vocals. Additionally, Marcus Miller's signature slap bass adds an extra layer of excitement, and even the iconic Miles Davis contributes a trumpet solo on the second single, "Oh Patti (Don't Feel Sorry for Loverboy)." At times, "Provision" nearly reaches perfection, particularly with the opening track "Boom! There She Was," which stands on par with anything from "Cupid."

Nevertheless, the ponderous nature of tracks like "Overnite" diminish the album's overall vitality. Similarly, "Bam Salute," while skilfully crafted, feels sluggish and lacking in zest. What I find most disappointing about this album is its insufficient melodic content. Although "Philosophy Now" shares a similar sound with successful songs like "Perfect Way," it falls short in delivering the catchy hooks that could elevate it further. In conclusion, I would characterise this album as exceptionally well-produced, yet it does not possess the enchanting quality of its celebrated predecessor. 2.5/5

One record at a time: 395. Scritti Politti - Cupid & Psyche 85

Here we will be listening to one of the cornerstones of eighties electronic pop in Scritti Politti's masterpiece "Cupid & Psyche 85". This album is so good I own three copes: an original with gold embossed scrpit, a second original with gold and blue text and a 2021 reissue which just looks like a dog's dinner. 

The only constant member of Scritti Politti is Green Gartside. The band's first album "Songs to Remember" features compositions that seem to display Gartside's natural propensity for reggae, Ska and soul music.

Whilst recording his debut, Gartside met programmer and musician David Gamson and the two decided to work together and develop a more polished pop sound for the next Scritti Politti album. Legendary producer Arif Mardin was the band's first choice as producer and he was sufficiently interested in their demos to come on board. 

In a 2023 episode of Maryn Ware's podcast "Electronically Yours", David Gamson give some fascinating detail around the creation of this album. The music was largely sequenced on a Roland MSQ-700 with elements flown in from the Fairlight and Synclavier. This is such a distinguished album that even the Fairlight programmers were illustrious musicians such as Simon Climie, Ned Liben and J.J. Jeczalik. 

Personally I'm not too enamoured with the reggae riffs of opening track "The Word Girl (Flesh & Blood)" but the chorus is so catchy I find it hard to resist. As the second track "Small Talk" begins it becomes clear that the arrangements on this record are going to be complex and intricate. David Gamson seems to have the ability to generate endless motifs and embellishments that are nothing short of genius.

Things move to a completely new level of pop brilliance on the third track "Absolute" which is a masterpiece of composition and production. This songs sees the producers pushing the technology of the time to the limits with Gary Langan and J. J. Jeczalik from the Art of Noise operating the mixing desk and Fairlight respectively. "A Little Knowledge" slows things down and isn't one of my favourites on the album. The jazz-funk bassline of Marcus Miller carries "Don't Work That Hard" and David Gamson plays a complex brass arrangement on his Roland Jupiter 8.

Another wonderful single "Perfect Way" sees the ubiquitous Yamaha DX7 pumping out a bassline to underpin the layers of guitar and syncopated rhythms. Yet, like everything here the bassline is no simple root note played on octaves as we heard so often in the eighties - everything is satisfyingly complex and funky. "Wood Beez (Pray Like Aretha Franklin)" wraps some Fairlight drums, Roland Jupiter brass stabs and jangly guitars around an eccentric yet satisfying composition. Before we know it the final song "Hypnotize" has been and gone leaving us wanting more.

David Gamson created such a dynamic and futuristic sound palette for this record that I sometimes think I can hear presets from synthesizers that didn't even exist when it was recorded. Unfortunately Gamson and Gartside's musical partnership was relatively short lived and Gartside would eventually revert back to the sound of reggae for future releases. "Cupid and Psyche 85" definitely caught lightning in a bottle. 4/5

One record at a time: 394. Röyksopp - Profound Mysteries III

The final album in the "Profound Mysteries" trilogy welcomes back all the same vocalists as previous entries and is augmented by a couple of instrumentals. 

To my ears, much of this album seems to take inspiration from the work of other artists. The introduction to opening track "So Ambiguous" sounds like it was beamed back from the seventies and the collaboration with Alison Goldfrapp called "The Night" leans heavily into Kraftwerk beats. The faux R&B vibes of "Just Wanted To Know" are fun and "Like an Old Dog" reminds me of Laurie Anderson (but with melody).

Where the album succeeds best is when the band revert to their own distinctive sound and "Me&Youphoria" is more akin to what I expect. The 'hands in the air' excitement of "Feel It" is hard to resist and the ten minute ride of "Speed King" proves to be a real joy. The only dull spots are "Lights Out" with Pixx and the disappointing "The Next Day" in which Jamie Irrepressible warbles away to himself for four minutes. 

All in all there is more to like on this record than the second one, but I still think there is a case to be made for creating two playlists to summarise this box set. Personally I would like to hear a 'bangers' top ten and a downtempo collection that cuts out some of the more maudlin moments. But as a whole, this project should be considered a great success and I look forward to more Röyksopp albums sorry... 'projects'. 4/5

One record at a time: 393. Röyksopp - Profound Mysteries II

Part II of the "Profound Mysteries" album series is the same mix of bangers, downtempo grooves and ambient soundscapes we found on the first instalment.

Once again there are a number of collaborations with vocalists as Astrid S, Pixx and Susanne Sundfør all return for another trip around the Röyksopp universe. After a brief pause Jamie Irrepressible is also back to sing on the track "Sorry".

For me the highlight of the album is "Unity" which is a track that contains a break beat and a thumping house piano - but this is no dumb four-on-the-floor behemoth. Karen Harding adds a wonderful vocal that is complimented by a great mix from Svein and Torbjørn.

Fan favourite "Oh, Lover" with Susanne Sundfør is quintessential Röyksopp and harks back to the sound of previous albums (and the criminally ignored single "Never Ever"). Less successful is the dreary ballad "Tell Him" which is uninteresting and predictable. Of the four instrumental tracks on the album, "Remembering the Departed" and "Some Resolve" are a rather nondescript but "Denimclad Baboons" and "Control" prove to be very entertaining.

I find it interesting that the band have included tracks that range from storming dance numbers to ambient washes; it's almost like they are trying to structure a cohesive album rather than a 'conceptual project'. For me this record is slightly less successful than Part I as its quieter moments aren't as engaging. Side D is a particularly dull affair in which the album just seems to limp along until its demise - but the more uptempo numbers here justify a decent score. 3/5

One record at a time: 392. Röyksopp - Profound Mysteries I

Röyksopp have chosen to maintain the pretence that they don't release conventional albums by calling "Profound Mysteries" a 'conceptual project'. 

In reality, this is a series of three albums that saw staggered release dates before finally being collected together in a box set. As I didn't buy this set until it was included in a Black Friday deal in 2024, mine is from the second pressing. Today I will be looking at Part I of the set which is a ten track album split across two discs.

By the time "Profound Mysteries" was released, eight years had passed since their last album. However, the first track "(Nothing But) Ashes..." has all of the usual Röyksopp motifs and characteristics that provide us with reassurance they have retained their unique sound. 

Things really kick off with the first collaboration on this album titled, "Impossible". Alison Goldfrapp sounds totally at home with the grinding analogue synths and lush pads as the song builds to a quite remarkable crescendo. This song is also included on Alison's superb album "The Love Invention" but it was edited down to half its length and the longer version heard here is much more satisfying. This song is utterly brilliant, and for me, it comes close to some sort of electronic music perfection.

Other successful collaborations are with vocalists Beki Mari on "This Time, This Place" and Astrid S on "Breathe". Both of these songs are spine-tingling electronic confections that can satisfy the dance floor whilst simultaneously engaging your brain. Songs like "How the Flowers Grow" and the instrumental "There, Beyond the Trees" are more reflective and offer slightly downtempo grooves to create breathing space between the more frenetic tracks. 4/5