One record at a time: 16. The Art of Noise - Noise In The City: Live In Tokyo, 1986

Record fourteen is the last LP in my collection by The Art of Noise. Despite being recorded in 1986, "Noise In The City" was only released in 2021 on CD and this limited edition white vinyl. I have mixed emotions about Music On Vinyl. Whilst they continue to nobly release music on physical formats, they don't always make the best job of it. Take the re-release of "In Visible Silence" which looked beautiful but had the sonic fidelity of a potato. 

However, the trouble here is largely the actual recordings themselves. Whilst the 'limitations of the source tape' are revealed here and there (this is the same on the digital version) my issue is more with the performances. Sometimes a live event can seem wondrous when you're there, seeing and hearing it for the first time, but it doesn't necessarily translate into a good recording. Put it this way, I can see why this album wasn't released when the band where at their commercial zenith back in 1986. The combination of live percussion, Fairlight backing tracks and terrible backing singers doesn't make for the most wondrous soundscape. The chat and introductions between songs are excruciating and raise the alarming prospect that Paul Morley may have actually brought something to the table.

Tracks such as "Eye of the Needle" "Paranoimia" and "Opus III" are frankly a mess. Whilst "Legs" and "Moments In Love" remain credible representations, its not hard to see why other electronic artists just played (or mimed - I'm looking at you M. Jarre) to a tape machine when trying to recreate their music back in the 80's. So whilst his album doesn't succeed as a listening experience, it serves as an honest historical record of the tour it was made on. And at the end of the day, I know I should be pleased that someone has taken the time to create a new release by The Art of Noise - I just wish it was better. 2/5

One record at a time: 15. The Art of Noise - The FON Mixes

Retrospective remix albums like "The FON Mixes" by The Art of Noise were all the rage in the early 90's and this album set a trend that was followed by other artists such as Yello with "Hand on Yello", Yellow Magic Orchestra with "Hi Tech/No Crime" and The Sugarcubes with "It's It".

However, it's inaccurate of me to suggest the artists themselves were behind these releases. Remix albums such as this were clearly commissioned by record companies to rinse the back catalogue of an artist who had either stopped recording or were on a hiatus. Some successful remixes could drive both sales of a parent album and the back catalogue generally. With "Instruments of Darkness" China records must have thought they'd won the lottery. This track hit a sweet spot when The Prodigy weren't too big to turn down a remix but they had the talent and balls to produce amazing music (see also "Take Me (Prodigy Mix)" by Dream Frequency). Even though this mix bears little resemblance to the original track, it stands on its own merits. In fact this track drove me to buy the CD of this album back in 1991. Whilst I have owned the CD for thirty years, I only acquired the vinyl from eBay in the last 6 months. Why I bought the vinyl I can't really tell you. It is in excellent condition and the two 12" singles are well presented but the music isn't improved much by the carrier. 

Once we are over the zenith of the opening Prodigy remix things meander along with uninspiring mixes by Carl Cox (Paraniomia), Mark Gamble (Roller 1) and the first "Interlude" in the form of "Yebo". Other early 90's notables The Sweet Exorcist, Mark Brydon, LFO and Graham Massey make brave attempts at revitalising old tracks but they all sound unconvincing and like their heart wasn't in it. The Youth track "The Art of Slow Love" is just "The Art of Love" single from the year before played at 33rpm and not 45rpm. One of my favourite AoN songs, "Catwalk" is remixed by The Ground whose biography in the sleeve leaves me no clearer to their identity. Discogs only credits them with this remix and there are absolutely no biographical details listed; they are a mystery. 

Unfortunately many albums of the era seemed to think it was compulsory to commission a mix by The Orb and include it no matter what load of old tosh turned up. Fortunately this album avoids this further ignominy, but this is one of few redeeming features. Whilst this album is disappointing, it's not because of any inherent fault with the source material. The afore mentioned Prodigy remix and subsequent singles such as the Ollie J and Arkana remixes of "Yebo!" from 1995 prove that it is possible to make good dance tracks from The Art of Noise back catalogue. Just don't mention the car crash that is "The Drum and Bass Collection". 1/5

One record at a time: 14. The Art of Noise - Below The Waste

Another album by The Art of Noise and this is the first album in my collection we have come across that I bought on Discogs. All of the pre-millennium albums I have listened to at this point were sourced from eBay, but that can be quite a lottery in terms of the quality of vinyl you receive. If you want a much better (but by no means guaranteed) quality I find Discogs much better.

Like "The Best Of" I originally bought this album on CD from Britannia music club back in 1989. Rather than being on a "4 for £1" introductory offer, I seem to remember this album was the chosen album of the month and mailed directly to me. But that was the CD and here we have the original vinyl that is beautifully mastered; whoever cut this really knew what hey were doing. There is no surface noise or sibilance and the bass is nice and deep. I treasure this disc.

The first track is the single "Yebo" which I remember being quite heavily promoted at the time of release to little effect. The music is a bit cheesy and sounded dated even when it came out. I worked with a Zulu lady once who translated the lyrics for me. I forget what the translation was as I was more stuck by her earnest assertion that I had the Zulu spirit within me. I still treasure the honour she bestowed upon me; even if she was possibly a bit potty. 

Next up is my favourite track on the album "Catwalk" which has some great guitar work and some stunning samples married to a great orchestral arrangement. The only thing that puts me off this track is the fact that JJ had obviously got hold of a Yamaha PSS-780 keyboard around this time and was using the drums (hit hats especially) on this album. As the proud owner of the similar 680 model of crappy home keyboard at the time, I felt a little disappointed that these technical pioneers had been reduced to using such equipment. If I wanted to hear rubbish drum sounds I could just listened to the rubbish cassettes I was making myself. "Promenade 1" is a short orchestral track written by Anne that is reminiscent of the pieces on the previous album "In No Sense? Nonsense!". "Dilemma" is more typical AoN fair that gives way to the excellent "Island". This is one of those dreamy soundscapes that The Art Of Noise do so well and you hear regurgitated on TV every now and again.

Mahlathini and The Mahotella Queens feature on the fist track of side two "Dan Dare". I'm not really sure of the significance of the title but I am intrigued by the fact that this track opens the CD but is found in the second half of the programme on the vinyl. I have also noticed that the two film soundtrack cover versions on the CD are missing. The omission of the disappointing James Bond theme is actually a bonus, but I do miss the "Island" sound-a-like interpretation of "Robinson Crusoe".

"Chain Gang" resurrects the Yamaha PSS-780 sounds alongside some of the traditional metallic crashing samples so beloved of bands in the 80's. As you may expect "Promenade 2" is another one of Anne's short orchestral pieces that provides a lush counterpoint to the Fairlight grind of "Back to Back". "Flashback" is a nice diversion despite more Yamaha PSS-780 sounds. "Spit" is a track I have always liked as it features some stunning guitar work that propels the songs along and perfectly complements the vocals of Mahlathini and The Mahotella Queens. The fittingly titled "Finale" brings things to a close with its orchestral lament. I have always enjoyed this album, but even when it came out it left me feeling melancholy and imbued the feeling that something was coming to an end. And so it proved to be. Oh, and lets acknowledge the cover is rubbish. 3/5

One record at a time: 13. The Art of Noise - The Best Of

Another album by The Art of Noise, but a compilation this time. I have mentioned in a previous post that this album was one of the first I owned on CD and it was in heavy use for quite some time. Neither the discs or the players were cheap in the early days and I used to spend hours agonising on which CD would be my next investment. However, there was one way to get cheap CDs and that was the introductory offers from Britannia Music Club and I'm pretty sure I acquired this album through one of those "four albums for £1" promotions. Most people of a certain vintage got suckered into Britannia at some time or another and when you were broke, the introductory offer seemed too good to turn down.

One thing I never quite understood about this album is the fact that the CD largely carried the 12" versions of the tracks and the vinyl had the 7" versions. Maybe it was an attempt to boost CD sales by offering extended play time; who knows? 

My copy of the album is in very good condition and is devoid of the sibilance that ruins the opening track "Opus 4" on vinyl pressings of its parent album I own. As "Beatbox" begins in its Diversion 10 variant (I think) I'm struck by how truncated it is and how accustomed I must be to the CD. The shorter single version of "Moments In Love" feels similarly unfamiliar but loses none of its majesty. The only song that seems to suit a shorter single edit is "Close (To The Edit)" which benefits from trimming a little fat. Side one finishes with the standard single (and album version) of "Peter Gunn".

I've said before I'm not a big fan of "Paranoimia" and the 7" version featuring Max Headroom isn't to my taste. What is to my taste is the next track "Legacy". I love this track and whilst the 7" mix presented here is short, it is perfectly formed. However, things take another dip with the '88 mix of "Dragnet" which is mercifully shorter than the seven minute version on the CD. Next up is the 'non-album' single "Kiss" featuring Tom Jones. My appreciation for this song has grown over the years and whilst I might have skipped the version on the CD during my paper round a few times, there's no need to skip here. I was never sure why "Something Always Happens" was included in what I perceived to be a singles collection, but considered in the context of "The Best Of" it fits very well. There's something about the groove that develops on this song that I can't help tapping my foot to. But the track it is over too soon and a great album draws to a close. Lots of memories and some amazing tunes. 4/5

One record at a time: 12. The Art of Noise - In Nosense? Nonsense!

Once again we find an album by The Art of Noise that is represented twice in my collection (on vinyl anyway). We have the original and the turquoise double LP from 2019. Having been stung by a nasty repressing with "In Visible Silence", we'll stick the trusted original black wax for this one.

This, I seem to remember is the bands first album with just Anne and JJ, with Gary having left the year before. Things kick off with "Galleons of Stone" which features a sample we will hear in at least one other track on the album. Interestingly writing credits for this track are are for JJ alone. Following this short introduction we are presented with music from the motion picture "Dragnet". Whilst this is a highly competent stab at the movie theme, it is hardly awe inspiring. Not even the remix issued the following year or the Arthur Baker 'hip hop' remix rescue the source material really. "Fin Du Temps" gives those "Yes" sampled drums an outing before we hear the short vocal piece "How Rapid?". The next real song of any note is "Opus for Four" which is great and only sounds dated by its Fairlight double bass sample. Next is an orchestral piece called "Debut" which is a beautifully arranged composition that demonstrates how talented Anne is before it delivers a cheeky finale. "E.F.L." is strewn with samples (OK, so how many of these tracks aren't) that builds into a rather lush ending featuring some great improvisation by Anne at the piano.

Side two starts with "Ode to Don Jose". I've seen people describe this track as "quirky" elsewhere on the internet, but that doesn't even begin to do it justice in my opinion. I find this song beautiful and almost moving. I especially like what I think are Roland D-50 patches mixed in with the Fairlight. Then we have an interlude featuring snippets of conversations and ambience from the recording of the orchestra for "Debut" before "Day at the Races" comes thundering along. I have always thought this song was quite funky and would have suited a more dance orientated approach to the mix. Having said that I love this track as it is. 

"Counterpoint" is another piece for choir written by Anne. It is clear the band had been given the freedom to peruse whatever direction interested them and the eclectic mix of sounds means the album never gets boring. "Roundabout 727" features a more contemporary drum machine than the traditional Fairlight samples but frustratingly I can't pick out which one it is. "Ransom on the Sand" picks up the distinctive sample used on "Galleons of Stone" and "Day at the Races" and gives it a solo outing. "Roller 1" is a track that veers between the amusing Fairlight samples the band had employed for the previous four years and the newer sounds provided by the gear available in 1987.

"Nothing was Going to Stop Them, Anyway" is another one of Anne's short compositions for choir that segues into the wonderful "Crusoe". This is one of those more ambient tracks that can only be The Art of Noise. Four minutes of bliss. I'm not keen on the yodeling of Peter Rowan on "One Earth" - in fact I hate it. But this tracks does prove JJ and Anne were there long before "Deep Forest".

So despite the ending, I like this album and I can recommend the double CD edition with lots of additional tracks and precursors that reveal the origins of some of the tracks. I might even delve into the recent repressing in the hope it doesn't sound as bad as the last one. 3/5

One record at a time: 11. The Art of Noise - In Visible Silence

I own two copies of "In Visible Silence": the original vinyl and the 2018 double LP on blue vinyl. For this play though, I'm going to start with the new and (as yet) unopened 2018 version. 

First up is a familiar track, "Opus 4". However, what I'm not familiar with is the overwhelming sibilance that turns every 's' into the aural equivalent of having your ear canal grated. "No ssssssssssssssssssssssssssun". No thanks. Things don't improve much for this pressing with "Paraniomia" which has clicks and annoying surface noise. Abandon ship! Having swapped to the original pressing things have improved a little. The sibilance and surface noise is still there on the first two tracks but its not as overpowering as it was on the blue vinyl. 

I've never been a massive fan of "Paraniomia" as it didn't quite click with me. Call me an old misanthrope, but I didn't like the Max Headroom version or the '89 remix either. Even back in the eighties I didn't understand why Max Headroom was so popular. I just thought it was boring, weird and not very funny.

But the third track "Eye of the Needle" always makes me smile with its jazz celesta and crooner sampled vocals. "Legs" is where the real action is and is on a par with anything the band has recorded to date. The first AoN album I ever owned on CD was "The Best Of" and the 12" version of "Legacy" was always a highlight on my CD Walkman during my paper round. I like the track so much I'm not worried if it is delivered as the original "Legs" or the "Legacy" remix - they both have their merits. "Slip of the Tongue" offers the type of brief, experimental and weird soundscape that featured on the first album. My appreciation for the next track "Backbeat" grew following the release of the God awful "FON Mixes" album where the track is crucified on the alter of terrible dance music. Having heard the track butchered back in the early nineties, I began to re-evaulate the original with a renewed appreciation for Anne's piano and the building majesty rather than the fart noises and delay drenched beats delivered by Robert Gordon (and this remix is far from being the worst on the "FON Mixes", but we'll come to them another day).

Flipping the disc we hear what JJ feels is one of the band's best tracks: "Instruments of Darkness".  Having listened to an earnest eighties political and moral tune the light frivolous single "Peter Gunn" lifts the mood. Like their first album I am struck by how many other synthesisers are used on these tracks besides the Fairlight. The next track "Camilla - The Old, Old Story" shines like diamond with its double bass, 10CC samples and infectious melody. Whilst the track never quite reaches the zenith of "Moments in Love" it isn't too far away; and in some regards I prefer it. "The Chameleon's Dish" gives Anne a chance to riff some electric piano over a funky JJ and Gary backing track. This is good stuff and hints at things like "Kiss" that will proceed on the next album. The brief coda "Backbeat" rounds out the album in brief but emphatic style. This is a great album and I know it well thanks to the CD version I have owned since the early nineties. However, I can't recommend the 2018 vinyl re-issue and would advise vinyl enthusiasts to seek out a good condition original pressing. 3/5

One record at a time: 10. The Art of Noise - Who's afraid of

So we come to the first record that is duplicated in my collection. I own a copy of the original LP from 1984 and the recent 180g double vinyl version. Looking at them together I realise the marble effect on the sleeves are different. There is also a sticker on the front of the new version but underneath the sleeve is the same.

The original version is showing its age and has lots of crackle on the first track "A Time For Fear (Who's Afraid)". This is the first record in the collection that I bought second hand so it shouldn't come as a surprise that is is far from perfect. In fact it's pretty beaten up, but the magnificent "Beatbox (Diversion One)" soon roars into life and drowns out some of the background noise. This has always been one of my favourite AON tracks and I go back to it frequently.

Growing up in the eighties meant growing up with the sound of the Fairlight. As a kid I used to think it could do everything. Listening to these tracks I now realise there is far more than Fairlight we are hearing. Having tried the samples and seen the mythical Page R sequencer in action, I know the Fairlight is far more limited than I imagined in my youth. The sequencer allows you to use 8 samples across 8 tracks. So if you want a kick drum, a snare and two hit hats, you would have already used 50% of your allocation. I assume this is why AON sampled so many complex vocals, breaks and musical phrases.

"Snapshot" comes and goes before the single "Close (To The Edit)" flies at us like a runaway train. I distinctly remember seeing the video for this song on TV and thinking how weird everything was. I didn't really understand what this music was in a world dominated by Wham!, Billy Ocean and Duran Duran. It just didn't fit. Now I realise just how good a thing that was.

When we flip over the uninspiring but listenable title track greets us before giving way to the jewel in the crown "Moments In Love". This track is 10 minutes of  blissed out joy. I think I still prefer the "Beaten" version but this is still very good. Even the crackle and background noise of this ropy old vinyl seem to have abated in reverence to the tune. 

"Memento" is a weird collection of samples juxtaposed with Anne playing the old church organ at Angel studios. "How To Kill" takes a sample of Anne saying "Its Stopped" and the band members seem to jam along with various samples and synthesizers. "Realization" uses a choir preset I recognise but can't quite place (possibly Kurzweil?) layered over a Linn Drum beat. A bit of a disappointing end considering the quality of some of the preceding tracks, but all in all this is an enjoyable record that seem to fly by.

The 2021 version features a second disc of contemporaneous outakes and demos culled form the "And What Have You Done with My Body, God?" set. I suspect this is of interest to serious AON fans only - but then, who else is buying a record 37 years after it was released? 3/5

The Art of Remasters?

Listening through the Art of Noise tracks on my media player I can't help but notice a missed opportunity. ZZT seem to continually recycle the original early material from '83/'84 (and boy do they milk it) whilst China seem content to let the bulk of the bands back catalogue languish.

I only realised how little of the Art of Noise's music is still being issued when a box of my CD's was 'lost' during a house move some years ago. Trying to replace their albums via eBay became a surprisingly annoying and expensive chore (thankfully cut short by the idiot who took my CDs into "safekeeping" finding them some months later). Having just scanned eBay I can see only one copy of "In No Sense? Nonsense!" on CD and one exorbitantly priced copy of "Invisible Silence" listed.

So why don't Warner Bros or whoever own the rights reissue these albums? There is lots of additional/bonus material from 12" singles and b-sides hanging around and there are plenty of fans ready to buy shiny new masters of their favourite 80's albums. If ZZT can spin out one albums worth of material into a 2 CD retrospective, a 3 CD box set, 2 expanded reissues and a "Best of", why can't we get the 12" version of "Legs" on CD?

Beat Dis - RX-7

As part of my near constant eighties nostalgia trip, I developed GAS (Gear Acquisition Syndrome for
those of you non-synth geeks out there) for a Yamaha RX-7 drum machine. 

My first encounter of this machine was through my first keyboard a Yamaha PSS-680. The PSS-680 featured some low quality PCM samples taken from the RX-7. Listen to the album “Below the Waste” by The Art of Noise and you’ll hear these nasty sounds popping up all over the place. The real RX7 and its distinctive snare featured most prominently on the Bomb the Bass’s hit “Beat Dis” from 1988.  

I spent many months chasing these things on eBay only to baulk at high prices or dodgy sellers. I eventually acquired an RX-11 for £5: good, but not what I was after. Having given up on the real thing, I decided to perform one last search for samples on the internet. Wouldn’t you know it I found the full set of RX-7 samples available for free download. Having loaded them into my Fantom X8, I now have a virtual RX-7 and RX-11 at my finder tips. The internet really is great you know. Does anyone want to buy a RX-11 drum machine?