One record at a time: 359. Pet Shop Boys - Alternative

"Alternative" is a triple album that collects together most of the b-sides and extra tracks issued on Pet Shop Boys singles between 1985 and 1995.

I bought my copy in 2005 for £11 which, for a record that seems to fetch over £200 today, seems a bit ridiculous. Yet in the halcyon days before the modern vinyl resurgence, nobody really wanted records like this and they could be bought quite cheaply. Unfortunately my copy is missing the sticker that originally sealed in the contents, but the discs themselves are immaculate. Given a choice of owning this copy or nothing, I will declare myself content.

The first five songs here seem to be a perfect illustration of the boys finding their feet as producers and songwriters. "A Man Could Get Arrested" is based on a track from the earliest days of their career and was written with Bobby Orlando. The clumsy "Disco Mix" of "That's My Impression" is their first foray into self production and "Paninaro" sees Chris triumphantly demonstrating his innate ability to write a cracking tune. By the time we hear the brilliant "Jack the Lad", "A New Life" and "Do I Have To?" it is clear Neil and Chris have entered their "imperial" phase and found it impossible to make a misstep. 

I remember reading a review of the single "So Hard" back in 1990 where the author bemoaned the fact that the b-side "It Must Be Obvious" was a wonderful song that had effectively been discarded. By including songs such as this on a compilation album it felt like Pet Shop Boys were acknowledging their legitimacy and branding them with the same guarantee of quality carried by the singles they backed. Things do drop off towards the end with "If Love Were All" and "What Keeps Mankind Alive?" dragging the score down a bit, but make no mistake this is a great record. 4/5

One record at a time: 358. Pet Shop Boys - Disco 2

*Sigh* Where do I start with "Disco 2"? You would think a remix album based upon the hugely popular album "Very" would be a winner wouldn't you? But no; "Disco 2" doesn't succeed on any level.

I knew this album was going to be a mess as soon as I bought it. Firstly, as a Pet Shop Boys fan and collector, I realised I already owned all of the music on the record (well it was a CD back then). The second issue I found was that one of the remixes was of a song not originally credited to Pet Shop Boys ("Absolutely Fabulous") and two tracks were associated with the album "Behaviour". Many songs are included more than once with "Yesterday, When I Was Mad" being represented no less than three times. 

The perfect mess is completed by a terrible continuous mix by Danny Rampling that has vinyl surface noise and some songs played at completely the wrong speed. I fully understand that Rampling needed to use traditional beat matching techniques (it was 1994 after all) but the end result sounds almost comical in places.

The remixes of this era are definitely not the highlight of the Pet Shop Boys back catalogue and the decision to include such terrors as the E Smoove mix of "Liberation", Junior Vasquez's take on "Yesterday When I Was Mad" or "I Wouldn't Normally Do This Kind of Thing (DJ Pierre Wild Pitch Mix)" are as alarming as they are puzzling. 1/5

One record at a time: 357. Pet Shop Boys - Relentless

"Relentless" was described by the Pet Shop Boys as a "rhythm" album and was originally released as a limited edition compact disc alongside "Very" in 1993. For many years the only way to hear these songs from vinyl was via one of 500 promo records (the one with the white sleeve that carries the cunning catalogue number DF118) but in 2023 the album was given a formal release to mark its thirtieth anniversary on both CD and yellow vinyl (black sleeve).

The story goes that these songs came about because Chris Lowe had written a series of instrumental tacks that Neil couldn't think of lyrics for. Rather than discard the music, they decided to spend a week in Sarm Studios to work the songs up and release them as an album.

Whilst "Relentless" had aspirations of appealing to the dance floor, the reality is that things don't stray too far from the traditional Pet Shop Boys formula. As much as they love dance music the boys can never shake a predilection for melody and this album retains many pop sensibilities as a result. "One Thing Leads To Another" wouldn't sound out of place on "Very" and the original version of "Forever in Love" was intended to be the b-side of "Go West". Where this record does lean more heavily towards dance music it tends incorporate a Euro-house sound which was popular in the charts, but was never likely to be played at contemporary clubs such as Cream, Fabric or Ministry of Sound. 

The one thing that does distinguish this album from some of its more mainstream pop brethren is the use of samples. Personally I find some of them very annoying with "We Came From Outer Space" almost driving me crazy with repetition. For many years I found it impossible to discern what the female vocalist was saying on "The Man Who Has Everything" and using the "Amen, Brother" break (again) seems a little lazy to twenty first century ears. Yet I loved this record in 1993. Maybe it just hasn't aged well. 3/5

One record at a time: 356. Pet Shop Boys - Very

I didn't pick up the LP of "Very" when it was released in 1993 as I only bought compact discs back then. Fast forward about ten years and the band's official website was selling off some old stock they had lying around so I decided to pick up a copy of "Very" on vinyl to fill the hole in my collection. More recently I acquired the 2018 remastered release which is pressed on 180g vinyl and sounds great.

Sometime in the late nineties I found the picture disc shown in the photo at a record shop that was closing down and got it for a bargain price. Despite being featured in the retrospective book "Catalogue", this isn't a legitimate release and like most bootlegs, it doesn't sound all that great. 

The Colombian version with the unique sleeve was an eBay purchase from about 2004 and turned into a major headache when I realised the seller only accepted payment in Colombian pesos via Western Union. Until recently I wasn't really clear on why this version had a different sleeve, but the BBC documentary "Imagine: Then and Now" helped me come up with a theory. 

When looking at the European LP of "Very" Chris says, "We don't like this. It looks like an inner sleeve doesn't it?" To which Neil replies, "You know why? It is an inner sleeve". As the inner of the final LP is the same as the photo used on the Colombian version, I think Neil and Chris simply decided to swap the designs of the inner and outer sleeve. However, the branch of EMI in Colombia either didn't get the memo or they figured they were so remote they could do whatever they wanted.

The music on these records is some of the most commercial the boys have ever released as chart hits like "Go West", "Can You Forgive Her?" and "I Wouldn't Normally Do This Kind of Thing" testify. Yet there's no album filler here and this is one of those classic albums that justifies use of the trope "every song could be a single". If you really want me to nit pick I would say that the production on "One and One Make Five" never convinced me, I'm not keen on the song "One in a million" and "Young Offender" sounds very muddled in places. We didn't know it at the time, but this was one of pop music's last great hurrahs before Britpop came along to ruin the party. 4/5

One record at a time: 355. Pet Shop Boys - Discography

"Discography" is a double album of greatest hits released in 1991. Here I have the UK version pressed at EMI in Hayes and one from EMI Uden in the Netherlands. I was content with owning one copy of this album but a second seemed determined to fall into my possession.

About ten years ago I ordered an LP of "Please" over the internet but the seller mistakenly sent me "Discography". I informed them of the error and returned the package as agreed. However, the seller failed to pick up the parcel and it was returned to me by Royal Mail. Having messaged the vendor several times without reply I gave up and kept the record. Whilst "Discography" on vinyl has always been relatively collectable, Popsike.com tells me it sold for around £20 in 2014 so I didn't feel particularly guilty about not being able to return it; even if it does fetch over £50 today.

Understandably this album misses out the original version of "West End Girls" and the early single "One More Chance" which were released when the boys were signed with Bobby Orlando. Also omitted is the first version of "Opportunities (Let's Make Lots of Money)" which was their debut on EMI records but wasn't a hit. Instead we open with the hit version of "West End Girls" and move chronologically through their singles released up to 1991. 

The only other omission from this chronology is the single version of "How Can You Expect To Be Taken Seriously?" which was initially created by dance producers Brothers in Rhythm and then overdubbed by Neil and Chris. However, the song was released as a 'double a side' and the boys felt justified in culling it to allow the album to fit on one CD.

Also produced by Brothers In Rhythm were two new tracks titled "DJ Culture" and "Was It Worth It?". The former single was released prior to the album and, despite it not being particularly anthemic or tuneful, I like it very much. "Was It Worth It?" however is a limp effort that just doesn't sound like a Pet Shop Boys song. I can't put my finger on what is wrong with this track but it doesn't succeed for me. The only joy in buying this single was the b-side "Miserablism", but I don't think its release will have moved the needle on "Discography" sales one bit. Still, this is a highly revered collection of singles from when the band were in their imperial phase and is essential if you have any appreciation for the band. 5/5

One record at a time: 354. Pet Shop Boys - Behaviour

When I bought the compact disc of "Behaviour" from the supermarket back in 1990, I was expecting another album full of dance pop tunes in the vein of "Please" and "Actually". What I got was a collection of melancholy songs with shuffle rhythms and plaintive lyrics. Whilst I can't pretend that "Behaviour" was anything other than a disappointment when I first heard it, I have come to love it over the last thirty four years.

At one time Neil Tennant described this album as "mellow" and explained that developments in his personal life coloured its production. Compared to previous efforts "Behaviour" sold poorly and Chris Lowe flippantly commented that, "We should write another good dance album, write Behaviour off as a tax loss". So I know I wasn't alone in my initial disappointment.

Proceedings commence with "Being Boring" which was originally an attempt to write in the style of Stock, Aitken and Waterman. However, the track that emerged from the production process was a brooding autobiography and not a frothy hi-nrg pop song. Whilst "Being Boring" has gone on to become something of a cult classic, it would be revisionist to say it has always been revered. I like the song very much, but its wistful nature and brittle production mean it isn't amongst my favourites. 

There are quite a few tracks in a similar vein with "Nervously", "To Face The Truth", "Jealousy" and "Only The Wind" all eschewing dance rhythms and settling on a doleful style. When I finally got over myself and began to appreciate that not every Pet Shop Boys track needed a dance rhythm to be good, I realised these tracks were actually amazing. The only song I still fail to warm to is "My October Symphony" which I don't skip when listening to the record, but I don't look forward to it much either.

One of few dance rhythms are heard on "How Can You Expect To Be Taken Seriously?" which is a sort of new jack swing pastiche that doesn't succeed lyrically or musically. Pet Shop Boys have never recorded anything like this before or since and to be frank, it sticks out like a turd in a fruit bowl. The lead single "So Hard" is a fantastic song but it's TR-909 beats and throbbing sequencer lines completely misled me on the content of the final album. I have always loved the song "The End of the World" which remains a hidden gem and is neglected by the band and overlooked by fans.

Eventually I sold my original CD (to my brother's geography teacher weirdly enough) in anticipation of buying the two CD Japanese version in a plush velvet box, but I didn't consider buying an LP until about ten years ago. I don't own anything special here just two copies of the original UK release and two copies of the 2018 remastered version. I am torn on how to score this album as it has much I enjoy, but I still feel a sting of disappointment all these years later and the scars of "Seriously" and "My October Symphony" mean I can't give it full marks. 4/5

One record at a time: 353. Pet Shop Boys - Introspective

Having created perfect electronic pop records for their first two albums, Pet Shop Boys decided to change tack for "Introspective". 

In 1988 house music was beginning to make its presence felt and its influence seemed to pour directly into the veins of Neil and Chris. This album starts with an operatic soprano singing the word "House" and finishes up with a cover version of Sterling Void's "It's Alright" (which was originally produced by house royalty Marshall Jefferson). Legendary DJ Frankie Knuckles throws in a piano house remix of a former b-side "I Want a Dog" and the hit single "Always on my mind" segues into a new piece titled "In My House". 

There was even a limited edition of the album that was pressed onto three 12" singles and a promotional version containing "club mixes" distributed to DJs in the USA. Short of recording in Chicago and releasing the album in Trax records this album couldn't get much more house. 

Yet this isn't true house. This is a stylised, pop version of house that was easily digested by housewives watching TV in Milton Keynes or teenagers listening to Radio 1 in Manchester. "Left To My Own Devices" is one of my favourite songs as it is a perfect blend of melody, bouncy bassline and clever lyrics all topped off by the most flamboyant orchestral arrangement you're likely to hear on a pop record. 

Elsewhere there's a it of Latin flair courtesy of "Domino Dancing" and the reworked "I'm Not Scared" is simply perfect. Personally I regard "Always On My Mind/In M House" as superior to the single version and the remix of "I Want A Dog" has true house credentials. The only real weakness here is the afore mentioned cover of "It's Alright" which is overly long and a bit limp. Otherwise this is a perfect hybrid of pop and house that demands attention thirty five years after it was released. 5/5

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P.S. For those who are curious, the different versions I own are: x2 Original UK, x2 Limited edition 3x12", x2 2018 remastered, x1 Original European pressed in Germany, x1 USA promo "club mixes"  and x1 Original Japanese.

Interestingly the 3x12" was pretty worthless about twenty years ago and I picked up a couple of copies quite cheaply. Today they sell for around £30-40 and if they are in excellent condition and complete with their belly band they can fetch a good deal more. As you might expect the Japanese version is a great pressing and has little extras such as an obi strip and lyric insert that aren't present with any of the others. The USA promo carries some unique remixes and is a numbered edition, but the 2018 remastered version on 180g vinyl can be sourced easily and is a great sounding record.

One record at a time: 352. Pet Shop Boys - Actually

"Actually" was released in 1987 and is one of the Pet Shop Boys finest albums. Today I will be listening to the remastered heavyweight vinyl from 2018 (of which I own two copies). I also have two of the original UK release, the American version that includes a 12" single of "Always On My Mind", a clear limited edition version released in Asia, the Japanese release and a curious Hungarian LP that uses the artwork of the original inner sleeve as the cover.

The opening track is an extended version of the song "One More Chance" (the original shorter mix can be found on the second CD of the "Further Listening" version of the album). A different version of this song had been released as a single some three years before when the band were signed with Bobby Orlando. However, this new version is much more accomplished and carries a production sheen Trevor Horn would have been proud of. The fact that the song was recorded at Sarm West studios and is produced by Julian Mendelsohn (who mixed "Relax" by Frankie Goes to Hollywood) suggests this was exactly the sound Neil and Chris were looking for. 

The hit single "What Have I Done to Deserve This?" comes next and Dusty Springfield's distinctive vocals add a touch of class to proceedings. I have always marvelled at the distinctive intro to "Shopping" and the bassline that goes on to play throughout the song. I suspect they created the sound using a number of different synthesizers and then sampled it into the Fairlight so it could be sequenced using Page R. It certainly sounds like a Fairlight sample but I have no evidence to back up my theory. Another single "Rent" comes next with its thinly veiled double entendre and electro styled blips. Lots of people like to dismiss "Hit Music" as album filler but I have always enjoyed it and regard it as the perfect way to end side one.

In my youth I found "It Couldn't Happen Here" immensely disappointing but I have grown to enjoy it over the years. "It's a Sin" was another smash hit single that remains entertaining, but it has lost some of its thrill factor due to overfamiliarity. However, "I Want to Wake Up" is probably my favourite track on the album and I never tire of hearing it.

The single version of "Heart" is often referred to as having been remixed, but the reality is that it is the album version that was a remix. For some reason the boys decided the original version they made with producer Andy Richards wasn't to their taste and they asked Julian Mendelsohn to remix it for the album. In typical Pet Shop Boys fashion they then reversed their preference and released the discarded original as the single the following year. Whilst both mixes are good, I don't like the fact that Mendelsohn completely removed J.J Bell's excellent guitar and the disco syn drums of the original. All the fun of the single mix is lost and the rather plain album version lacks a spark for me. The final track "King's Cross" is suitably subdued and is regarded by many fans as a classic. 5/5

One record at a time: 351. Pet Shop Boys - Disco

"Disco" was the first album I owned on compact disc. I saved hard for my first CD player back in 1988 and once I had bought it, I didn't have much money left over to buy a disc. Happily, this album was sold at a 'special price' meaning my shiny new Sony CDP-M35 had something to play when I got it home. 

In addition to that old CD, I now own three copies of the album on vinyl. There are a two of the standard UK release in my collection, along with the German version with a sticker on the sleeve. All copies carry the same music and artwork and all are in very good condition. 

I have always loved this album as not only is the source material brilliant, but the mixes themselves are sublime. The opening track "In The Night" will be familiar to many as it was used as the theme tune for a TV programme here in the UK. The song itself was the b-side to the first release of "Opportunities (Let's Make Lots of Money)" and this remix was created by Arthur Baker. As none of the mix titles are included on the sleeve their actual name can be hard to discern, but consensus seems to be that that this is the "Extended Mix". Most of the source material is retained and there are embellishments and creative edits that carry an early eighties New York electro vibe.

The epic nine minute version of "Suburbia" titled "The Full Horror" comes next. As amazing as this track is, I have to admit, the Emulator sourced dog barks are over used and do begin to grate just a little bit. There are fantastic versions of "Opportunities" (a unique edit of the Version Latina mix) and "Paninaro" (an extended mix by the boys themselves) that are enough to cast almost all contemporary remix albums into the shade, but the outstanding pieces here are the Shep Pettibone remixes of "Love Comes Quickly" and "West End Girls".

The "Love Comes Quickly" mix is subtle and adds enough unique touches to lift this song to the next level. This mix builds atmosphere perfectly and the additional synth refrain on the intro is worth the entrance fee alone. To my mind, this is the best version of "Love Comes Quickly" created. Similarly, Shep's take on "West End Girls" is truly a thing of genius. The additional electric piano and percussion on the intro sets up a unique take on the song that has never been bettered. The version on "Disco" differs from the remix 12" of the original single as it fuses the intro of the "West End Dub" onto the "Mastermix" to create a unique edit. The best remix album there is. 5/5

One record at a time: 350. Pet Shop Boys - Please

At long last we reach the Pet Shop Boys section of my collection. I have a hefty selection of studio albums, remix albums, compilations, bootlegs and live recordings to work through over the coming months. As you can see from the picture, I also tend to have multiple copies of each album.

"Please" was Pet Shop Boys debut LP released in 1986 and here we have two copies of the original UK pressing (one to play, one as archive), two copies of the 2018 remastered version (one to play, one archive), the original USA pressing and a copy from Japan. I haven't yet bought one of the European versions with an enlarged photo on the sleeve as the last one I saw for sale was £80. Yes, I am a collector, but I am a frugal one.

I remember being amazed the first time I heard this album from a Maxell UR90 cassette back in the eighties as the boys go straight for the jugular with an electro infused masterpiece called "Two Divided by Zero". There's something magical about this song with its various bleeps, robot voices (sourced from a Sharp ELSI MATE EL-620 calculator) and tales of escape - I hadn't ever really heard anything like it before and I still think it sounds glorious almost forty years later.

Hot on the heels of the electrifying opener is the classic single "West End Girls". This remains an iconic moment of eighties pop and was recently voted the ultimate Pet Shop Boys track in an online poll for a national radio station. Next up is the equally iconic "Opportunities (Let's Make Lots of Money)" which thunders along with samples of falling scaffolding, pounding basslines and mechanical beats pouring from the Fairlight CMI. The plethora of singles continues with "Love Comes Quickly" which is undoubtedly a beautiful song, but it lacked that killer edge that would have made it a bigger hit.

When I was at school your preference for the album version or the radically different single mix of "Suburbia" was a matter of contention. The intelligentsia preferred the no-frills album cut and the trendy pop crowd favoured the reworked Julian Mendelsohn mix. Personally I have fond memories of hearing the single mix on a cassette of "Now That's What I Call Music! 8" but the version featured here definitely has its merits. 

On the flip side there is a superfluous reprise of "Opportunities" before we launch into a series of less well known album tracks that tackle more adult themes. "Tonight is Forever" talks of enduring love, Neil points to the folly of "Violence" and "I Want a Lover" is unashamedly carnal. The final track "Why Don't We Live Together?" always baffled me in my youth as there doesn't seem to be any hidden meaning or ambiguity. Right from the start of the Pet Shop Boys career I seemed to have attuned myself to the veiled cynicism and subversive nature of Neil's lyrics; anything sincere left me wondering if I had missed the joke. This album really is the perfect melting pot of razor sharp lyrics, catchy tunes and state of the art eighties production. 5/5

One record at a time: 349. Orchestral Manoeuvres in the Dark - Bauhaus Staircase

With this post we reach the final OMD records in my collection. "Bauhaus Staircase" was released in October 2023 and thanks the myriad of formats available it managed to reach number 2 in the UK album charts. 

I own the 'first edition' numbered yellow vinyl that was signed by Andy and Paul along with the split red and grey edition that was sold exclusively via their webstore. The 'first edition' remains sealed but the split colour copy is for playing.

At the time of release the band suggested this album could be their last studio recording. Whilst I have a feeing we will see a number of live albums released at the end of the current tour, it is a shame to think that another one of the artists I admire may choose to call it a day.

As with most of their recent albums "Bauhaus Staircase" offers us some great pop songs with heavy Kraftwerk influences. There are also one or two disposable instrumentals, a 'borrowed' idea and an old song that has been given a tweak. It has almost become the OMD album formula.

Highlights are undoubtedly the title track, "Look at you now", "Kleptocracy" and the magnificent "Veruschka". The single "Don't Go" was originally released to support the "Souvenir" compilation back in 2019 so its appearance here is a little surprising. Whilst admitting you like this song is a little frowned upon in the OMD fan community, I can't help but enjoy it. It might be best to describe "Slow Train" as 'being inspired' by Goldfrapp's "Train" - a track that permanently changed my eardrums when I heard it live back in 2010.

Personally I'm not too enamoured with the patronising "Anthropocene" or the equally annoying "Evolution of the Species", but they don't dent the fortunes of the album too much. If this is to be their last album then OMD can say the went out on a high. 4/5

One record at a time: 348. Orchestral Manoeuvres in the Dark - Atmospheric and Greatest Hits - Live at the Royal Albert Hall

Released in 2023 this recording was created the previous year during two nights at the famed Royal Albert Hall. This version is pressed on three orange LPs and housed in an generous tri-fold sleeve - it's a pretty lavish package. 

Whilst this is yet another Live Here Now album, it is much better than the previous ones I have looked at. For a start the sleeve design is much improved and this record also seems to have actually received a full post production mix. We know this album was properly mixed as its release was delayed as a result of Paul Hamphreys moving house and his studio not being set up. 

There is another Royal Albert Hall Live Here Now album by OMD dating back to 2016, but this newer record seems to justify its existence by presenting different content. As the title suggests, there is a mixture of the usual hits and some tracks the band consider to be atmospheric. The hits are easy to discern and most of the usual suspects are present and correct. "Ghost Star", "Statues" and "Stanlow" do seem to fit neatly into the 'atmospheric' selection but I find it harder to discern how "Bunker Soldiers", "Red Frame / White Light" or even "Pretending to see the future" fit this category. 

Still, the mix is good and the performance polished. Whether this is enough to justify yet another live release is left to the individual to decide. 2/5

One record at a time: 347. Orchestral Manoeuvres in the Dark - Live At Eventim Hammersmith Apollo

This translucent blue, triple vinyl set only exists for one reason - to make some cash. There's little artistic merit in this album as, whilst good, the performance is unremarkable. Essentially this is just another Live Here Now cash cow. 

For those who are unfamiliar with the concept, Live Here Now are a label that record concerts from the mixing desk and then release them under a licensing agreement with the artist. The benefit of this service is that albums can be made available almost immediately after the concert, with the down side being the unpolished and raw nature of the recordings.

I have mentioned the use of post production on live albums on this blog before. It's no secret that overdubs and edits are often used to present the best possible version of a live recording possible. Sometimes these changes amount to a little touching up (e.g. "101" by Depeche Mode or "Physical Presence" by Level 42) but it can also extend to outright subterfuge (e.g. "Destination Docklands" by Jean Michel Jarre or "Public Pressure" by Yellow Magic Orchestra).

This record however is totally unvarnished and every slight issue you would forgive in a live setting is preserved on disc. For instance, the snare drum on "Isotype" is far too loud and cuts into my eardrum like a razor blade. In fact all the live elements are allowed to dominate with the backing tracks left languishing in the background. The credits for the record do suggest Paul Humphreys mixed it, but it falls far below his usual standard if that is true. As this is such a mediocre recording, you might wonder why they went to all the trouble of pressing it on the audiophile's format of choice. Even more curious is my decision to buy it. 2/5

One record at a time: 346. Orchestral Manoeuvres in the Dark - Souvenir

2019 was the fortieth year of OMD and this is the inevitable singles compilation to mark the anniversary. 

Here we have no less than three slabs of Optimal Media's finest heavyweight vinyl with a cut by Miles Showell at Abbey Road Studios. Yes the packaging is a little lifeless and dull, but the music sounds extraordinary and I have no hesitation in recommending this pressing. Looking back at the invoice I can see I paid a mere £25 for this album. What a bargain. 

The only minor quibble is the fact that the sleeve is rather large and doesn't fit into any conventional protective sleeves - but when that is the worst you can say of a record, you know it must be good.

"Souvenir" is quite comprehensive and features forgotten singles such as "Red Frame/White Light", "Shame" and "Never Turn Away" which are often omitted from lesser compilations. The initiated will appreciate the more exhaustive track listing and the passing fan will still be presented with all the hits they crave. Forty tacks is a lot to swallow in one go, but as the songs are presented chronologically and spread across three discs, this set is easy to dip in and out of. Highly recommended. 4/5

One record at a time: 345. Orchestral Manoeuvres in the Dark - Live With The Royal Liverpool Philharmonic Orchestra

In 2017 OMD released a single called "What Have We Done". If that song had been made available a year later, it wouldn't have been unreasonable to assume it was a reference to this record.

You see "Live With The Royal Liverpool Philharmonic Orchestra" is something of a car crash and is probably the worst thing OMD have ever put out. Not only does this album sound bad, but the route to purchasing it also proved to be tortuous for me.

Back in 2018 I was an avid user of the Pledge Music platform and when this album was launched I decided to back it. What I didn't realise was that Pledge Music had begun experiencing severe financial issues and projects had begun to fall into trouble. 

On the scheduled release day this album was made available digitally with a promise of the vinyl arriving in the near future. However, as time went on it became increasingly apparent that I wasn't going to receive my records. From what I can discern, Pledge Music decided to use everyone's money (including that belonging to some artists) to keep themselves afloat and had stopped fulfilling orders.

To be honest, having heard the digital files of this album, I wasn't too worried about the absence of my triple clear vinyl and was resigned to the financial loss. Pledge Music was put into administration in the summer of 2019 and closed its doors soon after. During the death throws of the business I think there must some kind of clear out as my order was finally posted some six months after it was promised. I was both relieved and crestfallen in equal measure.

OMD seem to be entering into the same cycle that Gary Numan is stuck in where he releases an album, embarks on an extensive tour and then releases at least one (sometimes more) live album before starting the process all over again. I understand that the income model for musicians has changed and that nobody is forcing me to buy these records, but it does besmirch their legacy just a little bit. OMD existed for more than twenty years and ten studio albums without feeling the need to release a live recording. Yet since they reformed in 2006, we have had to endure at least seven of them.

In an attempt to break the monotony of their concerts and live albums, OMD decided to perform for two nights with the The Royal Liverpool Philharmonic Orchestra. The trouble with this idea is that OMD have never really used an orchestra in any of their records and very few of their songs lend themselves to such arrangements. When other artists attempt this sort of thing they tend to use the orchestra to augment the original production and create a more vibrant sound. "Orchesography" by Wang Chung or "Concrete" by Pet Shop Boys or are good examples of this approach. 

Unfortunately OMD went in a different direction and decided to rely solely on truly tortuous orchestral arrangements and some live vocals. Half of the time the orchestra sound out of tune with both each other and the vocalists. The finished recording is only slight above bootleg quality and it doesn't flinch in presenting every rough edge and bum note. Terrible stuff. 1/5

One record at a time: 344. Orchestral Manoeuvres in the Dark - The Punishment of Luxury

Here we have the box set of "The Punishment of Luxury" that featured an exclusive transparent red LP alongside a couple of CDs and a DVD. 

By the time this album came around in 2017 it felt like OMD had settled into a natural cadence of releasing and touring new material every 3-4 years. Since reforming in 2006 the band had also begun to move to an increasingly electronic sound and this record moves us a step further down that road.

If I had to guess I would say that Paul and Andy's favourite Kraftwerk album is "The Man Machine" as this record borrows from every motif, riff and beat on that seminal masterpiece. In fact, you could argue that OMD were carrying the flag for the Düsseldorf electro pioneers at this point as they were the only artists left producing pure electro-pop with commercial appeal.

The title track that opens proceedings is an attack on the vacuous pop culture and social media nonsense some people seem to fill their lives with. The second song "Isotype" is quite different lyrically as it is an ode to the International System of Typographic Picture Education, but both tracks are firmly rooted in the same electronic soil. The magnificent "What Have We Done" is less charged and makes for a nice change of pace, but you can still hear the electronic sensibilities straining to burst out. Honourable mentions must also go to "The View From Here" and the marvellous "One More Time" which are great songs with clear and precise production.

Aside from these highlights there is a series of shorter and largely instrumental tracks that tackle subjects such as art history, machine guns and industrialisation. There's an unexpected expletive amongst the synths of  "Kiss Kiss Bang Bang" and only "Robot Man" stands out for all the wrong reasons.

This is a record of almost unadulterated synth heaven where only the occasional blast of bass guitar is allowed to peek through the digital sheen. Whilst this sleek version of Kraftwerk does sound very good, it is a step away from the traditional sound of OMD. As much as I love the electronic nature of this music, it might have benefited from being dialled back a tiny bit to reveal some of the grit below the surface.  4/5

One record at a time: 343. Orchestral Manoeuvres in the Dark - English Electric

Having re-established themselves with their previous album, OMD upped the ante with "English Electric" in 2013. This is the original 'limited edition' LP that even came with a free CD (it doesn't seem that long ago that this used to happen). The sleeve is a trademark OMD effort with a large die cut window that uses the inner sleeve to compete the image. Unfortunately the designer didn't take the opportunity to put an drawing of an English Electric DP1 prototype train on the front, but you can't have everything.

There's no doubt that this record is a concerted effort to recapture the authentic OMD sound and return them to the electronic music fold. Or as Paul Humphreys described it, "Get rid of all the organic stuff."

The Kraftwerk-esque "Metroland" is simply superb and instantly provides evidence that Paul was more closely involved in the creative process this time around. The Kraftwerk influence continues as they decide to resurrect the Electric Music track "Kissing the Machine" that Andy co-wrote with Karl Bartos some twenty years before. Whilst this version is a good effort, I can't really see why they chose to include it. The fact that there are four new songs included on the CD single of "Night Café" suggests there was more than enough material lying around, so maybe they just liked the song so much they felt compelled to include it.

"Dresden" lays bare the pain Andy faced in his personal life and it sounds like "Stay With Me" was Paul's opportunity to do the same. Both are good songs with strong melodic components and their contrasting styles make for welcome variety. Once again we see a historically important woman used as a metaphor on "Helen of Troy" and "Our System" is yet more Kling-Klang infused goodness.

Another feature of this record is the inclusion of short instrumental pieces. Whilst the tracks themselves are pleasing, I'm not a fan of leaving little bits and pieces dotted around an album. But then OMD have never really been about conforming and following the crowd, so this sort of thing comes with the territory. Whilst I used to think this album was a little light on content, I now see it is actually rather concise and doesn't outstay its welcome. For me, the move to electronic music was most welcome and this is a really good album as a result. 4/5

One record at a time: 342. Orchestral Manoeuvres in the Dark - History of Modern

What better way to celebrate three years of working through my record collection than with an album titled "History of Modern"?

Andy and Paul reformed Orchestral Manoeuvres in the Dark in 2006 and released this album four years later. Originally I bought the box set that included a double LP with a unique sleeve, but more recently I have purchased the 2023 reissue on white vinyl too.

The tracks included here are a mixture of previously discarded material and some new songs of varying merit. Of the older material "Sister Mary Says" is purported to have been composed in 1981 and there is a tacit suggestion it shares some of its DNA with "Enola Gay". The song sounds nothing like its illustrious predecessor and isn't really close to the quality the band used to generate; but it is a fair effort nonetheless. The single "If You Want It" is a leftover from Andy's work with Atomic Kitten and is another well executed if uninspiring song. The only tracks that really don't deserve to be on the record are "Sometimes" and the terrible "Pulse" which drag the overall quality of the record down quite steeply.

My favourite moments are "The Right Side?" and "Green" which sound like they had a much greater input from Paul Humphreys. There's a fantastic love song to four German middle aged men in the form of "RFWK" and the title track has an infectious melody. When I went to see them play on the tour that accompanied this record, it felt like there was a new energy in the air. This record is far from perfect, but it did help solidify relationships in the band and gave sufficient encouragement for them to continue to expand their oeuvre. 3/5

One record at a time: 341. Orchestral Manoeuvres in the Dark - Universal

The original LP of "Universal" from 1996 is a collector's item that can fetch hundreds of pounds. Realistically, the 2021 reissue we have here is the only way the majority of us will be able to listen to this album from vinyl. I purchased a copy of this record as soon as it was made available, but the second one only came into my possession a few weeks ago. 

Whilst looking at the OMD online store I happened to see damaged stock being sold for a mere £5. The record itself was guaranteed to be in perfect condition but it was suggested the sleeve would be disfigured in some way. However, when I opened my parcel I found everything to be in perfect condition. So I now have two.

When I first bought this album on CD I wasn't that impressed by it. By 1996 it seemed the only genre of electronic music anyone was interested in was dance. Having failed with his attempt to dress up his composition for the dance floor on previous album "Liberator", Andy McCluskey decided to go to the dark side. In his own words, "It was important for me to abandon some of the electronic stuff: nobody in the mid‑1990s really wanted '80s synth‑pop any more, which is essentially how OMD were perceived."

In most contemporary articles the word "organic" seems to be used to describe the sound of this record. The aim seemed to be to create something akin to the sound of Pulp and Andy even went as far as hiring their engineering team to produce the record. The fact that some of the songs on this record were written alongside former Kraftwerk member Karl Bartos gives you some idea of just how deep the poison of Britpop sank into nineties music (Bartos himself would go on to create his own 'guitar pop' album a couple of years later, but I'm sure we will come back to that abomination eventually.)

The title track has a two minute long intro that suggests experimentation was not entirely dead, but the Korg M1 "Universe" preset really should have been put out to pasture years ago. As the song progresses we can hear guitars, bass and drums alongside dominant backing singers. A good song, but OMD this is not. Similarly the other single taken from the album, "Walking on the Milky Way" has a strong melody but its jangling guitars and repetitive nature detract from the overall effect.

Not content with borrowing from Britpop alone, McCluskey appropriates other genres from the nineties with the psychedelic rock of Primal Scream on "New Head" and the Asian influenced sounds of Kula Shaker imitated on "Very Close to Far Away". "Gospel of St Jude" is a noble effort, but such music doesn't suit an OMD record at all. This album seems to move through many styles, but none really fit.

On the plus side "Moon & the Sun" is a magnificent song and "That Was Then" has a tension that builds to a magical conclusion. "The Boy from the Chemist is here to see you" is close to the traditional sound of OMD and the use of Korg M1 piano on "Victory Waltz" may be lazy, but it does at least bring back memories of "Sugar Tax". 

Unfortunately this album was not a commercial success and a disillusioned Andy McCluskey decided to draw the curtains on OMD in 1996. Whilst I was sad at the demise of the band I understood why it needed to happen and there was plenty of new music to fill the void for me back in the nineties. I want to give this album a higher score, but without rose tinted spectacles or the ephemeral joy of receiving a copy for £5 I am forced to go low. 2/5

One record at a time: 340. Orchestral Manoeuvres in the Dark - Liberator

A few weeks ago I was idly flicking through eBay when I noticed a listing for the original pressing of "Liberator" priced at £12.99. "That's a fair price for a record that is getting scarcer," I thought. It was only as my eyes focused that I realised the price was actually £129.99. 

On further inspection I saw another copy for the slightly lower price of £109.99 and a signed copy at an eye watering £199.99. Admittedly these records don't seem to be selling, but the mean price on Discogs where they do sell is still around £30.

I find these prices staggering as I bought my copy ten years ago for the princely sum of £7 - and that was overpriced. I can only assume that all of the original copies have now been squirrelled away in people's record collections and demand has exceeded supply. Even a reissue in 2021 doesn't seem to have dented demand for the original. I guess this is just a sign of how the popularity of vinyl has increased in recent years.

The demand for this vinyl is quite puzzling as the album has been largely dismissed by Andy McCluskey as "messed up" and it doesn't seem to win many plaudits from fans either. Personally, I recall hearing the lead single "Stand Above Me" being played on the radio prior to the album's release and I was impressed enough to buy the CD single. This track is clearly an attempt to repeat the formula used by the hit "Sailing on the Seven Seas" but it falls well short of that high watermark. 

If we're honest we would have to say that most of the material on this album is pretty middling with few highs to be found. "Everyday", "Dollar Girl" and "Heaven Is" are all fairly good compositions but their execution is a bit confused. I'm not sure what possessed Andy to record a cover version of a Velvet Underground song and the faux rave of "Agnus Dei" is best forgotten. Yet, I like this album very much as it reminds me of the summer of 1993 and some good times in my life. Objectively this isn't one of the band's best, but it is special to me. Still not worth £130 though. 4/5