One record at a time: 476. Yello - One Second

Latin influences have been woven into Yello’s music from the outset, but they truly reach their zenith on the band’s fifth album, “One Second” (1987). The opening track, “La Habanera”, is a remarkable piece in which Boris’s masterful Fairlight samples are paired with Beat Ash’s superb percussion whilst Dieter narrates the story of former secret police informant Pedro Comacho, who faces an uncertain future on the eve of the Cuban revolution. For me, this track is nothing short of a masterpiece, possessing such depth that each listen reveals something new or unexpected.

“Moon On Ice” marks the debut of Billy Mackenzie’s extraordinary vocals, which glide through the song with a purity that is simply unparalleled. The single “Call It Love” features some outstanding sequences and stands among the band’s finest works—though I must admit, the rather limp kick drum is a minor irritation. As for “Le Secret Farida”, I have absolutely no idea what guest vocalist Farida is conveying, and I would have much preferred this track as an instrumental. Side one closes with “Hawaiian Chance”, which begins unpromisingly but soon veers off into all manner of inventive directions.

It may be somewhat heretical to admit this among Yello fans, but I’m not especially fond of “The Rhythm Divine”. While the song is well-crafted and the production flawless, Shirley Bassey’s vocal is, for my taste, a touch too ‘showbiz’. At times, it feels as though she sustains notes in vibrato simply because she can, rather than because it best serves the song. Bassey delivers her vocal as if she’s filling the Albert Hall rather than singing intimately into a microphone, and her performance can become a little overwhelming towards the end. The song was co-written with Billy Mackenzie, and there exists a version featuring his vocal, which some may argue is superior.

“Santiago” is another of those percussion-drenched instrumentals at which Boris Blank excels, and its abundance of ideas ensures it cannot be dismissed as mere album filler. Although uncredited, Billy Mackenzie adds a wonderful vocal to the single “Goldrush”. This track is widely celebrated and revered as iconic, though I confess I struggle to share that enthusiasm.

The first time I encountered “Dr Van Steiner” was on the remix album “Hands On Yello”, where Cosmic Baby’s version truly impressed me. Upon hearing the original, I found it somewhat underwhelming without Dieter’s atmospheric vocal alongside Rush Winters, but it remains a highlight of the album nonetheless. The closing track, “Si Senor The Hairy Grill”, is a guitar-heavy rocker that doesn’t quite suit my tastes and leaves the album on a slightly sour note. However, redemption follows if you let the record play on as an unlisted track, “L’Hotel”, emerges—a much-needed ambient outro. 3.5/5.

One record at a time: 475. Yello - 1980-1985 The New Mix In One Go

In the distant past I would spend an inordinate amount of time browsing the racks of compact discs in record shops. One album that always caught my attention was "1980-1985 The New Mix In One Go" by Yello. The album intrigued me because I could never quite work out what it was supposed to be. The title suggested it might be a 'mega mix' or perhaps a remix album, but the track listing hinted at a straightforward 'best of' compilation. It left me confused. When I finally purchased the CD in the late nineties, I discovered that the album is almost all of these things and a bit more.

By 1985, Yello had achieved a measure of commercial success and, with a solid back catalogue, their record company decided it was time to release a compilation. The band appeared to support this idea and took the opportunity to curate a cohesive collection themselves rather than leaving the task to an anonymous A&R representative. 

Like much of my Yello collection, I acquired this double LP from eBay about nine or ten years ago. It remains in good condition and there's a rich, pulsating bass from both discs. Most tracks on the first disc are segued together, while the second disc presents the songs in a more conventional manner with breaks.

The album opens with a refreshed take on “Daily Disco” from “Claro Que Si.” This new mix is smoother and more polished than the original, offering a contemporary sound that highlights Beat Ash’s drumming - which sounds more vibrant and impressive than ever. “Swing”, originally from “You Gotta Say Yes to Another Excess” receives a subtle update, while “Pinball Cha Cha” appears as an edit of the 12-inch mix, trimmed by two minutes for a tighter listening experience.

Other tracks, such as "I Love You", "The Night Is Young", "Desire", and "Bananas To The Beat", were newly mixed using digital equipment. "Vicious Games" appears as another edit of the 12-inch mix, and "Lost Again" is a funkier version derived from the Extended Dance Version. Of these, I am most impressed by the clarity of "Desire", and "Bananas To The Beat" benefits from a welcome increase in tempo.

Naturally, the compilation includes the hugely popular singles "Oh Yeah" and "Bostich (N'Est-Ce Pas)", both of which sound excellent on this vinyl. "Base For Alec" is a clever track built from electric guitar samples and a TR-808 beat which was initially overlooked as a B-side but is rightly featured here. "Tub Dub", recorded during sessions for their second studio album in 1981, makes its debut on this compilation. I am also pleased to find my favourite Yello track, "Sometimes (Dr Hirsch)", included, and I believe this compilation is where I first discovered it.

There is also an edit of the music Yello performed live at the Roxy nightclub in New York on New Year's Eve 1983. While this track may not be remembered as the band's greatest achievement, the electro beats and Fairlight "ARR1" samples possess a certain charm.

In summary "The New Mix in One Go" takes the best of the band's output from the first four years of their career and gives it a sonic polish. It features all the highlights, some curiosities, and several well-crafted updates. 3.5/5.

One record at a time: 474. Yello - Stella

"Stella" is the fourth album by Yello and was released in 1985. My copy of the LP is an original vanilla European pressing that is in very good condition and, as with most records of the period, it offers great sound reproduction. I bought my record nine years ago for less than ten pounds, but I can't help but notice that sellers on eBay are asking increasingly high prices for both this and other albums in the Yello back catalogue. My advice would be to sit and wait for more reasonably priced auctions or use Discogs where sellers don't seem to have lost their minds.

Following the departure of Carlos Perón, Dieter and Boris recoded this album as a duo; but they continued to rely on long term collaborators Chico Hablas on guitar and drummer Beat Ash to fill in the gaps. Also credited on this record are pianist Annie Hogan who is renowned for her contribution to Marc Almond's solo work and guest vocalist Rush Winters. There's no doubt this album continues the trend towards a more commercial sound that began with their previous effort "You Gotta Say Yes To Another Excess", but it retains plenty of the idiosyncrasies that make Yello unique. 

The opening number "Desire" is a slow burning, cinematic tale in which the protagonist wanders around New York City in the morning sun. The song spends nearly three minutes building atmosphere, but I feel the effect is somewhat diminished when it ends just as it reaches its climax. Personally, I prefer the extended 12-inch version, which is only available on the original single or the more recent limited edition two-disc version of the album, which I have yet to acquire.

The lead single, “Vicious Games”, is driven by Rush Winters’ vocals. Although I enjoy the song and it is well executed, it lacks the memorable hook needed for radio play or to draw people onto the dance floor. 

Interestingly, the single that made the greatest impact from this album was not originally intended for release. “Oh Yeah” gained prominence after being featured in the films “Ferris Bueller’s Day Off” and “The Secret of My Success”, leading to it being made available as a single on both sides of the Atlantic. However, as the European release came more than two years after the album, I doubt it boosted LP sales significantly, though it certainly raised the band’s profile and generated substantial royalties.

My favourite track on the album—and possibly my favourite Yello song overall—is “Sometimes (Dr. Hirsch)”. From the rolling analogue bassline to Dieter’s impassioned vocal, this track is sonic perfection. I cannot pinpoint exactly why I find it so compelling, but it is no coincidence that this is one of Yello’s most sincere compositions.

Towards the end of the album, “Ciel Ouvert” stands out as a wonderful instrumental, featuring crunchy Fairlight strings and a synth arpeggio reminiscent of Kraftwerk’s “Metropolis”. Rush Winters returns for the closing track, “Angel No”, which is a solid piece, though it feels somewhat out of place compared to the rest of the album. Overall, “Stella” is a fascinating blend of commercial appeal and Yello’s trademark eccentricity. 3.5/5

One record at a time: 473. Yello - You Gotta Yes To Another Excess

Yello's third album was released in 1983 but my copy is a budget pressing from 1988 that seems to have retailed for £2.99 in Our Price stores. I bought this record from eBay in 2016 and I think I paid about £8 for it - which is probably what it is worth now. The vinyl is in very good condition and the sound reproduction is very impressive for a flimsy discount pressing.  

From the outset, this album seems to represent a shift in style for the band and it is no coincidence that Carlos Perón decided to leave soon after it was released. Yello's initial success had been based on eccentric dance tracks, but they seem to have turned down the playfulness here and aimed for something slightly more level headed. 

Yet, as with any Yello record, there is always some form of weirdness lurking around the corner. "Great Mission" is an adventure tale replete with jungle sound effects, a sampled belch and the odd orchestra hit. On the flip side "Swing" features a fabulous crooning vocal from Boris and Dieter delivers his best Lemmy impression on the otherwise half hearted "Smile On You". 

When their more 'serious' ambition emerges, Boris feels emboldened enough to reference "Autobahn" ("Pumping Velvet") and he delivers a stunning instrumental soundscape that you only hear on Yello records ("Salut Mayoumba"). The sound of the Fairlight is much more prominent on "Excess" with the guitar and acoustic drums being pared back when compared to previous outings. Tracks such as "No More Words" are driven by heavy four-on-the-floor kick drums and the title track showers us with percussion designed to move our feet. Even relatively mellow tracks such as "Lost Again" received a suitably dance orientated remix to propel them into nightclubs back in the day. Opening track "I Love You" is probably the best known piece on the album and its vocoder bassline gives it a certain je ne sais quoi.

Whilst this album finds the band in transition from 'wacky experimental' to 'wacky commercial', there's no doubt it is well crafted and it deserves a place in the collection of every electronic music fan. 3.5/5

One record at a time: 472. Yello - Claro Que Si

"Claro Que Si" was released in 1981 and heralds the dawning of the Fairlight era for Yello. Having persuaded Dieter Meier's father to take out a loan so they could buy new studio equipment, Boris Blank fired up his new 'computer musical instrument' and went about creating an album to recoup the cost.

For this record Yello drew on the talents of drummer Beat Ash and guitarist Chico Hablas in collaborations that would endure longer than the band's original line up. Ash's contribution can be heard immediately as the opening track "Daily Disco" is largely driven by his metronomic drumming whilst Boris throws in occasional bass and top lines. Dieter's characteristic vocals are obscured with a vocoder on the second track "No More Roger" but the backing track continues to sound bendy and analogue. I can tell the Fairlight is there, but the sounds are manipulated and bathed in effects that eliminate any of the machine's characteristic grittiness. It also helps that Boris created his own sound library rather than relying on recognisable factory samples.

One of the standout tracks is the single "She's Got A Gun" whose visions from a French black and white movie of the 50s are fascinating. I can't say the same for "Ballet Mechanique" which just leaves me cold and the Arab vocals of "Quad el Habib" (credited to Zine el Abidine) aren't really my cup of tea. "The Lorry" sees Boris sampling Dieter's vocals in a sign of things to come, but the tortuous guitar solo and acoustic drums do let the side down quite a bit. The album signs off with the playful "Pinball Cha Cha" but the album version is different to the more familiar "12'' Mix" that would go on to be released as a single and included on some compilation albums. Whilst this is another patchy effort, it still proves to be entertaining - even if it's not the first Yello album I would reach for. 2.5/5

One record at a time: 471. Yello - Solid Pleasure

During my adolescence I took music very seriously and any artist who showed even a hint of frivolity was dismissed without a second thought. Fortunately, as I matured, I learned to appreciate playfulness in music, which led me to discover Yello in 1992 through their "Essential" compilation. My relationship with the band has had its ups and downs and I still fell like I should enjoy them more than I actually do, but by the time I acquired this record eight years ago, I had definitely become an admirer.

According to Discogs, this Vertigo pressing was made for the German market and dates back to the album’s original release in 1980. At that time, Yello consisted of Dieter Meier, Boris Blank and Carlos Perón. While the band are probably best known for their Fairlight driven pop hits, this album predates such milestones and relies on analogue synths, electric guitar and live drums

The opening track, "Bimbo" must have been quite a revelation for listeners forty-five years ago. Boris’s fluid bassline bubbles along as Meier’s distinctive vocals are manipulated in fascinating ways. On "Night Flanger" the precision of the drumming is exceptional and I found myself musing over which drum machine would have been available to the band in 1980 - before realising that everything was live.

"Downton Samba" introduces Latin rhythms - a theme that would become a recurring motif in Yello’s work - but it is the trio of "Magneto," "Massage" and "Assistant’s Cry" that truly reveal the inner workings of Boris Blank’s computer-like mind. Side one closes with the familiar ode to the stapler, "Bostich," though this album version is brief and lacks the depth of the more well-known "N’Est-Ce Pas" single version.

Side two begins with "Rock Stop" which never quite wins me over; no matter what effects or synths you add to a twelve-bar blues loop, it always sounds the same. "Coast to Polka" is more my style, and "Blue Green" hints at the sonic fireworks Boris Blank would later unleash on albums such as "Stella" and "One Second."

"Eternal Legs" sounds at least a decade ahead of its time, and its coda, "Starztrigger," pulses with the energy of early industrial techno. The final track, "Bananas to the Beat" is one of those irreverent songs I struggled with in my youth. Refusing to take themselves too seriously, Yello invite us to dance and enjoy the ride. Perhaps the best sign of how much I have enjoyed this record is that time seems to fly by; it is over before I know it. 3/5

One record at a time: 470. Yazoo - You And Me Both

The title of this record, paired with the sleeve’s image of snarling dogs, are a clear reference to the fractured relationship between Alison Moyet and Vince Clarke. By the time "You and Me Both" was released in 1983, Yazoo had already parted ways. 

Having never envisioned the band as a long-term project, Vince had wanted to end the collaboration after their debut, but he was persuaded to continue by his publisher. With one member of the band reluctant to participate, it isn't surprising that the recording of the second album was a rather acrimonious affair and the end product lacks any joy

Another notable shift from their previous album is the embrace of digital instruments. While the analogue Sequential Circuits Pro One and Roland Juno 60 synthesizers from "Upstairs at Eric’s" remain present, the addition of the Linn LM-1 drum machine and the Fairlight CMI brings a distinctly digital edge to the music.

Things kick off with a Moyet composition "Nobody's Diary". This track was the only single released form the album and proved to be a big hit. I was astonished to read Alison composed this song when she was just sixteen years old - which it makes it even more impressive an achievement. As well as Alison's distinctive vocal you can hear the Linn drum machine and some Fairlight "SWANEE" samples alongside the usual Pro One bass.

Whilst the sparse nature of the tracks on "Upstairs at Eric's" created a taught and economical sound, this album tends to just sound under produced and cold. The frenetic "Sweet Thing" is a good example where Vince tries to fill the sonic void with some Fairlight trumpet samples, but just ends up making a mess. The closest this album comes to achieving the heights of their debut is probably "Mr Blue" whose production is precise enough to ensure the composition shines.

Those terrible Fairlight trumpets return for "Good Times" where only Alison's vocal emerges with any self respect. "Walk Away From Love" harks back to Depeche Mode's debut and "Unmarked" sounds like prototypical Erasure. There's a rather bizarre song called "Happy People" that was so bad Alison refused to sing it. With no other options at the time Vince decided to sing the song himself with predictably terrible results. By contrast Alison delivers a wonderful vocal on "Anyone" that carries both conviction and technical dexterity. Which is a good summary for this record; not Vince's finest hour but Alison shines bright enough to make it worthwhile. 2.5/5

One record at a time: 469. Yazoo - Upstairs at Eric's

"Upstairs at Eric's" is one of those albums that I would expect to find in the collection of any self respecting electronic music fan. This record was originally released in 1982 and my copy is an original UK pressing acquired from eBay in 2017.

As the needle drops we are greeted by the iconic synth riff that opens the hit single "Don't Go". Legend has it that every sound on this track is from a Sequential Circuits Pro-One synthesiser but I seem to remember producer Daniel Miller saying his trusty ARP 2600 was also used, and I can definitely hear some TR-808 claps towards the end. Whilst there are other gems on this record, this track must surely be the zenith of early eighties synth pop.

Most of the other tracks on this record have a certain naivety that both lends them charm but occasionally detracts. Take the snare drum on second track "Too Pieces" which has such a long reverb it just smears across the whole song, or the backing vocals on "Bad Connection" which just seem unnecessary. 

Then there's "I Before Except After C". Usually you might find me saying things like, "this track is divisive" or it "splits fan opinion", but in this case I think it is safe to say it is universally disliked. I presume this experimental track is created using tape loops as it was recorded before Vince had his short affair with the Fairlight CMI. Most American fans will point out that switching this track with the single "Situation" would have made for a much better album, but the decision to release "Situation" as a single in the USA was not approved by the band and they seemed to regarded it as mere b-side material at the time. Interestingly all compact disc releases of the album did indeed omit "I Before Except After C" in favour of the US remix of "Situation", but it was finally restored to the running order when the album was remastered in 2008.

The fist song we encounter that is composed by Alison Moyet is "Midnight". This song receives a complimentary backing track thanks to Vince's Pro One bassline and subtle pads from a Roland Juno 60. Vince Clarke has said during interviews that most of these songs consist of no more than seven or eight elements and this minimalistic approach is also evident on songs like "In My Room" (which also has a rather 'esoteric' vocal contribution from Vince). 

Side B opens with the bands debut single "Only You" which is laced with analogue synthesisers and a perfect vocal performance. Some consider "Goodbye 70s" to be Alison's best composition on the record and its hi-energy approach means it hurtles along in a surprisingly entertaining fashion. The sombre "Tuesday" isn't really to my taste and whilst "Winter Kills" provides nice contrast to some of the disco pomp, it just goes on a bit too long. The final track is the brilliant "Bring Your Love Down (Didn't I)" which seems to mark the sudden appearance of a Linn LM-1 drum machine alongside the ubiquitous Pro One. A patchy album that has become required listening for electronic music enthusiasts thanks to its hit singles. 3.5/5

One record at a time: 468. xPropaganda - The Heart is Strange

xPropaganda is a collaboration between vocalists Susanne Freytag and Claudia Brücken along with producer Stephen Lipson. All three had previously been involved in the creation of the seminal Propaganda album "A Secret Wish" and there's no doubt this record is an attempt to distil some of that classic sound (Universal even went as far as resurrecting the ZTT imprint to hammer the point home). The result is that whilst Ralf Dörper and Michael Mertens continue to record as Propaganda, only their former collaborators actually sound like the Propaganda.

This limited edition red vinyl came with a free art print and was released in 2022. The sound reproduction is on the good side of middling - but the packaging and graphic design is of the highest order. 

The first track "The Night" immediately immediately brings back those "A Secret Wish" vibes with its rumbling synth bass and mute trumpet improvisations. Whilst there are no crunchy Fairlight samples or Trevor Horn 'gags' in the music, it still carries a very distinctive flavour. These unique qualities are in no small part due to the vocals of Susanne and Claudia, but Stephen Lipson has also manages to create a sonic palette that is both contemporary and consistent with Propaganda's eighties vibe.

I enjoy every track on this record, though a few stand out as personal favourites. One such highlight is "Beauty Is Truth," where Claudia and Susanne trade call-and-response vocals over a pulsating electronic backdrop. The groove rolls forward with effortless momentum, knowing it doesn't have to work that hard to impress you. 

The flip side opens with "Don't (You Mess With Me)" where the synths burble and groan as Claudia makes it clear she not a woman to be trifled with. I love the bilingual nature of the vocals and there's no doubt this track deserved to be a single. Another favourite track is "The Wolves Are Returning" which has a fantastic sub-bass, but the saxophone solo does detract from it quite a bit.

I regard this as one of the best albums from 2022 and I still listen to it regularly. There's no doubt there is a special chemistry at play when Stephen Lipson works with Claudia and Susanne and this album captures that magic nicely. That's not to say this album ends up sounding like "A Secret Wish Part 2" as it stands on its own two feet. This is great electronic pop. 4/5

One record at a time: 467. Steve Winwood - Refugees of the Heart

The final Steve Winwood record in my collection takes us out of the eighties with 1990's "Refugees of the Heart". I hadn’t heard this album before ordering it, but since it was on a flash sale for a very reasonable price, I thought—why not?

On hearing the record, things don't bode well from the outset as opening track, "You'll Keep On Searching" begins with the dreaded sound of a saxophone. Still, there’s just enough of the Roland D-50 preset "Digital Native Dance" to keep me listening. As the song crawls along at a mid-tempo pace, weaving through passages of Hammond organ and more saxophone, it feels as though it might never end. After nearly six and a half minutes, we move on to the slightly more palatable "Every Day (Oh Lord)," which offers some interesting rhythmic elements, though it still doesn’t exactly set the house on fire.

Among these rather conventional rock tracks, "One and Only Man" has enough rhythm and synth textures to make it worth a listen, but much of the rest can be safely ignored. I have a dislike of the final track on the first side, "I Will Be There," which is marred by a grating saxophone and runs for at least twice as long as it has any right to.  

Flipping to the reverse side, there’s some country-tinged nonsense called "Another Deal Goes Down", while "Running On" and "Come Out and Dance" are almost indistinguishable rock dirges. The ten-minute-long closing track, "In The Light of Day," starts with a simple synth sequence before gradually building into yet another torturous saxophone solo before it peters out.

Although the credits frequently mention the use of the Fairlight CMI, aside from a few elements on the final track and some scattered drum samples, this album sounds like it was created by session musicians using conventional instruments. "Refugees of the Heart" marks Winwood’s final step away from making music for American radio and is aimed closer to his roots. However, as I stated in my first piece on Steve Winwood, the genres he is generally associated with aren’t to my taste—and neither is this album. 1/5

One record at a time: 466. Steve Winwood - Roll With It

"Roll With It" was released in 1988 and became one of Winwood's most commercially successful albums in the USA. Having had a massive pop hit with his previous studio album, Steve Winwood seemed to deliver a record full of rock tracks aimed at middle America for the follow-up. However, if you look past the machismo and the leather jacket, the old Steve Winwood can still be found lurking on the background.

We kick off with the Motown pastiche that gave the album its name. I say 'pastiche' but this song was so close to actual Motown songs that Holland–Dozier–Holland received a song writing credit. Whilst this is undoubtedly a catchy number it is highly derivative and belongs to a genre I do not enjoy. Hot on its heels is another single called  "Holding On" which sound much more like traditional Winwood territory. 

There's a prominent Roland CR-78 drum machine and a Multimoog bass on the brooding third track "The Morning Side" which sound like something Phil Collins would have come up with. My personal favourite on the album is "Put On Your Dancing Shoes" as it has some great chords in the chorus and some plastic synth brass that is redolent of the eighties.

I know "Don't You Know What The Night Can Do?" was popular at the time of release but I find it a truly unremarkable song. "Hearts On Fire" recycles lyrics and licks from "Higher Love" and sounds a bit too 'mainstream adult contemporary radio' to me. The only other song to mention is the final number "Shining Song" which features the Fairlight CMI "ARR1" preset along with "Fantasia" from the Roland D50. Tame stuff. 2/5

One record at a time: 465. Steve Winwood - Chronicles

"Chronicles" is a compilation album from 1987 that brings together the highlights of Steve Winwood's solo work released on the Island record label. Having just scored a hit with "Back in the High Life" Winwood was hot property in America and the executives at Island records were keen to use their final album under his contract to capitalise. 

To promote the album Tom Lord-Alge was asked to sprinkle some of his auditory fairy dust on the criminally ignored track "Valerie" and another top ten hit was born. Also dunked in the Lord-Alge sheep-dip were "Help Me Angel" and "Talking Back To The Night". Whilst all these remixes sound good, you could argue the originals were perfectly satisfactory. I guess the aim of giving these older songs a more polished sound was to make them more appealing to the new found American market. 

Whilst the track choices for this compilation are fairly evenly split amongst Winwood's solo albums, the only song from his eponymous debut is "Vacant Chair". However, this track is presented as a lean four and a half minute edit rather than the the full fat album mix. Also edited are "Spanish Dancer" and "While You See A Chance" with the former sounding particularly truncated. Interestingly my compact disc and "The streaming services of Lucifer™ " use the full album mixes rather than the edits, so this vinyl is rather unique in that regard.

Personally I'd like to have seen "Big Girls Walk Away" included here and a tasteful edit of "Midland Maniac" might have offered a slightly more holistic view of Windood's solo career. Having said that, this is an engaging compilation and serves as a great introduction to Steve's early solo work. 3/5

One record at a time: 464. Steve Winwood - Back In The High Life

In 1986, Steve Winwood decided to pursue his commercial ambitions and aim for greater success in America. The result was "Back In The High Life," a highly polished album produced by Russ Titelman in New York. Winwood collaborated with a host of session musicians and prominent backing vocalists, while the technically adept Lord-Alge brothers worked behind the scenes to add the finishing touches that would make the record so appealing to the American market. Once released the album sold well and earned Winwood two Grammy awards in the process. All this success prompted his move to the United States—mission accomplished.

Central to this success was the single "Higher Love". Whilst my children know this song thanks to a dance remix of Whitney Houston’s cover version that appeared on the soundtrack to the film "Sing 2", my own first encounter with the song was thirty-five years earlier. Side A of the cassette compilation "Now That's What I Call Music 8" is full of wonderful music and I would always look forward to this track coming along straight after Swing Out Sister's "Breakout". 

One of the standout elements of "Higher Love" is its rhythm track, where drummer John Robinson enhanced the Oberheim DMX drum machine’s sound with dynamic fills and added punch. The remarkable percussive loop that opens the track was actually captured by chance as Robinson practiced in the studio. I've heard esteemed producer and engineer Gary Langan say that a recording engineer’s job is to capture everything musicians produce in the studio—if you’re not recording, you’re not doing your job properly. By this definition, Tom Lord-Alge was certainly doing his job as not only did he manage to record Robinson’s improvisation but he then managed to seamlessly incorporated it into the finished track. 

Famously, Chaka Khan provides backing vocals and the credits also list Nile Rodgers on guitar. The liner notes mention the use of a PPG Waveterm, but I can also hear sounds reminiscent of the Yamaha DX7 (bass) and the Sequential Circuits Prophet 5 (brass). The album version of the song is almost six minutes long, but it never feels tiresome. This is peak eighties pop.

The second track, "Take It As It Comes" moves into more conventional rock territory, featuring Hammond organ, chugging rhythm guitar, and a brass section. However, both the song and its execution are rather unremarkable. The single "Freedom Overspill" brings in more synth touches, including a Yamaha DX7 BASS.1 bassline, but the overly showy guitar work by Joe Walsh of The Eagles feels out of place.

Another highlight is "Wake Me Up On Judgement Day". While the verse and pre-chorus are somewhat bland, the song rewards persistence with an uplifting chorus. As the track gathers momentum, Nile Rodgers steps into the spotlight, and the focus remains on the infectious chorus, leaving behind the earlier diversions.

A personal favourite is "My Love's Leavin'" which was co-written with long-term collaborator Vivian Stanshall. This song blends the sound of the DMX drum machine with the ubiquitous DX7 E.PIANO 1 and Tom Lord-Alge’s mix is rich with reverbs, delays, and equalisation, maintaining a palpable tension throughout. The album credits are so extensive that it is easy to overlook that Arif Mardin arranged the synthesised strings on this track. It is an amazing end to a pleasing album. 3.5/5.

One record at a time: 463. Steve Winwood - Talking Back To The Night

“Talking Back to the Night” was recorded entirely in Steve Winwood’s home studio, making it a genuine solo effort. This time, Winwood not only composed every note, but also played, recorded, and mixed the whole album himself. If he had taken charge of the sleeve design as well, perhaps we would have had a more striking cover, but that is a minor complaint. I purchased this original 1982 UK pressing from eBay eight years ago. The sound quality is decent, though not outstanding.

The album begins with the hit single “Valerie”. On this release, you will find the original mix, which feels raw compared to the polished 1987 remix. For those familiar with the latter, this version may seem less refined, but it remains an irresistibly catchy track. The synth textures are prominent and Winwood has mentioned that the Prophet 5 was responsible for nearly all the electronic sounds on the album.

“Big Girls Walk Away” might raise eyebrows with its title, but if you give it your full attention, it proves to be a highlight. The track blends Linn LM-1 drums, Roland VP-330 vocoder and Prophet 5 synth to create a soulful edge to its synth-pop foundation.

After such an energetic start, “And I Go” slows the pace. This is a soul-infused number, featuring Hammond organ flourishes and other familiar genre tropes. There is also a jarring edit at one minute and twenty-two seconds that always catches my ear. “While There’s a Candle Burning” begins unassumingly but gradually builds with synth riffs and seventies-style guitar. Side one closes with “Still in the Game”, which, while melodically bland, offers some appealing synth work.

Turning to side two, “It Was Happiness” is pleasant but somewhat forgettable. However, “Help Me Angel” is a true highlight and is presented here in its original form before Tom Lord-Alge got his hands on it for the “Chronicles” compilation. This song grooves relentlessly, driven by a tight drum pattern and excellent synths. The title track is another mid-tempo, synth-driven piece that is enjoyable but does not leave a lasting impression. Finally, “There’s a River” delivers the slow blues number you might have been dreading; it is best skipped. 3/5

One record at a time: 462. Steve Winwood - Arc of a Diver

"Arc of a Diver" was released in 1980 and my well worn original pressing is showing its age. Not only is the sound reproduction pretty poor, but there are also some outdated and misogynistic ideas within these grooves. The first time I heard "Second-hand Woman" I thought I was misinterpreting things or being oversensitive, but the more I heard the song the more disconcerting I found it. The music is inoffensive, but the lyrics are just vile.

On a brighter note, the album opens with "While You See a Chance", where the Prophet 5 and Multimoog synths blend beautifully with Winwood’s signature Hammond organ. The lyrics may be a bit scattershot, but the inventive, catchy music more than compensates. "Slowdown Sundown" takes an unexpected acoustic turn, but the track is ultimately saved by a wonderful Moog bass and a standout solo.

Side B begins with "Spanish Dancer", a long-time favourite of mine. The track is rich with synth textures and features a bubbling analogue sequence that underpins lush polysynths and subtle percussion. I especially enjoy how this song ebbs and flows, building tension and release to great effect. "Night Train" is an eight-minute journey that feels more contemporary and you may find yourself tapping your foot - albeit absent mindedly. The album closes with "Dust", a somewhat underwhelming composition, though Winwood’s vocals remain a highlight.

Overall, "Arc of a Diver" is a mixed bag: musically inventive in places, but marred by outdated themes and inconsistent songwriting. Still, there are moments of brilliance that make it worth a listen—if you can look past its flaws. 2/5

One record at a time: 461. Steve Winwood - Steve Winwood

Although I’m not a fan of blues, R&B, or blue-eyed soul—the genres most often associated with Steve Winwood—there’s something about his solo work that genuinely intrigues me. I suspect it’s the undeniable brilliance of his songwriting and musicianship that draws me in. Still, I have to admit, it’s his albums from the 1980s that truly capture my interest.

I picked up my copy of this album on eBay about six years ago. Interestingly, it turned out to be an American pressing, which I hadn’t realised when I bought it. The sleeve has a deletion cut in the bottom right corner—a telltale sign of how it ended up here in the UK.

Since this album dates back to 1977, it isn’t among my favourites. The tracks lean heavily into the style of seventies soul, filled with funky clavinet, electric piano, and wailing guitars. The Minimoog makes a few appearances as the only synth, and, as you’d expect from Winwood, there’s plenty of Hammond organ throughout. There are just six songs on the record, but with each running between five and eight minutes, listeners would have felt they were getting their money’s worth.

While most of the album doesn’t quite resonate with me, I did find myself paying closer attention to “Midland Maniac” and “Vacant Chair.” The opening track, “Hold On,” features a Minimoog patch that I instantly recognised from Winwood’s later work, and its strong energy did win me over to some extent. Still, overall, this album isn’t really my cup of tea. 1/5

One record at a time: 460. Way Out West - Way Out West

Fifteen years ago I wrote on this blog: 

"I have never been able to pin point quite why I love the music of Way Out West. Ever since I first heard ‘Domination’ in 1996, I have been entranced by the band’s output. Album tracks such as ‘Sequoia’, ‘Activity’, ‘Call Me’ and ‘Ultraviolet’ are amongst the best pieces of electronic music ever composed." 

This all might sound like hyperbole, but I genuinely believe that Way Out West make music that transcends the genre of dance. I think my admiration is derived from the fact that, whilst many of the band's contemporaries proved to be ephemeral, much of Way Out West's early work still resonates with me.

Their self-titled debut album, originally released in 1997, is a perfect example. My copy is the 2025 reissue from Music On Vinyl—one of just 750 individually numbered double blue vinyl sets. Although that sounds impressive, the reality is you can still buy a brand new copy for around £30. The relatively cheap price probably accounts for the lack of gatefold sleeve and the plain inners that feel a bit underwhelming. Thankfully the music transcends the packaging. 

Proceedings kick off with the single "Blue" which is based on the music from the cult film "With Nail and I". Some people find it hard to discern the original melody in amongst the growling synths and relentless breakbeats, but it is there. The track delivers a compelling blend of foot moving progressive house and pure listening pleasure—I enjoy it immensely.

Hot on the heels of the opener is the hit single "The Gift" and this track probably accounted for 90% of the sales of the album. Here the Westies wrap manic breakbeats and lush synth chords around a sample of Joanna Law singing a line from the folk song "The First Time Ever I Saw Your Face". I'm really not a fan of folk music and I was perfectly prepared to hate the version of the song the sample is taken from, but Law's cover is actually a rather funky downtempo take titled "Fist Time Ever". As good as it is though, this track is never going to be my favourite.

The last track on the first side is a ambient piece called "Earth" that actually closes the album on most other formats. You get a definite sense that this song was shoehorned in here as there was nowhere else for the cutting engineer to fit it. This is a bit of a shame as placing the track here both breaks the early momentum and robs us of a come down at the end.

On the flip side of the first disc, we’re treated to “Domination”- a track that almost defies description. The best way to capture this song's essence is to call it a rip-roaring breakbeat masterpiece with gorgeous synth loops, lush chords, and vocals by JFK—sort of. Next up there are some faint ragga vibes on the appropriately titled "Dancehall Tornado", but the music remains firmly rooted in trance and breakbeat.

"Sequoia" that opens the second disc is a personal favourite. This is one of few tracks with a prominent four-on-the-floor kick drum and open hats on the third beat and it makes for a nice change. The samples are used more sparingly here and the pulsating synths are allowed to take centre stage. "Questions Never Answered" is a bit more straightforward and really doesn't do enough to warrant a runtime of nearly nine minutes. 

Things pick up again with the single "Ajare" which deserved to do chart higher on both the occasions it was released. As the synths blast like sirens the TR-909 hit hats provide a relentless backdrop to the perfect vocal samples. "Kind of the Funk" successfully explores the big beat territory normally patrolled by the likes of Chemical Brothers or Fatboy Slim. The vinyl finishes off with "Drive By" which seems to be an edit of the "Club Mix" of "Blue" from the CD single.

After this initial flush of artistic perfection Way Out West lost their way a bit and became a little more inconsistent. Whilst their second album is good, their third effort "Don't Look Now" saw them use a female vocalist and adopt a more mellow sound. This move really didn't work for me and I lost interest in the band until "We Love Machine" was released in 2010. Whilst Jody and Nick do still surface together occasionally its eight years since their last album and nothing will ever feel quite like this did in 1997. 4.5/5

One record at a time: 459. Wang Chung - Mosaic

My copy of Wang Chung’s fourth album, “Mosaic,” was originally pressed for the Italian market, yet somehow it found its way to England. Like the rest of my Wang Chung collection I acquired this record from eBay around ten years ago, but I can't say this one has been played as much as the others. 

The album opens with a track that proved to be both a blessing and a curse for the band. “Everybody Have Fun Tonight” became a huge hit in North America and catapulted the band into the spotlight. Despite its commercial success, the song has been parodied and even mocked, largely due to the line: “everybody Wang Chung tonight.”

A seemingly casual use of the band’s name as a verb had unexpected consequences and invited a degree of ridicule. From what I’ve read, however, the band has always maintained that “there’s no such thing as bad publicity,” and they’ve embraced the joke with good humour. Still, having their biggest hit lampooned and dismissed as an object of ridicule won't have helped their credibility.

On this side of the Atlantic, the joke didn’t quite land, and “Fun Tonight” barely made an impression on the UK charts. Perhaps there was no joke to get. It’s not a bad song, but it doesn’t reach the heights of “Dance Hall Days.” In fact, there are stronger tracks scattered throughout the album than their most famous single.

The follow up single "Let's Go!" that opens the flip side of this album also managed to crack the top ten in the USA (but was met the same underwhelming response here in the UK) but the internet seems to have forgotten this and is happy to brand the band a 'one hit wonder'.

Second track in the running order is "Hypnotise Me" which is another strong effort that was featured on the soundtrack to the film "Innerspace". I remember this film being quite a big deal when it was released and I imagine the band were pretty pleased to be associated with it. The song wasn't a big hit, but it has a great hook and energy to spare.

Beyond the singles, the album offers standout moments - “The Flat Horizon” deserves special mention, while the closing track, “The World in Which We Live,” delivers an epic finale. Admittedly, the momentum slows with the somewhat clichéd “A Fool and His Money” and “Betrayed” feels directionless, but the strength of the surrounding tracks ensures the album remains a rewarding listen overall.

This album sounds different to its predecessors as not only does it have a different producer, but because it was created using the Synclavier rather than the Fairlight. Alongside the electronics the band deploy a brass section and a veritable chorus of backing singers to give a somewhat more commercial and - dare I say it - American sound. 3/5

One record at a time: 458. Wang Chung - To Live And Die In L.A. (Music From The Motion Picture)

It’s rare for a renowned Hollywood director to become so captivated by a band that they invite them to compose the soundtrack for a film. Yet that’s exactly what happened when William Friedkin chose Wang Chung to create the music for, “To Live and Die in L.A.” in 1985.

It appears that Friedkin was a big fan of the album "Points On The Curve," with the song "Wait" being a particular favourite. It's unclear whether Friedkin knew that band member Jack Hues was classically trained before approaching them to score the film, or if he simply trusted that they would be up to the task. Either way the band accepted the challenge and they wrote and recorded the music in just two weeks.

The album presented here features songs used in the film on the first side and instrumental pieces on the second. The music is not written for orchestra but realised on contemporary instruments such as the Fairlight CMI, PPG wave and EMU Emulator II. Whilst there is a smattering of very eighties sounding guitar and some nice bass from Nick Feldman, this is a distinctly electronic score.

The title track is a clever song that shies away from the band's usual shiny pop sound and delivers something slightly more disturbing. Unusually the chorus descends in pitch which gives a highly atmospheric and introspective feeling. I'm not a big fan of the second track "Lullaby" as it sounds a little kitsch for my ears but "Wake Up, Stop Dreaming" supplies an overdose of Emulator shakuhachi samples before morphing into a pop song that matches the style of the title track. For whatever reason William Friedkin insisted on using the track "Wait" from their previous album on the film so it is reprised here too.

Amongst the instrumental pieces there is a distinctive track called "Black—Blue—White" which sounds uncannily like Front 242. It is interesting to note that the Belgian EDM pioneers have a similar track called "Black White Blue" and I find it hard to believe that there wasn't some 'cross pollination' going on as Jack and Nick scrambled to generate ideas for the soundtrack. 

There's also evidence of corners being cut with the nine minute opus "City of the Angels" which, as good as it is, simply amounts to an extended deconstruction of the track "Wait". Throughout these tracks you can hear distinctive PPG Wave choirs, Emulator strings and drums from the LinnDrum and its older brother the LM-1 - it's like an eighties synth spotting game. 

The final track "Every Big City" has such a strong eighties sound it could be mistaken for a modern tribute used as library music on YouTube (I'm not sure of this is praise or condemnation). Still, this is a highly entertaining album and the combination of clever songs and dark eighties instrumentals wins me over. 3.5/5

One record at a time: 457. Wang Chung - Points On The Curve

The annals of history might record the transition from Huang Chung to Wang Chung as a simple change in spelling, but for listeners, this shift marked a dramatic evolution in the band's sound and artistic direction.

Huang Chung's self-titled debut album, while competent, often feels tentative. Even the original version of their signature track, "Dance Hall Days," lacks the polish and energy that would later define the band. In contrast, "Points On The Curve" - their first release as Wang Chung - embraces a sleek, electronic-driven pop style that moves away from their earlier new wave influences.

When listening to the original UK pressing of "Points On The Curve" you might be struck by its unique running order, which differs from other international releases and all CD versions. Personally, I find this original sequence enhances the album's flow and cohesion, making for a more compelling listening experience. 

The album opens with the single "Don't Let Go" that features a bassline that is both simple and beguiling. It may not be as instantly catchy as some of the band's biggest hits, but this song does have a good groove and was among the first tracks to resonate with the public.

For many, the opening bars of "Dance Hall Days" evoke memories of 1983; for others, the song is forever linked to 2002's "Grand Theft Auto: Vice City." Regardless of your reference point, the track's quirky lyrics and infectious melody are infectious. There's also something about the descending chord progression of the guitar in this song that is quite fascinating. In fact "Dance Hall Days" is so good I can even tolerate the saxophones.

"Look at Me Now" stands out with its funk influences and wonderful orchestral sounds that are coloured by the distinctive, and rather mushy tones of the Fairlight CMI. That same Fairlight hallmark is present in "Even If You Dream," which also features classic Simmons toms and snare, delivering a true eighties overload. What’s especially remarkable on these tracks is the sound that producers Chris Hughes and Ross Callum coax from the LinnDrum. The reverb, EQ, and compression on the drum machine are expertly handled and among the best I’ve ever heard. 

In terms of the compositions I also like "Wait" and "Don't Be My Enemy" - with an honourable mention to "True Love". And yes, "Talk it out" is supposed to end like that. Whilst this album isn't as perfect as my memory tells me, it remains a cornerstone of eighties pop. 4/5