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