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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

One record at a time: 391. Röyksopp - Lost Tapes

In 2019 Röyksopp began curating a Spotify playlist that contained rare B-sides and previously unreleased tracks. By the summer of 2021 fifteen tracks had been added to the playlist and it had attracted enough interest to tempt the band into releasing some of the songs on physical formats. I say 'some of the songs' as the last 5 entries on the playlist weren't included on this record and are only available on digital formats. Who knows - maybe we will have a volume two one day?

There was something about the decision to create "Lost Tapes" that led me to believe Röyksopp's stance of no longer releasing traditional albums wasn't as resolute as we were led to believe. You could argue that as a compilation this doesn't fit the definition of a traditional album - but this really would be splitting hairs. I celebrated this record for what it was: a new album from Röyksopp.

The instrumental "Rising Urge" was a hidden track on some pressings of the "The Inevitable End" compact disc but I had never heard it until this compilation came along. This track is electrifying and proves to be a perfect atmospheric introduction. We get our dancing shoes on for "I Wanna Know" which was previously released via the band's website in 2010. This song has a electroclash feel with a great melody but its relentless nature can be a little overbearing at times. There's much more dynamic contrast in songs such as "In The End" or even "I Just Don't Understand You" which are more refined to my ears.

The very thought of Röyksopp and Susanne Sundfør covering Depeche Mode's classic b-side "Ice Machine" was enough to set electronic music fans salivating back in 2012. However the track wasn't really made widely available and it took on a mildly legendary status as a result. And its reputation is well deserved as it is both faithful to the original and offers a unique take on the song.

For me the fourteen minutes of "Shores of Easy" is a mesmerising experience that deserves to be turned up high and given your full attention. I like these long form pieces and wish Röyksopp would peruse them more. Tracks like this and "Rescue" almost follow in the tradition of Jarre, Vangelis and Mike Oldfield and give a much broader canvas for the band to play out their ideas.

Until I began listening to Röyksopp's back catalogue for this blog I don't think I really appreciated just how much I like them. Make no mistake, this band are electronic music royalty and I have a feeling I will be listening to them much more going forwards. 4/5

One record at a time: 390. Röyksopp - The Inevitable End

Even with a title as manifest as "The Inevitable End" I never really believed this was going to be the final album by Röyksopp. When I look back to the events of 2014, Svein and Torbjørn were never really clear on what their plan was beyond saying, "we won't make any more traditional albums", therefore it didn't really come as a surprise when they eventually resumed releasing records and the whole thing turned out to be a bit of a fuss over nothing.

I bought this record on the day it was released and I have loved it from the first time I heard it. There's so much variety and contrast in these songs that it is almost impossible to become bored. There are one or two more introspective and melancholy moments that are a little drawn-out, but generally everything here is catchy and succinct.

There can be no doubt that Röyksopp are one of few electronic groups that have a unique sound and those singular characteristics are woven into all of these songs. My favourite on this album is a superb collaboration with Jamie Irrepressible called "I Had This Thing" which emerges from a tender chrysalis into a soaring anthem. Another joint effort with Irrepressible titled "Here She Comes Again" is also worthy of praise as is the collaboration with Robyn titled "Monument". However the second effort with Robyn titled "Rong" sounds like some sort of angry adolescent chant. There's not a lot to like in this song's childish profanity and its boring repetition means I skip it every time. 

Happily there are many more great songs on this record with opening track "Skulls", the excellent single "Sordid Affair" and "Running to the Sea" with Susanne Sundfør being stand outs. The coda of the album features a couple of downtempo songs that allow things to wind down as the band say their goodbyes. 4/5

One record at a time: 389. Röyksopp - Senior

"Senior" is an instrumental album containing downtempo tracks that act as a counterpoint to preceding album "Junior". Prior to its release I remember reading rumours of this album's existence, but for some reason I assumed it would never see the light of day. So when this record was finally made available in 2010 I was quite surprised.

If you have become accustomed to the frenetic dance rhythms of previous entries in the Röyksopp back catalogue it can take a minute to retune your ears and enjoy this record, but it is worth the effort. 

Much of this album could be classified as ambient or experimental and, in a way, it reminds of some of Jean Michel Jarre's more atmospheric moments.The pieces that really catch your ear on this album are "The Drug" and "The Fear". Also worthy of mention is "Tricky Two " which takes the cut "Tricky Tricky" from the previous album and excises the vocal to great effect. 

As well as the layers of synths there are lots of acoustic drums, electric bass and guitar used on this album but, much like Röyksopp's other work, these instruments compliment the electronics rather than clash with them. This 2018 repressing of the vinyl the usual high quality cut created by Optimal Media and is very sympathetic to the music. 3.5/5

One record at a time: 388. Röyksopp - Junior

At one time Röyksopp's music was seemingly omnipresent. Everywhere I went in 2009 I heard the single "Happy Up Here" and it burrowed it's way into my brain until my purchase of  "Junior" became inevitable. I went on to buy this double LP when it was repressed in 2014 and, as with all Röyksopp vinyl, it sounds very good indeed.

I have become so accustomed to the jaunty tones of "Happy Up Here" serving as an introduction to the album that the brooding tones of "Röyksopp Forever" come as a surprise when listening to the vinyl. However, make no mistake this is one of the best tracks on this album and it never fails to impress me with its superb string arrangement and laconic bass.

There some great vocal tracks on this record with the single "The Girl and the Robot" and "True to Life" being my favourites. I'm not a fan of "Miss It So Much" and the terrible lyrics on "Tricky Tricky" ruin the song. So whilst here are many great tracks on this album, it isn't as consistent as its two predecessors and I do not enjoy it quite as much as a result. 3/5

P.S. It has been brought to my attention that I am wasting time writing the band name with an umlaut as this mark isn't used in the Norwegian language. So I will state that I am just trying to follow the same convention established by the band and am aware this is just an aesthetic choice.

One record at a time: 387. Röyksopp - The Understanding

Having enjoyed their debut it was inevitable that I would buy Röyksopp's second album "The Understanding". As usual I originally purchased the compact disc back in 2005 and this double LP came along much later in 2014. Like "Melody A.M.", this vinyl mirrors the original pressing as it has a different running order to the CD. As this vinyl was made by Optimal Media it sounds pretty much flawless, but I would have liked just a little more bass to make it perfect.

Things kick off with the magnificent "Only This Moment" in which we hear Svein and Torbjørn singing for the first time. There are lots of indicators the band began to feel more confident on this record, but the presence of their vocals is probably the biggest signal. The atmospheric "49 percent" follows soon after with brilliant vocals and lyrics provided by Chelonis R. Jones. The first side of the first record rounds out perfectly with "Beautiful Day Without You" which provides some excellent downtempo vibes to compliment the more frenetic sounds that preceded it.

Elsewhere we hear "What Else Is There?" in which Swedish vocalist Karin Dreijer sings some slightly strange lyrics over a brilliant synth-pop backing track. Hearing "Triumphant" on the final side is a little strange when you are accustomed to it opening the CD, but the music is so good it doesn't spoil the experience. And if "Alpha Male" isn't one of the best slices of electronic music ever created then I will eat my hat. 4/5

One record at a time: 386. Röyksopp - Melody A.M.

Sometime in the early two thousands I had become aware of a group called Röyksopp as one of their songs was featured on a TV advertisement. When a friend played me another of their tracks called "Eple" I decided to buy their debut album "Melody A.M.". 

However, I had a very had time finding the compact disc in the shops and ended up having to buy a costly import. Thankfully I liked the album enough to justify the expense and became an admirer of the band. 

Fast forward twenty years and the band's official website conformed the album would be re-released as a numbered "20 year anniversary edition" - I ordered it immediately. This record is split across two slabs of vinyl and features nine tracks. The compact disc actually contained ten tracks but "40 years back / Come" is omitted and the running order has been changed. However, all of these differences are carried over from the original 2001 pressing, so you could argue this record is offering an authentic experience. The vinyl itself is very quiet and sounds very good indeed (I didn't need to check the credits to know it was pressed by Optimal Media).

"So Easy" and "Eple" will be well known to anyone who had a pair of working ears and lived between the years 2000 and 2005 as they seemed to be heard everywhere. Personally I think "Röyksopp's Night Out" is a masterpiece that offers wonderful complexity and intricacy whilst remaining accessible. Another favourite of mine is "Poor Leno" which features Erlend Øye on vocals. When I went to see Röyksopp live it was this song that blew the roof off the venue and got every single person in the room dancing. There aren't many albums that have stood the test of time as well as this one - it sounds like it was created yesterday. 4/5

P.S. Also of interest is the promo LP which had hand printed artwork by the then relatively unknown street artist Banksy. There are only 100 of them and they seem to command rather silly prices on the second hand market. Still, Discogs says only 80 people have said they own one - so if you happen to have a copy in your attic do drop me a line.

One record at a time: 385. Trent Reznor & Atticus Ross - Watchmen: Vol. 03 (Music From The HBO Series)

Volume 3 of Trent Reznor and Atticus Ross's soundtrack to the TV series "Watchmen" is a much more "ambient" and minimalistic than the first two instalments. In fact this music here is so spartan that I have read of people playing the record at the wrong speed without realising it.

This album has none of the raucous or heavily synth driven pieces found on the first two volumes, but cues like "The Waiting Sky" or "A Stronger, Loving World" are still mildly entertaining. 

This album is probably intended to be given your full attention and experienced as a continuos flow of music. However, I can think of better things to do with 45 minutes than listening to a drone. In all honesty, I can't see me playing this record again anytime soon.  

The real genius of this record is the artwork that credits it to "The Nine Inch Nails" with the fictional title "The Manhattan Project". The record itself is a very nice pressing and, unlike many others, mine has no issues on playback. 1/5

One record at a time: 384. Trent Reznor & Atticus Ross - Watchmen: Vol. 02 (Music From The HBO Series)

The second volume of music from the soundtrack to the TV series "Watchmen" was issued in a sleeve masquerading as the soundtrack to a fictitious show called "American Hero Story: Minutemen".

The real credits found online tell us most of the cues were created by Trent Reznor and Atticus Ross with two traditional jazz tracks by John Beasley. My copy plays very well and includes a facsimile newspaper clipping included in some pressings.

As far as the music goes it is more of the same really. Standout tracks are "Squid Pro Quo" which begins as an atmospheric drone before launching into a powerful analogue sequence. "Seven Years of Bad Luck" and "He Was Never There" are also very interesting to hear and the creepy "Kicked in the Balls Again" never fails to affect. 

The afore mentioned John Beasley contributions are traditional jazz recordings that fit within the context of the programme, but are of absolutely no interest to me. So whilst this isn't quite as good as the first volume it is still very interesting to hear. 2.5/5

One record at a time: 383. Trent Reznor & Atticus Ross - Watchmen: Vol. 01 (Music From The HBO Series)

When I first saw the film "Watchmen" in 2009 I was totally mystified by it. I'm not a comic book fan and I had absolutely no knowledge of the lore required to fully enjoy the film. Clearly this wasn't the sort of show for me.

Yet, ten years later I decided to watch a new TV series based on the same characters. This time around I enjoyed things much more and I'm sure that this was due, in part, to the fantastic music by Trent Reznor and Atticus Ross of the band Nine Inch Nails.

Here we have the first volume of the soundtrack that features artwork for a fictional album called "The Book of Rorschach" by the equally fictional band Sons Of Pale Horse. Whilst I have no doubt this fake sleeve approach was artistically satisfying (and nothing I have seen before) it is a bit annoying as you have to look online to see what any of these tracks are actually called.

When I received this album it was quite badly scratched and had all kinds of clicks and pops straight from the manufacturer. After a little resistance the band's official UK webshop sent me a replacement that wasn't scratched, bit it doesn't play quite as flawlessly as I expected either.

The first few opening tracks of this album are atmospheric wonders that set the scene for both the TV series and this record. I can't imagine sitting down and coming up with something as good as the fourth track "Nun With A Motherfucking Gun" and not having the biggest smile on my face. The analogue synths, rapid percussion and throbbing bass combine perfectly on what is one of the highlights of all three volumes of the soundtrack.

Cues like "Kattle Battle" and "I'll Wait" sound like they have been lifted straight from a Nine Inch Nails album and it is clear that Reznor and Ross put just as much effort into their soundtracks as they do for their other work. Another highlight is "The Brick" which somehow manages to sound new and innovative but clearly carries the distinctive DNA of the composers. The music here is much more electronic than more recent Nine Inch Nails releases and I prefer it as a result. 4/5

One record at a time: 382. RAH Band - Mystery

For many years I worked in environments where people would leave a radio playing all day. The majority of the time this meant I had to endure whatever ephemeral pap was in the charts, but now and again I did discover something exciting via the airwaves.

One such occasion when Ken Bruce played the full 6'45'' album version of "Clouds Across the Moon" by RAH Band on BBC Radio 2.

As soon as the song began I was intrigued by both the lyrics and the vocalist. There was a very tongue in cheek operator talking about valuable deep space communications and some plastic horns that thrilled and appalled me in equal measure. I also thought I could hear a TR-909 drum machine mixed in with the Simmons toms and lush orchestral arrangement. 

Whilst I found this heady brew quite hard to place, I knew I wanted to hear it again. Once at home I researched the song and was genuinely surprised to find it dated back to 1985. Why hadn't I heard this record until 2006? I quickly downloaded an mp3 file of the song and enjoyed it very much.

Fast forward to 2019 and I came across this copy of "Mystery" whilst perusing through my regular second hand vinyl store. When I noticed the opening track was "Clouds Across the Moon" I decided to pay the £8 asking price and finally delve further into the world of RAH Band (I'm still not sure if the band name uses the definitive article or not, but as it's not on this release I will omit it). 

Whilst the vinyl I own is in fair condition, someone has written the duration and writing credit for each track on the back of the sleeve. Each time I look at the defaced cover I take comfort in the knowledge that the culprit probably served jail time for such offences.

RAH band are the brainchild of multi-instrumentalist and all round clever clogs Richard Hewson. All of the songs on this disc are written by Hewson and sung by his wife of the time Liz. Whist "Clouds Across the Moon" is their commercial peak they are from being a one hit wonder. Hewson is clearly a very talented musician and his jazz-funk influences result in a rather unique take on eighties synth pop.

After the brilliant opening track we hear "Night Wind" which you will be pleased to hear isn't about nocturnal flatulence but is actually seven and a half minutes of funky disco. Yes it sounds a bit chintzy to modern ears and would benefit from an edit to reduce the run time, but you can tell the composer knows what he is doing.

"Sorry Doesn't Make It Anymore" has an amazing string arrangement but like many songs on here it sounds little too stuck in the seventies. "Out on the Edge" and "Float" are highly competent funk instrumentals but the incessant saxophone solos can be tiresome. "Mystery Boy" and "Are you satisfied?" move more closely to a pop sound but the saxophones and funk guitars are never far away.

The only song that really comes close to matching the opening track is "Shadow of your Love" which deserves much wider appreciation. The superb synth work on this track is complimented perfectly by Liz's backing vocals and I almost get a sense of 'the Minneapolis sound' emerging from the speakers. 

The slightly kitsch nature of the music on this album means it will always be something of a guilty pleasure; but if you're in the mood for something from the eighties that is slightly off the beaten track then you can do a lot worse than investigating RAH band. 3/5

One record at a time: 381. Project D - The Synthesizer Album

You may notice that the artist who created these recordings isn't credited prominently. This is a deliberate tactic designed to increase the likelihood of us mistaking this for a compilation of original recordings rather the 'sound-a-like' cover versions they actually are.

Albums of this type had existed since the seventies with the "Top of the Pops" series being one of the most notorious examples. By the nineties, a shift in technology meant that people could use synthesizers and high capacity sequencers to make a myriad of albums with titles like "Synthesizer Hits", "Synthesizer Greatest" or "The Most Spectacular Synthesizer". As these albums were sold quite cheaply they were rather popular - especially with 'financially challenged' teenagers such as myself. 

The first sound-a-like album by Project D was imaginatively titled "The Synthesizer Album" and was released in 1990. A second volume appeared later in the same year (with the shocking title "Synthesizer 2") and I bought both on compact disc at the time of release. Teenage me definitely got some enjoyment out of these albums and some tracks were so good they almost sounded like remixes of the original. Yet tracks like "Balero", "Winter Games" and "Tubular Bells" felt like very strange and disappointing choices to represent 'synthesizer music'. 

The next I heard of Project D was when "Synthesizer - The Ultimate Sound Experience" was being marketed and sold directly to customers via a TV campaign. This four disc box set featured the same content as the first two "Synthesizer" albums but also included two additional discs. To my mind it is the second two discs where things go wrong here. I mean badly wrong. No...worse than that.

Alannah Myles country song "Black Velevet" is pretty awful in its original form, but played on synth presets it is in a whole new world of terrible. Other abominations include Elton John's "Sacrifice", "Kingston Town" by UB40 and the "Star Wars" theme tune all being mercilessly butchered at the alter of MIDI file mediocrity. I could go on but the horrors are too much to bear. I think it is sufficient to say some of the song choices on these last two records are frankly bizarre.

I am not certain what instruments were used to create these monstrosities but I can definitely hear a Roland D50 and possibly some Ensoniq SQ80 and a Korg T3. I hope group members Chris Cozens and Nick Magnus made some good money from this venture as they truly sold their soul to the devil in creating it. 

If you feel compelled to subject yourself to this music then listen to the first album and please skip the rest. I think I only own the box set out of curiosity and looking at it now I sense I will be making a charity shop donation very soon. 1/5

One record at a time: 380. Pet Shop Boys - Interview Picture Disc

I used to see this "Limited Edition" picture disc being sold in almost every record shop in the late eighties and early nineties. Rather than music, this record contains a poor quality recording of an interview conducted by an unknown journalist with a German accent. The conversation seems to have been held around August 1987 when the Pet Shop Boys were promoting their album "Actually".

Fans could learn quite a lot from this interview where an unusually verbose Chris Lowe gives us details on the recording of the album and some of the instruments used. We learn that J. J. Jeczalik of the Art of Noise was the Fairlight programmer on "Shopping" and that the mix of "What Have I Done To Deserve This?" on the album was the second version created. 

Everyone becomes a little coy when discussing the vocal samples on "Heart" as the interview is going to be published in Italy and nobody was ready to risk being sued (years later they would reveal that Pavarotti was one of the voices sampled). Further on Neil talks at great length about the inspiration for the songs "Rent" and "Kings Cross" and there is a brief mention of the then current litigation regarding "It's a Sin" which finds the journalist firmly on the boys side.

The interviewer mentions a reprise of "What Have I Done to Deserve This?" being listed on his promo cassette that didn't seem to play. This comes as a relief to the boys as they had decided to remove it from the finished record. The interviewer also asks if the drums on "Hit Music" are 'real' only to be told they are from a Fairlight III. As the discussion moves to the writing process and how the songs were demoed, the record ends abruptly with Neil mid sentence. 

This item is strictly for collectors and I almost considered not including it here; but it didn't feel right to miss anything out. I have two copies of this record as one was a casualty of my poor record handling in the eighties. I haven't listened to either for over twenty years so it was good to spin one of them today. 1/5

One record at a time: 379. Pet Shop Boys - The Collection

This bootleg is quite an oddity. From what I can make out it was supposedly pressed in France circa 1988 and is a compilation that includes a twenty minute megamix as one of its 'highlights'. There are only seven tracks included and the assertion that the phonographic copyright in the recordings is owned by "ALLHITS LTD." seems more than a little doubtful. At least the artwork is a good effort.

I'm really not a fan of listening to mega mixes and they only make sense as a tool for lazy DJs. The effort by "Italian Sound Inc." included here is pretty terrible as the added elements are either out of tune or intensely irritating. Another annoyance is the fact that many of the songs play the wrong speed. As a result of beat matching the Shep Pettibone remix of "What Have I done to deserve this?" sounds slow and laboured and the samples added to "In The Night" drive me to distraction. The constantly repeating thunder claps and orchestra hits that are all over "It's a Sin" provide the icing on the cake.

The other tracks included are "Heart", "Always on my mind", "It's a sin" and "What Have I Done To Deserve This?" For whatever reason we are treated to the the album version of  "Suburbia" and "West End Girls" fades out rather unceremoniously after about three minutes. This record is quite a bizarre experience. 2/5