One record at a time: 425. Thompson Twins - Into The Gap

I have memories of hearing "Hold Me Now" played on the radio quite a lot during my childhood and it remains one of my favourite songs by Thompson Twins. Despite admiring the band's music, I never actually bought any of their records and this recent charity shop find is the only Thomson Twins vinyl I have ever owned.  

"Into The Gap" is the archetypal multi-million selling record that was hit on both sides of the Atlantic. Much of this commercial success can be attributed to the radio play garnered by the singles that were culled from the album. Along with "Hold Me Now" I also liked the single "Doctor! Doctor!" - but I have no memory of hearing "Take Me Up" before. To be honest I am truly surprised such a dismal track reached number two in the UK charts. 

One of the things I found most interesting about this record are the bass sounds. It seems the distinctive fretless bass that features on almost every song is actually derived from an Oberheim OB-Xa synth. Tom Bailey plays the keyboard with such skill and fluidity that these basslines could be mistaken for an electric bass guitar. Interestingly I read the bass patch is actually a modified clavinet preset and when the memory of Bailey's OB-Xa was wiped, the sound went with it.

I think one of the reasons I like Thompson Twins is because I am drawn to the sound marimbas and other percussion instruments. On tracks like "Sister of Mercy" or "Who Can Stop The Rain" Alannah Currie provides some amazing embellishments that really lift the songs. Other highlights for me are "The Gap" and "No Place For The Wicked" which are catchy songs that are expertly produced. Maybe I will have to acquire more Thomson Twins records after all. 3.5/5

One record at a time 424: Tears For Fears - Songs For A Nervous Planet

I'm not sure how to classify this album as it contains both new studio material and live tracks. This 2024 release features two LPs pressed on "Cocoa Cream" vinyl (ridiculous colour names seem to be de rigueur in the industry at the minute) pressed by GZ Media. As I ordered my copy through the Universal Records webstore it came with a signed 'art print' (in reality it is a glorified flyer) for the live film that was released simultaneously. 

Unfortunately the new material on this record contains the Beatesesque sound which seems to be obligatory on recent Tears For Fears records. Particularly guilty are opening track "Say Goodbye To Mum and Dad" and "Emily Said" which just sound like flimsy reproductions of lost Beatles b-sides. "Astronaut" even adds the sound of a Mellotron just to ram home the point. 

The sleeve for this record was generated by AI and you could have a stab at recreating the music too:

"Write a song using the ABABCB song structure based on the chord changes and melodies in The Beatles back catalogue post 1966. The lyrics that accompany the melody should be etherial and dreamy in nature and relate to a girl called "Emily". The instrumentation should focus on jangly guitars and acoustic drums with occasional motifs recorded with the flute sound from the Mellotron keyboard instrument."

The live tracks featured on the rest of the record are a mix of their biggest hits and material from their most recent studio album "The Tipping Point". There's some additional trance-like chords on "Change" and "Shout" is embellished with some melodic guitar, but otherwise these songs sound uncannily close to their studio counterparts. The band acknowledge that some elements are played from computer, but post production tinkering was limited to some occasional vocal tuning and some small mistakes that were patched with recordings from another show. 

When it comes to the live material my only complaint is that the ten minutes of wax wasted on the lacklustre "Bad Man's Song" could have been spent on at least two superior compositions ("Rivers Of Mercy" and "My Demons" spring to mind). The running order is different on the vinyl when compared to digital sources and dependent on which CD or file bundle you choose, the LP can have up to seven tracks less. 3/5

One record at a time: 423. Tears For Fears - The Tipping Point

The complex history of Tears For Fears means that there was a seventeen year gap between their sixth album and the release of "The Tipping Point" in 2022. I ordered this limited edition green vinyl with a good deal of trepidation as I hadn't really enjoyed any of the band's albums since the eighties.

The opening track "No Small Thing" was also used as a promotional single and was the first I heard of the new album. Whilst the song doesn't have the most promising of starts it does develop nicely. Still, I didn't feel this was a good start and much more lively efforts such as the title track or "My Demons" might have made for a better opening. Elsewhere "Long, Long, Long Time" and "Break The Man" are great songs. In fact, once you get over the initial hump of "No Small Thing", the whole of the first side is very good indeed. 

The flip side is a bit more hit and miss but it does feature my favourite song from the album, "Rivers Of Mercy". Not long after this record was released I was playing this song whilst my young children were running around playing nearby. After about three minutes I realised the usual noise and pandemonium had stopped and the children were now sitting quietly, listening to the music. It really is a captivating song and I recommend it very highly.

I am a little disappointed by the Beatles pastiche "Master Plan" (why do Tears For Fears albums have to include Beatles-esque track?) and the inclusion of "Stay" is curious given it was released five years earlier on a compilation. There's lots to like on this album, and its rock sound has just enough electronics to make it interesting. 

The sound quality from this vinyl is generally quite good given it is a GZ Media abomination. The tracks are cut quite loud and there are a good few crackles - but the richer bass of the vinyl means it remains superior to digital files. 4/5

One record at a time: 422. Tears For Fears - Rule The World

This compilation is from 2017 and was curated by the band themselves. As is the fashion, this collection of hits also features two new songs in order to drive sales. I bought this double LP at an astonishingly cheap £11 when it was in some sort of online sale. Pressed by MPO in France the sound is adequate without being outstanding. There's very little extraneous noise, but its not the most lively sound reproduction.

Proceedings begin with two of the band's biggest hits "Everybody Wants To Rule The World" and "Shout". The first of the new songs comes next in the form of "I Love You But I'm Lost". Written with Bastille's Dan Smith and producer Mark Crew this song has a pretty good hook and earns its place in the back catalogue.

The tracklist rattles through all of the expected big hits including, "Sowing The Seeds Of Love", "Mad World" and "Head Over Heels". Disappointingly, the version of "I Believe" is the album cut and not the live/re-recording that was released as a single - but this is a small quibble.

There are also a couple of tracks culled from the albums "Elemental" and "Raoul and the Kings of Spain" which are effectively solo recordings by Roland. The highlight here is "Break It Down Again" which benefits from adopting the sound of the band in their heyday.

If this was a "Best Of" compilation I could understand the inclusion of the new track "Stay" as it develops from an inauspicious start into a wonderful song. But it seems odd to chose a song that was not even released as a single for a "Greatest Hits" compilation. Equally "Raoul And The Kings Of Spain" didn't exactly set the charts on fire and was included at the expense of  singles that achieved a higher chart position ("Laid So Low (Tears Roll Down)" and "The Way You Are"). Still, this is a really good record and takes quite a measured view of the band's career. 4/5

One record at a time: 421. Tears For Fears - Sowing The Seeds of Love

As much as I try to be positive about this record, I simply can't sum up enough enthusiasm to say much nice about it. Whilst I know it is revered and was a big hit - I have always found "The Seeds of Love" to be really disappointing. 

To my mind a good chunk of the music presented here is boring, mid-tempo rock intended for genteel middle class Americans. The burning angst and heartfelt sentiment that propelled the duo's first two records is lost along with almost all of the synthesizers and drum machines. I can imagine many of these songs being played by a half sozzled pianist in a cocktail bar to an audience of precisely zero people.

I concede I may have been too harsh in what I just said and in the interests of balance I am happy to state that the title track is brilliant. Whilst "Woman In Chains" was completely and utterly the wrong choice for the opening track, it is a very good song. The single "Advice for the Young at Heart" creeps above the threshold even if it is too long. 

Everything else is skippable. Eight and a half minutes of mid-tempo rock ("Badman's Song")? No thank you. Tuneless piano tinkling and horrific backing vocals ("Standing on the corner of the third world") I can do without. Even the surprisingly schizophrenic final song "Famous Last Words" is boring. Some might say it is too simplistic to say these issues are as a result of replacing Ian Stanley as both keyboard player and songwriter; but it's where my suspicion lies.

After the wonders of "Songs From The Big Chair" I felt completely let down by this album when it was released and that disappointment lingers to this day. Whilst my discontent didn't seem to stop me from buying this modern reissue of the LP back in 2020, it remains sealed. 2/5

One record at a time: 420. Tears For Fears - Songs From The Big Chair

1985's "Songs From The Big Chair" saw Tears For Fears move into the realms of superstardom. Propelled by the singles "Shout" and "Everybody Wants To Rule The World" this record met with commercial success across the globe, most notably in the USA.

I own an original UK pressing of this record along with a completely superfluous repressing from 2022. There's nothing to distinguish the modern version other than the usual poor quality artwork and annoying surface noise. I think I might have bought it as part of a "3 for £50" type deal - but I shouldn’t have done really. Still, if you're going to own duplicates of any Tears For Fears album, it might as well be this one.

"Songs From The Big Chair" can truly claim to be a classic and is a masterclass in both songwriting and production. As the opening track "Shout" uses patches from the Fairlight CMI (probably the greatest ever use of the distinctive ARR1 sample) and Yamaha DX7, it sounds distinctly "eighties". Yet the quality of the production means the song remains set above any of the ephemeral drivel produced by the band's contemporaries. 

The second track "The Working Hour" is not as immediate as "Shout" but it remains an impressive composition. The song is generally good value for its six and a half minutes runtime, but the extended coda is too reliant on the warbling saxophone of Will Gregory for my taste. 

The anthemic "Everybody Wants To The Rule World" must be known to everyone and won't benefit from my evaluation: suffice to say it is a classic. Another single "Mother's Talk" rounds out the first side with its Fairlight samples and superb drum programming. The band have since expressed some disappointment with this track, but it really is much better than their attitude might suggest.

The flip side of this album begins with the piano driven ballad "Believe". Now this song is undoubtedly well crafted and Roland provides a great vocal; but damn that saxophone is irritating. The hit single "Head Over Heels" is sandwiched between two versions of the track "Broken" which is a recycled b-side. This might not sound like the most auspicious description of a track but it really does work in the context of the album. This just leaves the final track "Listen" which I find mesmerising. Ian Stanley's distinctive Roland System 100M patches combine with Fairlight samples and obscure vocals to create an epic aural landscape that lays the listener gently back to terra firma. 4/5

One record at a time: 419. Tears For Fears - The Hurting

I own two copies of "The Hurting". The first is an original UK pressing that I bought eight years ago and the second is a limited edition white vinyl from 2021.

Released in 1983, Tears For Fears debut was a huge success in the UK and spawned four singles. "Pale Shelter", "Mad World", "Suffer The Children" and "Change" are probably known to many as charged expressions of angst set against amazing tunes. These tracks form the backbone of the album with slightly less commercial material strung around them. That's not to say the other tracks aren't good, but they are certainly less immediate. 

The title track that opens the album features the distinctive sound of an Linn LM-1 drum machine and jangling guitars that sound as 'new wave' as it is possible to get. The song contains a great melody, but the stilted rhythms are designed to compliment the lyrics rather than pander to the radio. 

"Ideas as Opiates" is barren save for a Yamaha CP-70 piano and the obligatory eighties sax solo, but it just about manages to hold my attention. Less interesting is "The Prisoner" which sounds like an OMD b-side with drum programming by Depeche Mode. By the time we reach the final song "The Start of the Breakdown" the ideas lack some polish, but everything remains entertaining.

Throughout the album vocal duties are shared between the principal members Curt Smith and Roland Orzabal with all of the songs being written by Roland. To this day I am not sure if Ian Stanley and Manny Elias were 'proper' members of the group or salaried musicians. Whilst their contribution to this record was significant, it is the next entry in the Tears For Fears back catalogue in which Ian Stanley truly emerged as a keyboard genius. 4/5

One record at a time: 418. Sunscreem - O3

I first heard Sunscreem in 1992 when a friend played me the 7" single of "Love U More". I liked the song very much and I decided to buy their current release "Broken English". Whilst the latter single didn't impress me nearly as much, I did elect to buy the album "O3" when it was released the following year.

As with most of my collection, I first bought this album on compact disc and bought these two vinyl versions sometime during the last ten years. Whilst the standard version on the left pretty much mirrors the content of the compact disc, the remix edition on the right is a completely different take on the album. I wasn't too sure if this second version should be considered a separate remix album, but Discogs seems to regard it as a variant of the main title, so I will treat it accordingly. 

Both albums open with a track called "Portal" which is laden with breakbeats, 90s house piano and burbling synths. We then move through various singles which continue the rave vibes with "Pressure", "Perfect Motion" and the afore mentioned "Love U More" being the highlights. The difference between Sunscreem and a lot of dance acts of this era is that their singles were songs with vocals and a traditional verse/chorus structure. Whilst this approach garnered radio play, I always felt their heart lay in heavier dance music and the bugged out remixes they created. This idea was reinforced when I realised a number of tracks on the album are actually uncredited mixes of their singles. "B", "Doved Up" and "Release Me" are deeper cuts that were tweaked for the dance floor and originally put out on 12" singles as remixes.

The "Special DJ Remix Edition" features additional mixes by Farley and Heller, Leftfield, Slam and Dave Valentine. I'm not a fan of most of these tracks, but the Farley and Heller dub of "Perfect Motion" does have a terrific bassline. To accommodate all of these lengthy remixes, the DJ edition ditches "Chasing Dreams" and the slightly disappointing ballad "Idaho" - but it doesn't lose anything in the process. 

In terms of remixes, the most glaring omission is the Farley and Heller "Heavy Club" mix of "Love U More" which is one of the best things either artist ever created. Quite why you would omit this amazing remix from a record designed for DJs is beyond me. Both albums finish with versions of "Psycho" which is an incredibly cheesy 90s house piano track that sounds like The Prodigy doing Country and Western.

I have a lot of memories tied up in this album and it will always remind me of my youth. Yes, it has one or two less interesting tracks and it flip flops between heavier club music and lighter pop tunes, but it is still worthy of attention more than thirty years after it was created. 3/5

One record at a time: 417. Ed Starink - Synthezier Greatest (The Ultimate Collection)

Unless you are an electronic music uber-geek, the name Eduard Starink probably doesn't mean much to you. And who can blame you? Hell, they didn't even bother to put the man’s name on the front of his records, so it is no wonder few people have heard of him.

You see Ed produced a series of 'sound-a-like' compilation albums that were much like the "Synthesizer" records made by Project D. Yet, aside from a performer credit hidden on the inner sleeve, the main producer of the work was never explicitly stated. From what I can tell, Ed was happy with this arrangement and chose to allow the "Synthesizer Greatest" brand take centre stage. 

I first heard about these albums around 1991 when I stumbled across a very cheap cassette of the first compilation in a shop in Wakefield. I knew exactly what I was buying, so it was no surprise to find that these tracks weren't attempts to remix, extrapolate or create variations on the original work; they were just smudged carbon copies. 

As you might expect, Vangelis and Jean Michel Jarre compositions are heavily represented in the tracklisting with the usual suspects like Kraftwerk, Art of Noise and Jan Hammer also getting a look in. My musical taste changed quite a bit during the early nineties so the "Synthesizer Greatest" cassette soon began to gather dust and it eventually fell out of my possession.  

Fast forward thirty years and I saw this new compilation released as a limited edition of 1000 individually numbered copies on translucent blue coloured vinyl. Whilst nostalgia drove me to purchase this record, it hasn't driven me to play it very often.

Rather than replicating the tracklisting of the original album, this record labels itself as the "Ultimate Collection" and seems to randomly pick tracks from the first few entries in the series. This is a shame as some of Starink's best efforts seem to have slipped through the net. The impressive rendition of Vangelis's "Hymn" is missing along with the pulsating "Chase" which was originally recorded by Giorgio Moroder. Personally I don't think the theme from "Twin Peaks" represents 'synthesizer music' and I have no idea why a seemingly new rendition of the traditional piano piece "Gympnopédie" deserves inclusion. Something of a mixed bag that is only worth investigating if a wave of nostalgia compels you. 2/5 

One record at a time: 416. Dusty Springfield - Reputation

I have always felt rather indifferent about this album and I have to admit, I only own it because of its link to the Pet Shop Boys. Even the involvement of my favourite group wasn't enough to stir me into action when it was released and I didn't buy "Reputation" on compact disc until about ten years after it was first made available. I didn't spring for this LP until as recently as 2022.

Unfortunately, the first side of this record is produced by a series of 'guns for hire' that created tracks of varying quality. I recently learnt that the title song is a cover version that, save for Dusty's voice, doesn't sound very different from the original. The third track, "Arrested By You" is also a cover of a Rupert Hind ballad that is as limp as an old sock. "Time Waits for No One" is just generic rubbish that sounds like 'production by numbers' and, whilst "Born This Way" is fair enough as a statement, the music is pretty uninspiring. No, the action here is definitely reserved for the flip side. 

As soon as the rolling bass and Fairlight strings of "In Private" begin to ring out, things feel much more homely for a Pet Shop Boys fan. Aside from the other magnificent single, "Nothing Has Been Proved" there are more adventurous songs (or 'experimental' as Neil Tennant described them) in the form of "Daydreaming" and "Occupy Your Mind". The latter song in particular has always stuck me as sounding amazing with its rave inspired TR-808 beats and pulsing synth basslines. 

The only duff note for PSB comes in the form of yet another cover version. "I Want To Stay Here" which was written by Carole King and Gerry Goffin (who also wrote several songs for Dusty's famous "Dusty In Memphis" album) back in the sixties. The slightly twee melody and poor backing vocal arrangement don't really fit with the more progressive sound featured on the rest of the album and I can't work out why this song was included.  

The album was 'executive produced' by Pet Shop Boys - which essentially means they recommended producers and songwriters to Dusty and tinkered with the finished tracks (such as removing the saxophone solo from "Arrested by you"). Whilst this record boosted Dusty's reputation back in the nineties (see what I did there?) and made yet another stellar entry to the Pet Shop Boys CV, the first side doesn't really stand up to scrutiny today. 2/5

One record at a time: 415. Soulwax - From Deewee

I have lamented the decline of The Vinyl Factory in other posts, so I won't go into it again; but suffice to say back in 2017 they actually produced something worth listening to.

I bought this limited edition of "From DeeWee" based on my love for the Soulwax album "Nite Versions". This version differs from the standard release as it has different artwork, uses clear vinyl and was limited to 500 copies. It's not worth a fortune (you can buy a copy for less than £100) but it does sound very good and is the best way to hear this unique album.

The artwork tells us the music included here was recorded in one take, but we also know that the performance was comprehensively rehearsed, there were multiple takes and the whole thing was subsequently mixed, edited and expanded. All of this attention to detail means that the finished record avoids all of the pitfalls inherent in a live performance, but preserves some of the spontaneity.

Much like "Nite Versions", the brothers Deewee blend vintage synths and drum machines with live drumming and bass guitar to create disco tinged electro that will satisfy even the most demanding electronic music fan. My personal favourites are two of the first tracks "Masterplanned" and "Missing Wires" which are underpinned by rubbery analogue synth bass and gloriously simple beats."Do You Want To Get Into Trouble" is another highlight that even caught the ear of my young children, "Who sings this song? Who? Soulwax? Never heard of them." But they were both dancing.

What I like so much about the music on this album is that it has strong melodies and ideas. There is no abstract or self indulgent noodling to be found on "From Deewee", everything is efficient and calculated. The approach is almost like that of Kraftwerk where ideas flow into each other and are realised precisely. There are also idiosyncrasies such as the curious spoken introduction to each side stating the catalogue number and each side finishing in a locked groove. It might not sound like Kraftwerk, but their DNA is palpable. 4/5

One record at a time: 414. Soulwax - Nite Versions

I discovered “Nite Versions” when I heard the tracks “Another Excuse” and “Compute” on the Xbox 360 game “Test Drive Unlimited”. I played the CD almost relentlessly during 2007 and it remains firmly embedded in my list of favourite albums.

This double coloured vinyl version was released to mark the 15th Anniversary of the original release as part of Record Store Day 2020. Because of the COVID pandemic Record Store Day that year was a much more civilised affair conducted entirely online. There was no queueing from silly-o-clock in the morning with other middle aged men; all I had to do was go online at the prescribed time and place my order. Much better.

"Nite Versions" is actually a remix album that takes songs from the band's "Any Minute Now" and adds a much needed sprinkle of magic. The Dewaele Brothers create some really unique remixes with all kinds of crazy effects, loops and Korg MS20 patches thrown around. The music here is hard to pigeonhole as much of the original alternative rock tracks are retained and then draped in disco clothes with accessories by the eighties electro scene. I think the sound is best described as "dance punk".

My personal favourite is "I Love Techno" with "Another Excuse" and "Compute" being the other two standouts. As "Another Excuse" is mixed by DFA its sound is very reminiscent of LCD Soundsystem at their disco peak and creates a perfect high on which to finish.

Whilst I have just realised this album is almost twenty years old, but it still sounds incredibly fresh and innovative to me. I don't listen to this album as much as I used to but it is still fun to give it a spin and reminisce. 4/5

One record at a time: 413. Soft Cell - *Happiness Not Included

Twenty years after their last long player, Dave and Marc decided to go into the studio with Philip Larsen of Manhattan Clique and record a new Soft Cell album. This is the standard yellow vinyl that was released in 2022 and I can't help but think someone at BMG overestimated demand as I have seen it being sold for as little as £6 recently (I paid £19 for it on the day of release grrrrrr). 

Before you run off to Woolworths with your £6 postal order, remember this record is pressed at GZ Media so you will be taking a gamble. Some copies will be clean and sound OK, but others will be covered in a layer of paper debris and offer poor sound reproduction. Whilst my copy is relatively clean the sibilance on any word containing the letter 's' is very apparent.

One anomaly of the vinyl edition is that it contains the original mix of "Purple Zone" and not the version tweaked by the Pet Shop Boys. I presume this is because the vinyl had to be pressed far in advance of the release date and the late substitution of the remixed version could not be accommodated. 

There's another (vague) link to Pet Shop Boys with the opening track "Happy Happy Happy" which covers the same ground as PSB's "This Used to be the Future". In both songs the narrator reflects on the fact that the predictions for the future they were fed in their youth hadn't come true. It would seem great minds think alike and both groups have created wonderful tracks. 

On "Polaroid" Marc sings of meeting Andy Warhol in 1981 whilst Dave delivers a catchy backing track full of bleeps and booms. One thing that strikes me at this point is that Marc's vocals have changed and his delivery is much more dramatic - almost like he is singing in a West End musical. I'm not saying the vocals are bad; just different.

There are great songs littered across both sides of this record with "Light Sleepers", "Nostalgia Machine" and "New Eden" proving Dave and Marc's really know how to write a tune. On the downside the detached "Heart Like Chernobyl" is a bit of a misfire and the lyrics to "I'm Not a Fan of God" sound uncharacteristically misanthropic. But generally this album is a success and I look forward to hearing more from Soft Cell. 3/5 

One record at a time: 412. Soft Cell - Cruelty Without Beauty

After an eighteen year hiatus, Soft Cell decided to reform and release a new album. Whilst "Cruelty Without Beauty" was devoured by fans, the response from the general public was much more muted.

At the turn of the millennium conventional synth-pop duos were caught in a no-man's land where they were neither recognised as innovators nor esteemed as cultural icons. Erasure's "Loveboat" had unceremoniously run aground the year before this record was released and Pet Shop Boys had fared no better with the dismal "Release". At the time it felt like synth-pop was dead.

Personally I had no interest in Soft Cell in 2002 and I didn't acquire this album until about five years ago. Initially I wasn't too impressed by the music on the CD, but my indifference has subsequently turned into total seduction. By happy coincidence this rather smart double pink vinyl set was released just a few months after my awakening.

The first few numbers on this album draw on Dave Ball's forays into dance music with The Grid and sound like confident statements of intent. A cover of Frankie Valli's "The Night" was initially considered as the band's second single back in 1981 but a 'sliding doors moment' ultimately saw "Tainted Love" chosen instead. Almost twenty years later the idea was revived and we are treated to a rather nice electro track that sounds uncannily like Pet Shop Boys in their pomp.

Come to think of it, if you were to suddenly reveal that this album was secretly produced by Messrs Tennant and Lowe I wouldn't be in the least bit surprised. This is the record I wish Pet Shop Boys had made instead of "Release".

Personal highlights on the main album include "Sensation Nation", the James Bond-esque horns of "Desperate" and the tearjerker "Last Chance". All of these songs shine a light on Marc's superb vocal technique. Gone are the slightly suspect off key notes that plagued Soft Cell's early work and Marc sings in confident and engaging tones. This was probably the best his voice ever sounded.

What I also like about Marc is that his lyrics are often acerbic and cynical yet, as a listener, I never feel this vitriol is aimed at me. Everything is directed at "them" - and they know who they are.

This version of the album expands upon the original twelve tracks with no less than five additional songs. This bonus material more than matches the quality of the main album with "Somebody Somewhere Sometime" being the standout. Another favourite is the superb "God Shaped Hole" which sounds seedy enough to be on their debut "Non-Stop Erotic Cabaret" yet contemporary enough to play in any modern nightclub.

With the benefit of hindsight I can confidently declare this the best album from 2002 and probably the best album you've never heard. The phrase "overlooked masterpiece" was coined for moments like this. 4/5

One record at a time: 411. Soft Cell – This Last Night In Sodom

If the artwork failed to dissuade a casual observer from purchasing this record then the title would undoubtedly have done so. Even those daring enough to overlook the packaging might have found themselves bemused by this rather strange album.

The word I see most commonly associated with "This Last Night In Sodom" is....'dark'.  I suppose it can still be classed as synth-pop - but this is a different version of the band that fist emerged in 1981. In the search for something new and more fulfilling, Dave and Marc decided to produce their final album themselves and the electronic sheen of their debut was consigned to history. 

The subject matter of these songs sticks to the Soft Cell tradition of turning over the rocks that others dare not as Marc sings about drug addition, prostitution and murder. As they cast about creating sounds with the PPG Wave 2.2 and Oberheim DMX, the band seemed to fall on electric bass, Hammond organ and even, god forbid, guitar to underpin their new sound.

Opening number "Mr Self Destruct" picks up where the unfortunate "The Art of Falling Apart" left off with a frantic wall of sound that robs the song of its melody. Happily tracks like "Rough little rhinestones" and "Meet Murder My Angel" prove Dave and Marc could still write a fantastic song. There are some signs this was the band's first production as the double tracked vocals sometimes slip out of sync and the (intentionally) monaural sounding mix leads to a bit of a mush sometimes, but generally the songs win the day.

I find the track "Slave to This" fascinating as it sounds as close to Nine Inch Nails as anything I have ever heard that isn't actually written by Trent Reznor. My favourite track is "Surrender to a Stranger" which is positively bristling with ideas and hooks. The single "Soul Inside" is a bit disappointing but the more raucous "Where Was Your Heart (When You Needed It The Most)" has some neat touches and has added poignancy when you consider it was probably intended to be the last thing we ever heard from the group.

My copy of this vinyl is from 2016 (back when you would get a card with a digital download code) and is pressed by Optimal in Germany. There is some sibilance on "L'Esqualita" but otherwise it offers a faithful reproduction of the music. This record might not be everyone's cup of tea, but it is miles better than "The Art of Failing Apart" and it is definitely better than some might have led you to believe. 3/5

One record at a time: 410. Soft Cell - The Art of Falling Apart

Despite being over forty years old and clearly well used by its previous owner(s), my copy of "The Art of Falling Apart" is in pretty good condition. This first pressing was issued with a free 12" single that contained bonus material and a stamp indicates it went through the hands of a record shop owned by John Sheridan in Hull at some stage in its life (possibly in the late 80's).

As I drop the needle the first thing that strikes me about this album is the sheer density of the arrangements. The electrifying tension that hung between the notes of "Non-Stop Erotic Cabaret" has been banished, only to be replaced by a deafening wall of sound. There's absolutely no dynamics contained in this album and it sounds like every fader on the mixing desk was pushed up to eleven. 

I find the phenomenon most annoying on tracks like "Where The Heart is" when the chorus hits with all the subtlety of a brick. There's a great song somewhere in this morass, but Marc's vocal is unceremoniously pushed right in our faces so we can barely hear anything else. The end of "Heat" sounds like everyone in the studio threw in an idea or embellishment which resulted in a cacophony. On the title track Marc seems to be singing as loud as he possibly can in order to be heard over the various instruments and, like any shouting match, it isn’t fun to listen to.

I'll be honest, I couldn't get to the end of this record and had to terminate it halfway through the second side. I reverted to listening to digital files and decided to compare them to the vinyl. Whilst my mp3 files (and the compact disc they were sourced from) sound much better than the wax, there's no doubt the music lacks subtlety or guile. Producer Mike Thorne probably sums thing up best when he says the record was, "Monochromatic and sprawling (when) compared with the economy and precision of the first." 1.5/5

One record at a time: 409. Soft Cell - Non Stop Erotic Cabaret

I have to admit, I didn't own "Non-Stop Erotic Cabaret" until I bought the CD in 1996. I acquired this copy of the original UK vinyl in 2019 and it sounds in pretty good shape.

I think had been deterred from exploring the Soft Cell's work because of the ubiquitous nature of "Tainted Love." There's no doubt their mega-hit warranted its success, but I heard it so frequently I imagined that if you were to press your ear against the wall of any nightclub, you might still perceive its echoes resonating within the very fabric of the building. Today, I can listen to the song quite happily, but it will never be my favourite and, in some ways, it isn't characteristic of its parent album.

To my mind, this is a concept album about vice. One definition of the word 'vice' is: "Criminal activities involving prostitution, pornography, or drugs" and, with the exception of "Tainted Love", the songs on this album seem to address these subjects. We hear tales of dwarves being paraded up and down the high-street on a leash, people who are watching seedy films in which they may (or may not) be featured and a man being blackmailed over his rather naughty secret life.

Key to the early success of Soft Cell was their unique sound. Made with just two synthesizers (Synclavier and Korg SB-100) and a drum machine* (Roland TR-808), the sound canvas is minimalist in approach, yet the songs still manage to paint the most vivid pictures. Or as the album's producer Mike Thorne described it: "Flash was at a minimum, the message maximum."

Unfortunately, as with most albums from the eighties, there are saxophones. I can't help but wonder what has happened to all the session musicians that used to warble and screech their way through pop records. Maybe there is a giant retirement home full of former professional saxophonists who now have nothing to do but sit around and reminisce about the old days. Let's hope they don't escape. 3/5 

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* This statement is actually only true of the album tracks recorded in New York. "Tainted Love" was recorded before the rest of the album and features a Roland CR-78, Pearl Syncussion drum pads, a Simmons claptrap and an Electro Harmonix Super Space Drum. The distinctive 'bink bink' sound was made using a Star Instruments Synare 2 played through a delay.

One record at a time: 408. Simple Minds - Glittering Prize 81/92

The single "Alive and Kicking" was re-released in 1992 as it was being used to promote the newly formed Premier League. This compilation sought to capitalise on this increased exposure and offers a retrospective of the band's Virgin output. Yet by the time this record was released only two of the original members remained and the band had developed into some sort of stadium rock outfit designed to appeal to American audiences. 

This particular vinyl came into my possession in January 2025 and is considered a misprint because the heart on the sleeve is white rather than the intended golden colour. The record is in very good condition and offers faithful sound reproduction. The CD I bought at the time of release contained sixteen tracks but the limitations of the LP means it loses both "Mandela Day" and "Speed Your Love to me".

Whilst most of the hit singles you might expect have been collected here, I'm not convinced this is the most holistic representation of the band's work. Virgin didn't bother licensing any material from their first three albums on Arista Records so there's no early material and I'm not convinced some of the more recent (recent in 1992) songs warrant inclusion. 

We open with the pulsating bass of "Waterfront" (which I recently realised is actually a loop and not played continually for five minutes) which provides instant gratification. Even more immediate is the non-album single "Don't You (Forget About Me)" which is one of the band's most widely known hits and probably the biggest draw for many casual observers. "Love Song", "The American" and "Promised You a Miracle" have a distinctive, early eighties vibe that sounds so much better than the bland rock the band began to churn out in the middle of their career.

Speaking of bland rock, "Sanctify Yourself" pales in comparison to some of the illustrious company it keeps and I'm not a fan of "Ghostdancing" either. Also disappointing is "See The Lights" which features plastic Korg M1 piano alongside Jim Kerr's best Bono impression. Personally I'd much rather have heard "Up On The Catwalk" or even "This is Your Land" which achieved similar chart positions and were much more interesting compositions. 

In summary I'd say this is a far from perfect compilation and anyone looking for an introduction to the band's wider work would be better served by more comprehensive efforts such as 2019's "40: Best of 1979-2019". 3/5

One record at a time: 407. Simple Minds - Street Fighting Years

"Street Fighting Years" served as my introduction to the work of Simple Minds. Back in 1989 I was familiar with some of the band's hit singles, but this was the first time I bought one of their albums and delved a little deeper. 

I can't really tell you why an electronic music obsessed teenager bought an album made by a traditional rock band, but I do remember the release was promoted as quite an occasion; so maybe I just got caught up in the excitement of it all. I also think the involvement of Trevor Horn must have contributed to my initial enthusiasm.

Whilst I bought the compact disc back in 1989, I picked up this record in 2014 from eBay. The disc is in very good condition and boasts the quality you would expect from the EMI pressing plant in Hayes.

The title track that begins proceedings is a slow burner that either builds atmosphere or opens as a damp squib depending on your mood. Another six minute long track "Soul Crying Out" has a little more melody but I can't help but feel Trevor Horn restricted keyboard player Mick MacNeil to using a Hammond organ and, much to its detriment, this album seems to eschew synthesisers.

You really get a feel for Trevor's influence on the next track "This Is Your Land" when after around four minutes it enters into a grand coda that mimics "You're The Voice" by John Farnham. Don't get me wrong, there is nothing wrong with "You're The Voice", but I don't see the sense in copying it. There are a few Fairlight derived motifs (which Horn refers to as "gags") thrown around here and there, but "Kick It In" seems to have the most with samples that you may recognise from records by Yes or Art of Noise.

By the time I reach the eighth track I have become tired of the incessant Hammond organ through a Lesley cabinet and I am longing to hear something else. Happily the tracks that made up the "Ballad of the Streets" EP ("Mandela Day", "Biko" and "Belfast Child") are superb productions and such poignant songs ensure we come to a stirring finish. 

I have a soft spot for this album as it was amongst the first I ever bought on compact disc; but I have to acknowledge that much of my regard I have for it is based on nostalgia rather than a love of the actual content. 3/5

One record at a time: 406. Simple Minds - Once Upon a Time

With consummate timing, this record arrived from eBay a few days before I was due to post about it. Whilst my collection contains both a CD and the digital files of "Once Upon a Time", this is the first time I have owned it on vinyl. The record only cost me a few pounds and sounds immaculate.

To me, the highly stylised artwork of this record was a sign of a rather cynical cash in. This album was released on the back of a number one hit in the USA ("Don't (You Forget About Me)") and I can just imagine the A&R team at Virgin Records losing their minds at the thought of Simple Minds working with the same people who had produced U2. No matter what, this record had to look appealing to the American public.

Unfortunately this record isn't nearly as good as the two albums that preceded it. Opening track "Once Upon A Time" is standard AOR fare that has nothing to recommend it. Things don't improve with the dismal U2 pastiche "Ghost Dancing" which is so dull I find it hard to listen to. 

Things pick up with the single "Alive and Kicking", but its constant use in promoting the launch of the Premier League back in 1992 mean it soon becomes tiresome to my ears. The only track I do genuinely like is "All the things She Said" which has a great hook and offers flashes of the real Simple Minds who seem to be hiding behind the sonic veil thrown up by the producers.

Things don't improve much on the b-side as the lyrics of "Oh Jungleland" are amongst the worst I have ever heard from a normally impeccable Jim Kerr. The dull rock of "I Wish You Were Here" and "Come a Long Way" drift over me and only the single "Sanctify Yourself" offers something close to originality.

To my mind this whole record contains nothing but insipid rock designed for American radio. I guess something had to be sacrificed in order to appeal to their new American masters, but for me, the band sold its soul. Derek Forbes's bass is sorely missed and the female backing singers are totally at odds with everything else that is going on. This isn't one for me. 2/5