One record at a time: 138. Eurythmics - Touch Dance

I mentioned in another post that remix albums were all the rage in the mid eighties as extended versions became increasingly popular on the dance floor and with the record buying public. Eurythmics record company decided to wring some additional profit from the highly successful "Touch" album by releasing "Touch Dance" in 1984. As this was a commercial exercise, Dave and Annie were not too enamoured with it and this remains the only Eurythmics remix album issued. 

As a result of the band's displeasure, "Touch Dance" was hard to find on CD when I started buying Eurythmics releases in the late eighties. In fact, I had to settle for a cassette of "Touch Dance" for many years until I finally purchased a copy from eBay eight years ago.

Much like contemporary remix albums, this record features mixes that aren't a drastic departure from the album versions. In the early eighties the "extended" mix was favoured by DJs and more radical mixes that transformed the aesthetic were not as common as today.

"The First Cut" is remixed by François Kevorkian and adds a good two minutes to the playing time by grafting on a new introduction and a series of breaks. There is another New York style extended mix of "Cool Blue" by John "Jellybean" Benitez which, given the source material isn't my favourite, is mediocre. Benitez also tinkers with the fabulous "Paint a Rumour" by creating various edits, adding occasional effects and playing with the faders. However, as the original of this song is over seven minutes long, this mix couldn't really be described as an 'extended version'. For "Regrets" we revert to Kevorkian who manages to bring out more of the sinister side of the track and make it sound less one dimensional than the album version. 

In terms of source material, that's our lot. The remaining three tracks are instrumental mixes of "First Cut", "Cool Blue" and "Paint a Rumour". When I first saw the tracklisting on my cassette circa 1988 I assumed these last three mixes were merely those on the first side with the lead vocal muted. However, I was wrong. These instrumental versions are completely different and almost as good as the featured vocal mixes. As I have mentioned, I'm not too keen on "Cool Blue" but the other two songs stand up to this treatment and reveal new layers that you might not have heard in the original. 3/5

One record at a time: 137. Eurythmics - Touch

I bought this copy of "Touch" from a shop in Manchester around ten years ago. However, in 1985 this record belonged to Saeed Ashiq who lived in Victoria Park. I know this as not only did Saeed stamp the cover with his name, address and phone number, but he also signed and dated the inner sleeve. I'm not aware of Saeed having found fame and fortune yet, but when he does, my signed copy of "Touch" will be worth a few pounds. Until then I am left with a good condition record with a slightly defaced sleeve.

This album opens in fine style with the classic single "Here Comes The Rain Again". This is a controversial opinion, but I feel this song would be better without the orchestra or at least with it turned right down in the mix. You can tell this song was recoded with same synthesizers and drum computer as "Sweet Dreams" and I would have preferred it if the electronics had a little more room to breathe. But still, this is a great track. "Regrets" delivers some classic eighties slap bass and mute trumpet alongside the electronics, but I always find this song very repetitive and overly long. 

"Right By Your Side" employs some Voyetra-8 derived steel drums to add a calypso flavour and there is some annoying saxophone thrown in too. For me the instrumentation ruins what could have been a good track. "Cool Blue" is a bit lethargic and once again there is a bit too much acoustic brass employed for my taste. Another hit single "Who's That Girl?" closes side one with its perfect blend of pop melody and synth driven backing track.

Where some of the tracks on the first side have a tendency to sound frivolous and insubstantial, the real action is on the flip side. "The First Cut" drives along and possesses a raw edge that makes it sound more credible as 'serious' electronic music. "Aqua" was used as a b-side to "Who's That Girl?" is some territories and it was probably best left there as it is a bit dismal. "No Fear No Hate No Pain (No Broken Hearts)" banishes the doldrums as it builds into a crescendo with pizzicato strings, twinkling synths and Annie's voice all complimenting each other perfectly. Closing number "Paint a Rumour" is a funky and soulful track that finds Annie at her vocal peak. 4/5

Literary disppointments

I'm reading two books at the minute. Both are related to electronic music and both are pretty poor.

I imagined "Computer World" by Steve Tupai Francis to be a detailed discourse on the album of the same name by Kraftwerk. In reality this book is yet another biography of the band that rehashes the same old sources and tells the same tales.

In fairness, I think my opinion of this book suffers because I am reading it immediately after devouring Karl Bartos's memoir "The Sound of the Machine – My Life in Kraftwerk and Beyond" which contains valuable insight and fascinating stories about the creation of the album. I can recommend the Bartos book without hesitation.

It's a similar position with the second book "The Human League and the Sheffield electro scene" which I am reading soon after finishing Martyn Ware's autobiography.

There's nothing new in the book's examination of the songs and things feel rote compared to Ware's analysis. The author repeatedly refers to Sheffield as a "small city" and seems to regard the subject matter with mild disdain. This book feels like a commission rather than a labour of love. When I read about the influence of "Eileen Derbyshire" who worked for the "Doctor Who Sound Workshop" (p41) the credibility of the author evaporated completely.

Whilst it may make sense to the author to include an examination of Heaven 17 material until the release of "How Men Are", his decision to stop at this point feels arbitrary. The assertion that The Human League and Heaven 17 became "too divergent" at this point doesn't make sense. Both bands were set on very different courses from the moment Phil and Virgin Records fired Martyn and made an all out assault on the charts. I also think the approach of this book is quite disrespectful to Heaven 17 who merit a book of their own rather than being rolled up as an adjunct.

Front Line Assembled

About 4 years ago I posted about my quest to acquire all of Front Line Assembly's back catalogue on CD. I continued to buy CDs from Discogs and eBay until only one CD single eluded me. For about 2 years I have searched for a copy of  "No Limit" but as this CD is 33 years old, it can be difficult to come by at a reasonable price. Having finally won an auction last week, my collection is now complete.

The music in this CD mixes samples of speech and effects from films with driving Yamaha DX7 basslines and Bill's indiscernible lyrics. The mixes are far too long and the sample of a man repeatedly screaming for the final 5 minutes of "Lethal Compound" is a very real test of your resolve. However, if you're in the mood for some late eighties industrial music "No Limit" fits the bill.

One aspect of record collecting that I find rewarding is when I get to delete an eBay saved search or remove something from my Discogs wantlist. So I'm quite content tonight. This is both because I finally own the CD but also because I can stick two fingers up to the guy who has been repeatedly listing this CD at inflated prices on eBay for about 3 years. Sometimes you just need to stick it out to stick it to the scalpers.

One record at a time: 136. Eurythmics - Sweet Dreams (Are Made of This)

My first exposure to Eurythmics was in 1983 when the video for "Sweet Dreams (are made of this)" played on Saturday morning children's television. I was entranced by the stunning visuals and thought the music was amazing.

As I grew older and my musical tastes matured, I continued to keep a watching brief on Eurythmics. I seem to think I bought "Savage" on CD as my first foray into their back catalogue and by the time "We Too Are One" came out I was a confirmed fan. So essentially, I always liked Eurythmics, but only started buying their records as the group began to disintegrate.

In some ways "Sweet Dreams (are made of this)" is both a beginning for Eurythmics and their zenith. With this album Dave and Annie finally found commercial success, but in terms of electronic music, nothing else in their back catalogue came close to matching this. Yes, "Touch" is impressive and "Savage" partially revived the electronic sound; but no other album is as consistent in its genius as "Sweet Dreams". Here I will be playing a standard, common or garden original pressing of the album that I acquired from eBay in 2014.

The album begins with "Love is a Stranger" which is a great song but a curious choice for a single (don't let the peak chart position of this song fool you, it was initially released before the album and did nothing; it only became a hit after the album was released). Having said that, the first two singles from the album "The Walk" and "This Is The House" are even more bizarre selections. Whilst all three of these songs are masterful in their production, they aren't the immediate, radio friendly ear worms that would have garnered commercial success. At the time Dave and Annie were making music at home using an eight track and a small selection of synthesizers. There was no master plan or co-ordinated effort, they were just releasing material as they created it. Things only took off when Dave threw a bass line into the sequencer and Annie overdubbed a synth riff and began singing the line "Sweet dreams are made of this". 

The second track "I've Got an Angel" features Annie's flute and some gritty synth bass that provides the perfect counterpoint to the polished vocal. I must confess, I didn't realise the next track "Wrap it up" was a cover version until I wrote this article. This track features the inimitable Green Gartside singing a duet with Annie to great effect. For some reason I have always liked the abstract, and vaguely sinister "Jennifer". This song is almost the equivalent of in impressionist painting with lyrics that are vague enough to allow the listener to interpret them and create their own story. 

The album closes with two mid-tempo tracks in the form of "Somebody Told Me" and "This City Never Sleeps". The former song is a tense affair which relies upon the juxtaposition between a laconic Juno-60 bassline and Dave's bluesy slide guitar. The oppressive atmosphere of  "This City Never Sleeps" is somehow disturbing and soporific in equal measure. Both songs seem to wind the album down and make a perfect ending.

A short time after the final track has come to an end, you can just about make out the sound of underground trains and there is even a "secret message". As I only owned the album on CD in the early nineties, I had no way of playing this reversed message and it wasn't until I recorded a WAV file into my PC and reversed it in 1995 that I finally heard Dave saying: "I enjoyed making that record. Very good.". And he's right, it is a very good record. 5/5

One record at a time: 135. Eurythmics - In The Garden

You will be unsurprised to hear that when I was at school, music was a frequent topic of conversation. My school days coincided with the peak of the Eurythmics commercial success and albums such as "Be Yourself Tonight", "Touch" and "Savage" would occasionally feature in our conversations.

However, there was always one Eurythmics album that was regarded with suspicion and doubt. "In The Garden" predated the bands success and nobody dared risk their precious pocket money on such an unknown quantity.

However, as I had a reputation for being a voracious consumer of music, there was an assumption by some that I owned the album. One day I was asked directly if I had heard the album and what I thought of it. The question was posed in a way that suggested reverence to my opinion. Full of adolescent self importance I lied and said, "Yeah, I have it and it's quite good." 

Some weeks later the same kid came back to me and said they had splurged their pocket money on a copy of "In The Garden" and either I had lied or my taste was poor. I remained diplomatically silent on the issue, but did feel guilty enough to purchase the CD in a strange effort to wallow in the same misery. Unfortunately I no longer own that original CD, but I did pick up the vinyl from eBay six or seven years ago and I will be playing that for this review. The dynamics on the vinyl are a little flat but this probably reflects the mastering style of the time rather than incompetence. Happily my copy doesn't seem to have any scratches and is in very good condition through out.

Before we start it is worth noting that this album was recorded before Dave and Annie adopted synthesizers and achieved commercial success. The music on this record is in a more typical rock style and it is no wonder it failed to satisfy teenagers looking for another "Sweet Dreams (are made of this)".  

Whilst the songs here might lack immediate appeal, they do still hold some interest. Things don't get off to an auspicious start as "English Summer" is a little languid and Annie's vocals lack confidence. But if you persist the chorus does deliver some charm before the songs peters out. Things kick up a gear or two with "Belinda" with its chugging guitar riffs and robotic drumming. There's no doubt this is a catchy tune that would have been great if it was recorded using synths rather than by a conventional rock band (even if Robert Görl is playing drums).

"Take Me to Your Heart" benefits from a synth driven backbone that is only slightly undermined by the uninspired bass guitar. Here Annie seems to be finding her voice and sings as if she believes in the material rather than just churning out album filler. The song is a little one dimensional but you can definitely hear the hints of what was to come in later albums. "She's Invisible Now" harks back to the sixties with some nice synth arpeggios thrown in, but Annie's vocal has reverted back to brittle sounding whispers. Side one closes with "Your Time Will Come" which builds into quite a good song, but like many here, it's little raw and under developed.

On the flip side "Caveman Head" does have a nice little synth riff running throughout, but it is essentially the same groove running without variation for four minutes. The highlight of the album for me is "Never Gonna Cry Again" which was also released as a single. I first heard this song on the post-split 'cash in' album "Live 1983-1989" in which Annie lets rip with a fantastic flute solo that is sadly missing on the album version. The next track "All the Young People (of Today)" comes and goes without making much impression but the French vocals and natty melody of "Sing-Sing" are very accomplished. We finish off with the middling "Revenge" which would later be re-recorded more successfully as "Revenge 2" for the album of the same name in 1986. 3/5

One record at a time: 134. Erasure - Day-Glo (Based on a true story)

Once again, Erasure have somehow managed to turn one mediocre album into no less than four separate releases (we have been spared the live album here as, up to press, the vinyl hasn't been released). 

The promo blurb describes this record as an 'unexpected bonus' that manipulates the sound files form the original to create a new atmospheric and introspective album. Basically Vince was bored during lockdown and started experimenting in Logic Pro. After a while Andy added some new vocals and before they knew it, they had a new album.

You will be unsurprised to hear this record is pressed on 'neon green' vinyl which sounds OK without being spectacular. 

It's relatively easy to discern which of the original album tracks form the basis of these reinterpretations, but they do move in strange an unexpected directions. Opening track "Based on a True Story" has a very atmospheric introduction but ends up using a sequence that Front Line Assembly would be proud of. "Pop Beat" chops up the vocals of the single "Hey Now (Think I got a Feeling)" and sets them against a new beat that is much more layered and atmospheric than the original.

Vince's riffs and flourishes are as distinctive as Andy's vocals (even when they have been cut up and manipulated) and you get the feeling this record was fun to make. "The Conman" seems to catch Andy chatting into the microphone between takes as Vince pours out a river of analogue delights. Less successful is the song "3 Strikes and You're Out" which is a more traditional composition. The strength of this album is its experimental nature and the atmosphere that Vince builds. Adding a straight forward vocal track spoils the mood a little and seems superfluous. I notice most of these tracks are all between three and four minutes. Vince should have had more courage in his conviction and teased out some of these tracks at the expense of some of the weaker material. But all in all this album is better than the original. 3/5

This album brings our odyssey through the Erasure back catalogue to an end. Thank you for sticking with it (readership figures have waxed and waned during the course of these albums). Next time we dive into another legendary band that found fame in the eighties.