One record at a time: 149. Front 242 - Official Version

"Official Version" is the album in which Front 242 honed their sound and delivered a hit single in the form of "Masterhit".

Here I am playing a copy of the original UK LP which I bought from the same shop in Hull where I acquired "No Comment".

Things kick off with the epic "W.Y.H.I.W.H.G." which has always been one of my favourite 242 tracks. I love the samples on this song and everything seems to gel perfectly. "They're coming down! They're coming down! They're coming down for you!"

"Rerun Time" is another example of a track that seems to flow effortlessly and has plenty of tricks to keep the listener interested. "Television Station" completes the opening trilogy of perfect brooding EDM with its pounding rhythms and dark vocals. I've never been a big fan of "Aggresiva Due" simply because of the distorted electric guitar that features through out, but it is still very interesting. 

The single "Masterhit Parts 1 and 2" will be well known to anyone with even a passing interest in EBM or industrial music. This track is catchy and has a good melody under the burbling synths and deadpan vocals. After about five minutes the track moves into "Part 2" which is a more instrumental section that builds into a swirling cacophony before ending abruptly.

The title of the album is derived from the lyrics to "Slaughter" which features some fantastic Emulator marcato strings alongside the usual driving rhythms. My favourite track on here is "Quite Unusual" which is a new version of the track released on the "Inception" E.P. the year before. "Red Team" is a beat driven instrumental that trundles along quite nicely before the television evangelism of "Angst" sees us out. 4/5

One record at a time: 148. Front 242 - No Comment

Front 242 released their second album "No Comment" in 1984. Whilst this vinyl is a reissued version from 1989, it is still fairly difficult to come by. I bought my copy at a second hand record shop in Hull earlier this year and it is in great condition. I also need to point out that this LP has a different sleeve to the original and features a running order which is different to CD or digital version of the album.

It is worth noting immediately that this album is quite a departure from its predecessor. The analogue synths of "Geography" have been jettisoned and the sounds of a Drumulator, FM synths and a sampler dominate. There has also been a change of personnel with Dirk Bergen departing to be replaced by a second vocalist Richard 23. 

Things open with the nine and a half minute long "Commando (Mix)" which revolves around a distinctive DX7 bassline. Band member Daniel Bressanutti layers atmospheric samples on the top and tweaks the drums with some fills here and there. I've noticed this track gets a lot of love amongst Front 242 fans and some even regard it as their best. Personally I think it is OK, but definitely not their best.

Next up is "S. Fr Nomenklatura (Part I & II)" which I have never liked much as it has a really annoying sample that is repeated throughout. All of these instrumental tracks tend to wander down a bit of a musical cul-de-sac and aren't developed a great deal. The next track "Deceit" does feature some vocals from Jean-Luc and Richard 23 but they sound like overdubs thrown down to add a little texture rather than being the centrepiece.

The flip side kicks off with "Lovely Day" which offers the first flash of the sound the band would come to fine tune on later albums. The highlight of the album for me is "No Shuffle" which is a rambling ode to the North Pole with a groove ready for the right dance floor. Things finish off with "Special Forces" which samples a line from "Apocalypse Now" and turns it into a relentless slice of EMB. To me this album sounds like a band trying to master new technology: sometimes they get it right and sometimes things misfire. This album is interesting, but it only offers us a glimpse of the heights they would go on to achieve. 2.5/5

One record at a time: 147. Front 242 - Geography

Front 242 are true pioneers of electronic music. In fact, they were such visionaries that a new genre had to be invented just to describe their sound. Today, anyone who creates music that even vaguely resembles that of the Belgian masters will labelled as Electronic Body Music (EBM).

I first became aware of Front 242 in 1990 when a friend made me a 'best of' cassette using some CDs he had borrowed. I loved almost every track on that tape and was most intrigued by the material taken from their debut LP "Geography".

Here I am playing a remastered red vinyl from 2016 which came with a free CD and was supposedly limited to 242 copies.

Things kick off with one of the best cuts the band ever produced: "Operating Tracks". The bass on this track pulses from ear to ear as Jean-Luc's growls his largely incomprehensible lyrics. When I first got access to the internet in the late nineties I began looking up the lyrics of many Front 242 songs and realised that the real words bore little resemblance to my interpretation. Sometimes the romance of a misheard lyric is much more valuable that being precise; so I still sing along with my version and accuracy be damned.

The next three tracks are largely instrumental affairs composed of distorted white noise snares and distinctly analogue synth patches that remind me of The Future and early recordings by The Human League. Things kick up again with the excellent "U-Men" which has an irresistible bassline and a great hook. As there are only two repeated verses this track is done and dusted in a little over three minutes 

"Dialogues" is more analogue instrumental fun but "Least Inkling" resurrects the pulsating bass sequences and brooding vocals. The next track "GVDT" feels brighter due to its melodic vocal but the chorus becomes chaotic and transforms the song into something more daring. "Geography I" is a strange track as it has no kick drum and the vocals are mere mumbles. "Black White Blue" is a fast paced and strangely hypnotic instrumental that must have been pushing the boundaries in 1982. 

Strangely the closing track "Kampfbereit" plods along at 97 beats per minute and is sung in German. The TR-808 seems to emerge more prominently for this closing number and, as good as this song is, it feels a bit out of place on here. 

Still, this is an enjoyable album for anyone who has even a passing interest in early eighties electronic music. Despite its relatively experimental nature, this record somehow remains accessible and even in its quirkiest moments it still has the ability to make people dance. 4/5

One record at a time: 146. Fad Gadget - The Best Of

When I originally bought the CD of this compilation in 2001, I hadn't really heard any of Fad Gadget's music. I think my interest must have purely stemmed from their links to Mute records and Daniel Miller.

However when I did listen to the CD, I liked a lot of what I heard and I decided to buy this silver coloured vinyl pressing when it was released in 2019.

This album is something of a strange pot-pourri of post punk noise, new wave innovation and unrefined synth-pop. Tracks flow in a roughly chronological order and Daniel Miller's familiar ARP 2600 drum sounds punch through some of the early cuts. Other influences are exposed by the extended "Handshake" which serves as the "Metal on Metal" to the "Trans Europe Express" of "Ricky's Hand".

As the band's sound began to diversify we find an increasing use of acoustic or traditional rock instruments and its impossible not to notice Alison Moyet singing backing vocals on "For Whom The Bells Toll". There is prominent use of bass guitar on songs like "Make Room" and "King of the Flies" meaning synth purest have to take refuge in b-sides such as the excellent "Ladyshave" and "4M". The inclusion of the outstanding "Luxury" is curious as it was released under Frank Tovey's own name when he elected to leave the Fad Gadget moniker behind.

In terms of electronic music, Frank eventually moved on and by the time he was releasing "Bridge St Shuffle" and "Sam Hall" there was no way back. Frank seemed to stop releasing records in the late eighties and this compilation serves as an excellent summary of his work in the field of electronic music. 3/5

Trevor Horn book

I like the work of Trevor Horn. I don't regard him as a 'production god' or the new messiah, but there are quite a few records in my collection that bear his name. As a result, I took a great interest in his recently published autobiography. 

The book is generally quite good and is full of interesting stories. However, there are some aspects of the book that contradict other people's accounts and whole chunks of Horn's career seem to be omitted.

In the book Trevor repeats the story that the lady who says "Goodbye" in ABC's "Look of Love" is the actual girl Martin is singing about in the song. However, in a podcast first broadcast in April this year, engineer Gary Langan tells us the lady in question was actually the receptionist at SARM studios who happened to be his girlfriend and not Martin's. Who to believe?

Trevor recites a tale of meeting Michael Mertens in the canteen at Townhouse Studios following Propaganda's defection to Virgin Records. In the book Mertens approaches Horn and gets short shrift. In Mertens' version published on Facebook he merely says hello to Horn and receives an angry tirade in return.

I am not a Frankie Goes to Hollywood fan so I don't really know their history; but Horn's account of the band's demise and the subsequent court case seems relatively cursory to me. Maybe this is because Trevor regards this as a less interesting aspect of his career and he doesn't want to dwell on it. Maybe he doesn't go into detail because ZTT lost the court case. Either way, those looking for more information about the whole Frankie saga will be left a little wanting. 

There is no mention of recording "It's Alright" with the Pet Shop Boys and only some vague references to the creation of the album "Fundamental". Disappointingly there is no room for Mike Oldfield's "Tubular Bells II" and the chapter dedicated to Seal only discusses "Crazy".

I acknowledge you can fit everything into one book and at no point does Trevor state this is a definitive version of events; but I still felt a little short changed. Hell, the only production tip I got from the whole book is that tweaking a mix to get a good stereo field can be a waste of time: just pan some things hard left and others hard right. Easy. 

So whilst it is an interesting book, it is not perfect. This is clearly one man's recollection of events and as Winston Churchill wrote, "History is written by the victors."

One record at a time: 145. Eurythmics - Peace

I was pleased when Eurythmics re-formed after an 8 year hiatus, but this elation was tempered by a fear they would 'go rock' again. Once I heard the comeback album "Peace", I was confused. Was this rock, pop or something else? 

Whilst this music is hard to pigeonhole, it clearly is not 'synth pop' or electronic music. Ultimately, I found this disappointing. The tunes are good, the vocals are exceptional and the production skilful; but its just not my kind of music.

Despite the CD being released in 1999, an LP wasn't pressed until this 180g version from 2018.  This is another half speed master from Abbey Road and, unlike my copy of "Savage", it sounds OK. Not good, not bad, just OK. I really don't see the point in going to the expense of creating a new half speed master and then giving it to GZ Media to press up. 

The highlights of this album are the soaring "17 Again" and "I've Tried Everything". The Beatles pastiche "Forever" is best forgotten along with the disappointing heavy rock of "Power to the Meek" and "I Want it all". All in all, there's more to dislike than enjoy here for me. 2/5

This brings our trawl through the Eurythmics back catalogue to an end. Next time we get to move on to something more varied and....electronic.

One records at a time: 144. Eurythmics - Greatest Hits

As I already owned all of the music on this record and the track choices were less than inspiring, I dodged it when it was released in 1991. However, everyone else in the UK seemed to buy it and it sold in its millions. 

For whatever reason I did end up buying the 12" singles of "Love Is A Stranger (Remix)" and "Sweet Dreams '91" which were released as part of the corresponding promotional campaign (the CD singles didn't have remixes and were just EPs full of tracks I already owned). I only acquired the CD of this album in 2014 and bought a copy of the LP in 2019.

I'm not really sure what criteria where applied when selecting the tracks for this compilation but I assume space is reserved for singles that reached the Top 40 in the UK. However, "The King and Queen of America" and "Revival" should have qualified under this rule but aren't included.

The problem with basing a compilation purely on successful singles is that it presents a very myopic view of a band. There's so much more to Eurythmics than these hits. Singles like "Julia" and "Shame" are amongst the bands best songs despite not being commercially successful. There are many inspirational album tracks and sonic experiments that illustrate Dave and Annie's ability that don't get a look in here. But let's face it, this isn't a mixtape. This is a Greatest Hits album and is designed to sell. And sell it did. It's just regrettable that some people's awareness of the band will be restricted to these songs alone. 3/5